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

该研究项目的重点是替代苏联艺术家和他们的做法，他们（a）重新定位自己在社会中的解冻与其所谓的自由，（B）之间的革命前和苏联的艺术实践，（c）可能与他们的接触在西方艺术界。重点是他们作为社会成员在过渡情况下的作用，以及他们对新艺术风格的出现和适应俄罗斯前卫传统的重要性。“他者”的范式由此被照亮，并在相反的主持下受到质疑：不墨守成规的艺术家真的像迄今为止所声称的那样在苏联社会的边缘移动吗？为此，在莫斯科，斯维尔德洛夫斯克和列宁格勒的Lianozovo和Uktus学校的主角将在历史和艺术史的子项目进行审查。历史个案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，包括Ry Nikonova/Sergej Sigej和Oskar Rabin/Valentina Kropivnitskaja。它询问了自我感知的基本思想和话语，并探索了自己与国家和社会的关系，但它也着眼于上述演员与其他（替代）环境的互动和联系。艺术史的案例研究考察了1962年Manege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和俄罗斯/苏联前卫艺术的接受以及当代西方艺术运动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、历史、俄罗斯先锋派和第二俄罗斯先锋派之间的地位，通常被用来描述20世纪80年代的莫斯科概念主义，将进一步探讨，不仅考虑玛格丽塔·图皮岑创造的“持不同政见的现代主义者”一词，而且，特别是，马修·杰西杰克逊的论文，在20世纪80年代中期之前，只有少数不墨守成规的艺术家认为自己是复兴历史先锋派运动的成员。博士生将在教授的监督下一起工作。苏珊娜·沙滕伯格博士和教授。伊莎贝尔温舍博士。在他们的研究中，他们将利用不莱梅大学东欧研究研究中心和俄罗斯艺术档案网（RAAN）的档案资料，以及俄罗斯其他国家和非国家档案馆和博物馆的资料。

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.