Books by Marta Dziewańska
Post-post-Soviet? Art, Politics & Society in Russia at the Turn of the Decade
by Marta Dziewańska, Ekaterina Degotʹ, Ilʹi︠a︡ Budraĭtskis
By placing emerging artists in their political and social contexts, this collection attempts to confront the new activist scene that has arisen in the Russian art world during the past years. The recent explosion of protests in Russia--often with their very purpose being to decry the lack of artistic freedom--is a symptom of a fundamental change in culture heralded by Vladimir Putin's first election. This shift was precipitated by the change to a highly commercial, isolated world, financed and informed by oligarchs. In response, the Russian contemporary art scene has faced shrinking freedom yet an even more urgent need for expression. While much of what is emerging from the Moscow art scene is too new to be completely understood, the editors of this volume seek to bring to light the important work of Russian artists today and to explicate the political environment that has given rise to such work. Post-Post-Soviet? will feature both criticism by writers and scholars, as well as dialogues with artists. Contributors include Boris Kagarlitsky, Ekaterina Degot, Keti Chukhrov, Boris Buden, Artur Zmijewski, and others.
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The Other Transatlantic: Kinetic and Op Art in Eastern Europe and Latin America (Museum Under Construction, 14)
by Dieter Roelstraete, Marta Dziewańska, Abigail Winograd
The Other Transatlantic is attuned to the brief but historically significant moment in the postwar period between 1950 and 1970 when the trajectories of the Eastern European art scenes on the one hand, and their Latin American counterparts on the other, converged in a shared enthusiasm for kinetic and op art.
As the axis connecting the established power centers of Paris, London, and New York became increasingly dominated by monolithic trends including pop, minimalism, and conceptualism—another web of ideas was being spun linking the hubs of Warsaw, Budapest, Zagreb, Buenos Aires, Caracas, and Sao Paulo. These artistic practices were dedicated to what appeared to be an entirely different set of aesthetic concerns: philosophies of art and culture dominated by notions of progress and science, the machine and engineering, construction and perception. This book presents a highly illustrated introduction to this significant transnational phenomenon in the visual arts.
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