Abstract

Emerging in the ideological context of the last decade of Yugoslavia, Slovenian industrial music group Laibach and its umbrella organization, Neue Slowenische Kunst (NSK), contributed to renew the grammar of contentious politics through the principle of “retrogardism” and the technique of over-identification with the aesthetic codes of power. The paper traces the group’s line of work, analyzing its strategies while insisting on the systematically ironic dimension of its mode of utterance, especially of its art of cover songs.