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This book presents and analyzes artistic interactions between 1945 and 1989, both within the Soviet bloc and between it and the Western bloc. During the Cold War the exchange of artistic ideas and products united Europe’s avant-garde in a most remarkable way. Through the Iron Curtain and through the national borders there was a constant flow of artists, artworks, artistic ideas and practices. But the geography of these exchanges still needs to be defined. How were networks, centres, peripheries (local, national and international), scales and distances constructed? What were the relations between the officially promoted socialist realism and the (neo)avant-garde tendencies? The slowly expanding literature on the art of Eastern Europe in western European languages provides a great deal of factual knowledge about a vast cultural space mostly through the prism of stereotypes and in national compartments. By discussing artworks, studying the writings on art, reconstructing trajectories and artists’ strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries. Key words: 1. Art and society--Communist countries. 2. Art--Foreign influences--Communist countries--20th century. 3. Art, European--20th century. 4. Cultural relations--History--20th century.

Table of Contents

  1. Cover
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  1. Title page, Copyright
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  1. Contents
  2. pp. v-viii
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  1. List of Illustrations
  2. pp. ix-x
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  1. Making Critical Art History in a Time of Academic Conformism
  2. pp. xi-xii
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  1. 1. Introduction: Geography of Internationalism
  2. Jérôme Bazin, Pascal Dubourg Glatigny, and Piotr Piotrowski
  3. pp. 1-28
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  1. Part I · Moving People
  2. pp. 29-30
  1. 2. The Moscow Underground Art Scene in an International Perspective
  2. Lola Kantor-Kazovsky
  3. pp. 31-44
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  1. 3. The British Art Critic and the Russian Sculptor: The Making of John Berger’s Art and Revolution
  2. Kai Artinger
  3. pp. 45-56
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  1. 4. Pop Art in the GDR: Willy Wolff’s Dialogue with the West
  2. Sigrid Hofer
  3. pp. 57-70
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  1. 5. Twinkling Networks, Invisible Ties: On the Unofficial Contacts of Byelorussian Artists in the 1980s
  2. Aliona Gloukhova
  3. pp. 71-80
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  1. 6. Chocolate, Pop and Socialism: Peter Ludwig and the GDR
  2. Boris Pofalla
  3. pp. 81-90
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  1. 7. Gabriele Mucchi’s Career Paths in Italy, Czechoslovakia and the GDR
  2. Fabio Guidali
  3. pp. 91-100
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  1. 8. The Murals by Spanish Exile Josep Renau in Halle-Neustadt, a Socialist Town Built for Chemical Workers in the GDR
  2. Anja Jackes
  3. pp. 101-112
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  1. 9. Women Artists’ Trajectories and Networks within the Hungarian Underground Art Scene and Beyond
  2. Beata Hock
  3. pp. 113-124
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  1. 10. Heightened Alert: The Underground Art Scene in the Sights of the Secret Police—Surveillance Files as a Resource for Research into Artists’ Activities in the Underground ofthe 1960s and 1970s
  2. Kata Krasznahorkai
  3. pp. 125-136
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  1. Part II · Moving Objects
  2. pp. 137-138
  1. 11. Remapping Socialist Realism: Renato Guttuso in Poland
  2. Katarzyna Murawska-Muthesius
  3. pp. 139-150
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  1. 12. Picasso behind the Iron Curtain: From the History of the Postwar Reception of Pablo Picasso in East-Central Europe
  2. Piotr Bernatowicz
  3. pp. 151-164
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  1. 13. On Propagarde: The Late Period of the Romanian Artist M. H. Maxy
  2. Erwin Kessler
  3. pp. 165-178
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  1. 14. Realism and Internationalism: On Neuererdiskussion by Willi Neubert (1969)
  2. Jérôme Bazin
  3. pp. 179-190
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  1. 15. Socialist Realism in Greece (1944–67)
