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

1989年后英国展览和收藏史上中东欧（CEE）女性艺术家的代表性

• 批准号: 2908083
• 金额: --
• 依托单位: University of the Arts London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2908083
• 关键词: Representation; Central; Eastern; European; CEE

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.

我的研究介绍了1989年之后英国中欧和东欧（CEE）女艺术家的代表和接收。它提出了用于CEE艺术的跨国，女权主义和反Xenoracist策展框架，并探索后社会主义与后殖民主义之间的相互作用。 2022年，在英国脱欧后的英国，三位中央妇女艺术家在著名的艺术机构举办了自己的个人演出。泰特（Tate）在现代艺术牛津大学和马格达莱纳·阿巴卡诺维奇（Magdalena Abakanowicz）和玛丽亚·巴图索娃（Maria Bartuszova）的玛丽娜·阿布拉莫维奇（Marina Abramovic）展览表明，在CEE地区，尤其是女性艺术的策展对艺术的兴趣日益增长。这些展览发生在俄罗斯对乌克兰的入侵的标志，在中东欧国家不断地右派政治不断限制妇女的基本权利，以及英国的反欧洲情绪，导致英国中央政区社区的边缘化和代表性不足。这些展览还展示了最近在英国公开谈判，构建和背景的CEE妇女作品作为“西欧”的一部分的例子 - 从而，“ East”和“ West”都是由获得全球资本和资源访问所定义的象征性结构。该研究修改了英格兰CEE艺术策展框架的历史，并评估了女艺术家在构建该地区艺术叙事以及与跨国女权主义策划的关系中的作用。