In 2004, Barbara Benish founded the NGO Art Dialogue, which, among other things, supports programs and a farm at ArtMill, a renovated flourmill and granary from the 17th century located in the forested countryside bordering Šumava National Park (one of the largest remaining greenbelts in Europe). Positioned on a lake, ArtMill has become an international destination for artists, scientists, environmentalists, writers and students of all ages to study, collaborate and create. The rural property consists of living quarters, renovated studio structures, barns, outdoor workspaces and organic gardens. This text is adapted from conversations between Benish and Janeil Engelstad between 2012 … Read more
Category: Online Articles
Budapest Farmer’s Hack is a project developed in 2013 by Attila Nemes and Péter Eszes for OS Kantine, a media lab that focuses on open systems, open knowledge and the effort to build sustainable, community based models, while supporting other groups engaged in the same work. The trial project included the reclaiming of unused community gardens where plant needs, water, light, and nutrients were monitored by sensors that fed information into a digital network, which made the labor spent on taking care of the garden more productive. The text below is adapted from a conversation with Attila Nemes.
Through Budapest … Read more
If I Had a River is an exploration of what it means to live a sustainable life; in this case, on a boat that Slovak artist Oto Hudec constructed with all of the necessary provisions and a functioning garden for living independently at sea.
My thinking about this project started roughly four years ago with a simple drawing of a boat hosting a garden of edible plants. The drawing felt like the best illustration of my dream of a utopian model for living. A boat is a closed space with very defined borders. As my idea was to make life … Read more
Since 2006, Matej Vakula has researched and documented the increased surveillance and politicization of public space throughout the globe, from Slovakia, Poland, and the Czech Republic to Boston and New York City. Observing how public space serves the interests of the public less and less, and how spaces that were once public are now claimed and held by private and government factions, Vakula was inspired to create Manuals for Public Space (MfPS). Rooted in open-source philosophy, MfPS is a participatory multi-platform project (based in Brooklyn and Slovakia) that includes interventions, an interactive blog and website, and printed manuals that outline … Read more
At the 2007 Venice Biennale, and for the first time in the history of the event, art works produced by Romani artists were displayed in the Roma Pavilion. The exhibition for the first Roma Pavilion, entitled Paradise Lost, was curated by cultural activist and art historian Timea Junghaus. Contemporary artists of Roma descent had the chance to engage artistically and politically with their own identity concerns. Junghaus clearly states in the exhibition catalogue: “a new generation of Roma intellectuals and artists is emerging; along with a new Roma consciousness…The Roma Pavilion at the Venice Biennale will be the first, internationally … Read more
Open Letter from the Art Workers’ Self-Defense Initiative to the Ukrainian and International Art Community
Open Letter from the Art Workers’ Self-Defense Initiative to the Ukrainian and International Art Community(The Art Workers’ Self-Defense Initiative was established in Kyiv in 2012 to monitor and influence common practices in Ukraine’s cultural sphere, especially regarding the transparency and legality of institution–artist relations and the fair compensation of artistic labor.)
We are calling for a boycott of Mystetskyi Arsenal and all of its affiliate organizations in response to the situation surrounding the exhibition Great and Grand, which became part of the celebration of the 1025th anniversary of the baptism of Kyivan Rus (July 26-28, 2013).(Mystetskyi … Read more
SubREAL During the 1990s: Ironic Monuments, Tainted Blood, and Vampiric Realism in a Time of Transition
During the 1990s the subREAL group(subREAL was founded in April 1990 by Calin Dan and Dan Mih?l?ianu. Iosif Király joined the group in February 1991. In August 1993 Dan Mih?l?ianu left subREAL, which operates since as an artist-duo.) – the first of its kind from Romania to operate in an international context after 1989 – investigated the culture of late-communist Romania and the subsequent period of (post-1989) transition, with its turn to a more or less unbridled form of liberal capitalism and the establishment of democratic institutions that continued to be dominated by the old elites. In their … Read more
Jan Tichy (Czech, b. 1974) is a Chicago-based artist who works at the intersection of multiple media. Central to his practice is the use of video projection as a time-based source of light as well as modernist photographic histories that serve as both formal inspiration and conceptual lens for exploring contemporary sites. His recent project 1979:1-2012:21: Jan Tichy Works with the MoCP Collection was on view at the Museum of Contemporary Photography, Chicago, October 12- December 23, 2012 (http://www.mocp.org/exhibitions).
