The following podcast took place on October 30, 2011, on the occasion of the exhibition Voices from the Center at threewalls gallery in Chicago, October 28 – December 10, 2011. The exhibition is an extension of a series of interviews with those living in Eastern Europe about life during and after communism by artist and curator Janeil Engelstad, beginning in 2006. This multi-tiered project takes the form of an interactive web platform (www.voicesfromthecenter.net), as well as public events. This exhibition, the first iteration in the United States, gathers the work of Engelstad and artists Grafixpol (Poland), Oto Hudec (Slovakia/Portugal), Magda Stanová (Slovakia), Miklós Surányi (Hungary), Matej Vakula (Slovakia), and Tehnica Schweiz (Hungary). Their works respond to the original interviews, as well as impart the artists’ own reflections on the imprint of communism in their respective countries. With the exception of Gergely László and Péter Rákos of the collaborative Technica Schweiz, and Kasia Worpus-Wronska of the design team Grafixpol, this interview, conducted by Susan Snodgrass, includes Engelstad and the artists of the exhibition.
Special thanks to Adam Garcia for his assistance with the audio files.
Photo: Grafixpol Kaleidoscope, Off-set poster Courtesy threewalls gallery, Chicago
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.