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The commissioner of the Russian pavilion at this year’s Venice Architecture Biennale, Grigory Revzin, has been fired due to his political views on the Crimean situation, The Art Newspaper reported. According to a Facebook post published on his page on Monday, Revzin received a call from the Russian Minister of Culture, Vladimir Medinsky, relieving him of his duties at the Biennale. Revzin, a noted architecture critic and curator, alleged in his post that the dismissal was politically motivated and specifically mentioned Crimea. A Tuesday statement from the Ministry of Culture cited by The Art Newspaper attributes the firing to his “extremely active” public positions. A month ago, on March 2, the critic published a polemical rebuke of Putin’s administration and its annexation of Crimea on the Russian website Lenta.ru.
Revzin, who has served as commissioner of the Russian pavilion at the Biennale since 2010, is something of a celebrity curator in the country, even appearing on the cover of Russian GQ in 2012, according to a post about his firing on the blog affiliated with Maria Baibakova’s Baibakov Art Projects. (Though comprehensive on Revzin’s recent accomplishments, the post strangely omits mention of the critical Lenta.ru piece and Revzin’s acknowledgment of the underlying political motivations, instead offering that “no explanation was provided” for the firing.) His firing follows the ongoing controversy surrounding Manifesta, which is scheduled to open in St. Petersburg in June and which some artists have boycotted over objections to Russia’s anti-gay policies and, more recently, its invasion of Crimea.
Curators working on behalf of illiberal or autocratic states can find their project at odds with the ideology of their employers. Jack Persekian was relieved of his duties as curator of the Sharjah Biennial in 2011 over an allegedly offensive public installation — Mustapha Benfodil’s “Maportaliche / It Has No Importance” (2011).
From commissions to residencies and fellowships for artists, curators, and teachers, a list of opportunities that artists, writers, and art workers can apply for each month.
It is one thing to be a visionary and another to be one whose work holds your attention for a sustained period of time.
“Following Sonorous Bodies” is available online. The journal also seeks guest editors for themed issues, books, and more, as well as contributors for Issue 8, “Birds & Language.” Proposals are due December 15.
Regardless of which way the camera is pointing, Wearing shows a lively — and altogether merciless — interest in how people choose to tell their own stories.
Feldschuh understands that the actions and interactions of particles can be formulated mathematically but not illustrated visually.
These multimedia works debuting on Voice include a “Death Mechanism” and allow fans to collect the artist’s origin story, told specifically for the metaverse.
Shellyne Rodriguez and Danielle De Jesus powerfully respond to the continued attacks on their neighborhoods with works that validate and uplift elements of everyday urban Latinx life that are usually devalued.
This week, I’ve included a lot of humor because with the recent news on the coronavirus variant, we can all use it.
On December 13, learn about the Sam Fox School’s graduate programs in Visual Art and Illustration & Visual Culture, as well as the university’s competitive financial aid packages.
So legendarily precious and complex are the Fabergé eggs that they have become a byword for insane expenditure.
While performing a piece for Satellite Art Show, Xxavier Edward Carter was approached by a group of officers who threatened him with ten years in prison.
Gerke Dunkhase estimates that only half of the Benin bronzes in Germany are logged on the portal so far, calling the current database a “prototype” of what’s to come.