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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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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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