Curator Teresa Mavica Returns to Art World

The Unraveling and Rebuilding: Can Cultural Bridges Between Russia and Europe Be Salvaged?

In a world increasingly defined by division, can art truly transcend politics? Teresa Iarocci Mavica, former director of Moscow’s V-A-C Foundation, is betting on it, even as the war in Ukraine casts a long shadow over cultural exchange.

A legacy Interrupted: The Weight of Geopolitics on Art

For three decades,Mavica dedicated herself to fostering cultural ties between Russia and Europe. Her work at the V-A-C Foundation, co-founded with Leonid Mikhelson (a Russian billionaire with close ties to Vladimir Putin), culminated in the GES-2 House of Culture, Russia’s largest contemporary art museum. But the dream fractured with Russia’s invasion of Ukraine.

Mavica’s departure from Russia in early 2022 marked a turning point, not just for her personally, but for the broader art world. The swift and widespread distancing from anything Russian left her “devastated,” as she told ARTnews.The chasm between Russia and Europe, she lamented, swallowed “artists, brilliant minds, stunning young people.”

The American Perspective: Echoes of Cold War Animosity?

The situation evokes parallels to the Cold War era in the United States, when suspicion and distrust permeated cultural exchanges with the Soviet Union. american institutions grappled with questions of artistic freedom versus national security, a dilemma that resonates today. think of the debates surrounding Soviet film screenings or performances by Russian artists in the US during that time. The current climate, while different, presents similar challenges for American museums and galleries considering collaborations with Russian artists.

Did you know? during the Cold War, the US government often used cultural diplomacy as a tool to promote American values and counter Soviet propaganda. Jazz music, for example, was actively promoted as a symbol of american freedom and creativity.

“REBIRTH”: A Curator’s Act of Defiance

Mavica’s response to this cultural freeze is her “nonlineare” curatorial initiative, beginning with “The Sun to come” at Made in Cloister in Naples. This biennial program, aptly named “REBIRTH,” aims to elevate artists above curators, fostering dialog and understanding in a fractured world.

the inclusion of Russian artists Alexandra Sukhareva, Anastasia Ryabova, and Olga Tsvetkova in “The Sun to Come” is a deliberate act of defiance against the prevailing trend of cultural isolation. Mavica insists that she is not defined by her past association with V-A-C and that her focus remains on “continuing my work and keeping the dialogue between Russia and Europe alive.”

the Weight of Association: Navigating Ethical Minefields

Mavica’s past connection to Leonid Mikhelson,a Putin ally,inevitably raises ethical questions. while Mikhelson was sanctioned by the UK government in 2022, he has not been sanctioned by the US. This creates a complex landscape for American institutions considering collaborations with individuals or organizations linked to him. The reputational risk is notable, and due diligence is paramount.

Quick Fact: Sanctions are a powerful tool used by the US government to exert economic and political pressure on foreign entities. However, their effectiveness is often debated, and they can have unintended consequences on civilian populations.

Art Beyond Politics? A Contentious Debate

Mavica staunchly believes that art transcends politics, but the title of her exhibition, “The Sun to Come,” hints at a more nuanced perspective. The reference to an Italian partisan song suggests both hope and caution: the sun can give life, but it can also destroy. This duality reflects her disappointment at the art world’s reaction to Russian culture.

The exhibition itself, featuring works like Danh Vo’s golden statue of Christ and Clément Cogitore’s film Les Indes Galantes, explores the theme of rebirth, both as a tangible reality and as a hopeful aspiration. These works invite viewers to contemplate the possibility of renewal in a world scarred by conflict.

The American Art World’s Response: A Spectrum of Opinions

The American art world is grappling with similar questions. Some institutions have chosen to sever ties with Russian organizations, while others are seeking ways to support self-reliant Russian artists who oppose the war. The debate is complex and multifaceted, with no easy answers.

Expert Tip: When considering collaborations with artists from politically sensitive regions,American institutions should prioritize transparency,due diligence,and a commitment to artistic freedom. It’s crucial to engage in open dialogue with stakeholders and to be prepared to address potential criticism.

The Ghosts of the Past: Addressing Rumors and Misconceptions

Mavica’s departure from V-A-C was shrouded in rumors,with some suggesting she was pushed out due to disagreements over an urs Fischer sculpture or disapproval from Putin himself. She vehemently denies these claims, stating that she left due to “exhaustion” and that the GES-2 curatorial team did not quit when she left.

Her strained relationship with fellow curator Francesco Bonami adds another layer of complexity. While she respects Bonami’s continued work with V-A-C, she admits to disliking his “cynicism and double-dealing behavior.”

The Power of Narrative: Shaping Public Perception

These anecdotes highlight the power of narrative in shaping public perception. In the age of social media, rumors and misinformation can spread rapidly, making it crucial for individuals and institutions to control their own narratives and to address false claims proactively.

Reader Poll: Do you believe that art can truly transcend politics? Share your thoughts in the comments below.

