While acknowledging the “problem of performativity”, Performative Gestures Political Moves, however, (still) lingers on the term, exploring its echoing in the research focused on what should thus also be considered as an effect of the performance of power – on the art and theory production in so-called “Eastern Europe”. The book does not (only) represent the research on performance art and performativity in a region denoted as “East European”, but also produces positions that go beyond the representation(s) of what performance art, performativity in/and “Post-Socialist Europe” are.
Performative Gestures Political Moves therefore also raises questions of historisation(s) and their ideological positioning. Especially within feminist art history but also in feminist curating, the question of labelling art production as feminist has been till today a burning subject. How, what, when, why, where, by whom and for whom is (performance) art feminist, obviously does not have an unambiguous answer. The same is true for art and feminism as such. Therefore, the publication has aimed to foster a reflection on research positions and theoretical considerations of performativity, performance art, feminism, historisation and, above all, their political implications in/and/for the “continental Post-Socialist” condition.
With contributions by: Angela Dimitrakaki, Ana Peraica, Barbara Orel, Dunja Kukovec, Grupa Spomenik and DeLVe, Marija Ratković, Marina Gržinić, Martina Pachmanová, Milijana Babić, Suzana Milevska, Tea Hvala, Waldemar Tatarczuk. Edited by Katja Kobolt and Lana Zdravković.