Rkm Ркм Moscow Москва Avant-Garde Itineraries Маршруты Авангарда
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Garage Museum of Contemporary Art Presents: Ugo Rondinone Your Age and My Age and the Age of the Rainbow Garage Square Commissions
GARAGE MUSEUM OF CONTEMPORARY ART PRESENTS: UGO RONDINONE YOUR AGE AND MY AGE AND THE AGE OF THE RAINBOW GARAGE SQUARE COMMISSIONS March 10–May 21, 2017 Garage Museum of Contemporary Art presents a new work by Ugo Rondinone (b. 1964 in Brunnen, Switzerland, lives in New York), specifically created for Garage Square Commissions. The artist’s first project in Russia will consist of two interconnected pieces: an installation in front of the Museum, and an object on its rooftop. In Garage Square, visitors will find a one- hundred-meter-long fence supporting thousands of images of rainbows painted on wood panels by kids with various disabilities from all over the country. Garage Rooftop will also be host to a ten- meter long rainbow that spells out OUR MAGIC HOUR. This message celebrates the inauguration of the first Triennial of Russian Contemporary Art, which is taking place simultaneously inside the Museum. Having emerged in Rondinone's work in 1997, first as a sculpture for a public space, the rainbow has since become one of his most recognizable images, a convergence of visual and poetic energies—according to the artist, each rainbow represents a complete work of poetry. When Rondinone made site visits to Moscow, he determined that public engagement would be one of the key aspects of the new work, as well as wanting to produce something that was responsive to the context of Garage. Acknowledging the Museum’s interest in developing country wide networks, he asked that his project should be far-reaching. Assisted by Garage’s Inclusive Program department, the artist engaged 1,500 children, including deaf and hard of hearing kids, as well as children in wheelchairs and with developmental disabilities, in nine cities across Russia: Moscow, St. -
Politics and History of 20Th Century Europe Shifted Radically, Swinging Like a Pendulum in a Dramatic Cause and Effect Relationship
Politics and history of 20th Century Europe shifted radically, swinging like a pendulum in a dramatic cause and effect relationship. I explored the correlation between art movements and revolutions, focusing specifically on Russian Constructivism and the Russian Revolution in the 1920s, as well as the Punk movement in East Germany that instigated the Fall of the Berlin Wall. I am fascinated by the structural similarities of these movements, and their shared desire of egalitarianism, which progressed with the support of opposing political ideologies. I chose fashion design because it was at the forefront of both Constructivism and Punk, and because it is what I hope to pursue as a career. After designing a full collection in 2D, I wanted to challenge myself by bringing one of my garments to life. The top is a plaster cast cut in half and shaped with epoxy and a lace up mechanism so that it can be worn. A paste made of plaster and paper pulp serves to attach the pieces of metal and create a rough texture that produces the illusion of a concrete wall. For the skirt, I created 11 spheres of various sizes by layering and stitching together different shades of white, cream, off-white, grey, and beige colored fabrics, with barbed wire and hardware cloth, that I then stuffed with Polyfil. The piece is wearable, and meant to constrict one’s freedom of movement - just like the German Democratic Party constricted freedom of speech in East Germany. The bottom portion is meant to suffocate the body in a different approach, with huge, outlandish, forms like the ones admired by the Constructivists. -
Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde
87T" ACSA ANNUAL MEETING 125 Ivan Vladislavovich Zholtovskii and His Influence on the Soviet Avant-Gavde ELIZABETH C. ENGLISH University of Pennsylvania THE CONTEXT OF THE DEBATES BETWEEN Gogol and Nikolai Nadezhdin looked for ways for architecture to THE WESTERNIZERS AND THE SLAVOPHILES achieve unity out of diverse elements, such that it expressed the character of the nation and the spirit of its people (nnrodnost'). In the teaching of Modernism in architecture schools in the West, the Theories of art became inseparably linked to the hotly-debated historical canon has tended to ignore the influence ofprerevolutionary socio-political issues of nationalism, ethnicity and class in Russia. Russian culture on Soviet avant-garde architecture in favor of a "The history of any nation's architecture