A Revolutionary Impulse: The Rise of the Russian Avant-Garde; curated by Roxana Marcoci and Sarah Suzuki with Hillary Reder; Museum of Modern Art, NYC, through March 12
Review by Roann Barris, Radford University
One might be excused for thinking that the entry sign to the exhibition is one of the art works in the show. The assertive, sans serif lettering, which increases in scale, and the angled parallelogram with a circle at its end, speak to the dynamic sense of velocity created by the art of the Russian avant-garde. This economy of design is also seen in El Lissitzky’s cover of Wendingen: barely four forms, two lines, and the title angled between the lines and oriented in the same direction as the grey rectilinear slab. The thin lines continue from the front cover to the back. Indeed, one of the most exciting features of this exhibition is the ample inclusion of such print works, which also includes an array of LEF magazine covers, books designed by Lissitzky, and illustrations by Olga Rozanova. Of course, one cannot overlook the wall of marvelous movie posters by the Stenberg brothers or the room of movies where the films of Sergei Eisenstein, Dziga Vertov, and others, are continuously projected.
Upon entering the exhibition, two things are especially striking: first, the extent of MoMA’s holdings in Russian art is a veritable history of the avant-garde. Simply stunning in its depth and quality, much of it is never on view. We know that Alfred Barr began collecting Russian art on his trip to Russia in the late 1920s, but less widely known is the degree to which this collection continued to grow throughout the twentieth century. A second and equally strong impression is one of synergy. Regardless of medium and artist, there is a recognizable direction of development. There is nothing random or haphazard about the evolution of Constructivism and Suprematism. Yet, isn’t this how we tend to think of it: as an avant-garde that is not held together by style because the artists affirmed that they were against style? Perhaps this show teaches us that style in this case refers to an attitude about velocity, angularity, a sense of dynamism, and most important, about the communication of ideas through composition.
The New York Times art critic, Roberta Smith, welcomed this show for another, but equally important, reason. In her December 9 assessment of the exhibition, she noted the role of this exhibition as marking a revolutionary change in how the Museum of Modern Art chooses to display its art. Thus, she concludes that a second revolutionary impulse can be observed–-one which, in this case, suggests an approach to exhibitions that is broad, pulls on the entire collection of the Museum, and enables visitors to see just how the synergy I described previously characterized this moment in Russian art.
The graphic design media may be the most impressive works of all. Although they are not likely to look very different in real life, rarely do we have the opportunity to see so many copies of the radical LEF journal laid out in one place at the same time. Another high point is seeing so many works by one artist together on a single wall or filling a room – the Lissitzky Proun room, for example, and the wall of prints by Lyubov Popova. The individual works may not be newly surprising (although in Popova’s case, they are), but it increases their resonance when so many are seen together. Surely, the artists themselves were aware of this effect as they worked in series.
A viewer unfamiliar with Russian art is in for an exciting surprise. The visitor who has devoted years to studying this period will also be surprised in a different way – namely by that feature of resonance and the almost dizzying profusion of seeing so many works of Russian art in one place.
A Revolutionary Impulse: The Rise of the Russian Avant-Garde is on view at The Museum of Modern Art, New York, December 3, 2016-March 12, 2017.
Roann Barris, a professor of art history and Art Department chair, has long been interested in Russian theater and graphic design. Not long ago, she returned to Moscow where she reexamined the materials she had used in her doctoral research on Russian constructivism, and revised much of what she had originally believed.
Cultural Fellowships in Russia
The Likhachev Foundation (St. Petersburg, Russia) and the Boris Yeltsin Presidential Center (Moscow, Russia), with support of the Committee on External Relations of St. Petersburg, announce a competition for 2-week cultural fellowships in Russia (St. Petersburg) from 15 to 28 May 2017 for foreign professionals in the field of arts and culture who work on projects related to Russian culture and history and aimed at a broad foreign audience. Airfare (economy class) and accommodation in St. Petersburg will be covered by the organizers.
