In this 5 Questions interview, curator and writer Nataša Petrešin-Bachelez wants us to look at art history from both sides—the canonical and the traditionally “uncanonical” or those areas and things outside the accepted parameters of a “Western” art history. She cites the Non-Alignment Movement and self-historicization as two topics in need of greater study within the context of Central and Eastern Europe, inclusive of the former Yugoslavia. Most of all, she stresses the importance of a foundation when approaching art of a specific region. Objects belong to specific contexts, and it is our responsibility to not only be aware of but engage with those contexts in meaningful ways.
Art historian April Eisman looks at art produced in the German Democratic Republic (GDR) from the context of multiple canons.
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.
Art historian Anthony Gardner reminds us to think of art historical categories as broad and flexible, and identifies exhibition histories in the former Yugoslavia, as a rich area of interest.