KOW Gallery presents the first gallery solo project of the Russian collective Chto Delat.
Thursday, April 9, 7pm Russia, the Zombie State of the Art, and Collective Despair and Utopia
Dmitry Vilensky (Chto Delat) and Alexander Koch (KOW) in conversation
For more information, visit http://www.kow-berlin.info/exhibitions/chto_delat_1#undefined
Venue: Mayakovsky 102, the open office of tranzit. hu, 1068 Budapest, Király utca 102.
Submit applications before March 12, 2015 to firstname.lastname@example.org
Curatorial Dictionary is an ongoing, long-term, collaborative research project that was initiated in 2012 by tranzit. hu.
The theme of tranzit. hu’s next Free School for Art Theory and Practice is the second phase of the Curatorial Dictionary project. The focus of this two-day workshop is curatorial and art practices mostly from various locations in the region loosely defined as Eastern Europe. Participants, together with the Curatorial Dictionary working group members and invited international participants, will explore exhibition/project examples as case studies from the last 20-25 years, as well as concepts and questions pertaining to the (cor)relations of curatorial and art practices in the “East” and “West” of Europe, also touching upon the interpretations of East/East-Central Europe as a geographical and geopolitical region. The workshop is organized to take collectively a closer look at (globalized) curatorial/art discourses from the perspective of East European curatorial/art practices.
Participants: the Curatorial Dictionary working group members: Balázs Beöthy, Nikolett Erőss, Zsófia Frazon, Eszter Lázár, and Eszter Szakács, as well as the invited international participants of the Free School for Art Theory and Practice: Saša Nabergoj, Emily Pethick, and Magda Radu.
Established in 2012 by the Mikhail Prokhorov Foundation and Academic Studies Press, the Historia Nova Prize for the Best Book on Russian Intellectual and Cultural History recognizes the best scholarly volume originally written and published in English within the preceding two years. The range of eligible genres has included single and collective-author monographs, collections of articles, and special thematic issues of scholarly journals.
Juried in the past three years by a five-person international team with logistical support from the Press, the Historia Nova prize seeks nominations from publishers, literary agencies, universities and university departments, journals, scholarly organizations, artistic unions, groups, and individuals.
Past winners have included:
2012: Katerina Clark, Moscow the Fourth Rome (Harvard University Press, 2011)
2013: Serhii Plokhii, The Cossack Myth: History and Nationhood in the Age of Empires (Cambridge University Press, 2012)
2014: Valerie Kivelson, Desperate Magic: The Moral Economy of Witchcraft in Seventeenth-Century Russia (Cornell University Press, 2013)
The 2015 Historia Nova award, to be announced at the November 2015 ASEEES convention (19-22 November, Philadelphia Marriott Downtown), will be chosen from nominations submitted to email@example.com until 1 June 2015.**
The Organizing Committee asks that publishers nominating their own titles send five complimentary copies of the book to:
Academic Studies Press
Attn: Historia Nova
28 Montfern Avenue
Brighton, MA 02135 USA
For more information, please visit www.historianova.com.
Curator: Elena Zaytseva
A large tree has been felled and rebuilt, ‘growing’ up through the floors of Pushkin House, the independent home of Russian culture in London, in this site-specific installation by St Petersburg artist Vitaly Pushnitsky with video works by Olga Jurgenson.
The exhibition, curated by Elena Zaytseva, considers the life and work of Anna Akhmatova, one of the greatest Russian poets of the 20th Century, and her relations with two great British-based Russian émigré contemporaries, the philosopher Isaiah Berlin and the artist Boris Anrep, creator of the mosaics at the National Gallery and Westminster Cathedral. It was commissioned by Pushkin House and the Anna Akhmatova Museum in St Petersburg and based on their archives.
The exhibition is the start of a long-term series involving works by contemporary Russian artists which explore and rethink the archives of Russia memorial museums (‘house-museums’) dedicated to famous artists, writers and thinkers.
It includes a full-size free-standing sculpture of a tree, ‘growing through’ the three exhibition rooms on three levels of the building; a false wall with photographs and two large video projections, and will dominate Pushkin House for almost three months. If all previous art exhibitions were arranged around the other events in the cultural programme, now, for three months, the Russian cultural life of Pushkin House will carry on around the installation, giving a new perspective on the communication of ideas about Russia in London, and linking the archives of Pushkin House with the museum archives.
Thursday, April 9: a tour, panel discussion, and reception to celebrate the Zimmerli Art Museum’s exhibition Through the Looking Glass: Hyperrealism in the Soviet Union. The program includes a curatorial tour of the exhibition followed by a panel discussion focusing on the perception and construction of reality in art works of the Soviet era, as well as the instrumental role of photography as a medium in conveying reality in the Soviet Union. The event also features the short animated film Incident with an Artist by director Grigory Kozlov, followed by a reception.
