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Art and Power in Putin's Russia
RUSSIA Art and Power in Putin’s Russia BY SASHA PEVAK The separation between art and power in Russia’s recent history has never been clear-cut. Soon after the fall of the USSR, contemporary art, namely actionism in the 90s, openly criticized society and entered the political sphere. This trend continued after Vladimir Putin’s election in 2000. Russian identity politics in the 2000s were based on four pillars: state nationalism with the Putin’s “power vertical”, the vision of Russia as a nation-state, Orthodox religion, and the myth of the Unique Russian Path, reinforced by the notion of “sovereign democracy” and the idea of the omnipresence of a fifth column inside the country 1. The will to consolidate society around these values provoked, according to political scientist Lena Jonson, tensions between the State and culture, especially as far as religious issues were concerned. These issues were the cause of the trials against the exhibitions “Attention! Religion” (2003) and “Forbidden Art – 2006” (2007), shown in Moscow at the Andrei Sakharov Museum and Public Centre. The latter staged temporary events and activities based on the defence of Human Rights. For part of the national opinion, the Centre symbolized democracy in Russia, whereas for others it represented an antipatriotic element, all the more so because it was financed by foreign foundations. In 2014, the Department of Justice catalogued it as a “foreign agent,” on the pretext that it carried out political actions with American subsidies 2. In 2003, the exhibition “Caution, Religion!”, organized by Aroutioun Zouloumian, was vandalized by religious activists several days after the opening 3. -
377.-Tzav-5780.Pdf
ב“ה :THIS WEEK’S TOPIC ערב שבת פרשת צו, ט׳ ניסן, תש״פ ISSUE The Rebbe’s seventieth birthday 377 Erev Shabbat Parshat Tzav, April 3, 2020 For more on the topic, visit 70years.com HERE’S my STORY NOTHING IS Generously IMPOSSIBLE sponsored by the RABBI SHLOMO CUNIN In my opinion, there are only two kinds of people in this world — those who believe, and those who don’t believe. For those who believe, anything is possible, and there are no questions. For those who don’t believe, there are no answers. So, although we didn’t know where the funds would come from, we believed and — together with the emissaries we recruited for the task — we managed to establish not only seven Chabad centers but twelve. The next day, our California delegation had an audience with the Rebbe during which we presented him with a silver crown to fit atop his personal Torah scroll. I also invited Rabbi Chaim Itche Drizin, who was then working in Northern California as a Talmud Torah teacher, to join us. I asked him, “How would you like to serve as an emissary with us?” And he responded “I’d love to.” During the audience, I pointed to Rabbi Drizin and said to hen the Rebbe turned seventy, he challenged his the Rebbe, “He will establish the first new Chabad House Wchasidim to establish seventy-one new institutions. of the seven that we promised.” I had the honor of being present at the farbrengen when the And the Rebbe looked at us and smiled. -
Випперовские Чтения» «Классика И Современность. Отражения» 26–28 Февраля 2018 Года
МЕЖДУНАРОДНАЯ НАУЧНАЯ КОНФЕРЕНЦИЯ «ВИППЕРОВСКИЕ ЧТЕНИЯ» «КЛАССИКА И СОВРЕМЕННОСТЬ. ОТРАЖЕНИЯ» 26–28 февраля 2018 года INTERNATIONAL RESEARCH VIPPER CONFERENCE “CLASSICS AND CONTEMPORANEITY. REFLECTIONS” 26–28 February, 2018 1 ПРОГРАММА феноменов искусства, наделенных статусом «классиче- with the Apollon journal came up with the specific dis- interventions, contemporary museum increasingly ских». Будут проанализированы разные формы диалога course, which, by appealing to the museum categories, prefers extra- systematic and extra-historical caram- PROGRAM с искусством прошлого, с его классическими образцами, made the impressionist and post- impressionist painting bolage (J.