Networking the Bloc: International Relations and Experimental Art in Eastern Europe (1968-1981)

这项建议是要完成一本题为《集团联网：东欧的国际关系和实验艺术》（1968 - 1981年）的专著，调查从华沙条约部队入侵捷克斯洛伐克到波兰团结工会运动兴起的漫长十年期间东欧非官方艺术家之间国际交流的关键事例。这一时间框架的设计与解冻后该地区民间社会的重新出现相吻合，将保证分裂的欧洲"人员和思想自由流动"的赫尔辛基协定（1975年）的关键"篮子三"作为关键，以调查在协定之前的时期这些自由的机会和障碍以及随后几年的变化情况。本书的主要目的是描绘苏联集团内部实验性交流的地形图，但材料的地缘政治范围必然超出苏联和苏联卫星国的边界，包括与前南斯拉夫（1948年后独立于苏联），西欧，美国和拉丁美洲的重要联系。通过将次要叙事编织在一起，网络集团试图在全球艺术史领域重新定位东西方交流，并挑战冷战后期强调孤立而非连通性的叙述。匈牙利持不同政见者捷尔吉·孔拉德（György Konrád）问道："我们如何加强民间社会的横向人际关系，以对抗军事社会的纵向人际关系？"1984年我认为，到那时，实验艺术家已经用他们自己的方式探索了20年。这本书探讨了在一个以政治两极分化和审查、告密者和秘密警察网络为特征的时期，艺术思想是如何在志同道合的艺术家之间跨越意识形态和国家边界传播的。重点是：促进和促进交流的先驱和出版物;作为艺术家和艺术主张之间个人接触中心的地方;将艺术和艺术家聚集在新的星座中的事件;艺术家们对他们出国旅行的描述，最后，流亡艺术家的经历，他们在逃亡到苏联之后，能够在促进国际合作和材料在苏联集团的流通方面发挥作用。西方Networking the Bloc将是一本图文并茂的书，约10万字，将于2018年由麻省理工学院出版社出版。

The proposal is to complete a monograph entitled Networking the Bloc: International Relations and Experimental Art in Eastern Europe (1968-1981) surveying key instances of international exchange among East European unofficial artists in the period spanning the long decade between the Warsaw Pact troops' invasion of Czechoslovakia and the emergence of the Polish Solidarity movement. This time-frame is designed to coincide with the re-emergence of civil society in the region, post-thaw, taking as pivotal 'Basket Three' of the Helsinki Agreement (1975) guaranteeing the 'free movement of people and ideas' across divided Europe, to investigate both the opportunities for and impediments to these freedoms in the periods immediately preceding the Agreements and the changing position in the years that followed. The primary aim of the book is to chart a topography of experimental exchanges within the Soviet bloc itself, but the geopolitical scope of the material necessarily extends beyond the borders of the USSR and the Soviet Satellite countries to include important contacts with former Yugoslavia (independent of the USSR after 1948), Western Europe, the USA and Latin America. By weaving together minor narratives, Networking the Bloc seeks to reposition East-East exchange within a global art historical field and to challenge accounts of the late Cold War period that emphasize isolation over connectivity. Hungarian dissident György Konrád asked "How can we strengthen the horizontal human relationships of civil society against the vertical human relationships of military society?" in 1984. By then, I argue, experimental artists had been exploring such questions, in their own way, for two decades. The book explores how artistic ideas were relayed among like-minded artists across ideological and national frontiers in a period characterised by political polarisation and a network of censors, informers and secret police. The focus is on the following: the pioneers and publications that fostered and facilitated exchange; the places that served as hubs for personal encounters among artists and artistic propositions; the events that brought art and artists together in new constellations; artists' accounts of their excursions abroad and, finally, the experiences of émigré artists who were able to play a part in facilitating international collaboration and the circulation of materials in the Soviet bloc after having decamped to the West. Networking the Bloc will be a richly illustrated volume of around 100 000 words, to be published by MIT Press in 2018.