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By Malcolm Miles, Mel Jordan

Paintings, concept, and feedback confronted radical new demanding situations after the top of the chilly warfare. Art and concept After Socialism investigates what occurs while theories of paintings from the previous East and the previous West collide, parsing the paintings of former Soviet bloc artists along that in their western opposite numbers. Mel Jordan and Malcolm Miles finish that the goals promised through capitalism haven't been added in japanese Europe, and in addition, the democratic liberation of the West has fallen prey to international clash and high-risk occasions. This quantity is a innovative tackle the overlap of paintings and daily life in a post–cold battle world. 

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With these changes in the political landscape of the country, many artists were disenchanted and disillusioned by the earlier aspirations of the artist possessing social agency or free will. The culmination of this crisis came with the 1999 parliament shooting that killed the prime minister, the speaker of the National Assembly and six other government officials. The absurdity of this violent slaughter came to be seen as even more absurd when, after a threeyear trial extensively covered by the media, the government announced that the assassinations were not politically motivated acts.

In this context, Art Demonstration has usually been interpreted as art’s response to this socialpolitical situation and an example of utilization of the methods of this social articulation (Saxenhuber, Schöllhammer 2003: 17). But there were two other important sides of this action which were connected with significant institutional transformations in the newly formed state. The first transformation was related to the coming to the fore of the issue of citizenship (which was fostered by popular referendums and elections); the new state required active citizens, who would be involved in the continuous processes of shaping democracy.

Both David Kareyan’s artistic and curatorial practices of the time were a radical response to the new state of disillusionment. 8 In many of the works of the period, Kareyan, in his attempts to transgress the materiality of the body as well as to refuse the body-image as constructed by society, gave expression to the themes of sacrifice, bodily mutilation and suffering. The performance of these transgressive rituals was aimed at transcending social reality in order to regain the primordial and coherent self, a self that supposedly existed beyond any symbolization.

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