Author: ARTMargins

East of Art: Transformations in Eastern Europe: “On (Un-) Changing Canons and Extreme Avantgardes”

Europe is now building a kind of wall which functions as a united police force to cordon off Europe. There are, for example, some plans for a literal wall between the United States and Mexico, some kind of electronic wall.

So, there was this dream period where freedom was universal globalism. Now, walls are again popping up, which is why maybe such exhibitions can have such meaning.

So, I would like now, nonetheless, to say some small things in the praise of this poor, real socialism. The first one, I just have to refer here just a little bit to

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East of Art: Transformations in Eastern Europe: “Changing the Context: The Polish Experience”

I’m taking part in this panel as an artist – a practitioner participating in certain events, and not as a philosopher, a curator or an art critic, whose standpoint is characterized, among others, by objective judgment.

I will, for the most part, talk about events in which I participated myself, and things which I remember, some of which may be subjective. For this reason I will concentrate mostly on the situation in Poland, because that is where I studied, worked and, above all, where I mainly showed my work for the first few years – and not on the “Central

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East of Art: Transformations in Eastern Europe: “The Complicity of Oblivion”

Anyone wishing to speak about present day Eastern European art has no choice but to once again take sides on the inevitable question: Can this art be said to possess a distinctive character?

And if so, what precisely constitutes, in other words, its particularity (or singularity)? Whether and in what manner does contemporary Eastern European art differ from its Western counterpart? It’s really an important question: what is specifically Russian about Russian art? What is specifically Eastern European about Eastern European art?

I would like to start by clearly stating that I do believe one may, and should, speak about

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East of Art: Transformations in Eastern Europe: “What Comes After the Wall?”

My presentation is entitled “11/9, or Wrestling with Context.” The date 11/9 is not a mistake and I am not going to talk about 9/11 in New York, but rather about November 11, 1989, the date when the Berlin Wall fell.

In my 15 minutes, I would like to present an abbreviated version of the four best years of my professional life. Namely, in 1997, David Elliott, who was then the Director of the Moderna Museet (Museum of Modern Art) in Stockholm, invited me to be Chief Curator of the project “After the Wall – Art and Culture in post-Communist

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East of Art: Transformations in Eastern Europe. Lectures.

Lectures:

Introductory remarks by Glenn Lowry, Director of the Museum of Modern Art (MOMA)

Laura Hoptman

Tomas Pospyszl

Roger L. Conover

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The recently published book, Primary Documents, A Sourcebook for Eastern and Central European Art Since the 1950s, took several years to complete. The original idea came from Laura Hoptman, at that time a curator at the Museum of Modern Art in New York.

Primary Documents became the first title in a series of books prepared by MoMA´s International Program. The main intention of this and forthcoming anthologies is to provide English speaking audiences with … Read more

Maria Vasilieva of Manifesta 4

Maria Vassileva worked on the team that organized last year’s Manifesta 4 in Frankfurt/M.. She was born in 1961 in Sofia, Bulgaria. She graduated in art history from the Art Academy, Sofia in 1984. Vassileva specialised at the Museum of Modern Art, New York (1998) and at the Institute of the History of Art at the University in Rochester, the USA (1999). She is a founding member of the Institute of Contemporary Art – Sofiam, and Chief Curator at the Sofia Art Gallery. She currently teaches the History of Contemporary Art at the Art Academy in Sofia, and since 1998 … Read more

Central Europe in the Face of Unification

The following essay is part of a series devoted to contemporary art and architecture East-Central Europe. It was first delivered as a paper at a conference held at MIT in October, 2001. 

When speaking about European unification, or the incorporation of Central Europe into the EU structures after 1989, we should focus on Central European exhibitions held in the West after the Fall of Nation in 1989. The answer to the question “what was the core of the (Western) interest in newly discovered lands in the East” is very simple: there were political reasons so obvious that they are not … Read more

Sculptural TranscenDENTALism On Sculpture and Installation in Anselmo Fox’s Art

Anselmo Fox was born in 1964 in the Italian part of Switzerland (Mendrisio, Tessin). He studied in Luzern, in Basel, and in Berlin, where he has lived since 1994. His central artistic concern is sculpture, a genre which he treats in a wide medial spectrum, ranging from bronze to plaster, wax to chewing gum, photography to animated cartoon and video. Fox uses material appropriate to the form and space of his investigations, and he has thus processed a considerable amountof the amalgam alginat / alg-material usually used by dentists for teeth imprints. The oral cavity may be considered one of … Read more

The Other Europe

Dragan Kujundzic ed.: The Other Europe and the Translation of National Identity. Social Identities. vol. 7 No. 4 (December 2001)

The name of that alterity is “Europe”. Why is Europe a cargo? And what is exactly so precious about Europe? Why does writing a critique of Europe – a project of translating national identities – amount to protection and betrayal, not protection or betrayal?

