By Malcolm Miles, Mel Jordan
Paintings, concept, and feedback confronted radical new demanding situations after the tip of the chilly warfare. Art and concept After Socialism investigates what occurs while theories of artwork from the previous East and the previous West collide, parsing the paintings of former Soviet bloc artists along that in their western opposite numbers. Mel Jordan and Malcolm Miles finish that the goals promised through capitalism haven't been added in jap Europe, and also, the democratic liberation of the West has fallen prey to worldwide clash and high-risk events. This quantity is a innovative tackle the overlap of paintings and daily life in a post–cold conflict world.
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Extra info for Art and Theory After Socialism
An attempt to overcome the 3rd Floor’s Art Communities, Public Spaces and Collective Actions | 49 preoccupation with the rhetoric of aesthetics and its resulting political formalism was made by a short-lived group of artists (1994–1996) formed in immediate post-Soviet years. This group was called ACT, and its practices exemplified a shift from creation to action, from image to text, and from closed/gallery spaces to open/public spaces. The project which incorporated all of these features was a group action called Art Demonstration that took place in 1995 within the framework of a Russian-Armenian contemporary art exhibition at the Museum of Modern Art.
1 Many Armenian artists of the post-socialist period, along the lines of their late Soviet counterparts in the USSR and socialist Eastern Europe, believed in the socially communicative potential of artistic actions. The practices of the group Act in Armenia exemplified this ideal. Conceptual artists’ group Act operated from 1994 to 1996 and was comprised of artists David Kareyan, Diana Grigorgyan, Vahram Aghasyan, Narine Aramyan, Narek Avetissian, among others. 4 Through artistic dissent and a referendum, Act called for political participation both in art and society.
This masculinity was certainly present in the stylistic and technical dimensions of the 3rd Floor exhibitions. Their artworks were almost always on a large scale and were aimed to have a strong visual affect on the viewer. In the 3rd Floor exhibitions, size did matter. At the same time, the references to vandals, the motive of bulls and sharks in the work of Arman Grigoryan and the gestural ejaculative action of Kiki, another important member of the movement, again betray their positions of masculinity.