is tied in the closest manner heroic-reductionist perspective which attributes Russian theories to to the history of their own philosophy," wrote Mikhail Bykovskii, the reworking of western European precedents. In their written and Nikolai Dmitriev propounded Russia's equivalent of Laugier's manifestos, didn't the avantgarde artists and architects acknowledge primitive hut theory based on the izba, the Russian peasant's log hut. the influence of Italian Futurism and French Cubism? Imbued with Such writers as Apollinari Krasovskii, Pave1 Salmanovich and "revolutionary" fervor, hadn't they publicly rejected both the bour- Nikolai Sultanov called for "the transformation. of the useful into geois values of their predecessors and their own bourgeois pasts? the beautiful" in ways which could serve as a vehicle for social Until recently, such writings have beenacceptedlargelyat face value progress as well as satisfy a society's "spiritual requirements".' by Western architectural historians and theorists. -
Helsinki Conference on Emotions, Populism and Polarisation
#HEPP2 HEPP2 HELSINKI CONFERENCE ON EMOTIONS, POPULISM AND POLARISATION 4 – 8 May 2021 #mainstreamingpopulism Opening #HEPP2 JUHA HERKMAN (UNIVERSITY OF HELSINKI) HEPP2 ORGANISING COMMITTEE CHAIR WELCOME Keynote session 1 – Chair: Juha Herkman KATJA VALASKIVI AND JOHANNA SUMIALA (UNIVERSITY OF HELSINKI) COVID-19, QANON AND EPISTEMIC INSTABILITY: THE CIRCULATION HEPP2 Conference OF CONSPIRACY THEORIES IN THE HYBRID MEDIA ENVIRONMENT Tuesday 4 May 2021 10:00 – 11:30 #mainstreamingpopulism 11:45 – 13:15 Panel 1.1 #HEPP2 Chair: Virpi Salojärvi IAMCR’s Crisis, Security and Conflict Communication Working Group Special panel: Inequality, crisis and technology at a crossroads Maria Avraamidou (University of Cyprus) Migrant racialisation on Twitter during a border and a pandemic crisis Irina Milutinovic (Institute of European Studies Belgrade) The role of media in the political polarisation of the public within the unconsolidated democracy regime HEPP2 Conference Ionut Chiruta (University of Tartu) Covid-19: Performing control through sedimented Tuesday discursive norms on mainstream media in Romania 4 May 2021 Ssu-Han Yu (London School of Economics and Political Science) Mediating polarisation and populism: An inter-generational analysis #mainstreamingpopulism #HEPP2 11:45 – 13:15 Panel 1.2 Chair: Tuula Vaarakallio From Yellow Vests to public debate Gwenaëlle Bauvois (University of Helsinki) Are the Yellow Vests populists? A definitional exploration of the Yellow Vests movement Ingeborg Misje Bergem (University of Oslo) Covid-19’s effect on the -
Mirage Architecture Project
National pavilion of UKRAINE at the Venice Biennale of Architecture 2012 сommissar Nikita Mazayev сurator of Ukrainian participation Olilga Milenty сurator Alexander Ponomarev MIRAGE ARCHITECTURE PROJECT Alexander Ponomarev Alexey Kozyr Ilya Babak Sergey Shestakov GAZE Pаvilion. Arsenale (Artiglierie) National pavilion of Ukraine at the Venice Biennale of Architecture National pavilion MIRAGE ARCHITECTURE PROJECT of UKRAINE Commissar Nikita Mazayev at the Venice Curator of Ukrainian participation Olilga Milenty Biennale of Architecture Curator Alexander Ponomarev 2012 Coordination Maria Elfimova Technical coordination Vladimir Pirogov, Alexander Chentsov, Alexander Pavlov, Alexey Podoxenov, Vitaliy Pasikov Modeling and video editing Ivan Fomin, Alexander Kytmanov Graphic design Alёna Ivanova-Johanson With the support of Joint Transportation Company, VIART-GROUP, “Kirill” MIRAGE ARCHITECTURE PROJECT This catalogue is published in conjunction with the exhibition Alexander Ponomarev Mirage Architecture Project Editor and compiler Alёna Ivanova-Johanson Alexey Kozyr Text Alexey Muratov, Sergey Khachaturov, Alessandro De Magistris Translation Ludmila Lezhneva, Tatiana Podkorytova Ilya Babak Layout Alёna Ivanova-Johanson Color correction Dmitry Shevlyakov Sergey Shestakov Printing Papergraf S.r.L., Padova, Italy 2012 All texts © the authors, 2012 © graphic design, Alёna Ivanova-Johanson, 2012 prOJECTS A great miracle appeared beyond Kiev! Suddenly one could see far away to every part of the world. The Liman went blue at a distance, and the Black Sea splashed wide beyond the Liman. The worldly-wise recognized the Crimea, which rose from the sea like a mountain, and the marshy Sivash. The land of Galicia was seen on the right. ‘And what’s that?’ asked the people who had gathered around, pointing at the gray and white tops which lurched far beyond in the sky and looked more like clouds. -
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. -