The Other Europe as the writers in the collection invoke it is tinted both by a Benjaminian melancholy and by a spirit of experimentation. On the one hand, modern and contemporary European histories are rediscovered, and … Read more

“Young Flesh (Mlady Maso)”: Czech Students Bare It All

Mlady Maso at the Golden Ring House in the Ungelt, Prague 3.7 – 22.9. 2002

Over the last decade Czech art institutions seem to have developed a pre-occupation with discovering emerging Czech artists’ work. In an attempt to both escape the past and catch up with the rest of the Western art world, curators desperately seek out the latest of what the very youngest generation has to offer.

This consistent curatorial tactic apparently tries to convey that these mobile phone wielding, new-world-order, frustrated youths are somehow miraculously untouched by the former political system, and are in fact representatives of what … Read more

“Heroes of Labor”

Festival Helden der Arbeit, September 7 – October 7, 2002. Berlin (various locations)

This voyage to Berlin was part of an ongoing investigation based around a certain recycling of space and how deserted spaces or sites in the urban landscape can be appropriated and reused. In this case, through artistic and cultural intervention.

Oberschoneweide in south east Berlin presented such processes in September/October 2002 through the art festival “Helden der Arbeit” as it opened up various factory buildings within its declining industrial district to visiting artists and, in turn, the show’s visitors.

Oberschoneweide is way off of Berlin’s beaten tourist … Read more

How Do We Remember the Past?

How Do We Remember the Past? Czechoslovak Socialist Realism, 1948 – 1958. Rudolfinum Gallery, Prague, November 7, 2002 – February 9, 2003

November 7 still carries some unpleasant connotations for all those who lived in the countries of the former East Bloc before 1989. On November 7, we used to celebrate the anniversary of the Great October Revolution; it was a date that – with many others – reminded us of a bitter reality, that the country in which we lived was occupied by the Soviet Army, and that freedom of speech was far beyond our reach.

Symbolically, on November … Read more

Kabakov Online: Russian Art

Ever wondered what the web yields when you type your name into Google? Some of us may be pleasantly surprised by the number of pages found, only to be dismayed by seeing the actual content.

This reviewer, although not exactly passive in terms of online activity, has been outranked by several eponymous persons: among these goldsmith, a Conservative city counselor, and an artist biker. (By the way: If you want to find out whether you rank better than your friend / colleague / worst enemy, www.googlefights.com is the site for you.)

However, if you type the … Read more

Machines of Potentiality: About Angels, Metaphysics, and Parallel Realities in Vadim Fishkin’s Works

Vadim Fishkin, born in Penza in the Soviet Union in 1965, has been living and working in Ljubljana since 1992. Fishkin is not merely an artist working with a variety of different media, but also an architect who studied at the Moscow Institute of Architecture, a stage designer, an “angel researcher”, a botanist, a spiritualist, a photographer, a pyrotechnician, an engineer, an inventor, and a geologist. Most recently, he collaborated as a set designer with the Slovenian choreographers Mateja Bucar, NSK’s theatre department Cosmokinetic Cabinet Noordung, and others.

During the Transnacionala trip(In the summer of 1996 an international group Read more

Sites in Motion. Prague To Bucharest: Alternative Theater Initiatives in Eastern Europe

LONDON- FRANKFURT- BUCHAREST On this long haul over the land coach voyage where miles are devoured in darkness and discomfort, time has no relevance now measured in neon petrol station stops, highway tollgates, and border crossings. Changing coaches in Frankfurt brings a change of pace-now slow and erratic with contrasting intensified excitement.

Final destination: Romania and a meeting with Nona Ciobanu—Theatre director and director of TOACA cultural foundation in Bucharest.

Now accompanied by a new congregation of Romanians returning to the homeland, the bus promptly breaks down. There is a general acceptance of this fact; an acceptance to be the … Read more

A Charming Impasse: Czech Cubist Architecture

The following essay is part of a series devoted to contemporary art and architecture East-Central Europe. It was first delivered as a paper at a conference held at MIT in October, 2001.

