DOCSLIB.ORG

Through a Glass Darkly: Performative Practice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Through a Glass Darkly: Performative Practice 48 | variant 41 | SPrin G 2011 Through A Glass Darkly: Performative Practice... Without Border, Without Name Katarzyna Kosmala enterprises and ever more precarious nature of Turkish primary school life the Independence Introduction employment and social security, questions are March national anthem is first heard. This is The socio-economic and ideological transformation raised regarding the future forms of governance followed by a children’s collective pledge to “I of Central and Eastern Europe has accelerated and community empowerment. devote my existence to being a gift to the Turkish the processes of re-writing ‘identity’ scripts in I recently responded to a petition in support existence”. Zdjelar comments on the role of state the region. A new performative turn can now be of colleagues I closely work with at University institutions in creating “appropriate citizens observed in art production, theory advancement of Glasgow to save modern languages/cultures of the nation” and their bio-power in daily life. and curatorial initiatives – an approach which courses from closure. Subsequently, I have been Warsaw-based Joanna Rajkowska project Airways involves geographies of shifting borders and asked to join colleagues in protesting against (2008) is a video-proposal for a project on the appears to coalesce around a feminist critique the proposed cuts through media appeals. Such contemporary Hungarian nation. She creates of dominant politics without addressing it by moves to cut the arts and social sciences, mirrored the possibility for an ideal speech moment by name. I would argue that such initiatives enact at other UK Universities, certainly weaken the inviting the far-right para-political, racist-infused what sociologist Chandra Mohanty refers to as claims of education to serve the wider community organisation members of Magyar Garda and Goj 1 “feminism without borders” , a politically charged in a globalised world where linguistic and cultural Motorosok, and the citizenship-minority groups network-based movement raising social justice competence is supposed to help build bridges based in Hungary, which includes Roma people, issues positioned in relation to globalisation and across various forms of cultural divide. The Croats, Serbs, Germans, Poles, Romanians, Jews, neo-liberalism. Treaties of Rome were signed more than fifty years Chinese, Vietnamese, Ukrainian and Russian as Identification processes are tied to their ago and subsequently the multi-lingual European well as sexual minorities. Together, they fly over regions, represented through historical issues and Union born. More recent EU ‘acquisitions’ are not Budapest together in a small tourist plane, “an the framings of political events. These processes necessarily of post-war Western European origin. attempt to reformulate basic human relations, can be expanded to culturally conditioned, I have in mind the Central and Eastern European where suddenly what is instinctive and physical socio-political practices and their geographies. countries. Their continuing social and cultural influences the political, obviously as an illusionary Narratives of belonging to post-Socialist spaces, invisibility in the European project highlights the moment”.4 manifested as a sense of fragmented, resisting, Top: problematic situation in the (re)emergence of a ambivalent and performative micro-hi/stories, Belt (2010), European cultural identity. This problem concerns reveal both the dynamics of political criticism and video still, a scarcity of common histories and memories in subversive positions.2 Eva Labotkin the search for tangible links between West and I want to introduce and reflect on art East. It is timely to acknowledge other histories practice broadly enveloped in the Central and Middle: of ‘our Europe’ that include wider cultural and Eastern European feminist tactics of today. The Don’t Do It political spaces and transcend ‘translation’-based intersecting histories and cultures, shared traumas, Wrong! (2007), frictions. Despite the on-going protests, despite and recent geo-political conditions within post- 3 video still, initiatives such as the plea of Jonathan Bate , Socialist Europe, are embedded in these artists’ Katarina Zdjelar which details the contribution of the arts and cultural practices. By discussing the instances humanities to the value and quality of life, we of cultural strategies purposefully located at Bottom: witness serious threats to the future of education the tensions between institutional spaces and Airways (2008), and cultural life in the UK and beyond. I also independent production, my reflections will focus video still, wonder, what kind of message does it send to those on the Diaspora-infused artistic strategies engaged Joanna who entered UK academia and art practice from in cultural forms of representation. Rajkowska elsewhere, like myself? I set out to explore cultural tactics situated Artists, writers and curators from the European in the neo-liberal context of today that point Diaspora who often live and work in zeugmatic to alternative modes of instituting and relating spaces that can be perceived simultaneously as a to society, individuals and institutions. These home and abroad, have contributed to a revival practices appear to afford illusionary hopes to of politically engaged critical voice, evident those areas that are disempowered locally by the from recent theory advancement and curatorial inertia effects of global capitalism, and yet also initiatives of the geographies and art scenes allow for distance to be maintained from