The International Graduate Student Workshop in Soviet History at the History Department of the European University at Saint Petersburg is pleased to invite applications for the 2014-2015 academic year. We bring together EUSPb students and graduate students conducting archival research in Russia and neighboring countries. The primary goal of the workshop is twofold: first, to enrich participants’ research projects and promote an exchange of knowledge about relevant historiographies, theories, methodologies, and archival and other sources; and second, to create a larger and international academic community for participants, and thus to offer them a network of international contacts on which to draw for intellectual as well as professional ends.
Carryover has produced a fully-booked fall semester. Graduate students interested in presenting their work in the spring should submit a 300-word English- or Russian-language abstract of their papers and a CV to Sam Hirst (firstname.lastname@example.org) by November 20. Funding for travel and accommodations is available for presenters not based in St. Petersburg. We ask that anyone interested in attending the workshop send their contact information so that we can add you to the seminar’s mailing list.
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Following the retirement of Professor John Milner, Dr. Maria Mileeva is succeeding him as Co-director of the Cambridge Courtauld Russian Art Centre.
Dr. Mileeva is a specialist in Imperial and Soviet art, and is currently Early Career Lecturer with Special Responsibility for Research Administration at The Courtauld Institute of Art.
Louise Hardiman is taking over as CCRAC’s Administrator. After a career as a lawyer, Louise is currently completing her PhD at the University of Cambridge on the Russian Arts and Crafts in Britain, and has lectured widely on Russian art.
Professor Milner will remain deeply involved in CCRAC’s activities as Honorary Co-Founder. CCRAC remains hugely grateful for the continuing support and energy that he brings to the organization.
On the 18 October a new display in the Theatre and Performance Galleries will present more than 150 radical designs for theatrical productions by celebrated figures of the Russian avant-garde. On view will be set and costume designs conceived between 1913 and 1933 by leading artists and designers including Kazimir Malevich, Alexander Rodchenko, Vladimir Tatlin, Alexandra Exter, El Lissitsky, Liubov Popova and Varvara Stepanova. Many previously unseen in the UK.
Created over the course of two decades marked by the Russian revolutions and First World War, the works represent an extraordinary point in Russian culture during which artistic, literary and musical traditions underwent profound transformations. New types of theatrical productions demanded innovative design solutions and benefitted from the unprecedented symbiosis of artists, musicians, directors and performers which characterized the period. Artists who worked in a variety of mediums including painting, architecture, textiles, photography and graphics worked collaboratively on theatrical productions to create a rich variety of design. For the avant-garde this work in theatrical innovation came to inform wider artistic practices.
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Two revolutionary events took place in 20th century Russia that changed the way we look at the world: the emergence of non-objective art and the founding of the Soviet Union’s space programme. Beyond Zero is a homage to these historic moments and explores how contemporary artists continue to challenge conventional notions of time and space.
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St. Petersburg Gallery is proud to present the new exhibition “Russian Portraits of the 18th- 20th Centuries”. This exciting new show will depict the history of Russian portraiture through the display of more than a hundred paintings, drawings, sculptures and porcelain objects. The juxtaposition of different styles, covering three centuries, will allow the visitor to examine through change and continuity the development of one of the great European portraiture traditions.
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Monument to Cold War Victory, a conceptual project and group exhibition organized by Stamatina Gregory and Yevgeniy Fiks
Opening Tuesday, October 7, 2014 at 7:00pm
Exhibition on View October 7-November 7, 2014
The Cooper Union for the Advancement of Science and Art
41 Cooper Gallery
41 Cooper Square, New York, NY 10003
Monument to Cold War Victory is a conceptual project by the artist Yevgeniy Fiks, taking the form of an open-call, international competition for a public, commemorative work of art. For over two decades, public signifiers of the Cold War, such as the Berlin Wall, have been framed in terms of destruction and kitsch. A monument created at the moment of its own destruction, the Wall encapsulates the continuing geopolitical imagination of the conflict as linear, continuous, binary, and terminal: the culmination of a historicized narrative of competing empires. But while the impact of half a century of sustained ideological struggle still reverberates through all forms of public and private experience—from Middle Eastern geographies of containment to the narrative structures of Hollywood—its conclusion has yet to be acknowledged through a public and monumental work of art. The Cold War, the longest and most influential conflict of the 20th century, has no publicly commissioned commemoration in the United States.
In November 2012, The Committee for Tacit History (Fiks and curator Stamatina Gregory) issued an international call for proposals for a monument to the Cold War to be built in the United States. Unrestrained by budget considerations, and untied to a specific place, the call implied an invitation to imagine socially based, utopic, dystopic, or ultimately unrealizable projects. In April 2013, a jury including Susan Buck-Morss, Boris Groys, Vitaly Komar, Viktor Misiano, and Nato Thompson considered nearly 200 submissions and selected 17 finalists, whose proposals comprise this exhibition. These artists, from the United States, Europe and former Soviet republics, and Latin America, are diverse in their formal and conceptual strategies, their approach to material and ideological history, and their take on monumentality. Collectively, they wield the conceptual form of the public commission as a potent form of political imaginary.
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Photographs by Peter Sägesser
Peter Sägesser (CH) studied at the ETH Zurich architecture and since 1988 has been documenting architecture in Eastern and Central Europe. He has written numerous articles on architecture of this region and operates the website http://www.ostarchitektur.com/architektur.html.
