#11 Yevgeniy Fiks!

Winter to Spring 2014 028 (1)

We’ll convene in the Law Warschaw Gallery at 1:20 tomorrow, and sit down with the artist to talk about his show, “Impossible Histories, Impossible Sites,” as well as the state of post-Soviet art, queerness, Russia and the Cold War. Please read the articles up on Moodle, “Legally Soviet” and “Gay History Must Become Part of Russia’s Official History,” and post a question to pose him during tomorrow’s meeting.


4 thoughts on “#11 Yevgeniy Fiks!

  1. What are some general yet distinct considerations you account for when a piece of yours is of a U.S. compared to a post-Soviet Russian context?

    With your postcards, you expose areas integral to Russian gay history using the official images solicited by the state of areas of Soviet importance. Exposing the history using the same medium the state used to promulgate itself is one, similar to the style of Sots-Art, and two may compel state observers to abscond their own official images know that they are being used to unveil a history this disapprove of. With “Homosexuality is Stalin’s Bomb to Destroy America”, you use installation. What considerations, besides the fact that using a certain medium or image will be express what you intend, do you take into account when making art of different state contexts, especially with the style and medium you use? Have you found some mediums to be more effective in certain state contexts?

  2. In an interview with Mary Di Lucia, you mention that your project, Pleshkas of the Revolution, aims to show the “rupture between the promise of universal liberation and the failure of that promise as far as the Russian gay community was concerned.” I also very much appreciated your point that gay history must be recognized as a fundamental facet of Russian history. In what ways might the process (and end result) of weaving in gay history in to Russia’s official history provide some universal liberation for a community that has been historically marginalized? What liberating qualities might it provide for the artist, and for the viewer?

  3. In your interview with Olga Kopenkina you discuss what it means for you to be a post-Soviet artist living in the West. You mention that you must be both in a place of “self-imposed exile” from post-Soviet capitalism and disengaged from the mainstream Western capitalism in order to be equally critical towards both. Do you find that it is possible to remain absolutely equal in your ‘criticality’ or do you sometimes feel that your art leans you more towards one than the other? Do you find yourself wanting to be more engaged in either than you are in your current neutral position?

  4. In an interview with Olga Kopenkina, you discuss being responsible for Soviet history as a post-Soviet artist living in the West. In what ways do you envision young people (especially those who were born at the end of the Soviet period and may not remember it at all) beginning to “own” responsibility for this history both in post-Soviet countries and the United States?

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