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Interview: Katarina Ševic and Gergely László Print E-mail
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).

Art History and the Challenge of Apprehending the Familiar: A Conversation with Vardan Azatyan Print E-mail
Written by Angela Harutyunyan (Beirut)   
Tuesday, 20 October 2015 18:14

Vardan Azatyan is an art historian, theoretician and translator. He is Associate Professor of Art History and Theory at the Yerevan State Academy of Fine Arts. He also teaches at the Institute of Contemporary Art in Yerevan. Azatyan has taught at Columbia University and the Dutch Art Institute. His articles were published in Oxford Art JournalSpringerinARTMargins and other international publications. Together with Malcolm Miles, Azatyan edited Cultural Memory (2010). He is the author of Art History and Nationalism (Yerevan: Actual Arvest, 2012) and has translated George Berkeley and David Hume into Armenian.

Moscow Conceptualism in the 1980s: Interview with Sabine Hänsgen (Zurich) Print E-mail
Written by Olga Martin (Zürich)   
Thursday, 27 August 2015 16:22

Olga Martin: In 1984, when nobody could imagine the end of the Soviet Union, you clandestinely made the video documentation Moscow Moscow about Russian underground art and literature, and smuggled it to the West. This was probably very exciting for you, but didn't you take a great personal risk?

Sabine Hänsgen: Certainly, from the Soviet point of view this was a forbidden recording. I could have been expelled from USSR and denied re-entry. Already at the beginning of the 1980s, when I was studying in Moscow for the first time, I felt that the artistic underground was threatened by censorship and repression. Therefore I thought it would be important to document the life of this milieu. I had gotten to know many artists from the conceptualist circle, and when I came back to Moscow for my second stay in 1984, I decided to start a video documentation about artistic communication outside of the official institutions of Soviet culture. From my point of view, video is an excellent medium for archiving situations that are usually excluded from official memory.


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ARTMargins Print has released its new issue, 4.3. (October 2015)!

Special Issue on Capitalist Realism

J. Hamilton Faris (Manoa) on Akasegawa Genpei's take on capitalist reality.

Maibritt Borgen (New Haven) considers life-material in Öyvind Fahlström's Kisses Sweeter than Wine.

In the Document section we present, for the first time in English, Akasegawa Genpei's "The Objet after Stalin." FREE ACCESS. (Introduction by Pedro J. Erber)

Artist Project: Stephanie Syjuco, Cargo Cults. FREE ACCESS.

Review Article: Andrew Stefan Weiner (New York) reviews Living with Pop Kunsthalle Düsseldorf

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