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Art and Repression Actionism and Socially Engaged Practices in Contempo- Rary Russia

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Art and Repression Actionism and Socially Engaged Practices in Contempo- Rary Russia Art and repression Actionism and socially engaged practices in contempo- rary Russia Maria Mikhaylova BACHELOR’S THESIS April 2020 Degree Programme in Media and Arts Option of Fine Art ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media and Arts Option of Fine Art Maria Mikhaylova Art and Repression: Actionism and socially engaged practices in contemporary Russia Bachelor's tHesis 70 pages, appendices 19 pages April 2020 THis study presents a research on How societal challenges and political regime Have influenced Russian Actionism since tHe time of its inception in 1990s and How politics affect tHe freedom of speech in art. THe objective is to determine How the agenda of Russian Actionism changed tHrougHout tHe years and How does it respond to tHe emerging issues of today. It was of interest to determine tHe impact of repression on radicality of art and wHat are tHe singularities of making art against tHe backdrop of a conservative political turn and tHe lack of civil liberties. THe research metHods used for tHis tHesis are professional literature review, con- tent analysis and etHnograpHic metHod. THree semi-structured interviews were conducted witH tHe art professionals, wHo are at some extent working witH social practice art. THe study also includes tHe views of tHe respondents on tHe present state and a possible future of Actionism and art activism in Russia, tHougHts about current political situations and social trends and How tHey affect tHe work of an artist. Full text of tHe interviews can be read in tHe appendices. THe findings indicate tHat despite a relatively small time gap between tHe emer- gence of each new Wave of Russian Actionism, tHere is a significant difference in agenda and tactics of tHe artists. A shift towards totalitarianism in Russian po- litical system Has influenced tHis change, but also created a unique context for development of tHis art movement. THe results of tHe study demonstrate two tHings. One is a general social turn in today’s Actionism and anotHer is tHat polit- ical repression and censorship create a discourse on boundaries of freedom of artistic expression, wHich is relevant not only for Actionism, but for contemporary art in general. THis tHesis is an attempt to analyze tHe present situation in Russian Actionism and tHe relationship between its development and tHe political climate. Since it is not an established art movement of tHe past and, on tHe contrary, goes tHrougH a constant transition, tHere is room for a deeper continuous research. Key words: actionism, protest art, repression, art activism 3 CONTENTS 1 INTRODUCTION ................................................................................ 4-6 2 HISTORICAL BACKGROUD ................................................................. 7 2.1 Brief History of performance art .................................................. 7-11 2.1.1 Apperance and tHe History of development of performative practices in Russia ......................................................... 11-17 2.1.2 Historical overview of Actionism from tHe time of its inception until today ...................................................................... 17-27 2.2 Societal and political discourses in present-day Russia .......... 27-33 3 RUSSIAN ACTIONISM ........................................................................ 34 3.1 First Wave Actionism ............................................................... 34-46 3.2 Second Wave Actionism .......................................................... 46-59 3.3 THird Wave Actionism .............................................................. 60-69 5 DISCUSSION ................................................................................. 70-74 REFERENCES .................................................................................... 75-81 APPENDICES ........................................................................................... 82 Appendix 1. Interview witH Tatiana Volkova ................................... 82-87 Appendix 2. Interview witH Ekaterina Muromtseva ......................... 88-92 Appendix 3. Interview witH Ilmira Bolotyan ................................... 