Central and Eastern Europe Bibliography

Avant-garde

Czech Republic

Writings

• Karel Teige, "Poetismus" [Poetism], Host, Vol. 3, No. 9-10, July 1924. [1]
• Karel Teige, "Manifest poetismu" [Poetism Manifesto], ReD Vol. 1, No. 9, 1928. [2]
• "Leva fronta" [The Left Front], ReD, vol. 3, no. 2, 1929. The founding manifesto. [3]
• F. Kalivoda (ed.), Telehor/international revue of the new vision, vol. 1, nos. 1-2, 1936. One of the classic publications on Moholy-Nagy, with a preface by Siegfried Giedion.
• more: [4], [5]

Literature

• Tomáš Vlček, "Art between Social Crisis and Utopia: The Czech Contribution to the Development of the Avant-Garde Movement in East-Central Europe, 1910-30", Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 28-35. [6]
• Susanne Anna (ed.), Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, Hatje Cantz Verlag, 1997. [7] [8]

Slovakia

• Francis A. Taylor, article on his impressions of a visit to the Bratislava School, Journal of the Royal Society of Arts, no. 4332, 1935; "Současné školy umění a řemesel na kontinente" [Contemporary School of Arts and Crafts on the Continent], Výtvarná výchova, Prague, vol. 2, no. 3, 1936, pp. 11-29 (Czech).
• "Avant-garde and the Present", International Conference at Smolenice near Bratislava, 12-14 June 1968 (papers by Irena Blühová, Júlia Horová, Iva Mojžišová, František Reichenthal, Tomáš Štrauss, Eduard Toran, Marian Váross, Hans Maria Wingler, et al.), published by the Institute of the Theory and History of Art, Slovak Academy of Sciences, Ars, Bratislava, 1969, no. 2
• Iva Mojžišová, "A Slovak Contribution to Avant-garde Movements", Actes du XXIIe Congres International d'Histoire de l'Art, Publishing House of the Hungarian Academy of Sciences, Budapest, 1969, vol. 2, pp 347-9.
• Tomáš Štrauss, "Slovenský variant moderny (ŠUR Bratislava 1928-1938)" [A Slovak Variant of Modernism]. Umění a remesla, 1978, no. 3, pp 10-19; "Die Slowakische Variante der Moderne", Bauhauskolloquium von 27. bis 29. Juni 1979 in Weimar, WissenschaftlicheZeitschriftder Hochschule Architektur und Bauwesen, Weimar, vol. 26, nos. 4-5, 1979, pp 405-13.
• Fero Tomík, "J. Funke a ŠUR v Bratislave" [J. Funke and the School of Arts and Crafts in Bratislava]. In: Aktuálnost československé meziválečné fotografie. Dum umění města Brna, Brno 1979. pp 54-61.
• Maria Pötzl-Malikova, "Die Kunstgewerbeschule in Pressburg 1928-1939. Zur Ausstrahlung der Bauhaus-Ideen in der Slowakei", Vorträge der Tagungen des Collegium Carolinum Bad Wiesse vom 23. bis 25. November 1979 und vom 28. bis 30. November 1980, R. Oldenbourg Verlag, Munich/Vienna, 1982, pp 201-324.
• Iva Mojžišová, "Die personliche Beziehungen zwischen den Angehorigen des Bauhauses und der Kunstgewerbeschule in Bratislava in Lichte neuentdeckter Dokumente", 4. internationales Bauhauskolloquium vom 24. bis 25. Juni 1986, in Wissenschaftliche Zeitschrift der Hochschule fur Architektur Bauwesen Weimar, vol. 33, nos. 4-5-6, 1987, pp 335-8.
• "Škola umeleckých remesiel v Bratislave a Bauhaus", Ars, Bratislava, 1990, pp 43-54
• "The First Wave of Avant-garde: Bratislava 1930", Niedzica Seminars VI. October 19-22, 1989, Association of Polish Art Historians, Cracow, 1991, pp 47-51
• František Foltýn, Slowakische Architektur und die tschechische Avantgarde. 1918-1939, Verlag der Kunst, Dresden, 1991, pp 90-4.
• Václav Macek, Iva Mojžišová, Dušan Škvarna, Irena Blühová, Vydavateľstvo Osveta, Martin, 1992.
• Iva Mojžišová, "Avant-Garde Repercussions and the School of Applied Arts in Bratislava, 1928-1939", Journal of Design History, Vol. 5, No. 4 (1992), pp. 273-279. [9]
• Susanne Anna (ed.), Das Bauhaus im Osten: Slowakische und tschechische Avantgarde 1928-1939, Hatje Cantz Verlag, 1997. [10] [11] [12]
• Vladimír Birgus, "The New Objectivity and Constructivism in Czech Inter-War Photography", Imago, Winter 2000. [13]
• Mira Keratová, "Slovenská avantgardná typografia v medzivojnovom období so zameraním na grafickú úpravu časopisov". Comenius University, Faculty of Philosophy, Diploma thesis, 2005. (Slovak)
• Sonia de Puineuf, "A Dot on the Map: Some Remarks on the Magazine 'Nová Bratislava'", The Journal of Modern Periodical Studies, Volume 1, Number 1, 2010. [14]