such of Central and Eastern Europe. As European ‘utopian’ pursuits. Accordingly, the questions democratic rhetoric within the global corporate emerge as to whether feminist-infused critiques capitalist frame establishes its prominence across can become part of broader histories and social political, social and cultural spaces – witness the and political struggles, and whether feminist UK coalition government flagship policy aims of histories transgress the market game concerns its Big Society – critically infused art discourse can and celebrity art-lite of international biennials? form a commentary on contemporary events, such Addressing these questions, let us discuss as the ‘European project’, and can offer a way of the examples of emergent practice involving intervening in rewriting history. It thus has the geographies of the in-betweens and the post- potential to form a movement of resistance and Socialist European scapes in particular, and their protest, a mechanism to initiate change or evoke resistance tactics to potential recuperation by the an alternative voice. capitalist institution. For instance, some artists enact docu-fictions which expose the identity politics inherent Embedding Diasporas within media rhetoric, such as the video works The consolidation of the global financial crisis of Tallinn-based artist Eva Labotkin’s Woman as well as reframing of the socio-political and in the Field (2007) and Belt (2010). Politicising economic ‘transition’ from post-Socialism in the video medium, the artist comments on the European spaces have led to the emergence of a ideological constructions of ‘(mother)land’ in critical political discourse in contemporary art today’s politics. The relationship with one’s But why are such artistic voices necessary? practice, a re-mobilisation of feminist politics place is demarcated by giving birth to the land, After all, art production is now complicit and and the re-writing of histories. At the same woman’s role in a production of national ideals closely integrated with global capitalism, time, extensive migration across the border and sentiments in relation to one’s belonging both economically and socially, and is largely of ‘Fortress Europe’ has fuelled nationalistic and political discourse on re-terrioralisation of subservient to that system. Echoes of alternative rhetoric and placed a rewriting of neo-liberal the new nation, its new dreams in new Europe. cultural forms of production, that appear once sentiments on both sides, East and the West, Other forms of representation on reproducing more to be coveted, can be found in the more firmly on the agenda. Against the backdrop of the nationhood are addressed by Belgrade-born and or less Marxist-inspired social activisms of the global financial crisis, public cuts, governmental Rotterdam-based Katarina Zdjelar’s video Don’t first half of the twentieth century that emerged initiatives supporting EU-policy led private Do it Wrong! (2007). On a typical morning in a predominantly in the West, as well as in the variant 41 | SPrin G 2011 | 49 underground and neo-avant-garde movements curatorial projects aimed at framing art forms the ideological appropriation of feminisms and a in the Central and Eastern European spaces in from the geographies of Eastern Europe. The survival of some feminist spaces in the discourse the second half of the twentieth century5. But in research, the exhibition, and a symposium have of women’s emancipation entailed by Communism. searching for alternative voices in this cultural looked at both official and unofficial art from the In discussing the link between Communism turn, beyond cynical play with neo-liberal rhetoric, region demarcated by the Baltic Republics and the and feminism, she seems to identify the source there is a need to assess the elements of its Caucasus, starting from the 1960s to the decisive of oppression: while Communism relied on the resistance to dominant capitalist logic.
Load more

Recommended publications
  • The Political Body in Chinese Art
    Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-2011 The olitP ical Body in Chinese Art Curtis Carter Marquette University, [email protected] Accepted Version. "The oP litical Body in Chinese Art" in Subversive Strategies in Contemporary Chinese Art. Eds. Mary Bittner Wiseman and Yuedi Liu. Leiden; Boston: Brill, 2011: 109-125. DOI: DOI. © 2011 Brill. Used with permission. NOT THE PUBLISHED VERSION; this is the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation at the bottom of the page. The Political Body in Chinese Art Curtis L. Carter Department of Philosophy, Marquette University Milwaukee, WI The uses of visual images based on calligraphy and the depiction of the human body in Chinese art have served an important role in the exercise of political power by leaders in Chinese culture. The two media that are most closely linked to the exercise of political power in Chinese culture are written or performed calligraphy and representational art featuring the human figure. The latter is more familiar in western nations where one often finds sculptures of political figures displayed in prominent public spaces. However, in China calligraphy as a form of written art serves as a principal symbolic expression of political power. This is true in both traditional Chinese culture and also the Twentieth Century revolutionary period and beyond. The connection between figurative political images and political power needs little explanation for a western audience. But how is calligraphy connected to the theme of the political body in Chinese art and culture? One answer is offered in Mao Zedong’s early writings, where he linked the practice of calligraphy to physical training of the body.
