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Educational Internet Portal for Artistic Self-Organizations

Student: Victor Zhdanov

Supervisor: Uliana Aristova

Faculty: Faculty of Communications, Media, and Design

Educational Programme: Contemporary Design in the Teaching of Fine Arts and Technology at School (Master)

Year of Graduation: 2021

Self-organization is the primary platform for the formation of the cultural foundation of its time. This is confirmed, among other things, by the significant influence and presence of contemporary art in the space. This, in particular, determines the choice of the topic. Based on my personal research experience in the choice of material, I settled on significant, but at the same time, not always obvious self-organized initiatives. One of the key questions that I have at the time of work on visual research, the question of the starting point for the emergence of artistic self-organizations in Moscow became. This question could place us in the field of strict discussion, but I decided to bypass the controversial points and start the starting point from the Lianozovo school, and as a result, from the Bulldozer exhibition. The bulldozer exhibition became the most famous artistic situation in Soviet unofficial art and laid the foundation for many subsequent self-organized, horizontal, autonomous artistic actions. It is fully obvious that independent artistic initiatives existed in Russia before that, one has only to recall the ideas of the artists of the “first” Russian avant-garde with their publishing and educational initiatives, but they refer us to early modernism, to a time that is still quite far from modern cultural process. The structuring of the material took place with an emphasis on historical periods corresponding to the activity of self-organizations presented in the study. The area of ​​research was the grassroots artistic structures that appeared in Moscow and the region, as a significant element of the cultural landscape of the Central European part of Russia. All material was divided into four sections: "Self-organization in the unofficial art of the USSR", "Self-organization in the art of the 90s ”,“ Self-organization in the art of the 00s ”,“ Self-organization in the art of the 10s ”. I collected images and other visual materials on the Internet, on the website of the RAAN network of Russian art archives, on the websites of art organizations and specialized magazines, as well as on personal requests in the archives of artists and participants in self-organized initiatives (Avdey Ter-Oganyan, Oleg Frolov). In the text materials, I was guided by the information available in the archives of the Museum of Contemporary Art GARAGE, the Art Magazine and texts from other media and special editions about art. The period of the dynamics of the Soviet totalitarian censorship, in the absence of progressive artistic institutions, left self-organization as the only possible platform for independent artistic action. With the fall of the Soviet repressive system, self-organization as a format of artistic cooperation somewhat diminished in quantitative terms, the reason for this is the emergence of private independent spaces at that time (Regina Gallery (1990), Marat Gelman Gallery (1990), Krokin Gallery (1990)) and art -schools organized by theorists of new art (IPSI (1992), Free Workshops (1992)). And later, state institutions (NCCA (1992), MMOMA (1999)). The foundation created by George Soros also had a certain influence on the culture of the post-Soviet space of that time. In St. Petersburg, with his help, the Pro-arte educational foundation was opened (1999), and in Moscow, the Soros Center for Contemporary Art (1992-1999), established in the former building of the publishing house "Soviet Artist". With the advent of capitalist relations, the need for many self-organized initiatives has disappeared. However, the culture of squatting and artistic interventions flourished at the same rate, so from the artistic squat in Trekhprudny lane, for a short time, one of the first artist run space galleries in Moscow grew up (1991-1993). The zero years were a continuation of the hungry nineties. Moscow, suffering from terrorism provoked by the second Chechen campaign, gives rise to new grassroots initiatives in modern culture. Interest is returning to private space (gallery "CHERYOMUSHKI" (in the apartment), "Gallery of one viewer" (in the toilet), "Gallery-office ABC" (in the office)) and to video art (Street video art festival "Empty", "Play, or School of Young Video Artists ") Self-organizations in the art of tenths emerge on the wave of protest activity and until the middle of the decade retain a pro-activist position (the Media Impact festival, the Let's go! Where did you go? Festival). When by the beginning of the tenth the second wave of Moscow actionism will begin on the decline, the usual for the current cultural landscape of the capital of self-organization: (Electrozavod Gallery (2012), Red Center (2016-2018), Tretyakov Prize (2018)).

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