Hungary

• Esther Levinger, "The Theory of Hungarian Constructivism", The Art Bulletin Vol. 69, No. 3 (Sep., 1987), pp. 455-466. [15]
• S. A. Mansbach, "Confrontation and Accommodation in the Hungarian Avant-Garde", Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 9-20. [16]
• Oliver A. I. Botar, "From the Avant-Garde to 'Proletarian Art'. The Emigre Hungarian Journals Egység and Akasztott Ember', 1922-23", 1993. [17]
• Peter Weibel, "Viennese Kineticism and Hungarian Constructivism", in: Beyond Art: A Third Culture, 2005, pp 46-56. [18] [19]
• Peter Weibel, "On the Origins of Hungarian Constructivism in Vienna: MA 1920-25. The Only Instance of Modernism Between the Wars", in: Beyond Art: A Third Culture, 2005, pp 57-71. [20] [21]
• Peter Konok, "Lajos Kassák and the Hungarian Left: Radical Milieu (1926–1934)", In: Regimes and Transformations. Hungary in the Twentieth Century, edited by István Feitl and Balázs Sipos. Napvilág, Budapest, 2005, pp 177-194 [22]
• Éva Forgács, "'You Feed Us So that We Can Fight Against You'. Concepts of the Art and State in the Hungarian Avant-Garde", Arcadia 41.2, 2006, pp 260-274.

Poland

• Irena Kossowska, "MIĘDZY TRADYCJĄ I AWANGARDĄ. POLSKA SZTUKA LAT 1920 I 1930", 2004. (Polish) [23]
• Alina Kowalczykowa, "The Interwar Years – 1918-1939", [24]

Futurists

• Beata Sniecikowska, Nuz w uhu Koncepcje dzwieku w poezji polskiego futuryzmu, Wydawnictwo Uniwersytetu Wroclawskiego, 2008. [25]

Constructivists

Writings and manifestos

• Leon Chwistek, 1918. Proposed the theory of the "plurality of realities in art" as a reaction against the dualistic model of the first avant-garde. During the following period, in various interdisciplinary discussions about art, mathematics, poetry, architecture and politics, he argued against agitprop and the missionary stance of the avant-garde, in favour of an open, modern and transnational society.
• Stanisław Ignacy Witkiewicz ("Witkacy"), "Nowe formy w malarstwie i wynikające stąd nieporozumienia", 1919. Formulated the principles of Pure Form.
• Stanisław Ignacy Witkiewicz, Szkice estetyczne [Aesthetic Sketches], 1922.
• Tadeusz Peiper, "Metropolis. Mass. Machine." [Miasto. Masa. Maszyna.], Zwrotnica nr. 2, 1922. Manifesto, initial inspiration for Awangarda Krakowska literary group. [26]
• Leon Chwistek, 1922. He promulgated the 'mathematical' art theory of Strefism [Strefizm], according to which a graphic surface is constructed by means of colours and shapes arranged in contrasting zones.
• Mieczyslaw Szczuka and Teresa Żarnowerówna, "Co to jest konstruktywizm" [What is Constructivism], Blok group manifesto, Blok no. 6-7, September 1924. [27]
• Leon Chwistek, "Wielość rzeczywistości w sztuce", Przeglad Wspolczesny 9, April-June 1924. [28] [29] [30] documentary film
• Władysław Strzemiński, "B = 2", Blok no. 8-9, 1924. Presents a theory of unism.
• Henryk Berlewi, "Mechano-Faktura", 1924. Published in German by Der Sturm in Berlin and in Polish by Jazz in Warsaw (translated by K.J. Michaelsen). In retrospect, Berlewi placed his manifesto between Witkacy's "Nowe formy w malarstwie" (1919) and Strzeminski's "Unism w malarstwie" (1928).
• Julian Przyboś, "Człowiek w rzeczach"; "Człowiek nad przyrodą", Zwrotnica, 1926. [31]
• Władysław Strzemiński, Unizm w malarstwie [Unism in Painting]], Biblioteka Praesens, no. 3, Warsaw, 1928.
• Wtadysław Strzemiński, et. al., "Komunikat Grupy 'a. r.'" [Communiqué of the Group ‘a.r.’], Europa, no. 9, 1930. [32]
• more: [33], [34], [35], [36], [37], [38], [39], [40]