At the core of Jan Tichy’s multimedia practice is an investigation of the protean and plastic properties of light, an exploration … Read more
Landscape photography plays a crucial role in portraying the social and political order. As early as 1936, Walter Benjamin saw a critical potential of this genre. He compares photographs by Eugene Atget to pictures taken at crimes scenes: “A crime scene, too, is deserted; it is photographed for the purpose of establishing evidence. With Atget, photographic records begin to be evidence in the historical trial [Prozess]. This constitutes their hidden political significance.”Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction.” Second Version , in Walter Benjamin, Selected Writings, vol. 3, 1935-1938 (Harvard University Press, 2002), … Read more
TACTICS FOR THE HERE AND NOW: THE 5TH INTERNATIONAL BUCHAREST BIENNIAL FOR CONTEMPORARY ART, VARIOUS LOCATIONS, MAY 25 – JULY 22, 2012
How can an art biennale take a renewed critical stance towards its own immersion in the production of cognition, and in the effects of accelerated semiocapitalism, or the capitalization of linguistic labor (to which the critical discourse of contemporary art certainly belongs)?Franco Berardi Bifo, Precarious Rhapsody. Semiocapitalism and the Pathologies of the Post-Alpha Generation (Minor Compositions, London), 2009, pp. 44-49. Tackling the broad topic of the precariousness of contemporary living – or radical instability, loosely defined in … Read more
OSTALGIA, THE NEW MUSEUM, NEW YORK, JULY 6 – OCTOBER 2, 2011
Slavenka Drakuli?, How We Survived Communism and Even Laughed
When choosing a radically new project or goal, people can modify their past, making it interesting and enjoyable.(Artis Svece, “Augu seka un pag?tnes estetiz?šana = Crop Rotation and the Aestheticization of … Read more
“Even the automobiles have an air of antiquity here”. — Guillaume Apollinaire
“Only here”, Chirico once said, “is it possible to paint. The streets have such gradation of gray.” — Walter Benjamin
Skopje, the capital of the Republic of Macedonia at the moment undergoes one of Europe’s biggest urban and art upheavals – the project is dubbed Skopje 2014. Labeled as a “building bonanza”,(Smith, Helena. “Macedonian statue: Alexander the Great or a Warrior on a Horse?”, Guardian, 14 August 2011, http://www.guardian.co.uk/world/2011/aug/14/alexander-great-macedonia-warrior-horse) by the British Guardian, Skopje 2014 project was planned by the Government for several … Read more
Ostalgia, The New Museum, New York, July 14-October 2, 2011
Nostalgia has many guises – homesickness, yearning, desire, melancholia. Susan Stewart defines nostalgia as a “social disease,” a “sadness without an object,” a narrative that is fundamentally ideological. “Hostile to history and its invisible origins . . . ,” she argues, “nostalgia wears a distinctly utopian face, a face that turns toward a future-past, a past which has only ideological reality.”(Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore and London: John Hopkins University Press, 1984), 23.) Walter Benjamin wrote about Leftist … Read more
REARVIEW MIRROR: NEW ART FROM CENTRAL AND EASTERN EUROPE, THE POWER PLANT, TORONTO, JULY 1, 2011 – SEPTEMBER 5, 2011; THE ART GALLERY OF ALBERTA, EDMONTON, JANUARY 28, 2012 – APRIL 29, 2012
Identificatory scenarios abound in Rearview Mirror: New Art from Central and Eastern Europe, which is co-produced by The Power Plant Art Gallery in Toronto and the Art Gallery of Alberta in Edmonton. As the site of a subject’s first encounter with their own image as Other, the mirror appears in both literal and figurative guise in a number of the works on display here. And yet the … Read more
Preparing for my first time back in Romania after 7 years I was filled with a certain anxiety: those stray dogs I remembered wandering the streets in packs, the beggars on every street corner, the guilt one feels for being a “privileged foreigner” amidst all the poverty and misery.
