A scholarly journal from the Centre for Baltic and East European Studies (CBEES) Södertörn University, Stockholm.
Issue 2020, 2-3 Download.
25 articles tagged with art were found.
Around 20 researchers met in the Polish city of Kalisz for two days in mid-October, to present their on-going projects exploring issues related to artists in the political systems of the countries of Central Europe after 1945.
In general, social disasters always result in the disproportionate excess of things: while humans perish en masse, artifacts survive in the form of market commodities and museum exhibit; as human life extinguishes in catastrophes, the life of objects gets more and more active in market exchanges, expropriations, and lootings. The history of Eastern Europe in the 20th century has witnessed many such episodes.
Expressions such as “geographical imaginaries” and “utopic worlds” are used to lead people to dream about distant lands, very different from Latvian society and its cultural scene. Based on these premises, the role of the Survival Kit Festival is to bring these imaginaries close to contemporary society in Riga, leading to a transformation of the conception of geographical and mental borders.
The history of revolutionary Petrograd covers the period between the two times when the city changed its name, in 1914 and 1924. During this period, it came to witness a world war (not accidentally called the Great War) and two revolutions, as well as cold, famine, and destruction. Even though difficult to assess, the consequences for museums and collections, both private and public, were enormous, as they were for a variety of art institutions and, even more so, for private persons such as collectors, artists, art critics, and so on.
Globalizing East European Art Histories. Past and Present. Routledge Research in Art History Beáta Hock and Anu Allas (ed.), London: Routledge, 2018. 232 pages.
Usually, this triennial takes place in Lithuania, as it has since its foundation in the year 1979. But now, due to the celebration of the centennial of the restored three Baltic states, Kestutis Kuizinas, the leader of the Contemporary Art Centre, decided to suggest that they work collaboratively. Thematically, the 13th Baltic Triennial’s three-part format also shaped the way it was realized.
Like the lives of the saints, Brinton consciously crafted his own vita, iconography, and legend by inserting himself within the genealogy of his collection. From the portrait icon to the pious patron, the portraits of Christian Brinton tell us something of not only the actor, but also the narrative of Russian art that the collector constructed.
It is here claimed that it is practically impossible to determine whether the collector and connoisseur in question (namely Igor Immanuilovich Grabar, 1879—1960) was, indeed, saving his objects from scattering and destruction — or contributing to their further enslavement by exploiting them in a capacity that was radically alien, if not inimical, to their nature.
Vid avantgardets korsvägar: Om Ivan Aksionov och den ryska modernismen [At the cross roads of the avant-garde: On Ivan Aksionov and Russian modernism, Lars Kleberg, Stockholm Natur & Kultur, 2015, 248 pages.
We believed that a conference on arts and aesthetics is hardly imaginable without a cultural program and therefore included one, comprising a dance performance, Breakin’ Revolution, on the opening night at Färgfabriken on October 19, and a public screening of the art film To The New Horizons at the closing session at Moderna Museet on October 21, conceptually marking the beginning and the end of the Russian Revolution.
Baltic Worlds covers; the Baltic Sea Region, Eastern Europe, Russia, Caucasus and the Balkan area.
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