ART CRIT EUROPE

About AICA

AICA into the Age of Globalization: from Gentlemen’s Club to Universal Fellowship By Henry Meyric Hughes About AICA The International Association of Art Critics (AICA) was conjured into being, like a rib from its parent body, UNESCO, which had been established in 1945, in the immediate aftermath of the Second World War.	Unfolding the Archives of James Johnson Sweeney by Marek Bartelik About AICA A large white envelope addressed to the headquarters of AICA International at 32 rue Yves Toudic, 75010 Paris, stamped “Documents only,” was mailed from New York on April 27, 2010. Last March, during my visit to the French capital to attend our annual administrative meeting, I found that envelope on a bookshelf in our office, stuck between two exhibition catalogues.
Reaching For Our Revolvers: How a United Europe Defused its Culture and Divided its People By Yanis Varoufakis About AICA As the Iron Curtain was coming down, Krzysztof Kieślowski’s Double Life of Véronique (1991) not only elegantly captured the emotional impact of Europe’s post-war division but also conveyed a brooding angst about the promised “European Union.”	“A Story about a Culturally Relocated Person” Speech by Ilya Kabakov at the 28th IAAC/AICA Congress in Stockholm, Sweden (22 September 1994) (Extracts) About AICA The circumstances of my appearance at this podium are fairly remarkable. Not thinking or even contemplating such a thing, I unexpectedly receive the news that I am supposed to speak at this Congress and that I have been “chosen” to do so.
Peripheral Gaze in the Middle of Everything By Leena-Maija Rossi About AICA For starters, I have to confess that as a European art professional I am ashamed of how little I know about European art criticism, and even European contemporary art at large.	Art Criticism in Europe Today Libia Castro & Ólafur Ólafsson ask Nina Power About AICA Art criticism and the making of art are inextricably intertwined. The whole system depends upon a set of relations that link art materials to artistic production to art promotion to art criticism to the market.