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An Alternative History of Art
This catalogue presents the artwork of three fictitious Russian artists, all inventions of Ilya Kabakov, and intervviews of Ilya Kabakov.
Crossings
Exposition collective regroupant : Campos-Pons, Maria Magdalena, 1959- ; Capelán, Carlos, 1948- ; Durham, Jimmie, 1940- ; Hatoum, Mona, 1952- ; Jaar, Alfredo, 1956- ; Kabakow, Ilia Iosifovich, 1933- ; Kcho, 1970- ; Maestro, Lani, 1957-; Shonibare, Yinka, 1962- ; Sterbak, Jana, 1955- ; Tiravanija, Rirkrit, 1961- ; Tsai, Kuo-chiang, 1957- ; Vong Phaophanit, 1961- ; Xu, Bing, 1955- ; Yoon, Jin-me, 1960-
EUA Bologna Handbook
None
Ilya & Emilia Kabakov
In this short book, I would like to share with you some things I learned along the way that have taught me to live and eat well for less.
Ilya Kabakov
Ilya Kabakov gehort zur inoffiziellen Kunstlergruppe der Moskauer Konzeptualisten, die innerhalb der Sowjetunion zwischen 1960 und 1990 im Untergrund aktiv war. Seit seiner Emigration in den Westen lebt und arbeitet der Kunstler in Amerika und gehort seither zu den Global Players in der Kunstszene. Die Autorin beleuchtet das Werkschaffen Kabakovs unter dem Aspekt des Dialogischen und macht darin Zusammenhange zwischen seiner Konzeptkunst und seiner offiziellen Tatigkeit als erfolgreicher Kinderbuchillustrator in der Sowjetunion, Michail Bachtins Dialogizitatstheorie, der Intertextualitat und der judischen Kommentierungspraxis sichtbar.
Ilya Kabakov
This book examines the 'preventive counter-revolution,' a programme of reforms and repression that transformed the face of Russian politics during Vladimir Putin's second term as president. Kremlin propagandists hailed this programme as a defence of national sovereignty against Western attempts to foment a 'velvet revolution' in Russia. But this book shows that the Putin regime was reacting to a real domestic threat: opposition leaders and youth activists who had begun to employ 'velvet' revolutionary methods in a campaign to harness popular grievances and to challenge Putin in the streets and at the ballot box. It traces the formulation and implementation of the regime's two-track response,...
Artificial Hells
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the developme...
The American Bibliography of Slavic and East European Studies for 1994
This text provides a source of citations to North American scholarships relating specifically to the area of Eastern Europe and the former Soviet Union. It indexes fields of scholarship such as the humanities, arts, technology and life sciences and all kinds of scholarship such as PhDs.
