Kurzus nemzetközi vendég- és részidős hallgatóknak
- Kar
- Bölcsészettudományi Kar
- Szervezet
- BTK Művészettörténeti Intézet
- Kód
- MA-ERA-IAH-L-13
- Cím
- Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe
- Tervezett félév
- Őszi
- ECTS
- 8
- Nyelv
- Leírás
- MA-ERA-IAH-L-13
- Oktatás célja
- Pop Goes the Eastern Bloc The Reception of Pop Art in East-Central Europe Dávid Fehér In the recent years there have been several attempts to extend the West-centered notion of pop art. The 2015 exhibition “The World Goes Pop” organised by Tate Modern in London, and a few months earlier Walker Art Center's “International Pop” in Minneapolis aimed to re-think the history of pop art in a global context, and to create a non-hierarchic narrative, which deconstructs the relationship between “centers” and “peripheries” in the spirit of a “horizontal art history” described by Piotr Piotrowski. These curatorial projects aimed to present local narratives side by side to present the dynamic relations between the so called “We” and the “Others”, as among others Slovenian art historian Igor Zabel had already indicated in several essays. In 2015 Budapest's Ludwig Museum extended the show “Ludwig Goes Pop” with key artworks from East Central Europe (“Ludwig Goes Pop + The East Side Story”), and created a polyphonic network of narratives, which focused on the different understandings of consumer culture and media images on the two sides of the iron curtain. The course focuses on the heterogeneous territory of East-Central Europe, and aims to present different local narratives to reflect on differences and similarities between separate localities. For creating a complex narrative of different “popisms” beyond British and American pop art we must consider whether a “Western” vocabulary of art history could be adapted to the artistic phenomena in the former Eastern Bloc, and how could we avoid the colonization of the local scenes, if we use terms of a West-centered, hegemonic art history. Such notions as cultural transfer, circulation and information flow should be re-considered to situate pop-related phenomena of such “close Others” as Hungary (László Lakner, Gyula Konkoly, Endre Tót, Sándor Altorjai, Ilona Keserü, Krisztián Frey, Imre Bak, Károly Halász and others), Czechoslovakia (Július Koller, Jana Želibská, Alex Mlynárčik, Stano Filko, Jiří Kolář), Poland (Jerzy “Jurry” Zieliński, Maria Pinińska-Bereś, Alina Szapocznikow, Jan Lenicá, Henryk Tomaszewski, Roman Cieślewicz), Estonia (Leonhard Lapin), Romania (Cornel Brudaşcu, Ion Bitzan), Yugoslavia (Tomislav Gotovac, Marko Pogačnik, Boris Bućan) and the GDR (Willy Wolff) in a broader, transnational context. The relationship between “Western” forms of “new realism” and the understanding of figuration and realism in the “Eastern Bloc” should be also analysed to confront the different cultural politics of the Cold War era, and to investigate phenomena of the Eastern side of Europe in the context of the diverse history of “Europop”. The course will start with an analysis of László Lakner’s recent retrospective exhibition titled Alter ego and a case study on Gerhard Richter’s art from the perspective of re-thinking the history of pop art, and will end with the analysis of the East-Central European receptions of photorealism in the late 1960s and early 1970s, with a special focus on such Hungarian artists as László Lakner and László Méhes.