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Index
Cover
Author Bio
Endorsements
Title Page
Copyright Page
Table of Contents
List of Illustrations
Acknowledgements
Introduction
Within and Beyond the Borders of Bulgaria, Hungary and Romania
Subversive Potential in Social Capital
Politics of Socially Engaged Art in CEE
Research Methodologies and Significance
1 Points of Contention: Socially Engaged Art Practice in Contemporary Theory
2 Civil Society, and Social, Cultural and Political Capital
Civil Society
Social, Cultural and Political Capital
3 Historical Antecedents: Participatory Art under Socialism, 1956–89
Socially Engaged Art in Socialist Hungary
Participatory Art in Socialist Romania
Unconventional Art in Socialist Bulgaria
Part I From Second Society to Civil Society
4 Civil Society in a Period of Post-Socialist Transition
5 Antipolitics: Exhibitions at the Soros Centres for Contemporary Art
Reclaiming Public Life through Interventionist Public Art
Curatorial Visions: Framing Community-Oriented Art Projects
Soros Centres for Contemporary Arts: Constraint and Self-Determination
6 Sofia: Participatory Public Art and Emerging Contemporary Art Institutions
Friendship Networks in Post-1989 Emerging Art Institutions for Contemporary Art
Part II From Localized Public Sites To EU Transnational Public Spheres
7 Place-Making: Framing Art in Public Spaces Curatorially
Moszkva Tér (Gravitacio) / Moscow Square (Gravitation)
Visual Seminar
Spațiul Public București / Public Art Bucharest
Catching Up to Europe with Culture
8 Representing Counterpublics in Bucharest, Budapest and Sofia
h.arta: Undermining Curatorial Protocols in Self-Organizing Collaborative Projects
János Sugár: Staging Confrontation in Participatory Public Art
Luchezar Boyadjiev: Roma Counterpublic Art Monuments in Sofia
Ivan Moudov: Performing a Museum of Contemporary Art through Collective Participation
9 Contesting the Politics of Belonging in the Post-1989 EU Community
About the Artists: Bejenaru and Big Hope
‘Mental Maps’ in ‘Fortress Europe’
The Power of the Gaze
Constructing Differential Spaces through Social Capital and Political Capital
Part III Institutionalized and Institutionalizing
10 Institutionalized Community Arts Programmes
Art for Social Change: Bypassing Systemic Causes
cARTier: Cultivating Self-Help through Art in Marginalized Communities
Participation and Collaboration as Apolitical Strategies of Engagement
11 Big Hope: Reviving Leftist Activism in Budapest
Hungarian Cultural Institutions: Stage for Populist Right-Wing Narratives
Big Hope and Homelessness
Disobbedienti
In and Out of Institutions
12 Self-Institutionalizing as Political Agency
From DINAMO to IMPEX: Expanding Institutional Framing
Department of Art in Public Space: Challenging the Left’s Official Condemnation
0GMS’s Self-Institutionalization
Self-Institutionalizing as Platforms for Self-Determination
Conclusion
Notes
Bibliography
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