ARTMargins

Contemporary art across the evolving global peripheries

Category: Volume 8 Issue 1

Vlado Jakolić, Photograph from Izložba žena i muškaraca [Exhibition of Women and Men], June 26, 1969, Galerija Studentskog centra, Zagreb. Image courtesy of Arhiv za likovnke umjetnosti HAZU, Zagreb, Inv. no.: SC-46/F1.

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 by Marko Ilić ·

“Made in Yugoslavia”: Struggles with Self-Management in the New Art Practice, 1965–71

In September 1978, Zagreb’s Gallery of Contemporary Art staged the first survey exhibition of conceptual and performance art in Yugoslavia: The New Art Practice, 1966–78. Forty years on, the phenomenon continues to attract a substantial amount of scholarly and curatorial attention, largely because of its globally-renowned affiliates, such as Marina Abramović, Sanja Iveković and Mladen Stilinović, among others. But academic work has been hesitant to address the deeper political, economic and institutional factors that underpinned the New Art’s emergence and secured its prolific development. This article proposes that the New Art both came out of, and responded to, a complex … Read more

Janis Paul ̧uks. Relay-Race, early 1950s. Oil on canvas, 97 x 187 cm. Latvian National Museum of Art, Riga. Image courtesy of the Latvian National Museum of Art.

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 by Māra Traumane ·

Instructive, Dramatic, and Corrective Collectivity: Socialist Realism in the Mirror of Collegial Debates. A Case Study of Documents of the Artists’ Union of the Latvian Soviet Socialist Republic, 1944–55

Based on the study of protocols of the Latvian Artists’ Union and the Organizational Committee of the Artists’ Union of the USSR, the article surveys three stages of the introduction of Socialist Realism in Latvia and different forms and functions of the enforced collegial collectivity facilitating this process. The article examines the transformation of artistic life in Latvia during the period of Stalinism, which not only meant stylistic transition towards Socialist Realism but also involved the imposition of a range of practices of collective supervision of artistic production and censorship, including collective debates, collective advice, collective learning and collective critique. … Read more

Titre de Travail, FRAC Grand Large–Hautsde-France, Dunkerque, 2018 (exhibition views, photos: Aurélien Mole).* *Image file titled FRAC

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Free Content © 2019 ARTMargins and the Massachusetts Institute of Technology

 by Romana Schmalisch ·

Labor Power Plant

In those societies in which the capitalist mode of production prevails, labour power is tradable as a commodity and, as such, not a natural good or human capacity, but rather a socially mediated and constituted relation. The project “Labour Power Plant” operates on the fictitious assumption that the everyday, all-pervasive, seemingly natural and therefore invisible micro-politics present in society do in fact not exist. In other words, that society is by itself unable to provide for the human capital on which it depends. Instead, the production of abstract workers is outsourced into a dedicated “labour power plant” – an institution … Read more

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 by Ivana Bago ·

Yugoslavia as World History: The Political Economy of Self-Managed Art

Branislav Jakovljević’s study on performance and self-management in Yugoslavia and Armin Medosch’s research on New Tendencies and post-Fordism share a number of analytical frameworks that the review argues partake in a broader shift towards political economy as a key framework for art historical inquiry. This shift elicits what could once again be called a world-historical perspective: both of these books anchor their narratives in post-war Yugoslavia but only in order to show that the telling of the story of Yugoslav art requires the telling of the story of the world, a story that is not simply an instance of global … Read more

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 by Lidia Klein ·

Introduction to “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” Academy of Fine Arts, Warsaw

The introductory text presents “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” a document translated into English from Polish and published here. The original document was first published in Czereja, a magazine created by the students of Kowalnia, a studio for diploma art students run by Grzegorz Kowalski in the Department of Sculpture at the Academy of Fine Arts in Warsaw. “Common Space” compiles the students’ accounts of a performative group activity entitled Pierożek drewniany, zimnym mięsem nadziewany (translated as Wooden Dumpling, Filled with Cold Meat) from the 1992–93 academic year. The … Read more

Print Content / Volume 8 Issue 1

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Free Content © 2019 ARTMargins and the Massachusetts Institute of Technology

 by Monika Dzik ·

Common Space and Individual Space: Comments on a Group Task from the First Half of 1993

The introductory text presents “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” a document translated into English from Polish and published here. The original document was first published in Czereja, a magazine created by the students of Kowalnia, a studio for diploma art students run by Grzegorz Kowalski in the Department of Sculpture at the Academy of Fine Arts in Warsaw. “Common Space” compiles the students’ accounts of a performative group activity entitled Pierożek drewniany, zimnym mięsem nadziewany (translated as Wooden Dumpling, Filled with Cold Meat) from the 1992–93 academic year. The … Read more