Category: ARTMargins Online: Exhibition Reviews

In 2018, on an October evening, the Hungarian National Gallery became the site of unusual activities: the artist Ágnes Eperjesi appeared in Cupola Hall of the building that was once the Royal Castle to ceremoniously cover the bronze cast of a naked girl. The life-sized sculpture, made of two unattached bronze shells by artist Gyula Pauer (1941–2012), represents seventeen-year-old Csilla Molnár (1969–1986) who won the country’s first postwar beauty pageant in 1985. One of the most publicized events of 1980s Hungary, attracting more than two thousand contestants, the pageant was broadcast on television for the viewing pleasure of millions and … Read more

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

Poetry & Performance: The Eastern European Perspective, Shedhalle, Zurich, August 16–October 28, 2018

The center of the spacious exhibition hall of Zurich’s Shedhalle was empty. Tomáš Glanc and Sabine Hänsgen, curators of the exhibition Poetry & Performance: The Eastern European Perspective,(Curated by Tomáš Glanc and Sabine Hänsgen, in corporation with Dubravka Djurić, Emese Kürti, Claus Löser, Pavel Novotný, Branka Stipančić, Darko Šimičić, Mara Traumane) purposefully arranged the exhibition’s artworks in a circular progression enclosing this empty center, and with the following sections: Writing-Reading-Performance; Audio Gestures; Interventions in Public Space; Body Poetry; Cinematographic Poetry; and Language Games. The device … Read more

Years of Disarray 1908-1928. Avant-gardes in Central Europe, Olomouc Museum of Art, Olomouc (CZ), September 21, 2018–January 27, 2019

Among the proliferation of First World War related exhibitions of recent years, several have been devoted to the historical avant-garde, a label attached to numerous artistic movements that formed before and during the war. (This review was written as a part of the research project of the Petőfi Literary Museum–Kassák Museum under a grant from the National Office of Research, Development and Innovation, Project-No. NKFIH, K-120779, “The Avant-Garde Periodicals of Lajos Kassák from an Interdisciplinary Perspective (1915–1928).”) The travelling … Read more

Edi Hila: Painter of Transformation, Museum of Modern Art, Warsaw,  March 2-May 6, 2018

Since its foundation in 2005, the Museum of Modern Art in Warsaw has been engaged in an intellectually challenging attempt to reevaluate the artistic practice of several artists from post-war Eastern Europe whose works have so far mostly escaped under the radar of major Western art institutions. Shows by such artists as Andrzej Wróblewski, Ion Grigorescu, Alina Szapocznikow, Július Koller, Mária Bartuszová, among others, strived to move beyond the usual Cold War-era binaries of East and West, communism and capitalism, in order to show a more … Read more

A silent video of Vladimir Lenin speaking enthusiastically to Russian crowds greets the visitors of the Jewish Museum’s second floor. We hear no words, but Lenin appears victorious; the footage, we assume, must have been filmed after April 1917, when the exiled leader had just been clandestinely brought back from Switzerland onboard a German train. In the following months, Lenin would successfully lead a revolution that overthrew the tsarist regime and ventured to turn Russia into a communist state. And while it only took a few years for this sense of communist idealism to be swiftly replaced by an authoritarian … Read more

Larisa Crunțeanu, Aria Mineralia Zachęta Project Room, Warsaw, October 20 – December 2, 2018.

For her exhibition Aria Mineralia at Zachęta Project Room, Larisa Crunțeanu, a Romanian-born, Warsaw-based artist and curator, has created a sound-based installation along with accompanying ceramics, neon, costumes, and video works that all address notions of camouflaging as an activity of playful subversion.(Aria Mineralia at Zachęta Project Room, Warsaw, is part of the cultural project F vs F, produced by Copia Originala Association and co-funded by the National Cultural Administration Fund, Romania. Partner of the exhibition: Anca Poterasu Gallery.) The title Aria Mineralia refers … Read more

Hunter College Art Galleries, June 21–August 19, 2018

In 1970, the influential Chicano artist Carlos Almaraz created a series of minimalist collages. Superimposing select magazine cutouts—including pornographic images of women, male physique models, and animals—over a piece of grid paper, Almaraz disrupted the structure of the ordered field while using the grid to visually connect disparate images across the picture plane. Exhibited as part of Axis Mundo: Queer Networks in Chicano L.A. at the Hunter College Art Galleries in New York, Almaraz’s gridded collages convey some of the show’s most vital concepts: they defy a narrative centered on a singular … Read more

Riots: Slow Cancellation of the Future, ifa-Galerie, Berlin, January 26 – April 2, 2018

In March 2018, with scorching temperatures of the Indian summer peaking, tens of thousands of farmers descended on Mumbai. Despite walking for six days, they waited to enter the city at midnight on their way to the state legislature building, so as not to disrupt traffic. It was an unusual scene: red flags with hammer and sickle, red caps and bloodied bare feet pressed a panorama of revolutionary icons into the empty nocturnal roads of one of the most densely populated urban sprawls in the world. … Read more

ILONA NÉMETH, EASTERN SUGAR, KUNSTHALLE BRATISLAVA, APRIL 13 – JULY 15, 2018

Seen in the shape of its mountains and the growth patterns of its aging population, the conical sugarloaf is often used to describe forms in Slovakia’s physical and social landscape.(Stephen Joseph Palickar, Slovakian Culture in the Light of History: Ancient, Medieval and Modern (MN: Hampshire Press, 1954), p. 53; Roy E. H. Mellor, Eastern Europe: A Geography of the Comecon Countries (London, UK: Macmillan Press Ltd., 1975), p. 115.) As a “body” with “weight…we can neither see nor touch,” the sugarloaf is also the object that … Read more

Duane Linklater: From Our Hands, 80WSE Gallery, New York, December 8, 2016-February 18, 2017

Dismantling the walls of a gallery is already and always a political act, a metaphor for the literal deconstruction of white cube certainties. From Our Hands, the 2017 solo exhibition by Duane Linklater, an Omaskêko Cree artist from Northern Ontario, Canada, was performed partly in the spirit of institutional critique. The show had been made multiple by the inclusion of beadwork by his late grandmother, Ethel Linklater, and by an animated video by his then twelve-year-old son, Tobias Linklater.(Duane Linklater, Ethel Linklater, and Tobias Linklater, … Read more

Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test, Art Institute of Chicago, October 29, 2017–January 14, 2018
Revolution Every Day, at the Smart Museum of Art, Chicago, September 14, 2017–January 28, 2018

At a time when our own political moment has given rise to dangerous neoliberalism and right-wing nationalism across Europe and the United States, Revolutionary Russia of a century ago with its promise of social equality and transformation continues to seduce our imagination (at least in the former West), despite the ultimate failure of the Soviet project. This seduction fueled two recent shows in Chicago that marked the centennial … Read more