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During the Soviet regime, the artist, author, and philosopher Vyacheslav Akhunov hid his notebooks in stables and barns, in murals and matchboxes. For the artist, the notebook is an autonomous artistic medium. Between 1973 and 2000, he archived more than three thousand of his ironic, visionary drawings and collages on paper for two hundred projects. In this notebook, one finds excerpts from works dated between 1974 and 1982. Leeza Ahmady's introduction to Akhunov's drawings and collages, which the artist refers to as "art-facts," interprets and reveals these as sensitive forebodings of the fall of the socialist era and as a contemporary document conceived to outlast the present. Vyacheslav Akhunov was born in 1948 in Osh, Kyrgyzstan. Leeza Ahmady is a freelance curator living in New York; she is the director of the New York Asian Contemporary Art Week and Agent of dOCUMENTA (13). Language: German/English
The book distinctive is listed in points (i) it focuses on Eastern European art covering the historical avant-garde to the post-war and contemporary periods of; (ii) it looks at some key artists in the countries that have not been given so much attention within this content i.e. Georgia, Dagestan, Chechnya and Central Asia; (iii) it looks beyond Eastern Europe to the influence of Russia/Soviet Union in Asia. It explores the theoretical models developed for understanding contemporary art across Eastern Europe and focus on the new generation of Georgian artists who emerged in the immediate years before and after the country’s independence from the Soviet Union; and on to discuss the legacy and debates around monuments across Poland, Russia and Ukraine.helps in Better understanding the postwar and contemporary art in Eastern Europe.
The Routledge Handbook of Contemporary Central Asia offers the first comprehensive, cross-disciplinary overview of key issues in Central Asian studies. The 30 chapters by leading and emerging scholars summarise major findings in the field and highlight long-term trends, recent observations and future developments in the region. The handbook features case studies of all five Central Asian republics and is organised thematically in seven sections: History Politics Geography International Relations Political Economy Society and Culture Religion An essential cross-disciplinary reference work, the handbook offers an accessible and easyto- understand guide to the core issues permeating the region to enable readers to grasp the fundamental challenges, transformations and themes in contemporary Central Asia. It will be of interest to researchers, academics and students of the region and those working in the field of Area Studies, History, Anthropology, Politics and International Relations. Chapter 23 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
In What Does It Mean to Be Post-Soviet? Madina Tlostanova traces how contemporary post-Soviet art mediates this human condition. Observing how the concept of the happy future—which was at the core of the project of Soviet modernity—has lapsed from the post-Soviet imagination, Tlostanova shows how the possible way out of such a sense of futurelessness lies in the engagement with activist art. She interviews artists, art collectives, and writers such as Estonian artist Liina Siib, Uzbek artist Vyacheslav Akhunov, and Azerbaijani writer Afanassy Mamedov who frame the post-Soviet condition through the experience and expression of community, space, temporality, gender, and negotiating the demands of the state and the market. In foregrounding the unfolding aesthesis and activism in the post-Soviet space, Tlostanova emphasizes the important role that decolonial art plays in providing the foundation upon which to build new modes of thought and a decolonial future.
