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Contemporary art trends and news from Asia and beyond

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Posts Tagged ‘Russian artists’

Russian-born Lena Liv captures Moscow’s socialist subways in Tel Aviv museum show

Posted by artradar on September 9, 2010


PHOTOGRAPHY INSTALLATION LIGHT BOXES MUSEUM SHOWS RUSSIA ISRAEL ITALY

Artist Lena Liv takes her shots in the early morning, capturing various Moscow subway stations before people crowd the architecture. Her interest in these Stalin-era “palaces for the Proletariat” may stem from a need to capture examples of the city’s “show architecture”, remnants of a building style that once mirrored state ideologies.

Russian-born, Liv has returned to her homeland after many years living and working in Italy and Israel. Her photographic installations, capturing as they do the extraordinary in the everyday, are now on show at the Tel Aviv Museum of Art in an exhibition titled “Cathedrals for the Masses | Lena Liv: Moscow Metro“.

Lena Liv, 'Taganskaya', 2006-2009, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 1 January, 1950 and is themed on medieval architecture. Image courtesy of Tel Aviv Museum of Art.

Lena Liv, 'Taganskaya', 2006-2009, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 1 January, 1950 and is themed on medieval architecture. Image courtesy of Tel Aviv Museum of Art.

The museum summarises the exhibition on its website:

“Lena Liv’s lens exposes a paradox in the metro’s heroic building work: on the one hand, the buildings were meant to contain within their monumental dimensions a human body in search of domestication; on the other hand, this is building whose far-reaching ideology sought to turn Moscow from an ancient capital to the center of world Proletariat—to sow the “seeds of the new, socialist Moscow,” in the words of the journalists of the time. Above all, it seems that Lena Liv’s works testify that this show architecture was the first sprouts of a city that never materialized.”

Cathedrals for the Masses | Lena Liv: Moscow Metro is curated by Prof. Mordechai Omer and runs in collaboration with Centro per l’arte contemporanea Luigi Pecci, Prato, Italy. The exhibition runs until 9 October this year.

Lena Liv 'Grand Mayakovskaya', 2006-2009, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 11 September, 1938 and is considered a masterpiece of Soviet Art Deco. It won the 1939 Grand Prize at the New York World's Fair. Image courtesy of Tel Aviv Museum of Art.

Lena Liv 'Grand Mayakovskaya', 2006-2009, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 11 September, 1938 and is considered a masterpiece of Soviet Art Deco. It won the 1939 Grand Prize at the New York World's Fair. Image courtesy of Tel Aviv Museum of Art.

Lena Liv, 'Elektrovodskaya 1 and 2', 2005-2006, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 15 May, 1944 and is themed on the home front struggle of the Great Patriotic War. It was the winner of the 1946 Stalin Prize. Image courtesy of Tel Aviv Museum of Art.

Lena Liv, 'Elektrovodskaya 1 and 2', 2005-2006, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 15 May, 1944 and is themed on the home front struggle of the Great Patriotic War. It was the winner of the 1946 Stalin Prize. Image courtesy of Tel Aviv Museum of Art.

Lena Liv, 'Novokuznetskaya', 2006-2009, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 20 November, 1943 and is themed on WWII. It was built as a monument to Soviet military valor. Image courtesy of Tel Aviv Museum of Art.

Lena Liv, 'Novokuznetskaya', 2006-2009, transparency on glass, fluorescent light, wood and metal construction. This station was opened on 20 November, 1943 and is themed on WWII. It was built as a monument to Soviet military valor. Image courtesy of Tel Aviv Museum of Art.

KN/HH

Related Topics: Russian artists, Israeli artists, European artists, photography, light art, museum shows

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Photography in contemporary Russia – Art Radar speaks with curator Olga Sviblova, AES+F and Igor Moukhin

Posted by artradar on August 18, 2010


MOSCOW PARIS CONTEMPORARY PHOTOGRAPHY EXHIBITION MUSEUM SHOWS

With France-Russia Year 2010 in full swing, Maison Européene de la Photographie (MEP) and the Multimedia Art Museum, Moscow (MAMM), formerly the Moscow House of Photography, partnered for the photo exhibition “Photography in Contemporary Russia, 1990-2010, currently on display in Paris. Art Radar Asia spoke with Olga Sviblova, curator and director of the MAMM, along with reknowed photographer Igor Moukhin and artist Tatiana Arzamasova of AES+F.