-H. Martin) view that assumes the maximum их творческий потенциал, функции и цели, границы их acceptable by the educated public. The problem was set scope of associations, comparisons, and interpreta- 26 ФЕВРАЛЯ, ПОНЕДЕЛЬНИК смыслообразующих и формообразующих возможностей. again after the October, when in 1918–1920 the Moscow tions. At the same time, different museums, such as ГЛАВНОЕ ЗДАНИЕ ГМИИ им. А.С. ПУШКИНА, Krasimira Lukitcheva (Russia) museum community proposed a number of alternative Louvre, Versaille, Prado, Villa Borghese, demonstrate (ул. Волхонка, д. 12) ЗАЛ 30 INTERPRETING THE CLASSICAL HERITAGE IN THEORY concepts of the new museum, where modern French art various strategies of work with contemporary mate- 26 FEBRUARY, MONDAY AND PRACTICE OF ART OF THE SECOND HALF OF THE was once again the central point of discussion (Museum rial. Evaluation of the pros and cons of international HALL 30, THE MAIN BUILDING OF THE PUSHKIN 20th — BEGINNING OF THE 21st CENTURY of Artistic Culture, Museums of the New Western Art, experience is one of the pressing problems in creating STATE MUSEUM (12, VOLKHONKA STREET) The talk will address the complex and tense context Pavel Muratov’s project of reorganization of the Muse- the concept of the 21st century museum. -
Best History Museums in Moscow"
"Best History Museums in Moscow" Realizado por : Cityseeker 5 Ubicaciones indicadas State Historical Museum "Russia Through the Ages" It is impossible to miss this museum, given that it sits right on Red Square. At the entrance, there's always someone dressed as Ivan the Terrible or Lenin, for those looking for a photograph. The museum opened its doors to the public in 1883 and recognized as Russia's largest museum as it houses artifacts that are over a hundred years old. Inside, there are by Marcin Konsek various exhibitions dedicated to the sweeping richness of Russian history, from mammoth tusks and bronze age relics to the posters dating back to the Soviet-era. +7 495 692 3731 www.shm.ru/ [email protected] Red Square 1, Moscú Romanov Boyar House in Zariadie "Typical 17th-Century Boyar Home" According to legend, the first Tsar of the Romanov dynasty (Mikhail Fedorovich) was born here on July 12, 1596. This 16th-century estate belonged to his grandfather, Nikita Romanov. After numerous repairs and reconstructions, the chambers became a good example of a typical 17th- century boyar home. In 1932 the museum became a branch of the State by Alvesgaspar Historical Museum. The chambers' interior illustrates the life of boyars during the 17th Century. The exhibition shows the best pieces of applied and folk arts from the funds of the State Historical Museum. +7 495 698 1256 www.shm.ru/romanovy.html Varvarka Ulitsa 10, Moscú Pushkin Museum on the Arbat "The Residence of Alexander Pushkin" This two-story 19th-century house is a very interesting place for those who would like to know more about Russia's great poet Alexander Pushkin and about the city life at the time. -
Edge of a Pine Forest Signed in Cyrillic and Dated ‘1884’ (Lower Right) Graphite and Charcoal on Paper 32.5 X 46.5 Cm (12¾ X 18¼ In)
Ivan Ivanovich Shishkin (Elabuga 1832 - St. Petersburg 1898) Edge of a Pine Forest signed in Cyrillic and dated ‘1884’ (lower right) graphite and charcoal on paper 32.5 x 46.5 cm (12¾ x 18¼ in) Edge of a Pine Forest is an excellent example of Ivan Ivanovich Shishkin’s later depictions of forests. The naturalistic treatment and glimpses of unfolding vistas are characteristic of his style during the 1880s. Shishkin considered drawing to be an important branch of art. At this time the lines in his drawings are elastic and mobile, sometimes flowing, light and wavy, whilst at other times resilient and strong. He uses black lead in a light, free style but his pencil strokes are more animated and varied. Shishkin used a combination of pencil, charcoal, graphite and white chalk, which allowed him to achieve softer effects and a finer gradation of tone. Over forty years of artistic activity, Shishkin produced hundreds of paintings, numerous studies and drawings, and a large number of engravings. Many of these concerned forests and trees. An oil painting created a few years after the drawing, Forest in Mordvinovo (1891, State Museum and Exhibition Centre ROSIZO, Moscow), illustrates Shishkin’s use of an alternative medium to treat the same subject. Shishkin considered studies to be an integral part of the creative process, based on continual observation and reflection. The resulting level of detail does not detract from the unity of the picture, but contributes to a carefully thought out composition and the harmonious use of light colours. The present drawing was executed by Shishkin specifically for a project to demonstrate the potential of photogravure as a printing method. -
