Artist in the Archive : Artistic Engagements with the Art Histories of East -Central Europe 3105-LAAHE-OG
This course focuses on contemporary artistic interventions in the history of East-Central
European neo-avant-gardes and contemporary theories of the archive. Reconstructing the
histories of neo-avant-garde movements, widely considered to be one of the roots of
contemporary art, has become an appealing approach for numerous artists from the former
Eastern Bloc who have been active on the global stage since 1989. In the decade following the
fall of the Berlin Wall, the re-enactment of neo-avant-garde works and the reassessment of art
historical archives emerged from a desire to explore local artistic genealogies, as well as to
incorporate ephemeral, non-institutionalised, and de-materialised works into art history. The
following decade saw artists reappropriating the political and critical potential of local artistic
archives in the context of accelerated globalisation.
This course explores critical artistic strategies, such as re-enactment, re-performance, self-
archiving, combining fiction and documentary, and using art as a research tool. It also addresses
issues related to archive theory, the performative surplus of art documentation, embodied
history and the social force of art. Particular focus will be given to works that blur the
boundaries between artistic practice and scholarly research.
Rodzaj przedmiotu
Koordynatorzy przedmiotu
Literatura
Selected Bibliography:
Amy Bryzgel (ed.), “Art Margins Online. Special Issue on Reenactment in Eastern Europe”,
January 2018.
Kathrin Busch, “Artistic Research and the Poetics of Knowledge”, in: “Art&Research, A
Journal of Ideas Poetic and Methods”, Vol.2, No.2, Spring 2009.
Paul Clarke, Simon Jones, Nick Kaye and Johanna Linsley (eds.) Artist in the Archive. Creating
and Curatorial Engagements with Documents of Art and Performance, Routledge 2018.
Rod Dickinson (ed.), Life, Once More: Forms of Reenactment in Contemporary Art, Witte de
With Center for Contemporary Art, 2005.
Katie Eichhorn, The Archival Turin in Feminism. Outrage in Order, Temple University Press
2013.
Daniel Grúň, “Processes of Self-Historicisation in East European Art”, Sandra Frimmel, Tomáš
Glanc, Sabine Hänsgen, Katalin Krasznahorkai, Nastasia Louveau, Dorota Sajewska, Sylvia
Sasse (eds.), Doing Performance Art History. Open Apparatus Book 2020,
https://www.apparatusjournal.net/index.php/apparatus/article/view/186/462
IRWIN, East Art Map. Contemporary Art and Eastern Europe, 2006.
Ana Janevski, Roxana Marcoci, Ksenia Nouri, (eds.): Primary Documents. Art and Theory of
Post-1989 Central and Eastern Europe: A Critical Anthology, New York 2018.
Nataša Petresin-Bachelez, Innovative Forms of Archives. Part 1, e-flux 13, February 2010, and
Part 2, e-flux 16, May 2010.
Nataša Petrešin, “Self-Historicisation and Self-Institutionalisation As Strategies of the
Institutional Critique in Eastern Europe,” in: Marina Gržinić, Alenka Domjan (eds.),
Conceptual Artists and the Power of their Art Works for the Present, Center for Contemporary
Arts, Celje 2007.
Sven Spiker, The Big Archive. Art From Bureaucracy, The MIT Press 2008.
Więcej informacji
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