No more suffering as you can now Buy Zovirax

ARTMargins Home
A Way to Follow: Interview with Piotr Piotrowski Print E-mail
Interviews
Written by Richard Kosinsky, Jan Elantkowski, Barbara Dudás (Lublin)   
Thursday, 29 January 2015 00:00

It is with great sadness and a sense of enormous loss that we learnt of the recent death of Piotr Piotrowski. Piotrowski was a professor in the Art History Department of Adam Mickiewicz University, Poznań, and a research fellow at the Graduate School for East and South-East European Studies at the universities of Munich and Regensburg. He is the author of several books, including: Meanings of Modernism (2009, 2011), In the Shadow of Yalta (2009), Art after Politics (2007), Critical Museum (2011), and Art and Democracy in Post-Communist Europe (2012). Between 2009 and 2010, he was the director of the National Museum in Warsaw, and in 2010 he was the recipient of the Igor Zabel Award for Culture and Theory. Piotrowski was on the Advisory Board of ARTMargins Print Journal and was an early supporter of this publication. The following interview was occassioned by the recent international conference Piotrowski organized on global art history, East European Art Seen from Global Perspectives: Past and Present, that took place in Lublin, Poland, October 24-27, 2014.(For further information about the program of the conference, the lectures and the speakers, visit: http://www.konferencja.labirynt.com/en.)

- The Editors

Richard Kosinsky: When defining a specific geographic location do you think that this carries the danger of fragmentation and/or generalization?

Piotr Piotrowski: Usually, conferences present a specific view of a certain research area; this leads to fragmentation because they cannot deal with everything. It is really hard to write or to discuss this sort of synthesis.

Read more...
 
The 14th International Architecture Exhibition of the Venice Biennale Print E-mail
Exhibition Reviews
Written by Ana Mitrovici (Los Angeles)   
Tuesday, 07 April 2015 00:00

Inside the Giardini’s National Pavilions, general view. Photo by the author.Fundamentals, the title of the 14th International Architecture Exhibition of the Venice Biennale (June 7 - November 23, 2014), experimented with new approaches. First, it ran longer than past exhibitions, for almost six months instead of three. Secondly, it was organized according to a tripartite formula, with the first section, Monditalia, highlighting Italy, and occupying one third of the conceptual component of the exhibition that also included other media, such as dance and theater. The second, Absorbing Modernity 1914-2014, was held in the Giardini's permanent pavilions, featuring additional national exhibitions located throughout the labyrinthine space of the Arsenale and throughout the city itself. For this section of the exhibit, participating nations were asked to present their pavilions in consideration of how they had been impacted by modernity over the last 100 years. More accurately, the theme explicitly asked participants to consider: "How has modernity been "absorbed," a phenomenon that, at least within the context of the exhibit, was understood as the gradual effacement of national styles and the encroachment of a more universal language of architecture.

Read more...
 
Paulo Bruscky & Robert Rehfeldt’s Mail Art Exchanges at Chert Gallery, Berlin Print E-mail
Exhibition Reviews
Written by Sara Blaylock (Berlin)   
Thursday, 26 March 2015 00:00

Paulo Bruscky, “Untitled (Ferrogravura),” ca. 1975-1991. Photo by David Horvitz. Image courtesy of Chert gallery, Berlin.Over sixteen years of a committed artistic collaboration organized and almost entirely mediated by the mail, Brazilian artist Paulo Bruscky (b. 1949) and East German artist Robert Rehfeldt (1931-1993) exchanged materially modest, if conceptually bold, artworks to overcome immense physical and political obstacles. Crossing 5,000 miles and two repressive Cold War-era regimes, their mail art often trucked in slogans and icons that were at once immediately identifiable and laden with artistic metaphor and ingenuity. Bruscky's Ferrogravura (iron engravings) —the brown burn of a hot iron on paper—are innovations in domestic printmaking that reveal the artist's humor, as well as a necessity for resourcefulness and creativity in a country governed by military rule. Rehfeldt responded to comparable conditions in East Germany, and maintained, like Bruscky, an earnest and idealistic confidence in art's capacity to speak and redefine universal languages. In his East Berlin atelier, he stamped out the slogans of his "contart" (contact + art), dropping in the mailbox a vision for socially engaged culture: "ARTISTS OF ALL COUNTRIES UNITE;" "MAKE A CREATIVE WORLD NOW;" "KUNST IM KONTAKT IST LEBEN MIT DER KUNST" (ART IN CONTACT / IT'S LIFE IN ART).

Read more...
 
