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This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
This volume critically investigates how art historians writing about Central and Eastern Europe in the late nineteenth and early twentieth centuries engaged with periodization. At the heart of much of their writing lay the ideological project of nation-building. Hence discourses around periodization – such as the mythicizing of certain periods, the invention of historical continuity and the assertion of national specificity – contributed strongly to identity construction. Central to the book’s approach is a transnational exploration of how the art histories of the region not only interacted with established Western periodizations but also resonated and ‘entangled’ with each other. In their efforts to develop more sympathetic frameworks that refined, ignored or hybridized Western models, they sought to overcome the centre–periphery paradigm which equated distance from the centre with temporal belatedness and artistic backwardness. The book thus demonstrates that the concept of periodization is far from neutral or strictly descriptive, and that its use in art history needs to be reconsidered. Bringing together a broad range of scholars from different European institutions, the volume offers a unique new perspective on Central and Eastern European art historiography. It will be of interest to scholars working in art history, historiography and European studies.
This volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique.
A groundbreaking introduction to the contemporary art of central and Eastern Europe, this wide-ranging study explores painting, sculpture, photography, performance, and conceptual work. In this pathbreaking new history, Maja and Reuben Fowkes introduce outstanding artworks and major figures from across central and Eastern Europe to reveal the movements, theories, and styles that have shaped artistic practice since 1950. They emphasize the particularly rich and varied art scenes of Poland, Czechoslovakia, Hungary, and Yugoslavia, extending their gaze at intervals to East Germany, Romania, the Baltic states, and the rest of the Balkans. This generously illustrated overview explores the richness of this region’s artists’ singular contribution to recent art history. Tracing art-historical changes from 1950 to now, the authors examine the repercussions of political events on artistic life—notably the uprisings in Hungary and Czechoslovakia, the Solidarity movement in Poland, and the collapse of the communist bloc. But their primary interest is in the experimental art of the neo-avant-garde that resisted official agendas and engaged with global currents such as performance art, video, multimedia, and net art. Central and Eastern European Art Since 1950 is a comprehensive, transnational survey of the major movements of art from this region.
Twenty years after the fall of the Berlin Wall, The Promises of the Past examines the former opposition between Eastern and Western Europe by reinterpreting the history of the Communist Bloc countries through art. Challenging the idea that art history is somehow linear and continuous, this transnational and multigenerational project features works by more than 50 artists, many of them from Central and Eastern Europe, including: Marina Abramovic, Yael Bartana, Dimitrije Basicevic (Mangelos), Tacita Dean, Liam Gillick, Sanja Ivekovic, Július Koller, Jirí Kovanda, Edward Krasinski, David Maljkovic, Marjetica Potrc and Monika Sosnowska. Accompanying an exhibition at the Centre Pompidou in Paris, this publication features previously unpublished archival documentation, as well as historic essays by Slavoj Zizek, Igor Zabel and others.
This edited collection reassesses East-Central European art by offering transnational perspectives on its regional or national histories, while also inserting the region into contemporary discussions of global issues. Both in popular imagination and, to some degree, scholarly literature, East-Central Europe is persistently imagined as a hermetically isolated cultural landscape. This book restores the diverse ways in which East-Central European art has always been entangled with actors and institutions in the wider world. The contributors engage with empirically anchored and theoretically argued case studies from historical periods representing notable junctures of globalization: the early modern period, the age of Empires, the time of socialist rule and the global Cold War, and the most recent decades of postsocialism understood as a global condition.
In this path-breaking new history, Maja and Reuben Fowkes introduce outstanding artworks and major figures from across central and eastern Europe to reveal the movements, theories and styles that have shaped artistic practice since 1950. They emphasize the particularly rich and varied art scenes of Poland, Czechoslovakia, Hungary and Yugoslavia, extending their gaze at intervals to East Germany, Romania, the Baltic states and the rest of the Balkans. While politics in the region have been marked by unstable geography and dramatic transitions, artists have forged a path of persistent experiment and innovation. This generously illustrated overview explores the richness of their singular contribution to recent art history. Tracing art-historical changes from the short-lived unison of the socialist realist period to the incredible diversity of art in the post-communist era, the authors examine the repercussions of political events on artistic life notably the uprisings in Hungary and Czechoslovakia, the Solidarity movement in Poland, and the collapse of the communist bloc. But their primary interest is in the experimental art of the neo-avant-garde that resisted official agendas and engaged with global currents such as performance art, video, multimedia and net art.