ARTMargins

Contemporary art across the evolving global peripheries

ARTM Online Content

ARTMargins Online: Interviews

—

 by Sasha Razor, Vladimir Paperny ·

“This is What the Current Government in Russia Would Like to Ban”: Interview with Vladimir Paperny

Cinema, Culture, and the Spirit of the Times (NLO: Moscow, 2023), a new publication by the late film historian Maya Turovskaya and Los Angeles-based culturologist Vladimir Paperny, presents a thoughtful comparative analysis of the Soviet and Hollywood film industries. We are publishing an exclusive translation from one of the book’s key chapters below. Maya Iosifovna Turovskaya (1924–2019), a legendary figure in the world of film and theater criticism who passed away in 2019 at the age of 95, left behind an extraordinary legacy. Her work on the iconic Soviet documentary Triumph Over Violence (dir. Mikhail Room, 1965) offered groundbreaking comparisons … Read more

ARTMargins Online: Articles

—

 by Vladimir Paperny, Maya Turovskaya† ·

Exchange of Ideologies: Ninotchka, 1939 — Circus, 1936

Below–and in conjunction with Sasha Razor’s interview with Vladimir Paperny, which we publish concurrently–we present a translated excerpt from a recently published book Paperny co-authored with noted late Russian film historian Maya Turovskaya, Cinema, Culture, and the Spirit of the Times (NLO: Moscow, 2023). Turovskaya and Paperny began their comparative study of US and Soviet cinema with two comedies: the mildly anti-Soviet Ninotchka and the strongly pro-Soviet film Circus. Ninotchka (1939), directed by Ernst Lubitsch, is a romantic comedy about a stern Soviet envoy, Nina Ivanovna “Ninotchka” Yakushova, who falls in love with a charming Parisian, Count Leon … Read more

ARTMargins Online: Articles / Conference

—

 by Beáta Hock ·

Globalizing the Avant-Garde

Review of the conference organized by the European Network for Avant-Garde and Modernism Studies (EAM) in Lisbon, September 1–3, 2022

Since 2008, the roving biennial conferences of the European Network for Avant-Garde and Modernism Studies (EAM) have promoted the study of the avant-garde and modernism in Europe in a wide temporal and disciplinary framework, setting leading themes such as “High and Low“ (2010 Poznań), “Utopia” (2014 Helsinki), or “CRiSiS” in 2020. The mission statement and communications of the Network have always stressed the transnational aspects of avant-garde practices and indicated that Europe is to be considered in a global setting. … Read more

Exhibition view

ARTMargins Online: Interviews / Conference

—

 by Julia Tatiana Bailey, Kathleen Reinhardt, Christopher Williams-Wynn ·

Revolutionary Romances: Into the Cold – Alternative Artistic Trajectories into (Post-) Communist Europe

On October 13, 2022, the Albertinum at the Dresden State Art Collections hosted an international conference entitled “Revolutionary Romances: Into the Cold – Alternative Artistic Trajectories into (Post-)Communist Europe.” The conference sought to question the simplistic East-to-West “defection” narrative of the post-war art worlds, and to explore the multiple alternative directions of travel by artists during the Cold War. Participants discussed why artists working in and beyond the West decided to enter the communist space, and considered the unexpected results of these subversive movements.

Following the conference, Christopher Williams-Wynn, a PhD candidate at Harvard University and one of the conference … Read more

An image of the book cover, which features a statue of Abraham Lincoln with a person in red curled up in the statue's lap asleep.

ARTMargins Online: Book Reviews

—

 by Tijana Vujosevic ·

Monumental Cares: Sites of History and Contemporary Art

Mechtild Widrich, Monumental Cares: Sites of History and Contemporary Art (Manchester: Manchester University Press, 2023), 256 pp.

The presence and absence of monuments, their authenticity and role in public discourse is the main topic of Mechtild Widrich’s new book, Monumental Cares. We live at a time when this issue has gained more than academic importance, as monuments are central to the politics of caring—caring for community, history, and justice. Being familiar with Widrich’s previous work, I have already utilized it in a critical situation.  About a year ago, I participated in a public debate at Vancouver’s Urbanarium,… Read more

The Canary Archive installation view comprising a large metal cage with TV monitors. The floor is covered with newspaper pages.

