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Octavian Esanu

It is a portrait made through techniques of pouring, dripping, melting, vaporization, and dissolution of everything solid by the increasingly liquid forces of capital. Notes 1 For the state of some of the former archives of the SCCAs in Kyiv, Tallinn, Warsaw, or Budapest, see Introduction to Karolina Łabowicz-Dymanus, “Synchronizacja w Sieci. Centra Sztuki Współczesnej Sorosa – cztery modele: Budapeszt, Kijów

in The postsocialist contemporary
Abstract only
The ideological bedrock of the postsocialist contemporary
Octavian Esanu

. For a discussion of various “authoritarian” styles of management, which earned more than one SCCA director the nickname “tsarina,” see (in Polish) Karolina Łabowicz-Dymanus, “Synchronizacja w Sieci: Centra Sztuki Współczesnej Sorosa – cztery modele: Budapeszt, Kijów, Tallin, Budapeszt” (Instytut Sztuki PAN, 2016). For an endorsement of Mészöly's style of management, see Beöthy Balázs, “Missing Links” in Exindex (March 10, 2001). http://exindex.hu/index.php?l=en&page=3&id=438 (accessed April 12, 2021

in The postsocialist contemporary
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How Eastern Europe got the idea of contemporary art
Octavian Esanu

Szekeres, “Agents of Change: The Contemporary Art Centers of the Soros Foundation and C3,” Third Text 23, no. 3 (2009): 251–259; the short description of the program at C3 Foundation website, www.c3.hu/scca/index.html , as well as the Center's final years bulletin, which I cite as Bulletin 1985–1990: Modern and Contemporary Hungarian Art (Soros Foundation Fine Art Documentation Center, Műcsarnok-Budapest, 1991). See also Karolina Łabowicz-Dymanus, “Synchronizacja w Sieci. Centra Sztuki Współczesnej Sorosa – cztery modele: Budapeszt, Kijów, Tallin, Budapeszt

in The postsocialist contemporary
The introduction of the curatorial function
Octavian Esanu

: MIT Press, 2013). 6 On the anecdotal circumstances under which Soros announced the financial cuts, i.e. “Slow death or sudden death for you?” see Karolina Łabowicz-Dymanus, “Synchronizacja w Sieci. Centra Sztuki Współczesnej Sorosa – cztery modele: Budapeszt, Kijów, Tallin, Budapeszt” (Instytut Sztuki PAN, 2016), 134. 7

in The postsocialist contemporary