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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The 54th October Salon in Belgrade Print E-mail
Exhibition Reviews
Written by Biljana Purić (Belgrade)   
Tuesday, 25 March 2014 00:00

Tejal Shah, “Between the Waves,” video installation, 2012. Image courtesy of the October Salon.The 54th installment of the October Salon in Belgrade focused on feminist and queer interventions in the dominant narratives of knowledge production within patriarchal post-socialist and neoliberal realities. It boldly introduced a variety of artistic expressions within the "Living Archive" framework proposed by the Red Min(e)d curatorial team (Danijela Dugandžić Živanović, Katja Kobolt, Dunja Kukovec and Jelena Petrović). The concept of "Living Archive" derives from theoretical elaborations of a new, feminist archive in lieu of the standard, conventional systems of archivization and of the traditional archive as a site for normative meaning production. The Living Archive, as described by Biljana Kašić "is a radical interruption in a main system of meanings and structure of archiving through its disruptive modes of (re)inscribing, coding and decoding...[it is] an open space that means and creates both dislocation and new location, visibility and presence of the invisible, possibility and freedom of experimentation, thereby enabling politicization of space and time."(Biljana Kašić, "Thinking Living Archive; 'Archiving' the Thoughts or Feminism or?" (Living Archive Notebooks, 2012), 9,12.)

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Interview: Katarina Ševic and Gergely László Print E-mail
Interviews
Written by Frantisek Zachoval   
Wednesday, 12 March 2014 00:00

I met with artists Katarina Ševic and Gergely László at the Ethnological Museum in Berlin to talk about their project House Museum (2006), developed after being able to return to Ševic's summer cottage in Žuljana, a small village on the Pelješac Peninsula (Croatia) after the civil war in ex-Yugoslavia (1991-2001). The ethnic conflicts prohibited Ševic, a Serbian citizen, and her family to enter Croatian territory and, therefore, inhabit the house. Thirteen years later, the artist returned and, working collectively with Gergely László, cleaned and repaired the house, left ravaged by war and occupied in her family's absence. The artists gathered more than 100 objects, employing archeological principles to uncover the past of the house and archive the found objects discovered. The House Museum has been exhibited in the group exhibitions Lost in Transition, CAME, Tallinn (2011); Bunker Design at the Moscow Biennial, Hungarian Cultural Centre, Moscow (2007); and at the Remont Gallery, Belgrade (2007) and the Hungarian University of Fine Arts, Budapest (2006).

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Any Construction is a Socially Responsible Act: Interview with Igor Kovačevič Print E-mail
Interviews
Written by Jana Beránková (Prague)   
Sunday, 23 February 2014 00:00

I.P.Pavlova metro station, Prague, painting of Patrik Habl, June 27, 2013. Image courtesy of Lukáš Cetera.Igor Kovačevič is an architect and a founding member of the Center for Central European Architecture (CCEA), a nonprofit organization in the Czech Republic devoted to the research and promotion of contemporary architecture (www.ccea.cz). The CCEA formulates a theory of architecture that takes into account the Central European experience and organizes projects, publications, lectures and workshops. Many of its projects deal with the social and political context of the urban environment, for instance Vision for the Prague Magistrala studies the history of Prague's main arterial road and tries to create pressure on local politicians in order to alleviate car traffic congestion and pollution.

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Interview with Geta Brătescu Print E-mail
Interviews
Written by Adriana Oprea (Bucharest)   
Monday, 23 December 2013 00:00

"Don Giovanni" 1985, b/w photograph, 30 x 30 cm. Ivan Gallery, Bucharest, Galerie Barbara Weiss, Berlin. Photo by Mihai Bratescu. Image courtesy of the artist, Ivan Gallery, Bucharest, Galerie Barbara Weiss, Berlin.For most of her career Geta Brătescu worked under communism in Romania. Brătescu studied at the Faculty of Letters and the Institute of Fine Arts in Bucharest, where her master teacher was Camil Ressu. Her body of work comprises drawing, collage, engraving, tapestry, objects, photography, experimental film, video and performance. She is also the author of several books -- documents of daily studio notes, reflections about art and travel experiences. Already an established artist in 1989 when the communist regime ended in Romania, Brătescu continued to work and participate in important local exhibitions such as The Gender of Mozart (Artexpo, Bucharest, 1991) or The Experiment in Romanian Art after 1960 (Soros Centre for Contemporary Arts, Bucharest, 1996), as well as in the international exhibitions In Search of Balkania (Neue Galerie Graz am Lanesmuseum Joanneum, Graz, 2002) and Gender Check. Femininity and Masculinity in Eastern European Art (Museum moderner Kunst Stiftung Ludwig, Vienna, 2009). Her recent international recognition has provided a basis for the reevaluation of her more experimental work within the framework of conceptual practices in Eastern Europe. Brătescu lives and works in Bucharest.