ARTMargins Online: Artist Profiles / ARTMargins Online: Exhibition Reviews

—

 by Yulia Tikhomirova ·

The Canary Archives by Chto Delat: Testimony of the Russian ‘Des-Astre’

In March 2022, shortly after Russia had attacked Ukraine, the Chto Delat (What is to be done?) collective produced an artwork entitled Canary Archives in response to the shock of the military escalation.(Chto Delat, “Canary Archives 2022,” http://chtodelat.org/category/b7-art-projects/installations/canary-archives-2022-2/ Accessed January 31, 2023) While work on the project – comprising a four-channel video installation and a newspaper issue – had commenced earlier, the invasion was the catalyst for its statement. The filming and written elements were revised substantially as a consequence of the outbreak of war. Today, more than one year later, the relevance of the work has become … Read more

ARTMargins Online: Exhibition Reviews

—

 by Karolina Majewska-Güde ·

Recrafting Futures: Feminist Practices of Material Engagement

Arts, Crafts, Affects: Documenting HerStories and Worldbuilding, public seminar at Estonian Academy of Arts, Tallinn, November 25-26, 2022

There are many ways to present an artwork to the public and sometimes, as in the case of research-driven practices, an exhibition is a limited that can often present only the brief, final effect of the many processes and collaborations that go into creating the work. Art—however research-based, relational, dematerialized, participatory, or ephemeral it might be—usually functions within institutional frameworks that require it to be “shown” in order to be shared. In contrast, practices associated with craft relate to a different tradition … Read more

exhibition view

ARTMargins Online: Exhibition Reviews

—

 by Mária Janušová ·

Thinking Pictures: Conceptual Art from Moscow and the Baltics

Although fewer than two decades have passed since its opening, the Kumu Art Museum, located in Estonia’s capital city Tallinn, is widely acknowledged for its critical exhibitions that often highlight the nation’s traumatic past. Earlier this year, the museum showed Thinking Pictures: Conceptual Art from Moscow and the Baltics, curated by Anu Allas (professor at the Institute of Art History and Visual Culture of the Estonian Academy of Arts), Liisa Kaljula (curator at the Kumu Art Museum), and Jane A. Sharp (curator at the Zimmerli Art Museum and professor in the Department of Art History at Rutgers University, New Jersey, … Read more

Exhibition view, blue

ARTMargins Online: Exhibition Reviews

—

 by Giulia Gelmi ·

Investigating Intimacy: Adina Pintilie’s project for the Romanian Pavilion

At the 59th edition of the Venice Biennale, Romania is represented by the artist and filmmaker Adina Pintilie with the project You Are Another Me­—A Cathedral of the Body. Curated by Cosmin Costinaș and Viktor Neumann, the project consists of a multi-channel video installation at the Romanian Pavilion, and a virtual-reality extension hosted by the New Gallery of the Romanian Institute for Culture and Humanistic Research.

Through the representation of intimacy and sexuality, the artist confronts and overcomes the concept of the normative, standardized, and performative body, while investigating its relationship with current conversations on gender … Read more

ARTMargins Online: Exhibition Reviews

—

 by Alexandra Timonina ·

Małgorzata Mirga-Tas: Re-enchanting the World, Polish Pavilion at the 2022 Venice Biennale

The Polish Pavilion at the 59th International Art Exhibition in Venice this year featured the vibrant textile installation Re-enchanting the World by Polish-Romani artist Małgorzata Mirga-Tas. The project was curated by Wojciech Szymański and Joanna Warsza and selected by a jury within a competition managed by the Zachęta – National Gallery of Art in Warsaw. The Polish contribution to this year’s biennale is unique and the first of its kind, being the first-ever national pavilion represented by a Romani artist. Although there have been several editions of the Roma Pavilion in Venice since 2007 – events and exhibitions dedicated to … Read more

