Bibliografie. Xxxxx, Xxxx, “Art Periodicals and Contemporary Art Worlds, Part 1: An Historical Exploration”, Artmargins, vol. 5, no. 3, 2016, pp. 35-61 Xxxxx, Xxxxxx, Xxxxxx Xxxxxxx Glatigny și Xxxxx Xxxxxxxxxx (eds.), Art Beyond Borders. Artistic Exchange in Communist Europe [1945-1989], Central European University Press, Budapesta/New York, 2016 Xxxxxxxxxxx, Xxxxx, ”International Indeterminacy: Xxxxxx Xxxxxxxx and the Mail”, Artmargins, vol. 7, no. 3, 2018, pp. 57-85. Xxxxxx, Xxxxxxxxx, ”Hacia el Arte Lationoamericano Globalizado. La auto-invention de CAYC desde la perspectiva transmoderna et transregional”, Revista de Estudios Globale e Arte Contemporaneo 5, 1, 2017-18, pp. 65-66. Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”The Post-National in East European Art: From Socialist Internationalism to Transnational Communities”, in Xxx Xxxxxxxx, Xxxxxx Xxxxxxx and Xxxxxx Xxxxxx (eds.), Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, MoMA, New York, 2018. Xxxxxxx, Xxxxx, "“Something Unnameable in Common”: Translocal Collaboration at the Beau Geste Press", Artmarginsi vol. 1, no. 2-3, 2012, pp. 45-72. Xxxx, Xxxxx, ”Doing Culture Under State-Socialism: Actors, Events and Interconnections”. Nr. Special al Comparativ: Zeitschrift für Globalgeschicte und vergleichende Gesellschaftsforschung, no. 4, 2014 Xxxx, Xxxxx, Xxx Xxxxx (eds,), Globalizing East European Art Histories: Past and Present, Routledge, Londra, 2018 Xxxx Xxxxx, Xxxxx, Networking the Bloc. Experimental art in Eastern Europe 1965-1981, MIT Press, Cambridge Mass, 2019. Xxxxx, Xxxxxxx X., Fall-Out Shelters for the Human Spirit: American Art and the Cold War, University of North Carolina Press, 2005 Xxxxxx, Xxxxxx, „Exhibition as a Diplomatic Tool. The Search for Artistic Solidarity”, Third Text, 2018, vol. 32, no. 4, pp. 412-433 Xxxxxxx Xxxxxxxxx, Xxx-xxx Xxxx (eds.), Minor Transnationalism, Durham: Duke University Press, 2005 Xxxxxxx, Xxxxxxxx, “Transregional studies. A new approach to global processes” in Xxxxxxxx Xxxxxxx (ed.), The Routledge Handbook of Transregional Studies, Routledge, London, New York, 2019 Xxx, Xxxxxxxx, ”Whose Figuration? Varities of Realism in Romanian Art 1968-1972”, în Realisms of the Avant-Garde, edited by Xxxxxx Xxxxxx, Xxxxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxx, Xxxxx Xxxxx and Xxxxxx Xxx (Berlin: De Gruyter, 2020). Xxxxxxxxxx, Xxxxx, ”The Global NETwork: An Approach to Comparative Art History”, in Xxxxxx XxXxxxx Xxxxxxxx, Xxxxxxxxx Xxxxxx și Xxxxxxxx Xxxxxx-Xxxxxx (eds.), Circulations in the Global History of Art, Routledge, Londra și New York, 2016 Xxxxxxxxx, Xxxxx, An Associative Art History, JRP/Ringier and Les Presses du Réel, Zurich, 2017 Xxxxxx, Xxxxxxx, ”International Hungary! Gyorgi Galantai’s Networking Strategies”,