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Interview with Dan Perjovschi Print E-mail
Interviews
Written by Olga Stefan (Zurich)   
Friday, 25 October 2013 00:00

Scene from protest against cyanide mining of Rosia Montana, Romania. Protesters are displaying signs with drawings made by Dan Perjovschi, 2013. Image courtesy of the artist.I spoke with Dan Perjovschi, one of the most internationally respected artists living in Romania, about his political activities against the Rosia Montana cyanide gold mining project (headed by Gabriel Resources, a Canadian corporation). On August 27, 2013, a law was passed in a closed-door session of parliament to go forward with the project despite fifteen years of debate and opposition. In response and starting on September 1, protests against this law, the project, and the corruption linked to this project have erupted around the country and internationally, with tens of thousands of people from different political backgrounds (including progressive and nationalist) galvanized into action. The demands of the protesters are that the law be rescinded and that the ministers responsible for pushing it forward and accepting payment from Gabriel Resources be fired. Perjovshi made several drawings with short but powerful statements that communicate and represent the sentiments of the protest-movement.

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Performative Approaches to Identity in Contemporary Roma Art Print E-mail
Articles
Written by Maria-Alina Asavei (Budapest)   
Wednesday, 16 October 2013 00:00

Jenő André Raatzsch, “Manifesto for the Occasion of Roma Artists Arrival to Hungary,” mixed-media installation, 2010. Photo by and courtesy of Maria-Alina Asavei.At the 2007 Venice Biennale, and for the first time in the history of the event, art works produced by Romani artists were displayed in the Roma Pavilion. The exhibition for the first Roma Pavilion, entitled Paradise Lost, was curated by cultural activist and art historian Timea Junghaus. Contemporary artists of Roma descent had the chance to engage artistically and politically with their own identity concerns. Junghaus clearly states in the exhibition catalogue: "a new generation of Roma intellectuals and artists is emerging; along with a new Roma consciousness...The Roma Pavilion at the Venice Biennale will be the first, internationally significant step toward assuring that Roma Contemporary Art finds the audience it deserves."(Timea Junghaus, Paradise Lost. The First Roma Pavilion at The Biennale di Venezia 2007. Timea Junghaus and Katalin Szekely (Munich-Berlin-London-New York: Prestel Verlang, 2007).)

This event established a remarkable and unprecedented paradigm shift: previously (and with few exceptions) Roma art had largely been exhibited only in ethnographic museums or community cultural centers. This institutional segregation secluded Roma art to areas of "outsider art," "folk art" and "naïve art," diminishing its chance to participate in contemporary art discourse. 

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Cinema by Other Means at MoCA, Belgrade Print E-mail
Exhibition Reviews
Written by Greg de Cuir, Jr. (Belgrade)   
Thursday, 10 October 2013 00:00

Installation view of Cinema by Other Means at the Museum of Contemporary Art, Belgrade. Photo by Saša Reljić. Courtesy of the Museum of Contemporary Art, Belgrade.The Museum of Contemporary Art in Belgrade recently presented the exhibition Cinema by Other Means at the Čolaković Gallery, their off-site exhibition space. The gallery is named after Rodoljub Čolaković, a high-ranking party functionary in the Socialist Federal Republic of Yugoslavia and a man of letters. Čolaković wrote the book House of Lament in 1941 under the pen name Rudi R. Bosamac. This book was banned by the royalist authorities in the Kingdom of Yugoslavia for its socially critical views and exposé on the situation of political prisoners. Čolaković himself spent more than a decade in prison for his involvement with an extreme left-wing group that engineered the assassination of the Yugoslav interior minister in 1921. 

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New In ARTMargins Print

ARTMargins Print  has released its new issue, 3.1. (February 2014)!

ArticlesRos Gray (London) considers two art works made in recent years in Angola: the exhibition Lion & Ox, which featured art works by António Ole and Art Orienté objet, and the installation Icarus 13 by Kiluanji Kia Henda ("A Lingering Lusotopia: Thinking the Planetary from Angola"). María Amalia García writes about past disputes between Argentina and Brazil over hegemony in the region and proposes a new approach to Brazilian cultural intervention in Paraguay ("Hegemonies and Models of Cultural Modernization in South America: The Paraguay-Brazil Case"). Focusing on Artur Barrio, Jacques Coursil, and Damián Ortega, Fernanda Negrete discusses the plastic arts' non-dialectical engagement with materiality ("Chaos-monde and the Aesthetics of Depth in Artur Barrio, Jacques Coursil, and Damián Ortega").

In the Document section, we present a stenogram of an artists' meeting that took place in 1951 in Kishinev (as the capital of today's Republic of Moldova was called in those days). The text discloses some of the major issues and challenges faced by the members of this artist organization during the late Stalinist era. (Introduction: Octavian Esanu)

Artist ProjectAzin Feizabadi, "Chronicles from Majnun until Layla."

Review Article: Huw Hallam, "Confronting Globalization." This article reviews Pamela M. Lee's Forgetting the Art World (2012) and TJ Demos's Return to the Postcolony (2013). 

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

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Letters

Letter to the editor regarding Professor Caroline A. Jones's article "Anthropophagy in São Paulo's Cold War", published in ARTMargins,  2:1 and the author's response.

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ARTMargins publishes scholarly articles and essays about contemporary art, politics, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia.

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