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Monika Zawadzki at Kordegarda Gallery Print E-mail
Exhibition Reviews
Written by Marta Skłodowska (Warsaw)   
Saturday, 26 January 2013 19:35

Katarzyna Kobro’s Spatial Composition 4 (1929) and Monika Zawadzki’s Rights for Human and Animals (2006), exhibition view, Eyes Looking for a Head to Inhabit, 2010, Muzeum Sztuki, Łódź, photo: P. Tomczyk. When viewers entered the gallery where the exhibition of Monika Zawadzki was installed they were confronted by a tent and fireplace, both of them easily associated with the living areas of the first societies. In this way Zawadzki, whose work was also presented in the exhibition The Biggest Delight is To Avoid Contact with Society, in Warsaw (2006), creates a situation that refers to the rituals of community creation.

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The Lost Vanguard: Soviet Modernist Architecture, 1922-32 Print E-mail
Exhibition Reviews
Written by Katherine Hill Reischl (Chicago)   
Monday, 21 January 2013 17:29

Shabolovka Radio Tower, Moscow, Russia. Vladimir Shukhov, 1922. Photo by Richard Pare, 2007. Courtesy of the Graham Foundation.The Lost Vanguard: Soviet Modernist Architecture, 1922-32 presents a small selection of British photographer Richard Pare’s massive archive of nearly 15,000 photographs of modernist Soviet architecture in Russia, Ukraine, Georgia, and Azerbaijan. The exhibition, on view at the Graham Foundation’s prairie-style Madlener House, was part of an original exhibition produced by the Museum of Modern Art in New York. Framing the project as a documentary enterprise, The Lost Vanguard posits that the sites captured by Pare were largely unknown, not only in the West but also within the Soviet Union, during the long period of neglect and inaccessibility in its later, closed years. Pare’s post-Soviet photographic project began in 1992 and continued for 15 years, offering one of the first opportunities to catch brief glimpses of these “lost” modernist edifices. His photographs reveal structures imbued with a new life and use in post-Soviet space, but just as often, crumbling and abandoned, and under threat of demolition.

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The First Kyiv International Biennale of Contemporary Art ARSENALE 2012 Print E-mail
Exhibition Reviews
Written by Kostiantyn Strilets (Kyiv)   
Friday, 24 August 2012 16:56

Korean artist Choi Jeong Hwa's "Golden Lotus," 2012, produced specially for Kyiv, bloomed in the city's central Independence Square in April before being placed in the courtyard in front of Mystetskyi Arsenal.    

The First Kyiv International Biennale of Contemporary Art ARSENALE 2012, which took place concurrently with the Euro 2012 football championship hosted by Ukraine and Poland, had a dual aim to present high-quality artworks from all over the world in Kyiv and to display Ukrainian contemporary artists to the world on par with their international counterparts. Kostiantyn Strilets's photographs reflect the project's emphasis on representation and formal concerns, where the gaze slides along the surface and meaning often arises from chance juxtapositions.

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New In ARTMargins Print

ARTMargins Print has released its second issue, devoted to Artists' Networks in Latin America and Eastern Europe. Additional content includes an article about 1970s media art in Argentina (Karen Benezra); a review essay by Aruna D'Souza about the conference project "In the Wake of the Global Turn"; translations from Dolfi Trost's book Visible and Invisible; and an artist project by Aras Özgün.  Click here for more information.

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