Agitprop Trains
Russia
Moscow
2018
55
The exhibition delves into a groundbreaking aspect of Russian cultural history birthed from the revolution—mobile propaganda trains. These unique vehicles served as a fusion of art and technology, transforming into vibrant mobile platforms that combined exhibitions, theater, libraries, and cinema on wheels. Launched in 1918 under the directive of the All-Russian Central Executive Committee, these trains traversed vast distances, reaching from Odessa to Irkutsk and engaging communities with their painted exteriors and rich artistic content. Supervised by renowned graphic artist Ignatiy Nivinsky, the trains featured contributions from a diverse array of artists, blending Symbolism with early avant-garde ideas. This exhibition promises an in-depth exploration of their socio-political significance during the Civil War, showcasing archival photos, posters, and various artifacts that capture the ethos of an era where art became instrumental in uniting and inspiring a nation.
Why should you watch this?
Watching a guided tour of this exhibition is particularly essential in today’s context, as it illuminates the enduring power of art as a vehicle for social change and collective identity. In a world increasingly fractured by division and misinformation, the exhibition serves as a poignant reminder of how creative expression can be mobilized to unite communities and convey critical messages. As contemporary society grapples with its own political upheavals, understanding the historical context of these mobile propaganda trains reveals the importance of merging various forms of media and art to engage the public constructively. This tour not only highlights the innovative spirit of artists who contributed to the movement but also encourages dialogue about the role of culture in shaping our narratives and responding to social challenges.
Implicit Modernism. Roman Babichev’s Collection. Part II.
Russia
Moscow
2017
95
The exhibition presents Roman Babichev’s collection as a compelling exploration of Soviet modernism, challenged by decades of controversy surrounding the term due to the anti-formalist campaigns of the 1930s and Cold War ideological battles. Offering a fresh lens, the exhibition sheds light on the often-overlooked variety within Soviet art, breaking down entrenched stereotypes and revealing the interconnections among post-avant-garde communities active after the 1932 ban on creative associations. By emphasizing the nuanced expressions of these artists—whose declarations were rendered in their unique painting styles rather than explicit statements—the exhibition invites viewers to reassess the rich tapestry of Soviet artistic heritage through a symbolist perspective, encouraging a more multidimensional understanding of its evolving narrative.
Why should you watch this?
The exhibition challenges prevailing narratives about art and encourages critical engagement with the complexities of cultural identity. In a time when discussions about artistic censorship, identity politics, and the role of art in society are more pertinent than ever, this exhibition provides a vital platform to explore how historical legacies shape contemporary artistic expressions. By delving into the often-misunderstood facets of Soviet modernism, viewers will uncover important parallels with current global movements calling for the recognition of marginalized voices and the reevaluation of entrenched ideologies. The guided experience not only enriches understanding of the artwork but also fosters a dialogue about the role of art as a form of resistance and expression in addressing modern societal challenges.
“A” fell down, “B” is gone. Glossary of Soviet censorship. Censorship practices in the USSR from the first to the last day of the Soviet authorities
Russia
Moscow
2019
66
The exhibition serves as a poignant exploration of the pervasive and often absurd censorship that defined Soviet culture over 70 years. By navigating through the Russian alphabet—from the arrest of manuscripts to the Yauza tape recorder and the underground phenomenon of magnitizdat—visitors will uncover a narrative rich in both cruelty and resilience. Each letter unveils stories of meticulous scrutiny and cold repression, highlighting the complex interplay between censorship and state security, while also showcasing remarkable acts of civil defiance against artistic oppression. Enhanced by an array of documents, media, and artifacts, this exhibition invites you to explore the hidden layers of Soviet history and the power of creative expression that endeavored to resist the “red pencils” of authority.
Why should you watch this?
Being familiar with censorship practices is crucial in today’s increasingly polarized society, where issues of free speech and artistic expression are under threat globally. In an era marked by social media scrutiny, fake news, and governmental overreach, understanding the historical context of censorship serves as a stark reminder of the fragility of our rights and liberties. This exhibition resonates with contemporary struggles against misinformation, the suppression of dissent, and the erosion of trust in media and government institutions. By delving into the past, viewers gain insights into the tactics used to stifle voices and the importance of civil resistance. Thus, this tour becomes not just a historical observation, but a call to action, encouraging us to safeguard freedom of expression and advocate for a culture where diverse narratives can flourish without fear of repercussion in our modern landscape.
CLUBS of the FUTURE. Common Spaces in Transitional Societies
Germany
Berlin
2024
54
CLUBS of the FUTURE explores the legacy of communal spaces, particularly the Houses of Culture across Europe and the former GDR, as it reflects on contemporary practices of collectivity and reform. Emerging from research into the 1,800 GDR Houses of Culture—two-thirds of which were closed post-reunification—the project addresses the societal gaps exploited by right-wing groups. Featuring innovative workshop formats, the exhibition includes Ina Wudtke’s video Greif zur Feder (Grab a Pen), Andrea Pichl’s Klub Zukunft (Future Club), and Ming Wong’s KONTAKTHOPE. Highlighting future-oriented projects, it also showcases garden initiatives like Katya Gardea Browne’s A Floating Garden & Exchange of Seeds, emphasizing the ongoing negotiation of shared civic spaces in times of transition. More at https://www.clubsofthefuture.net/
Why should you watch this?