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Bibliografie. Xxxxx, Xxxx, “Art Periodicals and Contemporary Art Worlds, Part 1: An Historical Exploration”, Artmargins, vol. 5, no. 3, 2016, pp. 35-61 Xxxxx, Xxxxxx, Xxxxxx Xxxxxxx Glatigny și Xxxxx Xxxxxxxxxx (eds.), Art Beyond Borders. Artistic Exchange in Communist Europe [1945-1989], Central European University Press, Budapesta/New York, 2016 Xxxx, Xxxxxx. A magyar konceptművészet kezdetei. Xxxx Xxxxxx gyűjteménye, 1971. Nyílt Struktúrák Művészeti Egyesület XXXX-xxxxxxx.xx, Budapesta, 2008. Xxxxxxx, R. D. și D. A. Snow, “Framing Processes and Social Movements: An Overview and Assessment”. Annual Review of Sociology 26, 2000, pp. 611-639 Xxxx-Xxxxx, Xxxxxxx și Xxxx Xxxxxx (eds.), Performance Art in the Second Public Sphere: Event-Based Art in Late Socialist Europe, Routledge, Londra/New York, 2018 Xxxxxxxxxxx, Xxxxx, ”International Indeterminacy: Xxxxxx Xxxxxxxx and the Mail”, ArtmarginsXxxxxxxxxx, vol. 7, no. 3, 2018, pp. 57-85. Xxxxxx, Xxxxxxxxx, ”Hacia el Arte Lationoamericano Globalizado. La auto-invention de CAYC desde la perspectiva transmoderna et transregional”, Revista de Estudios Globale e Arte Contemporaneo 5, 1, 2017-18, pp. 65-66. Xxxxxx, X, The Non-Aligned Movement: Genesis, Organization and Politics (1927-1992), Brill, Leiden, 2018. Xxxxxxx, Xxxxxxx, ”Is there a ‘digital’ art history?”, Visual Resources, 29, 2013, pp. 1-2, 5- 13 Xxxxx, Xxxxx, „”Nem hiszek a túl direkt dolgokban...” Beszélgetés Xxxxxxx Xxxxxxxx.” Ars Hungarica. 2011/3. pp. 110-122; Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”Eastern Europe Can Be Yours! Alternative Art of the Eighties”, Afterall, 2017 Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”The Post-National in East European Art: From Socialist Internationalism to Transnational Communities”, in Xxx Xxxxxxxx, Xxxxxx Xxxxxxx and Xxxxxx Xxxxxx (eds.), Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, MoMA, New York, 2018. Xxxxxxx, Xxxxx, "“Something Unnameable in Common”: Translocal Collaboration at the Beau Geste Press", Artmarginsi vol. 1, no. 2-3, 2012, pp. 45-72. Xxxx, Xxxxx, ”Doing Culture Under State-Socialism: Actors, Events and Interconnections”. Nr. Special al Comparativ: Zeitschrift für Globalgeschicte und vergleichende Gesellschaftsforschung, no. 4, 2014 Xxxx, Xxxxx, Xxx Xxxxx (eds,), Globalizing East European Art Histories: Past and Present, Routledge, Londra, 2018 Xxxx Xxxxx, Xxxxx, Networking the Bloc. Experimental art in Eastern Europe 1965-1981, MIT Press, Cambridge Mass, 2019. Xxxxx, Xxxxxxx X., Fall-Out Shelters for the Human Spirit: American Art and the Cold War, University of North Carolina Press, 2005 Xxxxxx, Xxxxxx, „Exhibition as a Diplomatic Tool. The Search for Artistic Solidarity”, Third Text, 2018, vol. 32, no. 4, pp. 412-433 Xxxxxxx Xxxxxxxxx, Xxx-xxx Xxxx (eds.), Minor Transnationalism, Durham: Duke University Press, 2005 Xxxxxxx, Xxxxxxxx, “Transregional studies. A new approach to global processes” in Xxxxxxxx Xxxxxxx (ed.), The Routledge Handbook of Transregional Studies, Routledge, London, New York, 2019 Xxx, Xxxxxxxx, ”Whose Figuration? Varities of Realism in Romanian Art 1968-1972”, în