By Piotr Piotrowski
Whilst the Iron Curtain fell in 1989, japanese Europe observed a brand new period commence, and the common alterations that prolonged into the realm of paintings. artwork and Democracy in Post-Communist Europe examines the paintings created in mild of the profound political, social, financial, and cultural adjustments that happened within the former japanese Bloc after the chilly battle ended. Assessing the functionality of paintings in post-communist Europe, Piotr Piotrowski describes the altering nature of paintings because it went from being molded by way of the cultural imperatives of the communist nation and a device of political propaganda to self sufficient paintings protesting opposed to the ruling powers.
Piotrowski discusses communist reminiscence, the critique of nationalism, problems with gender, and the illustration of ancient trauma in modern museology, quite within the contemporary founding of latest artwork museums in Bucharest, Tallinn, and Warsaw. He finds the anarchistic motifs that had a wealthy culture in japanese eu artwork and the hot emergence of a utopian imaginative and prescient and gives shut readings of many artists—including Ilya Kavakov and Krzysztof Wodiczko—as good as Marina Abramovic’s paintings that answered to the atrocities of the Balkans. A cogent research of the creative reorientation of japanese Europe, this e-book fills a massive hole in modern inventive and political discourse.
“Impressively informative and thoughtful.”
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Additional resources for Art and Democracy in Post-Communist Europe
Whether postcolonial studies will provide them, and whether their theoretical apparatus can be used within work on the post-communist countries, remains to be seen. But I would certainly caution against describing their popularity in terms of self-colonization, even though I am aware of the difficulties involved in their adoption within studies dealing with Eastern European visual culture. Without rejecting the need for comparative art history or questioning the desirability of ‘decentred’ or ‘provincialized’ modernism, there are several fundamental problems in adopting the postcolonial perspective to work on contemporary art of the (former) Eastern Europe.
While they acknowledge that national or local references are essential for their work’s proper understanding, both, unlike earlier artists, neither 38 1989: The Spatial turn frame their work in the context of ‘exoticizing’ discourse (as did Diego Rivera), nor annihilate its sources (as did Marcel Duchamp). Moreover, this tendency favours reconstruction of the national sources of avant garde art, which were suppressed within the internationalist modernist paradigm, as is demonstrated by the recent reconsiderations of Marcel Duchamp’s work in the context of the French tradition and that of Kazimir Malevich in the context of Russian.
The same could be said about individual national art historic narratives produced within a particular region, such as Eastern Europe. For instance, Poles still know very little about the history of Romanian art; what’s more they wilfully ignore it, prompted by a false sense of cultural superiority that motivates them to align their own culture with that of the West. Similarly the Czechs are generally ignorant on the subject of Ukrainian art history, and so on. The Other looks to the Master and not to the other Other, adopting, often unconsciously, the hierarchies of the centre that have victimized him.
Art and Democracy in Post-Communist Europe by Piotr Piotrowski