Difference between revisions of "Soros Centers for Contemporary Art"
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| − | The '''SCCA''' was an autonomous regional program of the Open Society Institute (OSI). The network was established in Eastern Europe during the early nineties by the American philanthropist, stock investor, and political activist George Soros. The SCCA was an institutional mechanism of the post-socialist transition or normalization, and its primary role was the modernization of the artistic discourse in the former socialist countries and the republics of the former USSR. The Soros centers sprouted from a small program called [[Soros_Center_for_Contemporary_Arts_Budapest|Soros Foundation Fine Arts Documentation Center]] which was established in 1985 in the [[Műcsarnok|Budapest Műcsarnok]] (Kunsthalle), as part of a cooperation between the Mûcsarnok and Soros Foundation Hungary. In the early nineties, under the directorship of [[Suzanne Meszoly]], this program was renamed “Soros Center for Contemporary Art” and following Soros’ suggestion it was implement it other Eastern European countries. In 1992, in addition to the already existent [[Soros_Center_for_Contemporary_Arts_Budapest|SCCA Budapest]], the OSI opened five more offices in Bratislava, Moscow, Prague, Tallinn and Warsaw; in 1993, there were established offices in Bucharest, Riga, Vilnius, Kiev, Ljubljana, [http://web.archive.org/web/20131028161744/www.scca.hr/eng/history.html Zagreb] and Sofia. From 1994 to 1999 more centers were opened in St. Petersburg, Belgrade, [[Soros_Center_for_Contemporary_Arts,_Chişinău|Chișinău]], Sarajevo, Odessa, Almaty increasing their number to 19. [https://www.contimporary.org/dictionary/view/7 (Source)] | + | The '''SCCA''' was an autonomous regional program of the Open Society Institute (OSI). The network was established in Eastern Europe during the early nineties by the American philanthropist, stock investor, and political activist George Soros. The SCCA was an institutional mechanism of the post-socialist transition or normalization, and its primary role was the modernization of the artistic discourse in the former socialist countries and the republics of the former USSR. The Soros centers sprouted from a small program called [[Soros_Center_for_Contemporary_Arts_Budapest|Soros Foundation Fine Arts Documentation Center]] which was established in 1985 in the [[Műcsarnok|Budapest Műcsarnok]] (Kunsthalle), as part of a cooperation between the Mûcsarnok and Soros Foundation Hungary. In the early nineties, under the directorship of [[Suzanne Meszoly]], this program was renamed “Soros Center for Contemporary Art” and following Soros’ suggestion it was implement it other Eastern European countries. In 1992, in addition to the already existent [[Soros_Center_for_Contemporary_Arts_Budapest|SCCA Budapest]], the OSI opened five more offices in Bratislava, Moscow, [https://cca.fcca.cz Prague], Tallinn and Warsaw; in 1993, there were established offices in Bucharest, Riga, Vilnius, Kiev, [http://www.scca-ljubljana.si Ljubljana], [http://web.archive.org/web/20131028161744/www.scca.hr/eng/history.html Zagreb] and Sofia. From 1994 to 1999 more centers were opened in St. Petersburg, Belgrade, [[Soros_Center_for_Contemporary_Arts,_Chişinău|Chișinău]], Sarajevo, Odessa, Almaty increasing their number to 19. [https://www.contimporary.org/dictionary/view/7 (Source)] |
; Literature | ; Literature | ||
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* Nina Czegledy, Andrea Szerekes, [[Media:Czegledy Nina Szekeres Andrea 2009 Agents for Change The Contemporary Art Centres of the Soros Foundation and C3.pdf|"Agents for Change: The Contemporary Art Centres of the Soros Foundation and C3"]], ''Third Text'' 23, 2009, pp 251-259. | * Nina Czegledy, Andrea Szerekes, [[Media:Czegledy Nina Szekeres Andrea 2009 Agents for Change The Contemporary Art Centres of the Soros Foundation and C3.pdf|"Agents for Change: The Contemporary Art Centres of the Soros Foundation and C3"]], ''Third Text'' 23, 2009, pp 251-259. | ||
* Naomi Hennig, [http://www.naomihennig.com/wp-content/uploads/2017/03/Footnotes-On-Art-and-Finance.pdf "Footnotes On Art and Finances: George Soros and What Remains: Soros Art Funding in Ex Yu"], c2011. | * Naomi Hennig, [http://www.naomihennig.com/wp-content/uploads/2017/03/Footnotes-On-Art-and-Finance.pdf "Footnotes On Art and Finances: George Soros and What Remains: Soros Art Funding in Ex Yu"], c2011. | ||
