- Curating contemporary art, Philosophy of History, Russian Intellectual History, Philosophy, Russian & Soviet Art, Philosophical Anthropology, and 24 morePhilosophy of Art, Anthropology, Semiotics, Sociology, Politics, Russian Politics, Art Theory, Soviet, post-Soviet, Russian politics, Peer-to-Peer, Siegfried Zielinski, History of Arts, Critical Theory, Russian cultural history, Cultural Studies, Art History, Sociology of Arts, Film Studies, Contemporary Art, Russian Studies, Timur Novikov, Revolutions, Social Change, Intersectionality and Social Inequality, and Intersectionalityedit
- Curator, Writer, Researcher - Helsinki, Berlin, Athens, Provence. Co-Founding Director and Curator of Perpetuum Mobi... moreCurator, Writer, Researcher - Helsinki, Berlin, Athens, Provence.
Co-Founding Director and Curator of Perpetuum Mobilε.
www.PerpetualMobile.org
Ivor A Stodolsky is a curator, researcher and writer. He organises exhibitions, conferences and events internationally. Recently, he has curated events in Berlin (4th Roma-Gypsy Pavilion) and in Helsinki (Re-Public, Back To (The) Square 1, To The Square 2), Tromso (Re-Aligned Art from Russia, Ukraine and Belarus) and Moscow (Media Impact, Biennale) as part of www.Re-Aligned.net.
He co-founded Perpetuum Mobile with Marita Muukkonen in 2007. Further recent PM projects include Perpetuum Labs (BAC, Helsinki), The Arts Assembly (Manifesta 8, Beaux Arts Paris, Beijing, etc.) and the Perpetual Pavilion (Venice, Helsinki, Berlin, upcoming in Malmö).
Ivor’s curatorial practice is informed by his academic work (BA Philosophy and Mathematics, Bristol; MRes London Consortium, Birkbeck UL; Aleksanteri Institute, HU) at the intersections of art, philosophy, history and socio-political theory.
Ivor is a poet and also holds an enduring interest in film and music. Previously he was active in art and politics in London, St. Petersburg, Vienna and also Prague. In the latter city, he was previously Deputy Operations Manager, and later Associate Editor of the global op-ed syndication service Project Syndicate (www.project-syndicate.org).
www.re-aligned.net
www.PerpetualMobile.orgedit
Future historians will judge whether the wave of revolts of our time bear comparison to 1640, 1789, 1848, 1968, or, perhaps, following further major convulsions, will be seen as the capitalist antipode to the communist collapse of 1989.... more
Future historians will judge whether the wave of revolts of our time bear comparison to 1640, 1789, 1848, 1968, or, perhaps, following further major convulsions, will be seen as the capitalist antipode to the communist collapse of 1989. What is clear today is that we live in a time of worldwide instability, where hegemonic government by consent is under intense pressures due to the crises of transnational elites above, and the discontent of vast majorities below, which are forced to bear the brunt of the ensuing problems.
Research Interests:
The Square is published as part of TO THE SQUARE 2 (#TSQ2), which re-invigorates the question of public space as a crucial locus for the articulation of the political and the art of protest. TSQ2 is curated by Ivor Stodolsky and Marita... more
The Square is published as part of TO THE SQUARE 2 (#TSQ2), which re-invigorates the question of public space as a crucial locus for the articulation of the political and the art of protest.
TSQ2 is curated by Ivor Stodolsky and Marita Muukkonen and commissioned by Checkpoint Helsinki as part of Helsingin juhlaviikot / Helsinki Festival.
