#sotsart

[fawnpalmer]

Collective Actions group, Slogan-1977 action (I don't complain about anything), 1977

[fishorses]

Kayda Stallard

Race: True Dragon

Lives: Originally in Daemons Peak, traveled Vivere with her cart, the Bizarre Bazaar, currently in Future Vivere Manor.

Personality Type: ISTP-A

Weapon/Instrument: N/A - Drums

Music Inspiration: Kelly Clarkson, Miley Cyrus, Paramore

Identity: Female - Lesbian

Personality Traits: Perceptive, Stubborn, Confident, Aloof

Attributes: Green Fire, Fire Immunity, Scale Armor, Dragon-Shapeshift. 

Brief: Kayda is an adventurer/archeologist who makes a living raiding old temples and abandoned towns. She searches for trinkets and objects of interest that she can sell at her traveling cart, the Bizarre Bazaar. Her prices are high, but her wares are rare and (mostly) legit. She cares deeply for her girlfriend Naomi, whom she is rarely seen without. Kayda would do anything to protect Naomi, which might be true considering Naomi’s ex-husband has not been seen in quite some time…

Narrative Role: True Dragons used to be respected and revered in Pyris and Colere. Their fierce power and undying loyalty became their undoing when humans decided that sacrificing them to the gods yielded more blessings than the dragons could offer. Dragon hunts became popular centuries ago, and the population has diminished greatly since.

Kayda is forced to reconcile with a broken past as she fights between her pride as a True Dragon, and yet, learning to trust others with that secret. She is naturally wary of humans and downright disgusted by the “other” dragons, who seemingly turned a blind eye to their shared history, and whom either went into hiding or have attempted to distance themselves from the draconic title.

Kayda must meet all types who, in her mind, have played some part in their lives to hurt her, and come to terms with the fact that people can and will change if you let them.

Her backstory and the dragons in general are heavily inspired by LGBTQ+ history. True Dragons represent those of the community who were involved in politics, working to make real change by exposing themselves to ridicule and violence. Long Dragons represent those in the community who do not involve themselves with the political side, preferring to distance themselves from “those” queers, while still reaping the benefits of their labor. Siren Dragons (or mermaids/merservants), representing those who now use the acronym “LGB” or who go by “terf” in a futile attempt to appear sanitary in a world where they would not have rights either if the government could comfortably get away with it.

Likes:

True Dragons

All types of history, but especially draconic history

Starting fires

Dislikes:

Cold climates

The "other" dragons

The Festival of Dragons

Trivia:

Kayda eats bugs and especially loves the hard crunch of a nice shiny beetle.

She has exactly one plushie, a small purple dragon named "Baby." Naomi won Baby for Kayda during the Festival of Dragons in Pyris.

She wears a breastplate made up of her own shed scales. Because her scale pattern is considered common, it is believable that she would shell out a pretty penny for a practical, if less "showy," scale armor.

She has one snaggle-tooth that doesn’t quite fit in her mouth; otherwise, all her teeth are the same, spiky length.

The metal clasps on her leathers she smelted herself to subtly resemble the True Dragon insignia.

Her hair color is natural, but if anyone asks, it's dyed.

[imagella-blog]

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[geologyedinburgh]

Rutgers acquires collection of Soviet nonconformist art

[momokovski-blog]

Анатолий Ганкевич «100 лет-ковры-хрусталь»

Anatoliy Gankevich «100 years-Carpets-Crystal» (2017)

Анатолий Ганкевич

Born in Odessa in 1965. He attended art courses at the National

Centre for Contemporary Arts in Moscow. He took individual

courses of painting. His artistic career began in 1990. He has

collaborated with the Marat Guelman Gallery. From 1995 to 2005

he directed commercials and films. Since 2006 he has

concentrated on his own art projects. He lives and works in

Odessa and Moscow.

アナトリー・ガンケヴィッチ

1965 年オデッサ生まれ。国立モスクワ現代アートセンターの芸術コースで

学び、1990 年にアーティストとして活動を開始した。1995 年から2005 年

にはコマーシャルやフィルムのディレクションをおこなった。現在はオデッ

サおよびモスクワで作品制作を続けている。

（Other work）

Anatoliy Gankevich «RUSSIANS ARE COMING II» (2014)

[momokovski-blog]

100 Years of Solitude

«100 Years of Solitude»

2017.11.04-2018.01.12

Erarta Museum

This autumn, museums across the country are opening special exhibitions to mark and commemorate the 100th anniversary of Russian Revolution. Some of them see it as the perfect occasion to showcase the works of the Russian avant-garde and other art of the period; others seize the opportunity to pull out the works of Socialist realism from this storerooms. Erarta, on the other hand, is a young museum of contemporary art, working with living artists. With this in mind, we have developed an exhibition from the point of view of today.