| + | * Octavian Eşanu, [https://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_a_00003 "What Was Contemporary Art?"], ''ARTMargins'' 1:1, May 2012, pp 5-28. | ||
| + | * Kristóf Nagy, [https://monoskop.org/images/b/ba/Hock_Beata_Allas_Anu_eds_Globalizing_East_European_Art_Histories_Past_and_Present_2018.pdf#page=66 "From Fringe Interest to Hegemony: The Emergence of the Soros Network in Eastern Europe"], ch 3 in ''Globalizing East European Art Histories: Past and Present'', eds. Beáta Hock and Anu Allas, Routledge, 2018, pp 53-63. | ||
* [http://moussemagazine.it/influencing-machine-galeria-nicodim-bucharest/ “The Influencing Machine” at Galeria Nicodim, Bucharest. Aaron Moulton, Luchezar Boyadjiev, Călin Dan, and Geert Lovink in conversation"], ''Mousse Magazine'', 20 Apr 2019. | * [http://moussemagazine.it/influencing-machine-galeria-nicodim-bucharest/ “The Influencing Machine” at Galeria Nicodim, Bucharest. Aaron Moulton, Luchezar Boyadjiev, Călin Dan, and Geert Lovink in conversation"], ''Mousse Magazine'', 20 Apr 2019. | ||
* [https://artmargins.com/the-soros-center-was-a-perfect-machine-a-dialogue-between-aaron-moulton-and-geert-lovink/ “The Soros Center was a Perfect Machine”: An Exchange between Aaron Moulton and Geert Lovink], ''ARTMargins'', 15 Jul 2019. | * [https://artmargins.com/the-soros-center-was-a-perfect-machine-a-dialogue-between-aaron-moulton-and-geert-lovink/ “The Soros Center was a Perfect Machine”: An Exchange between Aaron Moulton and Geert Lovink], ''ARTMargins'', 15 Jul 2019. | ||
Revision as of 07:42, 22 October 2019
The SCCA was an autonomous regional program of the Open Society Institute (OSI). The network was established in Eastern Europe during the early nineties by the American philanthropist, stock investor, and political activist George Soros. The SCCA was an institutional mechanism of the post-socialist transition or normalization, and its primary role was the modernization of the artistic discourse in the former socialist countries and the republics of the former USSR. The Soros centers sprouted from a small program called Soros Foundation Fine Arts Documentation Center which was established in 1985 in the Budapest Műcsarnok (Kunsthalle), as part of a cooperation between the Mûcsarnok and Soros Foundation Hungary. In the early nineties, under the directorship of Suzanne Meszoly, this program was renamed “Soros Center for Contemporary Art” and following Soros’ suggestion it was implement it other Eastern European countries. In 1992, in addition to the already existent SCCA Budapest, the OSI opened five more offices in Bratislava, Moscow, Prague, Tallinn and Warsaw; in 1993, there were established offices in Bucharest, Riga, Vilnius, Kiev, Ljubljana, Zagreb and Sofia. From 1994 to 1999 more centers were opened in St. Petersburg, Belgrade, Chișinău, Sarajevo, Odessa, Almaty increasing their number to 19. (Source)
- Literature
- András Zwickl, "Five Years", in SCCA Bulletin 1991-1994, eds. Suzanne Mészöly and Andrea Szekeres, Budapest: Soros Center for Contemporary Arts, 1994, pp 15-22. [1]
- Octavian Eşanu, The Transition of The Soros Centers to Contemporary Art: The Managed Avant-Garde, Kyiv: CCCK, 2008, 20 pp.
- Nina Czegledy, Andrea Szerekes, "Agents for Change: The Contemporary Art Centres of the Soros Foundation and C3", Third Text 23, 2009, pp 251-259.
- Naomi Hennig, "Footnotes On Art and Finances: George Soros and What Remains: Soros Art Funding in Ex Yu", c2011.
- Octavian Eşanu, "What Was Contemporary Art?", ARTMargins 1:1, May 2012, pp 5-28.
- Kristóf Nagy, "From Fringe Interest to Hegemony: The Emergence of the Soros Network in Eastern Europe", ch 3 in Globalizing East European Art Histories: Past and Present, eds. Beáta Hock and Anu Allas, Routledge, 2018, pp 53-63.
- “The Influencing Machine” at Galeria Nicodim, Bucharest. Aaron Moulton, Luchezar Boyadjiev, Călin Dan, and Geert Lovink in conversation", Mousse Magazine, 20 Apr 2019.
- “The Soros Center was a Perfect Machine”: An Exchange between Aaron Moulton and Geert Lovink, ARTMargins, 15 Jul 2019.
- Links
- The Influencing Machine, exhibition, Galeria Nicodim, Bucharest, 2019. Walkthrough video.