Originally, I developed my reading of Czech Cubist architecture within the framework of a more extensive project dealing with the phenomenon of the “border” in art. The ambivalent nature of the “border”, in addition to its obvious function of separation, inherently implies its own transgression, a certain amount of permeability, the existence of a boundary, and an “in-between” zone. Czech Cubism, a rather bizarre episode in the history … Read more

Russian Art, Western Style: ARTMargins Talks to Kathrin Becker

Kathrin Becker (1965) is an art historian, curator and critic based in Berlin. She realized alongside exhibitions and publications on contemporary Russian arts (“Self-Identication. Positions in St Peterburg Art from 1970 untill today”, “Flight, Departure, Disappearance. Moscow Conceptual Art”; “New Moscow. Contemporary Art From St. Petersburg and Moscow”) and Soviet Socialist Realism (“Stalin´s Choice. Soviet Socialist Realism Under Stalin”), exhibition projects such as “The Institute of Theore(c)tical Painting”, “Landschaft mit dem Blick der 90er Jahre”, “pop mix/volume one” & “pop mix/vol. II”, “art club berlin”, “Last House on the Left”, “Can you hear me? 2nd Ars Baltica Triennial of Photographic Read more

Concrete Utopias

Angel Angelov. Konkretni utopii. Proektite na Kristo (Concrete Utopias. The Projections of Christo). 119 pages, Sofia (Bulgaria): Open Society 1997.  

As evident from the title, in his book Angel Angelov argues that many of Christo and Jeanne-Claude’s projects, along with the events surrounding them, constitute concrete utopias. The aesthetic discourse defining such utopias is intended not to criticize and reject the existing social reality, but to affirm it in alternative ways. In this way the aesthetic fulfills its utopian function of being an alternative of the social status quo. Not the artists alone, but whole segments of … Read more

Mikhail Chernishov

IFA Gallery, Berlin – August 23, 2002 – October 13, 2002

“No additions – A principle solution has to be reduced on the essential”, is how Mikhail Chernishov words his intentions for a series of Pictures, which he had executed in 1961 for his first ‘living room exhibition’.

Chernishov radicalised what he had seen and read about in foreign art magazines; he knew about Malewitsch’s Black Square, about Jackson Pollock and Ad Reinhard, and wanted to carry them a step further – not creating a picture without image, but showing that a picture could be anything.

He realised … Read more

Zuzanna Janin (Online Gallery)

CRITIC’S STATEMENTS | GALLERY | BIO | SOLO EXHIBITIONS | GROUP EXHIBITIONS | INTERNET WORK

Critics’ Statements


Whoever she is, Zuzanna uses herself as an eye with which to explore reality. She is her own instrument, and sees herself as such. (…) Only when the emotions have been portrayed can a study of identity begin. That is the next stage in her research program, for Zuzanna, like any true scholar, is systematic and conscious of her actions. She will begin by cataloguing identities, sensing in this some kind of order. Such is her present preoccupation. The present always seems to … Read more

Conundrum of Time: Clepsydra

Miha Vipotnik, Gallery of the Université Saint Esprit de Kaslik (USEK) in Beirut, May 2002.

Miha Vipotnik has been a video artist, filmmaker, and commercial director in Ljubljana and Los Angeles for nearly twenty years. He was also the creator and curator of the International Video Bienniale during the 1980s, and earned MFAs in 1990 at the California Institute of the Arts and in 1979 at the Academy of Fine Arts at the University of Ljubljana. His recent works include a video installation Journey to the End of the Ends (2000), a video art piece Gazelle (2000) about the poetics … Read more

“Palimpsest”: A Retrospective Exhibition of Peter Jacobi

Peter Jacobi, Works 1972-1992, Romanian National Museum of Art, Bucharest, May 2002

The Romanian artist Peter Jacobi was born in 1935, and graduated from the Fine Arts Institute of Bucharest in 1961. He lived in Romania until 1970, at which point he established himself in Germany, the country where his artistic vocation has since been developing in various forms: he is a modern sculptor and photographer, concerned primarily with new media and new materials.

Until 1970, he and his wife, Ritzi Jacobi, displayed abroad at the International Tapestry Biennial from Lausanne (1969) and the Biennial from Venice (1970). After 1971, … Read more

Architecture in the Tension-Zone of National Assertiveness – the Examples of Poznan and Upper Silesia in the First Decades of the 20th Century

The following essay is part of a series devoted to contemporary art and architecture East-Central Europe. It was first delivered as a paper at a conference held at MIT in October, 2001.

