By Martin Jay, Ales Erjavec
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Additional resources for Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism (Ahmanson-Murphy Fine Arts Book)
Emerges because of the way, in a dialectical process, form stays behind content: ﬁrst, the crucial shift occurs within the limits of the old form, even taking on the appearance of its renewed assertion . . ”65 In Eastern Europe, as in Russia under Gorbachev, the vanishing mediator appeared as the “new social movements” that emerged during the last years of “actually existing socialism”: groups of passionate intellectuals who “took socialism seriously” and were prepared to stake everything in order to destroy the compromised system Introduction 27 and replace it with the utopian “third way” beyond capitalism and “actually existing” socialism.
Cruel because chances of exhibiting one’s work are slight, recognition rare and distorting and there is little or no chance of having an impact on society at any level. . An erratic toleration has replaced pervasive totalitarianism; a laissez-faire realpolitik has been instituted for the rebellious who act within reason. 34 China in many respects resembles the Soviet Union. ’”35 In 1993, Lao Li observed in retrospect: “Chinese art rests on three legs. One is traditional brush and ink painting.
72 Conceptualism was an “avant-garde” notion, designating both politicized art and the nonpoliticized art that was closely related to the avant-garde of the West. From its inception, Conceptualism in the socialist countries was an unofﬁcial art form, possessing at the same time the aura of elite art. As we have seen, postmodernism entered these cultural spaces as a similarly positive and therefore desirable designation. ”73 However, the postmodern Conceptualism of the socialist countries developed differently from Conceptualism in the United States or Western Europe.