Strictly speaking, the October Revolution itself is not the focus of “100 Years of Solitude” exhibition. The project deals with long-term consequences of the revolution, such as civilizational isolation of the society that was attempting to build socialism in a country almost constantly under sanctions. The exhibition tells about the communist myths and reality, about the victims of the historical process, about human values and quiet joys of the era of stagnation, about the archeology of Soviet everyday life, and about forgetting the past.

The history is shrouded in fog of amnesia and myth making. In part, “100 Years of Solitude” exhibition reflects timeless, unrelated to any anniversary, status of this subject in modern collective consciousness. The objective of the exhibition is not to evaluate and judge, but to reflect and reminisce. The exhibition, limited in its scope, does not seek to illustrate an enormous historical period. Rather, it is reminiscent of the scattered mosaics, or fallen cobalt glass blocks, which cannot serve to restore the whole image in great detail, but will allow you to see and feel the material it’s made of. The structure of the exhibition, akin to human memory, or a dream, is discontinuous and fragmentary. It alternates the sublime and ordinariness, tragedy and irony, or nostalgia.

The exhibition brings together the works by the artists who have witnessed the Soviet civilization and those who only had a brief acquaintance with by-gone era in their early childhood. For the most part, the exhibition comprises the works by living artists from Moscow, Saint Petersburg, Novosibirsk, Krasnoyarsk, Lipetsk, Saratov, Tver, Minsk, Odessa, and other CIS cities.

「百年の孤独」

2017.11.04-2018.01.12

エラルタ現代美術館

　この秋（2017年の秋）ロシア各地の美術館では、ロシア革命百周年を記念する特別な展覧会が開催されている。これらの企画は、百周年という区切りを、ロシア・アヴァンギャルドや同時期のそのほかの作品を展示する絶好の機会と見なしたり、あるいは倉庫に眠っている社会主義リアリズムの作品群を引っ張り出してくるチャンスだと見なしたりしている。当館エラルタはといえば、現代美術の新しい美術館であり、今という時代を生きているアーティストたちと共創することを趣旨としている。このことを念頭に、わたしたちは今日的な観点からこの展覧会を企画するに至った。

　厳密に言えば、十月革命という出来事そのものがこの展覧会「百年の孤独」の主題ではない。この企画が扱うのは革命によってもたらされた長期的な結果である。それは例えば、ほとんど常に制裁下にあった国家の中に社会主義を築こうとした社会が陥った文明的な孤立である。この展覧会が語るのは、共産主義の神話と現実について、歴史的なプロセスの中で犠牲になった者たちについて、停滞の時期における人間の価値と静かな楽しみについて、ソヴィエトの日常生活の考古学について、そして過去を忘れるということについてである。

　ソヴィエトの歴史は記憶喪失と神話化の霧の中に覆い隠されている。この「百年の孤独」の展覧会も部分的には、近代的な集合的意識におけるこの主題の永遠の（というのはつまりいかなる記念事業とも関係のない）状況を反映している。この展覧会の目的は評価したり判断したりすることではなく、反省し思い起こすことである。この展覧会の限られた範囲では、巨大な歴史的期間を描写しようとはしない。むしろ、散乱したモザイク、あるいは落ちているコバルトのガラスブロックの追憶に着目しよう。それらは、イメージの全体を極めて詳細に復元するのに役立ちはしないが、イメージを作り上げている材料を見て感じることができるようにしてくれるのである。この展覧会の構造は、人間の記憶や夢のあり方に似て、不連続で断片的だ。それは高尚なものと陳腐なものを、悲劇と皮肉を、あるいはノスタルジアを互い違いにしてしまう。

　この展覧会では実際にソヴィエト文明を目撃した作家と、その過ぎ去った時代を幼少期に少しだけ経験した作家の作品を一緒に展示している。出展作品のほとんどが、モスクワ、サンクトペテルブルク、ノヴォシビルスク、クラスノヤルスク、リペツク、サラトフ、ツヴェル、ミンスク、オデッサ、そしてほかの独立国家共同体の地域に住んでいる作家によるものである。

[leksy-l]

#SotsArt by #Kosolapov #Malevich vs #Marlboro (at МMOMA Gogolevsky 10)

[posiviri]

Malevich Marlboro - Alexander Kosolapov #sotsart #kosolapov #malevichmarlboro #alexanderkosolapov