Nikolai evreinov biography for kids
As the world saw in , the anti-Putin prayer staged by feminist punk group Pussy Riot proved so provocative that several of the musicians ended up imprisoned on charges of hooliganism. Now, a new exhibition in Moscow features radical Russian groups like Pussy Riot &#x; and, more importantly, contextualizes them in a long lineage of Russian performance.
Curated by Yulia Aksenova and Sasha Obukhova, the show opens Friday, Oct. 17, at the Garage Museum of Contemporary Art. According to Kate Fowle, Garage&#x;s chief curator, the show looks for the first time at the impact of the interrupted trajectory between prewar and postwar epochs of performance in Russia. Aksenova and Obukhova were reluctant to identify favorites, but were finally cajoled into highlighting several standout moments in the history of Russian performance art.
s A group of Russian artists, identifying themselves as Futurists (or Cubo-Futurists), paint their bodies and faces with strange markings, hieroglyphs, tendrils and squiggles that represent, among other things, the jarring developments in urban life and modernity.
Their manifesto, Obukhova notes, includes the line, The time is right for art to invade life.
Directed by Nikolai Evreinov, the Storming of the Winter Palace is a mass spectacle staged in Petrograd.
Nikolai evreinov biography for kids pictures Here Evreinov promoted an underlying aesthetic :. In other projects. All Rights Reserved. Evreinov argued that the role of theatre was to ape and mimick nature.As an audience of over , watches, a reported 8, to 10, participants (from soldiers to ballet dancers) reenact the October Revolution, paying homage to the Red Army, accompanied by fireworks and the firing of a cannon.
s An assemblage called Collective Actions starts making underground art, as performance is verboten.
(It was a very hard time, Obukhova says. All art that reminded people of modern tendencies was forbidden. ) The members of Collective Actions stage ambiguous, poetic acts, often privately in homes, or in the anonymity of rural settings. Audiences &#x; most often their friends and associates &#x; receive elliptical instructions to meet at an appointed time; in one performance, everyone who shows up to participate is instructed to pull seven kilometers of white rope across an abandoned field.
The artist Alexander Brener sets the tone for his provocative future performances by donning boxing gloves, marching out into the Red Square and challenging Boris Yeltsin to a fight.
Two artists, dubbed the Factory of Found Clothes, direct a bevy of cadets to solemnly carry small, white, paper dresses through St.
Petersburg &#x; a military drill, by all appearances, but made refreshing through the inclusion of delicate women&#x;s apparel.
Russian Performance: a Cartography of Its History is on view Oct. 17 to Dec. 5 at the Garage Museum, 9, Krymsky Val St., Moscow,