Edit Andras | Central European University (original) (raw)
Papers by Edit Andras
Exhibiting the “Former East”: Identity Politics and Curatorial Practices after 1989, 2013
edited by Cătălin Gheorghe and Cristian Nae, designed by: Lavinia German Published by Universitat... more edited by Cătălin Gheorghe and Cristian Nae, designed by: Lavinia German Published by Universitatea de Arte "George Enescu" Iasi, 2013 With the financial support of the Administration of the National Cultural Fund, Romania Texts: Cătălin Gheorghe: Argument; Cristian Nae: The Practice of Art History ‒ Art Exhibitions, Between Cultural Geography and Identity Politics; Zoran Erić: Globalisation And Art Exhibitions; Louisa Avgita: The rewriting of Art History as Art: Mapping the “East”; Svetla Kazalarska: Re-drawing the Art Map of “New Europe”; Raluca Voinea: Geographically Defined Exhibitions. The Balkans, Between Eastern Europe and the New Europe; Jens Kastner: Exciting and New: European identity or the artistic field and the production of a concept of “friend”; Edit András: The Ex-eastern Bloc’s Position in the New Critical Theories and in the Recent Curatorial Practice; Marina Gržinić: Critical Exhibitions as Neo-colonial Strategies: Gender Check and the Politics of Inclusion; Cristian Nae: What’s New on the Eastern Front? Performance Art and the Nostalgia for Cultural Resistance; Milena Tomic: Rearview Mirror: New Art From Central and Eastern Europe; Sándor Hornyik: Alternative Time Travelers – Post-Communism, Figurativeness And Decolonization; Kelly Presutti: Les Promesses du Passé: Shaping Art History via the Exhibition
The essay examines the popular Hungarian weekly women’s magazine Nők Lapja through the sixties so... more The essay examines the popular Hungarian weekly women’s magazine Nők Lapja through the sixties socialist consumption and the culture of objects and the discourse concerning the image of the socialist woman, not from the perspective of economics or the history of consumption, but from the point of view of cultural history. It focuses on the change of strategy during the Cold War, which from the side of the West signified the use of soft power, while in the East it implied the modification of socialist modernization, in so far as emphasis was shifted from aggressive armament and the conquest of space to everyday prosperity and consumption. The narrower segment under examination is the project in the Sixties that addressed the modernization of the kitchen and the woman of the house, a project which extended to the manufacturing of household appliances aimed at facilitating domestic chores faced by women who also had full time jobs, the introduction of a network of self-service business...
Život umjetnosti : časopis o modernoj i suvremenoj umjetnosti i arhitekturi, Dec 1, 2003
Art historian and critic Edit Andras re-examines the thought of the late Piotr Piotrowski, partic... more Art historian and critic Edit Andras re-examines the thought of the late Piotr Piotrowski, particularly his call for regionally specific art histories, in the light of recent political developments in Europe. Seeing as problematic, and perhaps even dangerous, attempts to assert a distinct regional perspective at a time when nationalism is all pervasive, she points to recent shifts in the academic discourse toward arguments in favour of a reinvented universalism. She goes on to reflect on the present situation in Hungary, where the Viktor Orban’s ruling nationalist government has been shaping the cultural and academic landscape to its own ends, and examines some of pitfalls in the critical response to such encroachments.