Until February 15, 2017 the Likhachev Foundation will accept applications from professionals in the field of culture and arts from foreign countries who are currently working on creative projects related to Russian culture, arts, or history. Command of the Russian language is very helpful but not required.
We accept applications from artists, scholars, writers, managers of museums, theatres, and festivals.
Students are not eligible.
Working languages of the program are English and Russian.
The creative project could be a book (fiction or non-fiction), a museum exhibition project, a theatre production, a theatre or music festival, a film, a photo exhibition, etc. related to Russian culture or history. The creative project should ultimately take place in a country other than the Russian Federation, with the goal being to broaden the audiences’ perception of Russia. The two-week residency in Russia should serve as an important stage in the preparation and realization of the applicant’s cultural project.
The Likhachev Foundation will prepare individual programs for the Fellows according to their projects’ specifics, to help them achieve maximum results during their fellowships. These programs will include meetings with Russian colleagues, opportunities to work at St. Petersburg museums, libraries, archives, and other organizations.
The fellowships will be organized from 15 to 28 May 2017 in St. Petersburg (Russia).
Deadline for submitted applications is February 15, 2017.
All the recipients of the fellowships will be notified of the review panel decision by March 15, 2017.
List of fellows will be published on the website of the program by 20 March 2017.
Application should include:
CV (including information on Russian language skills, previous creative projects related to Russia, and previous visits to Russia).
Description of the creative project (up to 3 pages) a book (fiction or non-fiction), a museum exhibition project, a theatre production, a theatre or music festival, a film, a photo exhibition, etc. related to Russian culture or history. It should be clear from the project description why a residency in St. Petersburg is necessary for the applicant’s creative project and which cultural organizations in St. Petersburg the applicant would like to work with.
Please, email your application in Russian or English to the competition coordinator Mrs. Elena Vitenberg at firstname.lastname@example.org and email@example.com with subject line «application for the fellowship».
All the applicants will be notified about the receipt of their applications by e-mail.
If you haven’t received such confirmation within three days after submitting your application, please resubmit your application.
All the recipients of the fellowships will receive e-mail invitations by 15 March 2017.
List of fellows will be published on the website of the program by 20 March 2017.
The D. S. Likhachev International Charitable Foundation
http://cf.lfond.spb.ru/ The name of the Academician D. S. Likhachev (1906-1999) is symbolic for the 20th century Russian culture. A Russian intellectual, survivor of the Soviet Gulag, a great scientist and thinker, a popular figure, he managed to preserve under the totalitarian regime his integrity, honor, and fealty to Russia. In the 90s he became a moral gold standard for many Russians. During his late years D. S. Likhachev conceived the idea of a humanitarian charitable foundation. The idea was implemented after his death.
The D. S. Likhachev International Charitable Foundation was founded in St. Petersburg at the end of 2001. The mission for the Foundation had been stated by D. S. Likhachev himself as promotion of the Russian culture, education, humanities as well as affirmation of democratic and humanistic values in the society. The foundation supports both regional and international programs, awards grants, promotes seminars and conferences, publishes books, etc.
The Boris Yeltsin Presidential Center (Yeltsin Center)
http://www.yeltsin.ru/ The Boris Yeltsin Presidential Center is a new Russian noncommercial organization, directed at promoting the development of the Institute of Presidency in Russia. The mission of the Boris Yeltsin Presidential Center is to preserve, study, and present to the public the historical legacy of the first president of the Russian Federation. Presidential Center includes a museum, exhibition and discussion center, a branch of the Boris Yeltsin’s Presidential library and Center for information and education activities and expertise. The Yeltsin Center supports activities in the following areas: Education, Culture, Youth, International, Humanitarian Cooperation, Publishing, Literary Awards.
