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One Day When Women Can Demand Anything
MARCH | 2007 | issue # 03 www.passportmagazine.ru Paradigm Shift for doing buSiness in russia iStanbul through russian eyeS one day when women can demand anything contents. Publisher’s Letter 2 reaL esTaTe wine & dine The bottom Line New international dimension Thomas Koessler 36-37 Foreign Passport holders to Moscow’s leading residential realtor 26 A Very Special 8th of March Recipe should read this! 4 for the Ladies 38 Editor’s Choice 6 Novikov’s latest creation stimulates What’s On in Moscow in February 8-9 palate 39 Moscow Museums and Galleries 10 Kids ‘n’ Culture 11 Venues 11 Cover sTory Serviced Apartments grow in number and variety as an alternative to Moscow Hotels 28-29 feaTure Asian Fusion Match 40-43 Asian Fusion 44 CommuniTy Toys for Nostalgia 50 One day when women Postcard from Belarus 50 can demand anything 12-15 Mac vs PC (Or Soar with the Eagles) 51 business Community listing 52 Leaders & Changes 16 Distribution list 53 Paradigm Shift for doing business ouT & abouT in Russia 17-19 Forum to highlight Russia-Singapore business ties 20 From the primordial religion of the great arT hisTory mother to sacred contemporary The silver age of russian art in the oriental art 30-31 pre-soviet period 21 Fighting Fit 32 TraveL performing arT Johnnie Walker Black Label Black Ball 54 Dancing the night away 54 CERBA & Russo-British joint meeting 55 IWC Evening of Excellence raises cash for charity 55 The LasT word Istanbul through russian eyes 22-25 80 Years Young 34-35 Eric Kraus 56 PASSPORT | MARCH | 2007 | issue # 03 .letter from the -
Museological Unconscious VICTOR TUPITSYN Introduction by Susan Buck-Morss and Victor Tupitsyn the Museological Unconscious
The Museological Unconscious VICTOR TUPITSYN introduction by Susan Buck-Morss and Victor Tupitsyn The Museological Unconscious VICTOR TUPITSYN The Museological Unconscious VICTOR TUPITSYN Communal (Post)Modernism in Russia THE MIT PRESS CAMBRIDGE, MASSACHUSETTS LONDON, ENGLAND © 2009 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email special_sales@ mitpress.mit .edu or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Sabon and Univers by Graphic Composition, Inc., Bogart, Georgia. Printed and bound in Spain. Library of Congress Cataloging-in-Publication Data Tupitsyn, Viktor, 1945– The museological unconscious : communal (post) modernism in Russia / Victor Tupitsyn. p. cm. Includes bibliographical references and index. ISBN 978-0-262-20173-5 (hard cover : alk. paper) 1. Avant-garde (Aesthetics)—Russia (Federation) 2. Dissident art—Russia (Federation) 3. Art and state— Russia (Federation) 4. Art, Russian—20th century. 5. Art, Russian—21st century. I. Title. N6988.5.A83T87 2009 709.47’09045—dc22 2008031026 10 9 8 7 6 5 4 3 2 1 To Margarita CONTENTS PREFACE ix 1 Civitas Solis: Ghetto as Paradise 13 INTRODUCTION 1 2 Communal (Post)Modernism: 33 SUSAN BUCK- MORSS A Short History IN CONVERSATION 3 Moscow Communal Conceptualism 101 WITH VICTOR TUPITSYN 4 Icons of Iconoclasm 123 5 The Sun without a Muzzle 145 6 If I Were a Woman 169 7 Pushmi- pullyu: 187 St. -
Exhibition Provides New Insight Into the Globalization of Conceptual Art, Through Work of Nearly 50 Moscow-Based Artists Thinki
EXHIBITION PROVIDES NEW INSIGHT INTO THE GLOBALIZATION OF CONCEPTUAL ART, THROUGH WORK OF NEARLY 50 MOSCOW-BASED ARTISTS THINKING PICTURES FEATURES APPROXIMATELY 80 WORKS, INCLUDING MAJOR INSTALLATIONS, WORKS ON PAPER, PAINTINGS, MIXED-MEDIA WORKS, AND DOCUMENTARY MATERIALS, MANY OF WHICH OF HAVE NOT BEEN PUBLICLY DISPLAYED IN THE U.S. New Brunswick, NJ—February 23, 2016—Through the work of nearly 50 artists, the upcoming exhibition Thinking Pictures will introduce audiences to the development and evolution of conceptual art in Moscow—challenging notions of the movement as solely a reflection of its Western namesake. Opening at the Zimmerli Art Museum at Rutgers in September 2016, the exhibition will explore the unique social, political, and artistic conditions that inspired and distinguished the work of Muscovite artists from peers working in the U.S. and Western Europe. Under constant threat of censorship, and frequently engaging in critical opposition to Soviet-mandated Socialist Realism, these artists created works that defied classification, interweaving painting and installation, parody and performance, and images and texts in new types of conceptual art practices. Drawn from the Norton and Nancy Dodge Collection at the Zimmerli, the exhibition features masterworks by such renowned artists as Ilya Kabakov, Komar and Melamid, Eric Bulatov, Andrei Monastyrsky, and Irina Nakhova, and introduces important works by under-represented artists, including Yuri Albert, Nikita Alekseev, Ivan Chuikov, Elena Elagina, Igor Makarevich, Viktor Pivovarov, Oleg Vassiliev, and Vadim Zakharov. Many of the works in the exhibition have never been publicly shown in the U.S., and many others only in limited engagement. Together, these works, created in a wide-range of media, underscore the diversity and richness of the underground artistic currents that comprise ‘Moscow Conceptualism’, and provide a deeper and more global understanding of conceptual art, and its relationship to world events and circumstances. -
