Video Archiv

Video documentation from the Forum 2015 Russia vs. Russia. Cultural conflicts. (Russland vs. Russland. Kulturkonflikte) Kunstquartier Kreuzberg / Bethanien Berlin / russland-russland.de  

Coordinate System documentation comes soon…

 

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Partizaning: Guerilla practices of participatory urban re-planning in Russia.
‘Partizaning’ (v): public art practices that strategically challenge, shape, and reinvent urban and social realities.
Partizaning is a movement, a collective, and a website. We document examples of art-based activism, interventions, and urban re-planning from around the world. We believe that increasingly shared socio-political realities and dissatisfaction can be strategically addressed using art-based ‘partizaning’ tactics.
Our aim is to explore the role of art as a practical tool for inclusive city regeneration and social activism. It evolves out of the cultural, political and social crisis facing contemporary Russia. We provide documentation and analysis of the role of art in reshaping public spaces, cities and human interactions – globally.
Our presentation will show the main initiatives and tactics employed during 3.5 years since the birth of the ‘Partizaning’ movement: from illegal Urban Interventions to official programs in cooperation with the government of Moscow.

Igor Ponosov (*1980 in Nizhnevartovsk) is a Russian street artist activist of the ‘Partizaning’ movement, and author of several publications on urban art. In 1999, he moved to Kiev, where he began his artistic work as a graffiti writer. Ponosov has been living and working in Moscow since 2003. Between 2005 and 2009, he published three books on street art in Russia and the ex-USSR. From 2011 to 2013, he curated ‘The Wall’, a project on CCA ‘Winzavod’ in Moscow. In 2011, he founded partizaning.org as a website for activists, artists and urbanists.

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What’s wrong with public space in Russian cities? The case of public art festival in St. Petersburg, Russia)

Western debate about urban public spaces usually revolves around the lament on privatization of public space (Sharon Zukin, Richard Sennet). Such privatization is seen and presented as the main danger for public space. Drawing on my research and art- management practice in Russian cities, I would like to shift the focus and stress two other threats that jeopardize public spaces: Firstly, the general public’s lack of demand for public life and secondly, the indifference, if not intolerance, of public authorities towards urban public space.
The initial idea of this presentation came from a certain disappointment I and my fellow urbanists experienced in our research and civic practices.
On the one hand, we have Western social scientists raising the alarm when public spaces – parks, squares, even streets – are privatised in a drive towards businesses ownership and private management. They call to cherish communication between strangers and to support it with the infrastructure of “proper” public space.
On the other hand, we have the realities of our cities and citizens who like to build impenetrable (for others) boundaries in urban space, dislike strangers and communication with them, and rather prefer to demolish the infrastructure that can support it. In our reality we also have city authorities that do not allow any life and activities to happen in public space, prefer to restrict it, and do not spend any money or make any efforts to arrange or manage working public spaces. So the only way to organize interesting and lively public events (a public art festival in my case) and arrange a working pubic space, post-socialist Petersburg, for example – is to do it in collaboration with the business community. In other words: public life in post-socialist Russian cities has almost no opportunity to happen neither in a publicly-run (by city dwellers) space nor in a state-run spaces; it can only happen on a private land of a business. This situation shows a contradiction with the dominant Western discourse.
The presentation is based on the case of public art festival “Art Prospect” that took place in Petersburg in September 2014. I will show the problems, contradictions and potential of public art in urban public spaces and will pose some question for further discussion.

Lilia Voronkova is a social anthropologist and curator. Since 2003 she has been working in the Centre for Independent Social Research (CISR, St. Petersburg, Russia) as a researcher, and as a coordinator of trans-disciplinary art-social science projects. In 2013 she co-founded Open Urban Lab (OUL) – the interdisciplinary network of professionals working in the areas of urban research and urban planning. Since 2014 she has been working as an assistant to the director of a Master’s program in urban research and design at the Urban Design Institute “Sre- da” (St. Petersburg). Lilia Voronkova has realized several art- science projects in the form of public events and exhibitions in the urban environment.

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From love to hate: the polarity of opinion as an instrument of political speculations around public art in Russia. Perm case.
The aim of this public art program was to visualize the culture policy that was actively declared during the so-called ‘cultural revolution of Perm’. The program was implemented in Perm in the period 2010 to 2014 as an initiative of the PERMM Museum of Contemporary Art.
Within the time frame of three years, a large amount of art objects emerged on to urban spaces. The program’s objective was to promote contemporary art. Thanks to the official support and lobbying by the local authorities, the artists were free both in realising their projects and selecting presentation spaces. This was followed by an active and often polarised reaction from city elites and representatives of different regional authorities, resulting in a broader discussion reaching far beyond the region of Perm. The program as such became a phenomenon at a national level, being the first example of the systematic integration of contemporary art into the urban environment.
In my speech, I will analyze the circumstances leading to events of conflict at the periphery of the program’s projects and both the outcome and reactions to the later freezing of the program due to the change of political powers in the region.

Nailia Allakhverdieva (* 1978) has been the art director of the Museum of Modern Art PERMM since 2014. She is one of Russia’s leading specialists in the integration of contemporary art into the urban environment and public spaces. She graduated from the Moscow School of Social and Economic Sciences, Department of Cultural management and the Ural State University, Department of Art History and Cultural Studies. Naila is a member of the Association of Cultural Managers. In 2013 she was awarded the prize for Best Curator (The Sergei Kuryokhin Contemporary Art Awards) for her ex- hibition “The Face of the Bride: Contemporary Kazakh Art”. Since 1999 she has been designing and implementing public art projects. In 2009 the Festival of Contemporary Art on con- crete walls “Long Stories of Yekaterinburg” was awarded the State Prize in the eld of contemporary art innovation. Since 2010 she leads Russia’s first integrated public art program at the Museum of Modern Art PERMM. Curated exhibitions (selection): „Illuminators”/ “Иллюминаторы“ (an international exhibition project in the open spaces of the International terminal of the “ HYPERLINK “http://www.koltsovo.ru/” Koltsovo” airport, Yekaterinburg, 2008), “I love P” / “Я люблю П”, “The Face of the Bride: Contemporary Kazakh Art”, “Transition Zone”/”Транзитная зона” (the first exhibition in Russia that brought street art into a museum).

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