Official art becoming resistance: adopting the discourse of "dissent" into Estonian art history writings
This chapter offers insight into the background of the conceptualisation of Soviet artistic dissent, the different positioning of Baltic art, and the complicated conditions for reassessing the art history in Estonia in the transitional 1990s. It addresses the processes of adopting the discourse of ‘...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Artikel |
| Sprache: | English |
| Veröffentlicht: |
2020
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| Schlagworte: | |
| Zusammenfassung: | This chapter offers insight into the background of the conceptualisation of Soviet artistic dissent, the different positioning of Baltic art, and the complicated conditions for reassessing the art history in Estonia in the transitional 1990s. It addresses the processes of adopting the discourse of ‘dissent’ into Estonian art history writings. The symbolic end of the cultural ‘thaw’ has been associated with the scandal at the exhibition 30 Years of the Moscow Union of Artists in December 1962 in Moscow’s Manege exhibition hall. The Estonian Soros Centre belonged to a system of foundations comprising countries of Central and Eastern Europe as well as the former Soviet Union. Financed by Hungarian-American philanthropist George Soros, the purpose of the organisation was to encourage the development of contemporary art of these ex-socialist countries and develop international connections. |
| Beschreibung: | Illustrationen |
| ISBN: | 978-0-8153-9379-5 |
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| 520 | 3 | |a This chapter offers insight into the background of the conceptualisation of Soviet artistic dissent, the different positioning of Baltic art, and the complicated conditions for reassessing the art history in Estonia in the transitional 1990s. It addresses the processes of adopting the discourse of ‘dissent’ into Estonian art history writings. The symbolic end of the cultural ‘thaw’ has been associated with the scandal at the exhibition 30 Years of the Moscow Union of Artists in December 1962 in Moscow’s Manege exhibition hall. The Estonian Soros Centre belonged to a system of foundations comprising countries of Central and Eastern Europe as well as the former Soviet Union. Financed by Hungarian-American philanthropist George Soros, the purpose of the organisation was to encourage the development of contemporary art of these ex-socialist countries and develop international connections. | |
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| spelling | Talvoja, Kädi 1974- Verfasser (DE-588)142474274 aut Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings Kädi Talvoja 2020 Illustrationen txt rdacontent n rdamedia nc rdacarrier This chapter offers insight into the background of the conceptualisation of Soviet artistic dissent, the different positioning of Baltic art, and the complicated conditions for reassessing the art history in Estonia in the transitional 1990s. It addresses the processes of adopting the discourse of ‘dissent’ into Estonian art history writings. The symbolic end of the cultural ‘thaw’ has been associated with the scandal at the exhibition 30 Years of the Moscow Union of Artists in December 1962 in Moscow’s Manege exhibition hall. The Estonian Soros Centre belonged to a system of foundations comprising countries of Central and Eastern Europe as well as the former Soviet Union. Financed by Hungarian-American philanthropist George Soros, the purpose of the organisation was to encourage the development of contemporary art of these ex-socialist countries and develop international connections. Geschichte 1980-2000 gnd rswk-swf Kunstgeschichtsschreibung (DE-588)4033643-8 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Baltikum (DE-588)4004379-4 gnd rswk-swf Estland (DE-588)4015587-0 gnd rswk-swf Sowjetunion (DE-588)4077548-3 gnd rswk-swf Sowjetunion (DE-588)4077548-3 g Baltikum (DE-588)4004379-4 g Estland (DE-588)4015587-0 g Kunst (DE-588)4114333-4 s Kunstgeschichtsschreibung (DE-588)4033643-8 s Geschichte 1980-2000 z DE-604 pages:212-227 Making art history in Europe after 1945 / edited by Noemi de Haro Garciá, Patricia Mayayo and Jesús Carrillo New York ; London, 2020 Seite [212]-227 Studies in art historiography (DE-604)BV045425609 978-0-8153-9379-5 |
| spellingShingle | Talvoja, Kädi 1974- Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings Kunstgeschichtsschreibung (DE-588)4033643-8 gnd Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4033643-8 (DE-588)4114333-4 (DE-588)4004379-4 (DE-588)4015587-0 (DE-588)4077548-3 |
| title | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings |
| title_auth | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings |
| title_exact_search | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings |
| title_exact_search_txtP | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings |
| title_full | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings Kädi Talvoja |
| title_fullStr | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings Kädi Talvoja |
| title_full_unstemmed | Official art becoming resistance adopting the discourse of "dissent" into Estonian art history writings Kädi Talvoja |
| title_short | Official art becoming resistance |
| title_sort | official art becoming resistance adopting the discourse of dissent into estonian art history writings |
| title_sub | adopting the discourse of "dissent" into Estonian art history writings |
| topic | Kunstgeschichtsschreibung (DE-588)4033643-8 gnd Kunst (DE-588)4114333-4 gnd |
| topic_facet | Kunstgeschichtsschreibung Kunst Baltikum Estland Sowjetunion |
| work_keys_str_mv | AT talvojakadi officialartbecomingresistanceadoptingthediscourseofdissentintoestonianarthistorywritings |