{"id":33,"date":"2022-03-21T19:20:44","date_gmt":"2022-03-21T19:20:44","guid":{"rendered":"https:\/\/www.arthistorian.hu\/editandras\/?page_id=33"},"modified":"2024-09-16T08:41:51","modified_gmt":"2024-09-16T08:41:51","slug":"published-essays","status":"publish","type":"page","link":"https:\/\/www.arthistorian.hu\/editandras\/selected-publications-essays-and-featured-articles\/published-essays\/","title":{"rendered":"ESSAYS AND ARTICLES IN BOOKS AND CATALOGUES"},"content":{"rendered":"\n
<\/td>2022<\/td>\u201c<\/strong>Horizontal Art History: Endangered species\u201d. In. Agata Jakubowska and Magdalena Radomska.\u00a0Horizontal Art History and Beyond<\/em>. Routledge, 2022.145\u2013155.<\/td><\/tr>
<\/td><\/td>\u201c<\/strong>Animate Objects\u201d. In Rudolf Pacsika: Impossibility<\/em>. Ferenczy MM\u00fazeumi Centrum, Szentendre, 2022, 5\u201316.<\/td><\/tr>
<\/td>2021<\/td>\u201cMental Geography and Imaginary Time Travel in East-Central Europe.\u201d In Ilona N\u00e9meth Eastern Sugar<\/em>, edited by Maja and Reuben Fowkes, 238\u201351. Berlin: Stenberg Press, Bratislava: Slovenska n\u00e1rodn\u00e1 gal\u00e9ria, 2021.
https:\/\/www.youtube.com\/watch?v=Cfyt8f4LPvA<\/a><\/td><\/tr>
<\/td>2020<\/td>\u201c\u2019Yes\u2019 for General amd Social Issues,\u2018No\u2019 for Anything Private: Matrix P (the Public, the Private, the Personal, and the Political) in Zofia Kulik\u2019s Art. \/ \u201c\u2019\u00c1no\u2019 v\u0161eobecn\u00fdm a soci\u00e1lnym probl\u00e9mom, \u2018nie\u2019 \u010domukolvek s\u00fakromn\u00e9mu. Matrica P (the Public, the Private, the Personal, and the Political\u2013 verejn\u00e9, s\u00fakromn\u00e9, osobn\u00e9 a politick\u00e9) v diele Zofie Kulik.\u201d In Subjective Histories: Self-Historicisation as Artyistic Practice in Central-East Europe. \/ Subjekt\u00edvne hist\u00f3rie:  Seba-historiz\u00e1cia ako emeleck\u00e1 prax v stredov\u00fdchodnej Eur\u00f3pe<\/em>, edited by Daniel Gr\u00fa\u0148, 133\u201364, 147\u201371. Bratislava: VEDA Publishing House of the Slovak Academy of Sciences, 2020.<\/td><\/tr>
<\/td>2019<\/td>\u201c\u2019 Yes\u2019 for General and Social Issues, \u2018No\u2019 for Anything Private: Matrix P (the Public, the Private, the Personal, and the Political) in Zofia Kulik\u2019s Art.\u201d In Zofia Kulik: Methodology, My Love<\/em>, edited by Agata Jakubowska, 77\u201398. Warsaw: Museum of Modern Art, 2019.<\/td><\/tr>
<\/td>2018<\/td>\u201cThe Ex-Eastern Bloc\u2019s Position in New Critical Theories and Recent Curatorial Practice.\u201d In Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology<\/em>, edited by Ana Janevski and Roxana Marcoci with Ksenia Nouril, 86\u201391. New York: MoMA, 2018.<\/td><\/tr>
<\/td><\/td>\u201cOut of Private Public Opinion into Shared Personal Opinion: The Public, the Private and the Political.\u201d In Art in Hungary 1956\u20131980<\/em>: Doublespeak and Beyond<\/em>, edited by Edit Sasv\u00e1ri, S\u00e1ndor Hornyik, Hedvig Turai, 229\u201350. London: Thames and Hudson, 2018.<\/td><\/tr>
<\/td>2017<\/td>\u201cTisztelg\u00e9s a f\u00e9ligazs\u00e1g el\u0151tt \/ Homage to the Half-Truth \/ Hommage an die Halbwahrheit.\u201d In A m\u0171hegyekt\u0151l a politikai vall\u00e1sig: Magyar tril\u00f3gia \/ From Fake Mountains to Faith: Hungarian Trilogy \/ Vom falschen Gebirge zum Glauben: Ungarische Trilogie. KissP\u00e1l Szabolcs<\/em>, edited by Zolt\u00e1n K\u00e9kesi, Szabolcs KissP\u00e1l, Edit Moln\u00e1r, Marcel Schwierin, 192\u2013205. 250. Oldenburg: Edith-Russ\/Haus f\u00fcr Medienkunst, 2017.<\/td><\/tr>
