Igor Zabel, “Strategija zgodovinopisja,” in Boris Groys, Celostna umetnina Stalin (Ljubljana: Založba/*cf, 1999), 147.
Havránek refers to “self-colonization,” which is known from texts by Alexander Kiossev, but uses it in a different sense—people do not colonize unconsciously; instead, they consciously adapt the colonizer’s ideology to local circumstances. See Vit Havránek, “The Post-Bipolar Order and the Status of Public and Private under Communism,” in ThePromises of the Past, ed. Christine Macel and Nataša Petrešin-Bachelez (Paris: Centre Pompidou; Zürich: JRP – Ringier, 2010), 26.
Zdenka Badovinac, “Interrupted Histories,” in Prekinjene zgodovine / Interrupted Histories, ed. Zdenka Badovinac et al. (Ljubljana: Museum of Modern Art, 2006), unpaginated.
Havránek, “The Post-Bipolar Order,” 27.
Inke Arns, ed., Irwin: Retroprincip, 1983–2003 (Frankfurt am Main: Revolver / Archiv für aktuelle Kunst, 2003), 233.
Inke Arns, “Irwin Navigator: Retroprincip 1983–2003,” in Inke Arns, Irwin, 14.
The Belgrade Kasimir Malevich is among those behind belongs to a series of authorless projects originating fromin the Southe-Eastern Europe, active fromstarting in the early 1980s until and continuing today. Among these These projects are include Salon de Fleurus, New York, a performance by Walter Benjamin in Ljubljana in 1986,Museum of American Art in Berlin, etc. As Marina Gržinić writes: “Inthe projects of copying from the 1980s in ex-Yugoslavia the real artist’ssignature is missing and even some of the “historical” facts are distorted(dates, places). From my point of view, the production of copies and the reconstructionof projects from the avant-garde art period in post-Socialism had a directeffect on art perceived as “Institution” and against “History,” which was (andis still?) completely totalised in post-Socialism.” Marina Gržinić. “The Retro-Avant Garde Movement In The Ex-Yugoslav Territory Or Mapping Post-Socialism,”in: Inke Arns, Iop.cit., p.rwin, 220. More about these projects in the following part of this very article.
See East Art Map.
Primary Documents. A Sourcebook for Eastern and Central European Art since the 1950s, ed. Laura Hoptman and Tomáš Pospiszyl (New York: The Museum of Modern Art, 2002). The exhibition “Aspects/Positions: 50 Years of Art in Central Europe, 1949–1999” was chief-curated by Lorand Hegyi with many co-curators from the respective countries. The exhibition was on view at the Museum Moderner Kunst Stiftung Ludwig in Vienna in 1999 and at the Fundació Joan Miró in Barcelona in 2000.
Tamás St. Auby, “Portable I2 Museum – Pop Art, Conceptual Art and Actionism in Hungary during the ‘60s (1956–1976),” document sent to the author by the artist in 2008.
→“Innovative Forms of Archives” will continue in “Part Three, Vyacheslav Akhunov’s "1 m2," and Walid Raad’s "A History of Modern and Contemporary Arab Art: Part I_Chapter 1: Beirut (1992–2005).”