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Moscow Conceptualism has come to represent the conceptual turn that took place in the unofficial art of the Soviet Union in the early 1970s. The aim of this paper is to make the histories of the movement more horizontal and bring attention to the variety of art centres that contributed to the emergence of the Soviet branch of Conceptual art. Special attention is given to the capitals of the Soviet Baltics, where similar intellectual tendencies surfaced at the end of 1960s and matured during the 1970s. What these new tendencies, appearing in parallel in Tallinn, Riga and Vilnius, had in common was the critique of the modernist notion of art as that of a subjective, single, auratic object, which the first half of the 20th century had cultivated in art. The paper also suggests that after Russia's invasion of Ukraine, East European art historians could rethink the theory of horizontal art history oifered by the Polish art historian Piotr Piotrowski for researching socialist art histories of the post-World War II period. Extending the notion of Moscow Conceptualism through the more horizontal and inclusive Soviet Conceptualism could be the first step in this process of decolonising the histories of the movement in the Soviet Union.
Moskva kontseptualism on viimastel kümnenditel deflneerinud kontseptuaalset pööret, mis leidis aset Nôukogude Liidu mitteametlikus kunstis 1970. aastate alguses. Käesoleva artikli eesmärk on muuta liikumise ajalugu horisontaalsemaks ning juhtida tähelepanu kunstikeskuste mitmekesisusele, mis aitasid kaasa nôukogude kontseptuaalse kunsti tekkele. Erilist tähelepanu pööratakse Nôukogude Baltikumi pealinnadele, kus Moskvaga sarnased intellektuaalsed tendentsid kerkisid esile i960, aastate lôpus ning küpsesid 1970. aastate jooksul. Neid Tallinnas, Riias ja Vilniuses paralleelselt ilmnenud uusi tendentse ühendas kriitiline hoiak 20. sajandi esimesel poolel kultiveeritud modernistlikku arusaama kunstiteosest kui subjektiivsest, üksikust auraatilisest objektist. Samuti paneb artikkel ette, et pärast Venemaa sissetungi Ukrainasse vôiksid Ida-Euroopa kunstiajaloolased timber môtestada horisontaalse kunstiajaloo teooria, mille pakkus vâlja Poola kunstiajaloolane Piotr Piotrowski II maailmasôja järgse perioodi sotsialistlike kunstiajalugude uurimiseks. Moskva kontseptualismi môiste avardamine horisontaalsema ja kaasavama nôukogude kontseptualismi môiste kaudu vôiks ollagi üks esimesi samme Nôukogude Liidus tekkinud kontseptuaalse liikumise ajaloo dekoloniseerimise protsessis.
Horizontal art history as a process
Documenta 11, curated by the Nigerian Okwui Enwezor in 2002, is often considered to be an epoch-making global exhibition which included contemporary art from four...