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Remembering 1989 "carte blanche" tours

Event Type: 
Adults, Young adults
Event Language: 

13.00    "Singing Revolution" Concert

14.00    "Carte blanche" tours:

•    14.00    Tamara Moyzes
•    14.30    Maja & Reuben Fowkes
•    15.00    Martin Zet
•    16.00    Kristina Norman
•    17.00    Jiří Přibáň

In one astonishing year, 1989, a revolutionary wave swept away the Iron Curtain and led to the collapse of the communist regimes of Central and Eastern Europe within a few years. How is the memory of this unique year still relevant and alive today? What is the legacy of this period for individuals, nations and the continent? How can the events and actors of 1989 inspire engaged citizens today?

In conjunction with the event Revolution is not a garden party organised at Bozar on 27th October, the House of European History is inviting artists and activists from Central and Eastern Europe to share with visitors their own views on the exhibitions, with a focus on its sections devoted to 1989 and the period around it. Come and join our guests in the galleries to discover fresh and unique perspectives on the House of European History’s transnational narrative, messages and objects.

Find out below who are the guests, invited by the national cultural institutes and embassies in Brussels, who will give "carte blanche" tours in the museum on the afternoon of 26 October.

The event will also include a concert by the Brussels-based Estonian choir BEENE, Brussels Latvian Choir and Lithuanian choir BE LIETAUS featuring songs from spontaneous gatherings and mass singing demonstrations back in the late 1980s.

The tours will be held in English.

Registration under this link. Walk-ins are welcome.

Maja and Reuben Fowkes are art historians and curators, co-directors of the Post-socialist Art Centre (PACT) at University College London and co-founders of the Translocal Institute for Contemporary Art. Recent and forthcoming publications include a monograph on Central and Eastern European Art Since 1950 (Thames & Hudson World of Art Series, 2020), a special issue of Third Text on Actually Existing Artworlds of Socialism (2018) and Maja Fowkes’s The Green Bloc: Neo-Avant-Garde and Ecology under Socialism (2015). Their curatorial projects include the Danube River School, the Experimental Reading Room on Art and the Anthropocene and a trilogy of exhibitions on the revolutions of 1956, 1968 and 1989.They lead the Getty Foundation supported research initiative Confrontations: Sessions in East European Art History at UCL.

Tamara Moyzes is a politically engaged and international artist from the Slovak Republic, who lives and works in Prague, Czech Republic. She produces video art, which is often presented in installation form. Her works show a commitment to artistic activism, and she believes that art is a form of pointed protest that should unmask social conditions. By virtue of her origins and her life at various locations, Tamara Moyzes works from the perspective of the intersection of minorities, for example of the Jews or of the Roma.

Kristina Norman is a Tallinn-based artist whose interdisciplinary practice includes video installations, sculptural objects, urban interventions, as well as documentary films and performances. Norman’s work is devoted to the exploration of the political potential that contemporary art offers in dealing with the issues of human rights and the politics of memory.

Jiří Přibáň is a professor at Cardiff University who graduated from Charles University in Prague in 1989. He was also visiting professor or scholar at various universities around the world. Jiří Přibáň has published extensively in the areas of social theory and sociology of law, legal philosophy, constitutional and European comparative law, and theory of human rights. He is an editor of the Journal of Law and Society and a regular contributor to Czech and international media.

Martin Zet is a visual and performance artist from Czech Republic. He lives and works in Libušín near Kladno. In his work, Zet enlists the aid of replicas of specific visible features to reference their meaning. He makes use of the possibilities of the mutual interchange between the nearby and faraway, the known and unknown, the spoken and unspoken, and the concrete and abstract.