{"id":35,"date":"2022-03-21T19:20:22","date_gmt":"2022-03-21T19:20:22","guid":{"rendered":"https:\/\/www.arthistorian.hu\/editandras\/?page_id=35"},"modified":"2024-09-16T16:51:56","modified_gmt":"2024-09-16T16:51:56","slug":"published-in-journals","status":"publish","type":"page","link":"https:\/\/www.arthistorian.hu\/editandras\/selected-publications-essays-and-featured-articles\/published-in-journals\/","title":{"rendered":"Articles in Journals"},"content":{"rendered":"\n
2023
\"\"<\/td>		With G\u00e1bor Andr\u00e1si: \u201cSix Episodes from the Period of the Political Transition in Hungary\u201d. In Performing 89. What We Missed, What We Lost, What We Forgot, Institute of the Present, 2023
https:\/\/institutulprezentului.ro\/en\/2023\/11\/15\/performing-89-what-we-missed-what-we-lost-what-we-forgot\/#contents-G<\/a><\/td><\/tr>
2021<\/td>\u201cA Counter-Monument to Female Victims of Wartime Rape: An Interview with Edit Andr\u00e1s by Susan Snodgrass.\u201d Artmargins online, special issue (12\/07\/2021) https:\/\/artmargins.com\/a-counter-monument-to-female-victims-of-wartime-rape-an-interview-with-edit-andras\/<\/a><\/td><\/tr>
2020<\/td>The Obscure Object of Desire: Is there any place for Eastern Europe on the Map of World Art or Global Art (History)? Mezosfera.org, August 2020, http:\/\/mezosfera.org\/the-obscure-object-of-desire\/<\/a><\/td><\/tr>
2018<\/td>\u201cVon de Zukunft der Vergangenheit K\u00fcnstlerisches Fortschrittsdenken und der Traum von einer aufgekl\u00e4rten Gesellschaft.\u201d Springerin, no.4. (2018) 44\u201347. \/ \u201cFrom the Past\u2019s Future to the Present: Dreaming of an Enlightened Society.\u201d Springerin, no. 4. (2018)
https:\/\/www.springerin.at\/en\/2018\/4\/von-der-zukunft-der-vergangenheit\/<\/a><\/td><\/tr>
<\/td>\u201eMan kann nicht zweimal in denselben Fluss steigen\u201c\u2013 Freilich kann man das! Von der Verwandlung einer (post-)sozialistischen in eine autorit\u00e4r-nationalistische und autokratische Kunstinstitution.\u201d Springerin, no. 3. (2018) \/ \u201cYou Can\u2019t Step Into the Same River Twice\u201d \u2013 Sure Enough, You Can! Transformation from a (Post-)Socialist Institution of Art into an Illiberal-Nationalist, Autocratic One.\u201d Springerin, no. 3. (2018) https:\/\/www.springerin.at\/en\/2018\/3\/man-kann-nicht-zweimal-in-denselben-fluss-steigen-freilich-kann-man-das\/<\/a><\/td><\/tr>
<\/td>\u201cAn Evening with Chto Delat.\u201d Springerin, no.1. (2018): 66\u201367.<\/td><\/tr>
2017<\/td>\u201cOrient\u00e1ci\u00f3v\u00e1lt\u00e1sok a k\u00f6z\u00e9p-kelet-eur\u00f3pai m\u0171v\u00e9szetelm\u00e9letben 1989 ut\u00e1n: Nemzeti, region\u00e1lis vagy glob\u00e1lis m\u0171v\u00e9szett\u00f6rt\u00e9net (a posztszocializmus, posztkolonializmus vagy dekolonialit\u00e1s jegy\u00e9ben?) [Changes in Orientations in Central-Eastern European art theory: National, Regional or Global Art History Writing (in the Framework of Postsocialism, Postcolonialism or decoloniality?\u201d] Ars Hungarica, no. 4. (2017): 395\u2013406<\/td><\/tr>
<\/td>\u201cRenationalisierung in der ungarischen Kunst und Kultur.\u201d Europaeische RundSchau: Vierteljahreszeitschift f\u00fcr Politik, Wirtschaft und Zeitgeschichte, 45. Jahrgang, no. 2. (2017): 85\u201394.<\/td><\/tr>
<\/td>\u201cOn Building Nations: Budapest, Hungary. Szabolcs KissP\u00e1l in conversation with Edit Andr\u00e1s.” IBRAAZ. Contemporary Visual Culture in North Africa and the Middle East, 010, no. 15. (June 2017) https:\/\/www.ibraaz.org\/interviews\/221<\/a><\/td><\/tr>
<\/td>“From the Coffee Grinder to Sputnik: The Culture of Objects and Woman in the service of Ideology”. Acta Historiae Artium, Tomus LVI, 297-306.<\/td><\/tr>
<\/td>“Wer ist der Fremde, wer der Andere in der Postsoziaslistishen, Nationalistischen Ungarishen (Kunst-)Szene”? Springerin, Vienna, 2015\/3. 28-35.<\/td><\/tr>
