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From Socialist Realism to Art in Socialism: The Reception of Modernism as an Instigating Force in the Development of Art in the GDR

機譯：從社會主義現(xiàn)實主義到社會主義藝術(shù)：GDR中現(xiàn)代主義作為藝術(shù)發(fā)展的推動力的接受

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At the last Congress of the GDR's Artists' Association in 1988, the term 'Socialist Realism' was officially replaced by the phrase 'Art in Socialism'. The Congress's participants thus tried not only to do justice to the variety of art, but also to bid farewell to Socialist Realism as an aesthetic concept. But how were these two goals to be accomplished, without changes in the GDR's institutions and power structures? A solution was possible, because the generation of leftist artists, recruited after 1945 to hold office in the new system and build a new socialist art, had been educated or otherwise active in the 1920s. They wanted to re-appropriate the left's modernist traditions, assuming thereby a position opposed to official cultural policy, which required strict accommodation to the Soviet model. This conflict concerning the proper attitude to modern art became the central discourse for the development of art in the GDR.
機譯：在1988年GDR藝術(shù)家協(xié)會的上屆代表大會上，“社會主義現(xiàn)實主義”一詞正式由“社會主義藝術(shù)”一詞取代。因此，大會的參加者不僅試圖公平對待各種藝術(shù)，而且還告別了作為美學(xué)概念的社會主義現(xiàn)實主義。但是，如何在不改變東德的機構(gòu)和權(quán)力結(jié)構(gòu)的情況下實現(xiàn)這兩個目標呢？解決方案之所以可行，是因為在1945年之后招募的一代左派藝術(shù)家在新體系中任職并建立了一種新的社會主義藝術(shù)，這些人在1920年代受到了教育或積極參與。他們想重新適應(yīng)左派的現(xiàn)代主義傳統(tǒng)，從而假定反對官方文化政策的立場，這需要嚴格適應(yīng)蘇聯(lián)模式。這種關(guān)于對現(xiàn)代藝術(shù)的正確態(tài)度的沖突成為了東德藝術(shù)發(fā)展的中心話題。

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