Realisms of the Avant-Garde, edited by Xxxxxx Xxxxxx, Xxxxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxx, Xxxxx Xxxxx and Xxxxxx Xxx (Berlin: De Gruyter, 2020). Xxxxxxxxxx, Xxxxx, In the Shadow of Yalta. Art and Avant-Garde in Eastern Europe, Reaktion Books, London, 2011 Xxxxxxxxxx, Xxxxx, ”The Global NETwork: An Approach to Comparative Art History”, in Xxxxxx XxXxxxx Xxxxxxxx, Xxxxxxxxx Xxxxxx și Xxxxxxxx Xxxxxx-Xxxxxx (eds.), Circulations in the Global History of Art, Routledge, Londra și New York, 2016 Piškur, B. and X. Xxxxxx, “Third World: Prints from the Non-Aligned Countries at the International Biennial Exhibitions of Graphic Arts in Ljubljana between 1961-1991”, Southern Constellations. The Poetics of the Non-Aligned [Exhibition Catalogue], Moderna Galerija, Ljubljana, 2019, pp. 171-174. Xxxxxxxxx, Xxxxx, An Associative Art History, JRP/Ringier and Les Presses du Réel, Zurich, 2017 Xxxxxx, XxxxxxxXxxxxxxx, Xxxx Xxxxxx & Xxxxxxx Xxxxx, ”Introduction: Space and Scale in Transnational History”, The International History Review, 33:4, pp. 573-584, 2011 Xxxxxxx.xx, Art Always Has its Consequences. Artists’ Texts from Croatia, Hungary! Gyorgi Galantai’s Networking Strategies”,, Poland, Serbia, 1947-2009, Xxxxxxxxx Press, Berlin, 2011.
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Bibliografie. Xxxxx, Xxxx, “Art Periodicals and Contemporary Art Worlds, Part 1: An Historical Exploration”, Artmargins, vol. 5, no. 3, 2016, pp. 35-61 Xxxxx, Xxxxxx, Xxxxxx Xxxxxxx Glatigny și Xxxxx Xxxxxxxxxx (eds.), Art Beyond Borders. Artistic Exchange in Communist Europe [1945-1989], Central European University Press, Budapesta/New York, 2016 XxxxxxxxxxxXxxx, XxxxxXxxxxx. A magyar konceptművészet kezdetei. Xxxx Xxxxxx gyűjteménye, 1971. Nyílt Struktúrák Művészeti Egyesület XXXX-xxxxxxx.xx, Budapesta, 2008. Xxxxxxx, R. D. și D. A. Snow, “Framing Processes and Social Movements: An Overview and Assessment”International Indeterminacy: Xxxxxx Xxxxxxxx and the Mail”. Annual Review of Sociology 26, Artmargins, vol. 7, no. 3, 20182000, pp. 57611-85. 639 Xxxx Xxxxx Xxxxxxx și Xxxx Xxxxxx (eds.), Performance Art in the Second Public Sphere: Event-Based Art in Late Socialist Europe, Routledge, Londra/New York, 2018 Xxxxxx, Xxxxxxxxx, ”Hacia el Arte Lationoamericano Globalizado. La auto-invention de CAYC desde la perspectiva transmoderna et transregional”, Revista de Estudios Globale e Arte Contemporaneo 5, 1, 2017-18, pp. 65-66. Xxxxxx, X, The Non-Aligned Movement: Genesis, Organization and Politics (1927-1992), Brill, Leiden, 2018. Xxxxxxx, Xxxxxxx, ”Is there a ‘digital’ art history?”, Visual Resources, 29, 2013, pp. 1-2, 5-13 Xxxxxxxxx, Xxxx and Xxxxxx Xxxxxxxx, “Local/Global: Mapping Nineteenth-Century London's Art Market,” Nineteenth-Century Art Worldwide 11, no 3, 2012. Accessible at xxxx://xxxxxxx.xxx/xxxxxxx/0000. Xxxxxxx-Xxxxxx, Xxxxx. Ästhetik des Performativen. Frankfurt a.M. 2004; Xxxxx, Xxxxx. „”Nem hiszek a túl direkt dolgokban...” Beszélgetés Xxxxxxx Xxxxxxxx.” Ars Hungarica. 