Vlad Loktev, '1:0', photograph, 1999. Image courtesy of Maison Européene de la Photographie.

Vlad Loktev, '1:0', photograph, 1999. Image courtesy of Maison Européene de la Photographie.

Olga Sviblova has achieved almost superstar status in the art world for her documentary filmwork, numerous curatorial endeavors and tireless dedication to the arts, especially Russian photography. Art Radar Asia managed to catch up with the busy Sviblova who answered questions about the state of contemporary Russian photography, it’s growth since the early 1990’s and the pervasive misperceptions of Russian contemporary art.

“Russian photography, like Russian contemporary art, is quite unknown in the world,” Sviblova says frankly. “It is much less present when you compare it with photography or contemporary art from another country like America, from European countries like France, like Germany, like Britain.” Such statements seem to contradict the international fame that some Russian artists have achieved such as rising stars AES+F and established names like Oleg Kulik and Igor Mukhin. For Sviblova, however, widespread acclaim for Russian artists is still the exception, not the rule. The curator elaborates further on the effects of the economic downturn on Russian art:

“Russian art was forgotten. And also for Russian art and photography, there were not institutions that could support it … there was also the question that the Russian market inside the country was not constructed.”

It was in this climate that Sviblova founded the Moscow House of Photography, now know as the Multimedia Centre for Contemporary Art, in 1996. That same year Sviblova organised Russia’s first photobiennale, followed by the first Moscow International Photography Festival in 1999. Efforts such as these changed the climate of the art scene.

“So now we have in Russia a completely different situation … we have instutions for art and photography, we have our museums. In another sense photography has started to be open in the Russian region, photography started to be popular and contemporary art started, in the beginning, to be popular.”

Exploring the popularity of photography

For Sviblova, there is no boundary between art and photography, they are part of one another, and photography has always been art. However, photography as a medium has exploded in popularity and is, according to Sviblova, one of the “most important arts today”.

Igor Moukhin, "Moscou", photograph, 1988. Image courtesy of Maison Européene de la Photographie

Igor Moukhin, 'Moscou', photograph, 1988. Image courtesy of Maison Européene de la Photographie.

Factoring into the success of photography in Russia are the new freedoms afforded to artists. This new freedom which allows photojournalistic, “street” photography to “show the face of Russia”, a truthful representation of the people, society and Russian life.

“You really can tell that today photography is an extremely popular media. Today nobody asks me if photography is art or is not art; it’s really extremely popular in Russia.”

Russian photographer Igor Moukhin echoed the same ideas when we asked him if photography was being embraced within Russia.

“People have ceased and to look [at] and trust the TV. There is no independent press. And on the Internet  [there are] a lot of photos, photos about today, yesterday, about life, and these photos discuss.”

Moukhin uses the term “direct photo” in reference to his photographs of Soviet youths and comments on the subjectiveness of his photography, saying that it is not universal since context is necessary. To artists such as Moukhin, context and knowledge of Russian history are necessary to grasp the messgae of his “direct” photography. Yet not all Russian photography is specific to Russian experiences. Communication between countries is another factor when examining the popularity of Russian photography. Acknowledging a lack of communication between Russia and other countries, Sviblova highlights the importance of photography as a method to dispel misconcenptions, and to speak about what has happened in Russia in the past and what is happening now.

Nikolai Polissky, La Tour, photograph, 2000. Image courtesy of Maison Européene de la Photographie.

Nikolai Polissky, 'La Tour', photograph, 2000. Image courtesy of Maison Européene de la Photographie.

As Olga Sviblova states, the MEP exhibition in Paris presents yet another chance “to show what kind of new photography was born in that time [1990-2010] … we can show what has happened in Russia: on a social level, emotional level, economic level, and political level”. Images of revolution from the first and second Chechen wars also make up an important part of the exhibition and Sviblova stresses how photographers began to tackle issues outside of Russia, on an international level.

“We tried to show history … we tried to show the first and second Chechen wars, what was the Russian strategy … we tried to show the best photographers working at the time … At the same time, we tried to show what happens in the country, we tried to show the youth generation, the old people.”

While some artists use documentary photography to focus on Russian experiences, others use documentary photography to create ties to the rest of the world.  As the birth of “new Russia” took place, contemporary street photography captured it from every angle.

Russian photography, international issues

Although it is one of the most popular types of photography in Russia, the exhibition includes much more than just documentary-style images. What Sviblova calls classical art photography and fashion photography make up the remainder of the show and include names such as Oleg Kulik and Arsen Savadov.

AES+F, 'The Islamic Project: New Liberty', 2003, lambda print. Image courtesy of the AES+F website.

AES+F, 'The Islamic Project: New Liberty', 2003, lambda print. Image courtesy of the AES+F website.

Sviblova also speaks in length about the popular artist collective AES+F, a group that uses photography as a tool to address universal, and often controversial, concepts.  In reference to images from “The Islamic Project” series Sviblova remarks:

“After September 11 their images started to be so famous, distributed through the Internet and often given out without the signature of the artist because it was like popular art. It was not the mirror of reality, but also the magic mirror of the future … AES+F is one of the most sophisticated, one of the most complicated, and at the same time one fo the most magic artist [groups].”

In a brief Art Radar interview with AES+F’s Tatiana Arzamasova, the artist sheds some light on the collective’s use of photography in recent series such as “The Last Riot” and ‘”The Feast of Trimalchio”. “We use photography as a tool,” she remarks.

On the artists’ website they make no attempt to hide their process, showing how they use assorted images as a starting point for the final product. As a collective,the artists of AES, with the exception of Vladmir Fridkes, do not consider themselves “traditional” photographers. When asked if the international community still had misperceptions about Russian art and Russian photography, Arzamasova indicated that the idea of Russian photography as socialist media is still present. “[People] think of Russia as poor…they still think of the Cold War” Arzamasova states. Undaunted by such stereotypes, AES+F continues to stretch the boundaries of what Russian art and photography is considered to be. Olga Sviblova concludes:

“Great photography is not just image and document of reality, it’s much more metaphoric. If you know the language of the artist, you can read the message and through this message you can see not just today, or the past, you can see our future”

Other stand-out artists featured in the exhibition, which will run until 29 August this year, include the Fenso group, Sergui Tchilikov, Vladmir KupriyanovGeorgy Pervov, and Vladmir Fridkes.

EH/KN

Related Topics: Russian artists, photography, curators

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Posted in AES+F, Collaborative, Curators, Events, France, From Art Radar, Gallery shows, Interviews, Museum shows, Olga Sviblova, Paris, Photography, Professionals, Russian, Venues | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

World premiere of new AES+F photo collages at Moscow’s Garage Center – video

Posted by artradar on August 10, 2010


RUSSIAN ARTIST COLLECTIVE PHOTOGRAPHY VIDEO

Made up of artists Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky, and Vladmir Fridkes, internatinoally acclaimed Russian collective AES+F returns once again to Moscow’s Garage Center for Contemporary Culture in the center’s newest exhibition, “The Feast of Trimalchio“.

AES+F, The Feast of Trimalchio. Triptych #1. Panorama #2. 2010, Digital Collage.  Image courtesy of Garage Center for Contemporary Culture

AES+F, 'Triptych #1. Panorama #2', 2010, digital collage. Image courtesy of Garage Center for Contemporary Culture.

Curated by Olga Sviblova, the collective’s interpretation of Satyricon, a work by Roman poet Gaius Petronious Arbiter, features a nine channel video installation of a hotel resort paradise threatened by disaster. The artists’ website states:

the atmosphere of ‘The Feast of Trimalchio’ can be seen as bringing together the hotel rituals of leisure and pleasure … On the other hand the ‘servants’ are more than attentive service-providers. They are participants in an orgy, bringing to life any fantasy of the ‘masters’.

The show, which runs from 19 June to 29 August, features both the video installation as well as several brand new, never-before-seen panoramic digital collages.

Watch Garage Center’s short preview of “The Feast of Trimalchio” here (video length, 1:07 mins)

EH/KN

Related Topics: AES+F, Russian, photography, video art

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Posted in AES+F, Collaborative, Consumerism, Fantasy art, Human Body, Moscow, Museum shows, Olga Sviblova, Photography, Russia, Russian, Utopian art, Video | Tagged: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a Comment »

Russian curators prosecuted for showcasing banned art: media round-up

Posted by artradar on August 2, 2010


RUSSIAN ART CURATORS BANNED ART LAW

After a two-year trial, two Russian curators, Yury Samodurov and Andrei Yerofeyev, were declared guilty of “inciting religious hatred,” despite massive protest. Although they escaped the three-year prison sentence demanded by the prosecution, the judge declared them guilty and each had to pay a hefty fine. Critics fear the results of this trial are proof of cultural oppression in Russia.

