INDEPENDENT CURATORS INTERNATIONAL
exhibitions

After Perestroika: Kitchenmaids or Stateswomen

  • After Perestroika, installation view at Center International d'Art Contemporain de Montreal, 1993. Courtesy of Margarita Tupitsyn.

  • After Perestroika, installation view at Center International d'Art Contemporain de Montreal, 1993. Courtesy of Margarita Tupitsyn.

  • After Perestroika, installation view at Center International d'Art Contemporain de Montreal, 1993.

  • After Perestroika, installation view at Center International d'Art Contemporain de Montreal, 1993.

  • After Perestroika, installation view at Center International d'Art Contemporain de Montreal, 1993.

Curated by Margarita Tupitsyn

“Ever since perestroika, the majority of Russian women still fail to recognize that they suffer domestic and/or political oppression. This makes it difficult to convert them into partisans of a feminist course. Even if we accept their claim to political and domestic equality, it is possible, as Sandra Lee Bartky reminds us, to be oppressed ‘in ways that need involve neither physical deprivation, legal inequality, not economic exploitation; one can be oppressed psychologically. The psychologically oppressed become their own oppressors.” This is precisely what happened to Soviet women before perestroika, and it is still the case today: they are unwilling to acknowledge manifestations of psychological oppression (which include stereotyping, cultural domination, and sexual objectification), and so they continue to serve as ‘their own oppressors.’

The participants in After Perestroika: Kitchenmaids or Stateswomen, by contrast, were among the first in Russia to recognize that underneath each ideology there is always another. And in the wake of the dismantling of Soviet doctrine they began to reflect upon the ideology of gender, making the first contributions to its critique and taking the initial steps against the assumed belief in a single ideology.”

- Excerpt from catalogue essay by Margarita Tupitsyn

 

After Perestroika examines the shifts in women’s lives by exploring depictions and imagery of women in the former Soviet Union, challenging cultural attitudes, and bringing to light the socio-political climate for women and artists during the 90s in the post-Soviet states.

Accompanying this exhibition is the catalogue, After Perestroika: Kitchenmaids or Stateswomen, with essays by Margarita Tupitsyn and Martha Rosler. Please click here or visit our shop for more information.

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curator

Margarita Tupitsyn

Margarita Tupitsyn is an independent curator, scholar, and critic. She received a Ph.D. in art history from the Graduate Center of the City University of New York. In 1981–83, she was the curator of the Contemporary Russian Art Center of America in SoHo, New York, where she organized the first exhibitions of Moscow Conceptualism in the United States, among them Russian New Wave (1981). Her many exhibitions include Andrei Molodkin: Liquid Black (co-curator; Museum Villa Stuck, Munich, 2012); Rodchenko and Popova: Defining Constructivism (Tate Modern, London, 2009); Against Kandinsky (Museum Villa Stuck, Munich, 2006); Klutsis and Kulagina: Photography and Montage after Constructivism (ICP, New York, 2004); Verbal Photography: Ilya Kabakov, Boris Mikhailov and the Moscow Archive of New Art (co curator; Museu de Arte Contemporanea de Serralves, Porto, Portugal, 2004); Malevich and Film (Fundação Centro Cultural de Belém, Lisbon, 2002); Bauhaus: Dessau, Chicago, New York (Museum Folkwang, Essen, Germany, 2000); El Lissitzky: Beyond the Abstract Cabinet (Sprengel Museum, Hannover, Germany, 1999); Global Conceptualism: Points of Origin, 1950s–1980s (co- curator; Queens Museum, New York, 1999); After Perestroika: Kitchenmaids or Stateswomen (Centre international d’art contemporain de Montréal, 1993); The Great Utopia: The Russian and Soviet Avant-Garde, 1915–1932 (co-curator; Guggenheim Museum, New York, 1992); Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism (co-curator; ICA, Boston, 1990); The Green Show (Exit Art, New York, 1990); Sots Art (New Museum of Contemporary Art, New York, 1986); and Apt Art: Moscow Vanguard in the ’80s (Washington Project for the Arts, Washington, D.C., 1984). Tupitsyn also created art events involving the Kazimir Passion group, at MoMA PS1 (1982) and the Kitchen (1984).

Tupitsyn has authored or contributed to many exhibition catalogues and anthologies, including the forthcoming Moscow Vanguard Art, 1922–1992 (Yale University Press); Exhibitions, in the series Documents of Contemporary Art (Whitechapel Gallery and MIT Press, 2014); Object:Photo: Modern Photographs; The Thomas Walther Collection, 1909–1949 (Museum of Modern Art, 2014); The Archive, in the series Documents of Contemporary Art (Whitechapel Gallery and MIT Press, 2006); Situating El Lissitzky: Vitebsk, Berlin, Moscow (Getty Research Institute, 2003); The Soviet Photograph (Yale University Press, 1996); Montage and Modern Life, 1919–1942 (MIT Press, 1994); and Margins of Soviet Art: Socialist Realism to the Present (Giancarlo Politi Editore, 1989). She has written art criticism in Art in America, Artforum, Art Journal, and Flash Art. In 2000, Tupitsyn was a Berlin Prize Fellow at the American Academy in Berlin. The following year, she received a research grant from the Société Kandinsky of the Centre Georges Pompidou, and in 2011 she was awarded a Creative Capital / Warhol Foundation Arts Writers Grant.


artists


touring schedule

Iris and B. Gerald Cantor Art Gallery
Worcester, MA, United States
March 18, 1998 - April 19, 1998

Western Gallery, Western Washington University
Bellingham, WA, United States
September 29, 1997 - November 22, 1997

The Picker Art Gallery, Colgate University
Hamilton, NY, United States
November 6, 1993 - December 31, 1993

Centre International d’Arte Contemporain de Montreal
Montreal, Quebec, Canada
August 1, 1993 - October 3, 1993

DePree Art Center, Hope College
Holland, MI, United States
January 10, 1992 - March 6, 1992


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