Bar Neglected Grassland
Neue Kräme 29 (Sandhofpassage)
60311 Frankfurt am Main
exhibition dates: November 7 – December 7, 2014
Exhibition Opening: Thursday November 6, 2014, from 7 pm; DJ-Sets: Hans Romanov and Oliverse
With a pan-European picnic on a field on the Hungarian-Austrian border in August 1989 fell the Iron Curtain. This was the end of a social, political, economic and cultural experiment. Architecture had been an important part of this experiment. It substantiated the social ideals, but often failed at the economic and political realities. Nevertheless, outstanding architecture was realized during the communist period. The Iron Curtain made it difficult to see this architecture and today it often faces a lack of interest and prejudice. With the political shift Central and Eastern Europe wanted to reorient. With the free market economy also came free (“wild”) building, but the level of contemporary architecture rarely achieves that which reached during the communist era.
New Exhibition of Rarely-Seen Russian Avant-Garde Artwork Opens at Gallery Shchukin in Chelsea, New York
The opening reception for In Other Worlds will take place from 6:00pm-10:00pm on Thursday, October 9th, at Gallery Shchukin’s Chelsea space at 524 W. 19th St., New York, NY 10011.
Begins Oct. 10, Features Works by Chagall, Larionov, Goncharova, Popova and Other Russian Avant-Garde Masters. Featuring works by some of the most prominent artists of the Avant-Garde period in Russia and drawn from the collection of Marina and Nikolay Shchukin, the exhibition will run from October 10th through the end of the year.
Organized by Matthew Drutt, In Other Worlds looks at art in a time of social and political upheaval in turn-of-the-century Russia. In a mirror of Russia’s simultaneous fascination with and rejection of the West, artists explored, adopted and then discarded Western stylistic trends, including Fauvism, Expressionism, Cubism and Futurism, often melding them with traditional Russian folklore to create a style that was uniquely Russian and inextricably linked to the period before the Second World War.
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tranzit.sk, Beskydská 12, Bratislava
Thursday, October 9, 2014, 6 pm
Guests: Louisa Avgita (Thessaloniki), Cristian Nae (Iasi), Suzana Milevska (Skopje, Vienna) Moderation: Mária Orišková
The discussion will be held in English.
Published by Peter Lang, International Academic Publishers, Frankfurt am Main and Veda, SAS Publishing House, Bratislava 2013
The publication has been produced within the scope of the PATTERNS Lectures project, initiated by ERSTE Foundation and implemented by WUS Austria. www.patternslectures.org
Concept and editor: Mária Orišková
Authors: Louisa Avgita, Kelly Presutti, Cristian Nae, Mária Orišková, Gábor Ébli, Piotr Piotrowski, Zdenka Badovinac, Steven ten Thije, Andrzej Szczerski, Izabela Kowalczyk, Branka Stipančić, Edit András, Jana Ševčíková, Jiří Ševčík, Suzana Milevska, Zuzana Štefková Translation and proofreading: Elena McCullough
Layout: Ján Šicko
Renewed interest in the exhibition – as the main vehicle for contemporary art – has opened art historical discourse toward a new internationalism, transregional communication and collaboration, of which the former Eastern Europe is a part. New plural, parallel, horizontal, postcolonial narratives and innovative research concepts have recently emerged, while alternative models of institutional collaborations have been dissolving old hierarchies, divisions and stereotypes. ‘Eastern Europe’ is no longer an isolated region – it is linked with different parts of the world where exhibition curating and new curatorial principles enable connections to regions, places and people around the world. The anthology under the title Curating ‘Eastern Europe’ and Beyond: Art Histories through the Exhibition examines how exhibition – as a medium which functions among curators, artists and visitors as well as between different times and places – mediates, historicizes and re-formats the histories of the art of former Eastern Europe after 1989. Since exhibition and curatorial discourse is an immensely complex and multilayered process which takes place not only in the local context but also within the global framework, the aim of this publication was to accumulate texts that would discuss various types, formats and genres of exhibitions in various institutions and in various places of Europe and the world. The concept of the publication was to go beyond the geo-political frame of Eastern Europe connected to previous regimes. The book is concerned with several overlapping themes and agendas, but the idea of the contemporary reconfiguring of the art historical canon through new curatorial practices, strategies, genres and formats is central.
The exhibition Taras Shevchenko: Poet, Artist, Icon offers a rare opportunity to see many of the treasures created by artist and poet Taras Shevchenko (1814-1861). Marking the 200th anniversary of Shevchenko’s birth, the exhibition includes original art works by the artist and archival objects from Ukraine seen in this country for the first time ever! The exhibition is accompanied by a comprehensive, illustrated [catalogue] (http://www.ukrainianmuseum.org/exhibitions/2014/shevchenko/?page_id=785) containing a scholarly essay by the consultative curator, George G. Grabowicz, Professor of Ukrainian Literature at Harvard University.
The collection from the National Museum of Taras Shevchenko in Kyiv, which is comprised of works that span nearly the entire lifetime of the artist, includes fifty original watercolors, sepias, drawings, etchings, in addition to objects such as publications and Shevchenko’s own artist’s tools. Reproductions of more than sixty other works by Shevchenko, along with facsimiles of the artist’s albums of sketches and poems, enhance the exhibition. A rare 1840 edition of a Kobzar (“The Minstrel”), one of Shevchenko’s first collections of poetry that became his most widely read work, is on loan from the Shevchenko Scientific Society in New York. Selected items from The Ukrainian Museum’s archival collection along with audiovisuals and a recorded guided tour serve to complete the narrative presented in the exhibition.