Revolution Trilogy
A series of shows looking at the resonance of revolutionary moments of the twentieth century on contemporary art. The first instalment was Revolution is not a Garden Party, the title of which came from a quotation of Mao Tse Tung, which reflected on 1956. The exhibition opened against the backdrop of the 50th anniversary of the Hungarian Revolution in Budapest, and went on to travel to Miroslav Kraljevic Gallery Zagreb, Holden Gallery Manchester and Norwich Gallery. The second show Revolution I Love You dealt with the interaction of art, politics and philosophy in the wake of the revoutionary upheavals of 1968 in East and West, as well as South and North. It opened in Thessaloniki on the 40th anniversary of May 68, and travelled to Trafo Gallery Budapest and International Project Space Birmingham. The final part of the trilogy deals with changes of 1989 through the localised prism of the experience and contribution of foreign artists to the Hungarian art scene in the last twenty years and opens at the Museum Kiscell on 16 October 2009, and is called Revolutionary Decadence. Substantial exhibition publications accompany the revolution trilogy.

Croatian Spring: Art in the Social Sphere
Tate Modern Conference (Sept 2005)

This paper therefore looks at the shift that took place after 1968 in Croatian art that brought artists out of the official gallery system, which had offered freedom at the price of social irrelevance, to engage with the wider social sphere. An important aspect will be to bring out the special qualities of the Croatian social sphere at this time, including the political and social context of a decentralised but authoritarian communist system, with its own brand of social institutions and contexts. Artists here often had a particular relationship to a politicised public space, such as Tomislav Gotovac, whose performances included the persona of a communist hero, who was known for his cleanliness, reincarnated as a street cleaner. The Group of Six carried on performances and explored group behaviours in ways that could not be contained or fully conveyed in a gallery situation...(more)