Literature

• Constructivism in Poland 1923-1936 - BLOK - Praesens - a.r., catalogue, Museum Folkwang, Essen en Kröller-Müller Museum, Otterlo, 1973
• David Crowley, "The Cracow School and the Second Republic", in National Style and Nation-state: Design in Poland. From the Vernacular Revival to the International Style, Manchester University Press, 1992, pp 54-79. [41]
• David Crowley, "Questioning Parochialism", in National Style and Nation-state: Design in Poland. From the Vernacular Revival to the International Style, Manchester University Press, 1992, pp 80-101. [42]
• Barbara Iwona DeBoer, "Four Arts Redefined. Władysław Strzemiński's Theory of Unism", thesis, 2005. [43]
• Marek Bartelik, Early Polish modern art: unity in multiplicity, Manchester University Press, 2005.
• Ilana Löwy, "Ways of seeing: Ludwik Fleck and Polish debates on the perception of reality, 1890–1947", Studies In History and Philosophy of Science, Volume 39, Issue 3, September 2008, pp 375-383. [44]
• Magdalena Frankowska and Artur Frankowski, Berlewi, Czysty Warsztat, 2009. [45] [46]

Yugoslavia

• Dubravka Đurić and Miško Šuvaković (eds.), Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991, MIT Press, 2003. [47]
• Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal, Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. Published by: College Art Association. [48]
• Katherine Ann Carl, Aoristic Avant-garde: Experimental Art in 1960s and 1970s Yugoslavia. Dissertation, Stony Brook University, May 2009. [49]

Serbia

• Irina Subotić, "Concerning Art and Politics in Yugoslavia during the 1930s", Art Journal Vol. 52, No. 1, Political Journals and Art, 1910-40 (Spring, 1993), pp. 69-71. [50]
• Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. [51]
• Dubravka Đurić, "Radical Poetic Practices: Concrete and Visual Poetry in the Avant-garde and Neo-avant-garde" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 64-95
• Darko Šimičić, "From Zenit to Mental Space: Avant-garde, Neo-avant-garde, and Post-avant-garde Magazines and Books in Yugoslavia, 1921--1987" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 294-331

Slovenia

Writings

• 1920, poet Anton Podbevšek develops his program along anarchist proletcult lines for the journal Rdeči pilot.
• Avgust Černigoj, "Greetings!", tank, 1927.
• Mirko Polić, "Marij Kogoj's Black Masks", tank, 1927.
• Ferdo Delak, "Theater Co-op", tank, 1927.
• Avgust Černigoj, "Tank Manifesto", tank, 1927.
• Ferdo Delak, The Modern Stage, manifesto. [52]
• Avgust Černigoj, "The Constructivist Group in Trieste", tank, 1927.

