|Vortrag| Ekaterina Tewes „Was war die Proletarische Kunst?“| 14. November 2018, 18:00| Liljevalchs Konsthall Stockholm

Weitere Informationen zur Veranstaltung finden sie hier.

El Lissitzky_Untitled_circa_1923_Gelatin silver print 9 1_2 x 7 1_4 in. (24.13 x 18.42 cm)_Collection of SFMOMA.jpg
El Lissitzky „Untitled“, circa 1923, Gelatine Silber Druck aus der Sammlung SFMOMA.


|Atelier Workshop|Rhythm and Fabulation| July 9th, 2018 2 p.m. – 4 p.m.|FU Berlin, Habelschwerdter Allee 45, 14195 Berlin|Room JK 27/106


Gemeinsam mit dem Literaturwissenschaftler Joseph Albernaz und der Künstlerin Jasmijn Visser wollen wir das Potential des Rhythmus als Werkzeug von Kritik und als Medium von Geschichte diskutieren. Der Workshop findet im Rahmen des DFG-Projekts „Rhythmus und Projektion“ statt und wird in englischer Sprache gehalten.


Joseph Albernaz (Columbia University, New York)
Rhythm and Critique. Starting with the axiom that rhythm is an often hidden force that is both presupposed and disavowed by the dominant forms of critique today, this talk “Rhythm and Critique” will stage a missed encounter between these two concepts. In dialogue with recent invocations of rhythm across several disciplines, and recent debates on the limits and future of critique, I will explore the methodological and conceptual stakes of conceiving rhythm as that which warrants a refusal of both the naïve appeal to essence and the resort to nominalism. In supplementing the denaturalizing imperatives of critique, recentering rhythm allows us to think not just denaturalization but destitution, opening new perspectives on form, history, politics, and ultimately the inhabitation of the common earth.


Jasmijn Visser ( Berlin)
I see right through you, numbers. explores how collective memory operates within the boundaries of culturally defined perceptions of time and space, taking the plight of the Kalmyk as a case study. Kalmyk are a buddhist peoples of Mongol descent, that migrated to present day Russia in the 17th century. After the Soviet attempt to eliminate the entire Kalmyk culture, Kalmykia is at present collectively working to rebuild their nation and re-appropriate their culture.
Velimir Khlebnikov was partly raised with the nomadic Kalmyk at the end of the 19th century. The Kingdom of Horses, as he dubbed them, would re-appear in his poems and proposals. Particularly the buddhist notion of time as an interval became an important strand for him. Taking the interval as a starting point, this presentation establishes a dialogue between Khlebnikov and the Kalmyk, in which the poetic rhythm becomes an approach of historiography. Khlebnikov’s experimental time cartographies draw on key moments in Kalmyk history, especially the first and second world war, which left a lasting mark on their collective memory. Within this ongoing dialogue, a tension field between power, culture and science unfolds. By owning and appropriating the interval of time, the Kalmyk and Khlebnikov show how time can be bend and expanded. And by this expansion, a space can ultimately be created for a future which is elevated from the human constructs of Planet Earth.


with Ekaterina Tewes, Georg Witte, Elena Vogman und Mathias Schönher

|Workshop|Atelier II: „Exhibiting Archive“|ESPACE DIAPHANES, Dresdener Str. 118, 10999 Berlin|May 23rd 2018, 4 p.m. – 7 p.m.


