Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology (MoMA Primary Documents)

The fall of the Berlin Wall and the ripple effects felt over the following years from Bucharest to Prague to Moscow demarcate a significant moment when artists were able to publicly reassess their histories and question the opposition between the former East and the former West. __Art and Theory of Post-1989 Central and Eastern Europe__ takes the pivotal political changes between 1989 and 1991 as its departure point to reflect on the effects that communism's disintegration across Central and Eastern Europe—including the Soviet Union's fifteen republics—had on the art practices, criticism, and cultural production of the following decades. This book presents a selection of the period's key voices that have introduced recent critical perspectives. Particular attention is given to the research and viewpoints of a new generation of artists, scholars, and curators who have advanced fresh critical perspectives and who are rewriting their own histories. Their examination of artistic practices and systems of cultural production proposes distinct outlooks for acting in the contemporary world while simultaneously rethinking the significance of the socialist legacy on art today. __Art and Theory of Post-1989 Central and Eastern Europe__ is an indispensable volume on modern and contemporary art and theory from the region. Contributors. Branislava Andjelković, Edit András, Inke Arns, Marius Babias, Zdenka Badovinac, Ivana Bago, Zbyněk Baladrán, Claire Bishop, Luchezar Boyadjiev, Andreas Broeckmann, Boris Buden, Ilya Budraitskis, Ondřej Chrobák, Keti Chukhrov, Kim Conaty, Cosmin Costinaş, Eda Čufer, Bojana Cvejić, Ekaterina Degot, Branislav Dimitrijević, Michelle Elligott, Octavian Esanu, Yevgeniy Fiks, Meghan Forbes, Maja Fowkes, Reuben Fowkes, Boris Groys, Daniel Grúň, Marina Gržinić, Vít Havránek, Jon Hendricks, IRWIN (Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik), Sanja Iveković, Ana Janevski, David Joselit, Tímea Junghaus, Klara Kemp-Welch, Juliet Kinchin, Zofia Kulik, Andres Kurg, Katalin Ladik, Václav Magid, Eva Majewska, David Maljković, Roxana Marcoci, Lina Michelkevičė, Aldo Milohnić, Viktor Misiano, Rastko Močnik, Magdalena Moskalewicz, Deimantas Narkevičius, Ksenia Nouril, Ewa Opałka, Martina Pachmanová, Bojana Pejić, Dan Perjovschi, Nataša Petrešin-Bachelez, Piotr Piotrowski, Bojana Piškur, David Platzker, Paulina Pobocha, Tomáš Pospiszyl, Lýdia Pribišová, Oleksiy Radynski, Karol Radziszewski, Christian Rattemeyer, Cristina Ricupero, Georg Schöllhammer, David Senior, Alina Șerban, Slavs and Tatars, Sven Spieker, Tamas St.Auby, Zuzana Štefková, Jakub Stejskal, Mladen Stilinović, subREAL, Tomás Svoboda, Ovidiu Ṯichindeleanu, Margarita Tupitsyn, Gediminas Urbonas, Nomeda Urbonas, Jonas Valatkevičius, Jelena Vesić, Dmitry Vilensky, Raluca Voinea, What, How & for Whom (Ivet Ćurlin, Ana Dević, Nataša Ilić, and Sabina Sabolović), Igor Zabel, Artur Żmijewski The fall of the Berlin Wall and the ripple effects felt over the following years from Bucharest to Prague to Moscow demarcate a significant moment when artists were able to publicly reassess their histories and question the opposition between the former East and the former West. Art and Theory of Post-1989 Central and Eastern Europe takes the pivotal political changes between 1989 and 1991 as its departure point to reflect on the effects that communism's disintegration across Central and Eastern Europeincluding the Soviet Union's fifteen republicshad on the art practices, criticism, and cultural production of the following decades. This book presents a selection of the period's key voices that have introduced recent critical perspectives. Particular attention is given to the research and viewpoints of a new generation of artists, scholars, and curators who have advanced fresh critical perspectives and who are rewriting their own histories. Their examination of artistic practices and systems of cultural production proposes distinct outlooks for acting in the contemporary world while simultaneously rethinking the significance of the socialist legacy on art today. Art and Theory of Post-1989 Central and Eastern Europe is an indispensable volume on modern and contemporary art and theory from the region. Contributors. Branislava Andjelkovi, Edit Andrs, Inke Arns, Marius Babias, Zdenka Badovinac, Ivana Bago, Zbynk Baladrn, Claire Bishop, Luchezar Boyadjiev, Andreas Broeckmann, Boris Buden, Ilya Budraitskis, Ondej Chrobk, Keti Chukhrov, Kim Conaty, Cosmin Costina, Eda ufer, Bojana Cveji, Ekaterina Degot, Branislav Dimitrijevi, Michelle Elligott, Octavian Esanu, Yevgeniy Fiks, Meghan Forbes, Maja Fowkes, Reuben Fowkes, Boris Groys, Daniel Gr, Marina Grini, Vt Havrnek, Jon Hendricks, IRWIN (Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik), Sanja Ivekovi, Ana Janevski, David Joselit, Tmea Junghaus, Klara Kemp-Welch, Juliet Kinchin, Zofia Kulik, Andres Kurg, Katalin Ladik, Vclav Magid, Eva Majewska, David Maljkovi, Roxana Marcoci, Lina Michelkevi, Aldo Milohni, Viktor Misiano, Rastko Monik, Magdalena Moskalewicz, Deimantas Narkeviius, Ksenia Nouril, Ewa Opaka, Martina Pachmanov, Bojana Peji, Dan Perjovschi, Nataa Petrein-Bachelez, Piotr Piotrowski, Bojana Pikur, David Platzker, Paulina Pobocha, Tom Pospiszyl, Ldia Pribiov, Oleksiy Radynski, Karol Radziszewski, Christian Rattemeyer, Cristina Ricupero, Georg Schllhammer, David Senior, Alina erban, Slavs and Tatars, Sven Spieker, Tamas St.Auby, Zuzana tefkov, Jakub Stejskal, Mladen Stilinovi, subREAL, Toms Svoboda, Ovidiu Tichindeleanu, Margarita Tupitsyn, Gediminas Urbonas, Nomeda Urbonas, Jonas Valatkeviius, Jelena Vesi, Dmitry Vilensky, Raluca Voinea, What, How & for Whom (Ivet urlin, Ana Devi, Nataa Ili, and Sabina Sabolovi), Igor Zabel, Artur mijewski Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology takes the dramatic political changes during the pivotal years between 1989 and 1991 as its departure point, reflecting on the effects of the disintegration of socialist states across Central and Eastern Europe on art, theory, and criticism of the last thirty years. The fall of the Berlin Wall and the social and political transformations that followed from Bucharest to Prague to Moscow marked a significant moment when artists were able to publicly reassess their histories and to question the opposition between East and West that defined the Cold War era. Featuring key voices that span the post-transition period, from the early 1990s to the present, this book makes an indispensable contribution to our understanding of modern and contemporary art from the region, with particular focus on the work of a new generation of artists, scholars, and curators who offer fresh critical perspectives and are still rewriting their own histories. Their research on artistic practices and systems of cultural production proposes distinct strategies for acting in the contemporary world and reevaluating the significance of the socialist legacy, a task made ever more urgent by the political realities of today-- Inside flap