Literature

• Irina Subotić, "Concerning Art and Politics in Yugoslavia during the 1930s", Art Journal Vol. 52, No. 1, Political Journals and Art, 1910-40 (Spring, 1993), pp. 69-71. [53]
• Irina Subotić, "Avant-Garde Tendencies in Yugoslavia", Art Journal Vol. 49, No. 1, From Leningrad to Ljubljana: The Suppressed Avant-Gardes of East-Central and Eastern Europe during the Early Twentieth Century (Spring, 1990), pp. 21-27. [54]
• Peter Krečič, "Avgust Černigoj and His Constructivism: A Memoir", Leonardo Vol. 15, No. 3 (Summer, 1982), pp. 215-218. [55]

Audiovisual compositions

Czech Republic

• Zdeněk Pěšánek, Kinetismus, Prague 1941.
• J. Stanislav, L. Kuba, Prague 1968.
• Vladimír Lébl, "O meznich druzich hudby" [On the Limit Types of Music], Nove cesty hudby, 1969, II, pp. 216-247.
• M. Klivar, "Nove formy audiovizualniho umeni" [New Forms of Audiovisual Art], in Estetika, 1970, 2, pp. 149-154.
• Vladimír Lébl, "M. Grygar", in Hudebni rozhledy, 1971, 9; in Electronic Music Reports, Utrecht 1971; in Jazz Bulletin, 1979, 9.
• J. Doubravová, "Z rane tvorby E. Schulhoffa" (Early Works of E. Schulhoff), Hudebni rozhledy, 1976, 6, pp. 281-285.
• J. Doubravová, "Music and Visual Art: Their Relation as a Topical Problem of the Contemporary Music in Czechoslovakia", in International Review of the Aesthetics and Sociology of Music, 11(2), 1980, pp 219-228.
• Jiří Zemánek, Milan Grygar, Obraz a zvuk, catalogue, Praha 1999

Experimental film

Czech Republic

• Milan Čihak, "Český amatérský film", (Czech). [56]
• Andrew J Horton, "Avant-garde Film and Video in the Czech Republic". [57]

Hungary

• Miklós Peternák (ed.), F:I.L.M. A magyar avantgarde film története. Budapest: Jelenkor, 1991.
• Film / Művészet. (A magyar kísérleti film története). Budapest, 1983.
• Gábor Gelencsér (ed.), Mozgóképkultúra és médiaismeret. Szöveggyűjtemény, Budapest, Korona, 1998. [58]

Poland

• f.a. (art film), *1937, journal of SAF co-operative, edited by Franciszka and Stefan Themerson
• Lukasz Ronduda (eds.), 1,2,3 -- avant-gardes : film, art between experiment and archive, Centre for Contemporary Art, Warsaw ; Berlin ; New York : Sternberg, 2007.
• Lukasz Ronduda: The Films of Polish Women Artists in the 1970s and 1980s - From the Archive of Polish Experimental Film. http://www.artmargins.com/content/cineview/ronduda.html
• Andrew J Horton, "Avant-garde Film and Video in Poland" Central European Review (November 1998) [59] (English)
• Marcin Gizycki, "Film in Polish Avant-Garde Circles Between the Wars", [60] [61]

Yugoslavia

• Ana Janevski (ed.): As Soon as I Open My Eyes I See a Film. Experiment in the Art of Yugoslavia in the 1960s and 1970s, Museum of Modern Art, Warsaw, 2010. With essays by Ana Janevski (on experimental art and film in Yugoslavia), Stevan Vuković (on political upheaval in 1968 in Belgrade), and Łukasz Ronduda (on contacts between Yugoslav and Polish artists in the 1970s). [62] Interview with Ana Janevski, June 2011
• Bojana Piškur et al (eds.), This Is All Film: Experimental Film in Yugoslavia 1951-1991 [Vse to je film: Eksperimentalni film v Jugoslaviji 1951-1991], catalogue, Museum of Modern Art, Ljubljana, 2010. 154 pages. ISBN: 9789612060909

Serbia

• Alternativni film u Beogradu od 1950. do 1990. godine [Elektronski izvor] : vreme kino klubova : zbornik priloga za buduća istraživanja / [priredio] Miroslav-Bata Petrović. - Novi Beograd : Dom kulture „Studentski grad“, Arhiv alternativnog filma i videa, 2009 (Beograd : Pink digital system). - 1 elektronski optički disk (DVD) : tekst, slika; 12cm. - (Biblioteka „Istorija alternativnog filma“), ISBN 978-86-7933-052-9.
• "Uncharted Serbia: The Avant-Garde of the Kino Clubs", film selection with an introduction, 2009. [63]

