In this path-breaking new history, Maja and Reuben Fowkes introduce outstanding artworks and major figures from across central and eastern Europe to reveal the movements, theories and styles that have shaped artistic practice since 1950. They emphasize the particularly rich and varied art scenes of Poland, Czechoslovakia, Hungary and Yugoslavia, extending their gaze at intervals to East Germany, Romania, the Baltic states and the rest of the Balkans. While politics in the region have been marked by unstable geography and dramatic transitions, artists have forged a path of persistent experiment and innovation. This generously illustrated overview explores the richness of their singular contribution to recent art history. Tracing art-historical changes from the short-lived unison of the socialist realist period to the incredible diversity of art in the post-communist era, the authors examine the repercussions of political events on artistic life – notably the uprisings in Hungary and Czechoslovakia, the Solidarity movement in Poland, and the collapse of the communist bloc. But their primary interest is in the experimental art of the neo-avant-garde that resisted official agendas and engaged with global currents such as performance art, video, multimedia and net art.
An collective blog of the first three meetings of Confrontations: Sessions in East European Art History, which took place in Zagreb and Ljubljana in March 2019, in Prague, Brno and Bratislava in September 2019, and Warsaw and Lodz in February 2020. This UCL Blog is made up of teflections on the seminars, guest lectures, museum and studio visits shared by our group of East European art history scholars.
Text by Maja and Reuben Fowkes published in Barricading the Ice Sheets. Artists and Climate Action in the Age of Irreversible Decision (Vienna: Camera Austria, 2020), considering the extent to which artistic engagement with ecological activism should also be seen as part of a wider transformation of the artworld, in which curatorial and institutional innovations also play an essential part.
Panel discussion exploring artistic interventions in a plasticised world with Amanda Boetzkes and Diana Lelonek.How have artists utilised the materiality of plastics to investigate the breakdown of the division between the synthetic and the natural, the emergence of hybrid forms and the extent of the adaptability of living organisms to plasticised environments?
This performance lecture by Maja and Reuben Fowkes revisits Points East from the distance of a generation, reconstructing the original exchanges to provoke contemporary reflections and debate on a little known but critical moment in artistic, cultural and political history.
Text by Maja and Reuben Fowkes for Along Ecological Lines: Contemporary Art and Climate Crisis (2019), an edited volume that brings together essays, interviews and case studies examining the work and ideas of a range of environmentally engaged artists working in Europe today.
Text by Maja and Reuben Fowkes published in the Hungarian art history journal Ars Hungarica, examining the processes of the colonisation and decolonisation of nature as they are present in the art history and contemporary art of Central Europe. It takes as a case study the exhibition histories of curatorial engagements with nature themes at the Budapest Kunsthalle from the 1950s to today.
Text for the publication of the Jindřich Chalupecký Award exhibition 2019 on homegrown civic movements that raised environmental protest to the level of systemic social change in response to the urgency of climate chaos.
The assemblage of natural and human histories that constitute the Debrisphere did not emerge as a symbiotic growing together of living and non-living matter but rather through the force of a violent collision. Text for artists Anca Benera and Arnold Estefan's Debrisphere: Landscape as an Extension of the Military Imagination (2019).
This program investigates the entangled histories of East European art through a series of itinerant symposia held at pertinent locations across and beyond the region. By staging encounters between contrasting aesthetic and critical positions and creating conditions for comparative insights to crystallise, these sessions aim to instigate more rigorous and integrated accounts of East European art history. Acknowledging the singularity of individual practices, the multi-directional flow of artistic exchange and the generative effects of local circumstances, this transnational initiative is a contribution to an emergent global history of art from the Second World War till today.
This special issue of Third Text on Actually Existing Artworlds of Socialism is an attempt to delineate the characteristic features of the art scenes of Eastern Europe during the 1960s and 1970s. It is premised on the idea that artistic life in Eastern Europe was profoundly shaped by the structures, conventions and workings of the overarching system, with artists and critics compelled to negotiate the often productive contradictions of actually existing socialism. With an introduction by Maja and Reuben Fowkes and contributions from Hana Buddeus, Daniel Grúň, Candice Hamelin, Marko Ilić, Raino Isto, Zsuzsa László, Armin Medosch, Tomáš Pospiszyl, Alina Șerban, Sonja Simonyi, Tomasz Załuski.
Presentation of artist Ilona Németh's Eastern Sugar project on the post-communist decline of the Slovak sugar beet industry, with interventions by spatial practitioners Cooking Sections (Daniel Fernández Pascual & Alon Schwabe) and art historian Leon Wainwright (Open University), moderated by Maja and Reuben Fowkes (Translocal Institute / PACT UCL).
Main stage presentation and breakout session at the Creative Time Summit in Miami, November 2018. Our ten minutes in the limelight focused on the Danube River School, with a longer session on Plant Patriotism at the Pérez Art Museum the following day.
Chapter based on a keynote lecture on ‘Feeling the Curve of the Earth: Deviant Democracies and Ecological Uncertainties,’ in Mutating Ecologies in Contemporary Art published by the University of Barcelona in 2019.
Catalogue text entitled 'Intentionally Contemporary: Expanded Horizons of the Hungarian Neo-Avant-Garde' for Bookmarks: Revisiting Hungarian Art of the 1960s and 1970s (Koenig Books, 2019). offering a comprehensive panorama of a two-decade period of Hungarian art.
