Monthly Archive: July 2019

Art in Hungary, 1956-1980: Doublespeak and Beyond (Book Review)

Art in Hungary, 1956-1980: Doublespeak and Beyond. Eds. Edit Sasvári, Sándor Hornyik, and Hedvig Turai, London: Thames & Hudson, 2018, 384pp.

This collectively authored volume on Hungarian art under the state socialist regime of János Kádár offers readers a fresh, richly informative, and multifaceted picture of this critical period in Hungary’s post-war artistic culture. More than just an edited collection of individual contributions, it integrates texts by experts on different aspects of Kádár-period (1956-1988) art—specific temporal periods, policy phases, media, artistic modes, institutional spaces, and identities—within an orchestrated design. Following the introduction, seventeen chapters are grouped under four topical … Read more

Call For Papers: University College London/7-8 November, 2019

Conference Title: “1989’s Loose Ends”
Place: University College London
Date: 7/8 November 2019

Conference Description:
On its 30th anniversary, this interdisciplinary conference aims to challenge the understanding of 1989 as a fundamentally Eurocentric, Cold War event with established historicity and geography. Presentations and discussions will address the following questions: how can we reconcile the fall of the Berlin Wall and the Velvet Revolution with the onset of the Yugoslav crisis, Tiananmen Square, the beginning of the end of Apartheid, the collapse (and resurgence in some cases) of Latin American dictatorships, and the emergence of commercial internet, to name some examples?
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Call for Papers: Artpool Budapest/Active Archives and Art Networks/Conference and Symposium /February 20-21, 2020

Conference Title: “Artpool 40 – Active Archives and Art Networks”

Place: Artpool Art Research Center, Central European Research Institute of Art History/ Museum of Fine Arts, Budapest

Date: February 20-21, 2020

Conference Description:

The international conference and symposium celebrates the 40th anniversary of the foundation of Artpool and its concurrent relocation to the Central European Research Institute of Art History at the Museum of Fine Arts, Budapest. It aims to map the cultural-political-historical contexts of Artpool’s activity by bringing together scholars and practitioners interested in transnational research on artist archives, progressive curatorial and museological practices, and the historiography of Cold … Read more

“The Soros Center was a Perfect Machine”: An Exchange between Aaron Moulton and Geert Lovink

The following exchange, over email, between Dutch media theorist and Internet critic Geert Lovink and Aaron Moulton occurred on the occasion of the exhibition The Influencing Machine at Galeria Nicodim in Bucharest, which closed on April 20, 2019. The show, curated by Aaron Moulton, was an anthropological investigation into the macroview of the Soros Center for Contemporary Art (SCCA), an unprecedented network of art centers that existed across twenty Eastern European capitals throughout the 1990s. A survey of historical and contemporary artwork that explored ideas of influence, revolution, colonialism, and cultural exorcism, the Bucharest exhibition included a large archive covering … Read more

Wild Recuperations: Material from Below and D’EST, Chapter 6: ReTopia at District Berlin

WILDES WIEDERHOLEN. MATERIAL VON UNTEN ARCHIVE OF GDR OPPOSITION, HAUS 22 STASIZENTRALE AND DISTRICT BERLIN, NOVEMBER 4 – DECEMBER 16, 2018.

 D’EST SCREENING, CHAPTER 6: RETOPIA, HAUS 22 STASIZENTRALE, BERLIN , DECEMBER 15, 2018

Attempts to establish contemporary archives must always contend with dominant history and ideology. Wild Recuperations. Material from Below, a six-week-long exhibition that took place at District Berlin and the Archive of the German Democratic Republic’s (GDR) Opposition in late 2018 and continues today as an ongoing artistic research project, positions itself firmly against the ossification of objectified knowledge by introducing an artistic and affective approach to … Read more

On Curating “Postwar” at Haus der Kunst (ARTMargins Print 8.2)

Postwar: Art Between the Pacific and the Atlantic, 1945-1965, curated by the late Okwui Enwezor alongside Katy Siegel and Ulrich Wilmes, was held at Haus der Kunst, Munich, only a little over two years ago (October 2016-March 2017). The exhibition and its accompanying catalog have already achieved canonical status among scholars interested in the increasingly interconnected networks of modern art internationally after World War II. Ambitious in scope, generous in outlook, and remarkable in its capacity for critical and self-reflexive dialog, Postwar exemplified many of the qualities that made Enwezor the most significant curatorial voice of the last quarter century.… Read more