Narrative projects is pleased to present Landscapes in Three Languages by Nikita Alexeev, curated by Alistair Hicks.
The exhibition includes three most recent series of paintings by the prominent artist of Moscow Conceptualism: Landscapes in Three Languages, Disappearing Landscapes and Tablecloths in the Wind. There is a common thread in all three of ‘misunderstanding/understanding.’ Alexeev has taken painting to pieces and is building it up in front of our eyes. Like any other language, he uses painting as a trigger, only a fraction of the communication comes in the actual vocabulary, the words or brush strokes. As he writes in the catalogue, ‘a language is not only a way to express certain ideas some structured phonemes, but a way of thinking.’ He is not interested in glib attempts to explain the world, rather he feeds us glancing blows at understanding.
Calvert 22 Gallery presents two book launches in September: Landscapes of Communism by Owen Hatherley (14 September) and Soviet Bus Stops by Christopher Herwig and CCCP Cook Book by Olga & Pavel Syutkin (24 September). See the websites for more information.
Warburg Institute, London
Application deadline: July 1, 2015
Research post: “Bilderfahrzeuge: Warburg’s Legacy and the Future of Iconology” – International Research Group
The Bilderfahrzeuge Research Group, funded by the German ministry of higher education and science, realised in cooperation with the Max Weber-Stiftung, and situated at the Warburg Institute in London, invites applications for a full-time research post (in principle post-doctoral) based at the Warburg Institute in London for two years in the first instance from October 2015 or as soon as possible thereafter.
The objective of this project is to explore the migration of images, objects, ideas and texts in a broad historical and geographical context. The aim shall be a contribution to the history of images which is based on Aby Warburg’s approach and method, rethinking them in the light of new interdisciplinary, international scholarship. The project will reconstruct and develop a rich scholarly approach which addresses the distinctiveness of images while also studying the language in which ideas about transfers between cultures (including ideas about images) are expressed.
The research post is part of the staff in London that contributes particularly to the overall project of studying the ways in which images and ideas are transferred between cultures and to the project of investigating the role of rhetoric in understanding images, ideas and intercultural relations. The post-holder will conduct own research and contribute to the larger projects. We are particularly interested in applicants with high level research skills in art history, trade between Europe and the Orient, prints and other portable images, rhetoric, anthropology and comparative religion. Applicants will be expected to have a good knowledge of the languages relevant to their field of study and a good speaking and reading knowledge of German and English.
The post-holder will be employed by the Max Weber-Stiftung and paid on German government scales for local positions abroad/Ortskraftvertrag. Place of work is London.
The Max Weber Stiftung is committed to increasing the number of women in academic posts and would therefore particularly welcome applications from women.
Applications should include a letter of application indicating candidates’ interests in and suitability for the projects of the research group, a curriculum vitae and publications list, the names of three referees and a writing sample of around 5,000 words of published or unpublished research. Completed applications must be submitted by Wednesday 1 July.
Interviews will be held in London at the Warburg Institute in the second half of September 2015.
Please email your application to the Project-speaker
Prof. Dr. Andreas Beyer
Pulitzer Prize-winning photographer James Hill, who has lived and worked in Russia since the 1990s, went to Gorky Park on Victory Day for four consecutive years and photographed over 500 veterans in a makeshift studio he built. 15 of the pictures will be on display at this exhibition to mark the 70th anniversary of the end of the Second World War. The photographs were collected in a beautifully produced book “Victory Day”, with the financial support of the British Council, which won the ‘Book of the Year’ Prize at the Moscow International Book Fair. In October 2013 ten of the portraits were acquired by the State Pushkin Museum of Fine Arts in Moscow for its permanent collection. The short film by Vyacheslav Sachkov of the Gerasimov Institute of Cinematography, documenting the creation of the portraits, will be screened as part of the exhibition.
The exhibition takes place with the kind support of Benoit and Natasha Mounier.
Job title: News editor
Reporting to: Deputy editor
Salary: £22,000-24,000 depending on experience
Responsible for: Leading the daily generation and distribution of The Calvert Journal’s news stories.
The Calvert Journal is an online briefing on the new creativity and culture of the new east: the post-Soviet world, the Balkans and the former socialist states of central and eastern Europe. The Calvert Journal delivers daily news and feature stories on art, design, film, fashion, technology and related cultural areas through a mix of reportage, informative analysis and photography. We are looking for a news editor to join a growing, ambitious organisation that puts culture, creativity and international connection at the heart of its activities.
