Courtesy of the artist.
The starting point for the thematic issue Proposition for a Pan-Peripheral Network was to pose questions about the geopolitical position of Mezosfera, a magazine based in Hungary, a member of the former Eastern Bloc. Hence, turning the table around from West-oriented discourses, the issue takes as a point of departure the history of the official international relations of state socialist Hungary with Third World countries, while also probing into questions and possibilities of grassroots transnationalism that is independent of a top-down ideology.
The thematic issue, on the one hand, is the first stage of a long-term project that aims to look into the historical relations between the so-called Second and Third World; on the other hand, it also attempts to connect with currently active research-based art initiatives in countries and areas with which Hungary had historical-ideological ties with. After the regime change inin Hungary, all sentiments connected to the former system were thrown out, the cultural links created through socialist internationalism with Third World countries were cut, and are mostly forgotten by now.
How deep are the roots of forgotten cultural and political relations, even if they were state-directed?
Can we reactivate the knowledge that was part of our consciousness in one political system and erased in the other? Can we construct new, viable models for transregional solidarity, politics of friendship, and a non-identity based understanding of community 1 when today, globally, national identities as well as foreign politics fényterápia az öregedés ellen increasingly built on the demonization of cultural difference and otherness?
A reader published in Hungarian in with texts by leading authors of the Third World. István Kende, Budapest: Kossuth Kiadó, Hungarian students not only learned about Third World authors, like the anti-imperialist Bengali poet and intellectual of the early 20th century, Rabindranath Tagore, but also participated in the World Festivals of Youth and Students, which regularly brought thousands of young people from the Third World to Europe under the slogan of anti-imperialist solidarity.
Mandela, or Salvador Allende, were translated and published in readers in Hungary.
Hungarian editors and scholars wrote introductions to these textbooks with patronizing criticism, pointing out the weaknesses of these theories as well as their applications, compared to their framework of Soviet-imposed communist ideology. These differing agendas contributed to the foundation of the Non-Aligned Movement, formed by Third World countries and Yugoslavia.
Interpreting Eastern Europe in the post-colonial discourse Already in the samizdat literature in the s, the dissident intelligentsia of Soviet satellite states started to interpret their own previous historical subordination as well as the current Soviet political, economic, and cultural domination as a form of colonization. In the case of Hungary—as literary theorist Tamás Scheibner pointed out—already in the 19th century the Turkish subjugation in retrospective, and the Hapsburg rule was commonly described as a colonial dependence.
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However, after the fall of the Iron Curtain, Eastern European countries turned away from the worldwide network of solidarities between countries sharing the experience of colonial existence and based their self-identification instead on newly invented national identities. This phenomenon was also described by Alexander Kiossev with the concept of self-colonization, characteristic of this region.
However, this critical attitude that Mezosfera also engages with is dominique paravel anti aging different from the state-level EU-skepticism continuously mounted by Hungary and other EU member states in the last few years.
ExCo Member Dutch Directors Guild, The Netherlands Martijn Winkler is a writer, director and digital creative, working at the intersection of online, cross media and linear audiovisual storytelling since Shorts, web series, drama series, documentaries and features. She started working at FERA in His first film Fists in the Pocket was funded by family members and shot on family property. He made a big impact on radical Italian cinema in the mid-sixties.
Propositions for a Pan-Peripheral Network Besides interpreting Eastern Europe in the post-colonial discourse, the region is often figured in theories around the concepts of center-periphery and semi-periphery, which also enables us to understand the historical connections that Eastern Europe had with Third World countries.
Overcoming the binary opposition between East and West, this theory outlined instead the network of relations, dependencies, and the global dominique paravel anti aging of labor, which are still relevant today.
Ihar Babkou, in 12 claimed that the question is not how Eastern Europe was invented but why.
The current issue of Mezosfera attempts to unearth—the still hierarchical—cultural connections between countries of the former Second World and the former Third World. The cultural exchanges with Third World countries in the Cold War era were confined to the official, diplomatic sphere; whereas underground cultural practitioners sought out relations mostly towards capitalist countries.
