Salerno 2019 TRANSLATIONS AND DIALOGUES: THE RECEPTION OF RUSSIAN ART ABROAD

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TRANSLATIONS AND DIALOGUES:

THE RECEPTION OF RUSSIAN ART ABROAD

Edited by Silvia Burini

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C

OLLANA DI

E

UROPA

O

RIENTALIS A CURA DI

MARIO CAPALDO E ANTONELLA D’AMELIA

C

OMITATO

S

CIENTIFICO

LAZAR FLEISHMAN,KSENIJA KUMPAN

JOHN MALMSTAD,ROLAND MARTI

ISBN

Edizioni Printì

The present volume is printed thanks to the support of In Artibus Foundation, Kroll Family Trust and

ISBN 978-88-94422-77-1 E.C.I. Edizioni Culturali Internazionali

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CONTENTS

Letters from I. Bazhenova, D. Kroll, N. Ilijne ... 9 ! ! ("$&"% "$* #"&+% $, ... 23 ! '%% +" ! rendez-vous: $", #! %!*" $, 1860-70- ". ... 37 $"#%/ #!/ %/ $-! (1870-1880- ".) ... 49 Alison Hilton

How to Formulate the New Art: National Singularity and Tentative

Modernism at International Exhibitions ... 63

Rosalind P. Blakesley

The First Woman Peredvizhnik: Emily Shanks and the Blurred

Realist/Impressionist Divide ... 81

Ekaterina Vyazova

Mikhail Larionov and Roger Fry: to the History of Sergei Diaghilev’s

Ballets Russes in England in late 1910’s ... 91 TWENTIETH-CENTURY AVANT-GARDE AND PRE-WAR ART /IN

GERMANY IN 1920’S Christina Lodder

Exporting the Revolution in Art Education: The Moscow Vkhutemas and

the German Bauhaus ... 115 !

$/ $'%%/ )'"%&!!/ .%&. &"+!!/ %"%&

#$"! ... 129

Isabel Wünsche

Revolutionary Alliances: The Russian Avant-garde and the Berlin Art

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RUSSIAN AND SOVIET ART IN AMERICA AND EUROPE John E. Bowlt

Viacheslav Zavalishin and Vladimir Markov ... 153

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Alla Rosenfeld

A Legendary Collector: Norton T. Dodge and His Collection ... 195 Éva Forgács

The International of the Square. Reception of the Russian Avant-Garde

Abroad 1920’s – 1970’s ... 207

Nicoletta Misler

Kazimir Malevich Goes to Rome ... 217 Natasha Kurchanova

The Art of Objecthood: Tatlin through the Eyes of Flavin ... 231 POST-WAR AND TWENTY-FIRST CENTURY ART:

ITS RECEPTION AND EXHIBITION ABROAD & + '$

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12 _{Bertola C. Curare l’arte. P. 250.}

13_{Bertola C. Curare l’arte // Bortolotti M. Il critico come curatore. Milano, Artshow}

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  277

Going Together. Curatorial strategies in showing Russian art from the perspective of the semiotics of culture

Harald Szeemann, one of the greatest curators of our time, once wrote: “Modernity for me is no longer just a collaboration, but a ‘going-together’”. These are the words that inspire the Centre of Studies of Russian Art (CSAR) at Ca’ Foscari University in Venice, which unites curators and con-temporary artists, primarily from Russia, in the belief that it is necessary to study and evaluate contemporary Russian art in a world context. However, I think it is of no less importance to factor in its national peculiarities and to make sense of those characteristics that are common to the whole of Russian culture. One of the key issues of Russian culture at all times has been its relationship with the West. It is no coincidence that a significant place in the theories of Russian semioticians is held precisely by those methods that so-ciety uses for distinguishing one’s own from “aliens”. Boris Uspensky wrote that one should not “view the history of Russian culture as a natural and organic process of evolution”. And, indeed, it is “marked by constant revolu-tionary upheavals” or – to quote Mihail Lotman and one of the central themes of his arguments – “explosions”. All this primarily has to do with the fact that Russia has frequently (or always) compared itself with foreign models, periodically launching revisionist processes that resulted in a radical rejection of its own past and an adoption of new cultural values. Resorting to external values, however, by no means deprives Russian culture of its distinctive cha-racter: “alien” forms transplanted in Russian soil are vested with new mean-ings. For this reason, the historic periodization and cultural labels used in the West are poorly applicable to Russian culture.

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“Профессор Родченко: Фотографии из ВХУТЕМАСа”, Магадзино дел Сале 3, Венеция, 29 августа - 7 октября 2012.

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“Hybris. Hybrids and Monster in Contemporary Art”, CFZ / Cultural Flow Zone, 13 - 28 2017.