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The ideological bedrock of the postsocialist contemporary
Octavian Esanu

recent and more extreme example of aesthetic antipolitics can be found in pro-Trump MAGA pageants in the United States.) Antipolitics can also be discussed in the context of contemporary art history, via a phenomenon termed by both the political sciences and art history the “end of isms.”  24 Consider the major modernist currents – Cubism, Futurism, Dadaism, Suprematism, Constructivism – and their gradual replacement in “art post-1945,” otherwise known as the contemporary, by a range of “ism

in The postsocialist contemporary
Yulia Karpova

this function. Impeccable in theory, in practice this path was often prohibitively simplified: function was understood in a crudely utilitarian sense, while form was seen in a mechanical-constructivist sense: a chair is a prop for sitting, a suit is a cover for thermal defence of the body, and a tea service is a system of reservoirs for storing and moving liquids. A house is a machine for living.84 If in the time of the aesthetic turn such sneering allusions to Russian Constructivism and Le Corbusier’s functionalism would have placed Pereverzev in the camp of the

in Comradely objects
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Amy Bryzgel

has utilised her dual citizenship to disseminate knowledge of contemporary art and the avant-garde. She organised exhibitions on Constructivism both in Hungary and abroad, and even invited the Austrian artist Peter Weibel to Budapest; he had his first video exhibition there in 1977. 119 She began creating photographs in 1968–69, and in the 1970s she made a number of experimental films with the assistance of a film student who acted as her cameraman. One of these films was entitled Proportions (1979), for which Maurer drew lines on the surface of a piece of

in Performance art in Eastern Europe since 1960