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Книги          Автор Nikolaos K.          Издательство Black Dog Publishing

Contemporary Art in Eastern Europe
240 стр. твердый переплет
978-1-906155-84-1

автор:Nikolaos K.
издательство: Black Dog Publishing
год:2010
цена:1851 руб
- нет в наличии

The book features essays from respected writers in the field and profiles the most influential artists producing work in and from the region today, including Marina Abramovic, Christo, Krzysztof Wodiczko, Zofia Kulik, Komar and Melamid, IRWIN, Natalia Lach-Lachowicz, Alexander Brodsky, Ewa Partum, NSK, Group OHO, Stano Filko, Laibach, KwieKulik, Post Ars, Weekend Art, Zbigniew Libera, Marjetica Potrc, and Mladen Stilinovic. From Russia to Poland and Romania, and from the Czech Republic to Yugoslavia and East Germany, Contemporary Art in Eastern Europe is an ambitious attempt to chart the changing realities of the eastern half of Europe as seen through the eyes of artists, critics, photographers and curators. Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, East Germany, Estonia, Hungary, Latvia, Lithuania, Macedonia, Moldova, Poland, Romania, Russia, Slovak Republic, Slovenia and Yugoslavia. The following countries are covered in this anthology: The work featured in this book explores the correlations between shifts in the political, cultural, economic and geographical realities of Eastern Europe and the region' s contemporary art. The artists in this book revisit the region' s past to envision a better future, reaching challenging conclusions and producing some of the most powerful and inspiring art being produced today. If the Iron Curtain and the antagonisms of the Cold War era had often kept the richness and diversity of Eastern European art hidden from the rest of the world, the contemporary era has been a witness to its unparalleled creative explosion and fruitful dialogue with the global art scene.

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It was a form of fighting back, a reaction to oppression, a catalyst for change. It taught people how to be themselves and how to oppose the rules." Everywhere in the USSR, kids copied Boris' underground album on to cassettes. A million of them. Ten million. Boris' music was unofficial and hard to get hold of and, therefore, in Soviet eyes, more valuable. Maybe Dean's popularity declined because he had become too easy. "After Glasnost, from 1985 or 1986, local rock and roll heroes became available to the public," Art said, "and American rock and roll, even if it was Prince and not Dean Reed, became less popular." "Only in a very provincial and very isolated country, could a figure like Dean Reed become a big star," Art added thoughtfully. "Gradually, Russia, the Soviet Union, and Eastern Europe, got closer to the world community culturally and in a very humanitarian way. In the light of new information, Dean Reed's figure was getting darker and darker." In 1987, Boris went legit. Melodiya issued an album by Aquarium made from underground tapes and it sold 200,000 copies in a couple of hours ...

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