By Piotr Piotrowski
While the Iron Curtain fell in 1989, japanese Europe observed a brand new period start, and the common alterations that prolonged into the area of paintings. artwork and Democracy in Post-Communist Europe examines the artwork created in gentle of the profound political, social, financial, and cultural adjustments that happened within the former japanese Bloc after the chilly warfare ended. Assessing the functionality of paintings in post-communist Europe, Piotr Piotrowski describes the altering nature of paintings because it went from being molded through the cultural imperatives of the communist kingdom and a device of political propaganda to independent paintings protesting opposed to the ruling powers.
Piotrowski discusses communist reminiscence, the critique of nationalism, problems with gender, and the illustration of old trauma in modern museology, fairly within the fresh founding of latest paintings museums in Bucharest, Tallinn, and Warsaw. He finds the anarchistic motifs that had a wealthy culture in jap eu paintings 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 replied to the atrocities of the Balkans. A cogent research of the inventive reorientation of japanese Europe, this booklet fills an enormous hole in modern creative and political discourse.
“Impressively informative and thoughtful.”
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Additional info for Art and Democracy in Post-Communist Europe
The cultures of different regions (Asia, South America or Eastern Europe) looked to the West, rather than to each other. They drew inspiration from there, rather than from other marginal areas. 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.
In Argentina and Brazil the military gave up power in 1983. In Chile a national referendum resulted in the departure of Augusto Pinochet in 1988 and, a year later, the return of democratic elections. In Paraguay the long-lived military dictatorship was abolished in 1989. In Uruguay the process of erosion of the dictatorship and the return of democracy took place in the second half of the 1980s and was finalized by the end of the decade. It is true that such comparisons are not unproblematic, especially if we consider the art world.
A year later the Communist Party of Czechoslovakia took over full control of the country’s public life. This was also the year when ‘hard-line’ cultural policies were introduced in Poland. However, the problem rests not just in chronological differences, but also in the non-compatibility of the art historic processes, since we are still operating within the field of art history. The art historic work does not have to be rigid: there is no single, ‘universal’ method for studying art’s history that should be applied irrespective of the character of the work under investigation.
Art and Democracy in Post-Communist Europe by Piotr Piotrowski