  2. Costas Baroutas
  3. pp. 191-200
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  1. 16. Constructive-Concrete Art in the GDR, Poland, and Hungary
  2. Doris Hartmann
  3. pp. 201-208
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  1. 17. Nationalizing Modernism: Exhibitions of Hungarian and Czechoslovakian Avant-garde in Warsaw
  2. Piotr Piotrowski
  3. pp. 209-224
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  1. 18. Avant-garde Construction: Leonhard Lapin and His Concept of Objective Art
  2. Mari Laanemets
  3. pp. 225-240
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  1. 19. Fluxus in Prague: The Koncert Fluxu of 1966
  2. Petra Stegmann
  3. pp. 241-254
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  1. 20. International Contact with Mail Art in the Spirit of Peaceful Coexistence: Birger Jesch’s Mail Art Project (1980–81)
  2. Stefanie Schwabe
  3. pp. 255-264
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  1. Part III · Gathering People
  2. pp. 265-266
  1. 21. (Socialist) Realism Unbound: The Effects of International Encounters on Soviet Art Practice and Discourse in the Khrushchev Thaw
  2. Susan E. Reid
  3. pp. 267-296
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  1. 22. “Friendly Atmospheres”? The Union Internationale des Architectes between East and West in the 1950s
  2. Alexandra Köhring
  3. pp. 297-310
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  1. 23. Zagreb as the Location of the “New Tendencies” International Art Movement (1961–73)
  2. Ljilana Kolesnik
  3. pp. 311-322
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  1. 24. The Graphic Arts Biennials in the 1950s and 1960s: The Slim “Cut” in the Iron Curtain—The Bulgarian Case
  2. Irina Genova
  3. pp. 323-334
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  1. 25. The Biennale der Ostseeländer: The GDR’s Main International Arts Exhibition
  2. Elke Neumann
  3. pp. 335-344
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  1. 26. Czechoslovakia at the Venice Biennale in the 1950s
  2. Veronika Wolf
  3. pp. 345-356
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  1. 27. “Biennale of Dissent” (1977): Nonconformist Art from the USSR in Venice
  2. Jan May
  3. pp. 357-368
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  1. 28. Correcting the Czech(oslovakian) Error: The Cooperation of Hungarian and Czechoslovakian Artists in the Face of the Warsaw Pact Invasion of Czechoslovakia
  2. Magdalena Radomska
  3. pp. 369-380
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  1. 29. Crossing the Border: The Foksal Gallery from Warsaw in Lausanne/Paris (1970) and Edinburgh (1972 and 1979)
  2. Thomas Skowronek
  3. pp. 381-392
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  1. 30. To Each Their Own Reality: The Art of the FRG and the GDR at the Musée d’Art Moderne de la Ville de Paris in 1981
  2. Mathilde Arnoux
  3. pp. 393-402
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  1. Part IV · Defining Europe
  2. pp. 403-404
  1. 31. Moscow–Paris–Havana–Mexico, 1945–60
  2. Serge Fauchereau
  3. pp. 405-422
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  1. 32. A Dying Colonialism, a Dying Orientalism: Algeria, 1952
  2. Sarah Wilson
  3. pp. 423-438
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  1. 33. Global Socialist Realism: The Representation of Non-European Cultures in Polish Art of the 1950s
  2. Andrzej Szczerski
  3. pp. 439-452
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  1. 34. The Influence of Käthe Kollwitz on Chinese Creation: Between Expressionism and Revolutionary Realism
  2. Estelle Bories
  3. pp. 453-460
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  1. 35. The Eastern Connection: Depictions of Soviet Central Asia
  2. Aliya Abykayeva-Tiesenhausen
  3. pp. 461-472
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  1. 36. The Visualization of the Third Way in Tito’s Yugoslavia
  2. Tanja Zimmermann
  3. pp. 473-484
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  1. Name Index
  2. pp. 485-494
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  1. Plates
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  1. Back cover
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Additional Information

ISBN
9789633860847
Related ISBN
9789633860830
MARC Record
OCLC
936609621
Pages
520
Launched on MUSE
2016-02-06
Language
English
Open Access
Yes
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