The way in which architecture lends character to the appearance of a town and thus is present in the everyday life of all parts of society would seem to make buildings an instrument especially suitable for the manifestation of national identity. Thus, at the end of the 19th and in the first decades of the 20th century, architecture – especially in border regions – was often interpreted as

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Dangerous Liaisons

Dangerous liaisons, City Gallery “Arsenal” Poznan, April-May 2002, curator: Izabella Kowalczyk. Artists exhibited: Artur Zmijewski, Alicja Zebrowska, Dorota Nieznalska, Zbigniew Libera, Konrad Kuzyszyn, Zofia Kulik, Katarzyna Kozyra, Grzegorz Kowalski, Grzegorz Klaman, Anna Baumgart.

In April 2002 an exhibition Dangerous liaisons was opened in City Gallery “Arsenal” in Poznan. It was thought to sum up so-called critical art – one of the most important trends in contemporary Polish art in the ’90s. Critical art is seen as having taken the lead on the Polish art scene in the ’90s and as having now given way to other tendencies (one could … Read more

These Three Authors…

Küpper, Stephan. Autorstrategien im Moskauer Konzeptualismus. Il’ja Kabakov, Lev Rubinshtejn, Dmitrij A. Prigov (Berliner Slawistische Arbeiten 11). Frankfurt a.M. e.a., 207 p. 

Stephan Küpper (Berlin) examines the problems of authorship using the examples of three contemporary Moscow concept artists: the image and text artist Kabakov, and the two text artists Rubinshtein and Prigov.

As befits a work on authorship, the book itself is a reflection on the mechanisms of one’s own dominance of a presented text. Thus, the problems of authorship are reflected on one hand formally: the table of contents does without numeration and thus hierarchization of the parts … Read more

IRWIN (NSK) 1983-2002: From “Was ist Kunst?” via Eastern Modernism to Total Recall

The painters’ collective IRWIN (1983) is part of the artists’ collective Neue Slowenische Kunst(On Neue Slowenische Kunst cf. Arns, Inke: Neue Slowenische Kunst. Regensburg, 2002.) (NSK), together with the music group Laibach (1980), and the performance group Gledališce Sester Scipion Nasice (1983),which, in 1987, renamed itself Kozmokineticno Gledališce Rdeci Pilot, and, since 1990, has been called Kozmokineticni Kabinet Noordung.(A fourth sub-group should be mentioned here: the New Collectivism design group which consists of members of Laibach, Irwin and the theatre collective. New Collectivism is best known for a scandal that ensued in 1986/1987 when their

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Monumental Slums

Living inside the leviathan for almost twenty years now, I do have opinions about theway East European cities look, about how one dealt with their history and future and sometimes I even became a – minor – witness and/or actor in these processes. My perspective and my theoretical investigations are not however those of an anthropologist.

Therefore, instead of producing instant theories – a dear endeavor to many local intellectuals, regardless of their field of expertise – I will humbly share with the ArtMargins readers some of my gut feelings about the city, based upon my personal/subjective empirical observations. Just … Read more

“The Lover”, Dir. Valeri Todorovsky (Russia, 2002)

In his new picture The Lover (Liubovnik) Valery Todorovsky investigates the relationship between two men in search of happiness, of a happiness that lies in the past. The film bears a simple title, but it actually touches upon a very serious subject-matter: the loss of a loved person, wife and mistress. The woman herself is, in fact, absent from the film, since the film beginswith her death. Her husband, the linguistics professor Charyshev, tries to reconcile himself to her death and accidentally finds a letter to her lover Ivan. Charyshev searches for Ivan, whose affair with his wife
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From Sochi to Moscow: DEBUTS, DEBUTS, DEBUTS…

The 2002 Moscow International Film Festival (21-30 June) followed the Sochi Open Russian and International Festivals (1-13 June), and, even more so than in previous years, the festivals competed with each other for the right to premiere the most promising new Russian films. Although this year’s festival season had begun on a ‘low’ with only one single Russian entry to the Cannes official selection. Aleksandr Sokurov’s Russian Ark proved controversial less because of the artistic achievement of capturing Russian history in a journey through the Hermitage filmed in one single long take, but more because of the alleged nationalistic undertones
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Right At Home With Art

Just a 20 minute drive Southeast from Bratislava in Slovakia lays the provincial town of Samorin. On passing through, Samorin seems no different than any other small town in Central Europe still bearing the scars of war, occupation, and neglect. Yet through the endeavors of one average couple, Csaba and Suzanne Kis, Samorin is gradually finding its place on the map of Slovakian fine art. Neither Csaba nor Suzanne studied art, nor do they have any experience with running an art institution. Nonetheless, persistence and patience have finally brought the couple a place where both artists’ and their own dreams Read more