One of the most respected Czech artists in recent times, Jiří Kovanda created actions and installations in Prague’s public spaces in the mid-1970s and early ’80s. Self-taught, he was one of the few Czech action artists to work outdoors in the urban environment following the 1968 invasion of Czechoslovakia by Warsaw Pact troops. Most of…
post asked the artist and critic Luis Camnitzer, one of the project directors of Global Conceptualism: Points of Origin, 1950s–1980s, to respond to some basic questions about the exhibition. In this interview he talks about how the show evolved. He also addresses how the organizers dealt with critical issues such as the differences between “Conceptual…
Rachel Weiss, curator, writer, and professor at the School of the Art Institute of Chicago, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Jane Farver (who also came to talk on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor,…
Jane Farver, curator and former Director of Exhibitions at the Queens Museum, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Rachel Weiss (who also came to present on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor, Reiko Tomii &…
At what moment did artists in Korea show work that was considered experimental, underground, and contemporary? How are the first Korean Happenings, from the late 1960s, seen from today’s perspective? These questions were addressed by Kim Mikyung at a C-MAP presentation at The Museum of Modern Art in April 2014. Her talk, published below, surveys…
Although postwar Japanese avant-garde art is considered to have ended in the year 1970, Julian Ross contends that projection installations in the 1970s took on many of its characteristics, namely, an engagement with the concepts of “environment,” “intermedia,” and “display.”
This story starts with a photograph of the young Marina Abramović sitting beside Joseph Beuys, smoking a cigarette. The year was 1974, and Beuys was in Belgrade to participate in April Encounters. This story starts with a photograph of the young Marina Abramović sitting beside Joseph Beuys, smoking a cigarette. The year was 1974, and…
In addition to autonomous pieces of music, the Experimental Studio at the Polish Radio in Warsaw produced incidental music for radio broadcasts and soundtracks for movies and TV.
Listen to 23 music compositions created at Polish Radio Experimental Studio by both the foreign and local composers. Starting with Kotoński’s Study, the first autonomous piece of music for tape produced at PRES in 1959, the presented selection leads through the 1960s, 1970s, and 1980s.
Since completing her studies in printmaking in Budapest in the late 1950s, Dora Maurer has emerged as one of Eastern Europe’s most rigorously experimental artists of the past fifty years. Her work has alternated fluidly between process-based printmaking experiments and mark-making procedures that favor indeterminable outcomes, on the one hand, and, on the other, formal…
Producing sound effects for radio, film, and television propagated new trends in audio art. Whereas concerts of autonomous music organized by Polish Radio attracted audiences of a few dozen people, popular new movies pulled in far larger crowds.
A few months ago, Mara Polgovsky responded to Mauricio Marcin’s essay “Mail Art from Mexico (via the world): An Erratic Investigation.” The post editorial team liked her response so much that we decided to translate it to make it available in English. Please enjoy, and contribute your own discussion piece. Mail art in Mexico in the 1970s was the…
