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

该研究项目侧重于另类苏联艺术家及其实践，他们(A)在解冻逐渐消退的社会中以所谓的自由重新定位自己，(B)在革命前和苏联艺术实践之间，(C)可能与他们与西方艺术界的接触有关。重点既是他们作为社会成员在转型中的角色，也是他们对新艺术风格出现的意义，以及另一方面对适应俄罗斯前卫传统的意义。“他者”的典范因此被阐明，并在相反的情况下受到质疑：不墨守成规的艺术家真的像迄今所说的那样，在苏联社会的边缘活动吗？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历史子项目中进行审查。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题构成过程，包括Ry Nikonova/Sergej Sigej和Oskar Rabin/Watina Kropivnitskaja的夫妇。它询问自我认知和探索自己与国家和社会关系的基本思想和话语，但它也考察了上述参与者与其他(替代)环境的互动和联系。艺术史上的个案研究考察了1962年的大厦和1974年的推土机展览期间的艺术实践和相关的接受和转移过程。重点是分析在官方推广的艺术形式与俄罗斯/苏联先锋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。位于第一代俄罗斯历史先锋派和第二代俄罗斯前卫派之间的“解冻一代”艺术家的地位，通常被用来描述20世纪80年代的莫斯科概念主义。我们将进一步探讨他们的立场，不仅要考虑玛格丽塔·图皮钦创造的“持不同政见的现代主义者”这个术语，还要特别考虑马修·杰西·杰克逊的论点，即在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。博士生们将在苏珊·施滕贝格教授和伊莎贝尔·温舍教授的指导下一起工作。在他们的研究中，他们将利用不来梅大学东欧研究中心档案馆和俄罗斯艺术档案馆网(RAAN)的资料，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.