Committee on External Relations of Saint Petersburg
(http://www.kvs.spb.ru)[http://www.kvs.spb.ru] The executive authority - The City Administration is the superior executive body of St. Petersburg headed by the Governor of the city and other executive departments - the city committees and the administrative-territorial departments. The St. Petersburg Administration is formed of the Governor, the Government, The Governor’s Chancellery, the city committees and the administrative-territorial departments of the Administration subordinate to him. The Committee on External Relations is responsible for state policy of Saint Petersburg in external relations.
49th ASEEES Annual Convention
November 9-12, 2017
Chicago Marriot Downtown Magnificent Mile
Convention Theme: Transgressions The 100th anniversary of the Bolshevik Revolution inspires the 2017 theme, and invites us to rethink the ways in which cultural, economic, political, social, and international orders are undermined, overthrown, and recast. The theme invites consideration of transgressions broadly and comparatively. Proposals need not be related to the theme. Proposals from all disciplines, historical periods, and geographic foci are welcome.
February 15 Deadline for all convention proposal submissions & meeting requests
Accepting submissions for:
Panels Roundtables Book Discussion Roundtables (New for 2017 – Use the Roundtable submission process) Individual Papers Lightning Round Presentations (New for 2017 – See the call for proposal for details) For more information on the Call for Proposals see: www.aseees.org/convention/cfp
Please review the rules for participation: www.aseees.org/convention/rules
We are anticipating a large number of proposals for the 2017 Convention. Individual paper submissions will have a MUCH LOWER chance of being accepted than panel/roundtable proposals. We STRONGLY encourage all interested participants to form, or become part of, a panel proposal. To assist in the process of forming panels, we have created the Panel/Paper Wanted Board. If you are looking for a panel to join or a paper presenter for your panel, please review the proposals on the online board. You can also indicate your willingness to volunteer as chair or discussant. You can also post your requests on the new ASEEES Commons: aseees.hcommons.org/groups/2017-convention-paper-panelist-wanted/ (you must be a current ASEEES member to post on the Commons).
CFP Conference “Privacy Outside Its ‘Comfort Zone’: Late Socialist Eastern and East-Central Europe between the Private and the Public”
by Tatiana Klepikova Conference “Privacy Outside Its ‘Comfort Zone’: Late Socialist Eastern and East-Central Europe between the Private and the Public”, December 8-10, 2017
Organizer: DFG Research Training Group 1681/2 “Privacy and Digitalization”, University of Passau, Germany
“Privacy” is a well-researched yet highly disputed concept in Western scholarship. While most privacy research comes from and concentrates on Western liberal societies, great potential of privacy studies beyond this traditional framework still remains largely unexplored. The framework of Western liberal societies may therefore be seen not only as a “comfort zone” of privacy studies, but also as a barrier that often limits the potential of the research. This conference aims at elucidating the problems and the perspectives of privacy studies beyond the traditional liberal framework by bringing together scholars and PhD students who work on the concept of “privacy” in the context of Late Socialist Eastern and East-Central Europe.
A common challenge to privacy researchers of non-Western societies, especially if they come from such a society, is to refute the erroneous misconception of the absence of “privacy” in non-liberal societies, and to embrace the constructions of “privacy” that these local societies offer. This conference endeavors to create a dialogue between scholars and PhD students from all fields of humanities and social and political sciences to discuss the challenges of transgressing the borders of liberal frameworks, the strategies to cope with these challenges, and the perspectives for privacy research that such transgressions offer.
The use of this concept in the context of Late Socialist Eastern and East-Central Europe leads to a range of questions that challenge liberal dichotomies and pave the way for alternative visions of “privacy”. These questions are particularly resonant now, in the centennial year of the October Revolution, when its consequences are debated anew. While the liberal concept of “privacy” usually fails in the framework of authoritarian regimes of post-war Europe, the region offers a diversity of other impulses similar to the liberal idea of “privacy”. In the post-war years, Socialist Eastern and East-Central Europe witnessed the expansion of the material as well as immaterial private sphere, which did not only come as a result of the changed world order and subsequent transformations of Socialist societies, but can also be seen as a process that was meticulously planned, carried out, and controlled by the authorities of respective countries in an attempt to stabilize their regimes in the process of de-Stalinization. However, we should also consider whether the private sphere, so benevolently tolerated by Socialist states, continuously developed into an enfant terrible that nurtured not only stability, but also the disruptive forces of dissidence and civil rights movements, which ultimately undermined the Socialist bloc from within. These stabilizing and simultaneously disruptive currents of “privacy” within non-liberal societies are of particular interest, as they elucidate the multifaceted nature of this concept.