    [Show full text]
  • Ann Ardis Chaper 5 from "Modernism and Cultural Conflict"
    MODERNISM AND CULTURAL CONFLICT 1880-1922 ANN L. ARDIS CAMBRIDGE UNIVERSITY PRESS Published BY The PRESS Syndicate of The University OF Cambridge The Pitt Building Trumpington Street Cambridge C B 2 I RP United Kingdom Cambridge University Press The Edinburgh Building Cambridge C B2 2RU UK 40 West 20th Street, New York, AY 1001 1 -42 I I, USA 477 Willamstown Road, Port Melbourne VIC 3207, Australia Ruiz de Alarcon 13 28014 Madrid, Spain Dock House, The Waterfront Cape Town 8oo1, South Africa http: //wmw.cambridge.org © Ann L. Ardis 2002 This book is in copyright Subject to statutory exception arid to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published in Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville Monotype I 1 /12.5 pt System LATEX 2E [ TB A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication data Ardis Ann L. 1957 Modernism arid cultural conflict 1880 1922 / Ann I,. Ardis. p. cm. Includes bibliographical references and index. ISBN o 52 I 81206 2 I. English literature 20th century History and criticism. 2. Modernism (Literature) Great Britain. 3. Culture conflict Great Britain. 4. Culture conflict in literature. I. Title PK478.MG A74 2002 820.9’1 12 dc2 I 2002067060 ISBN o 52 I 81206 2 hardback CHAPTER 5 “Life is not composed of watertight compartments”: the New Age ’s critique of modernist literary specialization BLAST GRAMMAR, BLESS CLICHE, BLAST SPELLING, BLESS BIG PRINT, BLAST REASON, BLESS BLOOD, BLAST SENSE, SO BLESS SELF, SO BLAST THE NEW AGE.
    [Show full text]
  • Leni Sinclair Is the 2016 Kresge Eminent Artist
    2016 KRESGE EMINENT ARTIST LENI SINC LAIR The Kresge Eminent Artist Award honors an exceptional artist in the visual, performing or literary arts for lifelong profes- sional achievements and contributions to metropolitan Detroit’s cultural community. | Leni Sinclair is the 2016 Kresge Eminent Artist. This monograph commemorates her life and work. Fred “Sonic” Smith in concert with the MC5 at Michigan State University, Lansing, Michigan, 1969. Front Cover: Dallas Hodge Band concert at Gallup Park, Ann Arbor, Michigan, 1974. 5 Forward Other Voices 42 The Greatness 76 “John Sinclair” Kresge Arts in Detroit By Rip Rapson 13 Hugh “Buck” Davis of Leni Sinclair By John Lennon 108 2015-16 Kresge Arts in Detroit President and CEO 27 Bill Harris By John Sinclair Advisory Council The Kresge Foundation 35 Robin Eichele 78 A People’s History of the 47 Harvey Ovshinsky CIA Bombing Conspiracy 108 The Kresge Eminent Artist 6 Artist’s Statement 55 Peter Werbe Art (The Keith Case): Or, Award and Winners 71 Juanita Moore and Lars Bjorn 52 When Photography How the White Panthers 85 Judge Damon J. Keith is Revolution: Saved the Movement 110 About The Kresge Foundation Life 97 Rebecca Derminer Notes on Leni Sinclair By Hugh “Buck” Davis Board of Trustees 10 Leni Sinclair: Back 97 Barbara Weinberg Barefield By Cary Loren Credits In The Picture 90 Photographs: Acknowledgements By Sue Levytsky 62 Leni Sinclair: The Times 40 Coming to Amerika: Out of the Dark 22 A Reader’s Guide Leni Sinclair Chronicled Our By Herb Boyd 100 Biography Dreams and Aspirations 24 Photographs: By George Tysh 107 Our Congratulations Michelle Perron The Music Activism 68 The Evolution of Director, Kresge Arts in Detroit a Commune 107 A Note From By Leni Sinclair Richard L.