And yet my one week stay, undertaken thanks to a grant from the Romanian Cultural Institute, was filled with surprises: on the surface at least everything looked like a county on the cusp of change. Bucharest was vibrant and alive with an amazing energy, and specifically the art scene was in … Read more
Throughout the past two years and in three consecutive exhibitions the Budapest Ludwig Museum has displayed parts of its collection, with an accent on recently acquired or rarely seen artworks. The show Kind of Change, which ran between March and May 2011, offered pieces purchased by or donated to the Ludwig between 2009-2011. The museum’s board selected works by Hungarian artists who have already entered the national canon of contemporary art, or who have made a name for themselves internationally, as well as works by a younger generation of East-Central European artists who are anticipated to become household names on … Read more
As expressed in this special issue, since the political changes of 1989 and Hungary’s subsequent membership in the EU, there has been a significant transformation of the country’s cultural atmosphere, avenues of discourse and forums for artistic expression. The diversity of the articles appearing in this ARTMargins Hungary Focus issue are indicative of this reshaping of the cultural environment. Yet in contrast to this transformation, in July of 2010 the Hungarian parliament established the National Media and Communications Authority; on December 21st a national Media Council was established. At the beginning of 2011 the laws resulting from this legislation came … Read more
The Erika Deák gallery was founded in 1998. Before this, Erika Deák lived in the United States for almost a decade. She graduated from Temple University, Philadelphia, and was working in several art galleries in New York City, while writing for different art magazines.
After moving back to Budapest in 1998 she opened her gallery in a small apartment on the third floor of a residential building in Buda. It was one of the first commercial galleries in Budapest. The first exhibit was a collaboration with the Ludwig Museum, Budapest. While the museum exhibited the large-scale installation works of Spanish … Read more
A filmmaker, visual media artist, writer, teacher, curator and co-editor of ARTMargins, Allan Siegel has been involved in the experimental film movement and is one of the founding members of the documentary film collective Newsreel. He has taught at the School of the Art Institute of Chicago, has exhibited work in New York, Chicago, London, Montreal, Pécs and Budapest, and is currently a lecturer in the Intermedia Department at the Hungarian University of Fine Arts.
In Hungary, prior to the political changes of 1989 (and then still for a good number of years afterwards) the practical opportunities for … Read more
Critical art practices (once also labeled avant-garde) have been playing out their death throes ever more dramatically in recent years.(For a historical and theoretical reconstruction of the death throes of avant-garde art in the 20th century, cf.: Paul Mann, Theory-Death of the Avant-Garde (Bloomington: Indiana University Press, 1991).) On the one hand, this might be so precisely because more and more artists, curators, and collectors have taken an interest in them; but on the other hand, if they do die out definitively, then the real danger exists that there will be no alternative at all to global techno-capitalism … Read more
Participatory art projects are not common in the Hungarian visual art scene. If we see this kind of artistic activity as having something to do with social engagement, it might be easier to understand its rarity. After a rising interest at the turn of the century, only a few artists have continued to develop socially engaged projects in the past few years. The art scene is not receptive to self-restricting artistic activity and autonomy.(See texts on some art collectives of the 1980s and 1990s (the Újlak Group, Szürenon, INDIGO etc. in IMPEX: We Are Not Ducks on The Pond … Read more
Similar to the country’s system of cultural institutions, the Hungarian museum system is bloated. Budapest is the cultural center of the country, as anything outside its limits is still referred to as provincial. The country’s major art museums with their most important exhibitions, large art schools, journals, artists, and the richest collections are all situated in the capital.
The most serious attempt to decentralize the museum system dates back to before the political transition. However, this was not a once-and-for-all resolution, since the upgrading of rural locations outside of Budapest was actually a project in the works intermittently from the … Read more
The two most weighty Hungarian contemporary art institutions, M?csarnok (Kunsthalle) and the Ludwig Museum Budapest have gone through significant changes during the last couple of years, in terms of both their institutional structures and exhibition policies. M?csarnok-founded in 1877, opened in 1896, and still utilizing its original exhibition space-follows the model of the German Kunsthallen. Since 2007, after a long period as a state funded institution, it has been a non-profit, limited liability company with two external exhibition spaces; the Ernst Museum and the Dorottya Gallery (director, Zsolt Petrányi since 2006).
