Hinweis: Um die korrekte Darstellung der Seite zu erhalten, müssen Sie beim Drucken die Hintergrundgrafiken erlauben.

Menu

back to overview
Add to bookmark
Abstract:
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe’s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists’ strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period
Object text:
ed. by Piotr Piotrowski, Jérôme Bazin, Pascal Dubourg Glatigny
In English
Inhalt:
Frontmatter; Table of contents; List of Illustrations; Making Critical Art History in a Time of Academic Conformism; 1. Introduction: Geography of Internationalism; Part I. Moving People; 2. The Moscow Underground Art Scene in an International Perspective; 3. The British Art Critic and the Russian Sculptor: The Making of John Berger’s Art and Revolution; 4. Pop Art in the GDR: Willy Wolff’s Dialogue with the West; 5. Twinkling Networks, Invisible Ties: On the Unofficial Contacts of Byelorussian Artists in the 1980s; 6. Chocolate, Pop and Socialism: Peter Ludwig and the GDR; 7. Gabriele Mucchi’s Career Paths in Italy, Czechoslovakia and the GDR; 8. The Murals by Spanish Exile Josep Renau in Halle-Neustadt, a Socialist Town Built for Chemical Workers in the GDR; 9. Women Artists’ Trajectories and Networks within the Hungarian Underground Art Scene and Beyond; 10. Heightened Alert: The Underground Art Scene in the Sights of the Secret Police—Surveillance Files as a Resource for Research into Artists’ Activities in the Underground of the 1960s and 1970s; Part II. Moving Objects; 11. Remapping Socialist Realism: Renato Guttuso in Poland; 12. Picasso behind the Iron Curtain: From the History of the Postwar Reception of Pablo Picasso in East-Central Europe; 13. On Propagarde: The Late Period of the Romanian Artist M. H. Maxy; 14. Realism and Internationalism: On Neuererdiskussion by Willi Neubert (1969); 15. Socialist Realism in Greece (1944–67); 16. Constructive-Concrete Art in the GDR, Poland, and Hungary; 17. Nationalizing Modernism: Exhibitions of Hungarian and Czechoslovakian Avant-garde in Warsaw; 18. Avant-garde Construction: Leonhard Lapin and His Concept of Objective Art; 19. Fluxus in Prague: The Koncert Fluxu of 1966; 20. International Contact with Mail Art in the Spirit of Peaceful Coexistence: Birger Jesch’s Mail Art Project (1980–81); Part III. Gathering People; 21. (Socialist) Realism Unbound: The Effects of International Encounters on Soviet Art Practice and Discourse in the Khrushchev Thaw; 22. “Friendly Atmospheres”? The Union Internationale des Architectes between East and West in the 1950s; 23. Zagreb as the Location of the “New Tendencies” International Art Movement (1961–73); 24. The Graphic Arts Biennials in the 1950s and 1960s: The Slim “Cut” in the Iron Curtain—The Bulgarian Case; 25. The Biennale der Ostseeländer: The GDR’s Main International Arts Exhibition; 26. Czechoslovakia at the Venice Biennale in the 1950s; 27. “Biennale of Dissent” (1977): Nonconformist Art from the USSR in Venice; 28. Correcting the Czech(oslovakian) Error: The Cooperation of Hungarian and Czechoslovakian Artists in the Face of the Warsaw Pact Invasion of Czechoslovakia; 29. Crossing the Border: The Foksal Gallery from Warsaw in Lausanne/Paris (1970) and Edinburgh (1972 and 1979); 30. To Each Their Own Reality: The Art of the FRG and the GDR at the Musée d’Art Moderne de la Ville de Paris in 1981; Part IV. Defining Europe; 31. Moscow–Paris–Havana–Mexico, 1945–60; 32. A Dying Colonialism, a Dying Orientalism: Algeria, 1952; 33. Global Socialist Realism: The Representation of Non-European Cultures in Polish Art of the 1950s; 34. The Influence of Käthe Kollwitz on Chinese Creation: Between Expressionism and Revolutionary Realism; 35. The Eastern Connection: Depictions of Soviet Central Asia; 36. The Visualization of the Third Way in Tito’s Yugoslavia; Name Index

Access and usage options

Created:
2023-04-12
Last changed:
2022-11-08
Added to portal:
2023-04-12

Ähnliche Objekte

Entdecken Sie ähnliche Objekte. Über die Datenfelder können Sie die Objekte auswählen, die Sie interessieren. Sie können Ihre Suchfilter beibehalten oder deaktivieren.


Suchfilter berücksichtigen