The Politics of Curatorial Themes: Immortality from Conception to Display in the 5th Ural Industrial Biennial of Contemporary Art
Using the fifth edition of the Ural Industrial Biennial of Contemporary Art: Immortality (Yekaterinburg, 2019) as a case study, this article examines the inconsistencies across a curatorial theme, its development in discourse, and its materialization in the exhibition. The article posits that these inconsistencies stem from fraught relationships between the global and the local developed by the curatorial framing of the exhibition’s principal theme ‐ immortality and its relations with Russian cosmism. Through exploring the politics of biennial themes, the article puts pressure on the idea of the curator as the indisputable author and highlights the complex politics involved in curatorial practice, such as the contradictions that can occur between the conceptualizing of a theme and its materialization in an exhibition.
Ekaterina Boltounova’s article analyzes historical narrative as presented at the Yeltsin Center in Yekaterinburg, a memorial complex dedicated to the first president of Russia. The idea, which was conceived after Boris Yeltsin’s death in 2007, seems to be an example of truly global thinking, modeled on American presidential memorials. The center was founded not in Moscow but in Yekaterinburg, where the future president’s political career began. An American company was hired to carry out the project according to the best world standards. Boltounova reveals the story of the develop-ment of the exposition’s narrative and interprets its semiotics of power. At the same time, she points to a competing local historical scenario represented by a church-sponsored cult of Nicholas II. Boltounova claims that the center, in a conscious effort to overcome the Soviet imperial legacy, drew on an archaic political scenario of the sacralization of supreme power, or rather – the personality of the ruler.
Video art is a hybrid acquiring the means and goals of both contemporary art and the arts of screen. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: a “white cube” and a “black box”.
Video today is an indispensable figurant of any serious exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a “white cube” of a gallery; however, there is now a strong tendency to present video art in a “black box”, in a “cinematic” way. It’s getting harder and harder to see the edge between video art end experimental film. Perhaps the very strategy of presentation of video today may help this media to retain identity or to lose it.
Classical theories of management developed in the context of industrial afbrication. Restriction of their use is that the final product and the process activities should subject to standardize. We explore the process of the purposeful creative work management in the conditions of realization of commercial projects. As an example we take the management of creative projects in gaining popularity sphere of art management, art-project is considered as a product of creative activity.
Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity.
This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.