Networking the Bloc: International Relations and Experimental Art in Eastern Europe (1968-1981)
Lead Research Organisation:
Courtauld Institute of Art
Department Name: History of Art
Abstract
The proposal is to complete a monograph entitled Networking the Bloc: International Relations and Experimental Art in Eastern Europe (1968-1981) surveying key instances of international exchange among East European unofficial artists in the period spanning the long decade between the Warsaw Pact troops' invasion of Czechoslovakia and the emergence of the Polish Solidarity movement. This time-frame is designed to coincide with the re-emergence of civil society in the region, post-thaw, taking as pivotal 'Basket Three' of the Helsinki Agreement (1975) guaranteeing the 'free movement of people and ideas' across divided Europe, to investigate both the opportunities for and impediments to these freedoms in the periods immediately preceding the Agreements and the changing position in the years that followed. The primary aim of the book is to chart a topography of experimental exchanges within the Soviet bloc itself, but the geopolitical scope of the material necessarily extends beyond the borders of the USSR and the Soviet Satellite countries to include important contacts with former Yugoslavia (independent of the USSR after 1948), Western Europe, the USA and Latin America.
By weaving together minor narratives, Networking the Bloc seeks to reposition East-East exchange within a global art historical field and to challenge accounts of the late Cold War period that emphasize isolation over connectivity. Hungarian dissident György Konrád asked "How can we strengthen the horizontal human relationships of civil society against the vertical human relationships of military society?" in 1984. By then, I argue, experimental artists had been exploring such questions, in their own way, for two decades. The book explores how artistic ideas were relayed among like-minded artists across ideological and national frontiers in a period characterised by political polarisation and a network of censors, informers and secret police. The focus is on the following: the pioneers and publications that fostered and facilitated exchange; the places that served as hubs for personal encounters among artists and artistic propositions; the events that brought art and artists together in new constellations; artists' accounts of their excursions abroad and, finally, the experiences of émigré artists who were able to play a part in facilitating international collaboration and the circulation of materials in the Soviet bloc after having decamped to the West.
Networking the Bloc will be a richly illustrated volume of around 100 000 words, to be published by MIT Press in 2018.
By weaving together minor narratives, Networking the Bloc seeks to reposition East-East exchange within a global art historical field and to challenge accounts of the late Cold War period that emphasize isolation over connectivity. Hungarian dissident György Konrád asked "How can we strengthen the horizontal human relationships of civil society against the vertical human relationships of military society?" in 1984. By then, I argue, experimental artists had been exploring such questions, in their own way, for two decades. The book explores how artistic ideas were relayed among like-minded artists across ideological and national frontiers in a period characterised by political polarisation and a network of censors, informers and secret police. The focus is on the following: the pioneers and publications that fostered and facilitated exchange; the places that served as hubs for personal encounters among artists and artistic propositions; the events that brought art and artists together in new constellations; artists' accounts of their excursions abroad and, finally, the experiences of émigré artists who were able to play a part in facilitating international collaboration and the circulation of materials in the Soviet bloc after having decamped to the West.
Networking the Bloc will be a richly illustrated volume of around 100 000 words, to be published by MIT Press in 2018.
Planned Impact
'Networking the Bloc' will directly benefit public sector national and international museum professionals and members of the general public with an interest in East European art and post-war cultural developments more widely, as well as the employees of commercial and private sector galleries and their publics. The study will serve as a resource for UK and European cultural policy-makers and government agencies seeking to foreground historic ties and to foster better cultural links between member states of the European Union, among others, through the international network of Cultural Institutes. A stronger understanding of the Cold War counter-cultural exchange is especially timely in view of the revival of interest in civil society in the wake of the Arab Spring, and recent demographic changes within Europe. Younger generations will benefit enormously from a more profound understanding of this recent history, which is rarely taught in schools. In the context of the widespread use of social media for self organisation, I anticipate that the publication of my monograph will be eagerly received by journalists analysing and historicising current cultural, social, and political phenomena, further publicising the study and delivering its benefits to wider interested audiences of all ages.
