Ilya Kabakov Cv
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ilya & Emilia Kabakov
ILYA & EMILIA KABAKOV: NOT EVERYONE WILL BE TAKEN INTO THE FUTURE 18 October 2017 – 28 January 2018 LARGE PRINT GUIDE Please return to exhibition entrance CONTENTS Introduction 3 Room 1 7 Room 2 23 Room 3 37 Room 4 69 Room 5 81 Room 6 93 Room 7 101 Room 8 120 Room 9 3 12 Room 10 5 13 INTRODUCTION 3 Ilya and Emilia Kabakov are amongst the most celebrated artists of their generation, widely known as pioneers of installation art. Ilya Kabakov was born in 1933 in Dnepropetrovsk (now Dnipro) in Ukraine, formerly part of the Soviet Union. When he was eight, he moved to Moscow with his mother. He studied at the Art School of Moscow, and at the V.I. Surikov Art Institute. Artists in the Soviet Union were obliged to follow the officially approved style, Socialist Realism. Wanting to retain his independence, Ilya supported himself as a children’s book illustrator from 1955 to 1987, while continuing to make his own paintings and drawings. As an ‘unofficial artist’, he worked in the privacy of his Moscow attic studio, showing his art only to a close circle of artists and intellectuals. Ilya was not permitted to travel outside the Soviet Union until 1987, when he was offered a fellowship at the Graz Kunstverein, Austria. The following year he visited New York, and resumed contact with Emilia Lekach. Born in 1945, Emilia trained as a classical pianist at Music College in Irkutsk, and studied Spanish Language and Literature at Moscow University before emigrating to the United States in 1973. -
Baltic Triennial 13 – Give up the Ghost
BALTIC TRIENNIAL 13 – GIVE UP THE GHOST Contemporary Art Centre (CAC), Vilnius 11 May – 12 August, 2018 Private view 11 May, 6pm Artistic Director: Vincent Honoré BT13 – GIVE UP THE GHOST launches its fi rst chapter at Contemporary Art Centre (CAC), Vilnius on Friday, 11 May with an evening of performances followed by a public programme on Saturday, 12 May. BT13 in Vilnius includes works by Caroline Achaintre, Evgeny Antufi ev, Korakrit Arunanondchai, Darja Bajagić, Olga Balema, Nina Beier, Huma Bhabha, Dora Budor, Miriam Cahn, Jayne Cortez, Melvin Edwards, Daiga Grantina, Max Hooper Schneider, Anna Hulačová, Pierre Huyghe, E’wao Kagoshima, Sanya Kantarovsky, Ella Kruglyanskaya, Benoît Maire, Katja Novitskova, Pakui Hardware, Anu Põder, Laure Prouvost, Ieva Rojūtė, Rachel Rose, Augustas Serapinas and Michael E. Smith alongside a public programme of performances by Liv Wynter, Adam Christensen, Anton Lukoszevieze, Ieva Rojūtė and Žygimantas Kudirka celebrating the Triennial. The Baltic Triennial has historically taken place at the CAC Vilnius only. For its 13th edition, it will - for the fi rst time - be organised by and take place in Lithuania, Estonia (opening on June 29th) and Latvia (opening on September 21st), taking the form of three distinct chapters. Baltic Triennial 13 is informed by a shared concern: what does it mean to belong at a time of fractured iden- tities? BT13 – GIVE UP THE GHOST unfolds through and with this very question, careful not to off er a single or illustrative response. Instead, it opts for a collective vision of what is at stake: independence and depen- dency—and everything that lies in between—to territories, cultures, classes, histories, bodies and forms. -
Your Itinerary
Discover the Baltics and Russia Your itinerary Start Location Visited Location Plane End Location Cruise Train Over night Ferry Day 1 Bohemian Quarter with its colourful wooden buildings. Arrive Warsaw (2 Nights) Included Meals - Breakfast Tucked away, but not forgotten, the Baltics stand at the edge of Europe revived and Day 9 reinvigorated after years of Nazi and Soviet occupation. Storybook capitals and stunning natural landscapes lie ahead, but first Poland's capital gets the nod as your Tallinn – St. Petersburg (4 Nights) launchpad to a region that has emerged vibrant despite its tragic history. Meet your Head east to the town of Narva, dominated by the mighty Hermannsburg Fortress, Travel Director and fellow travellers, then enjoy dinner together. where we cross the River Narva, which forms the Russian border. Then, it's on to St. Petersburg, founded by Peter the Great. This port city is Russia's cultural centre Holiday Inn Express Hub Hotel - and with its worldfamous opera, ballet and art museums, it offers a fascinating look into Russia's past. Included Meals - Dinner Day 2 Hotel - Park Inn by Radisson Pribaltiyskaya Warsaw sightseeing and free time Included Meals - Breakfast, Dinner A lesson in courage and perseverance awaits this morning as you join a Local Day 10 Specialist to visit Warsaw's Old Town. Its façades are more modern than medieval and a testament to the resilience of the Poles who have lovingly restored their St. Petersburg sightseeing and free time capital city after it was razed to the ground in retaliation for the 1944 Warsaw The tales of Romanov royalty come to life as you join a Local Specialist for an Uprising. -
