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Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity. Drawing on archival material and exclusive interviews, in this book Izabel Galliera traces the development of socially engaged art from the early 1990s to the present in Bulgaria, Hungary and Romania. She demonstrates that, in the early 1990s, projects were primarily created for exhibitions organized and funded by the Soros Centers for Contemporary Art. In the early 2000s, prior to Bulgaria, Hungary and Romania entering into the European Union, EU institutions likewise funded socially-conscious public art in the region. Today, socially engaged art is characterised by the proliferation of independent and often self-funded artists' initiatives in cities such as Sofia, Bucharest and Budapest.Focusing on the relationships between art, social capital and civil society, Galliera employs sociological and political theories to reveal that, while social capital is generally considered a mechanism of exclusion in the West, in post-socialist contexts it has been leveraged by artists and curators as a vital means of communication and action.
This anthology elucidates the historical, global, and regional connections, as well as current manifestations, of socially engaged public art (SEPA) in East Asia. It covers case studies and theoretical inquiries on artistic practices from Hong Kong, Japan, mainland China, South Korea, and Taiwan with a focus on the period since the 2000s. It examines how public art has been employed by artists, curators, ordinary citizens, and grassroots organizations in the region to raise awareness of prevailing social problems, foster collaborations among people of varying backgrounds, establish alternative value systems and social relations, and stimulate action to advance changes in real life situations. It argues that through the endeavors of critically-minded art professionals, public art has become artivism as it ventures into an expanded field of transdisciplinary practices, a site of new possibilities where disparate domains such as aesthetics, sustainability, placemaking, social justice, and politics interact and where people work together to activate space, place, and community in a way that impacts the everyday lives of ordinary people. As the first book-length anthology on the thriving yet disparate scenes of SEPA in East Asia, it consists of eight chapters by eight authors who have well-grounded knowledge of a specific locality or localities in East Asia. In their analyses of ideas and actions, emerging from varying geographical, sociopolitical, and cultural circumstances in the region, most authors also engage with concepts and key publications from scholars which examine artistic practices striving for social intervention and public participation in different parts of the world. Although grounded in the realities of SEPA from East Asia, this book contributes to global conversations and debates concerning the evolving relationship between public art, civic politics, and society at large.
This book examines the rising global prominence of China’s art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld.
The Routledge Companion to Art and Activism in the Twenty-First Century brings together a wide range of geographical, cultural, historical, and conceptual perspectives in a single volume of new essays that facilitate a deeper understanding of the field of art activism as it stands today and as it looks towards the future. The book is a resource for multiple fields, including art activism, socially engaged art, and contemporary art, that represent the depth and breadth of contemporary activist art worldwide. Contributors highlight predominant lines of inquiry, uncover challenges faced by scholars and practitioners of activist art, and facilitate dialogue that might lead to new directions for research and practice. The editors hope that the volume will incite further conversation and collaboration among the various participants, practitioners, and researchers concerned with the relationship between art and activism. The audience includes scholars and professors of modern and contemporary art, students in both graduate and upper-level undergraduate programs, as well as artists, curators, and museum professionals. Each chapter can stand on its own, making the companion a flexible resource for students and educators working in art history, museum studies, community practice/socially engaged art, political science, sociology, and ethnic and cultural studies.
The postsocialist contemporary joins a growing body of scholarship debating the definition and nature of contemporary art. It comes to these debates from a historicist perspective, taking as its point of departure one particular art programme, initiated in Eastern Europe by the Hungarian-American billionaire George Soros. First implemented in Hungary, the Soros Center for Contemporary Art (SCCA) expanded to another eighteen ex-socialist countries throughout the 1990s. Its mission was to build a western ‘open society’ by means of art. This book discusses how network managers and artists participated in the construction of this new social order by studying the programme’s rise, evolution, impact and broader ideological and political consequences. Rather than recounting a history, its engages critically with ‘contemporary art’ as the aesthetic paradigm of late-capitalist market democracy.
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art. This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.
In Beyond the Sovereign Self Grant H. Kester continues the critique of aesthetic autonomy begun in The Sovereign Self, showing how socially engaged art provides an alternative aesthetic with greater possibilities for critical practice. Instead of grounding art in its distance from the social, Kester shows how socially engaged art, developed in conjunction with forms of social or political resistance, encourages the creative capacity required for collective political transformation. Among others, Kester analyzes the work of conceptual artist Adrian Piper, experimental practices associated with the escrache tradition in Argentina, and indigenous Canadian artists such as Nadia Myre and Michèle Taïna Audette, showing how socially engaged art catalyzes forms of resistance that operate beyond the institutional art world. From the Americas and Europe to Iran and South Africa, Kester presents a historical genealogy of recent engaged art practices rooted in a deep history of cultural production, beginning with nineteenth-century political struggles and continuing into contemporary anticolonial resistance and other social movements.
Despite having become marginalized on the map of contemporary art since the wars of the 1990s, the regions of former Yugoslavia continue to be a hub of creative activity. Especially noteworthy is the strong presence of women artists, scholars, and activists whose deeply personal, yet highly political artwork is rooted in a long legacy of female artistic agency. Building on existing scholarship as well as original research, this book highlights how female figures – through art and exhibition making, writing, mentorship, and activism – have shaped the alternative art scene in former Yugoslavia and placed the region firmly on the map of the international post-avantgarde. Using the founding of the Student Cultural Center Belgrade in 1971 as a starting point, the book details the pioneering work of women in the realm of curation, where they developed radical exhibition concepts and programs that furthered the development of the New Art Practice and embedded Yugoslavia firmly on the map of the international postwar-avantgardes. It highlights the agency of female artists in the then-novel realms of performance art, video art, and new media art and shows how their work has helped these disciplines to gain the impact they retain until the present day. What is more, it shows how female cultural workers have courageously used their work to further the discourse on gender, sexuality, and the female body and, at a time when they saw themselves stripped of basic rights by the chauvinist-nationalist regimes emerging after Yugoslavia's breakup, formed a strong artistic and activist opposition. Highlighting the role of women in the diversification of the ex-Yugoslavia states and its highly unique cultural and political landscape, this book addresses the noticeable gap in art historical scholarship that exists not only around Yugoslavia and its successor states, but especially on its female representatives.