Slovenia

• Andrew J Horton, "Avant-garde Film and Video in Slovenia" Central European Review (September 1999) [64] (English)
• "Uncharted Serbia: The Avant-Garde of the Kino Clubs", film selection with an introduction, 2009. [65]
• "Experimental Ex-Yu", film selection with an introduction, 2009. [66]
• Kino-Integral: Prispevki k zgodovini slovenskega eksperimentalnega filma, Nr. 11-12, 2011. Issue on the history of Slovenian experimental film. [67]

Slovakia

• Andrew J Horton, "Avant-garde Film and Video in Slovakia" Central European Review (October 1998) [68] (English)

Electroacoustic music

Czech Republic

• J.Berg and Alois Piňos, "History of Music Experiment in Czech and Moravia", 1967
• J. Kapr, "Constants, Outline of Personal Method of Specific Signs of Composing Selection" (Konstanty, nástin metody osobního výběru zvláštních znaků skladby), Panton Praha 1967
• Hugh Davies (ed.), International Electronic Music Catalog. Cambridge: MIT, 1968. [69]
• Z. Vostřák, "Lectures on Music Poetics" (Kapitoly z hudební poetiky), in: Konfrontace 1969 N. 1, pp. 6–13.
• J. Kapr, "Theory of Indication and Variation" (Teorie naznačování a vychylování), in Hudební rozhledy 1970, pp. 358–365, 417–422.
• M. Ištván, "Method of Montage of Dissociated Elements in Music" (Metoda montáže izolovaných prvků v hudbě), Panton Praha 1973
• Jan Jirásek, "Changes in the Semantic Relationships Among Basic Musical Parameters and Their Perspektive in EAM", lecture in Graz. Opus musicum, Brno 1988
• Alois Piňos, "Zum Princip der Latenz in der zeitgenössischen Musik", in Otto Kolleritsch (ed.), Musikalische Gestaltung im Spannungsfeld von Chaos und Ordnung , UE Wien, N. 26823m, 1991, pp. 103–113.
• Libor Zajíček, "The History of Electroacoustic Music in the Czech and Slovak Republics", Leonardo Music Journal, Vol. 5, (1995), pp. 39-48 [70]
• Lenka Dohnalová, "Electro-acoustic music in Czech Republic", 2000, [71]

Slovakia

• Milan Adamčiak, "Slovak electroacoustic music history", 1995. [72] (English)
• Milan Adamčiak, "Príbeh jednej hudby", 1996. [73] (Slovak)
• Jozef Malovec, "Reminiscences of the beginnings of EAM in Bratislava", November 1994. [74] (English and Slovak)

Hungary

• Laszlo Dubrovay, "Hungarian Electroacoustic Music", 1994, [75]
• Zoltán Pongrácz, "Electroacoustic music in Hungary", 1992, [76]
• Gyorgy Kroó, "New Hungarian Music", in: Notes, Second Series, Vol. 39, No. 1 (Sep., 1982), pp. 43-71 [77]

Poland

• Krzysztof Szlifirski, "Electroacoustic music in Poland. Brief history and present time situation". 1993. [78]

Serbia

• Mirjana Veselinović-Hofman, "Problems and Paradoxes of Yugoslav Avant-garde Music (Outlines for a Reinterpretation)" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 404-441
• Mirjana Veselinović-Hofman, "Stvaralačko prisustvo evropske avangarde u nas" [The Creative Presence of the European Avant-Garde in Serbian Music], Belgrade, Univerzitet umetnosti, 1983.
• Vladan Radovanović, Vokovizuel (Vocovisual), Belgrade, Nolit, 1987.
• Mirjana Veselinović-Hofman, "Fragment o muzičkoj postmoderni" [Fragment on Musical Postmodernism], Novi Sad, Matica srpska, 1997.
• Vladan Radovanović, “Srpska avangarda u odlasku od muzike (1955–1980)” [Serbian Avant-garde in the Process of Leaving Music (1955–1980)], Gradina, 10, 1984, pp. 5–37
• Melita Milin, "Serbian Music of the Second Half of the 20th Century: From Socialist Realism to Postmodernism", in: Katy Romanou (ed.), Serbian and Greek art music: a patch to Western music history, Intellect Books, 2009, pp 82-97.
• The Synthesic Art of Vladan Radovanović monograph for his retrospective, 2005. Includes collection of essays by Dejan Đorić (The Founder of the Serbian Avant-Garde), Ješa Denegri, Nikola Šuica (on vocovisual), Ivan Rastegorac (On the Recording of Dreams and the Literary Works of Vladan Radovanović), Melita Milin (Metamusic and Music of Vladan Radovanović), Vladan Radovanović (Sintezijska umetnost / Synthesic Art); and catalogue of works. [79]
• Ivana Janković, "Vladan Radovanović's 'synthesic art'", Muzikologija, 2003. (Serbian) [80] [81]

