Mutually: Communities of the 1970s and 1980s / Navzájem: Společenství 70. a 80. let, catalogue (2013) [EN/SK/CZ]
Filed under catalogue | Tags: · 1970s, 1980s, archive, art, art history, counterculture, czechoslovakia, film, hungary, participation, photography, video
Catalogue for an exhibition held in March-May 2013 at tranzitdisplay in Prague and The Brno House of Arts, Czech Republic, curated by Barbora Klímová, Daniel Grúň and Filip Cenek.
The selected fragments in this exhibition, borrowed from the archives of Moravian, Slovak, and Hungarian artists, reference different communities within the framework of “unofficial culture” during the period of Czechoslovak normalisation in the 1970s-80s.
Publisher tranzitdisplay, Prague, and The House of Arts, Brno, 2013
44 pages
via Academia.edu
David Crowley, Daniel Muzyczuk (eds.): Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984 (2012) [English/Polish]
Filed under book | Tags: · 1950s, 1960s, 1970s, 1980s, art, art history, avant-garde, central europe, east-central europe, eastern europe, electroacoustic music, experimental film, happening, sound, sound art, synaesthesia, video art, visual music
“In the aftermath of Stalinism, composers and artists in Eastern Europe were given new opportunities to experiment. New recording studios equipped with magnetic tape recorders and later, synthesizers were established, first in Warsaw in 1957 and then throughout Eastern Europe. New and often challenging forms of music were produced in these laboratories of sound.
The connections between the visual arts and experimental music were closer in the 1960s than perhaps any time before or since. Sound and image combined in artists’ films, ‘happenings’ and sounding installations. Experimental forms of notation were also created to stimulate uninhibited musical expression.
The early happenings and actions of the 1960s were associated with intellectual freedom and reform. The exhilaration of experimentation declined during the decade and in the 1970s new critical forms of art emerged which associated sound with surveillance and censorship.
This book accompanying an 2012 exhibition at the Muzeum Sztuki in Łódź explores both the optimism and the anxiety that was to be found in the experimental zone of art and music.”
The exhibition later moved to the Calvert 22 Gallery in London.
Artists: Collective Actions, Walerian Borowczyk, Andrzej Dłużniewski, Szábolcs Esztényi, László Vidovszky, Krzysztof Wodiczko, Grzegorz Kowalski, Zygmunt Krauze, Henryk Morel and Cezary Szubartowski, Eugeniusz Rudnik, Bulat Galeyev, Milan Grygar, Milan Knížák, Oskar Hansen, Zofia Hansen, Zoltán Jeney, Vitaly Komar & Alexander Melamid, Katalin Ladik, Jan Lenica, Dóra Maurer, Vladan Radovanović, Józef Robakowski, Bogusław Schaeffer.
Dźwięki elektrycznego ciała: Eksperymenty w sztuce i muzyce w Europie Wschodniej 1957–1984
Publisher Muzeum Sztuki, Łódź, 2012
ISBN 9788387937980
222 pages
David Crowley’s presentation at MoMA (video, 50 min)
Sounding the Body Electric: A Conversation (Michał Libera, Art Margins)
Accompanying audio 2-CD
PDF
PDF (exh. guide, Calvert 22 Gallery, London, 2013, added on 2023-12-27)
Dietmar Unterkofler: Grupa 143: Critical Thinking at the Borders of Conceptual Art, 1975–1980 (2012) [Serbian/English]
Filed under book | Tags: · 1970s, art, art history, conceptual art, film, performance art, photography, serbia, yugoslavia
The late-conceptualist art collective Group 143 was founded in March 1975 by Biljana Tomić in Belgrade as an open educational and theoretical platform at the Student Cultural Centre. Besides Tomić, the other key figures in the group were Miško Šuvaković, Jovan Čekić, Paja Stanković, Neša Paripović, and Maja Savić. The group worked together for five years, producing a broad range of artistic work in the media of photography, film, the artist’s book, diagrams and charts, public lectures, and performance art. Their research was focused primarily on epistemological and theoretical questions about the “art world” in general and the critical potential of intellectualized art-thinking within the conditions of late socialism in Yugoslavia.
The theoretical foundation of their art was shaped by structuralist and post-structuralist French theory, language philosophy, post-constructivism, and British and American conceptual art. Their last public presentation of their work came in August 1980, when Group 143 had a solo exhibition at Galerija Loža in Koper. (Source)
Grupa 143: kritičko mišljenje na granicama konceptualne umetnosti 1975-1980
Publisher Glasnik, Belgrade, 2012
ISBN 9788651915539
393 pages