While acknowledging the “problem of performativity”, Performative Gestures Political Moves nevertheless lingers on the term, exploring its echo in the research focused on what should thus also be considered as an effect of the performance of power – on art and theory production in so-called “Eastern Europe”. The book does not (only) represent the research on performance art and performativity in a region denoted as “East European”, but also produces positions that go beyond the representation(s) of what performance art, performativity in/and “Post-Socialist Europe” are.
Performative Gestures Political Moves therefore also raises questions of historisation(s) and their ideological positioning. The issue of labelling art production as feminist has been a topic of massive interest especially within feminist art history as well as in feminist curating. The question of how, what, when, why, where, by whom and for whom is (performance) art feminist obviously does not have an unambiguous answer. The same is true for art and feminism as such. Therefore, the publication aims to foster reflection on research positions and theoretical considerations of performativity, performance art, feminism, historisation and, above all, their political implications in, and for, the “continental Post-Socialist” condition.
With contributions by: Angela Dimitrakaki, Ana Peraica, Barbara Orel, Dunja Kukovec, Grupa Spomenik and DeLVe, Marija Ratković, Marina Gržinić, Martina Pachmanová, Milijana Babić, Suzana Milevska, Tea Hvala, Waldemar Tatarczuk. Edited by Katja Kobolt and Lana Zdravković
This publication is available at ERSTE Foundation Library.