Organized by Cristina Morandi, Dodge Fellow at the Zimmerli and PhD candidate in Rutgers’ Department of Art History, Through the Looking Glass: Hyperrealism in the Soviet Union explores the development of Hyperrealism in the Soviet Union with more than 40 works from Estonia, Latvia, Lithuania, Ukraine, and Russia. These images show how Hyperrealist artists developed a complex and multifaceted representation of Soviet life during the late 1970s and 1980s, in opposition to the idea of Realism associated with Socialist Realism.
Through the Looking Glass: Hyperrealism in the Soviet Union will be on view at the Zimmerli Art Museum at Rutgers from April 4 through October 11, 2015.
Please join the Harriman Institute for an exhibit of photomontages by graphic artist Yuri Rozhkov
Exhibit opening reception on Tuesday, March 24, 2015 at 6:00 pm
Harriman Institute Atrium (12th Floor, 420 W 118th St., New York)
During the 1920s, Yuri Nikolaevich Rozhkov—a lesser-known and self-taught Russian graphic artist—made photomontages for several poems by Mayakovsky. While the whereabouts of many of these are unknown, 17 sheets of original photomontages for Mayakovsky’s poem “To the Workers of Kursk” are kept at the State Museum of Literature in Moscow. Rozhkov’s unique series of photomontages was inspired by the avant-garde energy of the poem and the geological discovery of the Kursk Magnetic Anomaly (KMA), the biggest iron-ore basin in the world. The series was first shown at the “20 Years of Vladimir Mayakovsky’s Work” exhibition, in January 1930, which the poet himself curated. In the exhibition catalogue, Mayakovsky made note of Yuri Rozhkov’s work as “A temporary monument. Rozhkov’s montages. To be printed.” Two months after the exhibition Mayakovsky committed suicide and Rozhkov’s photomontages remained unpublished. The exhibition at Harriman will be showcasing the entire photomontage series, along with the booklet featuring translation of the poem and brief comments of this interesting monument of the epoch.
Prague, Czech Republic
Application deadline: Apr 10, 2015
The National Gallery (NG) in Prague has opened a call for:
Director of Collection of Old Masters
Director of Collection of Art of the 19th Century
Director of Collection of Modern and Contemporary Art
FOR FURTHER INFORMATION, SEE FULL POST
Universität Heidelberg, July 26 - 31, 2015
Deadline: May 31, 2015
For further details of the programme and how to apply, visit the Summer School website: http://www.asia-europe.uni-heidelberg.de/en/summerschool
Summer School “Walking the line - Art of border zones in times of crisis”
The Cluster of Excellence “Asia and Europe in a Global Context” welcomes applications for the Summer School “Walking the line - Art of border zones in times of crisis.” It will take place from July 26 to 31, 2015 at Heidelberg University in Germany.
The summer school will engage with the production, circulation and the disruption of art and visual practices as they navigate the (thin) line between creative and destructive impulses in times when wars, struggles for national independence and conflicting ideologies result in border contestations and territorial partitions. These crises produce both immediate and enduring physical, economic and political consequences for persons living within affected regions, including flight from one’s homeland, traumatic histories left unprocessed between generations, and the elaboration of repressive political systems and surveillance. Art might be used as a propaganda weapon that affirms and enforces demarcations or it could be a creative path to transgress contested borders, a space to envision alternatives. The notion of the border will be explored both as a divisive force and as a zone of crossing by discussing larger questions about the complex and often seemingly contradictory relation between trauma and visual/aesthetic practices on the one hand, and complex issues of space and politics that (in-) form these practices on the other.
The summer school is organised around three themes dealing with Partitions, Art and Civil Society, and Trauma and Memory. In particular, it will examine narrative modes and structures which emerge when the raw history that inhabits subjects is transformed into representation, or its refusal. While artistic articulations in conflicted border zones often explicitly reflect upon collective as well as individual experiences, they might equally be marked by the attempt to gloss over the existence of wounds and political and social divides. Artistic strategies become necessary as expressions in/on border zones. The complex spatial dimensions involved call on disciplines such as art history and anthropology to develop critical approaches for analyzing these artistic negotiations as striking aesthetic and cultural practices. Eschewing an understanding of art as a looking glass to view cultures in terms of geo-political units, the discussions will encourage critical ways of locating transregional and transcultural relationships within a discursive field of knowledge production and disciplinary practice.
We welcome advanced graduate students and junior researchers to apply and present their research on the relation between art and border/political/societal conflicts or crises. The summer school provides a unique opportunity for learning through participant-oriented discussions and a hands-on approach to writing. Instruction will be delivered through individual lectures, a plenary forum and interactive afternoon sessions consisting of guided group workshops. Participants will bring their own written and visual material for dialogue with an international community of peers and distinguished scholars present at the summer school, with the objective of developing individual visual essays relevant to the participants’ research project or new trajectories for future work.
