Decommunized
Ukrainian Soviet Mosaics
DOM Publishers, Berlin 2017
ISBN 9783869225838,
Gebunden, 256Seiten, 78,00 EUR
Klappentext
In englischer Sprache. The book presents the first comprehensive study of Soviet monumental mosaics, outstanding artefacts of the cultural heritage of the era. Photographer Yevgen Nikiforov spent three years traveling all around Ukraine (including the presently occupied Autonomous Republic of Crimea, Donetsk and Lugansk oblasts) in search of the most interesting art pieces of the 1950s-1980s within the context of Soviet Modernism. He covered 35,000 km of Ukrainian roads and visited 109 cities and villages to discover more than 1,000 surviving mosaics. The book includes around 200 unique photographs of monumental panels: officially sanctioned gigantic images of workers, farmers, astronauts and athletes of coloured smalto or ceramics illustrate Soviet life as it was meant to be represented. Some of the pieces featured here were demolished shortly after the photographs were taken: they fell afoul of the so-called decommunization laws that ban communist symbols and slogans. Though the content of Soviet art was meticulously controlled by state propaganda, Ukrainian artists managed to develop a visual language that transcends the Socialist Realist canon. Today these works serve as historical testimony, and show a new important page in the 20th-century art history.
In englischer Sprache. The book presents the first comprehensive study of Soviet monumental mosaics, outstanding artefacts of the cultural heritage of the era. Photographer Yevgen Nikiforov spent three years traveling all around Ukraine (including the presently occupied Autonomous Republic of Crimea, Donetsk and Lugansk oblasts) in search of the most interesting art pieces of the 1950s-1980s within the context of Soviet Modernism. He covered 35,000 km of Ukrainian roads and visited 109 cities and villages to discover more than 1,000 surviving mosaics. The book includes around 200 unique photographs of monumental panels: officially sanctioned gigantic images of workers, farmers, astronauts and athletes of coloured smalto or ceramics illustrate Soviet life as it was meant to be represented. Some of the pieces featured here were demolished shortly after the photographs were taken: they fell afoul of the so-called decommunization laws that ban communist symbols and slogans. Though the content of Soviet art was meticulously controlled by state propaganda, Ukrainian artists managed to develop a visual language that transcends the Socialist Realist canon. Today these works serve as historical testimony, and show a new important page in the 20th-century art history.
Rezensionsnotiz zu
Frankfurter Allgemeine Zeitung, 26.05.2017
Kersten Holm scheint sich zu freuen über diesen Bildband von Yevgen Nikiforov. Was Kunst am Bau in der sowjetischen Ukraine bedeutete, hat der Fotograf auf jahrelangen Reisen in den gezeigten 200 Bildern von Mosaiken dokumentiert. Dass der Künstler damit nicht nur viele von Vernichtung bedrohte Bildwerke für das Bildgedächtnis bewahrt hat, sondern auch ein Kunstgenre zum ersten Mal umfassend vorstellt, findet Holm bemerkenswert. Gezeigt werden laut Holm Mosaiken, die Stilmittel des Konstruktivismus, der Folklore oder auch der Sakralkunst amalgamieren. Sie alle antizipieren mit ihren Motiven vom idealisierten Menschen und seiner Taten den realisierten Kommunismus, meint Holm.
Kersten Holm scheint sich zu freuen über diesen Bildband von Yevgen Nikiforov. Was Kunst am Bau in der sowjetischen Ukraine bedeutete, hat der Fotograf auf jahrelangen Reisen in den gezeigten 200 Bildern von Mosaiken dokumentiert. Dass der Künstler damit nicht nur viele von Vernichtung bedrohte Bildwerke für das Bildgedächtnis bewahrt hat, sondern auch ein Kunstgenre zum ersten Mal umfassend vorstellt, findet Holm bemerkenswert. Gezeigt werden laut Holm Mosaiken, die Stilmittel des Konstruktivismus, der Folklore oder auch der Sakralkunst amalgamieren. Sie alle antizipieren mit ihren Motiven vom idealisierten Menschen und seiner Taten den realisierten Kommunismus, meint Holm.