<\/td>2016<\/td>\u201eHomage to the Half-Truth: Renationalization and Artistic Imagination in Hungary. A Case Study.\u201d In Former West: Art and the Contemporary after 1989<\/em>, edited by Maria Hlavajova, Simon Sheikh, 191\u2013202. Utrecht: BAK, basis voor actuele kunst and Massachusetts Institute of Technology Cambridge: MIT Press, 2016.<\/td><\/tr>
 <\/td><\/td>  \u201cWhat Does EastCentral European Art History Want? Reflections on the Art History Discourse in the Region since 1989.\u201d In Extending the Dialogue. Essays by Igor Zabel Award Laureates, Grant Recipients, and Jury Members, 2008\u20132014<\/em>, edited by Christiane Erharter, Rawley Grau, and Ur\u0161ka Jurman, 52\u201377. Archive Books, Berlin, Igor Zabel Association for Culture and Theory, Ljubljana, ERSTE Foundation, Vienna, 2016.<\/td><\/tr>
 <\/td><\/td>\u201cUniversal Hospitality.\u201d In Into the City. Wiener Festwochen 2016<\/em>. Universal Hospitality<\/em> [catalog], 3\u20137.Vienna: Wiener Festwochen. 2016.<\/td><\/tr>
 <\/td>2015<\/td>\u201cZywiolowe naznaczanie w sercu Europy. Ojczyzna Wegr\u00f3w we wladzy prawicowego rezimu. \/ Vigorous Flagging in the Heart of Europe: The Hungarian.\u201d In Csaba Nemes: Gdy polityka wchodzi w codziennosc. When Politics Enters Daily Life<\/em>, edited by Tomas Macios, Mariusz Sobczynski. 27\u201339; 60\u201372. [catalogue] MOCAK, Museum of Contemporary Art, Krakow, 2015.<\/td><\/tr>
 <\/td><\/td>“K\u00e9pzelt k\u00f6z\u00f6ss\u00e9gek, mag\u00e1nk\u00e9pzetek \/ Imagined Communities, Personal Imaginations.” In Priv\u00e1t Nacionalizmus Budapest \/ Private Nationalism, Budapest, 3-6.<\/em> P\u00e9cs: K\u00f6zel\u00edt\u00e9s M\u0171v\u00e9szeti Egyes\u00fclet, 2015. <\/td><\/tr>
 <\/td>2014<\/td>“PNP \/ Private Nationalism Project.” In Priv\u00e1t Nacionalism \/ Private Nationalism, 3.<\/em>  <\/em>[catalog] P\u00e9cs<\/em>: Approach Art Association, 2014, <\/td><\/tr>
 <\/td><\/td>Project S\u00fakromn\u00fd nacionalizmus. \/ Private Nationalism Project. In Priv\u00e1tny Nacionalizmus PN \/ SK Ko\u0161ice, Private Nationalism. <\/em>1-3. [catalog] Ko\u0161ick\u00e9 Kult\u00farne centr\u00e1 Kunsthalle \u2013 Hala hmenia Ko\u0161ice Kass\u00e1kovo centrum intermedi\u00e1lnej kreativity \/ The Approach Art Association, P\u00e9cs, 2014. <\/td><\/tr>
 <\/td>2013<\/td>\u201cThe (ex)Eastern Bloc’s Position in the New Critical Theories and in the Recent Curatorial Practice.\u201d In Exhibiting the \u201cFormer East\u201d: Identity Politics and Curatorial Practices after 1989. A Critical Reader<\/em>. edited by C\u0103t\u0103lin Gheorghe, Cristian Nae, 43\u201252. Vector > Critical Research in Context, Universitatea de Arte \u201cGeorge Enescu\u201d Ia\u015fi, 2013.<\/td><\/tr>
 <\/td><\/td>\u201cWhose Nostalgia is Ostalgia? An Eastern Europe and Former Soviet Republics Survey Exhibition in the New Musem, New York.\u201d In Curating \u2018Eastern Europe\u2019 and Beyond: Art Histories through the Exhibition<\/em>, edited by Maria Ori\u0161kov\u00e1,165\u201271. Veda, SAS Publishing House, Slovak Academy of Sciences, Bratislava & Peter Lang International Academic Publishers, Frankfurt am Main, 2013.<\/td><\/tr>
