Conference: DADA TECHNIQUES IN EAST-CENTRAL EUROPE (1916–1930)
October 13-15, 2016
1033 Budapest, Fő tér 1, Zichy castle, Hungary
International Conference organized by the Petőfi Literary Museum – Kassák Museum and the Institute for Literary Studies of the Hungarian Academy of Sciences
For the full programme, please see The Kassak Museum website
The conference of the Petőfi Literary Museum – Kassák Museum and the Institute for Literary Studies of the Hungarian Academy of Sciences marks the centenary of the beginning of Dada in Zurich. The conference concentrates on Dada phenomena in East-Central Europe, especially the Dada techniques that appeared in the Austro-Hungarian Empire and its successor states. The avant-garde artists of the East-Central European region felt the impact of Dada at the end of the First World War, when established economic, political and identity strategies were going through crisis and rearrangement. In these years, many borders became blurred: between centre and periphery, between politics and anti-politics, and among genders, artists’ roles and forms of artistic expression.
A distinctive attitude of Dada was the crossing of borders, and this had a uniquely emancipating role: by suspending traditional social norms, it opened the way to artistic self-realization without borders. Dada dispensed with the questions of origin, religious background, women’s role stereotypes or even formal artistic training. It removed the moral barriers to asking previously inconceivable and provocative questions concerning artistic creation and reception, institutions, society and public taste in general. Dada was a symptom of the decomposition of the old world. Its radical language had an impact even on artists who never called themselves ‘Dadaists’.
What did avant-garde artists use Dada for in East-Central Europe during the 1910s and 1920s? Certainly to commit systematic border incursions. The borders were those between languages, majority and minority identities, politics and anti-politics. The sections of the conference discuss these artistic border incursions.
The 9th annual Russian documentary film festival in New York: RusDocFilmFest-3W
Manhattan and Brooklyn, October 7-9, 2016
Anthology Film Archives (32 2nd Avenue, Manhattan), Downtown Community TV Center (DCTV, 87 Lafayette St., Manhattan), and Brooklyn Public Library (10 Grand Army Plaza). www.rusdocfilmfest.org
There are over 25 documentaries made by filmmakers from Armenia, Germany, Poland, Ukraine, Russia, and the U.S. Some screenings will have a Q&A session. Most screenings will be American premieres, and all films will have English subtitles.
Recommended screenings: the program “Remembering the Holocaust in the XXI Century” includes several films, among them the documentary Nuremberg: Its Lesson for Today made by famous American film-director Stuart Schulberg (with Pare Lorentz, “FDR’s filmmaker”) in 1947/48. This documentary was screened in the U.S. for the first time only in 2010. The film will be performed at the festival Opening Event on October 7, 2016, at 7:00 pm. Another documentary in this program – The Bunins’ Alleys — tells about the first Russian Nobel laureate Ivan Bunin and his wife during the Second World War in occupied France.
In addition, famous director Marina Razbezhkina will show her documentary Optical Axis. The film was made in an unusual genre of allusion: modern reality is created in the discourse of old photographs made by Russian photographer Maxim Dmitriev in 1913.
Another documentary from Razbezhkina’s school is Chechen by Beata Bubenets (Ukraine). Accented in a socio-political way, the film-director creates a subtle and precise psychological portrait of a Maidan “foot soldier”, setting him against the historical cataclysms his society is undergoing. This film was awarded at Artdocfest-2015 - “Best Feature-Length Film”, film festival ‘Stalker’ - “Best Art-Film”, as well as The National Award “Laurus” - “Best Art-Film”. The festival will also show a special program for students –“At the Crossroads” – a program of debuts by newly graduated film-directors (Moscow and Saint-Petersburg).
The organizer of the festival, The New Review/ Noviy Zhurnal, the oldest Russian Émigré literary journal in the U.S., will also arrange presentations by The Zimin Foundation, (formerly The Dynasty Foundation), and The Boris Yeltsin Center at Hunter College on October 7 at 4 pm.
First international scientific conference focused on artistic work of Kazymyr Malevych to take place in Kyiv
Artist of Ukrainian-Polish origin Kazymyr Malevych was born in Kyiv, his artistic work has close ties with Ukraine and not merely in terms of location. Problems of the then-time Ukraine are reflected in his works, for example, the fate of rural population during collectivization. For a long time Malevych same as other avant-garde artists whose life and work were connected to Ukraine, was classified as “Russian avant-garde”. One of the reasons for that was lack of historic documents that would lay ground to research of the artist’s Ukrainian period. Such archive documents were published in the end of 2015. They will become the basis for the first international conference to be held in Kyiv.
