Representation of Central and Eastern European (CEE) female artists in the history of British exhibitions and collections after 1989

我的研究地址的代表性和接受中欧和东欧（CEE）女性艺术家在英国1989年后。它为中东欧艺术提出了一个跨国的、女权主义的和反性别歧视的策展框架，并探讨了后社会主义和后殖民主义之间的交集。2022年，脱欧后的英国，三位中东欧女艺术家在知名艺术机构举办了个展。玛丽娜·阿布拉莫维奇（Marina Abramovic）在牛津现代艺术学院（Modern Art Oxford）的展览，以及玛格达莱娜·阿巴卡诺维奇（Magdalena Abakanowicz）和玛丽亚·巴尔图佐娃（Maria Bartuszova）在泰特美术馆（TATE）的展览，都表明策展人对中东欧地区艺术，尤其是女性艺术的兴趣日益浓厚。这些展览发生在俄罗斯入侵乌克兰、中东欧国家持续的极右翼政治不断限制妇女的基本权利、英国的反东欧情绪导致中东欧社区在英国被边缘化和代表性不足的时刻。展览还展示了最近中东欧妇女的工作如何在英国作为“西欧”的一部分进行公开谈判，框架和背景化的例子-从而“东方”和“西方”是如何通过获得全球资本和资源来定义的象征性结构。该研究修订了英国中东欧艺术策展框架的历史，并评估了女性艺术家在构建该地区艺术叙事中的作用，以及她们与跨国女权主义策展的关系。

My research addresses the representation and reception of the Central and Eastern European (CEE) women artists in England after 1989. It proposes a transnational, feminist and anti-xenoracist curatorial framework for CEE art and explores the intersections between postsocialism and postcolonialism. In 2022 in post-Brexit Britain, three CEE women artists had their solo shows staged at renowned art institutions. The exhibitions of Marina Abramovic at Modern Art Oxford and Magdalena Abakanowicz and Maria Bartuszova, both at TATE, indicate the growing curatorial interest in art from CEE region, and specifically - art by women. These exhibitions take place in a moment marked by the Russian invasion of Ukraine, continuous far right politics in CEE countries continuously limiting women's basic rights, and anti-Eastern European sentiment in the UK, resulting in the marginalisation and underrepresentation of the CEE community in Britain. The exhibitions also demonstrate recent examples of how the work of CEE women is publicly negotiated, framed and contextualised in the UK as part of 'Western Europe' - and thereby how both 'East' and 'West' are symbolic constructs defined by access to global capital and resources. The study revises the history of curatorial frames of CEE art in England and evaluates the role of women artists in constructing the narrative of art from this region as well as their relation to transnational, feminist curating.