Brochure Page-5.Pdf
Russian Revolution Revisited A project on archive material and contemporary curatorial practices Based on material from the Costakis archive collection, SMCA, Thessaloniki, Greece CREDITS Production Curatorlab, Konstfack University College of Arts, Crafts and Design Editor Domna Gounari Editing supervisor Yannis Bolis Texts Nayia Yiakoumaki Maria Tsantsanoglou Domna Gounari Proofreading-Translations Giorgos Christides Kleoniki Christoforidou Design Artnoise Designers LTD Printing-Binding CopyHouse Digital Printing Acknowledgements I would like to express a special thanks to the SMCA director, Maria Tsantsanoglou and SMCA col- lections supervisor, Yannis Bolis for their valuable contribution to this publication. Thanks are also addressed to my SMCA colleagues Kleoniki Christoforidou, Chrysa Zarkali and Cleo Gousiou. My warm- 1924 est thanks to curatorlab director Joanna Warsza, curatorlab guest-lecturer Michele Masucci and Anna Tomaszewska and to my curatolab colleagues, Florin Bobu, Jerome Malpel, Candace Goodrich, Saima Usman, Nikki Kane, Christine Langinauer and Madelene Gunnarsson for sharing their ideas on the realisation of this project. Special thanks to artist Katerina Velliou. Finally, I would like to thank my project advisor Nayia Yiakoumaki for sharing her curating knowledge and offering guidance through- out the last year. The publication is realized in the frame of CuratorLab, Konstfack University College of Arts, Crafts and Design, Stockholm, directed by Joanna Warsza, 2016-2017, and in collaboration with the State Museum of Contemporary art-Costakis collection, Thessaloniki, Greece. Illustration for the magazine “Young Guard” , The publication will be presented on Monday 29, May 2017, at the Graphics Design Kitchen room, Konstfack, 12:00-14:00, as part of the Konstfack Degree Show 2017. Gustav Klucis, 5 If the army was necessary for crushing the politics of the Whites, Reading the old informing the new another army is necessary now, to crush the art of the Whites. -
The Institute of Modern Russian Culture
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 62, August, 2011 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089‐4353, USA Tel.: (213) 740‐2735 Fax: (213) 740‐8550; E: [email protected] website: hp://www.usc.edu./dept/LAS/IMRC STATUS This is the sixty-second biannual Newsletter of the IMRC and follows the last issue which appeared in February, 2011. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2011. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2010 are available electronically and can be requested via e-mail at [email protected]. A full run can be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 for overseas airmail). RUSSIA To those who remember the USSR, the Soviet Union was an empire of emptiness. Common words and expressions were “defitsit” [deficit], “dostat’”, [get hold of], “seraia zhizn’” [grey life], “pusto” [empty], “magazin zakryt na uchet” [store closed for accounting] or “na pereuchet” [for a second accounting] or “na remont” (for repairs)_ or simply “zakryt”[closed]. There were no malls, no traffic, no household trash, no money, no consumer stores or advertisements, no foreign newspapers, no freedoms, often no ball-point pens or toilet-paper, and if something like bananas from Cuba suddenly appeared in the wasteland, they vanished within minutes. -
Art and Technology Between the Usa and the Ussr, 1926 to 1933
THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity. -
COSMOSCOW 2019 PROGRAMME HIGHLIGHTS the Best of the International and Russian Art Worlds Are Coming to Cosmoscow 2019
For Immediate Release | Moscow | 8 August, 2019 Press contact: Elena Kurbatskaya | +79167989987 | [email protected] COSMOSCOW 2019 PROGRAMME HIGHLIGHTS The best of the international and Russian art worlds are coming to Cosmoscow 2019 The Fair will take place from September 6 to 8 with Privilege and VIP Preview on September 5 Cosmoscow International Contemporary Art Fair announces the highlights of this year’s commercial and not-for-profit programmes. The seventh Cosmoscow Fair is taking place at Moscow’s Gostiny Dvor on September 6–8 with the Privilege and VIP Preview on September 5, supported by its long-standing partners: Main Partner Qatar Airways, Strategic Partner Credit Suisse, Automobile Partner Audi, Official Partner Ruinart, Jewelry partner Mercury, Beauty partner La Prairie and Official Hotel St. Regis Moscow Nikolskaya. Cosmoscow 2019 