In recent years, we have seen an unprecedented rise in the visibility of contemporary Eastern European art in Western museum collections and at international biennials. Museum acquisition policies also testify to growing interest in 1960s and 1970s experimental art in general, and in former-East European art in particular, producing fresh markets for accessible, English language contextual publications. Tate, like MoMA in the US, is among those institutions currently building up its collections in this area, making fresh curatorial appointments and developing related events and exhibitions programme, and there are a growing number of East European cultural foundations in the UK. Museum professionals and curators will benefit enormously from the research and materials brought together in 'Networking the Bloc', providing inspiring material for delivering ground-breaking programmes to diverse audiences. The project will seek, in particular, to promote stronger links with East European minorities in the UK via the gallery education agency 'Engage''s innovative local strategies.
I have participated in tapping widespread, no-specialist, intergenerational interest in East European culture has, among others, delivering a study at the Department of Lifelong Learning at Birkbeck, following the V & A exhibition Cold War Modern. Teaching a Summer School course in the field this year, has further convinced me of the wider public's fascination with this this filed, which, for many, remains all too often inaccessible, not least because of linguistic barriers. Consequently, I am in discussion with a series of institutions as regards developing an international touring exhibition to gain further visibility for the artists and networks discussed in the book project. Among the institutions with which I have close links at present are Modern Art Oxford, the Museum of Modern Art in Warsaw, Tranzit Prague and Budapest, Moderna Galerija in Ljubljana, and the Ekaterina Foundation in Moscow. In parallel with developing the exhibition, I intend to expand the Networking the Bloc project website into an audio and video platform for sharing interviews with East European artists', granting users from among the general public unprecedented access into the cultural world of unofficial art in the late socialist period. Bearing witness to historical transformations of immediate relevance today, living practitioners and participants in late Cold War developments, offer important testimonies of recent events that are in danger of being distorted, forgotten, and lost to younger generations who might profit enormously from close engagement with their personal accounts.
In recent years, we have seen an unprecedented rise in the visibility of contemporary Eastern European art in Western museum collections and at international biennials. Museum acquisition policies also testify to growing interest in 1960s and 1970s experimental art in general, and in former-East European art in particular, producing fresh markets for accessible, English language contextual publications. Tate, like MoMA in the US, is among those institutions currently building up its collections in this area, making fresh curatorial appointments and developing related events and exhibitions programme, and there are a growing number of East European cultural foundations in the UK. Museum professionals and curators will benefit enormously from the research and materials brought together in 'Networking the Bloc', providing inspiring material for delivering ground-breaking programmes to diverse audiences. The project will seek, in particular, to promote stronger links with East European minorities in the UK via the gallery education agency 'Engage''s innovative local strategies.
I have participated in tapping widespread, no-specialist, intergenerational interest in East European culture has, among others, delivering a study at the Department of Lifelong Learning at Birkbeck, following the V & A exhibition Cold War Modern. Teaching a Summer School course in the field this year, has further convinced me of the wider public's fascination with this this filed, which, for many, remains all too often inaccessible, not least because of linguistic barriers. Consequently, I am in discussion with a series of institutions as regards developing an international touring exhibition to gain further visibility for the artists and networks discussed in the book project. Among the institutions with which I have close links at present are Modern Art Oxford, the Museum of Modern Art in Warsaw, Tranzit Prague and Budapest, Moderna Galerija in Ljubljana, and the Ekaterina Foundation in Moscow. In parallel with developing the exhibition, I intend to expand the Networking the Bloc project website into an audio and video platform for sharing interviews with East European artists', granting users from among the general public unprecedented access into the cultural world of unofficial art in the late socialist period. Bearing witness to historical transformations of immediate relevance today, living practitioners and participants in late Cold War developments, offer important testimonies of recent events that are in danger of being distorted, forgotten, and lost to younger generations who might profit enormously from close engagement with their personal accounts.