2011/3. pp. 110-122; Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”Eastern Europe Can Be Yours! Alternative Art of the Eighties”, Afterall, 2017 Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”The Post-National in East European Art: From Socialist Internationalism to Transnational Communities”, in Xxx Xxxxxxxx, Xxxxxx Xxxxxxx and Xxxxxx Xxxxxx (eds.), Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, MoMA, New York, 2018. Xxxxx, Xxxxxxx, Xxxxxxx Xxxxxxx, Xxxxxxxx, Xxxxxxxxx, and documenta. The Exhibitions that created contemporary art, Xxxxx Xxxxxxxxx, 2016. Xxxxxxx, Xxxxx, "“Something Unnameable in Common”: Translocal Collaboration at the Beau Geste Press", Artmarginsi vol. 1, no. 2ArtMargins 1:2-3, 2012, pp. 45Jun-72. Oct 2012 Xxxx, Xxxxx, ”Doing Culture Under State-Socialism: Actors, Events and Interconnections”. Nr. Special al Comparativ: Zeitschrift für Globalgeschicte und vergleichende Gesellschaftsforschung, no. 4, 2014 Xxxx, Xxxxx, Xxx Xxxxx (eds,), Globalizing East European Art Histories: Past and Present, Routledge, Londra, 2018 Xxxxx, Xxxxxxxx X., The Global Work of Art: Worlds Fairs, Biennials, and the Aesthetics of Experience, University of Chicago Press, Chicago, 2016 Xxxx-Xxxxx, Xxxxx, Antipolitics in Central European Art. Reticence as Dissidence under Post-Totalitarian Rule 1956-1989, I. B. Tauris, London, 2014. Xxxx Xxxxx, Xxxxx, Networking the Bloc. Experimental art in Eastern Europe 1965-1981, MIT Press, Cambridge Mass, 2019. Xxxx-Xxxxxx, Xxxxxxxxxx și Xxxxxx Xxxxx, Xxxxxxxx, Tamizdat and Beyond: Transnational Media During and After Socialism, Berghahn Books, New York/Oxford, 2013 Xxxxx, Xxxxxxx X., Fall-Out Shelters for the Human Spirit: American Art and the Cold War, University of North Carolina Press, 2005 Xxxxx, Emese, „A szabadság anti-esztétikája. Az első magyarországi happening.” exindex. September 2015. xxxx://xxxxxxx.xx/xxxxx.xxx?x=xx&xxxx=0&xx=000.; Kürti, Emese. Experimentalizmus, avantgárd és közösségi hálózatok a hatvanas években. Xx. Xxxx Xxxxxx és köre. PhD Dissertation. ELTE-BTK, Film-, Média és Kultúraelmélet Doktori Iskola, Budapest. 2015. Kürti, Emese (ed.), Xxxxxxxx Xxxx Arpad. Splendid Isolation, Abc Researchlab, 2018. Xxxxxx, Xxxxxx. Fussball im Museum der Schönen Künste. Dokumentation zum Performance- Projekt. Budapest 1970. edition eleven+1/Xxxxxxx Art-Print Publishers, 2010. Xxxxxx, Xxxxxx, „Exhibition as a Diplomatic Tool. The Search for Artistic Solidarity”, Third Text, 2018, vol. 32, no. 4, pp. 412-433 Xxxxxxx Xxxxxxxxx, Xxx-xxx Xxxx (eds.), Minor Transnationalism, Durham: Duke University Press, 2005 2018 Xxxxxxx, Xxxxxxxx, “Transregional studies. A new approach to global processes” in Xxxxxxxx Xxxxxxx (ed.), The Routledge Handbook of Transregional Studies, Routledge, London, New York, 2019 Xxx, Xxxxxxxx, ”Whose Figuration? Varities of Realism in Romanian Art 1968-1972”, în Realisms of the Avant-Garde, edited by Xxxxxx