It is the 7th iteration of Re-Aligned Project by Perpetuum Mobilε.
www.Re-Aligned.net
"The Square" newspaper is edited by Ivor Stodolsky, designed by Tzortzis Rallis (Occupied Times) and includes art by Ganzeer, Federico Geller, Vladan Jeremic & Rena Rädle and articles by Michel Bauwens, Nika Dubrovsky/ Feminist Pencil, Grey Violet (aka Seroe Fioletovoe aka Maria Shtern), Núria Güell, G.U.L.F., Noah Fischer/Occupy Museums, Teivo Teivainen & Ivor Stodolsky, Baruch Gottlieb / Telekommunisten and Nadya Tolokno (Tolokonnikova) of Zona Prava/Pussy Riot.
Direct link: http://issuu.com/ivorstodolsky/docs/tsq2_newspaper_hr
TO THE SQUARE 2 FB EVENT: https://www.facebook.com/events/737483989641891/
Webpage: http://www.re-aligned.net/square-newspaper
Extra images of work-in-progress from TSQ2 by
Ammar Abo Bakr (Luxor/Cairo); Núria Güell (Barcelona), Khaled Jarrar (Ramallah); Vladan Jeremić & Rena Rädle (Belgrade); Nikolay Oleynikov (Nizhny Novgorod/Moscow); Anne-Laure Gestering and Berk Asal of Raumlaborberlin (Berlin); and Vasili Subbotin, Evgeniy Rimkevich, Эльдар Ганеев and Stepan Subbotin of the Art group ZIP группировка ЗИП (Krasnodar).
www.PerpetualMobile.org
TSQ2 is curated by Ivor Stodolsky and Marita Muukkonen and commissioned by Checkpoint Helsinki as part of Helsingin juhlaviikot / Helsinki Festival.
It is the 7th iteration of Re-Aligned Project by Perpetuum Mobilε.
www.Re-Aligned.net
"The Square" newspaper is edited by Ivor Stodolsky, designed by Tzortzis Rallis (Occupied Times) and includes art by Ganzeer, Federico Geller, Vladan Jeremic & Rena Rädle and articles by Michel Bauwens, Nika Dubrovsky/ Feminist Pencil, Grey Violet (aka Seroe Fioletovoe aka Maria Shtern), Núria Güell, G.U.L.F., Noah Fischer/Occupy Museums, Teivo Teivainen & Ivor Stodolsky, Baruch Gottlieb / Telekommunisten and Nadya Tolokno (Tolokonnikova) of Zona Prava/Pussy Riot.
Direct link: http://issuu.com/ivorstodolsky/docs/tsq2_newspaper_hr
TO THE SQUARE 2 FB EVENT: https://www.facebook.com/events/737483989641891/
Webpage: http://www.re-aligned.net/square-newspaper
Extra images of work-in-progress from TSQ2 by
Ammar Abo Bakr (Luxor/Cairo); Núria Güell (Barcelona), Khaled Jarrar (Ramallah); Vladan Jeremić & Rena Rädle (Belgrade); Nikolay Oleynikov (Nizhny Novgorod/Moscow); Anne-Laure Gestering and Berk Asal of Raumlaborberlin (Berlin); and Vasili Subbotin, Evgeniy Rimkevich, Эльдар Ганеев and Stepan Subbotin of the Art group ZIP группировка ЗИП (Krasnodar).
www.PerpetualMobile.org
Research Interests: Comparative Politics, Open Access, Contemporary Art, Revolutions, Anarchism, and 20 moreDemocratization, Russian Politics, LGBT Issues, Feminism, Social movements and revolution, Democracy, Socialism, Public Space, Civil disobedience, Arab Spring (Arab Revolts), Lgbtq, Art in public space, Debt, Occupy Wall Street, International Occupy Movement, Occupy Movement, European Debt Crisis, Spanish Indignados (Occupy), Pussy Riot, and Re-Aligned Movement
This issue of this international art and theory review was based on the Aleksanteri Conference and Cultural Fora (http://www.helsinki.fi/aleksanteri/conference2007/cultural_fora.htm) co-curated by Ivor Stodolsky and Marita Muukkonen.... more
This issue of this international art and theory review was based on the Aleksanteri Conference and Cultural Fora (http://www.helsinki.fi/aleksanteri/conference2007/cultural_fora.htm) co-curated by Ivor Stodolsky and Marita Muukkonen.
