Central and Eastern European Art Since 1950 by Maja Fowkes

Author:Maja Fowkes
Language: eng
Format: epub
Publisher: Thames & Hudson
Published: 2020-02-15T00:00:00+00:00

96 Călin Dan and Iosif Király, Dataroom (How to Change your Wallpaper Daily), ‘Art History Archive’ series, ‘Lesson 1’, 1995.

Adapting to the fast-changing conditions of post-communist economies posed a challenge to many artists working in Eastern and Central Europe, where state support had evaporated but the art market had not yet materialized. Kai Kaljo pointed to the precarity of the situation with ironic humour in her video self-portrait A Loser (1997), in which the artist stands before the camera and makes revealing statements such as ‘I am an Estonian artist’ and ‘I earn $90 a month’, interspersed with canned laughter. In 1994 Goran Trbuljak displayed a notice on a billboard in Zagreb with the appeal ‘…old and bold, I search for, gallery…’ commenting on the perceived indifference of the art market towards Central European artists, while Mladen Stilinović’s banner An Artist who Cannot Speak English is no Artist (1992) diagnosed the state of affairs that obliged artists to adopt a cooperative attitude in their dealings with the international art world. Bulgarian artist Luchezar Boyadjiev, whose work Neo-Golgotha (1994) consisted of three enlarged business suits symbolizing capitalism as the new religion, also dealt with the monetization of the art world in Change (1996), a full-length photographic self-portrait onto which a chart of exchange rates was superimposed.[97]

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