Edit Andras Masculine nation, masculine war, masculine art Nationalism and masculinity (Little Wa... more Edit Andras Masculine nation, masculine war, masculine art Nationalism and masculinity (Little Warsaw: The Battle of Inner Truth) The rhetoric of nationalism is regarded to be heavily gendered, still for quite a long time the various nationalism theories have been in agreement only in their gender blindness. The gendered notion of nation has been naturalized to the degree that even feminist scholars have failed to examine the constructed nature of this connection. When they finally targeted nationalism, they focused on women as victims of patriarchy or explored women’s contribution to the process of nation building. The focus on gender and sexuality in the making of nations appeared in parallel with the rise of nationalisms globally. This essay travels around the connection between nationhood and manhood through a close reading of the installation entitled The Battle of Inner Truth by a Hungarian artist duo, named Little Warsaw, examining how this symbiosis has been manifested in visual and cultural representation through the construction of the image of a glorified, virulent male warrior and heroic male struggle as opposed to the passive and weak, or its idealized and static counterpart, symbolizing the feminized nation to be defended. The artists transformed the floor of the Trafo Gallery, Budapest into a plotting board on which 73 statuettes and figurines borrowed from Hunga- rian public art collections serve as regiments in an imagined battlefield (these included small scale models for public monuments, autonomous and propaganda works, as well as commercialized knick-knacks, some of which are still visible in public spaces, others have been removed or never realized). They selected works made in the 20th century but relying on19th century visual cliches of public monuments, which represent mili- tary acts, patterns of aggression, heroism and are strongly connected to nation building and later to the construction of Socialist identity. The essay offers a feminist analysis (relying also on Nationalism Studies and Masculinity Studies) of nationalism and masculinity, to demonstrate the interplay between masculine culture and nationalist ideology as they designate gendered places for men and women in national politics. While the ready-made statues justly put into effect the nation as a masculine enterprise, the various artistic strategies – such as artistic research, re-enactment and popular history – applied to the very idea of setting up a game and the rearrangement of the figurines, in difference to the national and (art) historical canon, actually subvert the authority of post-socialist nationalism. However, its highly gendered construction is left intact. Keywords: masculinity, Men’s Studies, femininity, Women’s Studies, feminism, Gender Studies, game theory, war games, public monuments, public space, artistic research, re-enactment, nation building, nationalism, post-socialism
The Identity Crisis of Art History Maverick Cold War Modernism Regional Pride: The Post-Cold War ... more The Identity Crisis of Art History
Maverick Cold War Modernism
Regional Pride: The Post-Cold War Empowerment of the Margins
National Art History Fights Back
The Hungarian Patient
What is to be Dona with regional Art history
Szabolcs KissPál: Amorous Geography
Writing Central European Art History, 2008
Exhibiting the “Former East”: Identity Politics and Curatorial Practices after 1989, 2013
edited by Cătălin Gheorghe and Cristian Nae, designed by: Lavinia German Published by Universitat... more edited by Cătălin Gheorghe and Cristian Nae, designed by: Lavinia German Published by Universitatea de Arte "George Enescu" Iasi, 2013 With the financial support of the Administration of the National Cultural Fund, Romania Texts: Cătălin Gheorghe: Argument; Cristian Nae: The Practice of Art History ‒ Art Exhibitions, Between Cultural Geography and Identity Politics; Zoran Erić: Globalisation And Art Exhibitions; Louisa Avgita: The rewriting of Art History as Art: Mapping the “East”; Svetla Kazalarska: Re-drawing the Art Map of “New Europe”; Raluca Voinea: Geographically Defined Exhibitions. The Balkans, Between Eastern Europe and the New Europe; Jens Kastner: Exciting and New: European identity or the artistic field and the production of a concept of “friend”; Edit András: The Ex-eastern Bloc’s Position in the New Critical Theories and in the Recent Curatorial Practice; Marina Gržinić: Critical Exhibitions as Neo-colonial Strategies: Gender Check and the Politics of Inclusion; Cristian Nae: What’s New on the Eastern Front? Performance Art and the Nostalgia for Cultural Resistance; Milena Tomic: Rearview Mirror: New Art From Central and Eastern Europe; Sándor Hornyik: Alternative Time Travelers – Post-Communism, Figurativeness And Decolonization; Kelly Presutti: Les Promesses du Passé: Shaping Art History via the Exhibition
The essay examines the popular Hungarian weekly women’s magazine Nők Lapja through the sixties so... more The essay examines the popular Hungarian weekly women’s magazine Nők Lapja through the sixties socialist consumption and the culture of objects and the discourse concerning the image of the socialist woman, not from the perspective of economics or the history of consumption, but from the point of view of cultural history. It focuses on the change of strategy during the Cold War, which from the side of the West signified the use of soft power, while in the East it implied the modification of socialist modernization, in so far as emphasis was shifted from aggressive armament and the conquest of space to everyday prosperity and consumption. The narrower segment under examination is the project in the Sixties that addressed the modernization of the kitchen and the woman of the house, a project which extended to the manufacturing of household appliances aimed at facilitating domestic chores faced by women who also had full time jobs, the introduction of a network of self-service business...
Život umjetnosti : časopis o modernoj i suvremenoj umjetnosti i arhitekturi, Dec 1, 2003
Art historian and critic Edit Andras re-examines the thought of the late Piotr Piotrowski, partic... more Art historian and critic Edit Andras re-examines the thought of the late Piotr Piotrowski, particularly his call for regionally specific art histories, in the light of recent political developments in Europe. Seeing as problematic, and perhaps even dangerous, attempts to assert a distinct regional perspective at a time when nationalism is all pervasive, she points to recent shifts in the academic discourse toward arguments in favour of a reinvented universalism. She goes on to reflect on the present situation in Hungary, where the Viktor Orban’s ruling nationalist government has been shaping the cultural and academic landscape to its own ends, and examines some of pitfalls in the critical response to such encroachments.