For more information, see the website above
To apply, email a CV and cover letter (maximum 400 words) to email@example.com by 5pm, 20 May.
Friday, 15 May 2015
6.00pm, Kenneth Clark Lecture Theatre
The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN
Speaker(s): Antonio Geusa (independent curator and author of the History of Russian Video Art vols. 1, 2, 3) and Dmitry Ozerkov (curator of the Hermitage 20/21 Project), moderated by Elizaveta Butakova (The Courtauld Institute of Art)
Ticket/entry details: Open to all, free admission
Organised by: Elizaveta Butakova and Dr Maria Mileeva in conjunction with The Prigov Foundation and the Cambridge Courtauld Russian Art Centre (CCRAC). Sponsored by The Prigov Foundation and The Courtauld Institute of Art Research Forum.
Bringing together two key figures in the study and display of contemporary Russian art, this evening of short lectures followed by a panel discussion will pick up the thread following the recent major retrospective ‘From the Renaissance to Conceptualism and Beyond’ at the State Tretyakov Gallery, Moscow to examine the profound impact of Dmitry Alexandrovich Prigov (DAP) on contemporary art in Russia.
How did Prigov’s work as a poet, performer and new media artist shape the post-modern context in the late Soviet period? Can we trace the legacy of his position as a dissident commentator today in the practice of activist groups such as Voina, and young artists’ relationship to the post-Soviet?
Antonio Geusa is a curator, art critic and leading expert in Russian new media art. He is the author of the three-volume catalogue The History of Russian Video Art and since 2012 is Head of Educational Programmes at the National Centre for Contemporary Art, Moscow. His recent curatorial projects include Lost in Translation at the 55th Venice Biennale (in collaboration with MMOMA Moscow, Ca Foscari Esposizioni, Venice)
Dmitry Ozerkov is Director of the 20/21 Project at the State Hermitage Museum, St Petersburg and has been responsible for bringing leading international contemporary art to the museum, including collaborating on 2014’s Manifesta 10. He has published widely on such diverse subjects as Eros and 18th Century French art, Anthony Gormley and the Chapman brothers. In 2012, he oversaw the opening of a permanent Prigov installation in the new wing of the Hermitage.
The Mosaic Rooms are pleased to present the first UK solo exhibition by Hrair Sarkissian, featuring new video and previously unseen photographic work that reflect on concepts of place, conflict, and future.
Imagined Futures showcases two projects, made seven years apart, that both deal with issues of temporality: one with a non-time, a suspended unrecognised present; the other constituting a projection from an envisioned future that threatens to rupture the present at any moment. Together these bodies of work visualise that which is out of time – histories, people and narratives that have yet to be realised, political spectres that intrude upon the present. These emotive and resonant works engage the viewer beyond the reductive reportage of immediate information media, and make seen what is unseeable, the prospects of time.
Front Line (2007) draws on the artist’s own Armenian identity to contemplate the uneasy predicament of a people and place with an unknown political destiny. They look at a war-torn enclave between Armenia and Azerbaijan, the self-proclaimed independent Republic of Nagorno-Karabakh. Throughout the centuries the claims over this territory have shifted, the borders been mapped and remapped, yet the repression of the region’s indigenous Armenians has persisted. Today, over a million of its Azeri and Armenian inhabitants remain displaced; last year saw some of the worst clashes for a decade, and Western powers are still trying to negotiate a long-term solution. The photographs portray both the landscape and those that fought during the 1988-1994 war. Through a sense of isolation, estrangement and haunting, the works raise questions about the price of war and the contradictions inherent within struggles for national independence.
The new two-screen video installation Homesick (2014) depicts the artist destroying an architecturally-precise, scaled replica of his parents’ home in Damascus. More than just a house, the building represents a space where he belongs, a container for his memories, and a place for his family’s collective identity. Through Homesick Sarkissian constructs a story that, in the current political situation of mass destruction and civil war, could very well take place. He contemplates what the consequences would be? What does it mean to expect the worst? Can we fast-forward the present, acknowledge loss and begin reshaping a collapsed history, even before the event?
Alongside the exhibition, The Mosaic Rooms launched Sarkissian’s first publication, Background. This book has been produced thanks to the support it gained from its showcase through the first Art Basel Crowdfunding Initiative in partnership with Kickstarter.