The International Conference «Libraries
INSPEL 33(1999)4, pp. 185-189 THE INTERNATIONAL CONFERENCE «LIBRARIES IN THE MUSEUMS - MUSEUMS IN THE LIBRARIES» AND THE 2-ND ANNUAL MEETING OF THE IFLA INTERNATIONAL ART DOCUMENTATION ADVISORY GROUP 15 - 23 MAY 1999, MOSCOW - ST.PETERSBURG. By Olga Sinitsyna In May 1999 a significant international conference was organised in Moscow by ARLIS/Mos with the generous financial support of the ”Open Society” Institute (George Soros Foundation). The conference brought together about 150 participants from more than 20 Russian cities and more than 60 institutions. The organisers were honoured to host the international group of distinguished professionals in art librarianship from Australia, Denmark, Portugal, the UK, and the USA. It was the first conference of such a scale, devoted to specific problems of the art and particularly, museum libraries. The conference attracted not only the art librarians, but art historians, museum curators, administrators, managers, publishers, producers of the electronic products and others. The organisers did their best to draw attention of the museum directors and librarians from all over Russia. They collaborated with the Ministry of Culture of Russian Federation, ICOM, mass media and local government. Conference sites The Conference was hosted by the Pushkin Museum of Fine Arts, State Tretyakov Gallery and M. I. Rudomino Library for Foreign Literature in Moscow and a post- conference round table will took place in St. Petersburg at the Hermitage library, bringing together more local museum librarians. Objectives The museum libraries even in the most favourable situation are scarcely regarded by the museum administration as one of the most important division within the museum structure. -
The Shul B”H Weekly Magazine
The Shul B”H weekly magazine Weekly Magazine Sponsored By Mr. & Mrs. Martin (OBM) and Ethel Sirotkin and Dr. & Mrs. Shmuel and Evelyn Katz Shabbos Parshas Vayishlach Kislev 13 - 14 December 1 - 2 CANDLE LIGHTING: 5:11 pm Shabbos Ends: 6:06 pm Yud Tes Kislev Rosh Hashana of Chassidus Thursday, December 7 Te Shul - Chabad Lubavitch - An institution of Te Lubavitcher Rebbe, Menachem M. Schneerson (May his merit shield us) Over Tirty Years of Serving the Communities of Bal Harbour, Bay Harbor Islands, Indian Creek and Surfside 9540 Collins Avenue, Surfside, Fl 33154 Tel: 305.868.1411 Fax: 305.861.2426 www.TeShul.org Email: [email protected] The Shul Weekly Magazine Everything you need for every day of the week Contents Nachas At A Glance Weekly Message 3 Some of our Youth visiting Holocaust survivors on Erev Shabbos Thoughts on the Parsha from Rabbi Sholom D. Lipskar Celebrating Shabbos 4 -5 Schedules, classes, articles and more... Everything you need for an “Over the Top” Shabbos experience Community Happenings 6-7 Sharing with your Shul Family A Time to Pray 8 Check out all the davening schedules and locations throughout the week Inspiration, Insights & Ideas 9-15 Bringing Torah lessons to LIFE Get The Picture 16-29 The full scoop on all the great events around town One of our Youth Groups learning CPR French Connection 30 Refexions sur la Paracha Latin Link 31 Refexion Semanal In a woman’s world 32 Issues of relevance to the Jewish woman The ABC’s of Aleph 33 Serving Jews in institutional and limited environments. -
MOSCOW CITYPASS: MUSEUMS • the Moscow Kremlin • State
