Umělec magazine 2009/2 >> The Vertical and the Horizontal of Looking East. List of all editions.
The Vertical and the Horizontal of Looking East.
Umělec magazine
Year 2009, 2
6,50 EUR
Send the printed edition:
Order subscription

The Vertical and the Horizontal of Looking East.

Umělec magazine 2009/2

01.02.2009

Milena Dimitrova | scholarship | en cs de

Vienna‘s Akademie der bildenden Künste, within the scope of a course on “Post Conceptual Art Practices,” hosted a seminar on “Writing Central European Art History,” casting a critical look at the subject, contributions from which are now available in print. Apart from its integration of socio-political themes, the seminar was quite interesting in its own right. Topics covered included modernism, contemporary art, and methodological questions connected with modernism that have occupied central and eastern European art history over the last two decades. The lectures devoted to contemporary themes presented critical approaches, interesting conclusions, and offered no methodological difficulties.
Edit András’ lecture, “An Agent That Is Still At Work” is an analysis of unsuccessful attempts at coming to terms with the past (Vergangenheitsbewältigung) in post-socialist art. Her talk addressed whether and how contemporary eastern European art, in suppressing its socialist past, only serves a new ideology. András’ argument relied on the tools of psychoanalysis, incorporating concepts ranging from trauma, suppression, and forgetting to Klossev’s theory of self-colonization.
This emphasis on the theme of forgetting expressed as tabula rasa runs through the argument in Ljiljana Blagojević’s lecture on city planning in Novi Beograd. As a model she takes Novi Beograd’s surface space (Leerräume) and the various structures and functions assigned to it throughout its history.
These lectures, concentrating on eastern European modernism, were explicitly devoted to methodological problems: for instance, the question as to whether art can be written about “outside the canon.” Despite the fact that exemplary cubist works from eastern Europe are no doubt (but not necessarily always) among the least known works of cubism, cubism constitutes a fundamental component of the art-historical canon.
The preoccupation with eastern European modernism, it would seem, leads to an interpretive dead end centered on the concept of center and periphery in artistic production. Piotr Piotrowski’s article, “On the Spatial Turn, or on Horizontal Art History,” is dedicated in its entirety to methodological questions in eastern European art history, and provides a theoretical framework for the lectures on modernism.
His theory of eastern European art historiography no longer focuses on art history in the narrow sense, but privileges a certain kind of cultural history, and at times comes to grips with post-colonial criticism. This critical scrutiny, contemporary themes notwithstanding, can be brought to bear on the work only with difficulty if at all.
Piotrowski contrasts the concept and the ideal of a horizontal art historiography with a vertical, hegemonic art historiography. At the same time he asserts that the center-periphery paradigm as interpretive model cannot, in this particular instance, be surmounted: “Thus, when we ask about ‘world art history,’ we must repeat a question posed quite recently by Suzana Milevska: Can such art history exist at all outside the aforementioned geographical dichotomies? It certainly cannot.” (Text of the lecture published in Umĕní, May 2008).
“On the Spatial Turn, or on Horizontal Art History” could be re-titled “Periphery and Center or Horizontal Art History,” insofar as the “spatial turn” that has been dubbed a paradigm shift can well be described as nothing more than a re-conceptualization of the notion of center and periphery. I have wondered whether a movement from the center toward the periphery or vice versa can be anything but horizontal, when one attempts to show this visually. To substitute the concept of hierarchy with that of verticality cannot be the sole significance of the “spatial turn.” The concept of course applies to the increased attention paid to eastern European art post-1989. However, by the end
of the seminar, it appeared as though it might be necessary to deflect attention from the associated questions, back toward another space—the artistic space—in order for us to start working on eastern European modernism.




01.02.2009

Comments

There are currently no comments.

Add new comment

Recommended articles

Contents 2016/1 Contents 2016/1
Contents of the new issue.
Wicked / Interview with Jim Hollands Wicked / Interview with Jim Hollands
“A person must shake someone’s hand three times while gazing intently into their eyes. That’s the key to memorizing their name with certainty. It is in this way that I’ve remembered the names of 5,000 people who have been to the Horse Hospital,” Jim Hollands told me. Hollands is an experimental filmmaker, musician and curator. In his childhood, he suffered through tough social situations and…
My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.
Magda Tóthová Magda Tóthová
Borrowing heavily from fairy tales, fables and science fiction, the art of Magda Tóthová revolves around modern utopias and social models and their failures. Her works address personal and social issues, both the private and the political. The stylistic device of personification is central to the social criticism emblematic of her work and to the negotiation of concepts used to construct norms.…
ArtLeaks
27.07.2014 19:39
Where to go next?
out - archeology
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
S.d.Ch, Solitaires and Periphery Culture (a generation born around 1970)
Josef Jindrák
Who is S.d.Ch? A person of many interests, active in various fields—literature, theater—known for his comics and collages in the art field. A poet and playwright foremost. A loner by nature and determination, his work doesn’t meet the current trends. He always puts forth personal enunciation, although its inner structure can get very complicated. It’s pleasant that he is a normal person and a…
Read more...
out - poetry
THC Review and the Condemned Past
THC Review and the Condemned Past
Ivan Mečl
We are the fifth global party! Pítr Dragota and Viki Shock, Fragmenty geniality / Fragments of Charisma, May and June 1997. When Viki came to visit, it was only to show me some drawings and collages. It was only as an afterthought that he showed me the Czech samizdat publication from the late 1990s, THC Review. When he saw how it fascinated me, he panicked and insisted that THAT creation is…
Read more...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Read more...
birthing pains
Who’s Afraid of Motherhood?
Who’s Afraid of Motherhood?
Zuzana Štefková
Expanding the definition of “mother” is also a space for reducing pressure and for potential liberation.1 Carol Stabile The year was 2003, and in the deep forests of Lapák in the Kladno area, a woman in the later phase of pregnancy stopped along the path. As part of the “Artists in the Woods” exhibit, passers-by could catch a glimpse of her round belly, which she exposed especially for them in…
Read more...
Books, video, editions and artworks that might interest you Go to e-shop
1996, 61 x 45.5 cm, Painting on Canvas
More info...
2 667,60 EUR
The conceptual artist Tomáš Lahoda took his own childhood drawings with the distorted name „Ikebama“ and changed these into a...
More info...
3,62 EUR
More info...
6,50 EUR
Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
More info...
75 EUR

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Citation of the day. Publisher is not liable for any mental and physical states which may arise after reading the quote.

Enlightenment is always late.
CONTACTS AND VISITOR INFORMATION The entire editorial staff contacts

DIVUS BERLIN
at ZWITSCHERMASCHINE
Potsdamer Str. 161
10783 Berlin, Germany
berlin@divus.cz

 

Open Wednesday to Sunday 2 - 7 pm

 

Ivan Mečl
ivan@divus.cz, +49 (0) 1512 9088 150

DIVUS LONDON
Enclave 5, 50 Resolution Way
London SE8 4AL, United Kingdom
news@divus.org.uk, +44 (0)7583 392144
Open Wednesday to Saturday 12 – 6 pm.

 

DIVUS PRAHA
Bubenská 1, 170 00 Praha 7, Czech Republic
divus@divus.cz, +420 245 006 420

Open daily except Sundays from 11am to 10pm

 

DIVUS WIEN
wien@divus.cz

DIVUS MEXICO CITY
mexico@divus.cz

DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

DIVUS NEWSLETTER SUBSCRIPTION
Divus New book by I.M.Jirous in English at our online bookshop.