1 the Versions Project: Exploring
THE VERSIONS PROJECT: EXPLORING MASHUP CULTURE By FRANCESCA LYN SUPERVISORY COMMITTEE: Benjamin DeVane, CHAIR Melinda McAdams, MEMBER James Oliverio, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF 1 MASTER OF ARTS UNIVERSITY OF FLORIDA 2011 2 ©2011 Francesca Lyn To everyone who has encouraged me to never give up, this would have never happened without all of you. 3 ACKNOWLEDGMENTS It is a pleasure to thank the many people who made this thesis possible. Thank you to my thesis chair Professor Ben DeVane and to my committee. I know that I was lucky enough to be guided by experts in their fields and I am extremely grateful for all of the assistance. I am grateful for every mashup artist that filled out a survey or simply retweeted a link. Special thanks goes to Kris Davis, the architect of idealMashup who encouraged me to become more of an activist with my work. And thank you to my parents and all of my friends. 4 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………….4 ABSTRACT……..………………………………………………………………………………...6 INTRODUCTION..……………………………………………………………………………….7 Remix Culture and Broader Forms………………………………………………………………..9 EARLY ANTECEDENTS………………………………………………………………………10 Hip-hop…………………………………………………………………………………………..11 THE MODERN MASHUP ERA………………………………………………………………..13 NEW MEDIA ARTIFACTS…………………………………………………………………….14 The Hyperreal……………………………………………………………………………………15 Properties of New Media………………………………………………………………………...17 Community……………………………………………………………………………...…18 -
TAUS MAKHACHEVA Born in 1983 Lives in Makhachkala, Dagestan
TAUS MAKHACHEVA Born in 1983 Lives in Makhachkala, Dagestan Education 2011 - 2013 MA Fine Art, Royal College of Art, London 2008 - 2009 New Strategies in Contemporary Art, The Institute of Contemporary Art, Moscow 2003 - 2007 BA Fine Art, Goldsmiths College, University of London, London Selected Solo Exhibitions 2018 Storeroom, Van Abbe Museum, Eindhoven BaidÀ, narrative projects, London 2017 Cloud Caught on a Mountain, Moscow Museum of Modern Art, Moscow Taus Makhacheva: Second World, Third Attempt, Leo Xu Projects, Shanghai 2015 Vababai Vadadai! *, narrative projects, London (In)sidenotes, Uppsala Konstmuseum, Uppsala 2014 Dagestan. Not for Sale, artSumer Gallery, Istanbul A Walk, A Dance, A Ritual, GfZK Museum of Contemporary Art, Leipzig 2013 What? Whose? Why?, Raf projects, Tehran Story Demands to be Continued, Republic of Dagestan Union of Artists Exhibition Hall, Makhachkala On Historical Ideals of Labour in the Country that Conquered Space, The Mews Project, London The Process of Instance of Breaking Open, Kalmar Konstmuseum, Kalmar 2012 Let Me Be Part of a Narrative, Paperworks Gallery, Moscow Special Project: City States, Topography of Masculinity, 7th Liverpool Biennial of Contemporart Art, Liverpool 2011 Affirmative Action (mimesis), Laura Bulian Gallery, Milan 2010 Affirmative Actions, Panopticon Inutero, Moscow 2009 A Space of Celebration, Pervaya Gallery, Makhachkala Selected Group Exhibitions 2019 Picasso et l’exil, Les Abattoirs, Toulouse Future Generation Art Prize, PinchukArtCentre, Kiev The Keeper; To have and to hold, The Model, Sligo, Ireland 2018 Beautiful world, where are you?, 10th Liverpool Biennial of Contemporary Art, Liverpool The Sea is the Limit, York Art Gallery, York Manifesta 12, Palermo, Italy Mountain of Tongues, BACKLIT Gallery, Nottingham Starting from the Desert. -
3/30/2021 Tagscanner Extended Playlist File:///E:/Dropbox/Music For