will welcome more than 60 galleries from Russia and around the world, including art market powerhouses such as long-time influencers in Giorgio Persano (IT), Galerie Frank Elbaz (FR), and Georg Kargl Fine Arts Gallery (AT); alongside a more recent generation of players in Emanuel Layr (AT/IT); Peres Projects Gallery (DE), and Temnikova & Kasela (EE). Margarita Pushkina, Founding Director of Cosmoscow International Contemporary Art Fair and Founder of Cosmoscow Foundation for Contemporary Art, said: “This year, we are happy to welcome an impressive number of high-caliber international participants. This proves that our strong belief and investment in the development of the Fair as an international platform are paying off. We are encouraged by the continued support of our long-standing and new partners. It is gratifying to note that the circle of like-minded people and institutions united around Cosmoscow grows with each passing year. -
Pushkin State Museum of Fine Arts Stella Art Foundation Announce the Exhibition
Pushkin State Museum of Fine Arts Stella Art Foundation announce the exhibition There is a Beginning in the End. The Secret Tintoretto Fraternity Dates: May 11 – September 11, 2019 Media Preview: May 8, 2019, at 12:00 PM Venue: Italy, Venice, San Fantin Church Exhibition curators: Marina Loshak, Olga Shishko. Together with the Stella Art Foundation, the Pushkin Museum will present a special project of the “Pushkin Museum XXI” initiative in Venice: “There is a Beginning in the End”, a modern art exhibition in commemoration of the 500th anniversary of the Venetian artist Jacopo Robusti, called Tintoretto. This event will be held at the same time as the 58th Venice Biennale. The San Fantin church, where Tintoretto’s paintings used to be displayed, will host works by contemporary artists Dmitry Krymov (Russia), Irina Nakhova (Russia) and Gary Hill (USA). These pieces will be in dialogue with a painting by Emilio Vedova, a modernist Italian artist and one of Tintoretto’s followers, and the historical context of the venue. An intervention project by the !Mediengruppe Bitnik team from Switzerland will complement the exhibition and stress the atmosphere of participation and affiliation with a secret Venetian brotherhood. As Jean-Paul Sartre said, “Tintoretto is Venice, even when that is not what he is painting.” The key aspect of Tintoretto’s paintings was space; his works embody the infinite universe in its violent eternal motion. The contemporary artists’ works, created specifically for this project, reinterpret the great Venetian master’s innovative approach and invite viewers to immerse themselves in Tintoretto’s world. Each of them bears insight into Tintoretto’s major artistic motifs, such as the spiritual unity of people and the experience of miracles, as well as evidence of his virtuosity with moving space and expressive light. -
Shapiro Auctions
Shapiro Auctions RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES Saturday - October 25, 2014 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 1: A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE USD 30,000 - 40,000 A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE SCENES, NORTHERN SCHOOL, LATE 16TH-EARLY 17TH CENTURY, the figure of Saint Paraskeva, venerated as the healer of the blind as well as the patron saint of trade and commerce, stands in a field of flowering plants, she holds her martyr`s cross in one hand and an open scroll in the other, a pair of angels places a crown upon her head, surrounding the central image are fourteen scenes from the saint`s life, including the many tortures she endured under Emperor Antoninus Pius and the Roman governor Tarasius. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back, one missing, one-half of the other present. 103 x 80 cm (40 ½ x 31 1/2 in.)PROVENANCESotheby`s, New York, June 10-11, 1981, lot 541.Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 2: A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, USD 10,000 - 15,000 A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, YAROSLAVL SCHOOL, CIRCA 1600, the saint depicted holding a scroll featuring an excerpt from his last words to his disciples, "Do not be sad Brothers, but rather preserve the purity of your bodies and souls, and love in a disinterested manner," above him is an image of the Holy Trinity - a reference to his Monastery of the Holy Trinity, as well as to the icon painted by Andrei Rublev under Sergius` successor, on a deep green background with a red border. -
What Is Artistic Form? Munich-Moscow Luka Skansi
