• Opportunities: Post-doctoral fellowships at the University of Pittsburgh

    Deadline: December 31, 2015

    The University of Pittsburgh is offering two postdoctoral fellowships—one in the arts and humanities, and one in the social sciences and professional disciplines—to begin in September 2016 for scholars whose work focuses on Russia, Eastern Europe, and the former Soviet regions of Eurasia. These fellowships are designed to offer junior scholars the time, space, and financial support necessary to produce significant scholarship early in their careers while simultaneously building their teaching records.

    The UCIS Postdoctoral Fellowships in Russian & East European Studies are for two years, renewable for an additional (third) year. Fellows will be expected to pursue their own scholarly work and participate in the academic and intellectual activities of UCIS and REES, as well as the department or professional school with which they are affiliated.

    Each of the UCIS/REES Fellows will teach one course in the first year, two in the second year, and two in the third year if the fellowship is extended. The specific courses to be taught will be determined according to fellows’ interests and the needs of their departments and REES. However, it is anticipated that each fellow will co-teach the interdisciplinary REES capstone course, through which undergraduate students undertake a major research project as part of the REES certificate program requirements, at least once during the fellowship period. Fellows will also be expected to support the Center’s annual graduate and undergraduate student conferences and other Center outreach activities.

    The annual stipend will be $40,000, plus benefits. The UCIS/REES Fellows are eligible to apply for REES Faculty Small Grants, up to $3,000 annually, to support their research agenda.

    Eligibility: We invite applications from qualified candidates in the arts, humanities, social sciences, and professional disciplines who have received the PhD or final professional degree from a university other than the University of Pittsburgh no earlier than December 2013. Applicants who do not have the PhD in hand at the time of application must provide a letter from their department chair or advisor stating that the PhD degree will be conferred before the term of the fellowship begins. The fellowship may not begin before the candidate has actually received the PhD or equivalent final degree in a professional discipline. Strong preference will be given to candidates whose application is supported by an agreement from a current University of Pittsburgh faculty member to serve as mentor for the candidate during the period of the fellowship.


  • Opportunities: Two Visiting István Deák Visiting Professorships in East Central European Studies (Columbia University, New York)

    Columbia University invites applications for two István Deák Visiting Professorships in East Central European Studies for one semester each (Fall or Spring) in the academic year 2016-2017. The professorship, commemorating Professor Deák’s legacy of excellence in research and teaching, is open to scholars who have active interest and accomplishments in East and Central European studies. ONE appointment will be at the rank of Visiting Professor. The second will be an open-rank appointment to be filled at any level from Visiting Assistant to Visiting Full Professor.

    The visiting professors will be appointed in one of the Humanities or Social Science Departments of the Faculty of Arts and Sciences and will teach two courses, one a course of broad interest for upper-level undergraduates, and the other for graduate students. The visitors are expected to give one public lecture and participate in the academic life of the University, whose interests in East and Central European studies are well represented on campus by the East Central European Center, the European Institute, and the Harriman Institute.

    Please provide a letter of application, curriculum vitae, the names of three persons who may be asked to provide a letter of reference, and a modest sample (article or book chapter) of scholarship. The letter of application should include a statement of which semester the applicant prefers, a short list of possible courses which the applicant might teach, and a description of the applicant’s current research interests.

    Minimum qualifications: Ph.D. or professional equivalent. Distinction in research and teaching in the field of East and Central European Studies.

    Application Deadline: Open Until Filled

    Review Begins Date: 12/1/2015

    Special Instructions to applicants: All applications must be made through Columbia University’s online Recruitment of Academic Personnel System (RAPS). Using RAPS, applicants can upload the following required materials : a letter of application; curriculum vitae; the names of three persons who may be asked to provide a letter of reference; and a modest sample (article or book chapter) of scholarship. The letter of application should include a statement of which semester the applicant prefers, a short list of possible courses which the applicant might teach, and a description of the applicant’s current research interests. RAPS will accommodate uploads of maximum two (2) megabytes in size).

    For inquiries about the position please contact Alan Timberlake.
    For questions about the RAPS application process please contact Jamie Bennett.
    To apply, go to:

  • Opportunities: 2 Project Associates (PhD Students) sought for "Museums and Controversial Collections" project

    Deadline: December 15th, 2015

    The project “Museums and Controversial Collections. Politics and Policies of Heritage-Making in Post-colonial and Post-socialist Contexts” (HeMaMuse) is looking for two doctoral students as project associates.

    The two year project (October 2015- September 2017) is financed by the Romanian Research Agency (UEFISCDI) and administered by the New Europe College-NEC in Bucharest. “Museums and Controversial Collections” is a young researchers’ project developed to bring together a pluridisciplinary team (political and legal anthropology, philosophy, aesthetics, (art) history and museum studies) and to promote the development of international research networks. The project will fund fieldwork and research trips for associated doctoral students, but also travel costs for conferences and other events related to their research and to those organised by the project HeMaMuse. Associate members will be asked to collaborate in the organisation of project events, including summer schools and to help coordinate and edit publications.

    Conceived in relation to a wider field of scholarship that has in the last decades interrogated the role of museums in a postcolonial and postsocialist context, the project’s main premise is to consider museums as loci of memory and heritage, but also as fundamentally political places, where the relationships between the past, the present, and the future of a society are forged. It aims to consider a series of topical questions to current museum practice: What is the relationship between the postcolonial-era museum and the “source” communities of the objects exposed? How do/ can post-colonial museums deal with the legacy of the colonial past? What interactions exist between the colonial archives and current artistic practices? Moreover, the research will adopt and develop the abundant post-colonial analysis of museums to the research context of problematic museum collections in Eastern Europe. How can post-colonial studies help understand museums in the post cold-war era? Can similar practices be observed in these museums as they deal with very different, difficult pasts? The aim of the group is to open the possibility of a comparison between the case studies undertaken by each of the six members of the team, including the two associated doctoral students. Studies already concern the Museum of the Romanian Peasant in Bucharest, the Museum of Ethnography in Stockholm, the Staatliche Museen in Berlin, the British Museum in London, the Quai Branly Museum in Paris, the Royal Museum for Central Africa in Tervuren, the Institute of the National Museums of Congo in Kinshasa, the Iziko Museums of South Africa, and several national and international networks and associations of museum professionals.

    Doctoral students are invited to submit a research proposal either directly related to their doctoral work or dealing with a subject related to the project’s themes.

    Applications (in English ou en français) or informal enquiries concerning the positions can be sent to and before December 15th, 2015. They should include a C.V., a research proposal (3 pages), a 2 page summary of the PhD research project if the topic is different from the research proposal and a cover letter explaining his/her interest in the project and describing the research or fieldwork for which the applicant would like to obtain funding.

    Project members: Damiana Otoiu, Phd, project leader, lecturer in Political Anthropology, University of Bucharest
    Anna Seiderer, Phd, lecturer at the University of Paris 8, Saint-Denis Vincennes
    Simina Badica, Phd, curator at the Museum of the Romanian Peasant in Bucharest
    Felicity Bodenstein, Phd, Postdoctoral fellow at the Kunsthistorisches Institut, Florenz

  • Exhibition: Suprematism Infinity: Reflections, Interpretations, Explorations (Harriman Institute, Columbia University, New York; December 1, 2015 - January 22, 2016)

    Harriman Institute Atrium | 420 West 118th Street, 12th Floor
    Opening Reception: Thursday, December 10, 6:00 – 8:00 pm
    7:00 pm - talk by Irina Nakhova; video by Irina Nakhova will be shown at the opening event


    Through funding from the U.S. Department of Education, six Title VI National Resource Centers plan to award stipends to faculty at community colleges and minority-serving institutions to develop and incorporate greater content about Russia, Eastern Europe, and Eurasia into the curricula of the institutions at which they teach. These National Resource Centers (NRCs) receive grants under the Higher Education Act to train specialists in the study of the countries of this region and to work with other postsecondary institutions to expand Russian, East European, and Eurasian content in the classroom. Faculty at community colleges and minority-serving institutions throughout the U.S. are invited to apply for a course development stipend. Awards will be from $1,000-$3,000. All full-time, regular part-time, and adjunct faculty are encouraged to apply. Applicants can propose to redesign an existing course or to develop a new course including at least 25% content on Russia, Eastern Europe, and/or Eurasia. Funds will be made available to awardees in the form of a stipend and/or for purchase of curriculum materials, research related travel (including conference attendance), or consultation with a faculty member from a participating NRC. Awardees can also access the library of one participating NRC during the funding period. To be eligible as a minority-serving institution, applicant institutions are those listed by the U.S. Department of Education as eligible for Title III and Title V for FY2015.