ARTMargins Online: Interviews / ARTMargins Online: Special Issue

—

 by Raino Isto, Zsuzsa László, Gregory Sholette, Olga Kopenkina, Suzana Milevska, Rena Rädle & Vladan Jeremić, Dmitry Vilensky ·

Roundtable on Art and Solidarity

The following roundtable was convened online on November 18, 2022, in conjunction with ARTMargins Online’s current special issue on Art and Solidarity. AMO’s editorial collective invited a panel of East European artists, theorists, and curators (Suzana Milevska, Olga Kopenkina, Dmitry Vilensky, Rena Raedle and Vladan Jeremic) who all have consistently engaged with the dilemmas of defining and practicing artistic solidarity. We asked participants to examine the forms and interpretations of solidarity they find the most effective, why expressions of international solidarity often fail, and what lessons the legacy of socialist internationalism may have for us today.

The online conversation moderated … Read more

ARTMargins Online: Articles / ARTMargins Online: Exhibition Reviews / ARTMargins Online: Special Issue

—

 by Sjoukje van der Meulen ·

“Situated Solidarity”: A New Curatorial Model for the European Nomadic Biennial?

The fourteenth edition of the nomadic European biennial Manifesta took place in Prishtina, Kosovo, from July 22 to October 30, 2022. The biennial included 25 exhibition venues in an urban parcours throughout the city, ranging from (dilapidated) historic monuments and institutions to public squares, abandoned buildings, and unused or unexpected urban spaces. Four of these venues have been declared “major pillars,” namely the Grand Hotel Prishtina, The Center for Narrative Practices (a former library), an abandoned brick factory on the outskirts of the city, and the so-called Green Corridor, an unused train track that has been transformed into a walking … Read more

An artist is painting a black and white mural on the wall

ARTMargins Online: Articles / ARTMargins Online: Special Issue

—

 by Biljana Purić ·

Live Solidarity — Art Workers and Feminist Artistic Organizing in the Post-Yugoslav Region

Equating all types of work and workers in his writing, Edvard Kardelj, one of the main ideators of the Yugoslav workers’ self-management system, set the scene for the understanding of the role of artists in Yugoslav society.(Edvard Kardelj, Pravci razvoja političkog sistema socijalističkog samoupravljanja (Beograd: Komunist, 1978), p. 25.) The idea of class solidarity and the equal value of work—regardless of it being intellectual or physical—was embraced, and many initiatives followed this idea, such as the art program at the Ironworks complex in Sisak, in present-day Croatia, where workers assisted artists, and collaborated with them in the creation … Read more

Blue and red distorted forms with black text that reads attention air raid sirens in Berlin

ARTMargins Online: Interviews / ARTMargins Online: Special Issue

—

 by Sasha Razor, Tatiana Kochubinska, Natasha Chychasova, Antonina Stebur, Maxim Tyminko, Anna Chistoserdova, Valentina Kiselyova, Lena Prents ·

“I Refuse to Accept This State of Affairs”: An Interview with the International Coalition of Cultural Workers Against the War in Ukraine

While Russia aggressively wages a major war in Ukraine, how can contemporary art help launch an antiwar movement worldwide? At a time when art workers in the post-Soviet region are more ethnically divided than ever, the International Coalition of Cultural Workers Against the War in Ukraine demonstrates a unique ability to unite around a platform for promoting antiwar and anti-colonial messages. Initially intended as an alternative Belarusian pavilion at the 59th Venice Biennale, this digital platform quickly evolved to include and showcase antiwar artwork from a broad spectrum of countries including Austria, Azerbaijan, Belarus, Bosnia and Herzegovina, Georgia, Germany, … Read more

ARTMargins Online: Special Issue

—

 by ARTMargins Online Editorial Collective ·

Special Issue: Art and Solidarity

Introduction to the Special Issue 

The articles and interviews contained in this ARTMargins Online Special Issue address a wide range of approaches to artistic solidarity, some motivated explicitly by historical precedents and others by specific conditions of the present. They explore artistic projects, online platforms, curatorial approaches, and activist stances, presenting a diverse array of perspectives on what it can mean to stand with each other, even when we are apart—sharing common strategies and common visions, in search of a common future.