Participants are therefore asked to revisit and question the concept of “privacy” in liberal contexts as well as within the frameworks of Late Socialist Eastern and East-Central Europe by renegotiating the underlying categories within a certain society. The conference will specifically examine ways of addressing the concepts of “privacy” and “publicity” in said contexts by debating the applicable frameworks and by challenging existing approaches. It will further explore the potential of “reverse applicability” by discussing how privacy research in liberal contexts can benefit from other frameworks of privacy—the transfer that is of particular interest now, in the “post-privacy age”, when Snowden’s revelations elucidated the approximations of Western liberal states to the authoritarian models of the past and the present. In the light of such developments, the examination of Late Socialist authoritarian societies becomes advantageous for our understanding of contemporary privacy paradigms.
The conference will focus on three aspects of the problematics of the private/public dichotomy in Late Socialist societies of Eastern and Central Europe. Subtopics of interest include (but are not limited to):
Political variations of privacy:
Concepts of privacy: How does the liberal concept of privacy transform when applied beyond liberal societies? Is a proper transfer possible? Do we need renegotiations of the category?
(Ab-)use of privacy: In what ways can privacy become instrumental to the aims of certain regimes?
Challenging Western models: Is the “absence of privacy” to be spoken of only in the non-liberal context? How are non-Western models applicable to the Western world’s continuous failings at privacy in the 21st century?
Art and privacy:
Visions of privacy: How was privacy in Socialist societies portrayed by domestic as well as by international literature and cinema?
“Niches of privacy”: How did the production and reception of art oscillate between the private and the public spheres?
Privacy in Socialist societies:
Fluid borders: Where do borders between the private and the public spheres lie in these societies? Which dichotomous, trichotomous, etc. divisions are imaginable?
Functions of privacy: How do functions of privacy evolve in the Late Socialist societies of Eastern and Central Europe in comparison to the Western model? To what extent are such phenomena as dissidence and samizdat private/public?
“The private is political”: In which way did Socialism “respond” to the feminist critique of liberal societies that addressed the reduction of the woman’s role to the private sphere and the depoliticization of the said sphere in the Western liberal states?
Legal ambivalence: How was the private sphere constructed through Socialist laws? How did legal codes of Socialist states simultaneously allow for the invasion of privacy?
Information for applicants:
The conference will take place on December 8-10, 2017 at the University of Passau, Germany. The language of the conference is English. We welcome abstract submissions of individual papers (no more than 300 words) until February 28, 2017. Please include the title of your presentation, as well as a short academic CV (max. 150 words), and send us a PDF document at the following E-mail addresses, indicating “Conference Privacy 2017” as the E-mail subject: Lukas.Edeler@uni-passau.de AND Tatiana.Klepikova@uni-passau.de
We will contribute to the accommodation and travel costs of the participants. The conference will be based on pre-circulated papers that should be submitted until October 1, 2017. We plan to assemble an edited volume on the basis of the conference proceedings.
For any further questions, please contact Tatiana Klepikova Tatiana.Klepikova@uni-passau.de. For further information about the DFG Research Training Group, please address http://www.privatheit.uni-passau.de/en/.
