Between Avant-Garde and Nonconformism: Soviet Artists and their Alternative Practices between Thaw and Stagnation

前卫与不墨守成规之间：苏联艺术家及其在解冻与停滞之间的另类实践

• 批准号: 500876417
• 负责人: Professorin Dr. Susanne Schattenberg
• 金额: --
• 依托单位: Forschungsstelle Osteuropa an der Universität Bremen
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/500876417?language=en
• 关键词: Between; Avant; Garde; Nonconformism; Soviet

The research project focuses on alternative Soviet artists and their practices, with which they (a) re-positioned themselves in society during the fading thaw with its supposed freedoms, (b) between pre-revolutionary and Soviet art practice, and (c) possibly in relation to their contacts with the art world in the West. The focus is both on their role as members of a society in a situation of transition and on their significance for the emergence of new art styles on the one hand and for adapting traditions of the Russian avant-garde on the other. The paradigm of "otherness" is thereby illuminated and called into question under reversed auspices: Did nonconformist artists really move on the fringes of Soviet society, as has been claimed so far? For this purpose, protagonists of the Lianozovo and Uktus schools in Moscow, Sverdlovsk, and Leningrad will be examined in a historical and an art historical subproject. The historical case study analyzes subject constitution processes of artist couples of these two artists’ groups, including those of Ry Nikonova/Sergej Sigej and Oskar Rabin/Valentina Kropivnitskaja. It asks about the ideas and discourses fundamental to self-perception and exploring one’s own relationship to the state and society in the declining thaw, but it also looks at the interactions and connections of the mentioned actors with other (alternative) milieus. The case study in art history examines artistic practices and the related reception and transfer processes during the period between the 1962 Manege and 1974 Bulldozer exhibitions. The focus is on analyzing the artistic strategies and visual-poetic vocabulary evolving between officially promoted art forms and the reception of the art of the Russian/Soviet avant-garde as well as contemporary Western art movements. The position of the artists of the “thaw generation” between the first, historical, Russian avant-garde and the second Russian avant-garde, which is usually used to describe Moscow conceptualism of the 1980s, will be explored further by not only considering the term “dissident modernists,” coined by Margarita Tupitsyn, but, in particular, Matthew Jesse Jackson’s thesis that before the mid-1980s only a few nonconformist artists’ considered themselves as members of a movement that revived the historical avant-garde.The doctoral students will work together under the supervision of Prof. Dr. Susanne Schattenberg and Prof. Dr. Isabel Wünsche. In their research, they will draw on material from the archive of the Research Centre for East European Studies at Bremen University and the Russian Art Archives Net (RAAN), as well as sources from other state and non-state archives and museums in Russia.

该研究项目重点关注另类苏联艺术家及其实践，他们（a）在社会解冻期间以所谓的自由重新定位自己，（b）革命前和苏联的艺术实践之间，以及（c）可能与他们与西方艺术世界的接触有关。重点既在于他们作为转型时期社会成员的角色，又在于他们一方面对新艺术风格的出现和另一方面对俄罗斯前卫传统的适应的意义。因此，“他者”的范式在相反的支持下被阐明并受到质疑：不墨守成规的艺术家真的像迄今为止所声称的那样处于苏联社会的边缘吗？为此，莫斯科、斯维尔德洛夫斯克和列宁格勒的利亚诺佐沃和乌克图斯学校的主角将在历史和艺术史子项目中接受审查。历史案例研究分析了这两个艺术家群体的艺术家夫妇的主体构成过程，其中包括瑞·尼科诺娃/谢尔盖·西盖和奥斯卡·拉宾/瓦伦蒂娜·克罗皮夫尼茨卡娅。它询问了自我认知的基本思想和话语，并探索了在解冻过程中个人与国家和社会的关系，但它也着眼于上述参与者与其他（另类）环境的互动和联系。艺术史案例研究考察了 1962 年 Manege 展览和 1974 年 Bulldozer 展览之间的艺术实践以及相关的接收和转移过程。重点是分析官方推广的艺术形式与俄罗斯/苏联前卫艺术以及当代西方艺术运动的接受之间演变的艺术策略和视觉诗意词汇。 “解冻一代”艺术家在第一代历史性的俄罗斯前卫派和第二代俄罗斯前卫派之间的地位（通常用来描述 1980 年代的莫斯科概念主义）将得到进一步探讨，不仅要考虑玛格丽塔·图皮岑（Margarita Tupitsyn）创造的“持不同政见的现代主义者”一词，而且要特别考虑马修·杰西·杰克逊（Matthew Jesse Jackson）的论文，即在 1980 年代中期之前，只有少数人 不墨守成规的艺术家认为自己是复兴历史前卫运动的成员。博士生将在 Susanne Schattenberg 教授和 Isabel Wünsche 教授的指导下一起工作。在他们的研究中，他们将借鉴不来梅大学东欧研究中心和俄罗斯艺术档案网（RAAN）的档案以及俄罗斯其他国家和非国家档案馆和博物馆的资料。