The special issue brings together voices from throughout the artworld to explore the ways artists, cultural workers, and … Read more

ARTMargins Online: Articles

—

 by Hella Wiedmer-Newman ·

Sold For Parts: Selma Selman’s Activist Practice

                                                                       “I don’t want art that points to a thing. I want art that is the thing.”

                                                                        –Tania Bruguera

 

In 2018, Selma Selman, an artist of Romani origin who grew up in Bosnia and Herzegovina (henceforth referred to as Bosnia), set out to buy her freedom from her family. Recording her project on film, she negotiated a fair price to make up for the dowry her parents would forgo in not marrying her off. She proceeded to sell her hair, her clothes, and her artworks before officially making the exchange of $11,166 for her independence. Selman’s aim was, in … Read more

ARTMargins Online: Book Reviews

—

 by Sasha Lleshaj ·

Broken Narrative: The Politics of Contemporary Art in Albania

Armando Lulaj and Marco Mazzi, Broken Narrative: The Politics of Contemporary Art in Albania (Earth, Milky Way: Punctum Books, 2022), 364 pp. 

Broken Narrative is a book from the margins peddling central, bringing recent Albanian history into conversation with central ideological currents of our times. This symbolic exchange between local and global stories unfolds through a dialogue between Italian-educated Albanian artist Armando Lulaj and Italian photographer and multi-media artist Marco Mazzi, presenting a microcosm of a long overdue Albanian-Italian conversation. Encapsulating some of Albania’s most persistent dreams and nightmares, Italy emerges as a simulacrum of sorts, an actual and imaginary … Read more

ARTMargins Online: Exhibition Reviews

—

 by Monica Sheets ·

Anti-Social Art: Experimental Practices in Late East Germany

Anti-Social Art: Experimental Practices in Late East Germany at the Tweed Museum of Art, Duluth, Minnesota, February 2–May 15, 2022

In Anti-Social Art: Experimental Practices in Late East Germany, curators Sara Blaylock and Sarah James assembled a comprehensive body of art from the German Democratic Republic (GDR) that functioned as more than an art historical survey, raising larger questions about the relationship between artists and social and political institutions. The exhibition presented works by over thirty artists and artist groups active in the 1980s and early 90s. Rather than focus on better-known painters such as Willi Sitte, Werner Tübke, or … Read more

ARTMargins Online: Exhibition Reviews

—

 by Freda Fiala ·

Enduring the Flag: A Review of Maria Kulikovska’s 254 Performance

Maria Kulikovska, 254 Performance, Neue Nationalgalerie Berlin, April 27 to May 4, 2022

For her durational performance 254 at the Neue Nationalgalerie Berlin, Ukrainian artist Maria Kulikovska laid on the steps of the museum underneath the Ukrainian flag. From one Wednesday until the next between April 27 to May 4, 2022, and commencing daily at noon, 3pm, and 5pm, she performed an hour of passive action—an active disengagement that reaffirmed the relationship between fight and flight. The performance was a re-enactment of a protest that Kulikovska originally staged in 2014 at Manifesta 10, a contemporary art biennial that took place … Read more

In an all-white room, a diagonal bench has four white drawings on top of it. Beneath the bench is a video monitor with a video showing a person in white falling upwards into a ceiling of sand.

ARTMargins Online: Articles / ARTMargins Online: Exhibition Reviews

—

 by Nora Goleshevska ·

Dream Compass: “There You Are,” or the Bulgarian Pavilion in the Context of the 59th Venice Biennial

“Images are (…) a silent language. They are a station on the way from silence to language. They stand on the frontier where silence and language face each other closer than anywhere else, but the tension between them is resolved by beauty. Images and pictures remind man of life before the coming of language. They move him with a yearning for that life (…) It is the soul that preserves the silent images of things”.(Max Picard, Images and Silence, in The World of Silence (Minnesota: Harvill, 1948), p. 80.)

