A scholarly journal from the Centre for Baltic and East European Studies (CBEES) Södertörn University, Stockholm.
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13 articles tagged with art were found.
Georgian capital and several buildings that were important parts of the cultural heritage have been demolished in recent years. Repairing is both cross-cultural and culturally relative; it has similarities across the world and differences based on tradition and affordances. In this sense, the specificity of repair is not that it happens but rather that it highlights the values attached and its aesthetics and moral implications.
Lena Jonson, Art and Protest in Putin’s Russia. London and New York: Routledge 2015, 399 pages.
Whatever might be said of pop art techniques and art-historical discourses used in Hungary, and later in Estonia, (and less frequently in other countries), one would be hard-pressed to say that the 1960s was an era of pop in the region, especially one with North American influences. Why then?
When it comes to art museums in post-Soviet Eastern Europe, ownership is an especially loaded issue that continues to bring out new skeletons from its closeted past. Ludwig’s gigantic art collection, consisting of some 50,000 artworks, came into being because of his goal of inscribing himself into the future of art history.
The purpose of the conference was to establish new points of contact between the actively developing traditional Bakhtin studies (in literature, language, and cultural theory), on the one hand, and those new directions in research that have discovered the importance of Bakhtin’s ideas in new applications in the humanities, social sciences, education, artistic research, and art practices.
For the celebrations of the First of May, 1917, all the buildings on the Palace Square, including the Winter Palace, were decorated for the first time with white drapes with red edgings and revolutionary slogans. Under the Bolsheviks, avant-garde artists assumed the right to develop art for the newly formed communist state, and the commission to decorate Petrograd for May Day 1918, was awarded to futurists.
Soviet Design 1950–1980 was shown for two busy winter months and enjoyed great public success. Even if Soviet design was often — but far from always — based on originals borrowed from the West, the individual objects exude a personal charm, variation, and quirkiness that makes them well worth preserving, exhibiting, and discussing.
In the City Museum of Tallinn there is a woven tapestry in two parts, from 1547. The tapestry has belonged to the city ever since it was made, in the Flanders (Enghien), on direct order from the wealthy city.
The questions posed by this year’s Berlin Biennale are an expression of anger; over the lack of attention to issues that concern ownership of access to the public space, control of money, and frustration about how the art world is being controlled by increasingly few hands, even as events are increasing in number and being spread all over the world.
The Kraków Photomonth Festival was held for the first time in 2002, and internationally renowned photographers from many countries have been represented from the very start. Exhibitors in 2012 included Sally Mann (US), Viviane Sassen (Netherlands), Jason Evans (UK), and Sergey Bratkov (Ukraine).
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