Experimental Reading Room for Arts Catalyst London's Test Sites: Assembly programme, looking at fluviocentric texts and artworks that explore sensual approaches to the river to connect with its non-human agency, histories and ecologies.
The Experimental Reading Room creates a space to interact, experiment, learn and dream our way to a new orientation towards ecological awareness in contemporary art and society. Based around a parallel program of degrowth lectures by prominent international thinkers and thematic study circles, the project is designed to engender the self-production of socially-embedded, theoretically-informed and practically-oriented knowledge in the vital field of art and ecology. Iterations included a two-year programme at Translocal Institute and guest events curated by Maja and Reuben Fowkes in Vienna, Glasgow and London.
The River School was a series of study days, workshops, symposia and exhibitions conceived to engage with the Danube as a transforming natural environment with a long history of human intervention, a route of transnational flows and migrations, a focus for ecological concern that spills over into civic action, and a magnet for diverse artistic and cultural reflections. Curated by Maja and Reuben Fowkes, this two-year project was realised within the framework of the Green Art Lab Alliance (GALA) with the support of the Culture Programme of the European Union, and resulted also in a number of publications and presentations.
Text on the 'Post-National in East European Art: From Socialist Internationalism to Transnational Communities,' in Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, published by MoMA New York, 2018.
Chapter entitled 'Liberty Controlled: Institutional Settings of the East European Neo-avant-garde,’ in Doublespeech: Hungarian Art of the 1960s and 1970s published by Thames & Hudson in 2018.
The Experimental Reading Room was a three-day participatory seminar space at Institute for Contemporary Art (ICA), London as part of In formation's orientation towards the future and new forms of commonality.
A two-day intensive exploring the polyvalent theoretical and practical facets of the feral through art, politics and ecology organized by the Environmental Arts and Humanities Initiative (EAH) at Central European University, Budapest.
Paper on 'The Primeval Cosmic River and its Ecological Realities: On the curatorial project Danube River School in Geohumanities. Uncovering the environmental history of the Danube, featuring river-centered artistic practices, and investigating the potential for an integrated ecological future were at the core of this interdisciplinary curatorial project.
Chapter on Re-Enactment as a Critical Strategy in Contemporary East European Art' published in Performance Art in the Second Public Sphere by Routledge in 2018.
This Experimental Reading took as its focus attempts within both environmental thought and contemporary art to imagine the ecological future. These range from visualisations of technocratic dystopias in which all the worst predications of environmental disaster come true, to the wished for emergence of sustainable communities thriving in a new age of planetary consciousness.
Challenging anthropocentric conventions that seek to harness the river for economic, cultural and political purposes, River Ecologies places the complex ecological materiality of the Danube at the centre of artistic and scholarly attention.
The Environmental arts and Humanities Initiative aims to create a common platform for academic researchers, artists, and ecological activists creatively negotiating planetary issues at the intersection between scientific and humanities-based approaches to the environment. Based at Central European University and co-founded by Maja and Reuben Fowkes, its programme includes conferences, workshops, film screenings, presentations and a team-taught Environmental Arts and Humanities course.
Rather than mere passive bystanders to history, plants act as agents, mediating relations both among people and between people and their environments, knowledge, markets, and politics, as well as serving as go betweens in non-human spheres. This conference explores the response of artists, writers and theorists to manifestations of plant agency considered through vegetal non-cognitive thought and non-representational memory, plant ethics and rights, and the relationship of humans and plants in the Anthropocene.
Workshop and Panel Discussion led by Maja and Reuben Fowkes at Tendepixel London conveived as an afternoon of botanic interactions on the ecological realities of travelling plants and the emotional reactions that vegetal migration provokes in zealous circles.
Lecture by Maja and Reuben Fowkes at NASUTI Festival
Bratislava, a two day event in September 2018 at the Nova Cvernovka complex designed to create a platform for initiatives operating in the field of art, culture, ecology and sustainability.
Seminar for the Environmental Arts and Humanities Initiative on the Reflexive Ecologies of Post-Internet Art with Joana Moll, Inga Lāce and Áron Fenyvesi, introduced by Maja and Reuben Fowkes.
One of two interviews with Maja and Reuben Fowkes published in Mezosfera focusing on the post- and de-colonial dimensions of East European art and history.
Maja Fowkes's text on 'Working with Trouble: the Reassembled Landscapes of History and Nature' for the catalogue of Natural Histories at MUMOK Vienna.
To walk in the landscape today is to do so with awareness of the anthropogenic transformation of the natural world, while walking in the urban environment synchronises the rhythm of our steps with the great acceleration of the high-tech city.
A group exhibition investigating intricate questions around the changing human relationship to the natural world, the channelling of environmental awareness and its political dimensions.
Based on active collaboration with institutes of art history across Europe and the involvement of prominent academics, curators and artists, SocialEast is an internationally-recognised generator of innovative research into the contemporary art history of Eastern Europe.
On East European Art: Positions We Can Stand Behind and Speak From is the title of one of two interviews with Maja and Reuben Fowkes published in the journal Mezosfera and deals with the post-colonial legacies and de-colonizing potential of East European art.
A multi-year programme of interdisciplinary symposia, exhibitions and workshops engaging with sustainability issues at Central European University.
Text by Maja and Reuben Fowkes in Afterall arguing that despite its reputation as the decade of the ‘return of painting’, the overriding characteristic of the art of the East European eighties was its pluralism.