Performance

Slovakia

• Pavlína Morganová, Art of Action 1989-2000. In: Profil 3/2001. http://www.profil-art.sk/01_3/006-15.htm (Czech)
• Andrea Bátorová, To repeat the unique. Interview with Zora Rusinová, curator of Art of Action 1965-1989 exhibition. In: Profil 3/2001. [82] (Slovak)
• Andrea Bátorová, "Do you consider action art revolutionary?" Interview with Lucia Gregorová-Stachová, curator of Art of Action 1989-2000 exhibition. In: Profil 3/2001. [83] (Slovak)
• Michal Murin (ed.), Profil 3/1993. [84] (Slovak)
• Michal Murin, "Performance art in Slovakia in the 90s". [85] [86], also at a book: [87]
• Michal Murin, "L´art de performance en Slovaquie - A partir d´une forme artistique et de sa réflexion vers la coexistence de mondes solitaires" [Performance Art in Slovakia - From the Art-Form, and its Reflection Towards the Co-Existence of Solitary Worlds]. In: Art Action 1958-1998. Ed.: Richard Martel. Éditions Intervention, Québec, Canada, 2001, 454-457.; Hushegyi, Gábor: Importance. Place et rôle du Studio eré (1987-1997) dans l´art de la (Tchéco)Slovaquie. / The Importance. Position and Role of Studio erté (1987-1997) in the Art of (Czécho)Slovakia. U.o., 458-467.
• Michal Murin, "Studio Erte - Jozef. R. Juhász", In: PARAF - Joszef R. Juhasz monography [88]
• Studio Erte - Performance Art Festival: monography
• Transart Communication Performance & Multimedia Art Studio erté 1987-2007 Gábor Hushegyi, Zsolt Sőrés · Vydavateľstvo: Kalligram, 2008 Transart Communication (Gábor Hushegyi, Zsolt Sőrés) Ďalšie detaily: 296 strán · brožovaná väzba · rozmer 25x25 cm · slovenský jazyk · ISBN 8071499757 · katalógové číslo: 45233

Poland

• http://pl.wikipedia.org/wiki/Historia_polskiego_performance

Computer art

Czech Republic

• Josef Hiršal and Bohumila Grögerová Slovo, písmo, akce, hlas (word, letter, action, voice) (1966). Presented the parallel trends of the 1960s in the rest of Europe in a condensed form, they made use of the term "experimental art" in order to set parameters. editors included new types of artificial poetry, permutational and programmed art and happenings under the flag of experimental art, as their selection of manifestos, essays and artistic programs presented it.

Slovakia

• Martin Šperka, "The Origins of Computer Graphics in the Czech and Slovak Republics" Leonardo, Vol. 27, No. 1 (1994), pp. 45-50 [89]
• Martin Šperka, "Some notes on the history of electronic and computer art in Slovakia" 1996 [90]

Hungary

• Miklós Peternák, "Hungarian Computer Art", in: Peter Weibel (ed.): Beyond Art. A Third Culture

Slovenia

• Marina Gržinić (ed.), The Future of Computer Arts, 2004. [91]

Video

Slovakia

• Katarína Rusnáková: Video art. In: Zora Rusinová and collective: History of Slovak Fine Arts of 20th Century. Bratislava, Slovak National Gallery. 2000. (Slovak)
• Katarína Rusnáková: Video art. In: Jana Geržová and collective: Glossary of Fine Arts of second half of 20th Century. Bratislava, Profil. 1999. (Slovak)