2015<\/td>\u201cImagiNaciones postsocialista Comunidades imaginados persolaes en le Europa Centrooriental: Private Nationalism Budapest.\u201d Concreta, Valencia, (2015): 51\u201365.<\/td><\/tr>
<\/td>\u201cWer ist der Fremde, wer der Andere in der Postsoziaslistishen, Nationalistischen Ungarishen (Kunst-)Szene?\u201d Springerin, no. 3. (2015): 28\u201335. \/ \u201e\u2019They are so very different from us\u2019: Who is the Stranger, who is the Other in the post-Socialist Nationalist Hungarian (art)scene?\u201d Springerin, no. 3. (2015) https:\/\/www.springerin.at\/en\/2015\/3\/sie-sind-so-anders-als-wir\/<\/a><\/td><\/tr>
2014<\/td>\u201cVigorous Flagging in the Heart of Europe: The Hungarian Homeland under the Right-Wing Regime.\u201d E-flux journal, no. 57. (Sept. 2014) https:\/\/www.google.com\/search?q=e-flux+Edit+Andras&oq=e-flux+Edit+Andras&aqs=chrome..69i57j69i61.6782j0j15&sourceid=chrome&ie=UTF-8<\/a><\/td><\/tr>
<\/td>\u201cHungary\u2012A Post-Socialist Conflict Zone. A report from Hungary. The Brooklyn Rail. Critical Perspectives on Arts, Politics and Culture.\u201d Special Issue on the State of Art Criticism in Europe, (May 2014) 66. https:\/\/brooklynrail.org\/contributor\/edit-andras<\/a><\/td><\/tr>
<\/td>“F\u00e9rfias nemzet, f\u00e9rfias h\u00e1bor\u00fa, f\u00e9rfias m\u0171v\u00e9szet: Maszkulinit\u00e1s \u00e9s nacionalizmus (Kis Vars\u00f3: L\u00e9lekben tombol\u00f3 h\u00e1bor\u00fa).” [Masculine nation, masculine war, masculine art: Nationalism and Masculinity. (Little Warsaw: The Battle of Inner Truth)]” Ars Hungarica, no. 3. (2013): 318-333.<\/td><\/tr>
<\/td>“Hungary in Focus: Conservative Politics and Its Impact on the Arts. Introduction.” A Forum. Artmargins Online,<\/td><\/tr>
<\/td>“Provincializing the West: Interview with Piotr Piotrowski”, Artmargins online, 2012.<\/td><\/tr>
2011<\/td>\u201cWessen Nostalgie ist die Ostalgie? Eine \u00dcberblicksausstellung zur Kunst Osteuropas und der ehemaligen Sowjetrepubliken im New Museum, New York.\u201d Springerin, no. 4. (2011): 54\u20137. \/ \u201cWhose nostalgia is Ostalgia?
An Eastern Europe and Former Soviet Republics survey exhibition in the New Museum, New York.\u201d Springerin, no. 4. (2011)
https:\/\/www.springerin.at\/en\/2011\/4\/wessen-nostalgie-ist-die-ostalgie\/<\/a><\/td><\/tr>
<\/td>“C\u0103l\u0103torie \u00eetrecut, \u00een folosul prezentului.” Arta, no. 2-3. (2011):14-15.<\/td><\/tr>
<\/td>“Positia fostului bloc estic \u00een naile teorii critice si \u00een practicile curatoriale recente \/ The ex-Eastern bloc\u2019s position in the new critical theorial practice.” IDEA. art\u0103 + societate\/ arts + society, no. 40. (2011): 79-95.<\/td><\/tr>
2010<\/td>(co-authored with Hedvig Turai) “Meta-Manifesta.” IDEA. art\u0103 + societate\/ arts + society, no. 36-37. (2010) 97-106.<\/td><\/tr>
<\/td>“Public monuments in Changing Societies.” Ars (Journal of the Institute of Art History of Slovak Academy of Sciences, Bratislava), no. 43. (2010): 39-50.<\/td><\/tr>
<\/td>“Focus issue Hungary. Artmargins takes a snapshot of the Hungarian Art Scene.” Guest edited with Allan Siegel and Hedvig Turai. Artmargins. Contemporary Central & East European Visual Culture.<\/td><\/tr>
<\/td>“Interview with G\u00e1bor Andr\u00e1si.” Artmargins. Contemporary Central & East European Visual Culture.<\/td><\/tr>
<\/td>\u201cDie Nationalismusfrage ist unausweiclich zur K\u00fcnstlerishen Auseinandersetzung mit rechten Tendenzen in den ehemaligen Ostblockstaate am Beispiel Ungarns.\u201d Springerin, no.3. (2010): 32\u20136. \/ \u201cThe Unavoidable Question of Nationalism.\u201d Springerin, no.3. (2010)
https:\/\/www.springerin.at\/en\/2010\/3\/die-nationalismusfrage-ist-unausweichlich\/<\/a><\/td><\/tr>
<\/td>“Lineaarse kunstiajaloo aeg on otsas. Ungari kunstiteoreetiku ja \u2013ajaloolasega Edit Andr\u00e1siga vestleb Reet Varblane.” SIRP. Eesti Kultuurleht, Tallinn, (May 28. 2010): 12-13.<\/td><\/tr>