The keynote address will be delivered by Iftikhar Dadi - art historian, artist and curator (Cornell University) - who has extensively researched Islamic Modernism and is currently investigating new avenues of civic participation among emergent urban publics in South Asia.
Confirmed guests include art historian and independent curator Eckhart Gillen who will discuss the impact of the East-West division on art production in post-War Germany, Raminder Kaur (University of Sussex) who will focus on issues of censorship and cultural regulation in South Asia, Friederike Wappler (Ruhr University Bochum) who will question the productive use of trauma as a concept for analyzing modern and contemporary art, and Patricia Spyer (University of Leiden) who will elaborate on the circulation of Muslim jihad VCDs in Indonesia in the 2000s. Contributing scholars from Heidelberg include Christiane Brosius and Cathrine Bublatzky (Visual and Media Anthropology), and Monica Juneja and Franziska Koch (Global Art History).
Deadline: May 1, 2015
In September 2015 Tate Modern will present the exhibition The World Goes Pop, a ground-breaking reassessment of pop art. By mapping the pop phenomenon from a global perspective - encompassing pop art produced in the 1960s and 1970s in Eastern Europe, Latin America, Asia and the Middle East, as well as Western Europe and the US - the exhibition will seek to challenge historiographic narratives that affirm the hegemonic position of New York art and will explore pop beyond the mainstream.
The often ambivalent and subversive nature of these global manifestations of pop is of particular importance. Reacting to the growing dominance of the American post-war economy and media around the world, pop art sometimes took the form of a destabilising reversal of the normative messages associated with American mass culture and consumerism. This approach was effectively and memorably put to use by feminists, political groups and independence movements in order to simultaneously critique the hegemony of the West while drawing on its aesthetic mass appeal and graphic clarity. By surveying these global engagements with pop, the exhibition will offer an opportunity to re-examine pop’s origins and politics, as well as question its existence and significance as a global movement.
To accompany this exhibition, Tate Papers aims to publish a range of scholarly articles addressing pop as a truly global phenomenon. Questions and issues that may be addressed in the papers include:
- How did national traditions and differing social and political contexts inform local manifestations of pop art? How did these manifestations cohere and/or differ from one another? Case studies may include (but are not limited to) Brazil, Argentina, Mexico, Mali, Nigeria, France, Spain, Germany, Belgium, Czech Republic, Poland, the former Yugoslavia, Slovenia, Russia, Iran, China and Japan.
- How did pop art reinforce or undermine conceptions of gender in these different contexts?
- Was pop art an international language and if so what were its defining traits?
- How could pop art aestheticise commodity culture and yet be a tool for political opposition? How could these two conditions co-exist in different settings and to what extent did they influence or impair each other?
- How can we define the reciprocal influence between pop art and manufacturing and technology, news media, and mass communications?
- What was the relationship of pop art to performance and film?
Tate Papers is an online, peer-reviewed research journal that publishes scholarly articles on subjects that reflect Tate’s collection, exhibition programme and activities as an art museum.
If you are interested in submitting an article, please contact the Managing Editor, Christopher Griffin, at firstname.lastname@example.org.
Please note that articles should be c.4,000–8,000 words in length and written in English. Articles accepted for publication following peer review will be published in the autumn issue of Tate Papers in 2015.
Further information about the journal and the submission process can be found here.
Dresden, Residenzschloss, Taschenberg 2, 01067 Dresden;
Prag, Akademie der Wissenschaften der Tschechischen Republik, Národní 1009/3, 117 20 Praha 1
March 17-20, 2015
Registration deadline: Mar 13, 2015
Dresden-Prag um 1600. Zum Transfer von Kunst, Kultur und Wissen
Konzeption: Beket Bukovinská und Ivan P. Muchka (Prag), Jutta Kappel, Michael Korey und Ulrike Weinhold (Dresden)
Organisation: Cathleen Tasler (Dresden) und Markéta Ježková (Prag)
Veranstalter: Staatliche Kunstsammlungen Dresden und Akademie der Wissenschaften der Tschechischen Republik, v.v.i. / Institut für Kunstgeschichte in Verbindung mit der Sächsischen Akademie der Wissenschaften zu Leipzig. Die Tagung wird gefördert durch die Deutsche Forschungsgemeinschaft und den Deutsch-Tschechischen Zukunftsfonds und steht unter der Schirmherrschaft des Präsidenten des Sächsischen Landtags.
Wir bitten um Anmeldung bis zum 13. März 2015 bei Cathleen.Tasler@skd.museum oder Telefon +49 (0)3 51 - 49 14 20 00. Bitte geben Sie an, ob Sie in Dresden und/oder Prag teilnehmen möchten. Auch bitten wir um entsprechende Rückmeldung bezüglich Ihrer Teilnahme an Festvortrag und Empfang am 17. März. Wir bieten ein kleines Kontingent an freien Plätzen in unserem Bus für den Exkursionstag an.
FOR THE COMPLETE CONFERENCE SCHEDULE, SEE FULL POST