Central & Eastern Europe

Artists reflect upon the role infrastructures of energy play in implementation of (geo)politics and emphasize the effects that exerts on the environment.

In an effort to consider the variegated impacts of COVID-19—a virus with a global reach—post interviewed Zdenka Badovinac about how the pandemic has affected conceptions and practices of programming, civic engagement, and care.

Is the globe of globalization the same as the globe of global warming?

The panel examines historical cases of the migration of images and knowledge across cultures and temporalities.

The move to diversify art historical narratives is often accompanied by a search for commonalities. Instead addressing a need to acknowledge radical difference and untranslatability, each presenter in this panel approached the question of the incommensurable, interrogating tensions between a global approach and site-specific study.

In the keynote lecture, Zdenka Badovinac introduces her concept of the “sustainable museum,” and explores possible translocal approaches to exhibition practice from the so-called periphery, nevertheless situated within the neoliberal global network of art museums and biennials.

The 1916 album War by Olga Rozanova, made in collaboration with Aleksei Kruchenykh, draws upon the visual and linguistic vocabularies of Futurism and Suprematism to explore the trauma of war.

A postcard of a lithograph by Farkas Molnár (1897–1945) is one of a series of twenty postcards printed and marketed to publicize the 1923 Bauhaus exhibition in Weimar.

Liubov’ Popova’s practice involved an active engagement with multiple movements and -isms in a relatively short period of time. In this essay, very formally distinct and different works by Popova, on view in the reinstalled galleries in 2019, are put into historical relation.

Elizabeth Otto focuses on Brandt’s iconic table clock and unpacks the legendary design aesthetic that she pioneered.

New York–based curator Zane Onckule (born 1982, Latvia), curator of the thesis exhibition Balticana that was on view at the Hessel Museum of Art in the spring of 2019, reflects upon geopolitical, cultural, and (visual) identity/ies across the present-day Baltics.

As the only woman artist in the 1920s avant-garde group Devětsil and an important figure in both Czech and French Surrealism, Toyen produced a significant body of work in painting, drawing, printmaking, and collage.