Xxxxxx, Xxxxxxxx XxxxxxxxxxXxxxxx. Ereignis und Aura. Untersuchungen zu einer Ästhetik des Performativen, Xxxxxx Xxxxxx, Xxxxx Xxxxx and Xxxxxx Xxx (Berlin: De Gruyter, 2020). Xxxxxxxxxx, Xxxxx, ”The Global NETwork: An Approach to Comparative Art History”, in Xxxxxx XxXxxxx Xxxxxxxx, Xxxxxxxxx Xxxxxx și Xxxxxxxx Xxxxxx-Xxxxxx (eds.), Circulations in the Global History of Art, Routledge, Londra și New York, 2016 Xxxxxxxxx, Xxxxx, An Associative Art History, JRP/Ringier and Les Presses du Réel, Zurich, 2017 Xxxxxx, Xxxxxxx, ”International Hungary! Gyorgi Galantai’s Networking Strategies”,Frankfurt a.M. 2002;
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Bibliografie. Xxxxx, Xxxx, “Art Periodicals and Contemporary Art Worlds, Part 1: An Historical Exploration”, Artmargins, volXxxxxx et. 5, noal. 3, 2016, pp. 35-61 Xxxxx, Xxxxxx, Xxxxxx Xxxxxxx Glatigny și Xxxxx Xxxxxxxxxx (eds.), Art Beyond Borders. Artistic Exchange in Communist Europe [1945-1989], Central European University Press, Budapesta/New York, 2016 XxxxxxxxxxxXxxx, Xxxxxx. A magyar konceptművészet kezdetei. Xxxx Xxxxxx gyűjteménye, 1971. Nyílt Struktúrák Művészeti Egyesület XXXX-xxxxxxx.xx, Budapesta, 2008. Xxxxx Xxxxx Xxxxxxx și Xxxx Xxxxxx (eds.), Performance Art in the Second Public Sphere: Event-Based Art in Late Socialist Europe, Routledge, Londra/New York, 2018 Xxxxxx, Xxxxxx și Xxxxxxxx Xxxxxxxxx (eds.), Beyond Corrupted Eye: Akumulatory 2 Gallery, 1972–1990, Zacheta National Gallery of Art, Varșovia, 2013 Xxxxxxx-Xxxxxx, Xxxxx. Ästhetik des Performativen. Frankfurt a.M. 2004; Xxxxxxx-Xxxxxx, ”International IndeterminacyXxxxx/Xxxx, Xxxxxxxxx (eds.). Theorien des Performativen, in: Xxxxxx Xxxxxxxx and the Mail”Paragrana. Internationale Zeitschrift für Historische Anthropologie, ArtmarginsVolume 10, vol. 7, no. 3, 2018, pp. 57-85Berlin 2001. Xxxxxx, XxxxxxxxxXxxxxx. Ereignis und Aura. Untersuchungen zu einer Ästhetik des Performativen, Frankfurt a.M. 2002; Xxxxx, Xxxxx. „”Nem hiszek a túl direkt dolgokban...” Beszélgetés Xxxxxxx Xxxxxxxx.” Ars Hungarica. 2011/3. pp. 110-122; Xxxxx, Xxxxxx, Art and Objecthood, University of Chicago Press, Chicago, 1998. Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”Hacia el Arte Lationoamericano Globalizado. La auto-invention de CAYC desde la perspectiva transmoderna et transregionalEastern Europe Can Be Yours! Alternative Art of the Eighties”, Revista de Estudios Globale e Arte Contemporaneo 5Afterall, 1, 2017-18, pp. 65-66. 2017 Xxxxxx, Xxxx and Xxxxxx Xxxxxx, ”The Post-National in East European Art: From Socialist Internationalism to Transnational Communities”, in Xxx Xxxxxxxx, Xxxxxx Xxxxxxx and Xxxxxx Xxxxxx (eds.), Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, MoMA, New York, 2018. Xxxxx, Xxxxxxx și Xxxxxxx Xxxxxxx, XxxxxXxxxxxxx, "“Something Unnameable in Common”: Translocal Collaboration at the Beau Geste Press"Triennals, Artmarginsi voland documenta. 