MOSCOW CITYPASS: MUSEUMS • The Moscow Kremlin • State Historical Museum (main building) • Museum of the Patriotic War of 1812 • State Tretyakov Gallery • State Tretyakov Gallery on Krymsky Val • St. Basil’s Cathedral (Pokrovsky Cathedral) • Underground Museum in the park “Zaryadye” • Shilov Art Gallery • Artcentre. Moscow • Lumiere Brothers Center for Photography • Schusev State Museum of Architecture • Mosquarium (VDNH) • Historical Park “Russia — my history” (VDNH) • House-museum of Pushkin on Staraya Basmannaya • Jewish Museum and Tolerance Center • Bunker-42 (The Cold War Museum) • Moscow Transport Museum • State Pushkin Museum • Pushkin Memorial Apartment on Arbat Street • Memorial Apartment of Andrey Bely • Mikhail Bulgakov Museum • Bulgakov's House Museum-Theatre • Liublino Estate • Tsaritsyno Museum-Reserve • Kolomenskoye Museum-Reserve • Palace of the Tsar Alexey Mikhailovich in Kolomenskoye • Izmailovo Estate • Vodka History Museum (The Kremlin in Izmailovo) • Museum of Bread (The Kremlin in Izmailovo) • Weapons Museum (The Kremlin in Izmailovo) • The Living Museum of Folk Arts (The Kremlin in Izmailovo) • World History in plasticine (The Kremlin in Izmailovo) • Museum of Soviet Arcade Machines • Experimentanium Science Museum • Paleontological Museum • Museum of Contemporary History of Russia • “Presnya” • Museum of Underground Printing Press (1905-1906) • Institute of Russian Realist Art • Museum of Russian Icon MOSCOW CITYPASS: TOURS AND ENTERTAINMENT • Radisson Royal Flotilla river-cruise • Moscow City Sightseeing Bus trip • Skating ring "Megaice" • “Zaryadye” Sightseeing Tour • Observation Deck of the Hotel Ukraine • PANORAMA360 Observation deck • Walking Tour with Moscow Free Tour • Moscow Cable Car on Sparrow Hill • Bunker 42 (The Cold War Museum) • Moscow Cathedral Mosque • Russian Folk Show “Golden Ring” MOSCOW CITYPASS: DISCOUNTS AND PRIVILEGES • Discounts on a bicycle rental • Discounts on a taxi • Discounts in restaurants and bars • Discounts in boutiques • Unlimited calls and Internet access . -
Everybody Is Present
OCTOBER 1425 IV International Festival of Inclusion The Pushkin State Museum of Fine Arts EVERYBODY IS PRESENT Now that everyone's presence in the online museum space has reached a quorum, we suggest talking about equality and its illusion, hyperlocality and digital freedom, the "theatricality" of everyday life and rethinking one's own boundaries. 'Everybody Is Present' is the theme of the IV International Inclusive Festival at the Pushkin Museum. The festival has been held at the Pushkin State Museum of Fine Arts every year since 2017, raising questions about the representation of people from socially excluded groups and the participatory possibilities of museum projects. This year everyone was able to experience social exclusion and the lack of emotional and bodily contact with the real world. The threat of the pandemic has changed the formats of cultural projects and the way they interact with the audience; it has equalised the opportunities for those who can move, see and communicate freely with those who are deprived of such opportunities. Meeting in a single digital space creates new communication challenges. For the first time, the festival is accompanied by a special theatre programme. The events in various formats included in the programme will help to analyse how experiences of isolation have allowed all of us to experience sensory, temporal and communicative notions of ourselves and the world in which we live in a new way, and to realise the changes this will bring. Thus, the specific physicality of being confined in a small space and limited mobility will be the focus of all public events, from inclusive movement training to social theatre. -
Shavuos with the Rebbe
