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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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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.

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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.

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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.

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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.

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.

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