    [Show full text]
  • Cultural Policy Regimes in Western Europe Vincent Dubois
    Cultural Policy Regimes in Western Europe Vincent Dubois To cite this version: Vincent Dubois. Cultural Policy Regimes in Western Europe. 2013. halshs-00836422 HAL Id: halshs-00836422 https://halshs.archives-ouvertes.fr/halshs-00836422 Preprint submitted on 21 Jun 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cultural Policy Regimes in Western Europe International Encyclopedia of the Social & Behavioral Sciences, 2nd edition, Elsevier, forthcoming, 2014. Vincent Dubois Université de Strasbourg, SAGE UMR 7363 MISHA, 5 allée du Général Rouvillois CS 50008 – F-67083 Strasbourg cedex FRANCE +33 (0)3 68 85 61 70 [email protected] Abstract: European countries have built cultural policy regimes, which reflect the patterns of national political histories and of national cultural fields. These models consist in various ways of establishing culture as a policy domain, in the definition of cultural policy rationales, and in modes of organization and of governance compatible with democratic standards. This triple specification process has never been fully achieved. It is being challenged in a way that questions these policy regimes and the notion of cultural policy they had defined. Keywords: Cultural policy; Europe; Art; Government; State; Patronage; Institutions; Public administration; Cultural participation; Heritage Introduction Cultural policy regimes reflect the histories of nation and state building, the institutional configurations and the modes of government specific to each country.
    [Show full text]
  • An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960S-1980S Abney Louis Henderson University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-10-2014 Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s Abney Louis Henderson University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Race, Ethnicity and Post-Colonial Studies Commons Scholar Commons Citation Henderson, Abney Louis, "Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5236 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Four Women: An Analysis of the Artistry and Activism of Black Women in the Black Arts Movement, 1960’s–1980’s by Abney L. Henderson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts with a concentration in Africana Studies Department of Africana Studies College of Art and Sciences University of South Florida Major Professor: Cheryl Rodriquez, Ph.D. Kersuze Simeon-Jones, Ph.D. Navita Cummings James, Ph.D. Date of Approval: July 10, 2014 Keywords: Black Revolution, Cultural Identity, Creative Expression, Black Female Aesthetics Copyright © 2014, Abney L. Henderson DEDICATION “Listen to yourself and in that quietude you might hear the voice of God.” -Dr. Maya Angelou April 4,1928-May 28, 2014 For my mother, Germaine L.
    [Show full text]
  • Abram Loft Collection
    ABRAM LOFT COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, Fall 2019 1 The Fine Arts Quartet (Leonard Sorkin, Abram Loft, Gerald Stanick, and George Sopkin). Photograph from publicity flyer distributed by Colbert Artists Management, from Abram Loft Collection, Box 38, Folder 3, Sleeve 1. Photograph from unidentified event, from Abram Loft Collection, Box 38, Folder 1, Sleeve 4. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Sub-Group I: Papers Series 1: Publicity and press materials Sub-series A: Concert programs . 16 Sub-series B: Press clippings . 20 Series 2: Fine Arts Quartet papers Sub-series A: Papers . 30 Sub-series B: Itineraries, calendars, contract, and programs . 33 Sub-series C: Financial records . 44 Sub-series D: Program notes . 49 Sub-series E: Proposals, projects, and scripts . 57 Series 3: Eastman School of Music papers . 65 Series 4: Professional papers . 70 Series 5: Personal papers . 81 Series 6: Lecture and pedagogical material . 82 Series 7: Writing and research Sub-series A: Writing (music) . 86 Sub-series B: Card files . 109 Sub-series C: Writing (other interests) . 110 3 Series 8: Correspondence Sub-series A: Correspondence pertaining to the Fine Arts Quartet . 116 Sub-series B: Professional correspondence . 118 Sub-series C: Personal correspondence . 125 Series 9: Iconography . 126 Sub-Group II: Printed Music Series 1: Chamber music . 130 Series 2: Performance parts . 132 Series 3: Solo music . 143 Series 4: Consort music . 145 Sub-Group III: Audio-Visual Materials Series 1: 5” and 7” audio reels .