The entire issue was commissioned under the title "Paths Not Taken" (see p. 30 and back cover), and then censored by the "Editorial Director" and published under the title "In Need of Openness" (sic!)."
The entire issue was commissioned under the title "Paths Not Taken" (see p. 30 and back cover), and then censored by the "Editorial Director" and published under the title "In Need of Openness" (sic!)."
Research Interests:
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and... more
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and Responsibility 37 ...
Research Interests:
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and... more
Page 1. CONTENT Foreword 9 Markku Kangaspuro, Jouko Nikula, Ivor Stodolsky Introduction: The Anatomy of Perestroika 11 Markku Kangaspuro PART I: IN THE MAKING PERESTROIKA Perestroika in Retrospective: Historical Consciousness and Responsibility 37 ...
Research Interests:
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002),... more
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002), who gained fame through a wide range of symbolic conceits, creating assumed satirical intentions, cynical denials, kynic hoaxes, and spoofs. The article models actual audiences’ differing judgments of Novikov’s performances. The case studies introduce the formal vocabulary of multi-lectic anatomy, expand Alexei Yurchak’s well-known discussion of stiob and the performative shift, and adapt the Russian concept of poshlost’ to discuss perceptions of moral and aesthetic bad faith. Many observers took delight in Novikov’s postmodern games and paradoxes. The article describes these as elaborate cultural expressions of a banal vacuum of values, and raises questions concerning the wider historical significance of Novikov’s supposedly dangerous artistic strate...
Research Interests:
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002),... more
The article introduces a new method for the empirical analysis of cultural phenomena, called multi-lectic anatomy. It is applied to two key culture-political “art actions” by Leningrad/Saint Petersburg artist Timur Novikov (1958–2002), who gained fame through a wide range of symbolic conceits, creating assumed satirical intentions, cynical denials, kynic hoaxes, and spoofs. The article models actual audiences’ differing judgments of Novikov’s performances. The case studies introduce the formal vocabulary of multi-lectic anatomy, expand Alexei Yurchak’s well-known discussion of stiob and the performative shift, and adapt the Russian concept of poshlost’ to discuss perceptions of moral and aesthetic bad faith. Many observers took delight in Novikov’s postmodern games and paradoxes. The article describes these as elaborate cultural expressions of a banal vacuum of values, and raises questions concerning the wider historical significance of Novikov’s supposedly dangerous artistic strategies.
Research Interests:
This article describes a logic of distinction and succession within the late-twentieth-century Leningrad-St. Petersburg cultural field, whereby consecutive intelligentsia mainstreams were replaced by their avant-garde peripheries. In this... more
This article describes a logic of distinction and succession within the late-twentieth-century Leningrad-St. Petersburg cultural field, whereby consecutive intelligentsia mainstreams were replaced by their avant-garde peripheries. In this dynamic picture of socio-cultural transformations, I propose a working hypothesis of a repeated stratification of the field into an ‘official’, an ‘unofficial’, and a third ‘non-aligned’ intelligentsia. This hypothesis is tested in reference to the ‘non-aligned’ groups founded by the avant-garde artist and ideologue Timur Novikov (1958–2002). Three major shifts are described: from the politicized late-Brezhnevite early 1980s to the apolitical radicalism of Novikov’s New Artists; from this anarchistic underground, through the perestroika era, to the playful ‘classicism’ of the New Academy of Fine Arts in the 1990s; and from this postmodern international orientation to an arch-reactionary, neo-imperial posturing at the turn of the 2000s. Lastly, this ‘non-aligned’ intelligentsia is suggested as a possible precedent, or, indeed, a model for understanding other historically significant avant-garde peripheries, which commonly seek to distinguish themselves from (often mutually-exclusive) centres.