Video Art in Post-Communist Europe

Timetable

Module aim (aims)

• Knowledge of art of Central-Eastern Europe from 1989 until now
• Knowledge of history of the region
• knowledge of the dynamics of the changes of art in particular countries of the region
• familiarity with key texts on art in Post-Communist Europe, Transformation and Central-Eastern Europe
• familiarity with key institutions - Galleries, Museums in Central-Eastern Europe as well as with constitutive exhibition for the identity of contemporary art in the region
• detailed knowledge on the oeuvre of most important video artists and artistic groups of the region

Pre-requisites in terms of knowledge, skills and social competences (where relevant)

Students with various geographical and discipline backgrounds are welcome.

Syllabus

Week 1:          Post-communist art or art in Central-Eastern Europe after 1989 ? - key concepts and theories

 

Week 2:          Video Art and Transition

 

Week 3:          Video Art from Former Yugoslavia

 

Week 4:          Video Art from Serbia, Slovenia, Croatia, Albania          

 

Week 5:          Video Art In Ukraine and Belarusia          

 

Week 6:          Video Art in Estonia          

 

Week 7:          Video Art and War

 

Week 8:          Video Art from Poland and Hungary    

 

Week 9:          Video Art and criticism of capitalism     

 

Week 10:     Video Art from Czech and Slovakia

 

Week 11:     New borders and new maps          

 

Week 12:     Video Art from Romania and Bulgaria

 

Week 13:        Video Art in Latvia and Lithuania          

 

Week 14:        Key art historians and thinkers on video art after 1989

 

Week 15:        Students’ presentations

Reading list

András, E. (ed.), Video Art from Central and Eastern Europe 1989-2008, Budapest 2009.

Astahovska, I. (ed.), Nineties. Contemporary Art in Latvia, Riga 2010.

Bartošová, Z. (ed.), Contemporary Slovak Fine Art. 1960-2000. From the First Slovak Investnemt Group’s Collection, Bratislava 2000.

Bosteels, B. The Actuality of Communism, London-New York 2011.

Eliot, D., Pejić, B., After the Wall: Art and culture in post-communist Europe, Stokholm 1999.

Geusa A., History of Russian Video Art. Volumes 1, 2, 3, Moscow 2007.

Groys, B., Art Power, Cambridge, MA 2008.

Groys,B., Communist Postcript, London 2010.

Gržinić M., New-Media Technology, Science and Politics, Lublana 2008.

Gržinić, M., Retroavangarde, Wien, 1997.

Milovac, T. The Misfits. Conceptualist Strategies in Croatian Contemporary Art, Zagreb 2002.

Milovac, T., Stipančić, B. (ed.), The Baltic Times. Contemporary Art from Estonia, Latvia and Lithuania, Zagreb 2001.

Myer, C., Critical Cinema: Beyond Theory of Practice, London, New York, 2011.

Pejić, B. (ed.), Gender Check. Femininity and Masculinity in the Art of Eastern Europe, Wien/Cologne 2011.

Piotrowski, P., Art and Democracy in Post-Communist Europe, London 2012.

Piotrowski Piotr, In the Shadow of Yalta Art and the Avant-garde in Eastern Europe 1945-1989, London 2009.

Soloviov O., Savchuk S. [eds.], Flashback. Ukrainian Media Art of the 1990s, Kiev 2018

Trossek A, Näripea E. [eds.],  Via Transversa: Lost Cinema of the Former Eastern Bloc, Tallinn 2008.

Sturcz, J., The Deconstruction of the Heroic Ego: The Artist's Body as Metaphor in Hungarian Art from the Mid-80's to the Present, Budapest 1999

Šuvaković, M., Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes and Post-Avant Gardes in Yugoslavia, 1918-1991, Cambridge 2003.

Trossek, A. (ed.), Liina Siib. A Woman Takes a Little Space, 54th International Art Exhibition – La Biennale di Venezia, Tallin 2011.

Vild B. (et al.), On Normality. Art in Serbia 1989-2001, Belgrade 2001.