Spanning generations and genres, from Sots Art and Necrorealism to neo-Marxist performance groups and emerging artists, this comprehensive catalogue presents a fresh look at contemporary Russian art. Russian Art in Translation showcases both new and midcareer artists and scholars through a range of commissioned contributions including original writing and scholarship, new translations and a diverse array of artists' projects. Produced through an approach that was both curatorial and editorial, this unique printed document captures the energy and dissent of Russian cultural production in a globalized art world and a post-Communist milieu. Reaching beyond the cultural capitals of St. Petersburg and Moscow to provincial cites as well as expatriate and émigré communities, Russian Art in Translation provides a compelling and unprecedented portrait of Russian art. Designed by Dmitri Siegel using the Cyrillic alphabet.

Russian Art in Translation

Arts & Photography

Nicholas Herman

Yevgeniy Fiks

Dmitry Gutov

Svetlana Boym

Dimitri Gutov

History & Criticism

Ante Projects

This volume records one of the first attempts to tackle the dual imperative of Gulag history and mythology, map and territory, through contemporary art. Seven internationally recognized contemporary artists--Vitaly Komar and Alexander Meiamid, Leonid Sokov, Grisha Bruskin, Eugene Yelchin, Irena Nakhova, and Vadim Zakharov--who grew up in the former Soviet Union have been given a "territory" in the Boston University Art Gallery in which to confront the haunted space of the "zone" in history and in the individual psyche. They represent two generations of ex-Soviet non-conformist art: Vitaly Komar and Alexander Melamind, Leonid Sokov, and Grisha Bruskin were born during Stalin's time and reflect with a mixture of nostalgia and irony on their totalitarian childhoods, while Irena Nakhova, Eugene Yelchin, and Vadim Zakharove, born during Khrushchev's thaw, have a more alienated attitude vis- -vis the totalitarian mythology. Their territories of terror are border zones that reflect their cross-cultural experience. What they capture in their installations is the legacy of terror that shaped structures of mentality, spatial imagination, utopian aspirations, and claustrophobic anxieties that mirror the tragic paradoxes of twentieth century history.

Territories of Terror: Mythologies and Memories of the Gulag in Contemporary Russian-American Art

Boston University Art Gallery

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Books by Svetlana Boym