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.
100 miles away from the famous Bauhaus in Weimar, Germany, another center of utopian artistry and intellectualism opened that same year, with one key difference: all of the students at Loheland were women.
This essay is a rare glimpse into the alternative publications of East Germany in the 1980s. Through an overview of the magazines of the period, and a close reading of various images, advertisements, and visual poetry within them, this essay underscores the vibrancy of the underground print scene in the last decade of the GDR.
Bauhaus’ active members constituted an international network that included architects and artists from several countries in Central Europe, among them the former Czechoslovakia. The Czech and Slovak connections to the Bauhaus can be studied from various perspectives, and this essay focuses on the role of print periodicals in this history.
In 2018, on the eve of the Bauhaus centenary, the exhibition BAUHAUS ↔ VKhUTEMAS: Intersecting Parallels in The Museum of Modern Art Library explored the intersecting parallels of these two sites of radical experimentation. Its selection of ephemera, publications, and correspondence highlights the extensive circulation of ideas and people between the two institutions. The video here features Anna Bokov’s presentation at a “post presents” event organized in relation to the exhibition on October 17, 2018.
MoMA librarian Jennifer Tobias takes a recent trip to the Paper Conservation Lab as a jumping off point to explore the ins and outs of mechanical reproduction in the 1920s. Specifically, she takes a close look at a series of images in a set of avant-garde Czech magazines, to explore questions around how photographs were shared for publication across the country, and abroad.
Andra Silapētere introduces two key figures of the Hell’s Kitchen group of Latvian exile artists in New York. The work of the group will be featured in an exhibition at James Gallery of the CUNY Graduate Center as part of a series of exhibitions on Latvian emigrant artistic communities, Portable Landscapes, organized by the Latvian Centre for Contemporary Art.
A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.
One hundred years ago, Kazimir Malevich’s Suprematist Composition: White on White and Aleksandr Rodchenko’s Non-Objective Painting no. 80 (Black on Black) hung side by side in the Tenth State Exhibition in Moscow. Now part of MoMA’s collection, the two monochrome interventions and their dynamic relationship shape our understanding of nonobjective painting in post-revolutionary Russia.
A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.
Raised during the socialist period of the former Yugoslavia, Irena Lagator Pejović examines two case studies of Yugoslav art and architecture that provide insights into Montenegro’s transition to neoliberalism.
