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Visualisierungen des Umbruchs

Strategien und Semantiken von Bildern zum Ende der kommunistischen Herrschaft im östlichen Europa

Edited By Ana Karaminova and Martin Jung

Welche Schwierigkeiten und Möglichkeiten der visuellen Darstellung verbinden sich mit dem Ende der kommunistischen Herrschaft im östlichen Europa? Welche Bilder aus der Umbruchzeit wurden wann und wie zu Ikonen? Wie werden Bilder aus der Umbruchzeit mit künstlerischen Bearbeitungen danach verknüpft? Ausgehend von diesen Leitfragen behandeln die Beiträge dieses Bandes verschiedene Länder und untersuchen aus unterschiedlichen wissenschaftlichen Perspektiven verschiedenartige Medien(formate), die von Filmen, Musikclips und Presse-Bildern bis zu Kunstwerken und musealen Darstellungen reichen. Damit zeigen die Beiträge die vielfältigen Anknüpfungspunkte des Themas auf und machen den Facettenreichtum der Frage nach «Visualisierungen des Umbruchs» deutlich.

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The Art of Transition. From the Dragon to the Chameleon. Galina Lardeva

Extract

89 The Art of Transition. From the Dragon to the Chameleon Galina Lardeva The aim of this presentation is to describe the dynamic interrelation between the political changes of 1989 and the development of the Bulgarian fine art since the 1980’s. Positions: First, the manifestation of the changes in the Bulgarian art had a special intensity for a period of almost the whole decade of the 1980’s. It could be seen in the segments of the cultural situation immediately related to the politi- cal – in the complex of reforms, appeals and rhetoric, which are united by the notions for perestroika and publicity. Second, the time of the changes in Bulgaria in the years before 1989 does not acquire its complete manifestation in the politi- cal. Nor it could be said that it acquires such complete manifestation in the artis- tic production. There is a permanent imposition, however, of otherwise tempo- rary fashions, priorities and tendencies, which at the very end of the 1980’s are about to be reinforced by the power of the political euphoria: these are the folk- lore carnivalesque, the intensified reflection as to the opposition between the own and the foreign (us and the West), a strange pseudo-romantic and pseudo- messianic cult to the artist and art. Third, the sensation, which grew during the perestroika, its internal structure and its fixation on specific figurative formulae and systems, finds its manifestation in the experience at the very threshold of the transition in 1989. This way, the “transition” would...

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