Kyiv, September 7, 2016. On October 6-9 Kyiv will host the First International Scientific Conference focused on artistic work of Kazymyr Malevych named “Kazymyr Malevych: the Kyiv Aspect”. The event is to unite leading researchers of Malevych’s artistic activities from France, Poland, the Netherlands, Belgium, Portugal, Belarus, Israel and Canada.
“Such well-known researchers as Jean-Claude Marcadé and Andrei Nakov accepted our invitation. It is due to them that the term “Ukrainian avant-garde” appeared. […] We have received a total of 30 applications, biggest part of the applicants will take part and make interventions at the conference,” said organizer of the conference Tetyana Filevska, researcher of Malevych’s art work, author of the book “Kazymyr Malevych. The Kyiv Period 1928-1930” at a press-briefing at Ukraine Crisis Media Center. The event is organized by the NGO “Malevych Institute” and is supported at both the state level – by the cultural diplomacy department of Ukraine’s Foreign Affairs Ministry, Ukraine’s Ministry of Culture, Oleksandr Dovzhenko National Centre, and by international and national cultural organizations including Polish Institute in Kyiv and Ya Gallery. Ukraine Crisis Media Center also supports the event.
Ukrainian Period of Malevych
The conference aims at discussing the Kyiv period of the artist’s work that comes into the spotlight for the first time in the book “Kazymyr Malevych. The Kyiv Period 1928-1930”. The book contains recently discovered texts that relate to Malevych’s work at the Kyiv Institute of Arts as well as the artist’s articles published in 2015 that had been never published before and that became a scoop right on the 100th anniversary of the “Black Square”. “Kazymyr Malevych is the most researched artist in the world, […] however very little was said about his Kyiv period due to the lack of documents. Documents discovered last year made it possible,” said Tetyana Filevska. “We will be discussing not only the 1928-1930 years because Malevych’s connection to Kyiv is much wider and includes his birth, childhood, family ties, his studies at Murashko art school and constant connection to Kyiv’s artistic community.”
It has been for quite a while that Malevych was referred to as a Russian artist both in post-Soviet countries and in the West, because there was almost no information about his Ukrainian period of artistic work. As a result art experts could not explain why the works of this period differ so much from his other works. “They could not understand why Malevych’s works had no color in Saint Petersburg and suddenly became so colorful; they were wondering where the second cycle of works portraying rural population came from and in which way it should be researched and classified. When the Ukrainian aspect was discovered everything fell into place,” explained Dmytro Horbachov, professor, researcher of Ukrainian avant-garde, honorary head of the conference’s organizing committee. “Malevych liked and sympathized with the rural population a lot, ornaments on the stoves had a huge impact on his art work. […] When they ‘broke the spine’ of the rural population in 1929 (collectivization), it was a personal tragedy to him and started painting helpless peasants choosing yellow-and-blue as a background, formally it was a landscape.”
Breakaway from Ukraine’s colonial past
Wide scientific discussion of the artist’s Kyiv period of work is important not only in the scientific dimension but also in the political one – as part of Ukraine’s breakaway from its colonial past, when the country was dissolved in the huge empire. “Malevych theme is an example of how historic justice needs to be restored and decommunization needs to be carried out. It is an example of how art may change everything, that’s why it was of interest that he keeps being considered Russian not Ukrainian,” noted Leonid Marushchak, Arts Department curator at Ukraine Crisis Media Center.
“In such a way we are trying to rediscover our modernist culture that takes us from the 19th to the 21st century. It is a powerful signal for the international artistic community and a power communication occasion for cultural diplomacy,” said Pavlo Bilodid, cultural project manager at the Kyiv-Mohyla Business School.
Tetyana Filevska also said that on the conference days the National Art Museum will display its Malevych-related archive. “We are also preparing an exposition of embroidered works from Verbivka village based on Malevych’s sketches. We will also present the (recently found) materials from the Kropyvnytsky archive that we published in the book, so that all interested will be able to see them,” she added.
CFP: Centennial, Commemoration, Catastrophe: 1917-2017 as Past and Present in Russia and Beyond
Young Researchers Conference, Havighurst Center for Russian and Post-Soviet Studies, Miami University
13-16 June 2017. Villa Vergiliana, Cuma, Italy
Discussing the Russian revolution is impossible without addressing the causes, legacy, and echoes of this event. The very phrasing is contentious—was 1917 a revolution, overthrow, or accident? Examining the Russian and Soviet response is complex enough, yet the Bolshevik takeover had ramifications for the world. In literature the image of the revolution and the ensuing changes was polarized from the beginning, both in the new Soviet state and abroad. Those in history and the social sciences have long puzzled over interpreting the USSR, its influence on Eastern Europe (and the developing world), and the aftermath of its collapse. In otherwise disparate regions—from eastern Germany to Central Asia and the Russian Far East—1917 and the USSR defined the twentieth century, whether as horrific trauma, utopian promises, or a confounding combination of the two. How our field responds to the Russian revolution will define Eurasian studies for the coming decades, just as experts continue to debate the significance of other cultural markers such as 1905, 1956, and 1989.
