The discussion featured in this podcast took place on November 9, 2009. It was held in conjunction with the exhibition Les Femmes Parlent, organized by Gandy Gallery (Bratislava). The speakers are the Hungarian artists Roza El-Hassan, Orshi Drozdik, and the critic Adele Eisenstein. Also participating (in Slovak, but omitted because it was untranslated in the recording) was the Slovak artist Jana Cvikova. The exhibition featured the work of twelve women artists from nine countries. The exhibition was supported by the Goethe Institute/Bratislava and the Hungarian Cultural Institute (Bratislava).
Articles: Luis 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.
Two independent outlets, in separate media, of one and the same publication.
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.
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.