IRINA KORINA: “I Am Interested in How to Make Work That Joins Memories, Nostalgia, and Architecture
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Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
Cartographic Perspectives Information Society 1
Number 53, Winterjournal 2006 of the Northcartographic American Cartographic perspectives Information Society 1 cartographic perspectives Number 53, Winter 2006 in this issue Letter from the Editor INTRODUCTION Art and Mapping: An Introduction 4 Denis Cosgrove Dear Members of NACIS, FEATURED ARTICLES Welcome to CP53, the first issue of Map Art 5 Cartographic Perspectives in 2006. I Denis Wood plan to be brief with my column as there is plenty to read on the fol- Interpreting Map Art with a Perspective Learned from 15 lowing pages. This is an important J.M. Blaut issue on Art and Cartography that Dalia Varanka was spearheaded about a year ago by Denis Wood and John Krygier. Art-Machines, Body-Ovens and Map-Recipes: Entries for a 24 It’s importance lies in the fact that Psychogeographic Dictionary nothing like this has ever been kanarinka published in an academic journal. Ever. To punctuate it’s importance, Jake Barton’s Performance Maps: An Essay 41 let me share a view of one of the John Krygier reviewers of this volume: CARTOGRAPHIC TECHNIQUES …publish these articles. Nothing Cartographic Design on Maine’s Appalachian Trail 51 more, nothing less. Publish them. Michael Hermann and Eugene Carpentier III They are exciting. They are interest- ing: they stimulate thought! …They CARTOGRAPHIC COLLECTIONS are the first essays I’ve read (other Illinois Historical Aerial Photography Digital Archive Keeps 56 than exhibition catalogs) that actu- Growing ally try — and succeed — to come to Arlyn Booth and Tom Huber terms with the intersections of maps and art, that replace the old formula REVIEWS of maps in/as art, art in/as maps by Historical Atlas of Central America 58 Reviewed by Mary L. -
Modernist Frontiers
PRESS RELEASE Modernist Frontiers – Then and now Avantgarde Kommunikation mbH is pleased to announce that its EXPO 2017 cooperation partner Garage will host the international architectural conference at EXPO 2017 | 22 – 23 July (Munich/Astana, 19 July 2017) On the occasion of the EXPO 2017 in Kazakhstan, this weekend the two- day international conference will take place at the Astana Contemporary Art Center. Initiated by Garage, the conference has been called to provide a context for discussion on Almaty’s modernist architecture (1960s–1980s), presenting it to the international expert community and launching a conservation campaign for this extremely important part of the former Kazakh capital’s architectural history. The Garage Museum of Contemporary Art, Moscow and the Parisian museum Réunion des musées nationaux – Grand Palais are cooperation partners of the international creative agency Avantgarde, which was commissioned with execution and overall coordination for the Astana Contemporary Art Center (ACAC). In an effort to bring together different points of view and create an interdisciplinary environment for the study of modernist architecture in Almaty, researchers from a range of countries and different academic communities will speak at the conference. It will present various views on both the history of postwar modernist architecture and on contemporary problems in the restoration of such architecture and its adaptation to new functions. The program The first day of the conference, “The Regional Specifics of Soviet Modernism,” will set the historical and theoretical context for the discussion of Soviet architectural heritage in the former republics of the USSR. The first session will contrast shared aspects of Soviet heritage with regionally unique traits in the architecture of the former Soviet republics. -
Going Everywhere and Nowhere from Moscow to the Urals – How Curatorial Delusions of Global Grandeur Betray Russian Art
GOING EVERYWHERE AND NOWHERE FROM MOSCOW TO THE URALS – HOW CURATORIAL DELUSIONS OF GLOBAL GRANDEUR BETRAY RUSSIAN ART BY SIMON HEWITT I : A MOSCOW MIRED IN MEMORIES A BANNER was dangling from the giant triumphal portico of VDNKh, beneath the two collective farmworkers brandishing their bale of straw. It advertised the 6th Moscow Biennale – the number 6 allotted spiralling arms to resemble a Catherine Wheel. But the banner was challenged by a bigger hoarding wheeled on to the piazza below, blowing the trumpet of a separate festival called Circle of Light . The Biennale’s main show was taking place just behind Lenin in VDNKh’s Central Pavilion (also known as Pavilion N°1), erected in 1954 and topped by a 350-foot spire modelled on the St Petersburg Admiralty. The Biennale was meant to open at noon. I tried to find the entrance but couldn’t. There were no signs. No information about where and when the Biennale could be visited. Yuri Albert’s immortal line breezed through my mind: The Biennale cannot and will not take place . The 6 th Moscow Biennale had been having well-publicized financial problems. Was it so bankrupt that it had ceased to exist, morphing instead into a Conceptualist joke? VDNKh, six miles north of Red Square, was the sixth venue for the Moscow Biennale’s main exhibition. It had previously been held in the former Lenin Museum near Red Square; the under-construction Federation Tower at Moscow City; the newly restored Garage (now Jewish) Museum during its brief Abramovich/Zhukova tenancy; the renovated ArtPlay cultural and commercial complex; and, in 2013, the Manezh. -
Exhibition Provides New Insight Into the Globalization of Conceptual Art, Through Work of Nearly 50 Moscow-Based Artists Thinki
EXHIBITION PROVIDES NEW INSIGHT INTO THE GLOBALIZATION OF CONCEPTUAL ART, THROUGH WORK OF NEARLY 50 MOSCOW-BASED ARTISTS THINKING PICTURES FEATURES APPROXIMATELY 80 WORKS, INCLUDING MAJOR INSTALLATIONS, WORKS ON PAPER, PAINTINGS, MIXED-MEDIA WORKS, AND DOCUMENTARY MATERIALS, MANY OF WHICH OF HAVE NOT BEEN PUBLICLY DISPLAYED IN THE U.S. New Brunswick, NJ—February 23, 2016—Through the work of nearly 50 artists, the upcoming exhibition Thinking Pictures will introduce audiences to the development and evolution of conceptual art in Moscow—challenging notions of the movement as solely a reflection of its Western namesake. Opening at the Zimmerli Art Museum at Rutgers in September 2016, the exhibition will explore the unique social, political, and artistic conditions that inspired and distinguished the work of Muscovite artists from peers working in the U.S. and Western Europe. Under constant threat of censorship, and frequently engaging in critical opposition to Soviet-mandated Socialist Realism, these artists created works that defied classification, interweaving painting and installation, parody and performance, and images and texts in new types of conceptual art practices. Drawn from the Norton and Nancy Dodge Collection at the Zimmerli, the exhibition features masterworks by such renowned artists as Ilya Kabakov, Komar and Melamid, Eric Bulatov, Andrei Monastyrsky, and Irina Nakhova, and introduces important works by under-represented artists, including Yuri Albert, Nikita Alekseev, Ivan Chuikov, Elena Elagina, Igor Makarevich, Viktor Pivovarov, Oleg Vassiliev, and Vadim Zakharov. Many of the works in the exhibition have never been publicly shown in the U.S., and many others only in limited engagement. Together, these works, created in a wide-range of media, underscore the diversity and richness of the underground artistic currents that comprise ‘Moscow Conceptualism’, and provide a deeper and more global understanding of conceptual art, and its relationship to world events and circumstances. -
Russian Meddling in Western Elections, 2016-2017: a Preliminary
RUSSIAN MEDDLING IN WESTERN ELECTIONS, 2016-2017: A PRELIMINARY PROBE By Guillermo Lopez Sanchez A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in International Studies May 2018 Committee Members: Dennis J. Dunn, Chair Ronald Angelo Johnson Sandhya Rao COPYRIGHT by Guillermo Lopez Sanchez 2018 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Guillermo Lopez Sanchez, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I express my gratitude to Dr. Dennis J. Dunn, Professor of History and Director of the Center for International Studies at Texas State University. His dedication, knowledge, and support since I began the Master of Arts with a major in International Studies were invaluable. In addition, my appreciation is extended to Dr. Ronald Angelo Johnson, Associate Professor in the Department of History; and Dr. Sandhya Rao, Professor in the Department of Mass Communication, for their outstanding advice and assistance. Collectively, they strengthened my resources, asked probing questions that helped me sharpen my focus, and provided valuable insights that benefitted my research. I also wish to express my appreciation to Jeremy Pena, Coordinator of Academic Programs at the Center for International Studies, for his administrative support. -
The Bosnian Case: Art, History and Memory
The Bosnian Case: Art, History and Memory Elmedin Žunić ORCID ID: 0000-0003-3694-7098 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy The University of Melbourne Faculty of Fine Arts and Music July 2018 Abstract The Bosnian Case: Art, History and Memory concerns the representation of historic and traumatogenic events in art through the specific case of the war in Bosnia 1992-1995. The research investigates an aftermath articulated through the Freudian concept of Nachträglichkeit, rebounding on the nature of representation in the art as always in the space of an "afterness". The ability to represent an originary traumatic scenario has been questioned in the theoretics surrounding this concept. Through The Bosnian Case and its art historical precedents, the research challenges this line of thinking, identifying, including through fieldwork in Bosnia in 2016, the continuation of the war in a war of images. iii Declaration This is to certify that: This dissertation comprises only my original work towards the PhD except where indicated. Due acknowledgement has been made in the text to all other material used. This dissertation is approximately 40,000 words in length, exclusive of figures, references and appendices. Signature: Elmedin Žunić, July 2018 iv Acknowledgements First and foremost, my sincere thanks to my supervisors Dr Bernhard Sachs and Ms Lou Hubbard. I thank them for their guidance and immense patience over the past four years. I also extend my sincere gratitude to Professor Barbara Bolt for her insightful comments and trust. I thank my fellow candidates and staff at VCA for stimulating discussions and support. -
Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry. -
Garage Museum of Contemporary Art Presents: Kholin and Sapgir
GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: KHOLIN AND SAPGIR. MANUSCRIPTS May 20–August 13, 2017 Free Admission This summer, Garage Museum of Contemporary Art presents an exhibition of documents relating to the poetry of Igor Kholin (1920–1999) and Genrikh Sapgir (1928–1999), offering fresh insight into the work of two pioneers of Soviet nonconformist literature. Their names are often encountered together: in literary analysis, in publications on Russian contemporary art, and on children’s book shelves. Kholin and Sapgir met in 1952 and became close allies. Both were members of the first postwar unofficial community of artists and poets, known as the Lianozovo group, and pupils of its leader, artist Evgeny Kropivnitsky. They worked alongside some of the key names in Russian postwar art, including Oskar Rabin, Lydia Masterkova, and Vladimir Nemukhin. Bohemians of the 1960s and 1970s, their avant-garde poetry was unpublishable until the advent of perestroika. They were heroes of the literary underground, pioneers of samizdat, and featured in the first issue of the samizdat poetry journal Sintaksis, published by Alexander Ginsburg in 1959. Both combined an innovative style of writing with a strong commitment to truth, and a genuine interest in the life of ordinary people. They fused expressionism and realism, with an acute sense of the tragedy of the everyday and the poetics of the absurd. Their funny and moving “barracks poetry” quickly became part of Soviet folklore, often quoted by people who had never read the original texts. Kholin and Sapgir led a double life typical of nonconformist writers and artists of the post-Stalin era: showing their work only to a small audience of friends and admirers, they took odd jobs to make a living. -
Garage Museum of Contemporary Art Presents: If Our Soup Can Could Speak: Mikhail Lifshitz and the Soviet Sixties
GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: IF OUR SOUP CAN COULD SPEAK: MIKHAIL LIFSHITZ AND THE SOVIET SIXTIES March 7–May 13, 2018 This exhibition celebrates the fiftieth anniversary of the scandalous publication of The Crisis of Ugliness by Soviet philosopher and art critic Mikhail Lifshitz. The book, which first appeared in 1968, was an anthology of polemical texts against Cubism and Pop Art—and one of the only intelligent discussions of modernism’s social context and overall logic available in the Soviet Union—making it popular even among those who disagreed with Lifshitz’s conclusions. The result of a three-year Garage Field Research project, If our soup can could speak takes as its starting point Lifshitz’s book and related writings to re-explore the vexed relations between so- called progressive art and politics in the twentieth and twenty-first centuries, as well as the motivations and implications of Lifshitz’s singular crusade against the modern classics. His appraisal of the crisis in twentieth-century art differs fundamentally from the standard attacks on modernism in government-issue Soviet art criticism, and in fact can be read as their direct critique. All the while, Lifshitz is in constant dialogue and debate with the century’s leading intellectuals in the West (Heidegger, Benjamin, Adorno, Horckheimer, Levi-Strauss, and others), searching for answers to the questions they posed from the perspective of someone with a unique inner experience of the Stalinist epoch’s revolutionary tragedy. The exhibition unfolds as a narrative of archival documents, art works, and text fragments, which are situated in a sequence of ten interiors that could be seen as spatial forms for landmark moments in the evolution of modernism, or in Lifshitz’s thinking. -
Rem Koolhaas and Dasha Zhukova Build a Moscow Museum
Rem Koolhaas and Dasha Zhukova Build a Moscow Museum Art collector and philanthropist Dasha Zhukova is launching an ambitious campaign to connect Moscow to the international art world, and she’s tapped architect Rem Koolhaas to execute her vision BY TONY PERROTTET ON THE COVER | Dasha Zhukova and Rem Koolhaas photographed by David Bailey. Zhukova wears Saint Laurent by Hedi Slimane wool gabardine jacket, $3,790, pants, $990, and silk georgette shirt, $1,290, all 212-980- 2970 PHOTOGRAPHY BY DAVID BAILEY FOR WSJ. MAGAZINE IT’S A RADIANT DAY in Moscow, and two of the city’s most creative collaborators, Dutch architect Rem Koolhaas and Russian-born art impresario Dasha Zhukova, have donned white construction helmets as they stride excitedly through Gorky Park, the 300-acre riverside expanse that was, until recently, a symbol of Russia’s urban blight. Created in the 1920s as a Soviet recreational paradise, the once-verdant park fell into decay after the collapse of the U.S.S.R. in 1991, its barren fields scattered with broken carnival rides and roamed by drug dealers. The $2 billion renovation, which began in 2011, has transformed Gorky Park overnight into an Oz-like retreat, amid Moscow’s economic tumult, that would not seem out of place in Seattle or Barcelona. We pass manicured lawns adorned with flower gardens; chic cafes serving gyoza and wood-fired pizza; and yoga and capoeira classes by the Moscow River. There are jogging trails and a state-of-the-art bicycle-sharing program. Wi-Fi is available in every leafy nook. -
RAYMOND PETTIBON to Wit
519 West 19th Street Fax 212 727 2072 David Zwirner New York, NY 10011 Telephone 212 727 2070 For immediate release RAYMOND PETTIBON To Wit September 12 – October 26, 2013 Opening reception: Thursday, September 12, 6 – 8 PM David Zwirner is pleased to present an exhibition of new works by Raymond Pettibon, on view at the gallery’s 519 West 19th Street space in New York. It marks the artist’s ninth solo exhibition with David Zwirner since joining the gallery in 1995. Pettibon’s work embraces a wide spectrum of American “high” and “low” culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and sexuality. Taking their points of departure in the Southern California punk-rock culture of the late 1970s and 1980s and the “do-it-yourself” aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement, his drawings have come to occupy their own genre of potent and dynamic artistic commentary. To Wit presents a wide range of drawings and collages unified by their bold, vivid lines and striking compositions. Fragments from American society have been distilled into key images, which often incorporate texts of varying length, from one word to several paragraphs. The selection of texts, spanning a broad array of influences from popular media to Marcel Proust, William Faulkner, Henry James, Gustave Flaubert, and the Bible, relate both rhythmically and narratively to the visual content of his drawings, although their relationship may not always be immediately apparent. No Title (Route 69, follow…), 2013 Collage, ink, and gouache on paper 27 ¼ x 17 inches (69.2 x 43.2 cm) Defined as “namely” or “that is to say,” to wit originally meant “to know” (from the Middle English, “to witen”).