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The exhibition illuminates the profound influence of the Great October Revolution on Eastern art. Featuring over 100 works from Soviet Turkmenistan, Uzbekistan, Azerbaijan, Mongolia, China, and Vietnam, the exhibition showcases a rich tapestry of artistic expressions—embroideries, posters, paper cutouts, and more—that reflect a unique amalgamation of local traditions and Soviet ideologies. Visitors will encounter the cult of personality through portraits of revolutionary leaders, discover the vibrant propaganda posters that redefined societal roles, and engage with stunning engravings depicting the industrial ambitions of China. This exhibition not only highlights the artistic responses to political shifts but also serves as a testament to the complex legacy of the Russian Revolution, revealing how hope, trauma, and cultural identity were woven into the fabric of artistry across nations. Many of these pieces are being showcased to the Russian public for the first time in decades, offering fresh insights into this historical narrative.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.The Raqs Media Collective, founded in 1992 in New Delhi by Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta, operates at the intersection of contemporary art, historical inquiry, philosophical speculation, and political critique. Their work probes the fundamental, often elusive, concepts of time, language, and history, challenging linear narratives and fixed interpretations. Central to their practice is the interrogation of time — not merely as a measurable entity but as a force that governs societal rhythms, disciplines human life, and underpins capitalist structures. In works such as Escapement (2009) and Re-Run (2013), they explore how time shapes experience, asking what it means to measure time and how it intersects with space and history.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.Eloquent Simplicity in Wood and Fiber is an exhibition exploring the versatility of natural materials, presenting sculptural forms and functional objects that blend traditional expression with contemporary design. The display defines the distinct aesthetic sensibilities of the Cordillera Mountain groups, including the Ifugao and Kalinga, who have long used wood and fiber to create objects for both utilitarian and ritual purposes. Juxtaposed against these traditional items, the exhibition features contemporary works by notable voices like National Artist Napoleon Abueva and designer Claude Tayag, who utilize Philippine hardwoods such as narra and molave. Addressing the modern scarcity of natural resources, the project highlights how artists continue to create meaningful, practical objects. This presentation encourages visitors to appreciate the enduring beauty, tactile quality, and profound functionality inherent in the world’s simplest materials.
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Tartu Art Museum Arts | Culture | Music
18+

Museum Choreography

Muuseumi Koreograafia
Estonia Tartu 2018 53

This innovative exhibition reimagines the traditional museum experience through the lens of dance and choreography, inviting audiences to become active participants in the artistic dialogue. It foregrounds the unpredictable interplay between viewer movement and static artworks, showcasing how personal histories, cultural contexts, and physical presence transform the museum into a living, dynamic space. By exploring the nuances of how we look at and engage with art, the exhibition challenges visitors to reflect on their own movement and interactions within the gallery. This exhibition is a thought-provoking exploration of the embodied experience of art, making the viewer an integral part of the creative narrative.

Why should you watch this?

In today’s rapidly evolving cultural landscape, this exhibition stands out by positioning dance and choreography as vital means of understanding and engaging with art in the museum context. By centering the audience’s experience, it reflects our collective need for connection and interaction in spaces that often feel static and distant. In an era where individual perspectives and cultural backgrounds shape our understanding of art, this exhibition invites viewers to reclaim their role, reminding us that museums are not just repositories of art but vibrant environments shaped by human presence and movement. As the act of looking becomes more layered and complex in our digital world, this exhibition challenges us to reconsider our relationship with art, encouraging a deeper engagement that resonates well beyond the gallery walls.

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