To be Partisan, Unsettled, and Alert: Conversation with Geeta Kapur Print E-mail
Interviews
Written by Ameet Parameswaran and Rahul Dev (New Delhi)   
Wednesday, 11 March 2015 00:00

This interview, conducted as part of a book project on Marx in Malayalam, is strongly contextual. The southern state of Kerala has the distinction of being the site for the first elected Communist ministry in the world. This was in 1957. The subsequent dismissal of the Communists remains a stain on the otherwise progressive politics of then prime minister Jawaharlal Nehru. Generations of political activists in Kerala have tested the full spectrum of radical politics including elected governments and extreme left-wing positions that call for direct (revolutionary) action. Kerala intellectuals and artists are familiar, if not steeped in Marxist thought; this is also true of Kerala's great peasant leaders and theoretical ideologues that have led the Party over decades.

Read more...
 
Cyberfest 2014 Print E-mail
Exhibition Reviews
Written by Natasha Kurchanova (New York)   
Wednesday, 18 February 2015 00:00

Sergey Komarov, Leta & Vladislav Dobrovolsky Computer programming and engineering:  Alexey Grachev.  “Kitchen.” Interactive sound installation, dimensions variable, 2014.  Image courtesy St. Petersburg Arts Project, Inc.One evening last December, an exhibition hall of the Art Center at Kunstquartier Bethanien, a handsome 19th-century building on Berlin's Mariannenplatz, was bustling. It was a usual opening night – with food, wine, crowds of people young and old getting together and talking about art. What could have caught a local by surprise was that most of the visitors spoke Russian. Cyberfest, a yearly festival of new media, which originated in St. Petersburg in 2007, was making its second appearance in Berlin, following its debut in the German capital the previous year. 

Read more...
 
Interview with Moritz Pankok (Berlin) About Ceija Stojka and the Re-Evaluation of Roma Art Print E-mail
Interviews
Written by Written by Árpád Bak (Budapest)   
Monday, 01 December 2014 21:48

Moritz Pankok is a German scenographer, director, curator and fine artist living in Berlin. A great-nephew of expressionist artist Otto Pankok, who documented Sinti life in late Weimar-era Germany and was labelled a degenerate artist by the Nazis, he is interested in socially engaged art projects. Pankok is the art director of Galerie Kai Dikhas, a private gallery in Berlin dedicated to Roma contemporary art. He was curator of the recent exhibition of work by the Austrian-Romani painter Ceija Stojka, which ran until October 6 at Gallery8, Budapest, the nonprofit counterpart of Kai Dikhas.(We Were Ashamed, Gallery8, Budapest, Hungary, Aug 2-Oct 10, 2014.,Galerie Kai Dikhas and Gallery8 – Roma Contemporary Art Space are organizationally unrelated institutions, founded and operating independently from each other.) Stojka, who died last year, was a survivor of the concentration camps at Auschwitz, Bergen-Belsen and Ravensbrück. The seventeen works in the exhibition We Were Ashamed represented both groups of works that make up her oeuvre: the "dark cycle," consisting mainly of ink drawings and also some oil paintings that address the traumatic memories of the concentration camps; while the oil paintings of the "bright" series look back on Stojka's prewar childhood in an itinerant horse-trader family.

Read more...
 

Search ARTMargins

AddThis Social Bookmark Button

New In ARTMargins Print

ARTMargins Print has released its new issue, 4.1. (February 2015)!

ArticlesLuis Castañeda (Syracuse) on conflicting racial, archaeological and art historical interpretations of Olmec art produced in the United States in the early 1960s. Chelsea Foxwell (Chicago) reconsiders the uses of nihonga in contemporary Japanese art.

In the Document section, we present a previously untranslated section from S.R. Choucair's seminal text "How the Arab Understood Visual Art," a quasi-manifesto for modernist art in the Arab world (introduction and translation, Kirsten Scheid). FREE ACCESS.

Artist ProjectMarwa Arsanios (Beirut): Olga's Notes: This Whole New World. FREE ACCESS.

Review Articles: Ezra Akcan (Ithaca/NY), "Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi." 

Click here for more information at the MIT Press ARTMargins site.

Read more
 

Newsletter Signup


Two independent outlets, in separate media, of one and the same publication.

LOGO: ARTMargins Print

PRINT: Contemporary art in a global context

Published triquarterly by the MIT Press, ARTMargins provides a forum for the discussion of postmodernism and post-colonialism, and their critiques; art and politics in transitional countries and regions; post-socialism and neo-liberalism; and the problem of global art and global art history.

LOGO: ARTMargins Online

ONLINE: Central and Eastern Europe

Founded in 1999, ARTMargins Online publishes articles, interviews, essays, and reviews devoted to contemporary art. Unlike ARTMargins (print), ARTMargins Online has traditionally had a regional focus, central and Eastern Europe.

 raspberry ketone diet . Games friv doraemon games. . http://nabzsoftware.com/types-of-threats/delta-homes