WHAT IS ARTISTIC FORM? MUNICH-MOSCOW 1900-1925 LUKA SKANSI Munich was, at that time, the embankment that contained in Eastern Europe the influence of French painting with its barbaric ‘pontaventism’.1 Science is the materialization of the reality for the reason, art is the materialization of the reality for the eye.2 For a large part of Russian artistic culture at the turn of the century, Munich represented not only one of the most important centres of innova- tion in the artistic production in Europe, but rather an alternative to artistic events, subsequent to Impressionism, that spread slowly from Paris all over the continent. On closer inspection there is a fully-fledged pilgrimage towards the schools, the ateliers and the institutions of the Bavarian capital, starting from the 1880s and continuing until the outbreak of the First World War. The reasons for this migration are only partially cultural or scientific: it was a common practice for Russian middle and upper class families to send children to study in Germany, especially for Jewish families, due to constraints imposed by the Czarist regime on their access to higher education.3 In the winter semester between 1912 and 1913 there were about 5000 Russian students registered at German universities, while in Munich alone there were 552 of them.4 Il’ya Repin, one of the greatest painters of Russian realism, called Munich the “greenhouse of German art”, or the “German Athens”. Together with Pavel Chistyakov, the master of an entire generation of Russian painters at the turn of the century (such as Polenov, Vrubel’ and Surikov), he recom- mended their students from the St. -
Irina Nakhova the Green Pavilion Irina Nakhova the Green Pavilion
IRINA NAKHOVA THE GREEN PAVILION IRINA NAKHOVA THE GREEN PAVILION Margarita Tupitsyn, Editor and Curator Russian Pavilion 56th International Art Exhibition — Venice Biennale 2015 IRINA NAKHOVA THE GREEN PAVILION Contents Published in 2015 on the occasion of the 56th International Art Exhibition Venice Biennale 2015 © Stella Art Foundation and the authors 6 The Green Pavilion: Sketches, Production, Results All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means now known 27 Foreword or hereafter invented, including photocopying and recording, or in any information Stella Kesaeva storage or retrieval system, without permission in writing from the publisher. 29 Artist’s Statement Irina Nakhova 34 Introduction and Acknowledgments The Russian World: A Hare or a Bear? Margarita Tupitsyn 47 An Interview with Irina Nakhova in Room No. 2 Andrei Monastyrsky 50 Interviews with Moscow Artists in Room No. 2 Joseph Bakstein 61 A Trialogue on Rooms Joseph Bakstein, Ilya Kabakov, and Andrei Monastyrsky Designed by the Faro Studio Irina Chekmareva and Andrei Shelyutto 77 Color, Space, Obstruction Margarita Tupitsyn 111 Detroit–New York An Interview with Irina Nakhova Victor Tupitsyn ISBN 978-5-904652-11-1 123 Two Halves of a Rotten Apple, or On Techniques for Separating Consciousness from the Body Irina Nakhova Distributed by 136 About the Artist and the Curator Germany & Europe Buchhandlung Walther König, Köln Ehrenstr. 4, 50672 Köln Tel. +49 (0) 221 / 20 59 6-53 Fax +49 (0) 221 / 20 59 6-60 [email protected] The Green Pavilion: Sketches, Production, Results 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 FOREWORD This year, the Russian Pavilion at the 56th Venice Biennale has turned green. -
DEPARTMENT of ART HISTORY ANNUAL NEWSLETTER FEBRUARY 2020 Irina Nakhova (B
DEPARTMENT OF ART HISTORY ANNUAL NEWSLETTER FEBRUARY 2020 Irina Nakhova (b. 1955) Rooms, 1983–87 Eleven gelatin silver prints on paper Zimmerli Art Museum at Rutgers Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union Photo Peter Jacobs CONTENTS 1 CHAIR’S UPDATE 4 RUTGERS ART HISTORY STUDENT ASSOCIATION 5 FACULTY NEWS 9 DISTINGUISED SPEAKER SERIES 10 ALUMNI NEWS 15 MARSHALL SCHOLAR - DIEGO A. ATEHORTÚA 16 GRADUATE STUDENT NEWS 18 MICHAEL R. ZAKAIN IN MEMORIAM 19 KRISTEN VAN AUSDALL IN MEMORIAM Before launching into a retrospective of the past year, I want to thank Andrés Zervigón for taking on the position of Acting Chair last year—not a task that was on his radar, but which he graciously accepted. He did a wonderful job of shepherding the department through the early stages of the new budget system (whose mysteries we continue to plumb), and kept the momentum going within and outside the department. Please check the individual faculty, graduate student and alumni summaries for a full accounting of their collective accomplishments. In this brief overview, I’d like to underscore initiatives that encapsulate the dual-facing nature of our department these days: the expansion and deepening of the opportunities we offer to our students within the department, and the strengthening of ties to resources in the scholarly and professional worlds outside the university. Two widely-admired books and one path-breaking exhibition catalogue have recently been produced by our faculty: Carla Yanni’s Living on Campus An Architectural History of the American Dormitory; Catherine Puglisi’s Art and Faith in the Venetian World: Venerating Christ as the Man of Sorrows, co-authored with Dr.