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- 128pages
- 5 heures de lecture
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Dóra Maurer (born 1937, lives in Budapest) is a prominent figure in the Hungarian neo-avant-garde scene, known for her progressive artistic paths since the 1960s. Her work spans printmaking, photography, film, performance art, and painting, characterized by a conceptual approach that explores themes of perception, movement, displacement, and transformation. In the context of West Germany's early years, abstract art emerged as a political new beginning, symbolizing an open society. This led to numerous collections in German museums, including the Kunsthalle Bielefeld. While abstract art in the West was viewed as ideologically neutral, in Eastern bloc countries like Hungary, it carried an oppositional connotation. Maurer’s non-representational works and her connections to the West prior to 1989, facilitated by her dual citizenship, place her in a unique position within the Hungarian art world, which was largely influenced by Socialist Realism. Her photography and film experiments in the 1970s, along with her abstract, geometric works, reveal significant parallels to post-war art in Western Europe and the US, yet her oeuvre is deeply rooted in her experiences under the socialist regime.
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Dóra Maurer: So sehen und anders sehen, Christina Végh
- Langue
- Année de publication
- 2023
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- (souple)
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- Titre
- Dóra Maurer: So sehen und anders sehen
- Sous-titre
- Kat. Kunsthalle Bielefeld
- Langue
- Anglais, Allemand
- Auteurs
- Christina Végh
- Éditeur
- Snoeck Verlagsges.
- Publié
- 2023
- Format
- souple
- Pages
- 128
- ISBN10
- 3864423937
- ISBN13
- 9783864423932
- Séries
- Description
- Dóra Maurer (born 1937, lives in Budapest) is a prominent figure in the Hungarian neo-avant-garde scene, known for her progressive artistic paths since the 1960s. Her work spans printmaking, photography, film, performance art, and painting, characterized by a conceptual approach that explores themes of perception, movement, displacement, and transformation. In the context of West Germany's early years, abstract art emerged as a political new beginning, symbolizing an open society. This led to numerous collections in German museums, including the Kunsthalle Bielefeld. While abstract art in the West was viewed as ideologically neutral, in Eastern bloc countries like Hungary, it carried an oppositional connotation. Maurer’s non-representational works and her connections to the West prior to 1989, facilitated by her dual citizenship, place her in a unique position within the Hungarian art world, which was largely influenced by Socialist Realism. Her photography and film experiments in the 1970s, along with her abstract, geometric works, reveal significant parallels to post-war art in Western Europe and the US, yet her oeuvre is deeply rooted in her experiences under the socialist regime.