Global Pop symposium – Day 1: part 1: Nicholas Serota
Nicholas Serota, Director of Tate, introduces the first day of the Global Pop symposium held at Tate Modern in March 2013
Global Pop symposium – Day 1: part 2: Monia Abdallah
Monia Abdallah, Saqqakhaneh: a ‘Spiritual’ Engagement with Pop in the Modern Middle East?
The aim of this presentation is to question the relevance of the notion of ‘Spiritual Pop Art’. This notion is used to characterise the work of modern Iranian artists such as Hossein Zenderoudi or Parviz Tanavoli whose works represent, from the early 1960s, a new trend, Saqqakhaneh, that combines motifs and symbols from Iranian folk culture with the modernist tradition in art.
Global Pop symposium – Day 1: part 3: Michael Asbury
Michael Asbury, Raymundo Colares: Hybridity is a Myth
This paper will discuss the work of Raymundo Colares as a synthesis of Brazilian constructivism expressed through references to popular culture, where spectator participation is invoked via the conjunction of the comic book and the neoconcrete poem and where the insistence on the use of industrial materials clashes with the subjective experience of the tropical modern city.
Global Pop symposium – Day 1: part 4: Fernanda Lopes Torres
Fernanda Lopes Torres, Antônio Dias: A Pop Artist from the Underdeveloped World
Decisive turning point from pictorial-structural issues (neoconcretism) to ethical-social ones, Antônio Dias’s work in Brazilian New Figuration of the 60s is a specific contribution to Pop Art that helps to comprehend the phenomenon in its proper global scope and the simultaneous emergence of an art field in Brazil.
Global Pop symposium – Day 1: part 5: Giulia Lamoni
Giulia Lamoni, Babies, Boxes and Militaries: Brazilian Female Artists and ‘Pop’ in the Sixties
While articulating ‘pop’ languages from a specifically Brazilian perspective – nourished, for example, by comic strips and cinema, neoconcretism and popular culture, the artworks of several Brazilian female artists, created in the sixties, also explore women’s ‘identities’ and engage with shifting gender relations in a period of military rule.
Global Pop symposium – Day 1; part 6: Elize Mazadiego
Elize Mazadiego, Pop, Dematerialized: Argentina’s Critical Engagement in Pop Art
This paper explores a two-fold manifestation of Pop in Argentina. One is implicated in a pop culture experience associated with youthful exuberance, experimentation, and spectacle. The second is a more serious artistic engagement with Happenings and Anti-Happenings, as a pertinent interrogation of Pop itself and its relationship to mediation, semiotics, mass media and sociality.
Global Pop symposium – Day 1: part 7: first Q&A
The first Q&A session for the Global Pop symposium chaired by Kalliopi Minioudaki
Global Pop symposium – Day 1: part 8: David Crowley
David Crowley introduces the afternoon session of the first day of the Global Pop symposium which includes presentations from Katarzyna Cytlak, Marko Ilic, Dávid Fehér and Andrea Euringer-Bátorová
Global Pop symposium – Day 1: part 9 : Katarzyna Cytlak
Katarzyna Cytlak, Monumental Forks and Cosmic Cities: Pop Architecture in the Soviet Bloc
This paper will deal with the reception of the Pop Architecture in Eastern Europe during the 60s and 70s. It will analyse the way the architectural projects and utopian urban visions, realised by the Eastern European artists, acquired a political dimension and implied a strong social critique.
Global Pop symposium – Day 1: part 10: Marko Ilić
Marko Ilić, Made in Yugoslavia: Negotiations of Socialist-Consumerism in the ‘New Art Practice’
This paper will investigate the complex dialectics of consumerism-within- socialism, through the work of the Yugoslav ‘New Art Practice.’ As such, it seeks to redefine ‘Pop’ within Yugoslavia’s particular context: a country with open borders and free circulation of people, but also of trade and Western consumerist culture.
Global Pop symposium – Day 1: part 11: Dávid Fehér
Dávid Fehér, ‘Where is the Light?’ Transformations of Pop Art in Hungary
This paper examines the phenomenon of ‘cultural transfer’, focusing on the works of the Hungarian ‘pop-artists’ (such as László Lakner, Gyula Konkoly, Endre Tót), who did not reflect consumerist society, but rather formulated questions of painterly tradition and the existential situation under the pressure of a totalitarian dictatorship.
Global Pop symposium – Day 1: part 12: Andrea Euringer-Bátorová
Andrea Euringer-Bátorová, Altar, Objects, Labyrinth, Environments: Artwork as an Interactive Space in Slovak Alternative Art in the 1960s (Jana Želibská, Stano Filko, Alex Mlynárčik)
This paper focuses on parallels of Slovak alternative art of the 1960s to the ideas of pop art, or rather of French nouveau realisme. It will concentrate on specific works belonging to wider outstanding examples in relation to the topic of popular culture, and will focus primarily on the female body.
Global Pop symposium – Day 1: part 13: second Q&A
David Crowley chairs the second Q&A session for the Global Pop symposium
Global Pop symposium – Day 1: part 14: Walter Grasskamp
Walter Grasskamp introduces the last session of presentations on the first day of the Global Pop symposium which includes talks by Liam Considine, Syrago Tsiara and Rachel Jans
Global Pop symposium – Day 1: part 15: Liam Considine
Liam Considine, Screen Politics: Pop Art and Popular Dissent, May 1968
As visualisations of student and worker dissent, the posters of the Atelier Populaire figured debates over realism in 1960s art. While some drew on an iconography of class struggle dating to the 19th century, others used Pop techniques to incorporate photographic images, challenging received notions of the popular.
Global Pop symposium – Day 1: part 16: Syrago Tsiara
Syrago Tsiara, Fighting Over Meaning: Is Greek Pop Art Anti-Capitalist?
Could Greek art of the late 60s – early 70s be seen as a site of resistance towards cultural homogenisation and a tool for political protest against dictatorship? The paper explores Greek artists’ ambivalent and productive relationship to Pop Art aesthetics and values.
Global Pop symposium – Day 1: part 17: Rachel Jans
Rachel Jans, Making German Pop: René Block and Capitalist Realism
This talk considers how the West Berlin gallerist René Block instrumentalised the group of artists associated with Capitalist Realism, long understood as a form of German Pop. In recognition of galleries’ ability to shape and disseminate art movements, it shows how Block consolidated Capitalist Realism in the 1960s to challenge the pervasiveness of American Pop Art.
Global Pop symposium – Day 1: part 18: third Q&A
Walter Grasskamp chairs the final Q&A session on the first day of the Global Pop symposium
This two-day symposium explores Pop beyond the mainstream. Organised in collaboration with the Royal College of Art, London, this event engages with new research in different fields and geographies to rethink orthodoxies as well as develop new interpretations of Pop.
Of particular importance is the often critical nature of these global engagements with Pop. Reacting to the increasing dominance of the American post-war economy and media around the world, Pop art sometimes took the form of a destabilizing reversal of the normative messages associated with American culture and consumerism. This dialectic was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity.
To date, the history of Pop art has tended to affirm the hegemonic position of New York. In an attempt to challenge the simple linear trajectory of influence that has dominated most accounts, this symposium will explore Pop beyond the mainstream and open the definition of Pop to critical re-thinking.
Day one included talks from: Monia Abdallah, Michael Asbury, Fernanda Lopes Torres, Giulia Lamoni, Elize Mazadiego, Katarzyna Cytlak, Marko Ilic, Dávid Fehér, Andrea Euringer-Bátorová, Liam Considine, Syrago Tsiara and Rachel Jans