Art in Serbian protest political communication: from the Black Fist to the Bloody Hand

The article is devoted to the study of the role of art in protest political communication using the example of contemporary protest movements in Serbia. The author analyzes how artistic practices become a tool for expressing public discontent and interaction between citizens and the authorities. Political communication is defined not only as a process of transmitting information, but also as a mechanism for organizing political interaction, shaping public opinion and taking into account the interests of citizens. Art is considered as a powerful mechanism of political communication capable of consolidating protest movements and enhancing their impact on society. Particular attention is paid to symbolic elements, such as the Black Fist of the 1990s and the modern symbol of the Bloody Hand, which reflect the cultural continuity of protest sentiments in the country. The work examines new forms of artistic protest, including installations, graffiti and performances that demonstrate the adaptation of protest movements to modern social conditions. The study is based on the theoretical approaches of Charles Tilly to understanding protest communication. The author also refers to the cultural ideas of Yu.M. Lotman, which allows for a more in-depth analysis of the cultural and historical context of protest movements in Serbia. It is shown that art is not only a means of expressing protest, but also a powerful mechanism for the formation of collective consciousness and consolidation of society.