Ewa Partum’s Artistic Practice: An Atlas of Continuity in Different Locations

Description

Polish-born artist Ewa Partum is considered a pioneer of Central-Eastern European feminist art produced within the conceptual idiom. Her work can also be divided chronologically into Polish (1965-82), West Berlin (1982-1989) and transnational (from 1989) periods. Karolina Majewska-Güde articulates the historical alterity of Ewa Partum's works in their various locations and the specificity of the positions from which Partum's art was interpreted and disseminated. At the same time, the book engages with the art histories of the Central and Eastern European neo-avant-gardes focusing on the issue of narrative strategies of CEE art history. Cover Contents Acknowledgments Introduction: An Atlas of Ewa Partum’s Artistic Practice Opening the Archive Horizontal Monograph Framing Ewa Partum’s Artistic Practice Chapter 1 Existing Cartographies The Trajectory of the Redistribution of Ewa Partum’s Practice The Genealogy of Ewa Partum’s Artistic Practice: Text, Image, Body Ewa Partum and Conceptual Orthodoxy Negotiating Conceptual and Feminist Perspectives in Ewa Partum’s Artistic Practice Chapter 2 Ewa Partum’s Critical Engagement with Art Infrastructures Troubling Terminology: Art Infrastructures and the Socialist Art Institution Entering the Professional Art World Creating Art Infrastructures: the Galeria Adres (1972–77) Re‐entering the Professional Art World: Engaging with the Curatorial in the Context of Redistribution after 1989 Conclusion Chapter 3 Ewa Partum’s Conceptual Art Conceptualism as a Circulating Idea Practicing Conceptualism Conclusion Chapter 4Feminist Identifications in Ewa Partum’s Artistic Practice Feminist Self-Identification (1980) Ewa Partum’s Situated Feminism Indicating Victims and Oppressors: Feminist Pedagogy in Performances in Socialist Poland (1974–82) The Active Body: Rhetoric of Disinterestedness The Feminist Emigrant Body: Performances in West Berlin (1982–89) The Contemporary Gendered Economic Subject: The Delegated Performance Pearls (2006) Translating Ewa Partum’s Feminist Art Globally Conclusion Chapter 5The Spaces of the Political: Ewa Partum’s Works in the Public Space Public and Private Spheres in Partum’s Work The Public Space – East and West Art in the Public Space in Socialist Europe The Production of the Public Space in West Berlin The Legality of Space (1971) Private Performance (1985) Conclusion Instead of Conclusion: Distribution Map The Musealization of the East Operating from a Global Position Illustrations Bibliography