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Performance Art in Eastern Europe

东欧的行为艺术

基本信息

批准号：
AH/M005585/1
负责人：
Amy Bryzgel
金额：
$ 15.71万
依托单位：
University of Aberdeen
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM005585%2F1
关键词：
Performance Art Eastern Europe

项目摘要

While performance art, or live art created by visual artists, in Western Europe and North America has been the subject of numerous exhibitions, texts and studies, performance art in Eastern Europe remains under-studied. This research, then, will probe the following questions: what does it mean to create performance art in the specific socio-political circumstances of Eastern Europe? What was the function and significance of performance art in this context? How does the knowledge and understanding of performance art practices from Eastern Europe enhance our understanding of the genre in a global sense?Performance art emerged as a genre in its own right in Western Europe and North America in the 1960s and 1970s. Its function and significance varied, but one of the main drives behind creating an ephemeral art form was to both expand beyond the frame of the canvas, and to escape the commodification of art by refusing to produce art objects. Feminist artists also seized upon the genre because it enabled them to become active agents, instead of passive subjects. In Eastern Europe, however, there was no art market to speak of. The state was the main patron, and painting and sculpture were the only officially tolerated genres of art. Nevertheless, artists in Eastern Europe developed their own performance art traditions, and these manifestations often varied depending on the country in question. For example, in the former Yugoslavia, performance developed on a semi-official level among artists in Student Culture Centres, established by Tito across the country to contain student unrest. In other places, such as Czechoslovakia and Russia, artists retreated to the countryside, where they experienced freedom from surveillance and an escape from the everyday, which they used to create. In Hungary, especially in the more liberal atmosphere of the 1970s, performances often took place at art openings, a liminal space between the official and unofficial where a more relaxed atmosphere provided room for experimental work. One of the first and only explorations of performance art in the region took the form of an exhibition and catalogue in 1998, entitled "Body and the East" (Moderna Galerija, Ljubljana), curated by Zdenka Badovinac. Due to the nature and range of its scope, the analysis of artworks remained limited to single-country studies and brief catalogue entries. This project will result in a comprehensive monographic study, Performance Art in Eastern Europe, that expands on this groundbreaking undertaking and provides a thorough narrative and analysis of the development of the genre in the region. I organise my book thematically, so as to avoid a broad-brush approach inherent in a country-by-country study. This research also provides an additional dimension, by examining the work of artists working nowadays in the context of their predecessors, to examine how the significance, manifestation and function of performance art has changed since the communist period, if at all. While the research will fill a gap in the literature on performance art, this new knowledge and information is targeted at a non-academic audience as well. Dynamic and interactive activities have been integrated into the project so as to involve artists and art historians in the region, such as a conference and exhibition that will solicit both papers and performances through an open call. Just as the book and conference aim to integrate Eastern European artists into the discourse, school workshops, with both educators and pupils, will integrate contemporary art practices, such as performance art, into the curriculum.

虽然行为艺术或视觉艺术家创作的现场艺术在西欧和北美已经成为许多展览，文本和研究的主题，但东欧的行为艺术仍然没有得到充分的研究。因此，本研究将探讨以下问题：在东欧特定的社会政治环境中，行为艺术的创造意味着什么？行为艺术在这一背景下的作用和意义是什么？东欧行为艺术实践的知识和理解如何增强我们对全球意义上的这种类型的理解？行为艺术在1960年代和1970年代在西欧和北美以自己的方式出现。它的功能和意义各不相同，但创造一种短暂的艺术形式背后的主要驱动力之一是超越画布的框架，并通过拒绝生产艺术品来逃避艺术的商品化。女权主义艺术家也抓住了这种类型，因为它使她们能够成为积极的代理人，而不是被动的主体。然而，在东欧，没有艺术市场可言。国家是主要的赞助人，绘画和雕塑是唯一被官方认可的艺术类型。然而，东欧的艺术家们发展了自己的表演艺术传统，这些表现形式往往因国家而异。例如，在前南斯拉夫，蒂托在全国各地建立的学生文化中心的艺术家们在半官方层面上发展表演，以遏制学生骚乱。在其他地方，如捷克斯洛伐克和俄罗斯，艺术家们撤退到农村，在那里他们体验到了远离监视的自由，逃离了他们曾经创造的日常生活。在匈牙利，特别是在1970年代比较自由的气氛中，表演经常在艺术开幕式上进行，这是官方和非官方之间的一个界限空间，在那里，一个更轻松的气氛为实验性工作提供了空间。1998年，该地区第一次也是唯一一次对行为艺术的探索采取了展览和目录的形式，名为“身体和东方”（Moderna Galerija，卢布尔雅那），由Zdenka Badovinac策划。由于其范围的性质和范围，对艺术品的分析仍然限于单一国家的研究和简短的目录条目。该项目将产生一个全面的专题研究，东欧的行为艺术，扩大了这一开创性的事业，并提供了该地区流派发展的透彻叙述和分析。我的书是按主题组织的，这样就避免了国别研究中固有的一刀切的方法。这项研究还提供了一个额外的维度，通过检查艺术家在他们的前辈的背景下工作，研究自共产主义时期以来，行为艺术的意义，表现形式和功能发生了什么变化，如果有的话。虽然这项研究将填补行为艺术文献中的空白，但这种新的知识和信息也针对非学术受众。该项目纳入了动态和互动的活动，以使该地区的艺术家和艺术史学家参与其中，例如通过公开征集征集论文和表演的会议和展览。正如这本书和会议的目的是将东欧艺术家融入话语，学校讲习班，与教育工作者和学生，将当代艺术实践，如行为艺术，融入课程。