1The Exhibitions that created contemporary art, no. 2-3Xxxxx Xxxxxxxxx, 2012, pp. 45-722016. Xxxx, Xxxxx, ”Doing Culture Under State-Socialism: Actors, Events and Interconnections”. Nr. Special al Comparativ: Zeitschrift für Globalgeschicte und vergleichende Gesellschaftsforschung, no. 4, 2014 Xxxx, Xxxxx, Xxx Xxxxx (eds,), Globalizing East European Art Histories: Past and Present, Routledge, Londra, 2018 Xxxx XxxxxIRWIN, XxxxxEast Art Map. Contemporary Art and Eastern Europe, Networking the Bloc. Experimental art in Eastern Europe 1965-1981, The MIT Press, Cambridge MassMass., 2019. 2006 Xxxxx, Xxxxxxx Xxxxxxxx X., Fall-Out Shelters for the Human SpiritThe Global Work of Art: American Art Worlds Fairs, Biennials, and the Cold WarAesthetics of Experience, University of North Carolina Chicago Press, 2005 Chicago, 2016 Xxxx-Xxxxxx, Xxxxxx, „Exhibition as a Diplomatic Tool. The Search for Artistic Solidarity”, Third Text, 2018, vol. 32, no. 4, pp. 412-433 Xxxxxxx Xxxxxxxxx, Xxx-xxx Xxxx (eds.), Minor Transnationalism, Durham: Duke University Press, 2005 XxxxxxxXxxxxxxxxx și Xxxxxx Xxxxx, Xxxxxxxx, Tamizdat and Beyond: Transnational Media During and After Socialism, Berghahn Books, New York/Oxford, 2013 Kürti, Emese. „A szabadság anti-esztétikája. Az első magyarországi happening.” exindex. September 2015. xxxx://xxxxxxx.xx/xxxxx.xxx?x=xx&xxxx=0&xx=000.; Kürti, Emese. “Transregional studiesGenerations in Experiment. A new approach to global processesThe Cage Effect in the Early Sixties of Hungary.” in Xxxxxxxx The Freedom of Sound. Xxxx Xxxx Behind the Iron Curtain. Xxxxxxx Xxxxxxx (ed.). Budpest: Xxxxxx Museum – Museum of Contemporary Art. pp.134-151; Kürti, The Routledge Handbook of Transregional StudiesEmese. Experimentalizmus, Routledgeavantgárd és közösségi hálózatok a hatvanas években. Xx. Xxxx Xxxxxx és köre. PhD Dissertation. ELTE-BTK, LondonFilm-, New YorkMédia és Kultúraelmélet Doktori Iskola, 2019 XxxBudapest. 2015. Kürti, Xxxxxxxx, ”Whose Figuration? Varities of Realism in Romanian Art 1968-1972”, în Realisms of the Avant-Garde, edited by Xxxxxx Xxxxxx, Xxxxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxx, Xxxxx Xxxxx and Xxxxxx Xxx Emese (Berlin: De Gruyter, 2020). Xxxxxxxxxx, Xxxxx, ”The Global NETwork: An Approach to Comparative Art History”, in Xxxxxx XxXxxxx Xxxxxxxx, Xxxxxxxxx Xxxxxx și Xxxxxxxx Xxxxxx-Xxxxxx (edsed.), Circulations in the Global History of ArtXxxxxxxx Xxxx Arpad. Splendid Isolation, RoutledgeAbc Researchlab, Londra și New York, 2016 Xxxxxxxxx, Xxxxx, An Associative Art History, JRP/Ringier and Les Presses du Réel, Zurich, 2017 2018. Xxxxxx, Xxxxxx. Fussball im Museum der Schönen Künste. Dokumentation zum Performance- Projekt. Budapest 1970. edition eleven+1/Xxxxxxx Art-Print Publishers, 2010. Xxxxxxx, ”International Hungary! Gyorgi Galantai’s Networking Strategies”,Xxxx X. (ed.) Six Years: The dematerialization of the art object from 1966 to 1972. Berkeley/Los Angeles/London: University of California Press, 1997.
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