In the Eye of the Storm

Informationen zum Autor Konstantin Akinsha studied at the Shevchenko Art School in Kyiv, Ukraine, and in 1986 completed an MA in art history at the Moscow State University. He completed a PhD in art history at the University of Edinburgh. In the course of his career, Konstantin Akinsha has been curator at the Kyiv Museum of Western and Oriental Art, Moscow correspondent for ARTnews, contributing editor for ARTnews magazine, New York, as well as a Research Fellow at both the Germanisches Nationalmuseum, Nuremberg, and Bremen Kunstverein, East European Institute of Bremen University. From 1999 to 2000 he was also Deputy Research Director, Art and Cultural Property, Presidential Advisory Commission on Holocaust Assets in the United States, Washington, D.C. In 2006 he became the European Correspondent for ARTnews magazine in Budapest, and in 2007 he also became a Eugene and Davmel Shklar Fellow at the Ukrainian Research Institute of Harvard University. Akinsha has written a number of books, including Stolen Treasure (Weidenfeld & Nicolson, 1995), co-authored with Gregorii Kozlov, and The Holy Place, co-authored with Gregorii Kozlov and Sylvia Hochfield (Yale University Press, 2007). Klappentext A major study of Ukrainian art from 1900 to the mid-1930s - with loans from major museums in Ukraine, elsewhere in Europe, the United States (including MoMA) and Israel. In the Eye of the Storm presents the groundbreaking art produced in what is now Ukraine in the early 20th century - at a time when the country did not exist as the independent state it had previously been and is again today. The book will accompany an exhibition that will trace the artistic developments between 1900 and the mid-1930s, focusing on three key regional centres - Kharkiv, Kyiv and Odesa - against a complicated socio-political backdrop of collapsing empires, World War I, the Revolution with the ensuing civil war, and the creation of Soviet Ukraine. The publication will feature avant-garde art created in Ukraine from a Ukrainian perspective while acknowledging the complex geopolitical structures and identities within which it functioned: Ukrainian, Russian, Jewish and Polish. To highlight the dynamism and diversity of the artistic scene in these three cities during the period, the book will feature works in various media - from traditional oil paintings and drawings to collages, graphic and theatre designs, and cinema. The book is highly topical in light of the ongoing invasion of Ukraine by Russia, which exploits cultural, historical and linguistic myths and stereotypes as the pretext for its violence. Inhaltsverzeichnis Foreword Francesca Thyssen-Bornemisza Acknowledgments Introduction Konstantin Akinsha I. Kyiv From Kyiv to Paris: The Cosmopolitanism of Alexandra Exter Katia Denysova The Beginning: The First Avant-Garde Exhibitions in Ukraine Olena Kashuba-Volvach The Art Section of the Kultur Lige: Yiddish Avant-Garde Art in Kyiv (1918-1922) Hillel Kazovsky Oleksandr Bohomazov: The Ukrainian Version of Futurism Olena Kashuba-Volvach Boichukism Myroslava M. Mudrak Bauhaus on the Banks of Dnipro Olena Kashuba-Volvach II: Kharkiv The Tragic Sensuality of the Kharkiv Avant-Garde Tetiana Zhmurko Constructor Vasyl Yermylov: A Captive of the Material World Konstantin Akinsha Visual and Spatial Experiments in Ukrainian Scenography of the 1920s Olena Kovalchuk Ivan Kavaleridze: Searching for the Hero of the New Age Oksana Barshynova Nova heneratsiia (1927-1930) Myroslava M. Mudrak III. Odesa The Odesa Society of Independent Artists Olha Barkovska From Symbolism to Avant-Garde: The Emancipation of Ukrainian Cinema in the 1920s Ivan Kozlenko IV. Aftermath In the Shadow of...

Autorentext
Konstantin Akinsha is an independent art historian, curator and journalist. He received the George Polk award for cultural reporting in 1991. Akinsha's curatorial projects include 'Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917' (Neue Galerie, New York, 2015), 'Permanent Revolution: Ukrainian Art Today' (Ludwig Museum, Budapest, 2018) and 'Between Fire and Fire: Ukrainian Art Now' (Semperdepot, Akademie der bildenden Künste, Vienna, 2019). He is the founding director of the Avant-Garde Art Research Project (UK) and the author of several books, including Beautiful Loot: The Soviet Plunder of Europe's Art Treasures (1995).

Katia Denysova is a PhD candidate at the Courtauld Institute of Art, London. Her research investigates the influence of socio-political factors on early 20th-century art in Ukraine. She has contributed to the H-SHERA, ArtHist and Dash Arts podcast series, and the journals Arts, Art and the Public Sphere and immediations.

Olena Kashuba-Volvach heads the Department of 19th and early 20th-Century Art at the National Art Museum of Ukraine (NAMU). She holds a PhD in art history from the Institute of Art Studies, Folklore and Ethnology of the National Academy of Sciences of Ukraine and was the senior research fellow at the National Academy of Arts of Ukraine. She is the author of numerous articles and has published several books, including Oleksandr Bohomazov: A Self-Portrait (2012), The Ukrainian Academy of Art: A Brief History (2015) and Art Pages of the New Generation, 1927-1930 (2016). In 2019-20, Kashuba-Volvach curated the multi-venue exhibition Oleksandr Bohomazov: The Artistic Laboratory.

Klappentext
A major study of Ukrainian art from 1900 to the mid-1930s - with loans from major museums in Ukraine, elsewhere in Europe, the United States (including MoMA) and Israel.

In the Eye of the Storm presents the groundbreaking art produced in what is now Ukraine in the early 20th century - at a time when the country did not exist as the independent state it had previously been and is again today. The book will accompany an exhibition that will trace the artistic developments between 1900 and the mid-1930s, focusing on three key regional centres - Kharkiv, Kyiv and Odesa - against a complicated socio-political backdrop of collapsing empires, World War I, the Revolution with the ensuing civil war, and the creation of Soviet Ukraine. The publication will feature avant-garde art created in Ukraine from a Ukrainian perspective while acknowledging the complex geopolitical structures and identities within which it functioned: Ukrainian, Russian, Jewish and Polish. To highlight the dynamism and diversity of the artistic scene in these three cities during the period, the book will feature works in various media - from traditional oil paintings and drawings to collages, graphic and theatre designs, and cinema.

The book is highly topical in light of the ongoing invasion of Ukraine by Russia, which exploits cultural, historical and linguistic myths and stereotypes as the pretext for its violence.

Zusammenfassung
'Generously illustrated... An introduction to an influential period and a diverse group of artists whose works continue to be uncovered, and whose history reverberates today' - Library Journal

Inhalt
Foreword
Francesca Thyssen-Bornemisza

Acknowledgments

Introduction
Konstantin Akinsha

I. Kyiv

From Kyiv to Paris: The Cosmopolitanism of Alexandra Exter
Katia Denysova

The Beginning: The First Avant-Garde Exhibitions in Ukraine
Olena Kashuba-Volvach

The Art Section of the Kultur Lige: Yiddish Avant-Garde Art in Kyiv (1918-1922)
Hillel Kazovsky

Oleksandr Bohomazov: The Ukrainian Version of Futurism
Olena Kashuba-Volvach

Boichukism
Myroslava M. Mudrak

Bauhaus on the Banks of Dnipro
Olena Kashuba-Volvach

II: Kharkiv

The Tragic Sensuality of the Kharkiv Avant-Garde
Tetiana Zhmurko

Constructor Vasyl Yermylov: A Captive of the Material World Konstanti…

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