    Full details on the competition and the application package can be found at:

    The application deadline is Friday, January 8, 2016. To submit an application by email or for more information, write to Eileen Kunkler at the Center for Slavic and East European Studies at The Ohio State University. Award notifications will be sent out by late January 2016.

    Participating Centers: Indiana U., Inner Asian & Uralic National Resource Center
    Indiana U., Russian & East European Institute
    Ohio State University, Center for Slavic & East European Studies
    U. of California, Berkeley, Institute of Slavic, East European, & Eurasian Studies
    U. of Pittsburgh, Center for Russian & East European Studies
    U. of Washington, Ellison Center for Russian, East European, & Central Asian Studies

  • Conference: Visualizing the Nation (Budapest; 27-28 November 2015)

    Budapest, ELTE BTK (Eötvös Loránd University – Faculty of Humanities) Faculty Council Hall, Ground Floor of Building “A”, Múzeum krt. 4/A
    November 27 - 28, 2015
    Visualizing the Nation. Post-Socialist ImagiNations

    While nationalism was expected to vanish in the post-Cold War era, it has instead returned with a vengeance, empowered by a renewed vitality. The spectre of nationalism is haunting Europe, and not only in the former-Eastern bloc, but also in the more affluent countries, which have been impacted by the economic crisis and mass-migration. This conference, however, mainly focuses on the Eastern and Central European region after the fall of communism with consideration of and occasional comparison with cases from outside of the region.

    It centres on the visual dimensions of nationalism, as nationalism is considered one of the most visual political currents. Yet conferences on nationalism, though abundant, hardly ever address this link. This one broadens the scope of interpretation, moving beyond an exploration of the political, sociological and philosophical aspects of the “imagined communities” of the present and focusing instead on the often overlooked but fundamental processes through which the nation is visualized.

    Art and culture have always played a prominent role in the nation-building process, as nationalism inherently speaks the language of images and presents itself via a plethora of vivid pictures, symbols, myths, and performative rituals. Dreams, fantasy and imagination, projected on the past and future, contribute to this. Its building blocks are moments of history commemorated by monuments (and counter-monuments) and propagated by an institutional framework.

    The four sections of the two-day conference are post-socialist nationalisms; nationalizing public space; on the margins of the nation; and historicizing the nation.


  • Conference: Stravinsky’s Fox: Folk, Myth & Ritual in the Russian Silver Age (Cambridge, UK; December 14, 2015)

    Conference: Stravinsky’s Fox: Folk, Myth & Ritual in the Russian Silver Age (Cambridge, UK; December 14, 2015)

    Monday 14 December 2015
    The Department of History of Art, University of Cambridge

    The centenary of the riotous first performance of Igor Stravinsky’s best known modernist work, Le Sacre du printemps (1913), has inspired numerous scholarly and public events in recent years. Less well known are the works Stravinsky wrote in Switzerland during the wartime years, which saw him developing his interest in themes drawn from Russian folklore. After the Pribautki of 1914, the one-act ‘burlesque in song and dance’ Renard, commissioned by the Princess de Polignac, was written between 1915 and 1916; this was followed by, among other works, The Cat’s Lullabies (1915), Three Children’s Tales (1917) and Four Russian Peasant Songs (1917).

    This interdisciplinary workshop explores ideas of folk, myth and ritual in early twentieth-century Russian culture. It comprises four papers situating Stravinsky’s work in the context of visual culture, music, fashion and dance, followed by a panel discussion. Papers seek to highlight synergies between modernist trends in these differing genres during the ‘Silver Age’, as well as the impact of Russian culture on the development of modernism in Western Europe around the time of the Great War.

    For a full programme and booking instructions, please visit

    This workshop is organised by the Cambridge Courtauld Russian Art Centre and seeks to complement the Philharmonia Orchestra’s 2015-2016 season ‘Myths and Rituals’. For more information, see here.

