The Dissident Power of Queer Art and Curating in Central Eastern Europe
2022, 32, Numer 32
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Abstrakt
The text aims to explore the political, cultural and artistic implications of LGBTQ+ art and curatorial practices in Central Eastern Europe in the 21st century. Currently, queer exhibitions, are on the rise in post-communist Europe, especially those held in contemporary art centres and museums. They cast light on new queer art and activism and the volatile sexual politics in the region because of the significant increase in the number of artists working with LGBTQ themes and the topical political background of this movement and its impact on cultural debates. Curators are developing innovative perspectives on sexual, social and artistic dimensions of queer exhibitions in this geographic context still seriously affected by homophobic state policy. The objective is to feature three art shows of major queer artists which have been organised in Hungary, Poland and Estonia in the last decade. The exhibitions are: The Survivor’s Shade: The Life and Work of El Kazovsky at the Museum of Fine Art- Hungarian National Gallery, Budapest in 2015/16; Daniel Rycharski: Fears at the Museum of Modern Art, Warsaw in 2019 and Jaanus Samma. Not Suitable for Work. A Chairman’s Tale, Museum of Occupations and Freedom, Tallinn in 2016. The three artists and their exhibitions have been selected because they were organised by major cultural institutions in the capitals, they have achieved a significant social impact and huge audience and the artists have played an important role in the contemporary art scene in each country. Their work is a current manifestation of the queer artistic and intellectual culture that has been developing slowly in the region since the 1980s and has come to play an increasingly important role in recent years. The exhibitions and art of the three artists are a starting point for a broader outline of the themes and important figures in recent queer art in Central Eastern Europe (CEE). Moreover, in each case, they appear in a complex and difficult political context related to the struggle for LGBTQ+ rights. Hence, I would like to propose a thesis about the dissident power and status of queer art and curating in CEE.
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