Performance art in Bulgaria’s transition period: Ivan Moudov’s socially engaged performance in the absence of a contemporary cultural institution

During Bulgaria’s transition period (1990-2007), contemporary artistic practices were not seen as valuable symbolic capital, causing friction between the state and the contemporary artistic community. A museum for contemporary art did not exist, marking contemporary artists as invisible. In response, the artist Ivan Moudov expressed institutional critique towards the scarce state funding and the absence of a museum through the staging of a fake museum opening (MUSIZ) at an empty railway station. Moudov’s action amassed over 300 attendees who were unconsciously organised into a community. This thesis will argue that by affectively involving the attendees of MUSIZ into participation and granting the audience agency in relation to the setting and the public, Moudov created a ground for social engagement that empowered his audience. The presence of affect and social engagement are crucial agents in achieving positive social transformation for the contemporary cultural community, as will...Show moreDuring Bulgaria’s transition period (1990-2007), contemporary artistic practices were not seen as valuable symbolic capital, causing friction between the state and the contemporary artistic community. A museum for contemporary art did not exist, marking contemporary artists as invisible. In response, the artist Ivan Moudov expressed institutional critique towards the scarce state funding and the absence of a museum through the staging of a fake museum opening (MUSIZ) at an empty railway station. Moudov’s action amassed over 300 attendees who were unconsciously organised into a community. This thesis will argue that by affectively involving the attendees of MUSIZ into participation and granting the audience agency in relation to the setting and the public, Moudov created a ground for social engagement that empowered his audience. The presence of affect and social engagement are crucial agents in achieving positive social transformation for the contemporary cultural community, as will be discussed through the outcome of this performance.Show less

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Performance art in Bulgaria’s transition period: Ivan Moudov’s socially engaged performance in the absence of a contemporary cultural institution