The Trips section has a cross-disciplinary and transnational dimension, and focuses in particular on presenting case studies proposed mainly, but not exclusively, by foreign researchers and authors. The Trips undertake to provide a comparative overview on the various modalities of writing, archiving and researching the recent history of visual and performing arts in direct relation with related areas such as literature and architecture, etc. The section monitors the way in which terms / terminologies in the extended field of art are understood and applied in order to discuss local propensities, the politics of representation, the processes triggered by the social and political dynamic of a historical moment. The Trips open up a constellation of themes and topics that are relevant to the local realities and respond to the current need to understand the cultural phenomenon in a regional and international context, to get to know the subtler aspects of historical mechanisms and artistic stances.
Surveying the events and publications focusing on art “behind the Iron Curtain” suggests that the concept of East European Art has been formed through the confrontation of various temporalities and localities, being haunted by paradigmatic misunderstandings. Such experience of hollow communication that shifts understanding to a metalevel is captured by the following scene: two different […]
This article is focused on the exploration of the theoretical framework—intermedial appropriation—that can be applied to the analysis of genealogy and legacy of performance art in Latvia, taking into account the socio-political and cultural circumstances in the late socialism period. This was the time when the everyday life was saturated with ideology and state-forced collectivism […]
“The future is certain. Only the past is unpredictable.” This anekdot wryly characterises the temporality of what was once everyday Soviet life. Yet, Nikita Khrushchev’s 1956 proclamation of “communism in twenty years” remained unfulfilled, and Mikhail Gorbachev’s later attempts at glasnost and perestroika failed at keeping the Soviet Union from ruin. Its future was no […]
Akademia Ruchu [Academy of Movement] was founded in 1972 by Wojciech Krukowski (1944–2014) and co-created by Janusz Bałdyga, Jolanta Krukowska, Zbigniew Olkiewicz, Jarosław Żwirblis, Cezary Marczak, Jan Pieniążek and Krzysztof Żwirblis. Insofar as Krukowski himself referred to Akademia Ruchu’s activity as “theatre,” their work revealed a performative character—the artists, particularly during the 1970s, carried out […]
The year 1962 saw the beginning of a milder period in Hungary’s socio-political history. In spite of a tendency towards swing-like politics, which meant that from time to time the country’s leader, János Kádár, was obliged to make a show of his willingness to maintain Soviet standards, things were not so harsh as before and […]
In international circles, Yugoslav art of the 1960s and 1970s is recognised in terms of performance and related forms of contemporary art. What is less known is the role of theatre in the development of these forms, usually associated with visual art. A special chapter in this history belongs to the Belgrade International Theatre Festival—Bitef. […]
In the following I will discuss the emancipatory potentials of the Non-Aligned Movement [NAM] for today, more precisely, I will emphasize those ideas/ideals/principles from the movement that can be extracted, used and applied in the field of culture.
Woman imprisoned in the patriarchal logic of monumentality. The victorious gesture with sword upraised passes over into an embrace with arms outspread, bare-breasted, in the manner of revolutionary Liberty. Her tremendous body is raised to the lonely heights on the summit of Mamajev Kurgan and floats in the air over the city of Volgograd. Carefully […]