‘social history’

KEMKI Open Lectures II. In the second lecture of the KEMKI Free University, Zsolt K. Horváth (social historian, METU) will present the rhetoric of citizens’ and agents’ reports between 1948 and 1975 based on two psychological case studies. The quotation in the title comes from a woman psychologist who was herself a patient at the Hungarian National Institute of Psychiatry and Neurology from 1928 with “paranoid schizophrenia”. While working on a book about the typical psychological …

… with: Academy of Fine Arts, Prague, KEMKI-Central European Research Institute for Art History, Budapest and the University of Lodz. CONFERENCE PROGRAM Thursday, October 12 9.45 – 10.00 – Introduction 10.00 – 12.00 Panel 1: Revisiting socialist art: state-supported institutions, exhibitions, and cultural diplomacy Tomasz Zaluski – Introduction : In Search of New Agendas. Potential Histories of Art & Modernization Under Socialism Maja and Reuben …

… National frameworks and containers are often too narrow to fully grasp the complexities of social, historical, and artistic development. What, then, should replace methodological nationalism—multiculturalism, internationalism, or something else entirely? These questions are particularly pressing when viewed from the perspective of Eastern Europe, a region historically shaped by its position at the crossroads of Eastern and Western imperial powers, and where universalist claims have …

The Central European Research Institute for Art History (KEMKI) warmly invites all interested parties to the TÓTalJOY Award ceremony, which will take place on June 24, 2025. Endre Tót and the Central European Research Institute for Art History (KEMKI) established the TÓTalJOY prize for contemporary artists in 2021. The prize derives its name from Endre Tót’s conceptual program centred on the notion of joy, which was launched in the 1970s. …

… in the current exhibition explores such bilateral connections between the UK and the three socialist countries. Furthermore, it highlights events related to Moore that took place in the Eastern Bloc (Poland, Bulgaria) and Yugoslavia. The reception of Moore’s work was different in each 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 …