<\/td>“Tapestry from an Art Historian\u2019s Point of View: A Personal Journey of Discovery.” Textileforum, no. 2. (2010): 24.<\/td><\/tr>
<\/td>“Dog Eat Dog: Who is in charge of Controlling Art in the Post-Socialist Condition?” Third Text. Critical Perspectives on Contemporary Art & Culture. Socialist Eastern Europe. Special issue, edited Reuben Fowkes. Volume 23, no.1. (January 2010): 65\u221278.<\/td><\/tr>
2008<\/td>Co-authored with Hedvig Turai, “Manifestarea postpoliticului. Manifestations of the Post\/Political.” Idea. Art\u0103 + societate \/ arts + society, (Cluj Napoca), no. 30\u221231, (2008): 129\u2212137.<\/td><\/tr>
<\/td>\u201cNachwirkungen. Das Trauma der kollektiven Erinnerung an die sozialistische Vergangenheit.\u201d Springerin, no. 3. (2008): 47\u201351. \/ \u201cAn agent still at work: The Trauma of Collective Memory of the Socialist Past.\u201d Springerin, no. 3. (2008)
https:\/\/www.springerin.at\/en\/2008\/3\/nachwirkungen\/<\/a><\/td><\/tr>
2006<\/td>\u201cWas war zuerst da, das Huhn oder das Ei? Das gespannte Verh\u00e4ltnis der zeitgen\u00f6ssischen ungarischen Kunst zur Theorie.\u201d Springerin, no. 2. (2006): \u2026 \/ \u201cWhat came First, the Chicken or the Egg? Contemporary Art practice and Theory in Hungary.\u201d Springerin, no. 2. (2006) https:\/\/www.springerin.at\/en\/2006\/2\/was-war-zuerst-da-das-huhn-oder-das-ei\/<\/a><\/td><\/tr>
2005<\/td>\u201cIn und auserhalb von Budapest. Zu den Projekten des ungarishen K\u00fcnstlerduos Little Warsaw.\u201d Springerin, no. 2. (2005): 40\u201344. \/ \u201cIn and out of Budapest. The Projects of the Hungarian Artist Duo Little Warsaw.\u201d Springerin, no. 2. (2005)
https:\/\/www.springerin.at\/en\/2005\/2\/in-und-auerhalb-von-budapest\/<\/a><\/td><\/tr>
2004<\/td>“Bursting the bubble of forgetting: Exhibition of M\u00e1ria Berhidi, Mariann Imre and Ilona Lovas in the Institute of Contemporary Art.” Praesans, no.1. (2004): 54-69<\/td><\/tr>
2003<\/td>“The Curator as Seducer: Contemporary Polish (Women) Artists in New York.” Praesens [Budapest], no. 2. (2003): 10-19 .<\/td><\/tr>
<\/td>“The Vitality of Hungarian Tapestry.” International Tapestry Journal [Melbourne, Australia], no.1. (2003): 14-18.<\/td><\/tr>
<\/td>“Dmitri V. Sarabianov and Natalia L. Adaskina: Popova.” [Book review] Acta Historiae Artium [Budapest], Hung. T. 35.<\/td><\/tr>
1999<\/td>\u201cGenderMinefiled: The Heritage of the Past, Attitudes to Feminism in Eastern Europe.\u201d n.paradoxa online, no. 11. (Oct. 1999): 4\u20139. https:\/\/www.ktpress.co.uk\/pdf\/nparadoxaissue11_Edit-Andras_4-9.pdf<\/a><\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"

2023 With G\u00e1bor Andr\u00e1si: \u201cSix Episodes from the Period of the Political Transition in Hungary\u201d. In Performing 89. What We Missed, What We Lost, What We Forgot, Institute of the Present, 2023https:\/\/institutulprezentului.ro\/en\/2023\/11\/15\/performing-89-what-we-missed-what-we-lost-what-we-forgot\/#contents-G 2021 \u201cA Counter-Monument to Female Victims of Wartime Rape: An Interview with Edit Andr\u00e1s by Susan Snodgrass.\u201d Artmargins online, special issue (12\/07\/2021) https:\/\/artmargins.com\/a-counter-monument-to-female-victims-of-wartime-rape-an-interview-with-edit-andras\/ […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":31,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-35","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/35","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=35"}],"version-history":[{"count":20,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/35\/revisions"}],"predecessor-version":[{"id":570,"href":"https:\/\/www.arthistorian.hu\/editandras\/wp-json\/wp\/v2\/pages\/35\/revisions\/570"}],"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=35"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}