This essay discusses the music style of turbo-folk as the vanishing mediator between two kinds of nationalism in Serbia: anti-Yugoslav nationalism and pan-Balkan regionalist nationalism. Using Slavoj Žižek's account of the concept of the vanishing mediator, I suggest that the nationalism of turbo-folk created the ground for its benevolent successor of "apolitical" pop. Far from being merely a phase in the longer trajectory of the evolution of music, turbo-folk is the condition that made possible the apolitical transnational contemporary pop folk. The nationalism of turbofolk was a necessary mediator, and its very nationalist "excess" established the "normal" popular music today. As the "new" Serbia attempts to purge the nationalist and criminal elements of the nineties, turbo-folk "vanishes" and is positioned into the nationalist pathology of Serbia in the nineties. I argue that this shift is nowhere Uros Cvoro lectures in art history

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This article explores the space of the National Museum Australia as a complex interplay between different spatial levels, and the way in which this interplay enables the NMA to foreground internal tensions architecturally. I am also interested in the way these internal tensions contribute towards creating representations of spaces as politically charged. I argue that the space of the NMA should be read as riven with tension between monumental space and what I refer to as protean monumental space. The tension between the monumental and the protean monumental is always already entailed within the spatial practice and spatial representation of producing the NMA's space. This tension is internal and central to the museum itself, yet it is a tension that leads to a production of a 'third space' that is already predicated by the other two, or is revealed by the experiencing body of the museum visitor.