In this 5 Questions interview, Eda Čufer, art historian and member of the art collective Neue Slowenische Kunst (NSK), sheds light on the challenges in negotiating between canonical art histories and local specificities in Eastern Europe, specifically in the countries of former Yugoslavia. In contrast to the continuities of so- called “Western” art history, art histories in this region have been frequently disrupted.Čufer advocates for the support of institutions and scholars who can work together to create new strategies for the future. For example, she specifically cites the importance of transnational movements as foundational for many artist practices in Slovenia. While Čufer is somewhat cautious in defining a global art, she appreciates the efforts made through cross-cultural networks enhanced through increased global communications.
This text considers the work of Vera Pagava, a Georgian artist who lived in exile in Paris, as an amalgamation of modernist and Georgian art historic references. Following Pagava’s life story from Tbilisi, where she was born, to Germany and later Paris, where she settled with her family in 1923 and lived until her death in 1988, this essay introduces her work in relation to that of various other Georgian artists, simultaneously tracing her path from figuration to abstraction.
The 2022 C-MAP seminar series, Transversal Orientations Part II, was held on Zoom across four panels on May 25 and 26, 2022. This text by Irmgard Emmelhainz, independent translator, writer and researcher, is the second written response to the seminar.
Breaking Down Binaries, Feeling Contradictions: Thoughts on Some of the Conundrums Concerning Art’s Ecologies
Sarah Lookofsky, former Associate Director of the International program at MoMA, rumintes on the presentations and conversations held on Day One of the 2022 C-MAP seminar. Lookofsky calls out the contradictions of art’s embeddedness with various ecologies, rehearsing her own writing-thinking as produced by a “dumpy dialectic.”