• Jana Geržová: Interview with Juraj Čarný on Videoart+ international symposium. Profil 4/2000. http://www.profil-art.sk/00_4/038_043.htm (Slovak)

Poland

• R. W. Kluszczynski, "Avant-garde Film and Video in Poland. An Historical Outline", in: The Middle Of Europe. The festival of avant-garde films and video from Austria, Czecho-Slovakia, Hungary and Poland, Centre for Contemporary Art, Ujazdowski Castle, ed. R. W. Kluszczynski, Warsaw 1991, p. 52-73
• R. W. Kluszczynski, "Video Art in Poland. An Historical Outline", in: Ostranenie. 1. International Video Festival at the Bauhaus Dessau, catalogue ed. by I. Arns and E. Tharandt, pp. 148-152. [92]
• Ryszard Kluszczynski: "New Poland - New Video. Some reflections on Polish video art since 1989". In: translocation_new media/art. 1999. [93]
• Ryszard Kluszczynski, "AN OUTLINE HISTORY OF POLISH VIDEO ART" [94]
• Piotr Krajewski and Violetta Krajewska (eds.), From Monument to Market. Video Art and Public Space, Wroclaw: WRO Art Center, 2005 [95]
• Ryszard W. Kluszczynski and Anatoly V. Prokhorov, "VIDEO ART IN POLAND. AN HISTORICAL OUTLINE", [96]

Serbia

• Dejan Sretenović, "Video Art in Serbia". POGLED /VIEW/ series, Centre for Contemporary Art, Belgrade, 1999.
• Barbara Borčić, "Video Art from Conceptualism to Postmodernism" published in Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 490-524. [97] [98] [99]
• Marijan Susovski, "Video u Jugoslaviji", Spot, no. 10, Zagreb 1977.
• Raša Todosijević, Video, Videosfera: video/društvo/umetnost ("The Video: Videosphere: video/society/art"), Studentski izdavački centar, ed. Mihailo Ristić, Belgrade 1986.
• VIDEOGRAFIJA regiona = Videography of the Region : 2006-2009 : [katalog projekta = project catalogue] / [priređivač, edited by Aleksandra Sekulić]. - Beograd : Dom kulture “Studentski grad”, 2009 (Beograd : Alta Nova). - 245 str. : ilustr. ; 24 cm [100]

Slovenia

• Vera Horvat Pintarić (ed.), Televizija danas/Television Today, Zagreb, 1972. Includes texts on the first video experiments.
• Stane Bernik, 1973, in Sinteza magazine he defined video art as an experiment and as a creative experience of contemporary fine art expression. This marked the beginning of discussions about video as a new medium in texts.
• Ekran magazine published a historical overview of tendencies in video, including a selected bibliography, edited by Brane Kovič, 1977.
• Marijan Susovski, "Video u Jugoslaviji", Spot, no. 10, Zagreb 1977.
• Bogdan Lešnik wrote in Ekran magazine, 1979, about video technology and procedures, and about video as `a medium whose specific conditions place it in the sphere of art and thus deprive it of political alertness'.
• Tomaž Brejc on Miha Vipotnik and Nuša and Srečo Dragan, in Delo magazine, ca 1979. [101]
• Dušan Mandić, text in Viks, a ŠKUC-Forum bulletin, 1983. Mandić wrote about the new codes of signification, and highlighted the difference between the formalistic approach to video in the `70s and the mass dimensions and social engagement of the audio-visual video explorations of the `80s.
• Brane Kovič edited a thematic supplement on video for Ekran magazine, no. 1-2, Ljubljana, 1984. In addition to a text by Dušan Mandić, "ŠKUC-Forumova video produkcija", it was dedicated to the pioneer of video production, Nam June Paik.
• The joint issue of Ekran and Sinteza in 1986 published the hitherto largest number of texts by domestic and foreign authors about video art, its history and relationship with television and design.
• Mihailo Ristić (ed.), Video, Videosfera: video/društvo/umetnost (The Video: Videosphere: video/society/art), Studentski izdavački centar, Belgrade 1986. Anthology of theoretical texts about video, including contributions from video-makers.
• Barbara Borčić, "From Alternative Scene to Art Video: Video Production in Slovenia 1992-1994", Ljubljana, March 1994. [102]
• Barbara Borčić, "Reception of Video Production in Slovenia", [103]
• "Video from Slovenia", [104]
• Marina Grzinic, "Video Art in Slovenia and in the Territory of Ex-Yugoslavia (Toward an Electronic Art Media Theory in Eastern Europe)", Mute Jan 1997. [105]
• Igor Španjol, "An artistic evening: television presentation and production of art video", in: Videodokument: Video Art in Slovenia 1969-1998, ed. Barbara Borčić, SCCA-Ljubljana, Ljubljana, 1999.
• Zemira Alajbegović and Igor Španjol, "In the tehnological grip of a television station: an interview with Miha Vipotnik", in: Videodokument: Video Art in Slovenia 1969-1998, ed. Barbara Borčić, SCC – Ljubljana, Ljubljana, 1999.
• Videodokument. Video art in Slovenia 1969-1998, SCCA Ljubljana. Catalogue, book of essays, CD-ROM, 2001. [106]
• Barbara Borčić, "Video Art from Conceptualism to Postmodernism" published in the Impossible Histoires (Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991) edited by Dubravka Đurić and Miško Šuvaković (MIT Press: 2003), pp 490-524. [107] [108] [109]
• Ana Fratnik, "Locality in the global medium: Video art in Slovenia". Diploma thesis, 2010. (Slovenian) [110]
• http://www.videospotting.org/eng/texts