The Bulgarian Pavilion at the 59th edition … Read more

ARTMargins Online: Interviews

—

 by Janeil Engelstad, Kateryna Filyuk, Lilia Kudelia, Ilya Zabolotnyi  ·

Vich-na-Vich: A Conversation – Ukraine, Extreme Care Time

This podcast dialogue took place on July 17, 2022, nearly five months since Russia first invaded Ukraine. Cultural producer Janeil Engelstad and curator Lilia Kudelia spoke with curator and researcher Kateryna Filyuk and art historian and cultural programmer Ilya Zabolotnyi about how the war has impacted Ukrainian art and culture, issues of cultural preservation and self-agency, as well as the building of support networks and new art infrastructures. Filyuk is a curator at Izolyatsia Platform for Cultural Initiatives in Kyiv, whose mission has shifted to address the war-related needs of arts organizations, artists, and cultural workers. Zabolotnyi is Director of … Read more

ARTMargins Online: Book Reviews

—

 by Constanze Fritzsch ·

Parallel Public: Experimental Art in Late East Germany

Sara Blaylock, Parallel Public: Experimental Art in Late East Germany (Cambridge, MA: MIT Press, 2022), 328 PP.

Artists infiltrated state culture by meting out its excesses. They tested the hard-line intolerance of cultural innovation advertised by cultural bureaucracy. They hedged their bets on the threats of state security forces, and won. They identified with and sought approval from each other, even as they benefited from the advantages of the state culture whose approval they foreswore, but whose financial incentives they enjoyed. In their dedication to creative autonomy, experimental artists exposed a core vulnerability in state power – namely, its reliance … Read more

ARTMargins Online: Articles

—

 by ARTMargins Online Editorial Collective ·

László Beke (1944–2022): A Collective Obituary

László Beke, the Hungarian curator and art historian who from the late 1960s became one of the key catalysts of art networks and cross-border collaborations within and beyond Eastern Europe‚ died on January 31 of this year. He published articles, compiled publications, lectured, curated projects and exhibitions on various aspects of progressive art, including Conceptualism, photography, semiotics, Fluxus, Dada, and the post-contemporary (referring to the situation after the era of contemporary art), and, most importantly, pursued his utopian commitment to East European art. Between 1969 and 1986 he was a research fellow at the Research Institute for Art History of … Read more

In the foreground, a palm tree made of roughly cut wood lies on snowy ground while n the background there are large text and photo panels installed on old buildings. One group of three panels shows a woman with a toy, with a caption in three languages

ARTMargins Online: Interviews

—

 by Jasmina Tumbas, Corina L. Apostol, Kristaps Ancāns ·

Entangled Roots in the Mutating Nature of the New East: Kristaps Ancāns in Conversation with Corina Apostol and Jasmina Tumbas

Romanian-American-Baltic curator Corina L. Apostol and Latvian-British artist Kristaps Ancāns have recently begun a series of collaborations that focus on expanding discourses in contemporary art to include transnational perspectives centered on the New East. In December 2021, Apostol served as the curator for Ancāns’s large-scale site-specific installation what can’t we just create (2021-2022) at the Mark Rothko Art Centre in Daugavpils, Latvia. Prompted by the current invasion of Ukraine, Apostol and Ancāns revisit this installation in conversation with art historian Jasmina Tumbas, to discuss how they—as cultural workers from the region—negotiate the reconfiguration of questions of identity, nationalism, and sexuality … Read more

A cover image of the book, featuring the title and a decorative bakground

ARTMargins Online: Book Reviews

—

 by Mela Dávila Freire ·

A Multi-faceted and Global Perspective on Periodicals—in Every Sense

Meghan Forbes, ed., International Perspectives on Publishing Platforms: Image, Object, Text. New York and Oxford: Routledge, 2019, 268 pp.