Exhibition: “Oleg Vassiliev: Metro Series & Selected Works on Paper from the Kolodzei Art Foundation”
Opening reception on Monday, January 23, 2017, 6:00 pm - 9:00 pm
at the Harriman Institute Atrium (420 W 118th Street, 12th floor, New York)
The exhibition on view until March 10, 2017
Oleg Vassiliev was born in 1931 in Moscow; lived and worked in New York. He died in St. Paul, Minnesota in 2013. He has been the recipient of numerous artistic awards and grants, including from the Pollock-Krasner Foundation (1994 and 2002). In 1999, he was the first recipient of the “Liberty Prize.” His work has been displayed in museum exhibitions across the globe. His prominent solo museum exhibitions include Oleg Vassiliev: Memory Speaks (Themes and Variations) at The State Tretyakov Gallery, Moscow in 2004 and The State Russian Museum, St. Petersburg in 2005; The Art of Oleg Vassiliev, The Museum of Russian Art, Minneapolis, Minnesota in 2011; Oleg Vassiliev: Space and Light at the Zimmerli Art Museum, New Brunswick in 2014-2015.
Oleg Vassiliev is regarded as a key member of the Nonconformist Art movement; rather than confining himself to the discussion of contemporary political and societal issues, Vassiliev’s work explores concepts reaching beyond questions of social order. Among his immediate influences are the lyrical realist landscape paintings of Isaac Levitan and Kazimir Malevich’s Suprematist art. As the Russian artist Erik Bulatov puts it, Vassiliev’s painting “connects such disparate lines of development in Russian art as nineteenth-century realist painting, landscape painting in particular, and the avant-garde of the 1910s and 1920s.” Though he immigrated to the United States in 1990, Russia and Russian art continued to play an important role in Vassiliev’s work. Rather than reject past artistic experiments, Vassiliev embraced them, combining traditional artistic concepts with nonconformist ideas and influences from early 20th Century abstract art. The past and present seem to collide in his work, and this work, too, appears timeless—at once belonging to the past and the present. Linked to this idea of timelessness, is the idea of transitional space. Throughout his works, Vassiliev emphasizes the importance of memory. Individual memories, often the starting points of his work, become universal explorations of memory and the act of remembering.
This exhibit is presented by the Kolodzei Art Foundation, a public foundation (est. 1991) that organizes exhibitions and cultural exchanges in museums and cultural centers in the United States, Russia and other countries, often utilizing the considerable resources of the Kolodzei Collection of Russian and Eastern European Art, publishes books on Russian art, and provides art supplies to Russian artists. The Kolodzei Collection of Russian and Eastern European Art is one of the largest private art collections, and consists of over 7,000 works, including paintings, drawings, sculptures, photographs and videos, by more than 300 artists from Russia and the former Soviet Union. For additional information visit www.KolodzeiArt.org or email Natalia Kolodzei
For more information click here
International Conference: Art Born in the Revolution: Russian Art and the State 1917-1932
With guest speakers including John Bowlt, Maria Gough, Christina Kiaer, Christina Lodder and Robert Service
The Royal Academy of Arts, in association with the Courtauld Institute of Art, presents a two-day academic conference to coincide with the exhibition Revolution: Russian Art 1917–1932 for scholars, students and those interested in the period.
Turned overnight into the ruling party, the Bolsheviks aimed to use the power of mass propaganda in order to establish their founding mythology and disseminate their ideas to an overwhelmingly rural and illiterate population. In 1917 the leader of the new Bolshevik state, Vladimir Lenin, proclaimed that culture should support political needs.
The first day of the conference is held at the Courtauld Institute of Art and aims to address the question of how useful visual art was to the revolution, as well as the ways in which cinema, printed media and consumer goods were used for propaganda purposes. The second day considers the death and immortalisation of key revolutionary figures, such as Lenin, and the consequent establishment of autocratic rule under Stalin, alongside the impact that social, political and economic developments had on the visual arts and culture.
Organised by Dr Natalia Murray, the Courtauld Institute of Art. Full conference programme below. Please note that each day requires a separate booking.