People |
ORCID iD |
Klara Kemp-Welch (Principal Investigator / Fellow) |
Publications
Kemp-Welch
(2019)
Networking the Bloc: Experimental Art in Eastern Europe 1965-1981
Kemp-Welch K
(2013)
NET. The Art of Dialogue / NET. Sztuka Dialogu
Kemp-Welch K
(2015)
'Species of Spaces in Eastern European and Latin American Experimental Art'
in MoMA.org
Kemp-Welch K
(2013)
KwieKulik
Kemp-Welch K
(2013)
Ion Grigorescu. The Man with a Single Camera
Klara Kemp-Welch
(2016)
Galeria Foksal 1966-2016
Klara Kemp-Welch
(2015)
'Geta Bratescu, Tate Liverpool'
in The Burlington Magazine
Klara Kemp-Welch
(2015)
'Czech Action Art: Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain',
in UmenĂ/Art
Title | Audio recordings. Interviews with East European artists and cultural networkers |
Description | Over 100 hours of audio recordings with key 1960s-80s artists and cultural agents in various languages. These are an invaluable historical resource and can be deployed in various ways in the future to preserve cultural memory of the Cold War period. |
Type Of Art | Artefact (including digital) |
Year Produced | 2013 |
Impact | Key primary documentation for my monograph. |
Description | This research has enabled me to produce a monograph telling the story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznan, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc, Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976-points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences-a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc, Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives. |
Exploitation Route | The publication will provide a strong basis for further research on international relations and artists networks in the 1970s and will help academics, curators and museum professionals to develop related projects in the future. |
Sectors | Creative Economy Education Culture Heritage Museums and Collections |
URL | https://mitpress.mit.edu/books/networking-bloc |
Description | My findings have thus-far primarily been fed into teaching and the dissemination of research in the form of international lectures and conference presentations. Once the book has been published, I plan to further widen the range of forms of dissemination I engage in - among others through the development of a travelling exhibition. |
First Year Of Impact | 2014 |
Sector | Education,Culture, Heritage, Museums and Collections |
Impact Types | Cultural |
Description | Development of MA History of Art Special Option in Countercultures |
Geographic Reach | Asia |
Policy Influence Type | Influenced training of practitioners or researchers |
Impact | The Courtauld Institute of Art MA Special Option Countercultures, Alternative Art in Eastern Europe and Latin America promotes international understanding and a shared sense of history beyond political differences. It is an important contribution to the production of a global art history and the education of a new generation of international art historians committed the art as social practice. |
URL | http://slaag.wordpress.com/2012/01/23/new-ma-option-at-courthauld-countercultures/ |
Description | Art Worlds of Eastern Europe before and after "Transition", Columbia University, New York |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Lecture as part of Symposium on The Post-Socialist Object: Contemporary Art in Eastern Europe and China |
Year(s) Of Engagement Activity | 2017 |
URL | http://conference.collegeart.org/programs/symposium-the-post-socialist-object-contemporary-art-in-ch... |
Description | Conference Paper: 'The Politics of Small Things' |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Paper at the Institute of Advanced Studies in London as part of Conference: Protest, Per-formativity and Post-Truth |
Year(s) Of Engagement Activity | 2018 |
URL | https://www.ucl.ac.uk/european-institute/events/2018/nov/protest-performativity-post-truth-legacy-19... |
Description | Conference paper at ASSEEES Annual convention |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | Convention Theme: 25 Years After the Fall of the Berlin Wall: Historical Legacies and New Beginnings. Panel: Conceptual Art in Eastern Europe Before and After the Wall Paper: When Archives Become Books Conceptualism and Publishing in East-Central Europe - Then and Now. tbc. |
Year(s) Of Engagement Activity | 2014 |
Description | Conference paper at CAA Annual Conference, Washington |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Participated in panel: Non Aligned: Art Solidarity and the emerging Third World Presented paper: 'Solidarities of the 70s'. |
