After the Wall - Contemporary Art in Central-Eastern Europe: discourses, practices, institutions from 1990s to today - BMEGT43XXXY

To provide students with a thorough understanding of contemporary art in the Central-East-European region, within a wider context of cultural history.

1. Solid historical knowledge of the operating mechanisms of the communication institutional system.
2. Basic knowledge of social institutions (law, language, religion, etc.)
3. Basic knowledge of the legal, political etc. norms regulating communication and media phenomena

1. Research skills
2. Openness to acquire new sectors of knowledge and ability to effectively acquire them
3. Ability to participate in argumentative and rational debate

1. Openness to establish and to preserve international professional relations.
2. Awareness of the historical and social embeddedness of cultural processes and institutions
3. Adoption of democratic and rule of law standards

1. Readiness to help one’s social environement to develop from a historical and political coherent world view.
2. Independence
3. Constructiveness and assertiveness in the context of institutional operation

In-class activity and analyses, student presentation

• Piotr Piotrowski (2009) How to Write a History of Central‐East European Art?, Third Text, 23:1, 5-14,
• Horizontal Art History: Endangered species In. Agata Jakubowska and Magdalena Radomska. Horizontal Art History and Beyond. Routledge, 2022.pp. 145–155.
• Maja and Reuben Fowkes: History of Art History in Central,Eastern, and Southeastern Europe:The Post-National in East European Art, from Socialist Internationalism to Transnational Communities In: Ana Janevski and Roxana Marcoci with Ksenia Nouril (eds): Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology. MoMA Primary Documents. Duke University Press Books, 2018. pp. 366-371.
• The Ex-Eastern Bloc’s Position in New Critical Theories and Recent Curatorial Practice Edit András, In: Ana Janevski and Roxana Marcoci with Ksenia Nouril (eds): Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology. MoMA Primary Documents. Duke University Press Books, 2018.
• Amy Bryzgel : Special Issue: Artistic Reenactments in East European Performance Art, 1960–present, 01/26/2018, https://artmargins.com/artistic-reenactments-in-east-europe-introduction/
• Piotrowski, Piotr: Art and Democracy in Post-Communist Europe, London, Reaktion Books, 2012.
• Fowkes, Maja and Reuben: Central and Eastern European Art Since 1950, Thames and Hudson, 2020
• Primary Documents - A Sourcebook for Eastern and Central European Art since the 1950s, Ed. Laura Hoptman and Tomás Pospiszyl, MOMA, NY, 2002
• After the Wall - Art and Culture in post- Communist Europe, Ed. Bojana Pejic and David Elliot, Moderna Museet, Stockholm, 1999

Participation is mandatory. No more than 3 missed classes are allowed.

Active participation in class, analytical reception and processing of the texts discussed during the semester, final presentation and final essay.

• in-class activity: 15
• presentation: 25
• essay: 40
• readings: 20
• sum: 100

Participation

Retake and make-up test options are defined by the valid regulations of the University’s Code on Education and Examination.

Consulted with the Faculty Student Representative Committee, approved by the Vice Dean for Education, valid from: 02.06.2024.

The course focuses on contemporary art practices in Eastern Europe, situated in an art historical and theoretical framework focusing on the region after the Cold War and the fall of the Iron Curtain. The title refers to an remarkable survey exhibition of post-communist art realized in 1999. The democratic change during this time had a huge impact on contemporary art in the region: previously banned nonconformist artists were allowed to exhibit their work in state institutions, new artist-run exhibition venues were set up and large-scale public art projects were realized. These initiatives are significant because, arts in public spaces were previously labelled as anti-regime political incitement, and the participation was not only illegal but also punishable. Over the course of the semester, we will talk about regionality in artistic/exhibition practice after 1989, and about how this issue relates to contemporary theories (e.g. post-socialism, post-colonialism, horizontal art history). In addition to meeting with Hungarian contemporary artists and professionals we will discuss exciting, sometimes controversial works of art, thematic exhibitions, museum collections, and biennials.