The Revolution is dead. Long live the Revolution!

(Thursday) (Sunday)

The exhibition at Kunstmuseum Bern retraces Socialist Realism in contemporary

art and its many shifts and changes since the Russian Revolution. In 1915

Malevich′s first Black Square painting reached the “zero point of painting”. Only

two years later, Russia actually underwent a political and social revolution. In its

representations of socialist themes, Propaganda Art not only embraced a realistic

style, it also programmatically expressed a societal concept by promoting a

society that did not exist then and never will.As the former Soviet Union reached crisis point and began to disintegrate, visual

idioms were transformed. Timid criticism eventually turned into pastiche and,

in the postmodern period, into subversive set pieces now devoid of ideological

messages. Having gradually loosened the stays of socialist rhetoric, artists began

to use the now meaningless visual ciphers in works that express their scathing

criticism of a disillusioned and cynical late-capitalist society.

Zentrum Paul Klee
Monument im Fruchtland 3
3006 Bern
Switzerland
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http://www.zpk.org/en/exhibitions/preview/the-revolutio...

Tags

Art, Kunst, Realism,

Selection of further exhibitions in: Switzerland

01.08.2016 - 01.01.2030
Landesmuseum Zürich
Museumstrasse 2
Zürich

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01.01.2016 - 01.01.2030
Landesmuseum Zürich
Museumstrasse 2
Zürich

Read more >>










The Revolution is dead. Long live the Revolution! Zentrum Paul Klee Main address: Zentrum Paul Klee Monument im Fruchtland 3 3006 Bern, Switzerland Zentrum Paul Klee Monument im Fruchtland 3 3006 Bern, Switzerland The exhibition at Kunstmuseum Bern retraces Socialist Realism in contemporary

art and its many shifts and changes since the Russian Revolution. In 1915

Malevich′s first Black Square painting reached the “zero point of painting”. Only

two years later, Russia actually underwent a political and social revolution. In its

representations of socialist themes, Propaganda Art not only embraced a realistic

style, it also programmatically expressed a societal concept by promoting a

society that did not exist then and never will.As the former Soviet Union reached crisis point and began to disintegrate, visual

idioms were transformed. Timid criticism eventually turned into pastiche and,

in the postmodern period, into subversive set pieces now devoid of ideological

messages. Having gradually loosened the stays of socialist rhetoric, artists began

to use the now meaningless visual ciphers in works that express their scathing

criticism of a disillusioned and cynical late-capitalist society.
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