Whose Nostalgia is Ostalgia? Post – Communist Nostalgia in Central-European Contemporary Art
PDF

Keywords

Contemporary art
Central European art
history in art
nostalgia

How to Cite

Štroblová, K. (2020). Whose Nostalgia is Ostalgia? Post – Communist Nostalgia in Central-European Contemporary Art. Bibliotekarz Podlaski, 47(2), 249–264. https://doi.org/10.36770/bp.481

Abstract

The paper is focused on a particular group of visual artists from Poland, Hungary, and the Czech and Slovak republics dealing with the issue of memory, history and nostalgia in their work. A common feature of their art is the perception of local space in its historical connotations, the exploration of historical content, causality reception, and the time-space orientation of man. Using space, with its physical and symbolic expression, is their strategy; a specific interest is the process of searching, changing or losing the identity in a historically complicated area of Central Europe. The article examines relations between collective memory, identity and nostalgia, captured in the artistic reflection and thus mirroring the actual state of a society. 

https://doi.org/10.36770/bp.481
PDF

References

András, E. (2011). Whose Nostalgia Is Ostalgia? An Eastern Europe and Former Soviet Republics survey exhibition in the New Museum, New York. https://www.springerin.at/en/2011/4/wessen-nostalgie-ist-die-ostalgie/ (accessed 20 January 2020).

Bishop, C. (2013). Reactivating Modernism. Parkett, 92, 146–153.

Boym, S. (2002). The Future of Nostalgia. London: Basic Books.

Crowley, D. (2003). Warsaw, London: Reaktion Books.

Foucault, M. (1982). The Archaeology of Knowledge and The Discourse of Language. New York: Pantheon Books.

Frazon, Z. (2009). Modernity as Local Tradition – Subjective City Archive. In N. Alföldi, & Z. Frazon, Keserue Zsolt: 23 monológ. Budapest: Paksi Keptár.

Hutcheon, L. (2000). Irony, nostalgia, and the postmodern. Studies in Comparative Literature, 30, 189-207.

Jameson, F. (1992). Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press.

Ostalgia, curated by M. Gioni in New Museum, New York, 07/06/11 – 10/12/11.

Pancheva-Kirkova, N. (2014). Between Propaganda and Cultural Diplomacy: Nostalgia towards Socialist Realism in Post-Communist Bulgaria. https://www.scribd.com/document/220436391/Nina-Pancheva-Kirkova-Between-Propaganda-and-Cultural-Diplomacy-Nostalgia-Towards-Socialist-Realism-in-Post-Communist-Bulgaria (accessed 25 January 2019).

Polyák, L. (2013). The Pavillions of Recollection. Architecture and Memory in Contemporary Eastern European Art. In N. Wendl, & I. Wallace (Eds.), Contemporary Art about Architecture: A Strange Utility (pp. 209-210). London: Routledge.

Sienkiewicz, K. (2011, March). Julita Wójcik, „Obieranie ziemniaków“. https://culture.pl/pl/dzielo/julita-wojcik-obieranie-ziemniakow (accessed 16 February 2020).

Szupinska, J. (2009). Paulina Ołowska´s Covers from Morze (1958-80). http://www.artslant.com/mia/articles/show/13265 (accesssed 1 February 2020).

Ujma, M. (2004). Sztuka krytyczna i co dalej? In M. Lewoc (Ed.), Contemporary identities: Current artistic creation in Poland (p. 49). Szczecin.

Velikonja, M. (2009). Lost In transition. East European Politics And Cultures, 23(4), 532.

Verwoert, J. (2008). Research and Display: Transformations of the Documentary Practice in Recent Art. In M. Lind, & H. Steyerl (Eds.), Reconsidering the Documentary and Contemporary Art #1: The Greenroom (pp. 201-205). Berlin: Sternberg Press.

Weeks, H. (2010). Re-cognizing the post-Soviet condition: The documentary turn in contemporary art in the Baltic States. Studies in Eastern European Cinema, 1, 57-70.

Williams, T. (2011). Paulina Ołowska: Metro Pictures. Art in America, 2, 98.

Articles published in the “gold open access” mode on the basis of a non-exclusive license agreement between the publisher and the author. Permitted use:

- the publication may be read and stored on any device,

- the publication may be cited (with obligatory reference to the author, the title of the text, as well as the full title, bibliographic address of the issue and page of the journal)

The editorial team of “Bibliotekarz Podlaski” implements an open access policy by publishing materials in the form of the so-called Gold Open Access. From volume 42 (issue 1/2019), the journal is available under the Creative Commons license (Attribution – ShareAlike: CC BY-SA).

The key declarations of the Open Access and Open Science movement, which we fully support, are available on the CEON Open Science website.

COPYRIGHT:

The editorial team of “Bibliotekarz Podlaski” implements an open access policy by publishing materials in the form of the so-called Gold Open Access. The journal is available under the Creative Commons license – Attribution – ShareAlike 4.0: International: CC BY-SA 4.0).

The key declarations of the Open Access and Open Science movement, which we fully support, are available on the CEON Open Science website.
 

“Bibliotekarz Podlaski” allows its readers to read, download, copy, distribute, print, search and link to the full content of articles. We enable full, immediate, unlimited (both in a territorial, temporal and technical sense) open access to all published content, in accordance with the principle that freely available research increases and accelerates the global development of science and the exchange of knowledge.

The editorial team of “Bibliotekarz Podlaski” encourages authors to place articles published in the journal in open repositories (after the review or the final version of the publisher), provided that a link to the journal’s website is provided.

The journal does not charge the authors any fees for accepting and publishing their texts.

Downloads

Download data is not yet available.