Hungary

• Bálint Szombathy, Video Art in the Mid-Seventies (Új Symposion, No.128, 1975)
• György Somogyi, Video-Visions (Mûvészet, 1977 Yearbook)
• Gábor Bódy, Creative Thinking Device, film journal Filmvilág, 1982
• The World of Video, first comprehensive collection of translated articles covering the field of video, providing information about the international developments of almost twenty years of video art and video theory, 1983
• Miklós Peternák: Data Toward the Study of the History of Hungarian Video Art. SVB VOCE, Budapest, Soros Foundation/Soros Center for Contemporary Arts (SCCA) - Mûcsarnok/Kunsthalle, 1991 [111]
• C3: History and archive of video art in Hungary 1972-2000, http://www.c3.hu/collection/videomuveszet/indexen.html
• Andrew J Horton, "Avant-garde Film and Video in Hungary" Central European Review (October 1998) [112] (English)
• Vera Bódy, "Magyar Video", 1987. Mediamatic Magazine Vol. 1#4 [113]
• Miklos Peternak, "Die neuen (kuenstlerischen) Medien und die ungarische Gesellschaft", (German), [114]

New media art, Media culture

Slovakia

• Michal Murin: Digital Male. Central European project of Exhibition of digital prints. Interview with Michal Boďa. In: Profil 4/2000. http://www.profil-art.sk/00_4/070_073.htm (Slovak)
• Zuzana Habšudová: What have computers got to do with classic art? In: The Slovak Spectator. October 2002. http://www.slovakspectator.sk/clanok.asp?cl=10664

Hungary

• János Sugár (ed.), Buldózer. Médiaelméleti antológia, 1997. (Hungarian) [115]
• Drótos, Schiller, Karácsony, Beke, Moldován, Auby (eds.), Magyar tartalom. Írások a magyar webkultúráról, C3 Kulturális és Kommunikációs Központ, Budapest, 1997. (Hungarian) [116] [117]
• Nina Czegledy "Media Art: The Hungarian Model" CIAC's Electronic Art Magazine 12 (2001) [118]
• Maja and Reuben Fowkes, "Budapest Box: The Hidden Scene in the 1990s", in: Umelec: Contemporary Art and Culture, no.3 2002. [119]
• Miklós Peternák, "Art beyond the Pictorial Turn", 2008. [120]

Poland

• Lukasz Ronduda, Strategie subwersywne w sztukach medialnych, Krakow: Rabid, 2006 (Polish) [121]

Serbia

• Tom Bass, "A Travellogue from the Balkan", Telepolis, 19.06.1997. [122]
• Dejan Sretenovic lecture on Media Art in Serbia, MonteVideo/Amsterdam, 2 May 2000. [123]

Art theory, Art history, Media theory

Hungary

• Miklós Peternák, The Influence of Conceptual Art within Hungary, 1997 [124]