One always searches for some symbolic point from which one can claim that something ended and something else began, even though there are no beginnings and no endings. From a Western European or an American point of view, the changes that affected Eastern Europe were symbolically marked by the tearing down of the Berlin Wall. From an ex-Yugoslavian perspective, this point would be the death of Tito in 1980. How will we be able to symbolize this developing, but as yet un-completed, so-called “new world order”? Sol Yurick has called this new world post-industrialist, post-modern, post-nationalist, post-neocolonial, post-structural, porous- bordered,
Monthly Archive: September 2000
My recent work stems from observations based on the driving experience. Using freeway systems as the investigative constant, these paintings and drawings attempt to recreate the pure structure of urban landscape. In recreation, the original experience is replaced with the image of “lost” landscape. The environment along the freeway structures is essentially lost for the driver in the fast movement of the vehicle, because the drivers attention is … Read more
Luminita Machedon and Ernie Scoffam, Romanian Modernism – The Architecture of Bucharest, 1920-1940, Cambridge, MA: MIT Press, 1999.
Except for an extended, and largely favorable, review in The Times Literary Supplement, the book and its topic, Romanian Modernism, have so far passed largely unnoticed by those interested in art and society of Central and Eastern Europe. This is not the book’s fault, but rather the symptom of a larger malaise; for example, none of the major recent histories of modern architecture (Curtis, Frampton, Jencks) ever mention the architecture of Central and Eastern Europe, or do so briefly … Read more
Amateur–variable research initiatives 1900 & 2000. Göteborgs Konstmuseum, 20 May – 17 September 2000.
Curators: Charles Esche (SCO), Mark Kremer (NL), Adam Szymczyk (PL). Artists exhibited: Eija-Liisa Ahtila (FIN), Pawel Althamer (PL), Tacita Dean (GB), Maria Eichhorn (D), Hreinn Fridfinnsson (IS/NL), GLOBE (DK), Jens Haaning (DK), Susan Hiller (GB/USA), Job Koelewijn (NL), Edward Krasinski (PL), Maria Lindberg (S), Kirsten Mosher (USA), Dan Peterman (USA), Børre Saethre (N), Gregor Schneider (D), Anika Ström (S), Jörgen Svensson (S), Kathy Temin (AUS), Thorvaldur Thorsteinsson (IS), Richard Wright (SCO).
The exhibition entitled Amateur – variable research initiatives 1900 & 2000, held at … Read more
Peripheric 4, Iassy, Romania (May 18-24, 2000)
Peripheric was brought to life only four years ago, on the initiative of artist Matei Bejenaru. Iassy had until then been an isolated and conservative town with regard to the visual arts, in spite of its long and important literary tradition. Since Peripheric, this situation is completely changed: a whole new group of young artists has sprung up, hoping to focus attention on this yearly event. This year, the festival included three great exhibitions of international art, a symposium dedicated to “Strategies for Promoting Contemporary Art” that gathered artists from both … Read more
The delayed but hasty development of contemporary art in Bulgaria since 1985 eventually led to the point where artists “discovered” video… Since 1985, Bulgarian contemporary art has experienced phenomenal strides. Recovering from its delayed development, artists have hastily, but quite successfully engaged video. Artists have literally “discovered” video in the sense that they have brought fresh perspective to this technology, and brought complicated layers of critique, exploitation and manipulation for the technology to bear. In the early to mid 1990s, video equipment was used to document the numerous ritualistic performances that bombarded the art scene with excessive frequency in the … Read more
It is difficult to assess the dream that is the Freud Museum without another dream, the dream of Kabinet. Based in St. Petersburg, Kabinet is the name of a group with a constantly changing membership as well as an open series of publications on questions of the evolution and development of the arts. Kabinet first appeared as an idea in the winter of 1990/91 in St. Petersburg and represented a means to exchange information about unpublished Western articles and books among a group of friends. Yet Kabinet never became a journal in the ordinary sense of the word. … Read more