H2020Индивидуална стипендия2016–2018

SAGDESOR · The Second Avant-Garde: Design of Domestic Objects in Soviet Russia, 1953-1991

„Хоризонт 2020“ — Действия „Мария Склодовска-Кюри“

Период: 2016-08-01 → 2018-07-31
Финансиране от ЕС: 200 195 €
Участници: 1
Схема: MSCA-IF-EF-ST

Линиите свързват координатора с партньорите.

Накратко на български

Дизайнът на битови предмети в Съветския съюз между 1953 и 1991 г. анализира как еволюирала декоративната изкуственост в този период. Това помага за разбирането на съвременното руско изкуство и влиянието на късния социализъм върху международната култура.

Този кратък обзор е генериран от изкуствен интелект

Кратко обяснение, генерирано от езиков модел по текста на CORDIS. Оригиналът е по-долу.

Резултати накратко

The Second Avant-Garde: Design of Domestic Objects in Soviet Russia, 1953-1991

SAGDESOR addressed a problem of reevaluating the historical role of design and decorative art in social, cultural and political life in late Soviet socialism. Late socialist design culture has a lasting influence not only in contemporary Russia, but internationally, in terms of cultural diplomacy, global migration, formal and informal communications between people and institutions. SAGDESOR has demonstrated that late Soviet material culture was dynamic, perceptive of the international design development, and responding to it in the ways that transcend the official ideology of state socialism. Evaluating the legacy of Soviet design and decorative art is instrumental for understanding the perspectives of contemporary Russian design, art, and cultural initiatives. Objectives: to conduct research in Russian archives, libraries and museums and through personal interviews; to share the research results with Danish and international scholars and the broader public in Russia and Denmark; to facilitate the research network on Russian and Soviet materiality; to prepare the ground for exploring, writing and teaching transnational history of the 20th century design. Conclusions: The design legacy of late socialism continues to be important on the agenda of Russian cultural institutions. My introduction of SAGDESOR to Russian colleagues resulted in discussion for further collaborative work on publications and public talks; My project attracted interest of Danish institutions, too. I was fortunate to cooperate with the Department of Art and Cultural Studies at Copenhagen University, the Department of Design and Communication at the University of Southern Denmark, Kolding, and the Department of Culture and Global Studies at Aalborg University. This cooperation resulted in several public lectures and an international interdisciplinary conference; My book proposal responded to the interests of the editors of the series ‘Studies in design and Material Culture’ at Manchester University Press.

Текст от CORDIS, на английски · Данни: CORDIS, © Европейски съюз

Цел на проекта

Russian/Soviet avant-garde of the 1920s is broadly recognized to have been an integral part of the European avant-garde and Russia’s first truly original contribution to world culture. In contrast, Soviet art and design of the post-war period is often dismissed by general public as propaganda, hack-work and shameful plagiarism that resulted in a uniform and shabby world of commodities. Thanks to a growing body of scholarship on Soviet design, as well as to a recent work of enthusiastic Russian curators who organized Moscow design museum, a positive narrative of Soviet design have begun to emerge. In particular, the genealogical connection between Russian avant-garde and late Soviet design is generally noticed by scholars. However, the concrete ways of translating the avant-garde’s ideas into late socialist design and commodity production have received relatively small attention. This research project takes avant-garde’s legacy as a key link between post-war Soviet and Western, in particular Scandinavian, design. It addresses the question of temporal and cross-European design connections by focusing on a “socialist object.” The latter is considered both as a reference to the avant-garde precedent and a concept useful for reaching beyond the standard narrative of Soviet design as a poor imitation of Western models. By relying on archival and published sources I will analyze the transition of objects through different settings – designers’ desks and workshops, artistic and technical councils, factory floors, department stores and people’s homes. My research will present a complex history of Soviet design as a second Russian avant-garde and as a part of post-war European development of visual and material culture. Thus it will provide the historical background for the current Russian designers' search for interconnection with European design schools and trends.

Оригинален текст от CORDIS (на английски).

Участници

AARHUS UNIVERSITET · Aarhus CКоординаторДания