Note: This double issue of ARTMargins consists of two sections. First comes a special issue, edited by Sven Spieker and Tom Holert (“The Heresy of Didactic Art”), followed by a section where we offer four new research articles on topics aligned with other editorial priorities (pp. 126-225).

ARTMargins, Volume 11, Issue 1-2, pp. 3-9.

doi:10.1162/artm_e_00312

https://direct.mit.edu/artm/article/11/1-2/3/111799/The-Heresy-of-Didactic-Art

Following from a series of conversations that have been taking place sporadically between us11 in the past years, the current contribution serves as another opportunity to address ways of living multiple institutional lives. In our respective contexts, these pertain to different types of institutions, ranging from art school/academy, to university, to art or cultural organization/collective. Here we explore ways of traversing the boundaries and frictions between radical classroom practices and the institutional processes and frameworks that we speak and act within and against in the context of European higher arts education; all these environments are deeply entrenched in coloniality. We … Read more

The introductory text interprets Eszter Bartholy’s article about Miklós Erdély’s exhibition Hidden Green. Bartholy’s article is based on an interview with Erdély, and contain direct and indirect quotes from one of the most significant Hungarian neo-avant-garde artist. The introductory text describes how Erdély’s own interpretation of his exhibition Hidden Green is present in Bartholy’s article. Bartholy’s analysis of Hidden Green sheds light on the way that Erdély combines ars poetica and art theory, while directly reflecting on utopia and on the social function and significance of art. While the text about Hidden Green seems like the interpretation of an exhibition, … Read more

Erdély spread hay over approximately four-fifths of the 12 × 5 m floor of the Budaörs Cultural Center. He left the remaining one-fifth near the entrance uncovered. The door, illuminated by a spotlight, was painted black along with the adjacent area in order to prevent reflections of the spotlight. The space was dominated by a homogeneous green light.

ARTMargins, Volume 11, Issue 1-2, pp. 102-105.

This short text is structured in two parts. The first one defines a significant part of my artistic practice as finding a way to represent thought, to transmit the action of thinking, this being done by means of short notes, diagrams, drawings, and sketches in a notebook. The second part defends an idea of art as accessible and necessary for everyone, pedagogical not in the sense that it “should” transmit knowledge but in the sense that it constructs a society where learning is pleasure.

ARTMargins, Volume 11, Issue 1-2, pp. 106-123.

The articles in the second section of our double issue focus on art practices from Eastern Europe, the former Soviet Union, and Palestine. Each in their own way, these authors discuss art and film practices that complicate the process by which we establish genealogies, trace histories, and narrate historical developments, intervening in linear trajectories and pointing to possible alternatives.

ARTMargins, Volume 11, Issue 1-2, pp. 124-125.

doi:10.1162/artm_e_00307

https://direct.mit.edu/artm/article/11/1-2/124/111808/From-The-Editors

Mohammadreza Mirzaei’s “Introduction to Jalal Al-e Ahmad’s “To Mohassess, For the Wall’ “ (ARTM 10:2), p. 120 (https://doi.org/10.1162/artm_a_00296) contains an error. The line “For example, neither the work of Behjat Sadr nor Mohsen Vaziri Moghadam’s Sand Paintings …” should read, “For example, the work of Behjat Sadr as well as Mohsen Vaziri Moghadam’s Sand Paintings… .” We regret the mistake.

ARTMargins, Volume 11, Issue 1-2, pp. 226.