Periodicals have traditionally been a favorite format of artists when it comes to experimenting on the blank page. There are several reasons for this, one of them being that magazines create communities even if their members are almost invisible to one another, dispersed as they may be over regional, national, and even continental geographies. Moreover, because of their time-limited nature, which is—a priori—ephemeral or, at least, specific to a certain time span, magazines tend to offer greater freedom for … Read more

Cover of the book

ARTMargins Online: Book Reviews

—

 by Marta Zboralska ·

Galeria Wschodnia: Dokumenty 1984-2017 / Documents 1984-2017

Daniel Muzyczuk and Tomasz Załuski (eds.), Galeria Wschodnia. Dokumenty 1984-2017 / Documents 1984-2017 (Łódź: Galeria Wschodnia, Fundacja In Search Of, Muzeum Sztuki w Łodzi, 2019), 916 pp. 

Looking at politics through the lens of alternative galleries is by now an established method within Polish art history. It has allowed for the emergence of vital comparative perspectives, both in the regional context (as demonstrated by Piotr Piotrowski’s oft-cited article “How to Write a History of Central-East European Art?”) and on a national level (e.g. Marcin Lachowski’s Awangarda wobec instytucji, or Luiza Nader’s Konceptualizm w PRL).(Piotr Piotrowski, “How to … Read more

ARTMargins Online: Interviews

—

 by Sven Spieker, Boris Kostadinov ·

Conversation with Boris Kostadinov

Sven Spieker: Please outline your view of the curator in the 21st century. What are this curator’s major commitments and constraints? Also does the “curator-from-Eastern Europe” concept retain any specificity for you, or not?

Boris Kostadinov: The war that’s raging in Ukraine right now is showing us beyond any doubt that we live in a fluid world, a world in which definitions—not only of what is meant by art, historical time, as well as culture, political and economic geography—are bound to be thoroughly rethought and redefined. The 21st century is no longer what it was until yesterday—basking in … Read more

book cover

ARTMargins Online: Book Reviews

—

 by Flóra Gadó ·

Subjective Histories: Self-historicization as Artistic Practice in Central-East Europe

Daniel Grúň (ed.), Subjective Histories: Self-historicization as Artistic Practice in Central-East Europe, Bratislava, Veda, 2020, 320 pp.

The image on the cover of the book Subjective histories: Self-historicization as Artistic Practice in Central-East Europe shows an empty escalator. Its constant up and down movement might visualize the quest that all the texts in this book seem to share: to highlight the parallels between different artistic activities before 1989 and their meaning from a present point of view. The cover photograph (by Peter Sit) is from a performance by Slovak artist Matej Gavula, together with APART Collective, called Sunday, … Read more

ARTMargins Online: Interviews / ARTMargins Online: Special Issue

—

 by Hedvig Turai, Ilona Németh ·

A Memorial That Neither Victims nor Perpetrators Want but Is Needed: An Interview with Ilona Németh

In March 2022, the General Assembly of Budapest announced the winning team of the juried competition for the public memorial, Memory of Rape in Wartimes: Women as Victims of Sexual Violence, a unique memorial project that aims to address the difficult history of violence against women during wartime. The winning proposal, Memory of Rape in  Wartimes, by Slovakian-Hungarian artist Ilona Németh, architect Gabi Mészáros, and poet Anikó N. Tóth, is to be realized in 2023. Hedvig Turai recently spoke with Ilona Németh about their project.

Hedvig Turai: To set up a memorial to wartime victims of rape is … Read more

ARTMargins Online: Exhibition Reviews / ARTMargins Online: Special Issue

—

 by Hana Halilaj ·

The Grave is Better Than Not Knowing

The Grave is Better Than Not Knowing, Humanitarian Law Center Kosovo, Prishtina, November 18, 2021 – January 31, 2022

“The grave is better than not knowing”: this is how Kumrije Jahmurataj expressed her sorrow while anxiously awaiting news of her missing husband, Smajli, who to this day remains unaccounted for after the 1998-99 Kosovo War. Jahmurataj was interviewed as part of research conducted by The Humanitarian Law Center Kosovo (HLC Kosovo), a non-profit organization that was first established during the social upheaval of 1997, before the war began. In the post-war context, HLC Kosovo has played a key role in

… Read more