The following essays and interviews thus unpack further concepts and methods for transnational but regionally committed functioning.
Source: Artpool Art Research Center.
Gábor Attalai sent this series to the West-German artist and editor Klaus Groh who collected mostly conceptual works by underground Eastern European artists for his publication Aktuelle Kunst in Osteuropa, upcoming in at DuMont, Cologne. With the imaginary exchange of different geographical entities Attalai provocatively demonstrates how determining geographical position is. The interviews with critical, self-organized art initiatives established in the last two decades in Africa, Latin America, Asia, and the former Eastern Europe reassess, theoretically and methodologically, the motivations and the requisites of working in and with a specific geographical region and its artistic-cultural-political heritage.
The conversation with Maja and Reuben Fowkes, the founders of the Translocal Institute, a center for transnational research into East European art and ecology, focuses on the debates and changing interpretations of translocality and East European Art. The curator duo of British and Croatian background, who were based in Budapest for more than 10 years and have just relocated to London, talk about the post-communist development of an empowering concept of East European Art, which was made possible when the biopolitical reality of Eastern Europe as formed by Soviet dependency ceased to exist.
They also point out that as soon as the concept of East European Art is again associated with exclusion, or the threat of losing independence and democracy, it will be rejected again. In relation to canon-formation and historicizing the art of the region, the role of private collections, the art market, and powerful Western dominique paravel anti aging are discussed too.
Propositions for a Pan-Peripheral Network
The discussion with Tímea Junghaus, director of the recently founded European Institute for Roma Arts and Culture ERIAC based in Berlin is an opportunity to think about transnational cultural identities not connected to one geographical territory. In the interview, the understanding of Roma art as naive and exotic is compared to the positioning of other peripheral artistic practices Eastern European, African, etc.
Sparck — Space for Pan-African Research, Creation and Knowledge founded inputs forth a translocal, non-hierarchical, collaborative, politically and ethically engaged, network-based understanding of institutionality.
CREME ANTI IDADE FUNCIONA???
Kadiatou Diallo and Dominique Malaquais describe in the interview the importance of a self-defined approach to African worlds, by which they mean not a geographic territory but its people, movements, and actions like transnational cultural exchanges, hybrid urban cultures, or diasporas.
They underline that decolonization is a very personal experience: the way the previously colonized have to engage with the process of decolonization is different from how the previously colonizing powers should and can ask the same questions. The interview also considers the strategic choices regionally committed grassroots initiatives can make to keep their independence, mediating between the roles of artists and organizers in the context of market mechanisms.
The interview with Michelle Wong, researcher at Asia Art Archive, underlines how the Hong Kong based art organization understands Asia as a complex geography and investigates it in a multidirectional construction of cultural imaginations. Asia Art Archive works across several cities and languages, and develops a growing online database of documents and bibliographies that render forgotten transnational relations visible.
Bringing to light various archives through cross-country collaborations, Asia Art Archives makes also comparative research possible.
To highlight the interconnection of the histories of exhibitions and political turning points was especially pertinent in Hong Kong this year, on the 20th anniversary of the Handover to Dominique paravel anti aging. The current cultural and political climate, the experiences of the Umbrella Movement are incentives to look at what artists and practitioners of earlier generations did in times of political instability.
The theses explained herein are representing the own ideas of the authors, but not necessarily reflect the opinion of KEE. Łukasz Stanek, The Journal of Architecture 17 dominique paravel anti aging. Tesco Consulting, accessed October 20, Holt,1.
Извините. Дэвид - это отличная кандидатура. Стратмор отрешенно кивнул: - Он вернется сегодня вечером. Сьюзан представила себе, что пришлось пережить коммандеру, - весь этот груз бесконечного ожидания, бесконечные часы, бесконечные встречи.
Kelet Európa és a posztkolonializmus szám Eastern Europe and Postcolonialism issue no.