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Géza Perneczky
Géza Perneczky is a protagonist of Hungarian conceptual art and part of the Hungarian Neo-Avant-Garde. In 1970 the artist, art historian, art critic and author emigrated to Cologne, where he lives and works until today. Edited by Patrick Urwyler, this publication is the first comprehensive presentation of Géza Perneczky's conceptual photography, the artist realized between 1970-75 as a dissident in Germany. The experiences of this period and Perneczky's self-conception as an artist and art historian characterize these early works. In his introductory essay the art historian Dávid Fehér aptly describes Perneczky as a "critic of art" and "artist of critique," his conceptual practice correspondingly as "The Art of Reflection". Géza Perneczky's works can be found in collections such as The Metropolitan Museum of Art (New York), The Museum of Modern Art (New York), San Francisco Museum of Modern Art, Centre Pompidou (Paris) and Ludwig Museum (Budapest).
Géza Perneczky 1970
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Small Scale Subversion: Mail Art & Artistamps
Although increasingly appreciated in fine art and stamp collecting circles, artist postage stamps, or artistamps, are more likely to be traded between the people who create them than they are to be exhibited in commercial art galleries or read about in philatelic journals. Artistamps are part and parcel of the grassroots network known as Mail Art, an alternative art of creative long-distance communication that intuited the demand for cross-cultural exchange long before the Internet. Although seemingly rigid, the postage stamp format allows flexible approaches in painting, watercolor, offset, photography, photocopy, rubber-stamping, engraving, digitization and sculpture.
Exposed Memories
Within the larger context of cultural memory, family pictures have become one of the most intriguing multi- and interdisciplinary fields of investigation in the past decade. This field brings together artists working in different media (e.g. documentary photography and film, photo-based painting and installations, digital art, collage, montage, comics, etc.) as well as academics, critics, theorists and writers working in a wide range of disciplines including literature, history, art history, sociology, anthropology, psychoanalysis, film and media studies, visual culture studies, gender studies, postcolonial studies, and word and image studies. This volume intends to offer a broad, panoramic view of the topic combining West and East European as well as American perspectives.
The Exile and Return of Writers from East-Central Europe
This is the first comparative study of literature written by writers who fled from East-Central Europe during the twentieth century. It includes not only interpretations of individual lives and literary works, but also studies of the most important literary journals, publishers, radio programs, and other aspects of exile literary cultures. The theoretical part of introduction distinguishes between exiles, émigrés, and expatriates, while the historical part surveys the pre-twentieth-century exile traditions and provides an overview of the exilic events between 1919 and 1995; one section is devoted to exile cultures in Paris, London, and New York, as well as in Moscow, Madrid, Toronto, Bueno...
The Handbook of COURAGE
The COURAGE Handbook ushers its reader into the world of the compellingly rich heritage of cultural opposition in Eastern Europe. It is intended primarily to further a subtle understanding of the complex and multifaceted nature of cultural opposition and its legacy from the perspective of the various collections held in public institutions or by private individuals across the region. Through its focus on material heritage, the handbook provides new perspectives on the history of dissent and cultural non-conformism in the former socialist countries of Central, Eastern, and Southeastern Europe. The volume is comprised of contributions by over 60 authors from a range of different academic and n...
At a Distance
The theory and practice of networked art and activism, including mail art, sound art, telematic art, fax art, Fluxus, and assemblings. Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance--geographical, temporal, or emotional--theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work--showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns-- At a Distance effectively refutes t...
Cannibalizing the Canon
This rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.
Artists' Magazines
How artists' magazines, in all their ephemerality, materiality, and temporary intensity, challenged mainstream art criticism and the gallery system. During the 1960s and 1970s, magazines became an important new site of artistic practice, functioning as an alternative exhibition space for the dematerialized practices of conceptual art. Artists created works expressly for these mass-produced, hand-editioned pages, using the ephemerality and the materiality of the magazine to challenge the conventions of both artistic medium and gallery. In Artists' Magazines, Gwen Allen looks at the most important of these magazines in their heyday (the 1960s to the 1980s) and compiles a comprehensive, illustr...
Many-Valued Aesthetics
»Yes, No, Perhaps« are the most written words in Mary Bauermeister's artworks. Together they stand for the concept of many-valued aesthetics in the German artist's oeuvre - an aesthetic that Bauermeister developed using many-valued logic. Hauke Ohls brings the artist's central groups of works in context with each other as well as with the neo-avant-garde of the post-war period in Europe and the USA. He shows that the development of Bauermeister's art may appear disparate, but her canvas and relief works, drawings and writing pictures, lens boxes and stone pictures are characterized by a reciprocal relationship of combinations and interconnections. Through the ubiquitous use of meta-references, the entire oeuvre ultimately appears as an interconnected assemblage.