The Young Researchers Conferences welcomes papers by scholars of literature, history, political science, anthropology, cultural studies, art history, gender studies, religion, and similar areas, as well as fields not traditionally represented at Eurasian studies conferences (for example, Middle Eastern studies, psychology). Papers should examine how 1917 influenced events in politics, economics, literature, religion, art, or culture, whether in the former Second World or beyond its borders.
The conference will feature the following keynote speakers:
Catriona Kelly (Oxford)
Boris Kolonitskii (European University at St. Petersburg)
The Young Researchers Conference welcomes papers from those who are completing their dissertation or have received their Ph.D. (or candidate degree) within the past three years.
Form of the Conference:
Participants will prepare a paper to be circulated well in advance and read by all conference presenters, chairs, and discussants. During the conference presenters will have 15 minutes to summarize their findings. The small number of participants and mix of junior and senior scholars make the Young Researchers Conference an excellent venue for both advancing research projects and networking with leading and upcoming figures in a wide range of fields. The working language of the conference is English.
Submitting Abstracts and CVs:
Please submit by November 21, 2016 a one-page, single-spaced abstract (including tentative bibliography) as well as a one page, singled-spaced curriculum vitae to Benjamin Sutcliffe, Professor of Russian, Miami University. Participants will be notified by January 15 if they have been selected for the conference.
The conference will be held in Cuma, Italy, which is located on the Bay of Naples, one hour drive from Naples, and an hour and a half from Capri. The train ride from Rome’s Termini train station is about 1-1/2 hours. The Havighurst Center will provide all meals and 3 nights (shared room) at the Villa Vergiliana in Cuma. Participants will be responsible for all travel to and from the Villa, including international travel. Scholars are urged to seek support from their institutions.
CFP: Miscellanea Posttotalitariana Wratislaviensia
We would like to invite you to submit articles to Miscellanea Posttotalitariana Wratislaviensia, a peer-reviewed scholarly journal published by the Interdisciplinary Research Center for Post-totalitarian Studies of the Institute of Slavic Studies (University of Wroclaw, Poland) and indexed in Czasopisma Naukowe w Sieci (CNS), The Central European Journal of Social Sciences and Humanities (CEJSH), and Cambridge Scientific Abstracts (CSA, ProQuest). We are seeking for essays and reviews for an issue on Post-communist Children’s Culture in Central, Eastern, and Southeast Europe, which will be devoted to mapping new phenomena in children’s literature and media culture that have emerged during the transition from late communism to late capitalism. As Anikó Imre argues in Globalization and the Transformation of Media Cultures in the New Europe (2009), children from Central, Eastern, and Southeast Europe are post-communist subjects for whom communism is an inherited memory, whose perspectives, values and skills differ from those of older generations, and whose subjectivities are developing in the shadow of adults’ anxieties about this divide. As sources of knowledge and social capital, children’s cultural products both reflect and attempt to resolve tensions caused by the formation of new individual and collective subjectivities. Exploration of regional, European and global affiliations shaping contemporary children’s culture in post-communist Europe offers a vital contribution to a broader inquiry into processes of cultural change and their significance for the formation of national identity in post-totalitarian countries. Contributions are welcomed from a range of fields, such as popular culture, new media, games, literature, education, and childhood.
Possible areas of investigation:
-reflective and restorative nostalgia for communist children’s entertainment vs. technoeuphoria, neoliberalism, and the celebration of transnational mobility -childhood heritage -globalization vs. localization -children’s culture and Eurocentric values (e.g. the “Catching up with Europe” project, a pan-European democracy, the EuropaGO project) -children’s relations with interactive media, peer-to-peer technologies and participatory culture -edutainment vs. centralized, nationalized and literature-based education -children’s culture and citizenship education -nationalisms, ethnocentrism, homophobia, misogyny, racism, and xenophobia in children’s culture -relations between children’s and adult media cultures -children’s books markets -promotion of children’s literature and culture
Essay should be sent to Justyna Deszcz-Tryhubczak and Mateusz Świetlicki by 10th April 2017. Submissions should be 5000-6000 words. We will aim to reply to authors by 20th April 2017, with the aim of arranging reviews and completing revisions for 15th June and publication by the end of 2017. Please keep in mind that the essays must satisfy the formal requirements provided below.
