Ana Janevski, Roxana Marcoci, Ksenia Nouril (eds.): Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology (2018)
Filed under book | Tags: · 1990s, 2000s, 2010s, archive, art history, central europe, democracy, east-central europe, eastern europe, globalisation, southeastern europe, transition
“The fall of the Berlin Wall and the ripple effects felt over the following years from Bucharest to Prague to Moscow demarcate a significant moment when artists were able to publicly reassess their histories and question the opposition between the former East and the former West. Art and Theory of Post-1989 Central and Eastern Europe takes the pivotal political changes between 1989 and 1991 as its departure point to reflect on the effects that communism’s disintegration across Central and Eastern Europe—including the Soviet Union’s fifteen republics—had on the art practices, criticism, and cultural production of the following decades.
This book presents a selection of the period’s key voices that have introduced recent critical perspectives. Particular attention is given to the research and viewpoints of a new generation of artists, scholars, and curators who have advanced fresh critical perspectives and who are rewriting their own histories. Their examination of artistic practices and systems of cultural production proposes distinct outlooks for acting in the contemporary world while simultaneously rethinking the significance of the socialist legacy on art today.”
Contributors: Branislava Andjelkovic, Edit András, Inke Arns, Marius Babias, Zdenka Badovinac, Ivana Bago, Zbynek Baladrán, Claire Bishop, Luchezar Boyadjiev, Andreas Broeckmann, Boris Buden, Ilya Budraitskis, Ondrej Chrobák, Keti Chukhrov, Kim Conaty, Cosmin Costinas, Eda Cufer, Bojana Cvejic, Ekaterina Degot, Branislav Dimitrijevic, Michelle Elligott, Octavian Esanu, Yevgeniy Fiks, Meghan Forbes, Maja Fowkes, Reuben Fowkes, Boris Groys, Daniel Grún, Marina Gržinic, Vít Havránek, Jon Hendricks, IRWIN (Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik), Sanja Ivekovic, Ana Janevski, David Joselit, Tímea Junghaus, Klara Kemp-Welch, Juliet Kinchin, Zofia Kulik, Andres Kurg, Katalin Ladik, Václav Magid, Eva Majewska, David Maljkovic, Roxana Marcoci, Lina Michelkevice, Aldo Milohnic, Viktor Misiano, Rastko Mocnik, Magdalena Moskalewicz, Deimantas Narkevicius, Ksenia Nouril, Ewa Opalka, Martina Pachmanová, Bojana Pejic, Dan Perjovschi, Nataša Petrešin-Bachelez, Piotr Piotrowski, Bojana Piškur, David Platzker, Paulina Pobocha, Tomáš Pospiszyl, Lýdia Pribišová, Oleksiy Radynski, Karol Radziszewski, Christian Rattemeyer, Cristina Ricupero, Georg Schöllhammer, David Senior, Alina ?erban, Slavs and Tatars, Sven Spieker, Tamas St.Auby, Zuzana Štefková, Jakub Stejskal, Mladen Stilinovic, subREAL, Tomás Svoboda, Ovidiu Ṯichindeleanu, Margarita Tupitsyn, Gediminas Urbonas, Nomeda Urbonas, Jonas Valatkevicius, Jelena Vesic, Dmitry Vilensky, Raluca Voinea, What, How & for Whom (Ivet Curlin, Ana Devic, Nataša Ilic, and Sabina Sabolovic), Igor Zabel, Artur Zmijewski.
Publisher Museum of Modern Art, New York, 2018
Primary Documents series
ISBN 9781633450646, 1633450643
PDF (14 MB, updated on 2020-5-9)Comment (0)
Octavian Eşanu: Transition in Post-Soviet Art: The Collective Actions Group Before and After 1989 (2013)
Filed under book | Tags: · art history, conceptual art, performance art, post-communism, russia, socialism, soviet union, transition
“The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Eşanu introduces Moscow Conceptualism by performing a close examination of the Collective Actions group’s ten-volume publication Journeys Outside the City and of the Dictionary of Moscow Conceptualism. He analyzes above all the evolution of Collective Actions through ten consecutive phases, discussing changes that occur in each new volume of the Journeys. Compares the part of the Journeys produced in the Soviet period with those volumes assembled after the dissolution of the USSR. The concept of “transition” and the activities of Soros Centers for Contemporary Art are also analyzed.”
Publisher Central European University Press, Budapest, 2013
Review: Amy Bryzgel (Slavic Review, 2013).
PDF (7 MB)Comment (0)
Filed under catalogue | Tags: · art, art history, central europe, east-central europe, eastern europe, transition, video, video art
“Transitland is a major retrospective devised by the leading contemporary art centers of Germany, Hungary and Bulgaria. A series of Media Forum events organized by the MediaArtLab Centre for Art and Culture in 2010 were dedicated to it: an exhibition in the Moscow Museum of Modern Art, lectures and a panel discussion in the Garage Centre for Contemporary Culture. The video artists born behind the Iron curtain discussed things that went on in Europe after the fall of the Berlin Wall and the destinies of their own countries, many of which have already disappeared from the map.”
With essays by Kathy Ray Huffman, Olga Shishko, Keiko Sei, Alexey Isaev, Edit András, Constantin Bokhorov, and Marina Gržinić.
Publisher MediaArtLab, Moscow, 2010
PDF (updated on 2013-5-29)
See also earlier Transitland publication, edited by Edit András and published in Budapest, 2009, 319 pp. (added on 2015-11-28)Comment (0)