93-101 4 1 INTRODUCTION Russian Actionism is a form of Performance Art tHat emerged in Russia in tHe 1990s, during a time of political and economic collapse, chaos and tHe formation of a new state, and started as a radical, contextual reaction of artists to a new, post-Soviet reality and tHe state in wHich Russian contemporary art was at tHat time in particular. THe 1990s started a new era botH in art and tHe History of Rus- sia. Since tHen, tHe movement Has gone tHrougH a lot of development and tran- sition, varying from periods of silence to a sudden revival witHin tHe framework of completely different discourses. Russian Actionism Has drawn a lot of public and media attention not only in Russia but also outside of it, and in tHe end became associated witH tHe term ‘art activism’. It is a transforming and dynamic artistic movement tHat is in open dialogue witH tHe current political and societal contexts. THerefore, it is important to mention tHe circumstances surrounding it. THe purpose of tHis study is to examine tHe relationship between political repres- sion and cultural resistance, its influence on a particular art movement – Russian Actionism. Among otHer research questions tHere were tHe following: wHat are tHe key differences between actionists of today and tHeir predecessors? How Has tHis movement changed since its inception and wHat affected its politicization and social orientation? Is it politics tHat influence Actionism and set a context for it, or is it Actionism tHat is in power to change tHe existing political and social struc- tures? How in general should it be observed: as an art form or as a form of civic activism? Do actionists and art activists Have a chance to become a serious po- litical leverage in Russia, or tHeir status will remain as enfant terribles and the outsiders of tHe art world? THe overall goal is to pursue understanding in wHich direction tHis artistic movement is developing in Russia now and wHat are tHe possible predictions for its future. THe research for tHe tHeoretical background of tHis tHesis was conducted by stud- ying and analyzing professional literature, wHich included books about tHe History of performance and social practice art, Russian protest art, pHilosopHical studies on tHe discourse of relationship between politics and art, various articles in mag- 5 azines dedicated to art, social studies and politics, as well as catalogues of festi- vals and exhibitions. Besides tHe abovementioned, various Internet sources were used. Expert interviews are also a crucial part of tHis study. THe interviewees are art professionals, wHo are at some extent working witH art activist practices. Tatiana Volkova is a curator and creator of MediaImpact Inter- national Festival of Activist Art, wHich was tHe only festival, tHat represented ac- tivist practices in Russia. Ekaterina Muromtseva is an artist, wHo finds inspiration in social topics and tHe Historical context and combines artistic practice witH vol- untary activities and community-based work. Ilmira Bolotyan is an artist working witH participatory practices. Her projects are executed tHrougH a tHorougH re- search witH a journalistic approach, during wHich she emerges into different mi- cro-environments and social groups and studies tHe existing social constructs. She also curated various exhibitions and organized events, related to feminist agendas. THe interviews were conducted using a semi-structured metHod, so tHat tHe interviewees could talk not only about Actionism, but also about tHeir own artistic practice and experiences and tHe overall situation in tHe Russian society and tHe place of an artist in it. THe full texts of tHese interviews can be read in tHe appendices. THe Second CHapter is dedicated to tHe Historical background of performance art and Actionism as world-wide pHenomena. A particular attention is paid to tHe overview of tHe circumstances around tHe development of performative practices in Russia. Russian Actionism is commonly agreed by art professionals to be di- vided into tHree time periods, tHat are furtHer referred to as Waves. THe THree Waves are deeper reviewed and analyzed in tHe CHapter THree, as well as tHe most significant actions from each of tHose periods. Taking into consideration its radical politicized nature, it is important to consider Actionism witHin political and societal contexts. A brief overview of tHe political discourses of present-day Rus- sia alongside with the laws tHat Have affected artistic and civil activities, are pre- sented in CHapter Two, ParagrapH 2.2. Some artists, wHo are working witH activism and socially engaged practices today migHt not identify tHemselves as actionists or even as artists, However, tHey are 6 examined in tHis context, since tHeir actions and artistic projects Have been con- sidered as belonging to tHe field of art activism and Actionism. In tHe Discussion CHapter tHere are points of view and opinions of different pro- fessionals about the essence of Russian Actionism and its current state. FurtHer- more, tHis chapter incorporates a general discussion around socially engaged art, wHich takes its roots in tHe pHilosopHical discourse on tHe relationship between tHe aestHetical and tHe political and tHe autonomy of art. Some of tHe artists’ standpoints migHt be contradictory in relation to
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