The Role of Visualizing Failure in Estonian Art, 1987–1999: The “Winners’ Generation”

Orav, Kristin

doi:10.1086/680343

Cited by 2 publications

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“…Consider the case of Estonia, which went from a Soviet controlled central socio-economic system to a capitalistic socio-economic system almost overnight. Kristin Orav (2015) presents an interesting viewpoint of the arts in this period in Estonia that perhaps can be extrapolated to develop a post-structuralist outlook for this discussion.…”

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Perspectives on Arts Entrepreneurship, Part 2

2015

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This is the second in our opinion series, "Perspectives," in which we invite Artivate's editorial board members and contributors to respond to open-ended prompts about their position in relation to arts entrepreneurship; how arts entrepreneurship is situated in relation to other disciplines or fields; what problems we are grappling with as scholars, practitioners, teachers, and artists; and what are the research questions we are attempting to answer individually or as a field. Following, you will find responses from:

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Perspectives on Arts Entrepreneurship, Part 2

2015

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“…Feminist art practice and theorizing from Eastern Europe has long been marginalized, even though women artists from this region provide fantastic examples of this weak avantgarde: for example, the works of Ewa Partum and Mariola Przyjemska, as well as Zofia Kulik and Marina Abramovic. This is not the first article to consider how women artists display such avantgarde tropes: Sascha Scott wrote about "subtle resistance" (Scott 2013); Jack Halberstam and Renate Lorenz discuss queer art (of failure) (Halberstam 2010;Lorenz 2012), Kirstin Orav analyzed the visualizations of failure in Estonian art (Orav 2015), and Ewa Majewska wrote about the "feminist art of failure" (Majewska 2016b). The arguments presented are situated as belonging to a specific time and place; however, they search for possibilities of universalization and generalization, just without absolutist claims.…”

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Towards a Weak Avant-Garde, Re-Shaping the Canon

Majewska

2023

Arts

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Feminist discussions in art history usually focus on the exclusion of women artists and the reification of women’s bodies. A growing constellation of queer and feminist theorists today, however, analyse failure and cuteness as aspects of contemporary feminist avant-garde practices, suggesting that alternative currents in art practice and theory are emerging that challenge traditional notions and modes of art production. In my article, I discuss these debates in relation to “weak universalism” and weak messianism in order to reshape our understanding of avant-garde theory and practice from a feminist perspective. I argue that feminist analysis transforms what was previously thematized as conditions of exclusion into an important part of artistic legacy in works made by previously excluded groups. I propose that the concept of a weak avant-garde might help to theorize these shifts.

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The Role of Visualizing Failure in Estonian Art, 1987–1999: The “Winners’ Generation”

Cited by 2 publications

References 5 publications

Perspectives on Arts Entrepreneurship, Part 2

Perspectives on Arts Entrepreneurship, Part 2

Towards a Weak Avant-Garde, Re-Shaping the Canon

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