![]() Yes, the mass media have changed, but the principle itself has not. Artists have always appealed to public space. Marinetti rated the efficacy of his performances by the number of mentions they garnered in the morning newspapers. So no, the city has long been a space for art. Again, only the war prevented them from finishing it. None other than Ball served as his assistant. He wrote the theatrical piece Yellow Sound and began producing it in 1914. Kandinsky dreamed all his life of working in the theater and staging an opera. If you imagine, for example, that classical formalism was any different in this respect, think again. The futurists did demonstrations and happenings on Petersburg’s main drag, Nevsky Prospekt, while the Cabaret Voltaire of the Dadaists, organized by Hugo Ball in Zurich, was also a public space. Khlebnikov said that the sun, unfortunately, did not go out-probably because the Neva does not possess sacred power. Good old Malevich produced the Black Square as part of the production of the opera Victory Over the Sun, which was conceived as a mystery play on the Neva River in Petersburg. SB: City streets have, seemingly, now become venues for anti-war art in the shape of graffiti, stickers, performances, and pickets.īG: To repeat: I don’t think there is anything fundamentally new about this. In emigration, you are not in a confrontation, in a situation of “for or against,” a confrontation which in warring countries only becomes radicalized over time. So, emigration is quite a good option for contemporary art in wartime. And Picasso produced Guernica while in exile in France. For example, there were the novels of Hemingway, Remarque, and Céline, and, of course, German expressionism. In the warring countries, anti-war art-in literature, primarily in poetry-emerged only after the war. We might recall the French and German emigration to Switzerland during those wars, including writers such as Hermann Hesse, say, and artists of Dadaism and other avant-garde trends. In these circumstances, anti-war art is practiced only in neutral countries, such as Switzerland. The same can be said about art during the First and Second World Wars. Sergei Bondarenko: How do you think art has been coping with the war? Is a new anti-war art now emerging?īoris Groys: History shows that, in warring countries, art is usually heavily influenced by patriotic public sentiment. Historian Sergei Bondarenko spoke with Groys about how the war in Ukraine will affect art and public thought and what awaits Russia after its defeat. When his book The Total Art of Stalin was published, thirty-five years ago, it changed how we viewed the Soviet avant-garde and its relationship with the totalitarian regime by defining the state as an artwork produced with blood. Grigoriy Myasoyedov, The Road in the Rye, 1881īoris Groys is a professor of Russian and Slavic studies at New York University, a philosopher, a cultural critic, and one of the world’s foremost thinkers on the nexus of art and politics.
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