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This volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique. -- .
This volume presents the first comprehensive academic study of the history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s. Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists. The discussions are based on primary source material-interviews with the artists themselves. It offers a comparative study of the genre of performance art in countries and cities across the region, examining the manner in which artists addressed issues such as the body, gender, politics and identity, and institutional critique. -- .
Performance art in the West has developed in part as a response
to the commercialization of the art object. But what are the roots
of performance art in Eastern Europe and Russia, where there was no
real art market to speak of? While Western performance artists of
the late 20th century aimed to create works that could not be
bought or sold, performances in the communist bloc in the absence
of an art market, more often took the form of social critique.
Instead of creations that questioned what the art object is, their
work often related to local issues within the context of late- or
post-socialism. By placing these performances both within a local
and international context, this book pinpoints the nuances between
performance art East and West.
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