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E-raamat: Socially Engaged Art after Socialism: Art and Civil Society in Central and Eastern Europe

(Susquehanna University, USA)
  • Formaat: 384 pages
  • Ilmumisaeg: 30-May-2017
  • Kirjastus: Bloomsbury Visual Arts
  • Keel: eng
  • ISBN-13: 9781786732224
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  • Formaat: 384 pages
  • Ilmumisaeg: 30-May-2017
  • Kirjastus: Bloomsbury Visual Arts
  • Keel: eng
  • ISBN-13: 9781786732224

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The post-1989 period has seen artists in Central and Eastern Europe embrace socially engaged practices. Reclaiming public life from the ideologies of both communist regimes and neoliberalism, their projects have harnessed the politically subversive potential of social relations based on trust, reciprocity and solidarity. Drawing on archival material and exclusive interviews, in this book Izabel Galliera traces the development of socially engaged art from the early 1990s to the present in Bulgaria, Hungary and Romania. She demonstrates that, in the early 1990s, projects were primarily created for exhibitions organized and funded by the Soros Centers for Contemporary Art. In the early 2000s, prior to Bulgaria, Hungary and Romania entering into the European Union, EU institutions likewise funded socially-conscious public art in the region.

Today, socially engaged art is characterised by the proliferation of independent and often self-funded artists' initiatives in cities such as Sofia, Bucharest and Budapest. Focusing on the relationships between art, social capital and civil society, Galliera employs sociological and political theories to reveal that, while social capital is generally considered a mechanism of exclusion in the West, in post-socialist contexts it has been leveraged by artists and curators as a vital means of communication and action.

Arvustused

Socially Engaged Art after Socialism is the first comprehensive scholarly treatment of the important new forms of socially engaged art that emerged in Central and Eastern Europe following the demise of the USSR. Its publication represents an important intervention in the emerging critical and theoretical debate around socially engaged art, and will allow us to further broaden the geopolitical scope of this important research. * Grant Kester, Professor of Art History, University of California, San Diego, USA and author of 'Conversation Pieces: Community and Communication in Modern Art' *

Muu info

As the first comprehensive study of socially engaged art in post-USSR Europe, this book is a major contribution to debates around art as social action.
List of Illustrations
ix
Acknowledgements xvii
Introduction 1(17)
Within and Beyond the Borders of Bulgaria, Hungary and Romania
7(3)
Subversive Potential in Social Capital
10(1)
Politics of Socially Engaged Art in CEE
11(2)
Research Methodologies and Significance
13(5)
1 Points of Contention: Socially Engaged Art Practice in Contemporary Theory
18(6)
2 Civil Society, and Social, Cultural and Political Capital
24(9)
Civil Society
24(3)
Social, Cultural and Political Capital
27(6)
3 Historical Antecedents: Participatory Art under Socialism, 1956-89
33(38)
Socially Engaged Art in Socialist Hungary
35(18)
Participatory Art in Socialist Romania
53(11)
Unconventional Art in Socialist Bulgaria
64(7)
PART I FROM SECOND SOCIETY TO CIVIL SOCIETY
71(58)
4 Civil Society in a Period of Post-Socialist Transition
75(6)
5 Antipolitics: Exhibitions at the Soros Centres for Contemporary Art
81(31)
Reclaiming Public Life through Interventionist Public Art
83(9)
Curatorial Visions: Framing Community-Oriented Art Projects
92(16)
Soros Centres for Contemporary Arts: Constraint and Self-Determination
108(4)
6 Sofia: Participatory Public Art and Emerging Contemporary Art Institutions
112(17)
Friendship Networks in Post-1989 Emerging Art Institutions for Contemporary Art
118(11)
PART II FROM LOCALIZED PUBLIC SITES TO EU TRANSNATIONAL PUBLIC SPHERES
129(74)
7 Place-Making: Framing Art in Public Spaces Curatorially
133(21)
Moszkva Ter (Gravitacio) / Moscow Square (Gravitation)
134(7)
Visual Seminar
141(6)
Spafiul Public Bucuresti / Public Art Bucharest
147(3)
Catching Up to Europe with Culture
150(4)
8 Representing Counterpublics in Bucharest, Budapest and Sofia
154(26)
H.arta: Undermining Curatorial Protocols in Self-Organizing Collaborative Projects
154(6)
Janos Sugar: Staging Confrontation in Participatory Public Art
160(5)
Luchezar Boyadjiev: Roma Counterpublic Art Monuments in Sofia
165(6)
Ivan Moudov: Performing a Museum of Contemporary Art through Collective Participation
171(9)
9 Contesting the Politics of Belonging in the Post-1989 EU Community
180(23)
About the Artists: Bejenaru and Big Hope
182(2)
`Mental Maps' in `Fortress Europe'
184(7)
The Power of the Gaze
191(7)
Constructing Differential Spaces through Social Capital and Political Capital
198(5)
PART III INSTITUTIONALIZED AND INSTITUTIONALIZING
203(80)
10 Institutionalized Community Arts Programmes
207(25)
Art for Social Change: Bypassing Systemic Causes
208(12)
Cartier: Cultivating Self-Help through Art in Marginalized Communities
220(9)
Participation and Collaboration as Apolitical Strategies of Engagement
229(3)
11 Big Hope: Reviving Leftist Activism in Budapest
232(26)
Hungarian Cultural Institutions: Stage for Populist Right-Wing Narratives
233(2)
Big Hope and Homelessness
235(10)
Disobbedienti
245(8)
In and Out of Institutions
253(5)
12 Self-Institutionalizing as Political Agency
258(25)
From Dinamo to Impex: Expanding Institutional Framing
260(5)
Department of Art in Public Space: Challenging the Left's Official Condemnation
265(6)
OGMS's Self-Institutionalization
271(8)
Self-Institutionalizing as Platforms for Self-Determination
279(4)
Conclusion 283(6)
Notes 289(42)
Bibliography 331(18)
Index 349
Izabel Galliera is Assistant Professor of Art History in the Department of Art & Design at Susquehanna University in Pennsylvania, USA. Her research has been published in the Journal of Curatorial Studies and appears in the forthcoming collections Collaborating Now: Art in the Twenty First Century (2016) and Redefining Creativity: Multi-Layered Collaborations in Art and Art Historical Practice (2016).