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Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale

Publikation: Bidrag til bog/antologi/rapportBidrag til bog/antologiForskningfagfællebedømt

Standard

Cosmonaut Paintings as Contemporary Art : The Soviet Union at the Venice Biennale. / Handberg, Kristian.

New Histories of Art in the Global Postwar Era: Multiple Modernisms. red. / Kristian Handberg; Flavia Frigeri. Routledge, 2021. s. 220-231.

Publikation: Bidrag til bog/antologi/rapportBidrag til bog/antologiForskningfagfællebedømt

Harvard

Handberg, K 2021, Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale. i K Handberg & F Frigeri (red), New Histories of Art in the Global Postwar Era: Multiple Modernisms. Routledge, s. 220-231.

APA

Handberg, K. (2021). Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale. I K. Handberg, & F. Frigeri (red.), New Histories of Art in the Global Postwar Era: Multiple Modernisms (s. 220-231). Routledge.

Vancouver

Handberg K. Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale. I Handberg K, Frigeri F, red., New Histories of Art in the Global Postwar Era: Multiple Modernisms. Routledge. 2021. s. 220-231

Author

Handberg, Kristian. / Cosmonaut Paintings as Contemporary Art : The Soviet Union at the Venice Biennale. New Histories of Art in the Global Postwar Era: Multiple Modernisms. red. / Kristian Handberg ; Flavia Frigeri. Routledge, 2021. s. 220-231

Bibtex

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title = "Cosmonaut Paintings as Contemporary Art: The Soviet Union at the Venice Biennale",
abstract = "Since its inauguration in 1895, the Biennale of Arts in Venice has been the world{\textquoteright}s most renowned international exhibition of art. This chapter aims to illuminate the exhibition history of the Soviet Pavilion at the Venice Biennale and ask what a cosmonaut as an exhibiting artist can say about what was possible – and what was not – at the crossroads between different modernities. The cosmonaut landing at the world{\textquoteright}s largest contemporary art exhibition – even in the turmoil of 1968 – will inevitably raise questions in regards to the Biennale{\textquoteright}s game of internationalization and contemporaneity and possibly also of incommensurability. The spacewalking cosmonaut above the Black Sea is in some sense a peculiar meeting between free flight and open space and the carefully planned conquering of the elements by the authoritarian Soviet state.",
author = "Kristian Handberg",
year = "2021",
month = mar,
day = "25",
language = "English",
isbn = "9780367140847",
pages = "220--231",
editor = "Handberg, {Kristian } and Frigeri, {Flavia }",
booktitle = "New Histories of Art in the Global Postwar Era: Multiple Modernisms",
publisher = "Routledge",
address = "United Kingdom",

}

RIS

TY - CHAP

T1 - Cosmonaut Paintings as Contemporary Art

T2 - The Soviet Union at the Venice Biennale

AU - Handberg, Kristian

PY - 2021/3/25

Y1 - 2021/3/25

N2 - Since its inauguration in 1895, the Biennale of Arts in Venice has been the world’s most renowned international exhibition of art. This chapter aims to illuminate the exhibition history of the Soviet Pavilion at the Venice Biennale and ask what a cosmonaut as an exhibiting artist can say about what was possible – and what was not – at the crossroads between different modernities. The cosmonaut landing at the world’s largest contemporary art exhibition – even in the turmoil of 1968 – will inevitably raise questions in regards to the Biennale’s game of internationalization and contemporaneity and possibly also of incommensurability. The spacewalking cosmonaut above the Black Sea is in some sense a peculiar meeting between free flight and open space and the carefully planned conquering of the elements by the authoritarian Soviet state.

AB - Since its inauguration in 1895, the Biennale of Arts in Venice has been the world’s most renowned international exhibition of art. This chapter aims to illuminate the exhibition history of the Soviet Pavilion at the Venice Biennale and ask what a cosmonaut as an exhibiting artist can say about what was possible – and what was not – at the crossroads between different modernities. The cosmonaut landing at the world’s largest contemporary art exhibition – even in the turmoil of 1968 – will inevitably raise questions in regards to the Biennale’s game of internationalization and contemporaneity and possibly also of incommensurability. The spacewalking cosmonaut above the Black Sea is in some sense a peculiar meeting between free flight and open space and the carefully planned conquering of the elements by the authoritarian Soviet state.

UR - https://doi.org/10.4324/9780367140854

M3 - Book chapter

SN - 9780367140847

SP - 220

EP - 231

BT - New Histories of Art in the Global Postwar Era: Multiple Modernisms

A2 - Handberg, Kristian

A2 - Frigeri, Flavia

PB - Routledge

ER -

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