Exhibit runs January 29 – March 30, 2018. Exhibit hours are Monday–Friday, 9:00AM – 5:00PM excluding university holidays.
Please join us at 6:00pm on Wednesday, January 31 for an opening reception.
Eduard Gorokhovsky: From Siberia to Moscow, Selected Works on Paper is presented by the Kolodzei Art Foundation and the Harriman Institute.
This exhibition features selected drawings from the late 1960s and early 1970s by prominent Russian artist Eduard Gorokhovsky (1929-2004), including works produced while he was living and working in Novosibirsk and artist’s prints from his Moscow period.
Eduard Gorokhovsky was born in 1929 in the town of Vinnytsa (Ukraine). In 1954 he graduated from the Odessa Engineer and Building Institute majoring in architecture, studying under A. Postel, T. Frayerman, G. Gotgelf, and A. Kopylov. His first solo exhibition took place in 1967 in Novosibirsk. In 1973 Eduard Gorokhovsky moved from Novosibirsk to Moscow. Since 1991, Gorokhovsky has lived and worked in Offenbach, Germany. Gorokhovsky participated in many exhibitions in Russia, the United States, and Europe; his paintings and works on paper are in major museums around the world.
Eduard Gorokhovsky was one of the first Soviet Nonconformist artists to use old photographic portraits, into which he inserted a text, a silhouette, another photograph, and geometric figures as the main source for his prints and paintings, creating intentionally unresolved serial images. The photographs provide a framework that kept an artwork in balance, while the intruding objects add a certain intrigue to the whole. Many of Gorokhovsky’s works convey a sense of history or the process of change, often alluding to the disappearance of individuality in a totalitarian society or the destruction of the family unit brought on by the Bolshevik Revolution, a successio of devastating wars, and the forced relocations resulting from the Stalinist policy of collectivization.
Eduard Gorokhovsky remembered:
“[B]ack in the 1950's in Novosibirsk, I lived and worked after graduation. There, in Siberia, I met people who introduced me to art, which was not even mentioned in the institute, with strict ideological control. The discovery for myself of Impressionism, Expressionism, Cubism, the Russian Avant-Garde, I owe, above all, to the remarkable artist Nikolai Gritsuk, now deceased. I consider him my real first teacher, who opened my eyes to many things in art.
"Twenty years lived in Siberia were a good preparation for a real understanding of the essence and purpose of art. This understanding came after moving to Moscow in 1973 and meeting with the ‘Sretensky Boulevard’ artists circle. The 1970s were filled with intensive work on the search for a new plastic expressiveness. Constant communication and discussion of artists with each other yielded results. At the time we could not even dream about any exhibitions or publications. I think that everything done by this group of artists (Ilya Kabakov, Victor Pivovarov, Eric Bulatov, etc.) is distinguished by uncomplicated purity and unselfishness. This art was truly free. Then, together with perestroika, a painful process of integrating Russian art into world culture began.”
After 1974, Eduard Gorokhovsky participated in many group exhibitions in museums, including Ich Lebe, Ich Sene, at Kunstmuseum, Bern in 1988; Russian Art from Lenin to Gorbachev, Botanik, Brussels, Belgium in 1988; Russian Jewish Artists in a Century of Change 1890-1990, The Jewish Museum, New York, 1995, Berlin-Moscow/Moscow-Berlin, Kunst 1950-2000, at The State Historical Museum, Moscow, and Martin Gropius Bau, Berlin in 2004; his prominent solo museum exhibitions included Eduard Gorokhovsky: the Limits of the Rectangle: My Unlimited Space at The State Russian Museum, St. Petersburg in 2004; Eduard Gorokhovsky at the Zimmerli Art Museum, New Brunswick in 2004-2005. Gorokhovsky's works are in many museum collections, including: The State Tretyakov Museum, Moscow; The State Russian Museum, St. Petersburg; The Pushkin State Museum of Fine Arts, Moscow; Moscow Museum of Contemporary Art, Moscow; Jane Voorhees Zimmerli Art Museum, The Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union, New Brunswick, New Jersey, USA; Kolodzei Art Foundation, New Jersey, USA; State Museum of Arts, Dresden, Germany; Jewish Museum, Frankfurt-am-Maine, Germany; The Ludwig Forum of International Art, Aachen, Germany; The Costakis Collection, Athens, Greece; Albertina Museum, Vienna, Austria.
