Back-dated art works, Picasso’s frustration, and the transnational creation myths of Abstract art.
In Beyonsense, Eurasian artist collective Slavs and Tatars channels its inner Zaum in a celebration of the twists of language across cultures, histories, and geographies.
Kevin Kinsella discusses the current exhibition on view at the Radiator Gallery, This Is How My Brain Works, which offers a keen curatorial selection of collage art by various artists.
In 1993, Alexander Floresnky, founder of the infamous Russian underground art group Mitki, nearly turned down the opportunity to illustrate the collected works of the great Russian humorist Sergei Dovlatov—thankfully, he did not.
Kevin Kinsella on the dark tensions within Ilya Kabakov’s work—and the political implications of the artist’s apolitical approach.
“It is a disgraceful world, populated by some creatures that were once humans, but now these living beings are degraded, ghastly, appalling.” Kevin Kinsella discusses the photography exhibition, Boris Mikhailov: Case Study, which runs at MoMa until September fifth.
Kevin Kinsella takes issue with the Gagosian Gallery’s framing, both literal and figurative, of Russian Supremacist Kazimir Malevich.
Bomb blog contributor Kevin Kinsella reviews Squaring The Circle: Winners of the Debut Prize, a new anthology of Russian writers which highlights ten years of winners of the Russian Debut Prize for Fiction by writers under the age of twenty-five.
Few countries have undergone more radical transformations than Russia has, so it’s easy to assume that with each geopolitical quake the country’s cultural continuity gets split along the resulting fault lines.
Throughout the early 1920s, Aleksandr Rodchenko took many photographs of his friends and colleagues. Some were snapshots, others author photos for book covers, and still others would be used in his propaganda collages for the Russian Telegraph Agency.