 <\/td><\/td>\u201cOne must keep open the wound. Institutional critique from the sideline, from a woman\u2019s perspective. \/ Ranu treba ponechat\u2019 otvoren\u00fa. In\u0161titucion\u00e1lna kritika z perif\u00e9rneho pohl\u2019adu, zo \u017eenskej perspekt\u00edvy.\u201d In Dilemma. Three Central-European Vesrions of Ilona N\u00e9meth\u2019s exhibition \/ N\u00e9meth Ilona ki\u00e1ll\u00edt\u00e1s\u00e1nak h\u00e1rom k\u00f6z\u00e9p-eur\u00f3pai v\u00e1ltozata \/ Tri stredoeur\u00f3pske varianty vystavy Ilony N\u00e9meth, <\/em>edited byEdit Andr\u00e1s, 181\u201391; 340\u201348. Bratislava: Kalligram, 2013.<\/td><\/tr>
 <\/td><\/td>\u201cThe time of tapestry. In Eur\u00f3pa sz\u00f6vete. A sz\u00f6v\u00f6tt k\u00e1rpit m\u0171v\u00e9szet\u00e9nek \u00e1tv\u00e1ltoz\u00e1sai\/Web of Europe. Metamorphoses of the Art of Woven Tapestry<\/em>, edited by Ibolya Hegyi, Katalin Schulcz, 54\u20136. Budapest: Dobr\u00e1nyi Ildik\u00f3 Alap\u00edtv\u00e1ny, 2013.<\/td><\/tr>
 <\/td>2012<\/td>\u201cLittle Warsaw: The battle of inner truth.\u201d In Contemporary Art in Hungary: The best works of the 21st century so far<\/em>. Ed. Katalin Spengler. Budapest, 2012, 018-025.<\/td><\/tr>
 <\/td><\/td>\u201cTraume ich frei oder auf Befehl? Imaginierte Mannlichkeit im sozialistischen Ungarn \/ Do I dream freely or on command? Imagined Masculinity in Socialist Hungary.\u201d In Der Nackte Mann \/ The Naked Man<\/em>, edited by Stella Rolling and Barnab\u00e1s Bencsik, 91\u2013100. N\u00fcrnberg: Verlag f\u00fcr Moderne Kunst, 2012.<\/td><\/tr>
 <\/td><\/td>\u201cTextiles that aspire to more than decorating houses: Introductory text.\u201d In American Tapestry Biennial 9<\/em>, edited by Thomas Cronenberg. [catalog] San Jose, California: American Tapestry Alliance, 2012.<\/td><\/tr>
 <\/td>2011<\/td>\u201cNationalism claiming the public space.\u201d In Continental breakfast. Place of Encounter. Fifth CEI Venice Forum for Contemporary Art Curators<\/em>, edited by Giuliana Carbi, 12\u201321. Triest: Trieste Contemporanea, 2011.<\/td><\/tr>
 <\/td><\/td>\u201cMonumentele publice \u00een Construirea (\u015fi presentului) istoric.\u201d In Centru \u015fi Periferie: Perspective \u00een Zonele Transfrontaliere Regionalism Cultural Cultur\u0103 Vizual\u0103<\/em>, edited by, Izabella Gy\u00f6rgyjakab, Kriszti\u00e1n Kukla, 123\u2013149. Debrecen: Cepevit, Modem, 2011.<\/td><\/tr>
 <\/td><\/td>\u201cThe Dreams Live On: Remakes by Contemporary Artists.\u201d In Eur\u00f3pa sz\u00f6vete\/Web of Europe<\/em>, edited by Hegyi Ibolya, Schulcz Katalin, 31. Budapest: Dobr\u00e1nyi Ildik\u00f3 Alap\u00edtv\u00e1ny\u2013Iparm\u0171v\u00e9szeti M\u00fazeum, 2011.<\/td><\/tr>
 <\/td>2010<\/td>\u201cA Painful Farewell to Modernism: Difficulties in the Period of Transition.\u201d In Gender Check: Reader. Art and Theory in Eastern Europe<\/em>, edited by Bojana Pejic & Erste Foundation & Museum Moderner Kunst Stiftung Ludwig Wien, 115\u201325. Verlag der Buchhandlung Walther K\u00f6nig, K\u00f6ln, 2010.<\/td><\/tr>
 <\/td><\/td>\u201cGender Minefield: The Heritage of the Past.\u201d (1999) In Gender Check: Reader. Art and Theory in Eastern Europe<\/em>, edited by Bojana Pejic & Erste Foundation & Museum Moderner Kunst Stiftung Ludwig Wien, 179\u2013183. [second publication] Cologne: Verlag der Buchhandlung Walther K\u00f6nig, 2010.<\/td><\/tr>
 <\/td><\/td>Autobiography and Photography. In G\u0151b\u00f6ly\u00f6s Luca<\/em>, 8\u201312. Budapest: Supergroup Kft. 2010.<\/td><\/tr>
 <\/td><\/td>[Interview with Edit Andr\u00e1s]. In. Contemporary Art.<\/em> Edited by Katalin Spengler. Absolut medi Kft, Budapest, 2010, pp. 006-009.  <\/td><\/tr>
 <\/td>2009<\/td> \u201cThe Future is Behind Us. Flashbacks to the Socialist Past.\u201d In Transitland. Video Art from Central and Eastern Europe 1989\u20132009<\/em>, edited by Edit Andr\u00e1s, 209\u2013224. Budapest: Ludwig Museum of Contemporary Art, 2009.<\/td><\/tr>
