Artists reflect on the intersections between historic Soviet architecture and newly built infrastructures.
Artists reflect upon the role infrastructures of energy play in implementation of (geo)politics and emphasize the effects that exerts on the environment.
In an effort to consider the variegated impacts of COVID-19—a virus with a global reach—post interviewed Zdenka Badovinac about how the pandemic has affected conceptions and practices of programming, civic engagement, and care.
In the keynote lecture, Zdenka Badovinac introduces her concept of the “sustainable museum,” and explores possible translocal approaches to exhibition practice from the so-called periphery, nevertheless situated within the neoliberal global network of art museums and biennials.
The 1916 album War by Olga Rozanova, made in collaboration with Aleksei Kruchenykh, draws upon the visual and linguistic vocabularies of Futurism and Suprematism to explore the trauma of war.
A postcard of a lithograph by Farkas Molnár (1897–1945) is one of a series of twenty postcards printed and marketed to publicize the 1923 Bauhaus exhibition in Weimar. Designed to convey a positive image of the institution, which had been under attack, it featured an American-style skyscraper, signaling an architectural future that had not yet arrived in Europe.
Liubov’ Popova’s practice involved an active engagement with multiple movements and -isms in a relatively short period of time. In this essay, very formally distinct and different works by Popova, on view in the reinstalled galleries in 2019, are put into historical relation.
Marianne Brandt was the only woman to receive her degree in metal at the Bauhaus. Elizabeth Otto here focuses on Brandt’s iconic table clock and unpacks the legendary design aesthetic that she pioneered during a relatively brief period at the school and while employed at the Ruppel company thereafter.
New York–based curator Zane Onckule (born 1982, Latvia), curator of the thesis exhibition Balticana that was on view at the Hessel Museum of Art in the spring of 2019, reflects upon geopolitical, cultural, and (visual) identity/ies across the present-day Baltics.
As the only woman artist in the 1920s avant-garde group Devětsil and an important figure in both Czech and French Surrealism, Toyen produced a significant body of work in painting, drawing, printmaking, and collage.
Me vendndodhje në Shkodër, Shqipëri, muzeu Marubi përmban një koleksion fotografik prej më shumë se pesëqindmijë negativësh që shtrihet nga gjysma e dytë e shekullit të nëntëmbëdhjetë e deri në fundin e shekullit njëzet.
Located in Shkodra, Albania, The Marubi museum contains a collection of more than five hundred thousand negatives dating from the second half of the nineteenth century to the end of the twentieth.