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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.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)The exhibition critically examines the evolution of mass mobilization and crowd dynamics in both historical and contemporary contexts, drawing inspiration from Elias Canetti’s “Crowds and Power.” Set against the backdrop of the GfZK’s new architectural space, the exhibition engages with the complexities of collective action, exploring how digital public spheres shape democratic participation while simultaneously being exploited for exclusionary practices. Featuring a rich array of video installations and cinematic works, including the new production “70.001,” which reimagines the 1989 Leipzig demonstrations, “Majorities” invites reflection on the nuances of social behavior and the implications of simulated experiences in gaming and surveillance. Through this thoughtful presentation, Wedemeyer prompts us to consider the intertwining narratives of isolation and community, resonating powerfully in today’s fragmented society.The group exhibition presents a compelling exploration of how art provides resilience in times of personal and societal crisis. The exhibition features works by renowned artists like Gustav Metzger, Shusaku Arakawa, and Alina Szapocznikow, each of whom faced extreme adversity and transformed their experiences into profound artistic statements. Whether addressing environmental destruction, illness, or existential threats, these artists used creativity as a means to survive and challenge the limits of human endurance. The exhibition emphasizes the power of art to propose alternative perspectives when the world seems trapped in binary thinking. By engaging with radical artistic responses to crisis, visitors are invited to reflect on how creativity can offer strength, hope, and new possibilities for navigating the uncertainties of modern life. Art, in this context, becomes more than expression — it becomes a strategy for survival and transformation.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.
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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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