TRACING the Constructlvist INFLUENCES on the BUILDINGS of EKATERINBURG, RUSSIA
BERLIK Ir ACSA EUROPEAN CONFERENCE TRACING THE CONSTRUCTlVIST INFLUENCES ON THE BUILDINGS OF EKATERINBURG, RUSSIA CAROL BUHRMANN University of Kentucky The Sources In the formerly closed Soviet city of Sverdlovsk,now Ekaterinburg, architects undertook a massive building campaign of hundreds of buildings during the Soviet Union's first five year plan, 1928 to 1933. Many of these buildings still exist and in them can be seen the urge to express connections between concept andmaking. These connections were forged from the desire to construct meaningful architectural iconography in the newly formed Soviet Union that would reflect an entirely new social structure. Although a great variety of innovative architecture was being explored in Moscow as early as 1914, it wasn't until the first five year plan that constructivist ideas were utilized extensively throughout the Soviet Union.' Sverdlovsk was to be developed in the 1920s and 1930s as one of the most heavily industrial Fig. 1. Russia. cities in Russia. The construction of vast factories, the expansion of the city, the programming of new workers and the replacement of Czarist and religious memory was supported by an architectural program of constructivist notion that new styles are the product of changing architecture. More buildings were built in Sverdlovsk structural techniques and changing social, functional during this era, per capita, than in either Moscow or requirements. He theorizes that architecture, since Leningrad.L These buildings may reflect more accurately antiquity, expresses itself cyclically: The youth of a new the politics and social climate in the Soviet Union than the style is reflected in "constructive" form, maturity well examined constructivist architecture in both Moscow expressed in organic form and the decay of style is and Leningrad. -
Manufactured Proletariat: Constructivism and the Stalinist Company Town
86'rH ACSA ANNUAL MEETING AND TECHNOLOGY CONFERENCE 655 Manufactured Proletariat: Constructivism and the Stalinist Company Town GREG CASTILLO University of California, Berkeley A procession of clashing architectural styles documents the "From the Constructivists to the World."' El Lissitzky, who USSR's attempt to devise the environment for a socialist helped found Switzerland's Constructivist architectural asso- "new man." Of these, Constructivism is conventionally seen ciation (but declined to join its Soviet equivalent), declared as an emblem of the Great Utopia, a vision of this project the factory "the crucible of socialization for the urban popu- predating its totalitarian metamorphosis. But, for areputation lation" and "the university for the new Socialist man."J as the antithesis of "Stalinist" architecture, Constructivism's Constructivists venerated machine environments for their timing is problematic, to say the least. Constructivism came ordained capacity to transform human nature. Aleksandr into its own during the First Five-Year Plan (1928-32), an era Vesnin praisedengineering's invention of "objects of genius" that witnessed the rise of Stalin's "cult of personality" and his and called for artists to create devices equal in the "potential campaigns to collectivize agriculture and industrialize at energy of their psycho-physiological influence on the con- breakneck speed. This period, marked by the emergence of sciousness of the indi~idual."~The factory was considered the Stalinist state, corresponds to the building of the most potent specimen of the "social condenser" - building Constructivism's canonic monuments.' types that, while fulfilling basic social needs, instilled social- In servicing the First Five-Year Plan, Constructivist archi- ist modes of behavior and thought. -
Qt0m64w57q.Pdf
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ideologies of Pure Abstraction Permalink https://escholarship.org/uc/item/0m64w57q Author Kim, Amy Chun Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal. -
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Advances in Social Science, Education and Humanities Research, volume 324 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019) Architects of Russian Emigration in Rome Between Two Wars: Questions of Integration and Ways of Adaptation* Anna Vyazemtseva Scientific Research Institute of the Theory and History of Architecture and Urban Planning Branch of the Central Scientific-Research and Project Institute of the Construction Ministry of Russia Moscow, Russia E-mail: [email protected] Abstract—At the beginning of the 20th century, lots of further outstanding career1 in Moscow, was isolated. At the young and promising Russian architects travelled to Italy, beginning of the 1920s in Rome, like other cities of Europe interpreting gained experience in projects and buildings (V.F. and the world, there was a strong presence of Russian Shuko, I.A. Fomin), and some of them even had building immigrants, represented above all by high and cultured practices there (A. Schusev). After the October Revolution of social classes: aristocracy, bourgeoisie and intelligentsia. 1917 many actors of creative professions leaved Russia, but the While emigrated architects were rather few, most of the architects were in the minority among immigrants and only a professionals remained in patria, trying to adapt their work to few of them settled (A.Y. Beloborodov, L.M. Brailovsky) or the new conditions. constantly worked (G.K. Lukomsky) in Italy. The paper tries to analyze the careers of the mentioned and other architects, to In early 1920s the trips to Italy sometime turned in describe the particular circumstances of their work in the emigration. In 1923 Ivan Zholtovsky, at the moment the conditions of emigration, to determine their place in the Italian director of the work on the new Moscow master plan and and international professional culture of that time. -
Summer Catalogue 2018
www.bookvica.com SUMMER CATALOGUE 2018 1 F O R E W O R D Dear friends and collegues, Bookvica team is excited to present to you the summer catalogue of 2018! The catalogue include some of our usual sections along with new experimental ones. Interesting that many books from our selection explore experiments in different fields like art and science themselves. For example our usual sections of art exhibition catalogues and science include such names as Goncharova and Mendeleev - both were great exepimenters. Theatre section keeps exploring experiments on and off stage of the 1920s under striking constrictivist wrappers. We continue to explore early Soviet period with an important section on art for the masses where we gathered editions which shed light on how Soviets used all available matters to create a new citizen on shatters of the past and how to make him a loyal tool of propaganda. Photography and art of that period is gathered in a separate section with such names like Zdanevich and Telingater among the artists. Books on architecture include Chernikhov fantasies, Stepanova’s design of metro book, study of Soviet workers’ clubs and the most spectacular item is account of the work made by architecture studios in early 1930s led by most famous Russian architects. Probably the jewel of our selection is a rare collection of sheet music from 1920s-30s or more precisely cover designs. We have been gathering them for a year and are happy to finally share our discoveries on this subject with you. Don’t miss too small but very interesting sections of Ukrainian books and items on Women. -
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The Anniversaries of the October Revolution, 1918-1927: Politics and Imagery by Susan M. Corbesero B.A., Pennsylvania State University, 1985 M.A., University of Pittsburgh, 1988 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Susan Marie Corbesero It was defended on November 18, 2005 and approved by William J. Chase Seymour Drescher Helena Goscilo Gregor Thum William J. Chase Dissertation Director ii The Anniversary of the October Revolution, 1918-1927: Politics and Imagery Susan M. Corbesero, PhD University of Pittsburgh, 2005 This dissertation explores the politics and imagery in the anniversary celebrations of the October Revolution in Moscow and Leningrad from 1918 to 1927. Central to Bolshevik efforts to take political and symbolic control of society, these early celebrations not only provided a vehicle for agitation on behalf of the Soviet regime, but also reflected changing popular and official perceptions of the meanings and goals of October. This study argues that politicians, cultural producers, and the urban public contributed to the design and meaning of the political anniversaries, engendering a negotiation of culture between the new Soviet state and its participants. Like the Revolution they sought to commemorate, the October celebrations unleashed and were shaped by both constructive and destructive forces. A combination of variable party and administrative controls, harsh economic realities, competing cultural strategies, and limitations of the existing mass media also influenced the Bolshevik commemorative projects.