Hrach Bayadyan, einer der führenden Kulturkritiker aus Armenien, konzeptualisiert in seinem Notizbuch »das Postsowjetische« neu. In Anlehnung an den Soziologen Manuel Castells warnt er davor, dass dieser Begriff allein noch nichts hieße, außer »Ex« zu sein und eine Distanz zur sowjetischen Vergangenheit zu besitzen. Vor dem spezifischen Hintergrund der Geschichte Armeniens und seiner jahrhundertelangen Kolonisierung nähert sich Bayadyan der besonderen armenischen Situation und betrachtet sie im Licht postkolonialer Theorien. Der fehlende Dialog mit der Vergangenheit hat die ostarmenisch-westarmenischen beziehungsweise sowjetarmenisch-diasporaarmenischen Unterschiede bisher ausgeblendet. »Postsowjetisch werden« stellt demnach das Projekt dar, mit dem Schreiben und Sprechen »aus dem Inneren« dieser Verwicklung zu beginnen. Der Kulturkritiker Hrach Bayadyan (*1957) lebt und arbeitet in Jerewan; er lehrt Medien- und Kulturwissenschaft an der Yerevan State University. Sprache: Deutsch/Englisch
This book tackles the intersections of postcolonial and postsocialist imaginaries and sensibilities focusing on the ways they are reflected in contemporary art, fiction, theater and cinema. After the defeat of the Socialist modernity the postsocialist space and its people have found themselves in the void. Many elements of the former Second world experience, echo the postcolonial situations, including subalternization, epistemic racism, mimicry, unhomedness and transit, the revival of ethnic nationalisms and neo-imperial narratives, neo-Orientalist and mutant Eurocentric tendencies, indirect forms of resistance and life-asserting modes of re-existence. Yet there are also untranslatable differences between the postcolonial and the postsocialist human conditions. The monograph focuses on the aesthetic principles and mechanisms of sublime, the postsocialist/postcolonial decolonization of museums, the perception and representation of space and time through the tempolocalities of post-dependence, the anatomy of characters-tricksters with shifting multiple identities, the memory politics of the post-traumatic conditions and ways of their overcoming.
A quarter of a century after the fall of the Berlin Wall, and from the vantage point of a post-Cold War, globalised, world, there is a need to address the relative neglect of postcommunism in analysis of postcolonial and neo-colonial configurations of power and influence. This book proposes new critical perspectives on several themes and concepts that have emerged within, or been propagated by, postcolonial studies. These themes include structures of exclusion/ inclusion; formations of nationalism, structures of othering, and representations of difference; forms and historical realisations of anti-colonial/anti-imperial struggle; the experience of trauma (involving issues of collective memory/amnesia and the re-writing of history); resistance as a complex of cultural practices; and concepts such as alterity, ambivalence, self-colonisation, dislocation, hegemonic discourse, minority, and subaltern cultures.? Taken together, this volume suggests that some of the methodological instruments of postcolonial criticism can be fruitfully applied to the study of postcommunist cultures and, conversely, that the experience of the Soviet brand of imperialist rule in the form of communism in East-Central Europe can function as an ideological moderator in Third-World oriented, Marxist-inspired, postcolonial discourses. This book was originally published as a special issue of the Journal of Postcolonial Writing.
As recent years have revealed, the concept of »translation« has grown increasingly important in a globalizing world and a multi-media society. Seeing translation as the negotiation of differences in identity construction does not only contribute to the understanding of contemporary cultural processes - it also makes it possible to find orientation and critical insights in a world of constantly changing social, political and media spaces. This collection of essays discusses the »translational turn«, proposing new theoretical approaches and providing new insights into the relation between narration and identity construction, between translation processes and the media.
Aby Warburg’s Mnemosyne Atlas (1925–1929) is a prescient work of mixed media assemblage, made up of hundreds of images culled from antiquity to the Renaissance and arranged into startling juxtapositions. Warburg’s allusive atlas sought to illuminate the pains of his final years, after he had suffered a breakdown and been institutionalized. It continues to influence contemporary artists today, including Gerhard Richter and Mark Dion. In this illustrated exploration of Warburg and his great work, Georges Didi-Huberman leaps from Mnemosyne Atlas into a set of musings on the relation between suffering and knowledge in Western thought, and on the creative results of associative thinking. Deploying writing that delights in dramatic jump cuts reminiscent of Warburg’s idiosyncratic juxtapositions, and drawing on a set of sources that ranges from ancient Babylon to Walter Benjamin, Atlas, or the Anxious Gay Science is rich in Didi-Huberman’s trademark combination of elan and insight.
The Pussy Riot protest, and the subsequent heavy handed treatment of the protestors, grabbed the headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a significant counter-culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests.