Support Hyperallergic’s independent arts journalism.
A key Russian contemporary art fair has been canceled in its 18th year and appears unlikely to return, The Art Newspaper reported. Art Moscow — by one account the city’s “oldest fair for contemporary art“; by another, “Russia’s oldest art fair” — seems to have been facing both economic and political troubles, including EU and US sanctions on the country, “which organisers fear may hurt the fair, since the half of the exhibitors are from abroad,” as well as an episode of censorship that happened at this past June’s International Book fair. According to The Art Newspaper (TAN):
A precedent was set this June at the International Book fair, when two plays were eliminated from the programme: one for a profusion of foul language, another because of an accusation of hidden gay propaganda. The organisers self-censored the works, although there was an implication of external pressure.
As artnet News points out, the blog of Moscow-based Baibakov Art Projects sums up the cancelation of the fair as “due to a combination of reasons ranging from politics (by now its hardly surprising that some galleries and artists could boycott a fair in Russia) to economics (the art market in the country is not exactly booming) to good old – fashioned censorship.”
In a follow-up interview with TAN, Vasily Bychkov, chief executive of Art Moscow organizer ExpoPark Exhibition Projects, admitted that the decision to cancel the fair was made in the winter, adding, “We decided to relocate the resources usually employed for Art Moscow — people, money — to another project.”
An article about last year’s edition of Art Moscow indicates the fair was already struggling financially, facing “budgetary woes and a stagnant art market in Russia.” Meanwhile, another contemporary art fair, Cosmoscow, will open in Moscow on Friday as planned. This is Cosmoscow’s second year after an initial outing in 2010, according to Baibakov; its website identifies it as “Russia’s only international fair for contemporary art.”
With The Future of Ice, John Zurier manages to reduce each painting to what is essential only, yet he maintains an incredible specificity in each.
Agustín Fernández’s visual innuendos seduce the viewer into lingering on the threshold of visual perception.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernández are on view at the NYC gallery through January 7, 2022.
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
An investigation by the Cambodian government flagged 45 “highly significant” items in the museum’s collection as looted.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.