Year(s) Of Engagement Activity | 2015,2016 |
Description | Conference paper at CAA Annual conference Chicago |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Panel: "A New and Unsettled Connectivity:" The Network as an Artistic Practice Paper: 'NET: Artworks as "Connectors" in 1970s Central Europe' Discussion and networking |
Year(s) Of Engagement Activity | 2014 |
URL | http://www.conferencemedia.net/store/stores/college_art/college-art-association-102nd-annual-confere... |
Description | Conference paper at Galeria Labirynt, Lublin |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Conference: Globalizing East European Art: Past and Present Lecture: Personalities and Possibilities: Global Pioneers of East European Experimental Art Discussion and planned publication. |
Year(s) Of Engagement Activity | 2014 |
URL | http://labirynt.com/wp-content/uploads/2014/07/PROGRAM.pdf |
Description | Conference paper at KUMU Museum of Art, Tallinn, Estonia |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Conference: The Intertwinement of the Arts in Central and Eastern Europe. Co-organiser, chair, and contributor of paper: Poetry Beyond Borders |
Year(s) Of Engagement Activity | 2015 |
Description | Conference paper at School of Slavonic and East European Studies, University College London |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Excellent discussion among Havel scholars and interest in relationship to artistic practices of 70s. Links with political sciences community. Plans for publication. |
Year(s) Of Engagement Activity | 2013 |
URL | http://backdoorbroadcasting.net/2013/05/the-art-of-the-impossible-culture-philosophy-and-dissent-fro... |
Description | Conference paper at UCL |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | School of Slavonic and East European Studies, UCL Conference: 'Eastern Europe Beyond Borders'. Delivered paper: The Experience of Teaching Across Eastern European and Latin American Art History. |
Year(s) Of Engagement Activity | 2015 |
Description | Conference paper at University College London, History of Art Department |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Postgraduate students |
Results and Impact | Conference: Object Lessons: Fifteen Years of Object: Graduate Research and Reviews in the History of Art and Visual Culture Paper: 'Pioneering the NET: Solidarity in 1970s Eastern Europe and Latin America' Discussion |
Year(s) Of Engagement Activity | 2013 |
URL | http://arthist.net/archive/5573. |
Description | Conference paper at University of Johannesburg |
Form Of Engagement Activity | A formal working group, expert panel or dialogue |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | University of Johannesburg Conference: Between democracies 1989-2014: Remembering, narrating and reimagining the past in Eastern and Central Europe and South Africa. Gave keynote lecture: Strawberry Fields of Post-Socialism: Labour Migration in Contemporary European Video Art |
Year(s) Of Engagement Activity | 2015 |
Description | Freie Universitat Berlin |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | Conference of Performing Arts in the Second Public Sphere Keynote lecture: Antipolitics in Action: Experimental Art and Theory in 1970s Central Europe Excellent discussion and networking |
Year(s) Of Engagement Activity | 2014 |
URL | https://www.facebook.com/2ndpublic |
Description | International Conference: Ukrainian Art Now: Spaces of Identity, coorganised with Svitlana Biedarieva, Courtauld Institute of Art |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | Conference on Ukrainian art, very well attended and provoked discussions about the role of culture in the Maidan events themselves and on the cultural legacy of the previous Ukrainian regime. |
Year(s) Of Engagement Activity | 2015 |
Description | Keynote Lecture on Translation and the Dialogic Imagination. From Critical Theory to Experimental Art, Barcelona. |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Participation in Conference on Global Challenges. Towards a New Ecology of Knowledges |
Year(s) Of Engagement Activity | 2016 |
URL | http://artglobalizationinterculturality.com/activities/conferences/conference-2016/ |
Description | Lecture at Cambridge University |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Professional Practitioners |
Results and Impact | History of Art and Architecture Graduate Research Seminar Series Paper: Personalities and Possibilities: Global Pioneers of Eastern European Experimental Art |
Year(s) Of Engagement Activity | 2015 |
