What Will Be Already Exists Temporalities of Cold War Archives in East-Central Europe and Beyond

• Main Author: Emese Kürti, Zsuzsa László
• Format: eBook
• Language: English
• Published: Bielefeld transcript Verlag 2021
• Edition: 1
• Series: Image
• Subjects: (Artist) Archives; 20th century, c 1900 to c 1999; ARSOC200 - No Discount; ART / Art & Politics; ART / Business Aspects; ART / European; ART / General; ART / History / Contemporary (1945-); ART / History / General; ART / Museum Studies; Art archives; Art History; Art History of the 20th Century; Business & Economics; BUSINESS & ECONOMICS / Management; BUSINESS & ECONOMICS / Museum Administration & Museology; Business and Management; c 1500 onwards to present day; Cold-War; Contemporary (1945-); Cultural History; Cultural Management; Eastern Europe; Economics, Finance, Business and Management; Fine Arts; Historicization; History; HISTORY / Europe / Eastern; HISTORY / General; HISTORY / Modern / 20th Century; History of art; Management; Management and management techniques; Memory Culture; Museum Management; Neo-Avant-Garde; Society; The Arts; The Arts: treatments and subjects; Time period qualifiers; (Artist) Archives; Eastern Europe; Cultural Management; Museum Management; Cultural History; Fine Arts; ARSOC200 - No Discount; Art History; Historicization; Art History of the 20th Century; Memory Culture; Cold-War; Neo-Avant-Garde; Society
• ISBN: 3837658236; 9783839458235; 3839458234; 9783837658231
• DOI: 10.1515/9783839458235

How do artist archives survive and stay authentic in radically changed contexts? The volume addresses the challenge of continuity, sustainability, and institutionalization of archives established by Eastern European artists. At its center stands the 40th anniversary of the Artpool Art Research Center founded in 1979 in Budapest as an underground institution based on György Galántai's »Active Archive« concept. Ten internationally renowned scholars propose contemporary interpretations of this concept and frame artist archives not as mere sources of art history but as models of self-historicization. The contributions give knowledgeable insights into the transition of Cold War art networks and institutional landscapes.