By Lena Jonson
The Pussy insurrection protest, and the following heavy passed therapy of the protestors, grabbed the headlines, yet this used to be now not an remoted example of paintings being substantially serious of the regime. As this e-book, in accordance with large unique learn, exhibits, there was steadily rising over fresh a long time an important counter-culture within the paintings international which satirises and ridicules the regime and the values it represents, while maintaining, via artwork, replacement values. The publication strains the advance of paintings and protest in fresh a long time, discusses how artwork of this sort engages in political and social protest, and gives many illustrations as examples of artwork as protest. The ebook concludes by way of discussing how vital paintings has been in facilitating new social values and in prompting political protests.
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Extra info for Art and Protest in Putin's Russia
Such an approach was far from the previous thinking of the avant-gardists and signalled that a new era was on its way. Most avant-gardists supported the Bolshevik takeover of power, but they soon reacted to the restrictions on freedom of speech and the new regime’s efforts to control cultural life. Several artists (among them Malevich and Rozanova) began to cooperate with political anarchism, contributing articles to the cultural section of the Anarkhiya newspaper, an organ of the Moscow Federation of Anarchist Groups that was in open opposition to the Bolshevik regime (Gurianova, 2012).
Poems by Yevtushenko, Voznezenskii and Akhmadulina and songs by Okudzhava framed the mental world of the young generation (Manevich, 1991; Sokolov, 2007; Volkov, 2008). Khrushchev’s ‘thaw’ reopened the door to the international art world. There was a Picasso exhibition in 1956, international art exhibitions during the 1957 Moscow International Youth Festival and a huge exhibition in 1959 of US abstract expressionists such as Jackson Pollock, Willem de Kooning, Arshile Gorky and Mark Rothko. 5 A first exhibition of Russian abstract art took place in Gorky Park in 1958.
Becomes possible – [of] the concealment of the world being produced by the routine of everyday life’ (Groys, 2011: 7). Against the background of Soviet ideology, which at the time still aimed to penetrate society and the life of the individual, these performances of Collective Actions became acts of dissensus. It is true that Soviet underground artists avoided becoming involved in opposing the regime, but they belonged to the same larger subculture that included human rights campaigners and political dissidents.
Art and Protest in Putin's Russia by Lena Jonson