Edit Andras Masculine nation, masculine war, masculine art Nationalism and masculinity (Little Wa... more Edit Andras Masculine nation, masculine war, masculine art Nationalism and masculinity (Little Warsaw: The Battle of Inner Truth) The rhetoric of nationalism is regarded to be heavily gendered, still for quite a long time the various nationalism theories have been in agreement only in their gender blindness. The gendered notion of nation has been naturalized to the degree that even feminist scholars have failed to examine the constructed nature of this connection. When they finally targeted nationalism, they focused on women as victims of patriarchy or explored women’s contribution to the process of nation building. The focus on gender and sexuality in the making of nations appeared in parallel with the rise of nationalisms globally. This essay travels around the connection between nationhood and manhood through a close reading of the installation entitled The Battle of Inner Truth by a Hungarian artist duo, named Little Warsaw, examining how this symbiosis has been manifested in visual and cultural representation through the construction of the image of a glorified, virulent male warrior and heroic male struggle as opposed to the passive and weak, or its idealized and static counterpart, symbolizing the feminized nation to be defended. The artists transformed the floor of the Trafo Gallery, Budapest into a plotting board on which 73 statuettes and figurines borrowed from Hunga- rian public art collections serve as regiments in an imagined battlefield (these included small scale models for public monuments, autonomous and propaganda works, as well as commercialized knick-knacks, some of which are still visible in public spaces, others have been removed or never realized). They selected works made in the 20th century but relying on19th century visual cliches of public monuments, which represent mili- tary acts, patterns of aggression, heroism and are strongly connected to nation building and later to the construction of Socialist identity. The essay offers a feminist analysis (relying also on Nationalism Studies and Masculinity Studies) of nationalism and masculinity, to demonstrate the interplay between masculine culture and nationalist ideology as they designate gendered places for men and women in national politics. While the ready-made statues justly put into effect the nation as a masculine enterprise, the various artistic strategies – such as artistic research, re-enactment and popular history – applied to the very idea of setting up a game and the rearrangement of the figurines, in difference to the national and (art) historical canon, actually subvert the authority of post-socialist nationalism. However, its highly gendered construction is left intact. Keywords: masculinity, Men’s Studies, femininity, Women’s Studies, feminism, Gender Studies, game theory, war games, public monuments, public space, artistic research, re-enactment, nation building, nationalism, post-socialism
The Identity Crisis of Art History Maverick Cold War Modernism Regional Pride: The Post-Cold War ... more The Identity Crisis of Art History
Maverick Cold War Modernism
Regional Pride: The Post-Cold War Empowerment of the Margins
National Art History Fights Back
The Hungarian Patient
What is to be Dona with regional Art history
Szabolcs KissPál: Amorous Geography
Writing Central European Art History, 2008
Subjektívne histórie. Seba-historizácia ako umelecká prax v stredovýchodnej Európe = Subjective Histories. Self-historicisation as Artistic Practice in Central-East Europe. , 2020
The book is devoted to the artistic methods of self-historicisation, archiving, and the creation ... more The book is devoted to the artistic methods of self-historicisation, archiving, and the creation of alternative institutional frameworks in the context of power and ideology structures dominating art in Communist Central and Eastern Europe and subsequently during their transformation. Ten essays by Edit András, Ivana Bago, Hana Buddeus, Branislav Dimitrijević, Daniel Grúň, Mira Keratová, Emese Kürti, Alina Serban, Darko Šimičić, Jana Písaříková take the form of case studies that focus on neo-avant-garde, post-avant-garde, and contemporary art projects from Poland, Hungary, the former Yugoslavia, Romania, Czech Republic and Slovakia. Their common denominator is their development over long stretches of time, in many cases coinciding with the lifetimes of their creators. Trying to come to terms with the given conditions for artistic practise in each of these countries, artists like Peter Bartoš, Goran Đorđević, Györgi Galántai, Matej Gavula, Tomislav Gotovac, Zofia Kulik, Ana Lupaș, Lia Perjovschi, Milica Tomić, Petr Štembera, Jiří Valoch, Mona Vatamanu & Florin Tudor and others developed a link between artistic and community work, practices of collecting, sorting and distributing difficult to access or otherwise censored knowledge and information, establishing parallel institutional networks and founding active archives which today serve as inspiration, not only to galleries and museums, but also to contemporary artists, theoreticians, and organizers of art events.