Body and the East : from the 1960s to the present : Moderna galerija Ljubljana/Museum of Modern Art
著者
書誌事項
Body and the East : from the 1960s to the present : Moderna galerija Ljubljana/Museum of Modern Art
MIT Press, 1999, c1998
- : pbk
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
English and Slovenian
Catalog of an exhibition held at the Museum of Modern Art, Ljubljana, Slovenia, July 7-Sept. 27, 1998
Includes bibliographical references
内容説明・目次
内容説明
A survey of art produced and performed-often at personal and political risk to the artist-in fourteen East European countries under communist and post-communist conditions.
With essays by Joseph Backstein, Iara Boubnova, Jurij Krpan, Ileana Pintilie, Kristine Stiles, Branka Stipancic, Igor Zabel, and others The earliest "body art" was created in Eastern Europe in the early 1960s. The term "body art" includes a wide range of practices in which the artist's own body is the bearer of social, political, metaphorical, and philosophical content. This book includes essays on eighty artists from fourteen countries: Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, the former GDR, Hungary, Lithuania, Moldova, Poland, Romania, Russia, Slovakia, Slovenia, and Yugoslavia. Introductory essays by Zdenka Badovinac and Kristine Stiles discuss the tradition of an art form that emerged during socialism in cultural centers such as Prague, Belgrade, Ljubljana, Warsaw, and Zagreb. In these places public actions, particularly on the street, were often banned-and artists arrested-by the police. Therefore many of the actions documented here took place in private apartments, with the artists performing at great personal risk. The art survived not only despite the absence of any art market, but also despite its marginalization by political regimes. The artists turned their marginalization to an advantage, creating art out of the contingencies and necessities of survival. The art represented here reminds us of the psychological and intellectual freedoms that artistic expression affords under politically repressive conditions. This bilingual (Slovenian/English) book was originally published in conjunction with a major retrospective exhibition of body art held last year at the Museum of Modern Art in Ljubljana. Some of the artists, such as Marina Abramovic and Komar & Melamid, are well known internationally. Others, such as Alexander Brener, Sanja Ivekovic, Laibach, Paul Neagu, and Marko Peljhan, are known to special audiences in the East and West.
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