Day one: Friday 24 February 2017 - The Courtauld Institute of Art
2pm – 6.45pm (registration from 1.30pm)
Tickets £16 (£11 concession)
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, WC2R 0RN
Day two: Saturday 25 February 2017 - The Royal Academy of Arts
10.30am – 6.30pm (registration from 10am)
Tickets £50 (including entry into the exhibition, refreshments and drinks)
Reynolds Room, Royal Academy of Arts, Burlington House, Piccadilly, Mayfair, W1J 0BD
Alexander Gray Associates
Exhibition: Sergei Eisenstein: Drawings 1931–1948
January 7 – February 11, 2017
Gallery talk: Joan Neuberger discusses Eisenstein’s drawings
Saturday, January 14, 2017, 4:00 PM
Alexander Gray Associates in collaboration with Matthew Stephenson presents a rare private collection of drawings by the Russian filmmaker and theorist, Sergei Eisenstein on view for the first time in the Americas. These sexually explicit drawings, completed between 1931–1948, span the period of his travels in Mexico and the United States in the 1930s until his death in Moscow in 1948.
A renowned film director and film montage innovator, Eisenstein also wrote extensively and made upwards of 5,000 drawings throughout his life, including designs for film sets and storyboards. This group, however, reveals Eisenstein’s sexual imagination, in part informed by his own bisexuality as well as his considerable reading and travel. Arranged in groupings that demonstrate a diversity of content, the drawings on view are intimately scaled, mostly monochromatic, with flashes of colored pencil typically in red or blue.
As historian Joan Neuberger notes, during his time in Mexico, “Eisenstein confirmed that drawing was no less important in his work as an artist than film-making and theory writing,” though it remains lesser-known. Many of his films are subtly subversive in his refusal to broadly prioritize propagandistic Soviet Realism over experimentation with camera techniques. In his “sex drawings,” Eisenstein engages in pointed institutional critiques, occasionally through the inclusion of Christian iconography and clergy members entwined in sexual acts that might be read as sacrilegious. He also illustrates figures engaged in intercourse in public spaces including the circus, nightclubs, and the streets. One red and black pencil drawing includes the text “Drag,” and features two figures in an environment that evokes a nightclub, likely in New York. One figure wearing a man’s suit appears to be reaching up the second figure’s dress as they recline on a sofa. Through his exploration of this content, Eisenstein constructs succinct and transgressive visual stories in a medium that was intentionally less public-facing than his films.
Also present in many of these drawings are irreverent depictions of inter-species relations including: a scene of matadors and bulls engaged in oral sex, and a fornicating alligator and rabbit captioned “Fucking, according to the Best System.” These pairings highlight Eisenstein’s fascination with dualities, which he called the “unity of opposites,” as well as his interest in representing a broad range of behaviors and desires reflecting the Freudian topicality of their time. Eisenstein’s experiences in Hollywood are apparent in these drawings, in particular his interest in Walt Disney’s films, which he claimed were “the greatest contribution of the American people to art,” and which informed his sometimes cartoonish style demonstrated in a drawing of a nude man draped backwards over an expressively wide-eyed giraffe.
After spending six months in California, Eisenstein traveled to Mexico to begin filming ¡Que Viva México!, an epic about the country’s history. He intended his trip to last three to four months; it lasted over a year. In 1946, Eisenstein wrote, “it was in Mexico that my drawing underwent an internal catharsis, striving for mathematical abstraction and purity of line. The effect was considerably enhanced when this abstract, ‘intellectualized’ line was used for drawing especially sensual relationships between human figures.” This interest in line and interplay of figures underscores his connection to the work of Mexican muralists including Diego Rivera, who Eisenstein first met in 1927, and whose work he greatly admired.
