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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. -
Summer Lovin'
‘SATURDAY FIRST-ROUND TURNING 20 SHANGHAI TANG MAKES PLANS NIGHT’ FASHION TO MARK ANNIVERSARY. PAGE 8 BEHIND THE SCENES AT SAKS WITH ANDREW WIGGINS, RETAILER TEAMS WITH “SNL” THE NBA'S NUMBER-ONE FOR KEY TO THE CURE. PAGE 2 PICK. PAGE 10 POISON PILL ADOPTED Charney Set to Fight For American Apparel By EVAN CLARK THE BATTLE FOR American Apparel Inc. is heat- WWD ing up with both ousted founder Dov Charney and the board that deposed him angling for position. But they are just the main combatants. On the sidelines are a host of interested parties MONDAY, JUNE 30, 2014 $3.00 WOMEN’S WEAR DAILY Q Q — from lenders such as Lion Capital, which is owed $10 million, to would-be investors licking their chops at a brand that they believe should be much bigger and profitable. One financial player who took a look at American Apparel said there’s plenty of opportunity to improve the business. Inventories, for instance, could turn much quicker. “Everyone sees the quality of the brand,” said the source, who described Charney was “a very, very tal- ented merchant,” but said he had become a one-man band, personally overseeing the company’s 249 stores. “American Apparel, as a brand, should be big abroad,” the source said, noting it could do that and maintain it’s U.S.-based production philosophy. But how the brand develops from here depends on who’s in the driver’s seat. Summer The company scrambled over the weekend to set up a stockholder rights plan, or poison pill, to prevent ousted Charney from regaining control of the firm by accumulating more stock. -
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. -
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. -
Urban Representation in Fashion Magazines
Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity -
Locational Relationality in Hedi Slimane and Helmut Lang Susan Ingram
Document généré le 3 oct. 2021 03:30 Imaginations Journal of Cross-Cultural Image Studies Revue d’études interculturelles de l’image Where the Boys Who Keep Swinging Are Now Locational Relationality in Hedi Slimane and Helmut Lang Susan Ingram Fashion Cultures and Media – Canadian Perspectives Résumé de l'article Cultures et médias de la mode – Perspectives canadiennes Cet article illustre les mécanismes par lesquels Berlin et Vienne en sont venus à Volume 9, numéro 2, 2018 figurer différemment dans l’imaginaire mondial de la mode. Il établit la relation locale stylistique de Hedi Slimane et Helmut Lang, deux dessinateurs URI : https://id.erudit.org/iderudit/1059167ar de mode connus pour leur styles distictintifs qui résistent aux normes DOI : https://doi.org/10.17742/IMAGE.FCM.9.2.7 prévalentes de la respectabilité bourgeoise. La nature relationnelle de leurs identités géographiques—L’attrait de Berlin pour Slimane et le rejet de Vienne pour Lang—est liée à l’imaginaire urbain des deux villes, ce qui se manifeste en Aller au sommaire du numéro rendant hégémoniques des aspects particuliers des époques et du style de l’histoire des deux villes. Éditeur(s) York University ISSN 1918-8439 (numérique) Découvrir la revue Citer cet article Ingram, S. (2018). Where the Boys Who Keep Swinging Are Now: Locational Relationality in Hedi Slimane and Helmut Lang. Imaginations, 9(2), 67–83. https://doi.org/10.17742/IMAGE.FCM.9.2.7 All Rights Reserved ©, 2018 Susan Ingram Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. -
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. -
IRINA KORINA: “I Am Interested in How to Make Work That Joins Memories, Nostalgia, and Architecture
SUMMER 2017 EXHIBITION SEASON IRINA KORINA: “I am interested in how to make work that joins memories, nostalgia, and architecture. For me, ultimately, Congo Art Works: it’s about a Popular Painting transformation /PAGE 4 of the hierarchy Raymond Pettibon. The Cloud of of values.” Misreading /PAGE 6 David Adjaye: Form, Heft, Material /PAGE 12 Kholin and Sapgir. Manuscripts /PAGE 14 Bone Music. An Interview with Stephen Coates /PAGE 15 Irina Korina: The Tail Wags the Comet /PAGE 3 www.garagemca.org 2 EDITORIAL Welcome! Dear Garage visitor, Dasha Zhukova, Anton Belov, Founder, Garage Museum Director, Garage Museum of Contemporary Art of Contemporary Art his is the third edition of Garage Gazette, an hether you are at Garage for the first time to the collector and chronicler of Moscow underground annual publication which provides information or a regular visitor, I’d like to welcome art Leonid Talochkin and the artist Viktor Pivovarov. The about the Museum’s summer season and gives you to the Museum, which has become an Archive is accessible to the general public—we even offer a sneak preview of what’s to come in fall. First, established landmark in Gorky Park since free tours—and we continue to curate exhibitions based Tthough, I would like to look back to the start of 2017 Wopening here two years ago. We are really excited about on our holdings. This summer you can see Kholin and and Garage Triennial of Russian Contemporary Art, our summer season and hope that you will be too. Sapgir. Manuscripts, which looks at the work of two lead- which brought together works by over 60 artists and Since March, we have presented a specially-commis- ing poets of the Moscow underground with strong links to artist groups from across the country. -
Slimane Back in Black As King of Paris Fashion Week
Established 1961 22 T Sunday, September 30, 2018 L i f e s t y l e Fa s h i o n Fashion s bad boy Gaultier showcases’ life and work in freak revue was weaned on musicals ... totally transfixed by the school for drawing gowns in the classroom and goes on to plumes and the paste jewels. I told myself that one his stint at Cardin, his first collection and his inspirations “Iday I would stage a revue,” Jean-Paul Gaultier said ‘and muses, including Kylie’ Minogue, Madonna and Pedro of a childhood dream that has now taken shape at the Almodovar. Folies Bergeres, a landmark Parisian theatre. “The Fashion Boasting colors screaming Florida and enlivened by Freak Show”, which opens to the public next week, traces energetic disco beats, the revue also showcases the the journey of the enfant terrible of French couture from quirky collections of the bad boy of fashion over the his humble origins in a Paris suburb to international star- years such as his corset dresses and the Perfecto gown. dom. The 66-year-old began his career as an assistant Gaultier’s life is laid bare with scenes from a gay cruising with Pierre Cardin and a pathbreaking trail followed that club and a moving moment when his lover and business introduced man skirts, older men, fuller women and heavily partner Francis Menuge dies of AIDS. The show brings tattooed models to the runway and the iconic cone bra together about 15 actors and dancers playing personali- immortalized by pop diva Madonna. -
Large Print Guide
Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir.