"实时讲故事":1989 年前后波兰过渡时期国际网络背景下的行为艺术节

IF 0.2 2区 艺术学 0 ART
ARTMargins Pub Date : 2024-06-21 DOI:10.1162/artm_a_00381
Małgorzata Kaźmierczak
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引用次数: 0

摘要

文章介绍了 1989 年前后转型时期波兰行为艺术家的状况。然后,文章重点介绍了 1989 年后波兰举办的第一个大型行为艺术节--"实时讲故事"。它于 1991 年由 Galeria Działań 在索波特和格但斯克举办,由杰出的艺术家和艺术理论家 Jan Świdziński 策划。文章解释了艺术节的理念,并简要介绍了受邀国际表演艺术家的策展活动。文章还概述了行为艺术节之间的国际联系网络,这取决于组织这些艺术节的艺术家之间的个人关系。最后,文章介绍了该艺术节如何影响波兰表演艺术家进入国际舞台,以及如何影响波兰艺术节网络的发展。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Real Time Story Telling”: A Performance-Art Festival in the Context of International Networks during the Transitional Period in Poland before and after 1989
The article explains the situation of performance artists in Poland during the transition period before and after 1989. Then it focuses on the first large performance art festival in Poland after 1989, Real Time Story Telling. It was organized in Sopot and Gdańsk in 1991 by Galeria Działań and curated by the outstanding artist and art theorist Jan Świdziński. The article explains the idea of the festival and briefly describes the curatorial activity of the invited international performance artists. The article also outlines the international network of connections between performance art festivals, which depended on the personal relationships between artists who organized them. Finally, it shows how the festival influenced the introduction of Polish performance artists to the international circuit and how it influenced the development of the festival network in Poland.
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来源期刊
ARTMargins
ARTMargins ART-
CiteScore
0.10
自引率
0.00%
发文量
16
期刊介绍: ARTMargins publishes scholarly articles and essays about contemporary art, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, from North Africa and the Middle East to the Americas, Eastern and Western Europe, Asia and Australasia. The journal acts as a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in art and politics in transitional countries and regions; postsocialism and neo-liberalism; postmodernism and postcolonialism, and their critiques; and the problem of global art and global art history and its methodologies.
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