Hrair Sarkissian (b. 1973, Damascus, Syria) uses photography to re-evaluate larger historical, religious or socio-political narratives. Sarkissian has exhibited widely internationally in both group and solo shows including Tate Modern (London); New Museum (New York); Darat Al Funun (Amman); Mori Art Museum (Tokyo); SALT Beyoglu (Istanbul); Thessaloniki Biennale; Sharjah Biennial; Istanbul Biennial; Asia Pacific Triennial (Brisbane) among many others. In 2013 the artist won the Abraaj Group Art Prize. Hrair Sarkissian is represented by Kalfayan Galleries, Greece.
Wednesday, April 29, 2015
Tickets can be purchased here.
As part of the programme accompanying the current Pushkin House exhibition, Akhmatova. Anrep. Berlin. join art historian and Boris Anrep specialist Jane Williams for a guided visit to two of Anrep’s most famous works in London: the mosaics at the National Gallery on Trafalgar Square and at Westminster Cathedral.
We will meet at the main entrance to the National Gallery at 10am and after Jane has talked to us about the mosaics in the Portico we will walk down through St James’s Park to Westminster Cathedral (on Victoria Street) to see the Anrep mosaics in the crypt there, finishing between 12:00 and 12:30.
Boris Anrep (1886-1969), the Russian mosaicist arrived in England during the early decades of the twentieth century. He gained an entrée into the Bloomsbury group through the artist, Henry Lamb with whom he had trained in Paris. He not only selected the Russian contribution to Roger Fry’s Second Post-Impressionist Exhibition but was also the impetus for Bloomsbury’s interest in the Byzantine. Anrep moved within an extensive circle of friends, encompassing both the artistic and the literary worlds, resulting in a duality that is observed in his works. His public commissions in London include schemes for the Tate Gallery, the National Gallery and Westminster Cathedral.
Jane Williams is a PhD candidate in History of Art at the University of Reading. Her dissertation, ‘The Mosaic Portraits of Boris Anrep, 1913-1955’ will be submitted later this year. She teaches History of Art at Wychwood School, Oxford.
This year’s shortlist reflects a diversity of attitudes towards the medium underpinned by an exploration into new and unexpected modes of presentation incorporating video, text, object and wall-based photographic displays.
Nikolai Bakharev’s ambiguous images of Russian bathers on public beaches in the 80s and 90s, at a time when photographs of nudity were forbidden, play on the tension between acceptable and unacceptable imagery, public and private realms. In the work of Zanele Muholi, the personal and political are also interwoven in her tender, unflinching portraits and testimonies of the South African LGBTI community.
South Africa further provides a location and point of political departure in the work of Mikhael Subotzky and Patrick Waterhouse. Their collaborative publication presents a, ‘photo/graphic’ album of images and text which uncover the history of a once elite, now abandoned high-rise apartment block in Johannesburg. Finally, Viviane Sassen’s sculptural, abstracted, darkly sensual images continue to effect the blurring of genres, which characterize her work and position her as a leading force in contemporary art photography.
This year’s judges are Chris Boot, Executive Director, Aperture Foundation; Rineke Dijkstra, Artist; Peter Gorschlüter, Deputy Director, MMK Museum für Moderne Kunst and Anne Marie Beckmann, Curator, Art Collection Deutsche Börse.
The winner will be announced at a special award ceremony held at The Photographers’ Gallery on 28 May 2015.
Deadline: May 8, 2015
Crossing Frontiers: Christians, Muslims and their art in Eastern Anatolia and the Caucasus
We are delighted to announce the launch of a new travelling research seminar programme for Early Career Researchers interested in the medieval art and culture of the eastern frontier between Christianity and Islam, covering Anatolia, the Caucasus and the western Iranian world. The seminars will travel initially to eastern Turkey and Armenia with the aim of investigating questions of cross-cultural exchange and international artistic production. We aim to develop a truly interdisciplinary examination of the artistic and cultural history of this region during this period of enormous diversity, change and vitality. This project is supported by the Getty Foundation as part of its Connecting Art Histories initiative, and it aims to give emerging scholars the opportunity to visit and discuss a range of important monuments alongside a group of more senior advisors and mentors. The initial research trips will run in September 2015 and Spring 2016 during which participants will hear lectures from leading academics on the art and archaeology of this period in the region, participate in seminars and visit key historical museums and sites of interest. All travel, accommodation and meal costs are covered by the grant.
For more information and to apply, please visit www.courtauld.ac.uk/crossingfrontiers
This project is organised by Dr Antony Eastmond, AG Leventis Reader in the History of Byzantine Art at the Courtauld Institute of Art, University of London; and is administered by Dr Niamh Bhalla.