Hungarian Experts in Nkrumah’s Ghana

Decolonization and Semiperipheral Postcoloniality in Socialist Hungary

How was Hungary connected to post-WWII decolonization? What does this episode of Eastern European history tell us about shared postcolonialities, transnational interconnectivity, and semiperipheral positioning strategies? This short article aims to address these questions in the context of socialist Hungary’s evolving relations with independent Ghana under the Kwame Nkrumah regime (1957–1966), by focusing on transnational experts and how Hungarian economists put together Ghana’s First Seven-Year Plan. My aim is to show how this led to the Hungarian emergence of comparative development studies and postcolonial knowledge production, and how parallels in colonial history were drawn between Hungary and Africa. I attempt to connect postcolonialism with world-systems analysis in order to present the intertwined discursive and structural processes of semiperipheral relations affecting colonial discourse.

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Transregional Solidarity

The Arab Biennial in Retrospect

At this moment of history, biennials seem to be a necessary evil. They have been challenged, contested, transformed, and critiqued. In retrospect, the Arab Biennial as a project has been overclouded by its politics and seen as a failure. Nevertheless, the genealogy of the biennial has its roots in a historical necessity that started through an artists’ initiative. The formation of the General Union of Arab Plastic Artists (al-Ittihad al-'amm li-l-fannanin at-tashkiliyin al-'arab) in 1971, registered Arab artists’ position and strong need for a shared forum and unity. The awareness of their fragmented existence within what has been argued throughout most of the twentieth century as a transnational collective strength in the form of pan-Arabism, was manifest in their need for better representation.

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Entangled Panafrica

Four Festivals and an Archive

The moment has stayed with every person who witnessed it. Free Jazz pioneer Archie Shepp improvising live on the street, surrounded by hundreds of onlookers in a trance to his otherworldly beats. The place: Algiers. The occasion: PANAF, the First Pan-African Cultural Festival, organized in 1969 by the Algerian government. Tens of thousands of people attended, hailing from across the African world, continental and diasporic alike. Théo Robichet, a Guevarist filmmaker from Paris, recorded the scene.2 In his viewfinder, Shepp appears in a shirt made of printed cloth bearing the logo of another festival, held three years earlier in Dakar: the First World Festival of Negro Arts (FESMAN).

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Limits of Solidarity

Hungarian Intelligentsia and the Middle East in the Cold War

Beyond the overall realm of socialist internationalism, there were several specific contexts in Cold War Hungary that not only shaped relations on the individual’s level towards independence struggles in the Third World, but also played a role in the still today incomplete liberation of these regions. Hungary's diplomatic-ideological relations in the Middle East reveals that friendship and solidarity is much more nuanced on a personal level than to be simply controlled through ideological means.

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Shifting Landscapes: On Remnants, Echoes, and Potentialities of the Histories of Non-Alignment

In Dialogue with "Two Meetings and a Funeral"

One of the most pertinent questions posited in Naeem Mohaiemen’s 2017 work Two Meetings and a Funeral is that of looking back to a world past: how to transmit the knowledge and memory of a world non-aligned? At a time when these questions are ever more pressing, Mohaiemen’s film is an important reminder of the complexities and layered nature of the past: when facing the divided world of the twentieth century, it is of utmost importance not to default the Cold War conditions to a dialectic between the East and the West, for there was a whole, third world just south of them, likewise entangled in these power relations.

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How You Do What You Do Is Sometimes the Most Important

Interview with Kadiatou Diallo and Dominique Malaquais from SPARCK

SPARCK (Space for Pan-African Research, Creation, and Knowledge), founded in 2008, is a program of experimental multi-disciplinary arts residencies, workshops, symposia, exhibitions, publications, and performances centered on innovative, ethically driven approaches to urban space. SPARCK is run by a two-woman, activist-artist-writer-scholar team: Kadiatou Diallo, a Cape […]

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Asia? Art? Archive?

Dóra Hegyi in Conversation with Michelle Wong

Asia Art Archive is an international archive and research center based in Hong Kong. Asia Art Archive also produces exhibitions and publications in collaboration. By making unknown art historical materials—connected to artists works and activities, as well as sources about art events—accessible online,  Asia Art […]

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The Unvaried Repertoire

Artwork in Focus – OFF-Biennale Budapest special edition

A tree philodendron and other exotic plants, an Alaskan Malamute relaxing on the garden table, the sound of a synthesizer, a flute and an airplane, a swimming pool, a kitchen, a living room, a bookshelf in the background, South-American fabrics and an embroidered Hungarian pillow […]

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Back to Basics. Responses to the Issue Inside the Mezosfera

An Introduction to Issue #3

Taking the thematic issue Inside the Mezosfera (published in September 2016) as a point of departure, we have invited contributors to reflect on the themes that the preceding issue’s essays bring forward—including unlearning, independence, “unacademia, resistance, or walking theory”—as well as a concept of the mezosfera we have proposed. An overarching theme that has emerged in the texts are the contradictions and complexities of the state of independence, underlining the near omnipresence of the fragile, conflictual, and in-flux positions art and cultural workers assume.

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Against State Phobia, For Dis/Engagement

Reading the inspiring essays of issue #2 made me further reflect on what has been a longstanding preoccupation of mine, namely, the relationship between the arts/cultural production and the state, or, more specifically, between the mezosfera and the state. It seems to me that the question of how to dis/engage the state (and how to theorize this dis/engagement) is a crucial one for the cultural producers inhabiting the mesosphere. I will immediately lay bare my own stand: disengagement can only be a tactical one, a move within a complex war of position, and no long-term option.

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