Description | Lecture at Chelsea School of Art, London |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Public/other audiences |
Results and Impact | Lecture sparked animated discussion among members of the audience and fellow academics in other subject areas. Good discussion followed |
Year(s) Of Engagement Activity | 2013 |
URL | http://www.transnational.org.uk/events/170-train-open-lecture-klara-kemp-welch-anti-happenings-anti-... |
Description | Lecture at Moderna Galerija, Ljubljana |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Lecture: Continuity and Rupture. Networking and Collaboration from the 70s to the 00s Discussion and networking. Publication plans. |
Year(s) Of Engagement Activity | 2014 |
URL | http://www.erstestiftung.org/blog/klara-kemp-welch-continuity-and-rupture-piotr-piotrowski-the-globa... |
Description | Lecture at Royal School of Art Stockholm |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Royal School of Art, Stockholm Guest Lecture: 'East Central European Conceptualism and the Democratic Implications of Dematerialisation'. |
Year(s) Of Engagement Activity | 2015 |
Description | Lecture: Networking the Bloc. Experimental Art in Eastern Europe a HEAD Geneva |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Undergraduate students |
Results and Impact | Lecture as part of the research seminar series: Actualite de la Recherche. |
Year(s) Of Engagement Activity | 2018 |
Description | Lecture: Networking the Bloc. Experimental Art in Eastern Europe at Edinburgh University |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Undergraduate students |
Results and Impact | Lecture for Edinburgh University History of Art students and faculty |
Year(s) Of Engagement Activity | 2018 |
Description | Panel Discussion on Art and Politics since 1989 at Art Market Budapest |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Well-attended panel discussion based on a selection of recent publications on Art and Politics in Europe, including discussion o my mongraph Antipoltics in Central European Art |
Year(s) Of Engagement Activity | 2015 |
Description | Paper on 'Czechoslovak Hungarian Relations after 1968: An Underground Reconciliation' at NYU Berlin |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Paper at a conference on 1968: Aesthetics and Anti-Aesthetics |
Year(s) Of Engagement Activity | 2018 |
Description | Participant in Clark Institute Seminar Williamstown, MA |
Form Of Engagement Activity | A formal working group, expert panel or dialogue |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | Colloquium: Transnational Collaborative Criticism Paper: 'Termite Galleries and Tiny Bridges. Eastern European Art Histories and Methodologies' Discussion and networking |
Year(s) Of Engagement Activity | 2014 |
Description | Private seminar for MoMA curators |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Museum of Modern Art, New York C-MAP Working Group Research Seminar Paper: Networking the Bloc. Artworks as "Connectors" |
Year(s) Of Engagement Activity | 2015 |
Description | Seminar at Forschungsstelle Osteuropa an der Universitat Bremen |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | People from other humanities very interested in art historical aspects of their field. Good links and connections made with other researchers. |
Year(s) Of Engagement Activity | 2013 |
URL | http://www.forschungsstelle.uni-bremen.de/en/5/20110606112743/20130502141943/13_th_May.html |
Description | Seminar at University of Sheffield |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | Regional |
Primary Audience | Postgraduate students |
Results and Impact | Talk linked with another talk on Algeria. Interesting comparative discussion and idea sharing followed. Provoked excellent cross-disciplinary discussion. |
Year(s) Of Engagement Activity | 2013 |
URL | https://www.sheffield.ac.uk/hri/events |
Description | Seminar at history of Art Department, University of York |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | Considerable interest among post-graduate students. Very good discussion and interesting questions arose |
Year(s) Of Engagement Activity | 2013 |
URL | http://www.york.ac.uk/history/news/events/archive/klarakemp-welchlecture/ |
Description | Seminar for ARTLAS working group at Ecole Normale Superieur, Paris |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Discussion about Latin America and Eastern Europe and historical parallels. Strong contact with seminar coordinators. |
Year(s) Of Engagement Activity | 2013 |
URL | http://www.artlas.ens.fr/seminar/article/22-may-2014-klara-kemp-welch-the?lang=en |