They had showcased art banned from other Russian museums in an exhibition entitled “Forbidden Art” at the Sakharov Museum.

Alexander Kosolapov's 'This Is My Body', from "My Blood My Body" series, one of the works from the controversial exhibition "Forbidden Art 2006" at the Sakharov Museum.

Alexander Kosolapov's 'This Is My Body', from "My Blood My Body" series, one of the works from the controversial exhibition "Forbidden Art" at the Sakharov Museum.

Strong public interest in the case

Most media leans in favor of the Russian curators and sees the verdict as a sign of cultural oppression and censorship in Russia. However protesters from both sides were present outside the courthouse on the day of the ruling. Those offended by the paintings and who initiated the prosecution were mostly fundamentalist Russian Orthodox Christians while those against the prosecution consisted generally of artists and human rights activists. Multiple blogs and news agencies have covered the trial, ranging from arts websites to Russian interest magazines and blogs about human rights.

Extreme factions from both sides have voiced their protests. The New York Times reports that radical art performance group, Voina, released cockroaches into the courtroom, an act criticized by Samodurov. According to the Associated Press, extremist members of the prosecution threatened the curators in court, reminding them of the fate of Anna Alchuk, curator of “Caution: Religion!” who was found dead in Berlin in 2008.

Artists “incited religious hatred”

'Chechen Marilyn' by Blue Noses Group (2005, colour print, 100 x 75 cm), one of the works from the controversial exhibition "Forbidden Art 2006" at the Sakharov Museum.

'Chechen Marilyn' by Blue Noses Group (2005, colour print, 100 x 75 cm), one of the works from the controversial exhibition "Forbidden Art" at the Sakharov Museum.

The works in question include an icon made of caviar, a depiction of Christ with a Mickey Mouse head, and an image of Christ with the McDonald’s sign and the words “This is my body”. There were also some non-Christian symbols included in the list of offensive images such as Chechen Marilyn and the Chinese invading the Kremlin. The exhibition spurred a lot of anger amongst religious groups.

In a video interview with Russia Today, a member of the Russian Orthodox Church explains that,

Orthodox believers, as citizens of their country…have the right to protect their sacred symbols. It was not the church that initiated this prosecution, but the people who were offended. The investigation proved that the art at the exhibit was offensive towards believers, and incited religious hatred.

The New York Times also mentioned, however, that Russian Orthodox Church officials believed that while displaying the paintings was criminal and the curators should be punished, they shouldn’t be imprisoned. Furthermore, the Russian Minister of Culture was critical of the prosecution.

A fight against censorship

The defendants’ view is that this exhibition was a critique of the materialism of Russian society and a fight against censorship of the arts, and had nothing to do with religion. Ironically, critics fear that results of the trial have shown that censorship is quite powerful in Russia.

Samodurov faced similar charges for a 2003 exhibition called “Caution: Religion!” He says the Church has reacted more strongly in the “Forbidden Art” trial.

Human rights and arts activists fully disapprove of the judge’s ruling, and are alarmed not only at the guilty verdict but at the fact that this trial even took place. The BBC News reported that thirteen renowned Russian artists signed an open letter to President Dmitry Medvedev protesting the trial. Russia Today reports that,

…much more concerning [than escaping the jail sentence] for people in their circumstances is what they’ve seen as a curb from their freedom of expression.

In addition support from other artists and curators has been prevalent. The Associated Press reports that Marat Gelman, a Moscow gallery owner, declared his support for the pair by saying he would launch his own “Forbidden Art” exhibition should the ruling be in favor of the church. One sympathizer stated for the Associated Press before the verdict was declared,

‘I am very afraid for them,’ she said. ‘The church is now younger, more energetic.’

Some fear a return to a cultural oppression similar to that of Czarist Russia. Some suspect the Kremlin may have had a role in lightening the punishment of the curators to prevent tarnishing their international image. Critics have predicted that people will be wary of displaying and producing potentially offensive art in Russia, and this will make Russian art less competitive globally.

MM/KN

Related Topics: Russian artists, curators, venues – Moscow

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