This book addresses the art historical category of "contemporary art" from a transregional perspective, but unlike other volumes of its kind, it focuses in on non-Western instantiations of "the contemporary."
The book concerns itself with the historical conditions in which a radically new mode of artistic production, distribution, and consumption – called "contemporary art" – emerged in some countries of Eastern Europe, the post-Soviet republics of the USSR, India, Latin America, and the Middle East, following both local and broader sociopolitical processes of modernization and neoliberalization. Its main argument is that one cannot fully engage with the idea of the "global contemporary" without also paying careful attention to the particular, local, and/or national symptoms of the contemporary condition. Part I is methodological and theoretical in scope, while Part II is historical and documentary. For the latter, a number of case studies address the emergence of the category "contemporary art" in the context of Lebanon, Egypt, India, Hungary, Slovenia, Croatia, Bosnia and Herzegovina, Armenia, and Moldova.
The book will be of interest to scholars working in art history, globalism, cultural studies, and postcolonial studies.
Author(s): Octavian Esanu
Series: Routledge Advances in Art and Visual Studies
Publisher: Routledge
Year: 2020
Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Figures
Acknowledgments
A Note on Contributors
Introduction
PART I
1. Toward a Historical Understanding of Post-Soviet Presentism
2. The Long-Lasting Present: Art, Duration, and Contemporaneity
3. Periodizing Latin American Art Since the 1960s
4. Neue östeuropäische Kunst: The Global Contemporary and the Eastern European Retrocontemporary
5. Art Form and Nation Form: Contemporary Art and the Postnational Condition
6. Three Questions for Terry Smith: Peripherality, Postmodernity, Multiplicity – Reconceiving the Origins of Contemporary Art
PART II
Case Study 1. Nove Tendencije 2 [New Tendencies 2], Gallery of Contemporary Art Zagreb, 1963
Case Study 2. Rabinec Studio: The Commodification of Art in Late Socialist Hungary, 1982–1983
Case Study 3. The 3rd Floor Cultural Movement, Yerevan 1987–1994
Case Study 4. The First Sanayeh Plastic Arts Meeting, Ashkal Alwan Beirut 1995
Case Study 5. CarbonART 96 and The 6th Kilometer, SCCA Chișinău 1996
Case Study 6. Meeting Point, SCCA Sarajevo 1997
Case Study 7. Khoj International Artists’ Workshop, Khoj International Artists’ Association, Modinagar 1997
Case Study 8. Janja Žvegelj, Squash: Škuc Gallery, Ljubljana, 1998
Case Study 9. Al-Nitaq Festival of Art, Cairo, 2000 and 2001
Combined Bibliography and Selected Archival Material
Index