    [Show full text]
  • An Exploration of How Cultural Values, Aesthetics, and Social Constructions of Race and Ethnicity Shape Literary Texts and Literary Production
    Literature Courses-1 LIT 99/English Department Orientation Seminar 0 course unit (fall) LIT 200/Introduction to Poetry 1 course unit (every semester) Prerequisite: Reserved for English students This course is designed to provide students with an overview and basic comprehension of the diverse forms and devices of poetry; in particular, students will develop a fundamental understanding of poetry’s rhetorical structures and conventions. LIT 201/Approaches to Literature 1 course unit (every semester) Prerequisite: Reserved for English students An introduction to the various approaches and theories employed by professional literary critics and scholars to enhance students' understanding, evaluation, and appreciation of literary works. The course has an intensive focus on helping students think critically and write skillfully about literature. LIT 202/Cultures and Canons 1 course unit (every semester) Prerequisite: Reserved for English students An exploration of how cultural values, aesthetics, and social constructions of race and ethnicity shape literary texts and literary production. Students will engage in debates involving aesthetic value, disciplinary politics, universality, and canonicity and examine the role of power, categories of difference, and intersectionality. LIT 211/British and American Women Writers 1 course unit (same as WGS 211) (occasionally) Exploration of literary and gender studies focused specifically on Anglo-American women writers from the 17th century to the present. LIT 221/Genre Studies: Poetry 1 course unit (occasionally) This course is designed to provide students with an overview and basic comprehension of the diverse forms and functions of the genre of poetry; in particular, students will develop a fundamental understanding of the history, structure, and conventions of poetry by analyzing literary works that adhere to and/or challenge this generic tradition.
    [Show full text]
  • 1 QUEST 1: IDS 2935 David Leavitt Office Hours
    1 QUEST 1: IDS 2935 POLITICS AND THE ARTS, 1910-2018 David Leavitt Office Hours: T 9:30-10:30 am and by appointment Office Location: Turlington 4101 Phone: 352 871 8120 Email: [email protected] TA: Django Ellenhorn Office Hours: R 9:30-10:30 am and by appointment Email: [email protected] Time: T 3-4, R 4 Location: Weimer 1094 Quest 1 Theme: The Examined Life General Education: Humanities, Writing (2000 words) (Note that a minimum grade of C is required for General Education credit) Class resources, announcements, updates, and assignments will be made available through the class Canvas site. COURSE DESCRIPTION The relationship between politics and the arts has always been a fraught one. At one end of the spectrum are those artists and writers who advocate a strict separation of art and politics (“art for art’s sake”); at the opposite end are those who consider it the creative artist’s duty to engage with the political issues of their time. In this course, we will look at five arenas in which politics and the arts became inextricably caught up with each other and artists found themselves obliged to enter into the political fray, sometimes even if they didn’t want to. Through the close reading of stories, novels, poems, and essays, as well as consideration of paintings and other examples of the visual arts, theater, dance, and film, we will examine how the arts have reflected, foretold, and sometimes brought about political change. Our approach will be to study these works less as discrete entities than as participatory contributions (sometimes polite, sometimes contentious, sometimes enraged) to an unending conversation about government, sexuality, gender, race, ethnicity, war, and religion; in short, about what it means to be human.
    [Show full text]
  • History of Art 1
    History of Art 1 • History of Art, Minor (https://e-catalogue.jhu.edu/arts-sciences/full- HISTORY OF ART time-residential-programs/degree-programs/history-art/history-art- minor/) http://arthist.jhu.edu/ • History of Art, PhD (https://e-catalogue.jhu.edu/arts-sciences/full- time-residential-programs/degree-programs/history-art/history-art- Supporting a proud tradition of excellence in humanities scholarship phd/) and teaching, Johns Hopkins University offers students a diverse range of resources and opportunities for the study of art history. Courses • History of Art, Bachelor of Arts/Master of Arts (https://e- are taught by an international faculty of respected research scholars, catalogue.jhu.edu/arts-sciences/full-time-residential-programs/ covering a broad temporal scope of the art and architecture of Europe, degree-programs/history-art-bachelor-arts-master-arts/) the Islamic world, Asia, the Americas, and the trans-Atlantic world. Participating in small classes with opportunities for close study of art in For current course information and registration go to https://sis.jhu.edu/ local and regional collections, students integrate their direct experience classes/ of works of art with the knowledge and critical perspective gained through historical research, discussion, and debate. Courses AS.010.101. Introduction to Art History I. 4 Credits. Programs leading to the BA, BA/MA, and PhD degrees emphasize the A survey of painting, sculpture, and architecture from Egyptian, Greek, value of investigating works of art in their historical, intellectual, and Roman, and medieval culture. social contexts, and enable students to deepen their understanding of Area: Humanities cultural history in conjunction with courses in other departments and Writing Intensive programs.