Dr. Justyna Deszcz-Tryhubczak (Institute of English Studies, University of Wroclaw) and Dr. Mateusz Świetlicki (Institute of Slavic Studies, University of Wroclaw)
GUIDELINES FOR AUTHORS
-The submitted text must be accompanied by an abstract and title of the article (max. 150 words); five key words; a biographical note (affiliation; title or degree; position held; research interests; current work address and email – max. 80 words). -The name(s) and affiliation(s) of the author(s) should be listed in the upper left-hand corner of the first page:
Uniwersytet Jagielloński (Kraków, Polska)
Formatting and Style Guide:
a) Standard printout: 30 lines per page; 60 characters per line (1800 characters with spaces per page); justified text; margins: top, bottom – 2,5; left – 3,5, right – 1,5
b) font: Times New Roman in 12 point size.
c) title of the article – centered, font – 14 point size.
d) spacing: 1,5 in the main text; single spaced in the footnotes.
e) titles of literary works cited in the text for the first time should be accompanied by the original title (not in transliteration) and the date of publication in parentheses; titles of literary works should be italicized (do not use quotation marks).
f) quotations should be given in the original language (not in transliteration); longer quotations (more than 40 words) should be set apart from the surrounding text, in block format, indented from the left margin, and single spaced; font: 10 point size.
g) names appearing in the text for the first time should be given in full.
FOOTNOTES should be placed at the bottom of the page on which the reference appears. Use continuous footnote numbering.
a) bibliographic description in the footnotes should be given in the original language; please follow the examples:
J. Smith, History, Warsaw 2009, p. 25.
Ibidem, s. 15.
J. Smith, History, op. cit., p. 37.
b. Excerpts from publications of the same author:
M. Shamone, Rap Culture, [in:] eadem, The History of Music, New York 2012, pp. 67-98.
Ibidem, p. 75.
M. Shamone, Rap Culture, op. cit., p. 90.
c. Chapter in a collective work:
M. Blake, Feminism and Masculinity, trans. by I. Kurz, [in:] Gender Studies, ed. A. Johnes et al. introduction by M. Sahara, London 2008, pp. 109-117.
d. Journal article:
E. Noovy, Jane Austen and Romanticisms „English Studies” 2006, no. 1, pp. 32-73.
e. Online journal article:
A. Adams, American History, „SSHA” 14 July 2013 [http://tssha.com/Society/69385/PrintView – accessed: 20.01.20013].
Reference list or bibliography should be included at the end of the text.
The word bibliography should be in bold and aligned to the left. Font: Times New Roman in 12 point size.
List the sources in alphabetical order by the authors’ last names.
All sources must be justified and 1.5–spaced. Font: Times New Roman in 12 point size.
Use: The Chicago Manual of Style
SHERA is thrilled to announce that member Corina Apostol is on the long list of nominees for the 2016 Kandinsky Prize (Премия Кандинского), in the category “Scholarly work. Contemporary art history and theory.”
Other nominees include Viktor Miziano, Georgii Kizevalter, Liudmila Bredikhina, Svetlanda Baskova, Alec Epshtein.
CFP: ARTMargins Online
Interested in writing about contemporary art practice in Eastern Europe, Russia, or the former Soviet Union?
ARTMargins Online accepts previously unpublished interviews, essays, reviews/review articles, blogs, podcasts and videos devoted to contemporary art, with a focus on the region formerly known as Eastern Europe.
Please address submissions and all other correspondence to the Managing Editor
For more information on ARTMargins Online go to: www.artmargins.com
Conference: The Russian Century: The Literary, Visual, and Performing Arts, 1801-1917
September 30-October 1, 2016
Henry R. Luce Hall Auditorium
34 Hillhouse Avenue
New Haven, CT
Organised by Molly Brunson and Bella Grigoryan
Since 1991, the classical Russian literature of the nineteenth century has gone through both eclipse and revival. Modernist and post-modernist accounts of Russian culture that came to the fore in the late 1980s have begun to give way to a reinterpretation of the nineteenth century, one that adds to the Russian classics a wider perspective encompassing music, visual arts, and theater and new methodologies. This process is only beginning and requires a united effort of scholars to succeed.
Inspired by this renewed interest in the nineteenth century and the general shift toward destabilizing disciplinary and historiographic borders, this conference, under the guidance of Molly Brunson, Associate Professor of Slavic Languages and Literatures, brings together prominent senior scholars and emerging junior scholars from Russia, Europe, and the U.S., and from a wide range of fields (language and literature, musicology, art and architecture history, performance studies and drama history).