The drawings on view have a rich history. When departing Mexico, Eisenstein was stopped, questioned and his luggage searched at the United States border where the drawings were nearly confiscated for their incendiary nature. Upon his return to Moscow at the height of Stalin’s rule he kept the explicit images hidden until his death in 1948. His widow, the writer and filmmaker Pera Atasheva, donated most of his graphic archive, with the exception of his sex drawings, to the Russian State Archives of Literature and Art in Moscow (RGALI). Atasheva entrusted the erotic drawings to Eisenstein’s close friend and collaborator, the famous Soviet cinematographer Andrei Moskvin, who protected the director’s reputation by keeping these drawings hidden. After Moskvin’s death in 1961, his widow safeguarded the drawings. In the late 1990s her heirs sold the drawings to the family of present owner. A quarter of the drawings were also donated to the permanent collection of the State Hermitage Museum in St. Petersburg, Russia.
Also on view to provide visual context and connection to Eisenstein’s cinematic practice is a continual projection of the 1979 edit of ¡Que Viva México!, Eisenstein’s unfinished film which he began filming in Mexico in 1931. The film footage was edited by various people and released without Eisenstein’s participation in 1933, 1934, 1939, 1940, and ultimately by his assistant director, Grigorii Alexandrov in 1979.
About Matthew Stephenson
Matthew Stephenson is a London based art dealer advising and representing artists and artist’s estates and assisting private collectors and institutions through the exhibition, acquisition and selling of 19th, 20th century and contemporary art.
About Joan Neuberger
Neuberger is Professor, Department of History, University of Texas at Austin.
Alexander Gray Associates
Alexander Gray Associates is a contemporary art gallery in New York. Through exhibitions, research, and artist representation, the Gallery spotlights artistic movements and artists who emerged in the mid- to late-Twentieth Century. Influential in cultural, social, and political spheres, these artists are notable for creating work that crosses geographic borders, generational contexts and artistic disciplines. Alexander Gray Associates is a member of the Art Dealers Association of America.
PhD Funding: Artistic Re-enactments of Performance Art as Vehicles of Cultural Transfer in Eastern Europe since 1960
Department of Film and Visual Culture, University of Aberdeen
Supervisor: Dr. Amy Bryzgel, Senior Lecturer in Film and Visual Culture, University of Aberdeen
Application Deadline: March 21, 2017
Applications are invited for PhD research topics that focus on artistic re-enactments of performances from across the former communist and socialist countries of Central, Eastern and South-Eastern Europe in recent artistic practice. There are numerous examples of artistic re-enactments across the region, providing scope for a range of dissertation topics. Projects can include comparative studies, for example, of the relevance of re-enactments in one local tradition versus that of another; or single-country studies of a number of re-enactments being staged in one context. Dissertations will address the following research questions: what are the various functions of artistic re-enactments of performances in Eastern Europe? How do these functions compare with current understandings of re-enactment in the West? How can re-enactments be used to access a lost or inaccessible history (such as performance art in Eastern Europe)? Also welcome are proposals that consider revisiting culturally relevant or historically significant places by artists or within the context of artistic re-enactments.
Selection will be made on the basis of academic merit. Individuals with a strong research background in the field of Eastern European contemporary art and/or performance art, from either an art history or visual culture background, are encouraged to apply. Applicants should have the necessary language skills needed to undertake the proposed research, and should consider funding sources for travel to conduct field research abroad if it is necessary to the proposed project.
The project is funded by a University of Aberdeen Elphinstone Scholarship, which covers the cost of tuition fees only, whether Home, EU or Overseas, and will be awarded through an open competition.
Interested applicants should contact Dr. Amy Bryzgel with a project proposal of no more than 2,000 words, including discussion of Aims and Objectives, Research Questions, Research Context, Methodology and Critical Approach.
Deadline for all applications: 21 March 2017
Exhibition: Grounding Vision: Waclaw Szpakowski
Curated by Masha Chlenova and Anya Komar
Miguel Abreu Gallery
88 Eldridge Street (Lower East Side), New York City
January 13-February 19, 2017
The opening reception will take place Wednesday January 18, 2017
Happy Holidays from SHERA!