    [Show full text]
  • Variantnumber 42Winter 2011Free Cross Currents in Culture
    cross currents in culture variant number 42 winter 2011 free 2 | variant 42 | winter 2011 contents Variant, 42, Winter 2011 The recent future of Scottish Art Print ISSN: 09548815 Robin Baillie and Neil Mulholland Variant engages in the Editorial Group 3 examination and critique of editor/ administration: society and culture, drawing Leigh French The Economy of Abolition/ from knowledge across the co-editors: arts, social sciences and Gordon Asher Abolition of the Economy 7 humanities, as an approach to John Beagles creative cultural practice and Lisa Bradley Neil Gray in exchange with Marina Vishmidt as something distinct from Neil Gray promotional culture. Gesa Helms “Language is never neutral” It is an engagement of Daniel Jewesbury practice which seeks to publicly Owen Logan Responses to Variant’s interview with 12 participate in and understand Advisory Group Andrew Dixon, CEO of Creative Scotland culture ‘in the round’. That is, Monika Vykoukal in the many and various ways Simon Yuill culture exemplifies, illuminates Kirsten Forkert Boredom in the Charnel House and engages with larger societal Theses on ‘Post-industrial’ Ruins processes. Design 18 We contend it is constructive Kevin Hobbs John Cunningham and essential to place articles Printers which address the multiple Spectator Newspapers, Bangor, facets of culture alongside BT20 4AF Co. Down, N. Ireland Art of Protest articles on issues that inform On Testing Cultural Forms of Resistance or have consequences for Contribute Contributors’ guidelines are 22 the very production and available on the Variant website. Katarzyna Kosmala in conversation subject of knowledge and its communication. Contact with Oliver Ressler Variant Variant is a constituted cultural 1/2, 189b Maryhill Road, organisation that functions with Glasgow, G20 7XJ, Scotland, UK Tales from a River Bank the assistance of public support, Bullying, the Arts, and the Production of Museum Space donations, subscriptions and t.
    [Show full text]
  • The Representation of American Visual Art in the USSR During the Cold War (1950S to the Late 1960S) by Kirill Chunikhin
    The Representation of American Visual Art in the USSR during the Cold War (1950s to the late 1960s) by Kirill Chunikhin a Thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History and Theory of Arts Approved Dissertation Committee _______________________________ Prof. Dr. Isabel Wünsche Jacobs University, Bremen Prof. Dr. Corinna Unger European University Institute, Florence Prof. Dr. Roman Grigoryev The State Hermitage, St. Petersburg Date of Defense: June 30, 2016 Table of Contents Abstract ...................................................................................................................... v Acknowledgements ................................................................................................. vii Statutory Declaration (on Authorship of a Dissertation) ........................................... ix List of Figures ............................................................................................................ x List of Attachments ................................................................................................. xiv Introduction ................................................................................................................ 1 PART I. THE SOVIET APPROACH: MAKING AMERICAN ART ANTI- AMERICAN………………………………………………………………………………..11 Chapter 1. Introduction to the Totalitarian Art Discourse: Politics and Aesthetics in the Soviet Union ......................................................................................................
    [Show full text]
  • Council of Europe Art Exhibitions Toward a New Concept and Initiative
    Strasbourg, 23 May 2016 CDCPP(2016)9 Item 5.1 on the agenda STEERING COMMITTEE FOR CULTURE, HERITAGE AND LANDSCAPE (CDCPP) COUNCIL OF EUROPE ART EXHIBITIONS TOWARD A NEW CONCEPT AND INITIATIVE: “WE, THE OTHERS” For information and action Secretariat Memorandum prepared by the Directorate of Democratic Governance Democratic Institutions and Governance Department This document is public. It will not be distributed at the meeting. Please bring this copy. Ce document est public. Il ne sera pas distribué en réunion. Prière de vous munir de cet exemplaire. 2 ”By art alone we are able to get outside ourselves, to know what another sees of this universe which for him is not ours, the landscapes of which would remain as unknown to us as those of the moon.” (M. Proust, Time Regained) Background In November 2015 the Bureau of the CDCPP discussed a first reflection paper “Rethinking Council of Europe Art Exhibitions: Towards a revised concept” and underlined its wish not to suppress, but rather to see Art Exhibitions redefined, to make full use of their potential to promote Council of Europe values. The Bureau asked the Secretariat to consult with a small group of experts to pursue reflections and prepare proposals on the follow-up to Council of Europe Art Exhibitions, for consideration in time for the forthcoming session of the Bureau of the CDCPP, in spring 2016. An expert meeting was held on 18 December 2015 at the Council of Europe Office in Brussels and the findings of the meeting were reported to the CDCPP Bureau meeting on 21-22 April 2016.
    [Show full text]