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

我的研究是关于1989年后中东欧(CEE)女性艺术家在英国的表现和接受。它为中东欧艺术提出了一个跨国的、女权主义的和反世俗主义的策展框架，并探索了后社会主义和后殖民主义之间的交叉。2022年，在英国脱欧后的英国，三位中东欧女性艺术家在著名的艺术机构举办了个展。现代艺术牛津的玛丽娜·阿布拉莫维奇和泰特的Magdalena Abakanowicz和Maria Bartuszova的展览表明，策展人对中东欧地区的艺术，特别是女性艺术的兴趣与日俱增。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以及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。这些展览还展示了最近的例子，展示了中东欧女性的工作是如何在英国被公开谈判、框定和背景的--从而也展示了如何通过获取全球资本和资源来定义“东方”和“西方”这两个象征性的概念。这项研究修正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方面的作用，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.