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Socialist Realist Graphic Art in Albania (Book Review) Print E-mail
Book Reviews
Written by Raino Eeto Isto (College Park)   
Friday, 17 July 2015 17:31

Safo Marko, untitled linocut. In Maks Velo, Grafika e Realizmit Socialist në Shqipëri (Tirana: Emal, 2014), p. 157. Photograph by Maks Velo. Courtesy of Maks Velo.One of the great questions confronted by any history of art in the twentieth century, and particularly of the art of Eastern Europe, is that of the artistic significance of Socialist Realism and the issues surrounding its legacy. This is especially true in Albania, one of the countries where Socialist Realism persisted as the dominant style for more than forty years—especially during the period (1944-1985) when the country was led by socialist dictator Enver Hoxha. In Albania, the question of Socialist Realism's legacy is partially one of public space, due to the large number of monuments and works of architecture remaining from the socialist era. However, it is also more broadly a question of the academic and social history of the nation's cultural production, and the possibilities for Socialist Realism to be seen in dialogue with the new forms and ideologies of contemporary art. These possibilities have been explored in recent exhibitions such as Workers Leaving the Studio, Looking Away from Socialist Realism, at the National Gallery of Arts in Tirana in 2015, and, more indirectly, in the installation of Armando Lulaj's works in the Albanian Pavilion at the 2015 Venice Biennale.

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Zsófia Bán and Hedvig Turai, eds., “Exposed Memories: Family Pictures in Private and Collective Memory” (Book Review) Print E-mail
Book Reviews
Written by Katherine Hill Reischl (Princeton)   
Wednesday, 17 September 2014 00:00

Roland Barthes's first reflections in Camera Lucida are propelled by the pleasure of viewing the photographic image. At the end of his survey of a wide photographic landscape, Barthes comes to realize his failing as an "imperfect mediator" whose investigation of photography led only to a clearer understanding of his own desire, and not "the nature (the eidos) of Photography" (Barthes, 60). Perhaps paradoxically, Barthes's turn to the "universal" in the latter half of Camera Lucida, to the ontology of the photograph, is founded on a more personal and intimate journey: the narrative exploration of the precious family photograph of his departed mother.

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György Galántai and Júlia Klaniczay, eds., “Artpool: The Experimental Art Archive of East-Central Europe” (Book Review) Print E-mail
Book Reviews
Written by Éva Forgács (Los Angeles)   
Monday, 02 June 2014 00:00

Artpool's first rubber stamp, 1979. Image courtesy of Artpool Art Research Center.The importance of this long overdue autobiographical volume by Artpool, the Budapest "Experimental Art Archive of East-Central Europe" is hard to overestimate. Archivists György Galántai and Júlia Klaniczay, who double as the book's authors and editors, account for both a Hungarian and widely international presence in and around Artpool's orbit. Art historian Kristine Stiles strikes a personal and professional chord in her pithy and highly appreciative Introduction, rightly calling the book "a milestone in the history of art for its documentation of a remarkable period," and points out that Artpool is both an artwork and an archive (p. 8).

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ARTMargins Print has released its new issue, 4.2. (June 2015)!

ArticlesBill Roberts (Warwick/UK) on postmodernism's contemporaneity. Sven Spieker (Los Angeles/Berlin) considers the figure of the Vertreter in the work of Martin Kippenberger.

Essay: Walid Sadek (Beirut): When Next We Meet: On the Figure of the Nonposthumous Survivor

 Online supplement: A Conversation with Walid Sadek. FREE ACCESS.

In the Document section, we present, for the first time an early conversation between Hsieh Tehching, Ai Weiwei, and Xu Bing (introduction and translation, Lee Ambrozy). FREE ACCESS.

Artist ProjectRobert Zhao Renhui (Singapore): As We Walk on Water. FREE ACCESS.

Review Article: Christopher T. Green (New York City), Artists, of the Great Lakes? Problematizing the Exhibition of Place in Native American Art."
 

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

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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.

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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.