Explore the words cloud of the SAGDESOR project. It provides you a very rough idea of what is the project "SAGDESOR" about.
The following table provides information about the project.
Coordinator |
AARHUS UNIVERSITET
Organization address contact info |
Coordinator Country | Denmark [DK] |
Project website | http://pure.au.dk/portal/en/persons/yulia-karpova |
Total cost | 200˙194 € |
EC max contribution | 200˙194 € (100%) |
Programme |
1. H2020-EU.1.3.2. (Nurturing excellence by means of cross-border and cross-sector mobility) |
Code Call | H2020-MSCA-IF-2015 |
Funding Scheme | MSCA-IF-EF-ST |
Starting year | 2016 |
Duration (year-month-day) | from 2016-08-01 to 2018-07-31 |
Take a look of project's partnership.
# | ||||
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1 | AARHUS UNIVERSITET | DK (AARHUS C) | coordinator | 200˙194.00 |
Russian/Soviet avant-garde of the 1920s is broadly recognized to have been an integral part of the European avant-garde and Russia’s first truly original contribution to world culture. In contrast, Soviet art and design of the post-war period is often dismissed by general public as propaganda, hack-work and shameful plagiarism that resulted in a uniform and shabby world of commodities. Thanks to a growing body of scholarship on Soviet design, as well as to a recent work of enthusiastic Russian curators who organized Moscow design museum, a positive narrative of Soviet design have begun to emerge. In particular, the genealogical connection between Russian avant-garde and late Soviet design is generally noticed by scholars. However, the concrete ways of translating the avant-garde’s ideas into late socialist design and commodity production have received relatively small attention. This research project takes avant-garde’s legacy as a key link between post-war Soviet and Western, in particular Scandinavian, design. It addresses the question of temporal and cross-European design connections by focusing on a “socialist object.” The latter is considered both as a reference to the avant-garde precedent and a concept useful for reaching beyond the standard narrative of Soviet design as a poor imitation of Western models. By relying on archival and published sources I will analyze the transition of objects through different settings – designers’ desks and workshops, artistic and technical councils, factory floors, department stores and people’s homes. My research will present a complex history of Soviet design as a second Russian avant-garde and as a part of post-war European development of visual and material culture. Thus it will provide the historical background for the current Russian designers' search for interconnection with European design schools and trends.
year | authors and title | journal | last update |
---|---|---|---|
2019 |
Yulia Karpova Visions and Visualization of Sustainability: Leningrad Designers in Search of Nationwide Recycling System, 1981-84 published pages: , ISSN: , DOI: |
The Oxford Handbook Of Communist Visual Cultures 2019 | 2019-04-18 |
2020 |
Yulia Karpova Comradely objects: Design and material culture in Soviet Russia, 1960s - 1980s published pages: , ISSN: , DOI: |
2020 | 2019-04-02 |
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