‘Cold War’

… after 1945. Led by Dr. Beáta Hock, “ Linking Art Worlds: American Art and Eastern Europe in the Cold War to the Present ” re-examines national art histories from a transnational and interdisciplinary perspective, also implicating socio-historical and political factors underpinning artistic practice. The project takes the form of five extended meetings of seminars, lectures, site visits and writing workshops. The seminars will be held in Prague, Budapest (Central European Research Institute …

… artistic relations and collaborations in the Central and Eastern European region during the Cold War era. In connection with the conference Beyond Friendships: Regional Cultural Transfer in The Art of the 1970s , we present a selection from Artpool’s collection entitled Language Games. The display contains works and documents of  cross-border collaboration by Karel Adamus, Gábor Attalai, László Beke, Attila Csernik, Robert Cyprich, Tibor Csiky, Miklós Erdély, Jarosław …

… of these contexts due to the specific artistic and political conditions and the varying degree of awareness towards Moore’s oeuvre, acquired earlier through official or unofficial channels. The discussions surrounding the exhibition did nonetheless offer evidence that the local artistic and cultural life was stimulated by Moore’s presence, in some cases shaping individual artistic careers or reinforcing ideas and tendencies already present within the cultural landscape of these countries in …

… and other mechanisms involved in the presentation and reception of Moore’s art during the Cold War. Mainly, however, it looks at his work’s influence on Czechoslovak sculpture in the second half of the 20 th century by presenting well-known and lesser-known artists from throughout the country who were inspired by his art, who further developed the way he worked with biomorphic shapes and internal and external space, or who experimented with sculptural forms somewhere between …

… on artist archives, progressive curatorial and museological practices, and the historiography of Cold War art scenes and networks. The conference takes Artpool’s 1979 concept of an “ Active Archive ” as a starting point to explore its contemporary interpretations and applications, and its similarities with and differences from other artist archives. As Artpool’s founder György Galántai puts it, an active archive “generates the very material to be archived” through calls for …