3/30/2021 TagScanner Extended PlayList Total tracks number: 2175 Total tracks length: 132:57:20 Total tracks size: 17.4 GB # Artist Title Length 01 *NSync Bye Bye Bye 03:17 02 *NSync Girlfriend (Album Version) 04:13 03 *NSync It's Gonna Be Me 03:10 04 1 Giant Leap My Culture 03:36 05 2 Play Feat. Raghav & Jucxi So Confused 03:35 06 2 Play Feat. Raghav & Naila Boss It Can't Be Right 03:26 07 2Pac Feat. Elton John Ghetto Gospel 03:55 08 3 Doors Down Be Like That 04:24 09 3 Doors Down Here Without You 03:54 10 3 Doors Down Kryptonite 03:53 11 3 Doors Down Let Me Go 03:52 12 3 Doors Down When Im Gone 04:13 13 3 Of A Kind Baby Cakes 02:32 14 3lw No More (Baby I'ma Do Right) 04:19 15 3OH!3 Don't Trust Me 03:12 16 4 Strings (Take Me Away) Into The Night 03:08 17 5 Seconds Of Summer She's Kinda Hot 03:12 18 5 Seconds of Summer Youngblood 03:21 19 50 Cent Disco Inferno 03:33 20 50 Cent In Da Club 03:42 21 50 Cent Just A Lil Bit 03:57 22 50 Cent P.I.M.P. 04:15 23 50 Cent Wanksta 03:37 24 50 Cent Feat. Nate Dogg 21 Questions 03:41 25 50 Cent Ft Olivia Candy Shop 03:26 26 98 Degrees Give Me Just One Night 03:29 27 112 It's Over Now 04:22 28 112 Peaches & Cream 03:12 29 220 KID, Gracey Don’t Need Love 03:14 A R Rahman & The Pussycat Dolls Feat. -
Sculptor Nina Slobodinskaya (1898-1984)
1 de 2 SCULPTOR NINA SLOBODINSKAYA (1898-1984). LIFE AND SEARCH OF CREATIVE BOUNDARIES IN THE SOVIET EPOCH Anastasia GNEZDILOVA Dipòsit legal: Gi. 2081-2016 http://hdl.handle.net/10803/334701 http://creativecommons.org/licenses/by/4.0/deed.ca Aquesta obra està subjecta a una llicència Creative Commons Reconeixement Esta obra está bajo una licencia Creative Commons Reconocimiento This work is licensed under a Creative Commons Attribution licence TESI DOCTORAL Sculptor Nina Slobodinskaya (1898 -1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 TESI DOCTORAL Sculptor Nina Slobodinskaya (1898-1984) Life and Search of Creative Boundaries in the Soviet Epoch Anastasia Gnezdilova 2015 Programa de doctorat: Ciències humanes I de la cultura Dirigida per: Dra. Maria-Josep Balsach i Peig Memòria presentada per optar al títol de doctora per la Universitat de Girona 1 2 Acknowledgments First of all I would like to thank my scientific tutor Maria-Josep Balsach I Peig, who inspired and encouraged me to work on subject which truly interested me, but I did not dare considering to work on it, although it was most actual, despite all seeming difficulties. Her invaluable support and wise and unfailing guiadance throughthout all work periods were crucial as returned hope and belief in proper forces in moments of despair and finally to bring my study to a conclusion. My research would not be realized without constant sacrifices, enormous patience, encouragement and understanding, moral support, good advices, and faith in me of all my family: my husband Daniel, my parents Andrey and Tamara, my ount Liubov, my children Iaroslav and Maria, my parents-in-law Francesc and Maria –Antonia, and my sister-in-law Silvia. -
Zen for Film
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 CHAPTER 4 . ZEN FOR FILM 4 .1 . Zen in Three Episodes No .1 In a slightly darkened museum room I am standing in front of a white screen that fills a rectangular wall with a proportional cinematic rectangle. The image seems to diffuse towards its edges, its contour soft, its corners slightly curved. -
A Guide for Holders of the International Association of Art Card Prepared with Contributions from the Slovak Union of Visual Arts (Slovenská Výtvarná Únia) 2017
A guide for holders of the International Association of Art card Prepared with contributions from the Slovak Union of Visual Arts (Slovenská výtvarná únia) 2017 The International Association of Art (IAA/AIAP) is a non-governmental organization working in official partnership with UNESCO. Its objectives are to stimulate international cooperation among visual artists of all countries, nations or peoples, to improve the socio-economic position of artists nationally and internationally, and to defend their material and moral rights. The IAA issues identity cards to professional visual artists. This card allows free or discounted admission to many galleries and museums in countries around the world. The card is a tool for the lifelong education of artists in their professional artistic research. These institutions, large or small, recognize the benefit they gain from enabling the artists, like art critics and journalists, to visit exhibitions, art events and collections of art, to carry on research, and to gain inspiration. As a member within the IAA network, CARFAC National issues IAA cards exclusively to Canadian professional artists that are members of CARFAC upon request. Only National Committees of the IAA may issue the card. Where to use the IAA card This document includes a chart detailing selected institutions that offer free or discounted admission prices, or other perks to IAA card holders while travelling abroad. This information was obtained from surveying recent users of the card and IAA National Committees worldwide, and is updated regularly – most recently in 2017 by the Slovak Union of Visual Arts (SUVA). Users will find that different areas in Europe are more receptive to the card than others. -