The Kolodzei Art Foundation, Inc., a US-based 501(c)(3) not-for-profit public foundation started in 1991, organizes exhibitions and cultural exchanges in museums and cultural centers in the United States, Russia and other countries, often utilizing the considerable resources of the Kolodzei Collection of Russian and Eastern European Art, and publishes books on Russian art.
The Kolodzei Collection of Russian and Eastern European Art is one of the world’s largest private art collections, and consists of over 7,000 works, including paintings, drawings, sculptures, photographs, digital art and videos, by more than 300 artists from Russia and the former Soviet Union. For additional information visit http://www.KolodzeiArt.org or email Kolodzei@kolodzeiart.org
Images by Eduard Gorokhovsky:
Worker, 1968. Watercolor on paper, 20 x 14-1/2 in.|
Portrait, 1977. Etching, bronze on paper, 23-3/4 x 22 in.
Family Portrait with Letter on Reverse Side, 1975. Etching, 23-3/4 x 26-3/4 in.
Kolodzei Collection of Russian and Eastern European Art
Please join the Ukrainian Studies Program at the Harriman Institute, Columbia University for a presentation by Markian Dobczansky, Postdoctoral Research Fellow in Ukrainian Studies at the Harriman Institute.
In 1964, in honor of the 150th anniversary of his birth, monuments to the nineteenth century Ukrainian poet Taras Shevchenko appeared in Moscow and Washington, D.C. While the statues portrayed the same historical figure, the political and ideological meanings attached to them were diametrically opposed. Nevertheless, both statues reinforced the idea that culture and historical memory mattered during the Cold War. This talk looks at these two statues in the context of the Cold War competition, situating them within a transnational argument about the fate of Ukrainian culture under Soviet rule.
Markian Dobczansky is a Postdoctoral Research Fellow in Ukrainian Studies at the Harriman Institute. He received his Ph.D. in history from Stanford University and has held fellowships at the University of Toronto and the George Washington University. His interests include the politics of culture in the Soviet Union, urban history, as well as Russian and Ukrainian nationalism. He is currently working on a book about the politics of culture and local identity in Soviet Kharkiv from 1917 to 1991.
Please join us for a one-hour conversation with two leading thinkers in U.S. and Russian foreign affairs, Gideon Rose of Foreign Affairs and Fyodor Lukyanov of Russia in Global Affairs. In the current politically fraught environment, these editors of their respective nations’ leading foreign policy journals will explore what seems to make the U.S. and Russia predestined to clash, the current dynamics causing friction between them, and prospects for putting the relationship on a less dangerous trajectory. The conversation will be moderated by William Ury, founder of the Harvard Negotiations Project, and author of Getting Past Yes and other best-selling books on conflict mediation.
The session will be produced by the award-winning documentarians Michael Moran and MediaStorm, with philanthropic support from Carnegie Corporation of New York. Because the session is being recorded, we request that there be no flash photography.
Carnegie Corporation of New York
The Harriman Institute, Columbia University
Russia in Global Affairs
Please join the Program on U.S.-Russia Relations at the Harriman Institute, Columbia University for a one-day conference on conflict and cooperation in U.S.-Russia security relations.
Specialists from Russia, the U.S., and Europe will come together to discuss whether there is any hope for U.S.-Russian cooperation on a variety of key security issues, or whether we are doomed to dangerous conflict. Special attention will be paid to nuclear and strategic issues, and to cyber and intelligence issues.
Panel One: Nuclear and Strategic Issues
Moderator: Robert Jervis, Adlai E. Stevenson Professor of International Affairs, Columbia University
Matthew Kroenig, Associate Professor in the Department of Government and the Edmund A. Walsh School of Foreign Service, Georgetown University
Olga Oliker, Senior Adviser and Director of the Russia and Eurasia Program, Center for Strategic and International Studies
Pavel Podvig, Director of the Russian Nuclear Forces Project
Panel Two: Intelligence and Cyber Issues
Moderator: Justin Key Canfil, Ph.D. candidate, Department of Political Science, Columbia University.
Oleg Demidov, Director, International Information Security and Global Internet Governance Program, Moscow PIR Center
Erica Borghard, International Affairs Fellow, Council on Foreign Relations
Peter Clement, Adjunct Professor and Adjunct Senior Research Scholar, Arnold A. Saltzman Institute of War and Peace Studies, Columbia University
Keir Giles, Senior Consulting Fellow of the Royal Institute of International Affairs (Chatham House), and Director of the Conflict Studies Research Center
Panel Three: Looking Ahead: Is US-Russia Cooperation Possible?
Moderator: Alexander Cooley, Claire Tow Professor of Political Science, Barnard College, and Director, Harriman Institute, Columbia University
Sergey Rogov, Director of the Institute of U.S. and Canadian Studies of the Russian Academy of Sciences
Fyodor Lukyanov, Editor-in-Chief of Russia in Global Affairs, and Chairman of the Presidium of the Russian Council on Foreign and Defense Policy
Kimberly Marten, Ann Whitney Olin Professor of Political Science, Barnard College, and Director of the Program on U.S.-Russia Relations, Harriman Institute, Columbia University
Featured image: 'Meeting with US President Donald Trump' from the official website of the President of Russia, en.kremlin.ru. Published July 7, 2017.
Please join us for a lecture with Professor Anna Arustamova (Perm State University, Russia) entitled "Как учили(сь) писать стихи по-русски в Нью-Йорке" ("How Writing (and Reading) Russian Poetry was Taught In New York").
This lecture will be in Russian.
How does one learn to write verse? How does one teach the writing of verse? Why, and in what form, were these questions posed in Russian émigré literature in the 1920s? This presentation will explore the phenomenon of so-called samorodki (“nuggets of gold”), or “beginners,” and how they developed practices for writing and reading “unprofessional” poetry as a part of Russian émigré literature in the U.S. Arustamova raises questions about how new voices entered into the émigré literary process as well as how those new voices were formed into something resembling professional writers through interactions between writers and editors. Arustamova's research unearths an unjustly forgotten project dedicated to nurturing a new generation of poets under the aegis of émigré publications such as Russian Voice and Lightning, presenting a new dimension of émigré life in the U.S.
Anna Arustamova is a Doctor of Philology and professor of Russian Language and Literature at Perm State University in Perm, Russia. Her research focuses on Russian and American literary depictions of the other. Her book, Русско-американский диалог XIX-го века: историка-литературный аспект (Russian-American Dialogue in the Nineteenth Century: The Historical and Literary Aspect), was published in 2008.
Please join us for a talk with Franko Dota, historian and postdoctoral fellow at the Faculty of Humanities and Social Sciences in Rijeka, Croatia.
Of all the twentieth century, the first five years of Communist rule were the harshest for Yugoslav homosexuals. From 1945 till the mid-1950s at least 250 homosexuals were prosecuted as criminals, some of them even as saboteurs of the socialist project, while many others were arrested, detained and interrogated about their sexual life. Homosexuality was branded as a corruptor of youth and a decadent, rotten remnant of the old, overthrown bourgeois regime.
At the same time, the highest echelons of the Communist Party together with legal experts in the Ministry of Justice in Belgrade came to a radically different conclusion: it is the concept of sexual morality and chastity that is non-socialist, non-progressive, bourgeois and saturated with religious worldview. To keep it in the Penal Code would be at odds with the modernist, revolutionary and secular socialist project. Therefore, a complete decriminalization of same-sex sexual contacts was proposed. This proposal ignited an intense and heated debate.
Franko Dota, PhD is a historian and postdoctoral fellow at the Faculty of Humanities and Social Sciences in Rijeka, Croatia, where he teaches courses on historical theory and methodology. His doctoral dissertation, completed in 2017 at the Department of History, Faculty of Humanities and Social Sciences in Zagreb, is the first broad historical reconstruction of the political, legal and medical history of male homosexuality in socialist Yugoslavia (1943-1989). He is also the author of a book on conflicting memories and narratives of migrations of Italians from Istria following World Word II (Zaraćeno poraće, Zagreb, 2010). Franko Dota is active in the Croatian LGBT movement and was among the founding members of Zagreb Pride organization.
Event image: Illustration of a feature on homosexuality in the Yugoslav weekly Start (April 1980), author Mirko Ilić.
Poet and critic Lev Oborin will reflect on new developments in Russian literature, including the pheonomenon of literary prizes, with a particular emphasis on poetry and a range of writers from beginning poets in their twenties to established writers of the older generation. In addition, Oborin will read from his new book The Tornado behind the Forest (Смерч позади леса, 2017).
Please join us for a screening of the documentary film The Saline: In the Net, a co-production of the Center for Investigative Journalism of Montenegro (CIN-CG) and TV Vijesti, followed by a discussion with one of its screenwriters, Milka Tadić Mijović.
Run time: 38 minutes
The Saline: In the Net highlights the corruption that threatens to destroy one of the most important bird habitats in Europe, the Ulcinj Solana in the far south of Montenegro. The suitability of Ulcinj Solana as a habitat for migratory birds actually depends on human-driven salt production, which maintains nutrient-rich waters that serve as fertile ground for many avian species. This documentary investigates the economic and ecological concerns that imperil this vital stronghold of biodiversity.
Milka Tadić Mijović is a journalist, media executive, and international civic activist who has worked throughout the turbulent transition era in Southeast Europe. She is one of the co-founders of the weekly Monitor, the first Montenegrin private and independent weekly magazine. During the ‘90s, she was actively engaged in the antiwar movement. Tadić Mijović was the first journalist dismissed from a job in Montenegro for articles critical of Yugoslav President Slobodan Milosevic’s nationalistic policies. Her articles defending peace and ethnic minorities and condemning corruption have received numerous awards and have been translated and quoted by The New York Times, The Economist, and other publications.
Tadić Mijović has been threatened in her country for speaking against corruption and other government wrongdoings. She was identified in the first ever list of “100 Information Heroes” by Reporters without Borders and has served on the Open Society Foundations board in Montenegro, on the Council of Europe Steering Committee on the Mass Media, and as a member of the Joint Commission on Media Policy of Duke University & the City of Vienna.
Currently, Tadić Mijović is president of the Centre for Investigative Journalism of Montenegro. She is now focused on topics related to high-level corruption, rule of law, freedom of media and the destruction of the nature in her native Montenegro and the Balkans.
NOTE DATE AND TIME CHANGE. Event will take place Tuesday, March 27, 12:00PM.
Please join us for a talk with Professor John E. Bowlt (Department of Slavic Languages, University of Southern California).
John E. Bowlt is a professor in the Department of Slavic Languages at the University of Southern California, Los Angeles, where he also directs the Institute of Modern Russian Culture. A specialist in the history of modern Russian art, Dr. Bowlt has written extensively on visual culture, especially Symbolism and the avant-garde and has also curated exhibitions of Russian art. In the autumn of 2015 he was Slade Professor at Cambridge University, England. In September, 2010, he received the Order of Friendship from the Russian Federation for his promotion of Russian culture in the USA; in 2016 the ASEEES Distinguished Contributions to Slavic, East European, and Eurasian Studies Award; and in 2017 the Golden Pen Award from the United States Institute of Theater Technology.
NOTE DATE AND TIME CHANGE. Event will take place Wednesday, March 28, 12:00PM.
Please join the Harriman Institute and the Barnard College Department of Dance for a talk with Nicoletta Misler, retired Professor of Russian and East European Art at the Università di Napoli "L'Orientale," about her book The Russian Art of Movement, 1920-1930. Lynn Garafola, Professor Emerita of Dance, Barnard College, will moderate.
The Russian Art of Movement revisits the remarkable Choreological Laboratory established by Vasilii Kandinsky and researchers such as Aleksandr Larionov and Aleksei Sidorov in 1921. A unique institution in the history of New Dance in Europe and one of the many utopian projects of late Imperial Russian and early Soviet culture, the Laboratory sponsored conferences, publications, and exhibitions. It also studied how movement could be recorded, developing methods of graphic, pictorial, and sculptural representation, as well as mechanical technologies such as photography, cinematography, and cyclograms.
The Russian Art of Movement treats of the diverse manifestations of this multi-faceted subject—from plastic dance to rhythmic gymnastics, time and motion studies, biomechanics, performances in the nude, acrobatics and gymnastics, variety theater and folk dance. Copious references are also made to the American and European apogees of the New Dance and to their interaction with Russia’s own new and radical Art of Movement. Based on extensive research in public and private archives, The Russian Art of Movement brings the conceptual ideas and champions of the dynamic into strong relief, describing the theory and practice of its champions and reproducing unique works of art and vintage photographs, most of which are being seen for the first time in the West: in this way, the book restores an entire chapter to the history of Russian and Soviet culture, one long forgotten after the political impositions and expurgations of the Stalin era.
Nicoletta Misler, Professor of Russian and East European Art at the Università di Napoli “L’Orientale,” Italy (now retired), is a specialist in the visual culture of Russian Modernism. Her academic interests range from the artists of the avant-garde such as Kazimir Malevich, Pavel Filonov and Vasilii Kandinsky to the philosophers of the time, especially Pavel Florensky (her book on his spatial concepts appeared as Beyond Vision. Essays on the Perception of Art from Reaktion Books, London, in 2002), and the architects of the avant-garde such as Yakov Chernikhov and Ivan Leonidov. Among her studies of modern Russian art are monographs on Filonov, Francisco Infante, Solomon Nikritin, Aleksandr Ponomarev.