כ"ח תש"א סיון תשע"ו MARKING THE REBBE AND REBBETZIN’S MIRACULOUS ESCAPE FROM WAR-TORN EUROPE TO THE UNITED STATES OF AMERICA, PROMPTING75 A NEW ERA IN HAFOTZAS HAMAAYONOS. Tahalucha THE MINHAG OF OUR GENERATION Reb Michoel Dvorkin A LEGEND OF A CHOSSID Gather to Save the Nation $4.99 THE WONDERS OF HAKHEL SIVAN 5776 ISSUE 45 (122) DerherContents SIVAN 5776 ISSUE 45 (122) Torah Wealth 04 DVAR MALCHUS Shavuos with the Rebbe 06 DIARY OF A BOCHUR - 5740 “My Father” 14 KSAV YAD KODESH Tahalucha 16 THE MINHAG OF OUR GENERATION Administrating a 28 Mosad Chinuch HORAOS V’HADROCHOS Gather to Save the Nation About the Cover: THE WONDERS OF HAKHEL Commemorating 75 years since the Rebbe’s arrival on US soil, 31 this month’s cover features the Serpa Pinto ship which carried the Rebbe and Rebbetzin to safety. The background displays The Momentous Gathering two stamps found on the trunk that the Rebbe and Rebbetzin INSIGHTS IN HAKHEL traveled with, and the ship’s passenger manifest recording the 38 Rebbe and Rebbetzin’s name. Read more about the story of Chof Ches Sivan in “A Perilous Flight” Derher Magazine, Sivan 5775. DerherEditorial “True, we may be a nation dispersed and scattered among sicha in Russian for the children on the other side of the Iron the nations. We each act differently, we dress differently, and Curtain. (See “Leben Mitten Rebbe’n” in this magazine.) we speak and comprehend different languages. The Rebbe calls on the children, and on all of us, to see “But all these differences are merely external. -
'Pushkin Was a Live Volcano . . .'
Click here for Full Issue of Fidelio Volume 8, Number 3, Fall 1999 ‘Pushkin Was a Live Volcano...’ The Poet, As Seen by His Contemporaries by E.S. Lebedeva Pushkin was a live volcano, whose collaboration, chance meetings on inner life burst from him like the post roads, or in some Cos- a column of fire. sack settlement, or on the Geor- —F. Glinka (I, 245)1 gian Military Highway. People of different levels of culture gave Poetry is the exclusive passion of those testimony about him, and there is few, who are born poets. a great range of variety in how —A.S. Pushkin they perceived the personality of the poet: from tender solicitude at ushkin lived his life in a big the sight of a missing button on and noisy crowd—not in his jacket, to amazement at the Pisolation, but surrounded by scope of the phenomenon that many people who had the opportu- was Pushkin. nity to see him. We can hear the All social layers are represent- chorus of his contemporaries, with ed on the list of people who have its great range of voices, in their said what they had to say about reminiscences about him. the poet—from the Emperor to These memoirs have a certain the serf, from the fashionable for- peculiar feature. The people closest tune-teller to the old Cossack to the poet found it difficult to Manuscript sketch, 1820, self-portrait (lower left) woman, who remembered speak, and they did not do so right with members of the Rayevsky family. -
UC Berkeley UC Berkeley Previously Published Works
UC Berkeley UC Berkeley Previously Published Works Title 'The Final Struggle': The Art of the Soviet Death Mask Permalink https://escholarship.org/uc/item/6gc654pr Author Neumeyer, Joy Publication Date 2015-07-01 eScholarship.org Powered by the California Digital Library University of California ‘The Final Struggle’: The Art of the Soviet Death Mask Joy Neumeyer Summer 2015 Joy Neumeyer is a graduate student in the Department of History at the University of California, Berkeley. ‘The Final Struggle’: The Art of the Soviet Death Mask “Death is a highly mediocre portraitist.” -Johann Wolfgang von Goethe1 The sculptor Sergei Merkurov was working late one night in his Moscow studio, bundled in furs against the winter cold, when the phone rang. The voice on the other end informed him that he was being sent on a secret assignment. A car pulled up, and two secret policemen in leather jackets emerged to push him inside. Merkurov still did not know where he was going as they exited a motor coach outside Moscow and climbed into a horse-drawn sleigh. It was January 24, 1924, and Vladimir Lenin, the leader of the Revolution, lay dead at his estate. Inside, the mirrors were shrouded in black cloth, in keeping with the belief that the dead man’s spirit can use them to return and claim the living. Merkurov was ushered to the table where the leader’s body lay under bright lights. “It was like a dream,” he later wrote. Lenin’s widow, Nadezhda Krupskaia, approached the sculptor. “You were supposed to sculpt Lenin’s bust,” she whispered.