 <\/td><\/td>\u201cDo I Dream Freely or on Command? Imagined Masculinity in Socialist Hungary.\u201d In Gender Check. Femininity and masculinity in the Art of Eastern Europe, <\/em>edited by Bojana Pejic, 100\u2013104. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2009.<\/td><\/tr>
 <\/td><\/td>\u201cInterviews with the Researchers. Hungary: Edit Andr\u00e1s.\u201d In Gender Check. Femininity and Masculinity in the Art of Eastern Europe<\/em>, edited by, Bojana Pejic, 351\u2013352. Vienna \u2013Cologne: Museum Moderner Kunst Stiftunk Ludwig Wien, Verlag de Buchhandlung Walther K\u00f6nig, 2009.
http:\/\/gender-check.erstestiftung.net\/hungary-edit-andras\/<\/a><\/td><\/tr>
 <\/td>2008<\/td>\u201cCzynik, kt\u00f3ry wci\u0105\u017c dzia\u0142a. Trauma przesz\u0142o\u015bci socjalistycznej w pami\u0119ci zbirowej\u201d. In Tytul roboczy \/ Working title: Archive \/ Archiwum No. 1, <\/em>edited by Magdalena Zi\u00f3\u0142kowska & Andrzej Le\u015bniak, 12\u201316. L\u00f3dz: Museum Sztuki, 2008.<\/td><\/tr>
 <\/td><\/td> \u201cAn Agent that is still at Work. The Trauma of Collective Memory of the Socialist Past.\u201d In Writing Central European Art History. Pattern_Travelling Lecture Set 2008\/2009.<\/em> Erste Stiftung Reader # 01. 5\u201321.Vienna: Erste Stiftung, 2008.<\/td><\/tr>
 <\/td>2006<\/td>“Transgressing Boundaries (Even those Marked out by the Predecessors) in the New Genre Conceptual Art.” In Art After Conceptual Art<\/em>, edited by Alexander Alberro and Sabeth Buchmann, 163-178. Cambridge, Massachusetts, London, England: The MIT Press and Vienna: Generali Foundation, 2006. <\/td><\/tr>
 <\/td>2005<\/td>“Blind Spot of the New Critical Theory: Notes on the Theory of Self Colonization.” In La Biennale di Venezia 51. Esposizione Internationale d\u2019Arte. Romanian Pavilion<\/em>, edited by Marius Babias, 98-112. 2005.  <\/td><\/tr>
 <\/td><\/td>Metamorphoses. Tapestry now. In. Tapestry 2. Metamorphoses. The Art of Woven Tapestry Past and Present<\/em>, 57-59. [catalog] Budapest: Museum of Fine Arts and the Association of Hungarian Tapestry Artists, 2005. <\/td><\/tr>
 <\/td><\/td>“Contemporary Hungarian Tapestry Art in an International Context.” In.Tapestry Art in Hungary.<\/em> Budapest: Vince Publishing House and Association of Hungarian Tapestry Artists, 2005, 165-191 <\/td><\/tr>
 <\/td>2004<\/td> \u201cContemporary Hungarian Tapestry Art in an International Context.\u201d In By Hand in the Electronic Age: Contemporary Tapestry<\/em>, 24\u201337. [catalog] Washington DC: The Textile Museum, 2004.<\/td><\/tr>
 <\/td><\/td>“Blind Spots of the New Critical Theory: Notes on the Theory of Self-colonization.” In The Art and Media of Accession: Transeuropean Picnic<\/em>, edited by Nat M\u00fcller, Stephen Kovats, 38-47. Novi Sad Serbia: Futura publikacije, 2004,  <\/td><\/tr>
 <\/td>2003<\/td>\u201cWho is Afraid of a New Paradigm? The Old Practice of Art Criticism of the East versus the New Critical Theory of the West.\u201d In MoneyNations: Constructing the Border \u2013 Constructing East-West<\/em>, edited by Marion von Osten, Peter Spielmann,  96\u2013105. Wien: Edition Selene, 2003.<\/td><\/tr>
 <\/td><\/td>\u201cWho is Afraid of a New Paradigm? The Old Practice of Art Criticism of the East versus the New Critical Theory of the West.\u201d In Cruising Danubio: At the Cutting Edge of Contemporary Hungarian Art. Alcal\u00e1 31<\/em>, [catalogue] Madrid: Sale de exposiciones de la Consejeria de los Antes, 2003.  <\/td><\/tr>
