“Eastern Europe doesn’t exist any longer” : the opening statement of the curators’ text for the exhibition catalogue Les Promesses du passé : une histoire discontinue de l’art dans l’ex-Europe de l’Est lucidly formulates the current state of affairs of the subject matter in question. Indeed, after twenty years and dozens of exhibitions addressing, reflecting on, deconstructing, critically investigating and conceptually reformulating the “former East” of Europe, its communist past and post-com..
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The avant-garde — a vision of the future or its illusion? Or why the European art gave up the ...
One of modernism’s core claims was to own a technologically advanced, socially superior, equalitaria...
In spite of a growing interest in East European art (i.e. central and eastern), otherwise put, art p...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
While the current day and age marked by a booming globalization is ceaselessly calling for an expans...
Duas iniciativas recentes nos museus da França podem ser vistas como modos de revisitar a “nova muse...
Cubisme et culture refers as much to the French colonial adventure, when its authors, Antliff and Le...
Contemporary art is still worrying philosophers. But the questions have shifted: as the “public” no ...
In 1989, Magiciens de la terre was introduced as the “first truly international exhibition, bringing...
Due to its varied and contradictory history and to its uncertain present status and content we have ...
For a long time the historiographer has only had access to two versions of the facts: the Situationi...
The post-colonial and post-Cold War world reality, associated with the global expansion of the marke...
This article explores the ways in which ʻcinematicʼ exhibition techniques exploited by Czechoslovak ...
This dissertation Postcolonial Palimpsests: Historicizing Biennales and Large-Scale Exhibitions in a...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The avant-garde — a vision of the future or its illusion? Or why the European art gave up the ...
One of modernism’s core claims was to own a technologically advanced, socially superior, equalitaria...
In spite of a growing interest in East European art (i.e. central and eastern), otherwise put, art p...
It is in the nature of histories of modern and contemporary art to be regularly rewritten, and their...
While the current day and age marked by a booming globalization is ceaselessly calling for an expans...
Duas iniciativas recentes nos museus da França podem ser vistas como modos de revisitar a “nova muse...
Cubisme et culture refers as much to the French colonial adventure, when its authors, Antliff and Le...
Contemporary art is still worrying philosophers. But the questions have shifted: as the “public” no ...
In 1989, Magiciens de la terre was introduced as the “first truly international exhibition, bringing...
Due to its varied and contradictory history and to its uncertain present status and content we have ...
For a long time the historiographer has only had access to two versions of the facts: the Situationi...
The post-colonial and post-Cold War world reality, associated with the global expansion of the marke...
This article explores the ways in which ʻcinematicʼ exhibition techniques exploited by Czechoslovak ...
This dissertation Postcolonial Palimpsests: Historicizing Biennales and Large-Scale Exhibitions in a...
Up until now we have been missing a comprehensive study of postwar French art criticism that has vie...
The avant-garde — a vision of the future or its illusion? Or why the European art gave up the ...
One of modernism’s core claims was to own a technologically advanced, socially superior, equalitaria...