    The event is enabled by a conference grant from the Department of History of Art, University of Cambridge.
    Convenors: Dr Rosalind Polly Blakesley: University of Cambridge; Dr Louise Hardiman: Independent Scholar

  • Member News: Hanna Chuchvaha publishes "Art Periodical Culture in Late Imperial Russia (1898-1917)"

    Member News: Hanna Chuchvaha publishes

    Art Periodical Culture in Late Imperial Russia (1898-1917). Print Modernism in Transition offers a detailed exploration of the major Modernist art periodicals in late imperial Russia, the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909-1917). By exploring the role of art reproduction in the nineteenth century and the emergence of these innovative art journals in the turn of the century, Hanna Chuchvaha proves that these Modernist periodicals advanced the Russian graphic arts and reinforced the development of reproduction technologies and the art of printing. Offering a detailed examination of the “inaugural” issues, which included editorial positions expressed in words and images, Hanna Chuchvaha analyses the periodicals’ ideologies and explores journals as art objects appearing in their unique socio-historical context in imperial Russia.

  • Member News: Andrey Shabanov publishes "The Peredvizhniki: Between a Commercial Partnership and an Art Movement"

    Member News: Andrey Shabanov publishes

    THE PEREDVIZHNIKI: Between a Commercial Partnership and an Art Movement
    Andrey Shabanov

    The Russian text of this book is a translation of the PhD thesis entitled Re-Presenting the Peredvizhniki: a Partnership of Artists in Late Nineteenth-Century Imperial Russia, which the author carried out at the Courtauld Institute of Art between 2008 and 2013. The late nineteenth-century group of Moscow and St Petersburg artists, who organised travelling exhibitions around the Russian provinces, came to be known as the Peredvizhniki (or in English, quite misleadingly, as the ‘Wanderers’). Before the end of the century the Peredvizhniki gained a reputation as an altruistically motivated and critically minded Realist art movement. This reputation eventually became cemented in Soviet-era art history and is still dominant today in both Russian and Western scholarly accounts. Focusing on the period between the group’s foundation in 1870 and the publication of their twenty-fifth anniversary album in 1897, this monograph proposes a counter-argument, which centres on the analysis of the following: the specific manner in which the Peredvizhniki initially constituted themselves as a partnership; how they chose to represent themselves and their exhibitions to the public; and, finally, the specific character of the partnership’s shows and how these were critically perceived. This book therefore constitutes the first attempt to recover the Peredvizhniki’s original identity and aims, and, in the process, to question the established art-historical narratives of the group and its development.

    EUSP Press 2015; ISBN 978-5-94380-199-0; 336 p.; paperback

  • Presentation: Translocal Institute presents a launch of "The Green Bloc: Neo-avant-garde Art and Ecology under Socialism"

    Time: 25 November 2015, 7.30pm
    Venue: Translocal Institute, Dembinszky utca 10 II 33, Budapest 1071

    Participants in the discussion:
    Sándor Hornyik, PhD, art historian and curator, Hungarian Institute of Art History
    Katalin Székely, independent art historian and curator, PhD fellow at ELTE Budapest

    The Green Bloc: Neo-avant-garde Art and Ecology under Socialism by Maja Fowkes
    (New York / Budapest: Central European University Press, 2015)

    About the Green Bloc:

    Expanding the horizon of established accounts of Central European art under socialism, this book uncovers the neglected history of artistic engagement with the natural environment in the Eastern Bloc. The turbulent legacy of 1968, which saw the confluence of political upheaval, spread of counterculture, rise of ecological consciousness, and emergence of global conceptual art, provides the setting for Maja Fowkes’s innovative reassessment of the environmental practice of the Central European neo-avant-garde. Focussing on artists and artist groups whose ecological dimension has rarely been considered, including the Pécs Workshop from Hungary, OHO in Slovenia, TOK in Croatia, Rudolf Sikora in Slovakia, and the Czech artist Petr Štembera, The Green Bloc: Neo-avant-garde Art and Ecology under Socialism brings to light an array of distinctive approaches to nature, from attempts to raise environmental awareness among socialist citizens to the exploration of non-anthropocentric positions and the quest for cosmological existence in the midst of red ideology. Embedding artistic production in social, political, and environmental histories of the region, this book reveals the Central European artists’ sophisticated relationship to nature, at the precise moment when ecological crisis was first apprehended on a planetary scale.

    Dr. Maja Fowkes is Co-Director of the Translocal Institute for Contemporary Art Budapest. She has a PhD from University College London and is author of several books, including River Ecologies: Contemporary Art and Environmental Humanities on the Danube (2015) and Loophole to Happiness (2011).

    23 November