Intensive seminar in art history with Anthony Gardner
“Exhibition Histories and Post-Socialism”
Date and time: September: 24-27, at 15.00-18.00
Venue: Estonian Academy of Arts, Põhja pst 7, Tallinn, room A303 (Sept 25, room A302)
Dr Anthony Gardner is art historian working at the intersection of political theory and art and exhibition histories since the early 1950s. He is an Associate Professor of Contemporary Art History and Theory at the Ruskin School of Art and Fellow of Queen’s College at the University of Oxford.
His main research areas are postcolonialism, postsocialism and curatorial histories. His recent publications include Mapping South: Journeys in South-South Cultural Relations (Melbourne, 2013), Politically Unbecoming: Postsocialist Art Against Democracy (MIT Press, 2015) and, also through MIT Press in 2015, the anthology Neue Slowenische Kunst: From Kapital To Capital (with Zdenka Badovinac and Eda Čufer), which was a finalist for the 2017 Alfred H Barr Award for best exhibition catalogue worldwide. Gardener is an editor of the MIT Press journal “ARTMargins”, and has published in many other books and journals including On Curating, Postcolonial Studies and Third Text.
In Tallinn Anthony Gardener will addresses the issues of exhibition histories and Post-Socailism.
Reading the required texts is the prerequisite for participating in the course (max 15 participants). The final registration deadline is September 15.
Core readings (will be sent after registration):
Anthony Gardner,Politically Unbecoming: Postsocialist Art against Democracy (Cambridge, Mass.: The MIT Press, 2015), 1-52 (Introduction and Chapter 1).
Anthony Gardner and Charles Green, Biennials, Triennials, and documenta: The Exhibitions that Created Contemporary Art(Malden, Mass.: Wiley-Blackwell, 2016), 1-16, 81-108.
Ana Janevski, Roxana Marcoci and Ksenia Nouril (eds.) Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology(Durham, NC: Duke University Press, 2018), 67-131 (Section 2).
Louisa Avgita, “Marketing Difference: The Balkans on Display”, in Hans Belting and Andrea Buddensieg (eds.), The Global Art World: Audience, Markets, and Museums(Ostfildern: Hatje Cantz, 2009), 88-97.
Zdenka Badovinac (ed.), Body and the East: From the 1960s to the Present(Ljubljana: Moderna galerija and Cambridge, Mass.: The MIT Press, 1999).
Zdenka Badovinac and Terry Smith, “Continuities and Ruptures in Museums of Modern and Contemporary Art”, in Terry Smith, Talking Contemporary Curating(New York City: Independent Curators International, 2015), 162-189.
René Block (curator), In the Gorges of the Balkans: A Report(Kassel: Kunsthalle Fridericianum, 2003).
David Elliott and Bojana Pejić (eds.), After the Wall: Art and Culture in Post-Communist Europe(Stockholm: Moderna Museet, 1999).
Charles Esche et al., Making Biennials in Contemporary Times: Essays from the World Biennial Forum #2(Amsterdam: Biennial Foundation, 2015).
Izabel Galliera, Socially Engaged Art after Socialism: Art and Civil Society in Central and Eastern Europe(London: IB Tauris, 2017), especially Chapter 5, “Antipolitics: Exhibitions at the Soros Centers for Contemporary Art”.
Massimiliano Gioni (curator), Ostalgia(New York City: New Museum, 2011).
Béatrice Joyeux-Prunel (ed.), “The Global History of Art and the Challenge of the Grand Narrative.” Artl@s Bulletin 6, no. 1 (2017): https://docs.lib.purdue.edu/artlas/vol6/iss1/
Béatrice Joyeux-Prunel and Olivier Marcel, “Exhibition Catalogues in the Globalization of Art. A Source for Social and Spatial Art History.” Artl@s Bulletin 4, no. 2 (2016): https://docs.lib.purdue.edu/artlas/vol4/iss2/8/
Katrin Kivimaa(ed), Working with Feminism: Curating and Exhibitions in Eastern Europe(Tallinn: Tallinn University Press, 2012).
Mária Orišková(ed.), Curating ‘Eastern Europe’ and Beyond: Art Histories through the Exhibition(Frankfurt am Main and Bratislava: Peter Lang, 2013).
Bojana Pejić (ed.),Gender Check: A Reader: Art and Gender in Eastern Europe since the 1960s(Cologne: Walther König, 2010).
Bojana Pejić (ed.),Gender Check: Femininity and Masculinity in the Art of Eastern Europe (Cologne: Walther König and Vienna: MUMOK, 2009).
Marko Stamenković, “Curating the Invisible: Contemporary Art Practices and the Production of Meaning in Eastern Europe” https://research-repository.st-andrews.ac.uk/bitstream/handle/10023/623/Inferno_Vol_9_article_6_2004.pdf?sequence=1&isAllowed=y
Lucy Steeds, “Contemporary Exhibitions: Art at Large in the World”, Exhibition(London: Whitechapel Gallery and Cambridge, Mass.: The MIT Press, 2014), 12-23.
Harald Szeemann (curator), Blood and Honey: Future’s in the Balkans(Klosterneuberg: Sammlung Essl, 2003).
Vesna Teržan et al.(eds), Mnemosyne: The Time of Ljubljana’s Biennial of Graphic Arts(Ljubljana: MGLC, 2010).
Barbara Vanderlinden and Elena Filipovic (eds.),The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe(Cambridge, Mass.: The MIT Press, 2005).
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).