• Invisible Exhibitions: Performance & the Archive in Moscow Conceptualism

    Author(s):
    Yelena Kalinsky (see profile)
    Date:
    2009
    Subject(s):
    Performance art, Russian and Soviet art, Moscow conceptualism, Alternative cultures
    Item Type:
    Essay
    Tag(s):
    exhibition history, conceptual art, artist archives
    Permanent URL:
    http://dx.doi.org/10.17613/M6T727G1D
    Abstract:
    The emergence in the 1970s of albums, conceptualist object-poetry, and performances that addressed a small and select audience in private studios or suburban fields is evidence that at least some artists did not seek access to the wider Soviet public or official recognition of their activities in exhibitions. On the contrary, this conceptual turn constituted a reassessment of what it means to exhibit and experience artworks, at times explicitly thematizing recent exhibition history and rejecting both the exhibition as a convention and the notion of artwork that it presupposes. In particular, two forms of conceptualist practice – performance and collaborative artists’ archives – articulated these new positions regarding artworks and publics in the late 1970s and early 1980s. While they served as alternative exhibition spaces at a time when state-run museums and exhibition halls were inaccessible, they went well beyond this necessity and declared a shift in artistic priorities that has become one facet of the movement now known as Moscow Conceptualism.
    Notes:
    Croation translation included. Full issue is available: http://www.whw.hr/download/newspaper/novine-18-nevidljiva-povijest-izlozbi.pdf
    Metadata:
    Published as:
    Journal article    
    Status:
    Published
    Last Updated:
    6 months ago
    License:
    All Rights Reserved
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