 <\/td><\/td> \u201cThe Object of Desire Seizes Desire.\u201d In Orshi Drozdik: Passion after Appropriation<\/em>, edited by Leonida Kovac, 35\u201347. Zagreb: Museum of Contemporary Art, 2003.<\/td><\/tr>
 <\/td>2002<\/td>\u201cPainting at the Crossroads: The Genes of Painting.\u201d In George Peck: Layered Time, Layered Paint<\/em>, edited by Edit Andr\u00e1s, Jonathan Goodman. Budapest: Municipal Picture Gallery 117. 2002.<\/td><\/tr>
 <\/td>2001<\/td> \u201cTapestry in the Contemporary Art Scene.\u201d In Tapestry. International Millennial Contemporary Exhibition<\/em>, edited by Edit Andr\u00e1s, 45\u201350. Budapest: Museum of Fine Arts, Association of Hungarian Tapestry Artists, 2001.<\/td><\/tr>
 <\/td>1999<\/td>\u201cRepresentation of the Body in Contemporary Hungarian Art. In ***Erotics and Sexuality in Hungarian Art<\/em>, edited by G\u00e1bor Andr\u00e1si, 49\u201382. Budapest: League of Non-Profit Art Spaces, 1999.<\/td><\/tr>
 <\/td><\/td> \u201cCultural Cross-dressing: Emese Bencz\u00far.\u201d In Tackling Techne. Exhibition at the Hungarian Pavilion, 48th International Exhibition of Contemporary Art<\/em>, edited by J\u00e1nos Sturcz, Anna B\u00e1lv\u00e1nyos, G\u00e1bor Andr\u00e1si, 80\u2013111. [catalog] Budapest: Ludwig Museum, 1999.<\/td><\/tr>
 <\/td><\/td>“The Painful Farewell to Modernism: Difficulties in the Period of Transition.” In After the Wall. Art and Culture in Post-Communist Europe, edited by Bojana Peji\u0107, David Elliott, <\/em>Vol. I., 125\u201330. [catalog] Stockholm: Moderna Museet, 1999, 125-130.  <\/td><\/tr>
 <\/td>1996<\/td>“Water Ordeal on Contemporary (Women) Art and (Women) Artists.” In Water Ordeal<\/em>, edited by Edit Andr\u00e1s and G\u00e1bor Andr\u00e1si, 25-43. [catalog] Budapest: \u00d3budai T\u00e1rsask\u00f6r, 1996.  <\/td><\/tr>
 <\/td>1995-96 <\/td>“Excerpts from the Interview Given by Vladimir Yankilevsky to Edit Andr\u00e1s.” In Vladimir Yankilevsky. Retrospective.<\/em> [catalog.] Moszkva: Tretyakov Gallery, 1995-96, LVII – LXVI.<\/td><\/tr>
 <\/td>1994<\/td>“Death Knocking at Life’s Door: The Names Project AIDS Me\u00admorial Quilt.” In Everyday Values of American Culture.<\/em> Budapest, 1994. <\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"

2022 \u201cHorizontal Art History: Endangered species\u201d. In. Agata Jakubowska and Magdalena Radomska.\u00a0Horizontal Art History and Beyond. Routledge, 2022.145\u2013155. \u201cAnimate Objects\u201d. In Rudolf Pacsika: Impossibility. Ferenczy MM\u00fazeumi Centrum, Szentendre, 2022, 5\u201316. 2021 \u201cMental Geography and Imaginary Time Travel in East-Central Europe.\u201d In Ilona N\u00e9meth Eastern Sugar, edited by Maja and Reuben Fowkes, 238\u201351. Berlin: Stenberg Press, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":31,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-33","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/33","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/comments?post=33"}],"version-history":[{"count":16,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/33\/revisions"}],"predecessor-version":[{"id":392,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/33\/revisions\/392"}],"up":[{"embeddable":true,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/31"}],"wp:attachment":[{"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/media?parent=33"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}