“The scope for exhibiting the work of art has increased so enormously with the various methods of technologi- cally reproducing it.” In this way, Walter Benjamin de- scribes in his Work of Art essay the transition between the order of magic and that of technological reproduc- ibility. Reproducibility establishes the “exhibition val- ue” of the artwork, which denotes both its quantitative ubiquity and its qualitative novelty. For Benjamin, re- producibility turns the artwork into “a formation with entirely new functions [ein Gebilde mit ganz neuen Funktionen].”The atelier aims to explore the condition theorized by Benjamin as it relates to the process of exhibiting ar- chival materials, a perspective that has not been con- sidered in the wide-ranging discussion of Benjamin’s theory, limited as it is to the field of art. What does it mean to exhibit archival materials today? How do the procedures of reproduction, digitalization, visual dis- play and recontextualization open up new possibilities of constructing history, the process of reading and re- valuing it? In three curatorial positions, those of Daniel Muzyczuk (Lodz), Alexandra Selivanova (Moskau) and Aleksandra Jach (Lodz), the aesthetic and epistemic implications of exhibiting archival work will be discussed within the context of the atelier. The exhibition “Eccentric Values after Eisenstein,” located in the same space as the atelier, will provide an additional framework for these questions by relating them to Eisenstein’s theory of mon- tage, understood as a tool of vision, rather than a mere technical procedure of cinematographic production.


Introduction, moderation:
Ekaterina Tewes, Georg Witte, Elena Vogman

Organized by the DFG-Project „Rhythm and Projektion“ (Free University, Berlin)

|Exhibition| Eccentric Values after Eisenstein| 20.04. – 25.05.2018| ESPACE DIAPHANES, Dresdener Str. 118, 10999 Berlin| Opening times: 21 April–25 May, Wed–Fr 2–6 p.m., Sa 12–4 p.m.

1923-2-1289-no8Bodies produce values, materializing complex economies that exceed the merely functional unity of their parts. Eccentric values emerge from the field of tensions between the individual and collective, nature and culture, the present moment and the evolutionary past. The work of the Soviet film director and theorist Sergei Eisenstein is marked by an incessant attempt of producing, recording and analyzing such expressive manifestations. “Ex-stasis,” for him, literally meant “standing out of oneself,” “departing from one’s ordinary condition.” Rather than naming a weakness, this potential of being affected was for Eisenstein a vehicle of transformation, involving at the same time an anthropological, ethic and political dimension. Starting with his unrealized project Capital (1927–1928), which aimed to combine Marx’ “Critique of Political Economy” with Joyce’s method of “inner monologue,” the exhibition displays three more films from Eisenstein’s archives, none of which was completed: Que viva Mexico! (1931–1932), Bezhin Meadow (1935–1937), and Fergana Canal (1939). In Capital, Eisenstein planned to explore Marx’ theory of value through a semiotic excess in chains of montage, dissecting bodies and dissociating causal relations constitutive of capitalism. Whereas his later projects undertake this critical venture using an anthropological approach – one in which value emerges as a sensuous surplus that the centralized order tries to negate. In the Mexican footage the afterlife of pagan antiquity suddenly becomes visible in contemporary Christian rituals, the manual forms of labor preserve a memory of ancient artes populares. Eisenstein’s images revalorize these complex social relations by tracing the morphology of their movements. Values thus become a medium of critical experience, a force rather than a norm.
The exhibition unfolds this continuity of vision from Eisenstein’s encounter with Georges Bataille and the circle of the Parisian journal Documents to his engagement with the “lay anthropology” of the avant-garde journal Mexican Folkways, from the use of non-professional actors (tipazh) embodying mythical figures in Bezhin Meadow to a historical reflection on cruelty and labor in Fergana Canal. Seen in this new perspective, Eisenstein’s work appears itself as a restless process of self-decentring, an experimental and limitless prism of eccentric values.

On display are manuscripts, drawings and film footage from Eisenstein’s archives, works by Tanja Efrussi, Clemens von Wedemeyer, Jean Painlevé et al.

Exhibition opening: April 20, 7 p.m.

With a short tour including statements by Antonio Somaini, Eka Tewes, Anselm Franke, Gal Kirn, Clemens von Wedemeyer, and others.

Opening hours: 21 April–25 May, Wed–Fr 2–6 p.m., Sa 12–4 p.m.

