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Mladen Miljanović: At the Edge, acb Gallery, Budapest Print E-mail
Exhibition Reviews
Written by Sándor Hornyik (Budapest)   
Wednesday, 01 October 2014 00:00

Mladen Miljanović, "At the Edge," performance at acb Gallery, Budapest (2014). Image courtesy of the artist. Photo by Csaba Aknay.At the beginning of his career, Bosnian artist Mladen Miljanović prepared ironically toned, but rather serious, plans of attack (Artattack series, 2007) for occupying the great museums of the world. Actually, he painted military symbols on the maps of contemporary art museums and galleries representing how he could occupy their spaces. Of his targets, ironically, Budapest was the last "captured" city, as the artist showcased works in the exhibition spaces of New York, London and Venice before showing in the contemporary art institutions of neighboring Hungary. While an overview of the underlying cultural and geopolitical factors surrounding this would lead beyond the scope of this review, it is worth pointing out that the works of Miljanović, one of the stars of the 2013 Venice Biennale, once again enriched the "portfolio" of a private gallery rather than strengthening the profile of a state financed institution. Tijana Stepanovic, curator of the artist's recent solo exhibition at acb Gallery, Budapest, perhaps wished to reflect on this situation by titling the show At the Edge.

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Irina Botea: It is now a matter of learning hope, at threewalls, Chicago Print E-mail
Exhibition Reviews
Written by Susan Snodgrass (Chicago)   
Monday, 11 August 2014 00:00

Irina Botea, Still from “It is now a matter of learning hope,” HD video (2013-14). Image courtesy of threewalls gallery, Chicago.Throughout her practice that spans video, film, performance and installation, Irina Botea appropriates the instruments of mediation that shape the politics of memory to reconfigure the way history frames our contemporary consciousness. Employing strategies of role-playing, reenactment, and recitation, she recasts historical events, often from her native Romania, to remediate political traumas of the past while offering alternate views of reality than those produced by mainstream media.

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Report on the Construction of a Spaceship Module and Paweł Althamer: The Neighbors at The New Museum, New York Print E-mail
Exhibition Reviews
Written by Ksenia Nouril (New York)   
Tuesday, 15 April 2014 00:00

Report on the Construction of a Spaceship Module, 2014. Exhibition View: New Museum, New York. Image courtesy of the New Museum. Photo by Jesse Untracht-Oakner.Two exhibitions of Central and Eastern European art were recently on view at the New Museum in New York. The first, Report on the Construction of a Spaceship Module, was part of the Museum as Hub series, a New Museum initiative supporting exhibitions, residencies, and public programs focused on promoting international contemporary art. It was guest curated for the New Museum by a multinational team from tranzit.org, including Vít Havránek, Dóra Hegyi, and Georg Schöllhammer, the three directors of the tranzit organizations in Prague, Budapest, and Vienna, respectively.(There is no catalogue for this exhibition; however, a newspaper with new and reprinted texts as well as an extensive bibliography was published. A copy of it can be found here: http://235bowery.s3.amazonaws.com/exhibitionlinks/103/Tranzit_FINAL_small.pdf) The second, Paweł Althamer: The Neighbors, was the largest survey of the Polish artist's work to date and his first solo exhibition in the United States. Massimiliano Gioni, Associate Director and Director of Exhibitions, and Gary Carrion-Murayari, Curator, organized the exhibition, which was accompanied by a fully illustrated catalogue with new essays and an interview.(Massimiliano Gioni and Gary Carrion-Murayari, eds., Paweł Althamer: The Neighbors (New York: Skira Rizzoli Publications, Inc., 2014).) Together, these exhibitions filled four out of the five floors in the museum, which in 2011 presented Ostalgia, a group exhibition of Soviet and post-Soviet art from the former Eastern Bloc that was as productive as it was problematic. These recent exhibitions attest to the New Museum's continued interest in the region.

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New In ARTMargins Print

ARTMargins Print has released its new issue, 3.2. (June 2014)!

ArticlesJoan Kee (Ann Arbor) considers the problem of scale in contemporary art practice. Carla Macchiavello (Bogotá) discusses the problem of influence in Latin American art during the 1970s and 1980s. Ruben and Maja Fowkes (Budapest) examine East European artists' approaches to the natural environment during the 1970s and beyond.

In the Document section, we present two pre-revolution Iranian manifestos of modern art (introduction/translation: Bavand Behpoor).

Artist ProjectShady El Noshokaty (Cairo), Rat Diaries, a series of drawings that attempts to map the intensity of everyday life in Egypt intertwined with intuitive visual and verbal comments on art practice.

Review Article: Monica Amor (Baltimore) discusses the exhibition Cold America: Geometric Abstraction in Latin America (1934-1973) and Alejandro Crispiani's book Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940-1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940-1970]. 

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

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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.

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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.