The Ludwig Museum, officially founded in 1996, but … Read more
“Where are the women artists of Venice?” asked the Guerilla Girls in 2005. After investigating the ratio of woman artists exhibited in the most famous Venetian museum collections, they concluded that they are “underneath the men.” They communicated this in a humorous way on one of their posters exhibited at the Venice Biennale, placed above the following data: “of more than 1,238 artworks currently on view inthe major museums of Venice, fewer than 40 are by women.” Even earlier, the Guerilla Girls concluded that the situation in Europe is worse than in the United States (“It’s even worse in Europe,” … Read more
In 2007, at the Venice Biennial, Andreas Fogarasi’s Kultur und Freizeit (curated by Katalin Timár) received the Golden Lion award for the best national pavilion. The work dealt with the socialist cultural houses and remnants of socialism in a video installation. Fogarasi is Hungarian, based in Vienna and in his early thirties. According to a logic typical of secondary memory or “post-memory”, this young artist “remembered” something of which he had little or no first-hand experience, partly because of his age and partly because of his location, geographically close but mentally far from socialist Hungary.
According to Piotr Piotrowski , … Read more
Contemporary East European Art in the Era of Globalization: From Identity Politics to Cosmopolitan Solidarity (Articles)
With integration in the globalized art world, the ever-elusive notion of contemporary East European art is today becoming increasingly intangible and diverse. These changed circumstances are reflected in the East European art scene which now includes artists that are not necessarily based in their native countries, but may still work with the legacy of shared histories and experiences; artists living in the region but working internationally without the burden of their own socio-political past; as well as non-native artists who work either in collectives or individually and who have settled in the capitals of the former Eastern Bloc, or simply … Read more
The Bucharest Biennale runs until July 25th at various venues in Bucharest, and with a series of parallel events in Stockholm (3 June to 24 September). For details go to www.bucharestbiennale.org.
I arrived at Bucharest’s retro-communist, chaotic airport the day when there were large demonstrations in the streets of Romania’s capital. Most of the demonstrators were over 60, and they were protesting against the cuts of their state-pensions. It is a mystery where the money sent to Romania by the IMF has gone. It’s not a mystery, however, to the locals on the Crânga?i tram: “Este putrezire,” they shrug, … Read more
This article represents a (drastically) revised version of a text(Альмира Усманова «Белорусский détournement, или искусство обходного маневра как политика» // Топос, # 13 (2/2006), сс.91 – 127.)* originally published in 2006 in a special volume of the academic journal of philosophy and cultural theory, Topos.(The journal was launched in 2000 and is published by European Humanities University in Vilnius. See the archive of the journal: http://topos.ehu.lt/zine/index.htm.) The entire volume, entitled “Choice and Elections,” was dedicated to the phenomenon of political (non)participation in contemporary Belarus, or more precisely, to the paradox of the political … Read more
MARINA ABRAMOVIĆ, THE ARTIST IS PRESENT, MUSEUM OF MODERN ART, NEW YORK, MARCH 13-MAY 31, 2010
If in the early stages of her career Marina Abramović’s work gained much of its magnetic allure from its spontaneity and ephemerality, in recent years the artist has shown a heightened interest in the problem of how performance art – whose essential medium is time – can be preserved. Recognizing the calamity, the artist recently established the Marina Abramović Institute for the Preservation of Performance Art in Hudson, N.Y., near where she has a home (the Institute is scheduled to open in 2012). The … Read more
Most people in the art world by now have some sort of intuitive understanding that postmodernism is being replaced by something new, but few have tried to define what that “newness” is in a binding way. One of the few recent attempts of this kind was made by Nicolas Bourriaud while curating an exhibition called Altermodernism at the Tate Triennial in early 2009. Bourriaud suggests that the new post-postmodern art is the “positive experience of disorientation through an art-form exploring all dimensions of the present, tracing lines in all directions of time and space.” In his view, the artists involved … Read more