May 25–26, 2012
This seminar, organized by the Institute of Art History of the Estonian Academy of Arts, was a follow-up event to the Clark’s initiative in Central-Eastern Europe in 2010-2011 which brought together a group of scholars and students working on the art history of the region. The seminars elicited a lively discussion on different ways to study and write art history in the post-Soviet/ post-socialist period. Although Central-Eastern Europe is not a homogeneous territory, geographically or intellectually, a set of common keywords and topics emerged. These included: belatedness, asynchronicity, coevalness, trauma, universality vs. locality, and unevenness. Our aim, as stated in the title of this seminar, was to ‘reshuffle’ the keywords and delve deeper into the topics.
The purpose of this event was to take a critical, closer look at these theoretical notions and to test their usefulness for particular cases and research areas. Local researchers and graduate students were able to test and expand their work, and they were encouraged to further question and unravel the dominance of some of these concepts.
In order of discussion
Welcome and Introduction
Krista Kodres, Natasha Becker, Andres Kurg, David Breslin
Session 1: Belated, Different, Asynchronous?
This session addresses the question of conceptualizing local art production vis-a-vis Western art historical models: if the modernist canon saw Eastern-Central European works as belated manifestations of modernity, then postmodernist interpretations preferred to underline their differences and otherness. Although contrasting, both models maintained the primacy of Western art history. How might we regard local and regional art production from a global art historical perspective? What temporal and spatial models would assist us in rethinking this relationship? Are there local models that could overturn dominant narrations?
Beyond Belatedness and Absences: On Some Examples of Critical Feminist Art from a Post-Soviet Culture
Politics of Interdisciplinarity. Rethinking the Concepts of the History of Art of Soviet Estonia
Discussion: Magda Carneci, Krista Kodres, Virve Sarapik
Session 2: Writing about the Soviet Union: Techniques and Geographies
Academic interest in the art and architectural history of the late-Soviet period has grown in recent years. The models for thinking about this period often reproduce the binaries and ideologically motivated concepts developed during the demise of the Soviet Union in the late 1980s and early 1990s. This includes a strong separation between the official and unofficial art spheres, public and private discourse, and work and everyday life. How does new research overcome these polarizations? What theoretical concepts, from post-colonial theory and visual culture studies, for example, can be productively employed? Would ideas from the former “margins” of the Soviet Union redefine dominant representations of the late-Soviet period?
Trouble with Modernization, or Rebranding of Soviet Aesthetics of the Everyday as a Strategy of Reconciliation with the Past
Art History of the Collective Farm
Exhibition Modes in Soviet Art: Representing Dissent
Discussion: Edit Andras, Sven Spieker, Epp Lankots, Andres Kurg
Future Projects Meeting
Meeting involving the research group of the Tallinn Institute of Art History (Mart Kalm, Katrin Kivimaa, Mari Laanemets, Epp Lankots, Andres Kurg); presentation regarding future projects.