Fwd: [Shera] ASEEES 2014 panel on Conceptual Art in Eastern Europe Before and after the Wall

[Alexis Zimberg]

Dear SEELANGS,

Please excuse my cross-posting. This conceptual art panel seeks one
additional presenter.

Kindly,
Alexis Zimberg

---------- Forwarded message ----------
From: Ksenya Gurshtein <ksenya at gmail.com>
Date: Thu, Jan 9, 2014 at 1:47 PM
Subject: [Shera] ASEEES 2014 panel on Conceptual Art in Eastern Europe
Before and after the Wall
To: shera at lists.oakland.edu


Greetings, fellow SHERAns.

I'm writing as one of the co-organizers of a panel for ASEEES 2014 which we
want to use to consider broadly two issues:

1) What impact did the fall of the Berlin wall have on the work/practice(s)
of conceptual artists in Eastern Europe?
2) What understandings of conceptual art in Eastern Europe did the fall of
the wall make possible that were not possible before?

In both cases, we are particularly keen to investigate how the artists'
sense of the place they came from shaped them before the fall of the wall
and changed after.

We are in the somewhat awkward situation of currently having 4 people who
are interested in presenting papers and are hoping to find 2 additional
speakers (as well as one additional discussant and chair) in order to
propose this topic as a two-panel bloc.

The papers currently proposed are on the following topics:

-- a paper arguing for shared conceptual preoccupations that existed across
the region and were distinct to the region (in terms of aspirations, ways
of working, and iconography) even when the artists didn't know of each
other. The paper will make the case by comparing large-scale utopian
projects by the artists Julius Koller, Tamas St. Auby, Stano Filko, and
several others.

-- a paper that will examine the post-Soviet work of artists associated
with Moscow Conceptualism, thinking about the possible critical framings of
the relationship of these artists' post-Soviet practices to their Soviet art

--  A paper that will look at how Kabakov, Komar, and Melamid extended and
reworked their investigations of artistic personae from the 1970s as they
interacted with the international artworld during the 1980s and 1990s

-- a paper that will consider conceptual and performance art in the former
Yugoslav countries, where artists had relative freedom under socialism, but
are in a more complicated situation now, after the breakup and the wars.

-- a paper that will examine conceptual performance art in Moscow,
specifically highlighting the work of Anton Litvin as it progressed from
the Fall period (1990-1992) through the 1990s and into the Putin era.

If you're interested in being on the panel, please write to me at
ksenya at gmail.com

Sincerely,
Ksenya Gurshtein

-- 
Ksenya Gurshtein
Andrew W. Mellon Postdoctoral Curatorial Fellow
Department of Photographs
National Gallery of Art, Washington, D.C.
Phone: (202) 789-3054 (work); (347) 567-8425 (home)
Fax: (202) 789-4620
ksenya at gmail.com

"Art is what makes life more interesting than art."
--- Robert Filliou

"What is true for writing and for a love relationship is true also for
life. The game is worthwhile insofar as we don't know what will be the end."
--- Michel Foucault


-- 


*Alexis Zimberg*Director
*Democratic Transitions and Media Analysis*[image: Picture]
Info at PostSovietGraffiti.com
ww <http://www.dazeddigital.com/>.PostSovietGraffiti.com
<https://www.facebook.com/PostSovietGraffiti?ref=hl>
<http://twitter.com/postsovietgraf>

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