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By Malcolm Miles, Mel Jordan

Paintings, concept, and feedback confronted radical new demanding situations after the tip of the chilly warfare. Art and concept After Socialism investigates what occurs while theories of artwork from the previous East and the previous West collide, parsing the paintings of former Soviet bloc artists along that in their western opposite numbers. Mel Jordan and Malcolm Miles finish that the goals promised by way of capitalism haven't been introduced in japanese Europe, and also, the democratic liberation of the West has fallen prey to international clash and high-risk events. This quantity is a progressive tackle the overlap of artwork and daily life in a post–cold struggle world. 

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Signs like Cadillac and Led Zeppelin, though quite different, were perceived as being the same for Soviet avant-garde artist in a sense of being ‘non-Soviet’ dreams. An interesting parallel can be drawn between the 3rd Floor and the Independent Group formed in the immediate post-war period in Britain. British pop artists endorsed what Alloway dubbed as an ‘aesthetics of plenty’. However, as David Hopkins puts it (and this, in a sense, can be true for the 3rd Floor, as well): …the IG openly celebrated Americana, avoiding political side-taking…at a time when Britain was attuned to scarcity…In this dour climate it is understandable that they looked to the consumerist diversity of a post-Depression culture.

Act’s main focus was not the corporeal body and its individual needs, but the total reconstruction of the social and political body politic including the restructuring of social relations, political organisms and bureaucratic apparatuses. Act, in its avant-gardist utopian idealism and its aims to construct a new society as an artistic project, failed to negotiate the emergence of a new type of post-Soviet subjectivity. It also failed to articulate the location of the body within the conflicting discourses of Armenian national (and more often – nationalist) history, communist ideology and the emerging narratives of globalization.

In their first manifesto of 1988, the members listed and quoted were all male, despite the fact that there were also important women members in the group (3rd Floor 1989: 54–57). It was common to refer to the group members by other members ‘as the guys of the group’ (Nazareth Karoyan, Arman Grigoryan) (3rd Floor 1989: 53–54). This masculine behaviour itself was in tune with the typical image of the 3rd Floor in general. As Arman Grigoryan explains: We were often criticized for being aggressive.

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