Nepatogus paveldas / Uncomfortable Heritage. MENO ISTORIJOS STUDIJOS / ART HISTORY STUDIES n.9, 2021
The aim of this paper is to draw attention to the Italian colonial past erased from collective me... more The aim of this paper is to draw attention to the Italian colonial past erased from collective memory as an uncomfortable inheritance. Only partially concurrent with the Fascist rule, Italy’s colonial enterprise began in the late 19th century and ended during World War II without the actual process of decolonization. For a long time, this issue has been almost absent in Italian political, public and media discourse, even though we daily see multiple traces of colonialism in Italian cities. During the last decades, several interesting studies have been conducted in the academic field, especially in architectural and artistic research, as well as in artistic practice. They have begun to reclaim the uncomfortable legacy of colonialism. Yet, what kind of heritage are we talking about? What was the role of arts and architecture in colonialist propaganda? What is their value today?
Meno istorijos studijos 9: Nepatogus paveldas. Vilnius: Lietuvos kultūros tyrimų institutas, 2021. , 2021
The article sheds light on attempts of Mexican left-wing artists to deepen relations with the Sov... more The article sheds light on attempts of Mexican left-wing artists to deepen relations with the Soviet Union cultural circles by developing personal and institutional ties as well as sending works to Soviet museums. Study of several cases shows the influence and role of individual personalities in the process and mechanisms of cenzorchip involved in international art exchange in USSR.
Archival based research on donations of art works by Mexican artists to the Soviet Union in 1940s... more Archival based research on donations of art works by Mexican artists to the Soviet Union in 1940s, including a gift of Frida Kahlo's painting "Wounded table" in 1945.
"Комната современного искусства" в Государственном Эрмитаже - это глава из книги «Бастарды культу... more "Комната современного искусства" в Государственном Эрмитаже - это глава из книги «Бастарды культурных связей», исследования о международных художественных контактах СССР в 1920–1950-е, основанного на архивных материалах. В этой главе рассматривается попытка Эрмитажа, одного из крупнейших в мире "универсальных музеев", в 1930-х годах собирать и показывать современное искусство.
Nepatogus paveldas / Uncomfortable Heritage. MENO ISTORIJOS STUDIJOS / ART HISTORY STUDIES n.9, 2021
The aim of this paper is to draw attention to the Italian colonial past erased from collective me... more The aim of this paper is to draw attention to the Italian colonial past erased from collective memory as an uncomfortable inheritance. Only partially concurrent with the Fascist rule, Italy’s colonial enterprise began in the late 19th century and ended during World War II without the actual process of decolonization. For a long time, this issue has been almost absent in Italian political, public and media discourse, even though we daily see multiple traces of colonialism in Italian cities. During the last decades, several interesting studies have been conducted in the academic field, especially in architectural and artistic research, as well as in artistic practice. They have begun to reclaim the uncomfortable legacy of colonialism. Yet, what kind of heritage are we talking about? What was the role of arts and architecture in colonialist propaganda? What is their value today?
Meno istorijos studijos 9: Nepatogus paveldas. Vilnius: Lietuvos kultūros tyrimų institutas, 2021. , 2021
The article sheds light on attempts of Mexican left-wing artists to deepen relations with the Sov... more The article sheds light on attempts of Mexican left-wing artists to deepen relations with the Soviet Union cultural circles by developing personal and institutional ties as well as sending works to Soviet museums. Study of several cases shows the influence and role of individual personalities in the process and mechanisms of cenzorchip involved in international art exchange in USSR.
Archival based research on donations of art works by Mexican artists to the Soviet Union in 1940s... more Archival based research on donations of art works by Mexican artists to the Soviet Union in 1940s, including a gift of Frida Kahlo's painting "Wounded table" in 1945.
"Комната современного искусства" в Государственном Эрмитаже - это глава из книги «Бастарды культу... more "Комната современного искусства" в Государственном Эрмитаже - это глава из книги «Бастарды культурных связей», исследования о международных художественных контактах СССР в 1920–1950-е, основанного на архивных материалах. В этой главе рассматривается попытка Эрмитажа, одного из крупнейших в мире "универсальных музеев", в 1930-х годах собирать и показывать современное искусство.
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Only partially concurrent with the Fascist rule, Italy’s colonial enterprise began in the late 19th century and ended during World War II without the actual process of decolonization.
For a long time, this issue has been almost absent in Italian political, public and media discourse, even though we daily see multiple traces of colonialism in Italian cities. During the last decades, several interesting studies have been conducted in the academic field, especially in architectural and artistic research, as well as in artistic practice. They have begun to reclaim the uncomfortable legacy of colonialism. Yet, what kind of heritage are we talking about? What was the role of arts and architecture in colonialist propaganda? What is their value today?
Only partially concurrent with the Fascist rule, Italy’s colonial enterprise began in the late 19th century and ended during World War II without the actual process of decolonization.
For a long time, this issue has been almost absent in Italian political, public and media discourse, even though we daily see multiple traces of colonialism in Italian cities. During the last decades, several interesting studies have been conducted in the academic field, especially in architectural and artistic research, as well as in artistic practice. They have begun to reclaim the uncomfortable legacy of colonialism. Yet, what kind of heritage are we talking about? What was the role of arts and architecture in colonialist propaganda? What is their value today?