Sponsored by the European Studies Council, the Russian Studies Program with a grant from the Carnegie Corporation, the Edward J. and Dorothy Clarke Kempf Memorial Fund, the Whitney and Betty MacMillan Center for International and Area Studies at Yale, and the Department of Slavic Languages and Literatures.
Exhibition: Vincent Hloznik: Between War and Dream
August 16 – September 16, 2016
BBLA Gallery at National Bohemian Hall
321 East 73rd Street, 3rd Floor, New York City
Closing Reception: Thursday, September 15, 6:30 - 8:30 PM
The exhibition Vincent Hložník: Between War and Dream features 20 Surrealist-inspired linocut prints by Slovak artist Vincent Hložník from the series Dreams (Sny) (1962) on loan from Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale. They represent a turning point in the artist’s career as his figurative motifs—always related to the exploration of the human condition—began to take on more symbolic and metaphorical meanings. Detached human limbs, monstrous figures assembled from eyes and teeth, the Angel of Death, and threatening flanks of silhouetted and stylized archaic warriors signal unspecified danger, while angles and voids create an instability that marks the very real threat of annihilation, whether from war or nuclear arms.
Vincent Hložník (1919–1997) was a key figure in modern Slovak art as both a teacher and artist, and was responsible for establishing the Department of Graphic Art and Illustration at the Academy of Fine Arts in Bratislava after joining the faculty in 1952.
This event is organized by the Consulate General of Slovakia in New York, Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale, with support of BBLA.
Viewing hours: Monday - Friday 10:00 AM - 5:00 PM
(Please note that BBLA’s exhibition space is occasionally closed for events. Call 212-988-1733 to verify access.)
Exhibition: “Thinking Pictures”: Moscow Conceptual Art in the Dodge Collection
Sep 06, 2016 - Dec 31, 2016
Voorhees Gallery, Zimmerli Art Museum
Rutgers University, New Brunswick, NJ
“Thinking Pictures” draws on one of the great strengths of the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union. It presents the visually provocative objects that distinguish Moscow Conceptualism from the forms associated with its namesake, the canonical oeuvres of American and British conceptual artists, in particular. This exhibition focuses on more than 40 individual artists and several collectives who lived and worked in Soviet Moscow from the 1960s to the 1990s. They were concerned with the essential task of creating an audience in an environment that lacked galleries, critics, and a viable art market but had its own institutional framework—one that privileged painting (Socialist Realism).
The exhibition presents a diverse range of artworks by several generations of artists who responded to the experience of ideological conformity (and its dissolution) as it had been enforced within official art academies. Oriented toward irony and parody, but also toward serious speculation about the place of the individual in Soviet society and Western art history, artists engaged in a dialogue with the priorities of official culture on the one hand, and those of modernist, including conceptual, art in the West, on the other. They challenged the hierarchical ordering of media that characterized late Soviet modernity by redefining the role of visual thinking in the creation of installations and albums, as well as a process of self-archiving, to create a richly allusive visual and performative culture. The term “thinking pictures” (umozritel’naia zhivopis’) was coined by artists in the late 1970s to capture the new role played by painting in the post-conceptual era.
“Thinking Pictures” introduces contemporary audiences to these artists’ historical gambit and sheds light on the complex role visual art plays in the viewer’s own lives. Although a number of exhibitions devoted to the art of the Moscow Conceptualist circle have been organized in Europe and Russia over the past decade, “Thinking Pictures” is the first in the United States since Perspectives of Conceptualism in 1991, which traveled extensively and ultimately found a home at Duke University’s Nasher Museum of Art. The Zimmerli exhibition features important works by major artists recognized widely in the art world (Eric Bulatov Ilya Kabakov, Komar and Melamid, Viktor Pivovarov), as well as such others at the center of this movement as Yuri Albert, Yuri Leiderman, Igor Makarevich, and Irina Nakhova. An illustrated catalogue accompanies the exhibition.
Organized by Jane A. Sharp, Research Curator for Soviet Nonconformist Art
The exhibition and accompanying publication are made possible by the Avenir Foundation Endowment Fund, The Thickman Family Foundation, and by donors to the Zimmerli’s Major Exhibition Fund: James and Kathrin Bergin; Alvin and Joyce Glasgold; Charles and Caryl Sills; Voorhees Family Endowment; and the Jerome A. Yavitz Charitable Foundation, Inc.-Stephen Cypen, President
September 21, 5-8pm / Exhibition Celebration
5pm: Curator-led roundtable discussion with exhibiting artists