The Illusion of the Initiative an Overview of the Past Twenty Years of Media Art in Central Europe1 Miklos Peternák
The Illusion of the Initiative An Overview of the Past Twenty Years of Media Art in Central Europe1 Miklos Peternák When the political transformations began in ramifications, the entry into the European 1989–90, there were nine countries Union and the demands and opportunities (including the GDR) in this one geographical that came along with this, and, finally, region of Europe; today, at the end of 2010, globalization as the backdrop, which, there are twenty-five (and four more, if we beyond its cultural and economic effects, count all the successor states of the Soviet also made possible military control and Union). This fact alone would require an intervention, as in the case of the Yugoslav explanatory footnote longer than this entire wars. article. The above situation is further colored by What is the significance of this varied, more localized political replacement transformation, this transition? For an economies. Beyond the historical Left-Right outline of contemporary (media) art in dichotomy there has been the potential for Eastern and Central Europe (partly also more authoritarian or presidential systems, including Northern and Southern Europe sometimes drawing on more symbolism- and the Balkans) there are at least three laden atavistic outbreaks of a more blood- processes involved, and probably four— curdling nature. partly in parallel, and partly of mutual influence: the capitalist economic system As for art, the above mentioned that arose after the bankruptcy and failure of circumstances do more than just furnish the ―existing socialisms‖—or to put it another backdrop and immediate environment: in way, the transformation of dictatorships into many cases they themselves are the subject democracies—together with the global matter, whatever the medium. -
Inheriting the Yugoslav Century: Art, History, and Generation
Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 ABSTRACT Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 Copyright by Ivana Bago 2018 Abstract The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non- alignment, and -
Connecticut Student Writers
Connecticut Student Writers Excerpt from “The Seven Deadly Sins” Anne Whitehead, Grade 11 Rockville High School i Volume XXI May 2009 ii Connecticut Student Writers A publication sponsored by the iii Selection Committee Evangeline Abbott Donna Ozga Brina Abrahams Joanne Peluso Kelly Andrews‐Babcock Kim Roberts Fran Cohen Alex Rode Tulani Gant Marcia Rudge Lisa Higgins Jenny Shaff Jepsen Cathy Holdridge Kathy Uschmann Nadine Keane This publication was produced by the Connecticut Writing Project‐Storrs. Director Jason Courtmanche, Ph.D. Program Assistant Graduate Assistant/Layout Sharlene Smith Amanda Friedman Department of English 215 Glenbrook Road Unit 4025A University of Connecticut Storrs, CT 06269‐4025 (860) 486‐2328 (860) 486‐9360 fax [email protected] http://www.cwp.uconn.edu 1 FOREWORD As is implied by the cover of this year’s Connecticut Student Writers, pride in excess can be sinful, but pride in moderation is nothing more than the pleasure and satisfaction that come from diligent and superior work. The teachers of the Connecticut Writing Project are exceedingly proud to present the 21st volume of Connecticut Student Writers. The pages of this year’s magazine emanate pride. Over 1,000 Connecticut students, grades kindergarten through twelve, took such pride in their writing that they submitted hundreds of stories, poems, essays, and plays for publication. The 78 pieces selected for publication reflect our students’ strong sense of pride in their imaginations, their writing, and themselves. The Connecticut Writing Project‐Storrs congratulates the young writers whose work is published in the 2009 Connecticut Student Writers. Furthermore, we would like to thank the writers’ parents and teachers for their proud support and encouragement.