The exhibition is a part of the series Pluralizing the Singular

|Workshop|Materialismus und Entmaterialisierung: Projektionen der sowjetischen Avantgarde|Freitag, 02 Februar 2018, 14:00 – 18:30|FU Berlin, Habelschwerdter Allee 45, 14195 Berlin|Raum JK 33/121-123



Der Workshop fragt nach dem intrikaten diskursiven Konnex von Materialismus und Entmaterialisierung in der ästhetischen Theorie und Praxis der sowjetischen Avantgarde. Können seine Auswirkungen auf bildphilosophischer, medialer, wirkungsästhetischer und anthropologischer Ebene gefasst werden? Welche Konzepte der Körperlichkeit, Subjektivität und Kollektivität rückten somit in den Fokus? Schließlich: Wie hängen Vorstellungen künstlerischer Überschreitung einer ‚trägen’ Materie mit der essentiellen Frage nach dem Zukunftsbezug der Avantgarde zusammen? Sind „Projektion“ und „Entmaterialisierung“ die Schlüsselwörter für eine antizipatorische Praxis [im Zeichen des Möglichen]?


14:00-14:15 Begrüßung: DFG-Forschungsprojekt „Rhythmus und Projektion“

14:15-15:30 Ekaterina Tewes (FU Berlin): Die Idee einer zirkulierenden Ent- und Rematerialisierung im Projektionismus von Solomon Nikritin

15:30-15:45 Kaffeepause

15:45-17:00 Dr. habil. phil. Igor Chubarov (Staatliche Universität Tjumen): Antizipation von Digitalisierung, Netzlogik und objektorientierter Ontologie in der Theorie von Ding, Design und künstlerischer Technik des Konstruktivismus, Produktivismus und der Faktographie: Aleksej Gan, INKhUK und Sergej Tretjakov

17:00-17:15 Kaffeepause

17:15-18:30 Prof. Dr. Simon Baier (Universität Basel): Ohne Grund. El Lissitzkys politische Theorie des Bildes

Organisiert vom DFG-Forschungsprojekt „Rhythmus und Projektion. Möglichkeitsdenken der sowjetischen Avantgarde“, Peter Szondi-Institut für Allgemeine und Vergleichende Literaturwissenschaft, Freie Universität Berlin.


|Workshop|Organization of Perzeption: Rhythm and Projection|Friday, 19 January 2018, 16:00 – 19:30|ICI Berlin Institute for Cultural Inquiry – Christinenstraße 18-19, 10119 Berlin|Free of Charge


The expression ‘organization of perception’ appears in one of the first paragraphs of Walter Benjamin’s essay ‘The Work of Art in the Age of Its Technological Reproducibility’ (1935-36), in a passage that highlights the historical determination of sensory perception. The idea of the historicity of perception – which Benjamin found in art historians such as Alois Riegl, Franz Wickhoff, and Heinrich Wölfflin – lies at the very center of what one can consider his ‘media theory’.

Yet the notion of an organization of perception also relates to the wider context of aesthetic theories and practices of the 1920s and 1930s, including a series of sensorial experiments exploring this link: Thus, in theorizing rhythm, the Soviet avantgarde negotiates between transgressions of a homogeneous, linear time regime and the industrial organization of movements and frequencies of body, speech, and thought. Projection, on the other hand, structures the perception of light and redefines the materiality of perception in such a radical way that the very notion of materialism is challenged.

The workshop considers the relation of media and perception in terms of historicity, rhythm, and projection, thereby connecting to the current ICI Focus ‘ERRANS, in Time’. It brings together a number of scholars who have researched particular constellations of the historical, technical, and political organization of perception.

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Workshop by: Gertrud Koch, Clara Masnatta, Antonio Somaini, Ekaterina Tewes, Elena Vogman & Georg Witte

Please register by 10 January 2018 if you would like to participate.

The workshop will be in English

|Lecture Performance|Joseph Schillinger and the Rhythmicon: Towards a new hearing by Andrey Smirnov| November 8th, 2017 19:30 – 21:30| SPEKTRUM – Bürknerstraße 12, 12047 Berlin|Free Entrance


Rhythm is a medium of change; it constitutes a transition: from noise to composition, from dance to trance. The interconnection of bodily, social, and industrial rhythms produces new relations between technology and environment, between the individual and the collective psyche.In the late 1920s the russian-born american mathematician, music theorist, composer, and teacher Joseph Schillinger developed a unique mathematical system of music composition, which he taught to George Gershwin, Benny Goodman and Glenn Miller, among others.