Victoria Lomasko. Other Russias
Switzerland
Basel
2019
41
Victoria Lomasko’s retrospective at Cartoonmuseum Basel invites viewers to engage deeply with her explorations of Russia’s marginalized communities. This vibrant exhibition showcases her striking murals and drawings, which intricately depict the lives of LGBT activists, sex workers, and migrant laborers. Through her keen observations and bold, expressive style, Lomasko highlights the social injustices and political repression faced by these groups.
Why should you watch this?
Victoria Lomasko’s retrospective at Cartoonmuseum Basel resonates profoundly with today’s global landscape of social justice and human rights. As she illuminates the lives of Russia’s marginalized communities, her work serves as a poignant reminder of the ongoing struggles faced by those often overlooked in society. In a world increasingly confronted with issues of inequality, discrimination, and political repression, Lomasko’s murals and drawings act as both a testament to resilience and a call for advocacy. By capturing the essence of these lived experiences she invites audiences to reflect on the shared responsibility we hold in addressing injustices, igniting conversations that transcend borders. The exhibition serves as both a visual narrative and a call to action, reflecting her long-standing commitment to human rights advocacy. This exhibition underscores the enduring relevance of her work in fostering empathy and inspiring change in our contemporary era.
GASTEV. How to Work
Russia
Moscow
2019
66
The exhibition GASTEV. How to Work examines the profound influence of Alexey Gastev, a key figure in Soviet thought and the founder of the Central Institute of Labor (CIT). Gastev’s work in the 1920s and 1930s revolutionized labor practices through his development of scientific labor organization (NOT), blending Marxist ideology with avant-garde approaches to efficiency, biomechanics, and human-machine interaction. His theories sought to transform workers into precise, efficient elements of industrial production, reflecting the broader Soviet utopian vision of reshaping society through labor. The exhibition contextualizes Gastev’s role not just as an organizer but as a visionary whose ideas on human potential and mechanization resonate with contemporary discussions on automation and the future of work. Despite his execution during the Stalin’s Great Purge/Terror, Gastev’s legacy continues to provoke thought on the relationship between labor, politics, and the shaping of the modern human.
More at http://avantgarde.center/gastev (in Russian only)
Why should you watch this?
Notes from the Underground. Art and Alternative Music in Eastern Europe 1968-1994
Germany
Berlin
2018
56
The exhibition Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994 examines the intersection of underground music and visual arts under communist regimes in Eastern Europe. It highlights how rock, punk, and new wave music, alongside performance art, fashion, and film, became tools of countercultural expression against state control. In response to censorship and scarcity, artists and musicians created homemade instruments, produced Samizdat magazines, and distributed recordings. The exhibition underscores the role of improvisation and irony in resisting authoritarianism, with works from Poland, Yugoslavia, the Soviet Union, and Czechoslovakia, offering a new perspective on how art and music intertwined as forms of dissent.
Why should you watch this?
In a time where freedom of expression remains a contested issue, Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994 draws vital parallels between past and present struggles against authoritarianism. By showcasing how rock, punk, and new wave music intertwined with visual arts to resist state control, the exhibition highlights the subversive power of creativity. From DIY instruments to Samizdat magazines, it captures the spirit of rebellion and improvisation that thrived under repressive regimes, making it a timely exploration of art’s role in confronting oppression and fueling collective resistance.
If our soup can could speak: Mikhail Lifshitz and the Soviet Sixties
Russia
Moscow
2018
59
The exhibition is dedicated to one of the most enigmatic, mysterious, and controversial philosophers of the USSR and his famous anthology of polemical texts, The Crisis of Ugliness, which criticizes the art of the 20th century. The retrospective showcases never presented before archive documents, Lifshitz’s texts, and artworks in ten interiors, each representing a milestone in the development of modernism or Lifshitz’s thought: 10 rooms – 10 stages of Soviet history – 10 knots in Lifshitz’s biography. The project is the first large-scale analysis attempt of the tense relationship between so-called progressive art and politics in the XX-XXI century.
Why should you watch this?
This exhibition is a must-see for anyone interested in the deep connections between art, politics, and society. Lifshitz’s The Crisis of Ugliness offers a rare Soviet critique of modernism, challenging Cubism and Pop Art in ways that still resonate today. The exhibition’s exploration of these ideas through archival materials, artworks, and Lifshitz’s own writings sheds light on the complex relationship between avant-garde art and political ideology. In a time of global crisis, Lifshitz’s critiques are more relevant than ever, inviting viewers to reconsider the role of art in shaping social consciousness.