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18+
НАСТОЯЩИЙ МАТЕРИАЛ (ИНФОРМАЦИЯ) ПРОИЗВЕДЁН ИНОСТРАННЫМ АГЕНТОМ ГЕЛЬМАНОМ МАРАТОМ АЛЕКСАНДРОВИЧЕМ ЛИБО КАСАЕТСЯ ДЕЯТЕЛЬНОСТИ ИНОСТРАННОГО АГЕНТА ГЕЛЬМАНА МАРАТА АЛЕКСАНДРОВИЧА

Артхроника. — 2011, № 2

Available on request

<p>
Art Projects Foundation came into existence in 2001, partly as a replacement for the Soros Center for Contemporary Art, which was active between 1994 and 2000. Its archive was transferred to the Foundation with the help of a grant from the Open Society Institute. In the 11 years it was managed by the Foundation, the archive saw the addition of new documents and publications donated by Moscow artists and art historians, and new material gathered by the staff. One of the main contributors to the archive was Yulia Ovchinnikova, an art historian and filmmaker who started documenting the Moscow art scene in 1994.</p>
<h2>The Archive</h2>
<p>
The archive contains documentary materials relating to contemporary art in Moscow, Saint Petersburg, and other cities within Russia dating back to the late 1950s. Materials include documentary photographs and videos, articles published by newspapers and magazines, unpublished essays by artists and critics, exhibition posters, invitations and press releases.
Video documentation from the archive allows us to trace the careers of particular artists and identify the general currents of the Moscow art scene. Footage from the archive has already enabled the production of a range of films including the seven-part Chronicles of Moscow Contemporary Art, and has been used in the making of many other documentaries and films about exhibitions in Moscow and abroad, as well as in educational events.</p>


Art Projects Foundation came into existence in 2001, partly as a replacement for the Soros Center for Contemporary Art, which was active between 1994 and 2000. Its archive was transferred to the Foundation with the help of a grant from the Open Society Institute. In the 11 years it was managed by the Foundation, the archive saw the addition of new documents and publications donated by Moscow artists and art historians, and new material gathered by the staff. One of the main contributors to the archive was Yulia Ovchinnikova, an art historian and filmmaker who started documenting the Moscow art scene in 1994.
The Archive

The archive contains documentary materials relating to contemporary art in Moscow, Saint Petersburg, and other cities within Russia dating back to the late 1950s. Materials include documentary photographs and videos, articles published by newspapers and magazines, unpublished essays by artists and critics, exhibition posters, invitations and press releases.
Video documentation from the archive allows us to trace the careers of particular artists and identify the general currents of the Moscow art scene. Footage from the archive has already enabled the production of a range of films including the seven-part Chronicles of Moscow Contemporary Art, and has been used in the making of many other documentaries and films about exhibitions in Moscow and abroad, as well as in educational events.

Art Projects Foundation archive

Image20170113192035-001.jpg

Avant‑garde

Art market

Installation

Spain

Conceptual art

Moscow Conceptualism

Museography

Political science

Pop art

Photography

Клин Григорий

Article author

Семендяева Мария

Рухина Эва

Novozhenova Alexandra

Шкуркина Ирина

Revzin Grigory

Fedotova Elena

Borovsky Alexander

Orlova Milena

Balakhovskaya Faina

Bode Mikhail

Kabanova Olga

Fadeeva Maria

Kulik Irina

Axell Evelyne

Mentioned

Филиппова Галина

Baldessari John

Kent Corita

Weibel Peter

Drexler Rosalyn

Irina Korina was born in Moscow. She graduated from the Faculty of Stage Design at the Russian Academy of Theatrical Art (GITIS) and the Institute of Contemporary Art (Moscow), also studying at the Academy of Fine Arts Vienna. She took part in the 53rd (Russian Pavilion, 2009) and 57th Venice Biennale (main project, 2017). She is a recipient of the Innovation Prize in the nomination New Generation (2015).

Korina Irina

Артхроника. — 2011, № 2

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