In his lecture performance, Andrey Smirnov will talk about the Schillinger’s theory of rhythm and demonstrate the rhythmicon – the first optoelectronic rhythm machine, built in 1931 by the pioneering inventor of electronic instruments Léon Theremin. Parting from the assumption that music arises from rhythm, and rhythm is a vital ingredient of life, Schillinger considered music as being equally a product of nature. He relied on the numerical functions that since prehistory have regulated our lives, even unconsciously, using graphs to translate rhythmic pulses into number patterns.

The lecture will explore the interrelations between historical and contemporary music theory and practice as well as those between the new musical devices and the possibilities of a new mode of hearing.

Andrey Smirnov is the founder of the Theremin Center, researcher and senior lecturer at the Centre for Electroacoustic Music at Moscow State Conservatory, lecturer at the Rodchenko School for Modern Photography and Multimedia. He has conducted numerous workshops and master classes in the U.S., Europe and Russia and participated in various festivals and conferences. His collection of the historical documents and early electronic musical instruments has been combined with extensive research into the history of music technology with broad experience in composition, interactive performance and curatorial activities. He is the author of the book ‚Sound In Z: Experiments In Sound and Electronic Music in Early 20th Century Russia‘ (Walther Koenig & Sound and Music, London, 2013).

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This event is curated by Rhythmus und Projektion. Thinking Possibility in the Soviet Avant-Garde. Freie Universität Berlin

|Exhibition| Sergei Eisenstein: The Anthropology of Rhythm| Septemer 20th, 2017 – January 19th, 2018| Nomas Foundation, Viale Somalia 33, Rome

Screenshot 2017-10-11 19.24.16

Rhythm is a medium of change; it constitutes a transition—from fear to joy, from ennui to awareness, from a simple movement to choreography or dance. The Soviet film director Sergei Eisenstein understood better than anyone that rhythm is necessary to enact transformation: as an anthropological means of organizing experience, rhythm becomes a vehicle of revolution. The exhibition explores the intersecting artistic, anthropological and political dimensions of the anthropology of rhythm in Eisenstein’s unfinished film projects: Que viva Mexico! (1931–1932), Bezhin Meadow (1935–1937), and Fergana Canal (1939). In his images from Mexico and his later anthropologically-oriented film projects in Ukraine and Uzbekistan, Eisenstein brings the two meanings of “revolution” into play. Here we perceive the emerging relations of history poised between repetition and irruption, return and revolt, between a single destiny—a body or a gesture—and the social and political narrative that constitutes its background. Each of these film projects invents a new and unique cinematographic approach, yet they all share a common archaeological model of history and an anthropological construction of the gaze. Numerous documents from Eisenstein’s archives—The Russian State Archive of Literature and Arts (RGALI ) and The National Film Foundation of Russian Federation (Gosfilmofond)—will be exhibited for the first time, including notebooks, drawings, film footage and photographs. The Exhibition is curated by Marie Rebecchi and Elena Vogman in collaboration with Till Gathmann.

A volume published by NERO, Rome, will accompany the exhibition. Designed by Till Gathmann, it features essays by the curators, translations from Eisenstein’s unpublished diaries and further archival materials.

A volume published by NERO, Rome, will accompany the exhibition. The book, designed by Till Gathmann, features essays by the curators, translations from Eisenstein’s unpublished diaries and further archival materials.

Nomas Foundation
Viale Somalia 33 – 01199, Rome
Opening hours: Tuesday – Friday, 2.30pm – 7.00pm

|Tagung| POESIS—POLIS—PRAXIS. Positionen lyrischer Zeitgenossenschaft| 23.-24.06.2017| Haus für Poesie, Knaakstraße 97 (Kulturbrauerei) 10435 Berlin


Was kann und soll Poesie heute leisten? In Zeiten globaler Hybridkulturen, identitärer Nationalismen und digitaler Postfaktizität stellt sich die Frage nach der gesellschaftlichen Position ästhetischer Praxis in aller Schärfe. Es bedarf neuer poetischer Verfahren, um zeitgemäße Antworten auf die Herausforderungen spätmoderner Gesellschaften zu formulieren. Poesis und Polis stehen dabei im Spannungsfeld von Machen und Gemacht-Werden in einer Beziehung, die stets neu wahrnehmbar und kritisch reflektiert wird.

Anlässlich des 65. Geburtstags des Slavisten, Literaturwissenschaftlers und Übersetzers Georg Witte blickt die Tagung mit ihm zusammen auf Positionen lyrischer Zeitgenossenschaft. Lyrikerinnen und Lyriker sowie Wissenschaftlerinnen und Wissenschaftler sind eingeladen, eine (Selbst)Verortung gegenwärtiger Lyrik zwischen Poetischem und Politischem, Individuellem und Kollektivem, Vergangenem und Aktuellem, Privatem und Öffentlichem zu verhandeln.

Die Veranstaltung findet in deutscher, englischer und russischer Sprache statt, Übersetzungen stehen zur Verfügung.


Weiterführende Informationen:

ZEIT:     Fr. 23.6.2017 / 14:00–18:30 Uhr, Sa. 24.6.2017 / 10:00–14:00 Uhr

ORT:    Haus für Poesie, Knaackstr. 97 (Kulturbrauerei) 10435 Berlin

VERKEHRSVERBINDUNG:  U2 Eberswalder Straße, Tram 12/M1/M10 Eberswalder Straße

|Lecture| Ana Hedberg Olenina: From Movement to Consciousness: Tectonics, Reflexology, and Biomechanics in Soviet Avant-garde Film Theory| 19 June 2017 18:00 – 20:00| FU Berlin, Habelschwerdter Allee 45, 14195 Berlin| Room JK 31/125

Aleksandra Ekster, Set design for Satanic Ballet by Alexander Scriabin, fragment, 1922

As per Karl Marx’s dictum, the material conditions of life and the prevalent mode of production determine consciousness. Taking this pronouncement as a call to action, the Soviet avant-garde artists attempted to revolutionize their fellow citizens’ worldview by creating a new kind of material culture, one that encouraged a pro-active attitude towards labor and challenged habitual schemes of perception. Filmmakers of the 1920s contributed to this experiment by structuring novel sensory experiences geared towards transforming the spectators’ consciousness. In her lecture, Ana Hedberg Olenina will analyze the theoretical foundation of this program by tracing its links to Aleksandr Bogdanov’s empiriomonism and tectonics, Vladimir Bekhterev’s reflexology and energitism, and Nikolai Bernshtein’s biomechanics and psychotechnics of labor efficiency. She argues that by highlighting the role of movement for the brain’s ability to know and master the environment, these authors paved the way for the utopian discourse on remodeling the New Soviet Man’s daily habits on a sensori-motor level. She further traces elements of this discourse in films and essays by Lev Kuleshov, Sergei Eisenstein, Dziga Vertov, and Abram Room, with a special attention to their conceptions of movement articulated in relation to such issues as optimizing the actors’ performance, adapting film form for effective conveyance of movement, imparting new models of bodily behavior, and triggering kinesthetic empathy in the viewers.

The lecture is part of the Seminar „Utopie vs. Möglichkeitsdenken: Zukunftskonzepte der sowjetischen Avantgarde“ by Georg Witte und Ekaterina Tewes| more Information at

|Conference|Biopoetics – Constructions of Life in Literature and Theory| 1. -2. June 2017|Eötvös Loránd University Budapest|ELTE, Múzeum krt. 4. Building A, Main Conference Room


This Conference is organized by the Association for General Studies of Literature Research Group at Eötvös Loránd University Department of Comparative Literature and Cultural Studies

Find here full Program

|Vortrag| Elena Vogman: „Marx’ Metamorphosen und Eisensteins Kapital“ auf der internationalen Konferenz „Kino und Kapital“| 26. – 27. Mai 2017| CENTER FOR THE STUDY OF ECONOMIC CULTURE in St.-Petersburg| Faculty of Liberal Arts and Sciences


Метаморфозы Маркса и «Капитал» Эйзенштейна. «Показать метод диалектики» через «анализ сантиметра шелкового чулка» – такова была цель задуманной Сергеем Эйзенштейном в 1928 году, однако неосуществленной экранизации «Капитала» Маркса. Эйзенштейн хотел использовать приемы фрагментации, искажения детали и потока сознания, которые обнаружил в «Улиссе» Джойса.

Хотя «Капитал» Эйзенштейна занимает более пятисот страниц его дневника, он так и не принял форму сценария. Не только потому, что сценарий, по словам режиссера, уже был написан Марксом, но и потому, что целью Эйзенштейна была революция самого языка кино и визуального мышления. Эйзенштейн мыслит метод Маркса как потенциальное событие, которое реализуется на письме через визуальные ряды газетных вырезок, через столкновение цитат из мировой литературы с «философским анализом рекламы». Критика политической экономии Маркса здесь развернута в критическое исследование «цены» и «ценности» визуального языка в эпоху механической воспроизводимости.

Елена Вогман предложит анализ теоретического, эстетического и политического значения неопубликованных дневников Эйзенштейна. Какова роль у «внутреннего монолога» в эпоху появления звукового кино, расцвета культа личности и становления фашистских режимов? На фоне медиальной конструкции актуальной политической общественности заявленная Эйзенштейном материальная переоценка всех ценностей в незавершенном проекте «Капитал» предстает как никогда актуальной. 


|Seminar| Utopie vs. Möglichkeitsdenken: Zukunftskonzepte der sowjetischen Avantgarde | Mo 18:00-20:00| JK 31/125 (Habelschwerdter Allee 45) | Dozenten: Georg Witte und Ekaterina Tewes


Den künstlerischen und wissenschaftlichen Avantgarden der frühen Sowjetunion wird in der Forschung meist Utopismus attestiert. Das Seminar will diese augenscheinliche Selbstverständlichkeit hinterfragen. Hierfür wird eine heuristische Umorientierung erwogen: von der nachträglichen Rezeption und Bewertung — auf den anfänglichen Moment und couragierten Akt des auf unbekannte und unvorstellbare Zukunft gerichteten Antizipierens, Modellierens und Imaginierens. Insbesondere soll das Zukunftsdenken der Avantgarde in seiner engen Verbindung mit wissenschaftlichen und philosophischen Ansätzen und Methoden verstanden und in den ideengeschichtlichen Kontext der Zeit eingebettet werden.

Im Zentrum des Seminars stehen unterschiedliche Schriften Aleksandr Bogdanovs, eines russischen Philosophen, Soziologen und Literaten, sowie die Vernetzung seiner Ideen mit ästhetischen und epistemischen Diskursen vor und nach der Oktoberrevolution. Zu erwähnen sind in erster Linie Bogdanovs Tektologie, eine frühe Organisations- und Systemtheorie; des Weiteren sind das seine Abhandlungen zum Entstehen und Wesen einer proletarischen Kultur sowie seine Sci-Fi-Romane, die eine sozialistische Zukunft zu imaginieren versuchten.

Zum Vorlesungsverzeichnis

|Gastvortrag| Prof. Dr. Georg Witte: Andrej Platonovs Werkzeugmenschen. |26.01.2017| 10.15 – 11.45 Uhr |Institut für Germanistische und Allgemeine Literaturwissenschaft, RWTH Aachen, Kármán-Auditorium, Hörsaal 1820| 203 (Fo3)

Agit-Flugzeug in Woronesch (1925): Viktor Šklovskij besucht Andrej Platonov.

„Produktionskunst“ bilden den unmittelbaren Kontext dieser Diskussion. Sie hat aber zugleich einen anthropologischen Hintergrund und steht im Zeichen einer Neubestimmung des homo faber unter industriellen Bedingungen. Die Romane und Erzählungen des Schriftstellers und Ingenieurs Andrej Platonov kann man als eine erzählerisch-experimentelle Erforschung des Werkzeugmenschen in der Situation einer technikgeschichtlichen Zäsur verstehen. Es ist ein merkwürdig „unzeitgemäßes“ Verhältnis zu ihren Produktionsinstrumenten, das Platonovs Protagonisten auszeichnet: Handwerker maschinisieren ihr altes Werkzeug und Ingenieure behandeln ihre Maschinen wie archaisches Gerät.


Der Vortrag findet statt im Rahmen des Hauptseminars „Literatur als Technik“ statt.

|Exhibition| Moved Bodies. Choreographies of Modernity. The Museum of Rhythm |18.11.2016 – 05.03.2017| Lodz

Exhibitions, a series of publications, conferences, and events connected with the tradition of „new art for a new man“—this is how the Muzeum Sztuki in Łódź will commemorate the 100th anniversary of Polish avant-garde. On this occasion we will recall the relevance of the avant-garde art movement for the development of visual arts, literature, film, and theatre; we will show how important Poland was as the centre of the avant-garde and how vivid its traces are in the oeuvre of contemporary artists. Read More

Muzeum Sztuki in Lodz          
Wieckowskiego 36 St.
90-734 Lodz                                   
Poland                                                      Facebook / Instagram

|Vortrag| Prof. Dr. Georg Witte: Die rhythmische Trommel. Revolutionäre Körper und revolutionäre Sprachen Sprachen zwischen Organisation und Ekstase|01.11.2016|18:00 – 20:00 | Freie Universität Berlin | Raum 21A, Ihnestraße 21

Fortsetzung der gemeinsamen Vortragsreihe „Revolution – Transformation – Globalisierung Russland 1917-2017“ des Osteuropa-Institut der Freien Universität Berlin (OEI) und des Zentrums für Osteuropa- und Internationale Studien (ZOiS).
Das 20. Jahrhundert in Russlands Geschichte und die Wirkungen der Russischen Revolution von 1917 in dieser Zeit sind Thema einer öffentlichen Vorlesungsreihe im Wintersemester 2016/2017 an der Freien Universität. Wissenschaftlerinnen und Wissenschaftler aus dem In- und Ausland widmen sich in ihren Beiträgen der Revolution selbst und den ihr vorangehenden Ereignissen und untersuchen schlaglichtartig Aspekte der sowjetischen Modernisierung und deren Folgen bis zum Zerfall der Sowjetunion in den neunziger Jahren sowie die Rückkehr des Autoritarismus im 21. Jahrhundert.

Weitere Informationen

|Forschungsreise| Recherche in der Sammlung Costakis | 03.-06.10.2016 | Staatliches Museum für Zeitgenössische Kunst, Thessaloniki 

2-img_0936-2In der ersten Oktoberwoche recherchierte unser Projektteam  in der Sammlung Costakis. Unser Interesse galt zum einen den Arbeiten der Künstlergruppe der Projektionisten (Solomon Nikritin, Kliment Red’ko, Michail Plaksin), die diese umfangreiche Sammlung der sowjetischen Avantgardekunst beherbergt. Zum anderen ging es uns um den Austausch mit den Sammlungskuratorinnen Angeliki Charistou und Maria Tsantsanoglou. Ein Ergebnis vieler spannender Diskussionen war die Idee, im Mai 2017 einen Workshop in Berlin gemeinsam zu veranstalten. Der Workshop hat zum Ziel, unterschiedliche kunsthistorische und ästhetiktheoretische Positionen zum Thema “Rhythmische Organisation und organische Rhythmen in der bildenden Kunst” zusammenzubringen.