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

我的研究涉及1989年后中欧和东欧（CEE）女艺术家在英国的代表和接受。它为中东欧艺术提出了一个跨国的，女权主义的和反xemacist策展框架，并探讨了后社会主义和后殖民主义之间的交叉点。2022年，在脱欧后的英国，三位中东欧女艺术家在知名艺术机构举办了个展。玛丽娜·阿布拉莫维奇在牛津现代艺术和马格达莱纳Abakanowicz和玛丽亚Bartuszova，都在泰特的展览，表明从中东欧地区的艺术，特别是-艺术策展的兴趣越来越大-妇女。这些展览发生在俄罗斯入侵乌克兰的时刻，中东欧国家持续的极右翼政治不断限制妇女的基本权利，以及英国的反东欧情绪，导致中东欧社区在英国的边缘化和代表性不足。这些展览还展示了最近的例子，说明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-从而“东方”和“西方”如何通过获得全球资本和资源来定义象征性结构。这项研究修订了在英格兰的中东欧艺术策展框架的历史，并评估了女性艺术家在构建艺术的叙事从这个地区，以及他们的关系，跨国，女权主义策展的作用。

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.