The Future of Cultural exchange: A Long and Uncertain Road

Mavica’s experience underscores the challenges of navigating cultural exchange in a politically charged habitat. The closure of V-A-C’s Venice outpost and the withdrawal of artists from Scuola Piccola Zattere, run by Mikhelson’s daughter, demonstrate the pervasive impact of the war on the art world.

mavica criticizes the “childish” behavior of artists who dropped out of the show, arguing that it raises questions about the true independence of culture from politics. She remains committed to promoting Russian culture as an integral part of European culture, even in the face of widespread condemnation.

Rebuilding Trust: A Gradual Process

Mavica acknowledges that rebuilding trust between Russia and Europe will be a long and gradual process. She anticipates a sense of betrayal among Russians and questions whether they will readily welcome back those who “slammed the door shut.”

The future of cultural exchange remains uncertain, but Mavica’s “REBIRTH” program offers a glimmer of hope. By prioritizing artists and fostering dialogue, she seeks to bridge the divide and to create a space for understanding in a world torn apart by conflict.

FAQ: Navigating the Complexities of Art and Politics

Q: Is it ethical to support Russian artists while the war in Ukraine is ongoing?

A: This is a complex ethical question with no easy answer. Some argue that supporting Russian artists,especially those who oppose the war,is a way to preserve cultural ties and to promote dissent within russia. Others believe that any support for Russian culture, even indirectly, legitimizes the Putin regime. Ultimately, the decision is a personal one that should be based on careful consideration of the ethical implications.

Q: How can American institutions ensure that their collaborations with Russian artists are not used for propaganda purposes?

A: Transparency and due diligence are crucial. American institutions should thoroughly vet any Russian artists or organizations they collaborate with to ensure that they are not affiliated with the Putin regime and that their work is not used for propaganda purposes. It’s also important to maintain editorial control over any projects and to be prepared to publicly denounce any attempts to use the collaboration for political gain.

Q: What role can art play in promoting peace and understanding between Russia and Ukraine?

A: Art can serve as a powerful tool for promoting empathy and understanding between different cultures. By showcasing the work of Ukrainian and Russian artists side-by-side, institutions can create a space for dialogue and reflection. Art can also help to humanize the conflict and to challenge stereotypes, fostering a deeper understanding of the perspectives of both sides.

Q: What are the potential risks of engaging with Russian culture in the current political climate?

A: The potential risks include reputational damage, accusations of supporting the Putin regime, and the possibility of being targeted by boycotts or protests. It’s important for institutions to carefully weigh these risks before engaging with Russian culture and to be prepared to address any criticism that may arise.

Pros and Cons: Engaging with Russian Culture Today

Pros:

• Preserves cultural ties and promotes dialogue.
• Supports independent Russian artists who oppose the war.
• Challenges stereotypes and fosters empathy.
• Provides a platform for dissenting voices within Russia.

Cons:

• May be seen as legitimizing the Putin regime.
• Reputational risk for institutions and individuals.
• Potential for propaganda or misuse of collaborations.
• Risk of boycotts and protests.

“I have always believed that Russian culture is an integral part of European culture,and I will continue to do everything to promote this conviction,” – Teresa Iarocci mavica.

Can Cultural Bridges Between Russia and Europe Be Salvaged? A conversation with Dr. Anya Sharma

Keywords: Russia, Europe, Art, Culture, Ukraine, Politics, Cultural Exchange, Sanctions, Contemporary Art, Museums

The war in Ukraine has sent shockwaves through the world, including the art world. Cultural institutions and individuals are grappling with complex ethical and practical questions about engaging with Russian culture. To delve deeper into this challenging landscape, Time.news spoke with Dr. Anya Sharma, a leading expert in cultural diplomacy and international art relations.

Time.news: dr. Sharma, thank you for joining us. This article focuses on Teresa Iarocci Mavica’s efforts to maintain cultural ties between Russia and Europe amidst the ongoing conflict.What’s your overall take on the situation she, and the art world, is facing?

Dr. Anya Sharma: It’s an incredibly delicate situation. Mavica, through her decades-long dedication to projects like the V-A-C Foundation and GES-2, undeniably fostered notable cultural exchange. The current climate, though, presents immense hurdles. The article rightly points out parallels with the Cold war, where suspicion and distrust heavily influenced cultural interactions. Now, we see a similar distancing, driven by ethical concerns and the imperative to avoid legitimizing the actions of the russian government.

Time.news: The article mentions Mavica’s new curatorial initiative, “REBIRTH,” and her inclusion of Russian artists. is this a viable path forward, or is it too fraught with ethical concerns?

Dr. Anya Sharma: It’s a courageous act, and the intention – to prioritize artists and maintain dialogue – is laudable. However, the ethical tightrope is undeniable. Considerations have to meticulously be made on a case by case basis. Where do those funds come from? Are those artist in line with the Ukrainian struggle or not? Are they truly not being used to whitewash Putin’s agenda? The key, as the article hints, is clarity, verifiable independence, and a clear commitment to artistic freedom. The challenge lies in ensuring that such initiatives genuinely amplify autonomous voices and don’t inadvertently serve as propaganda tools.

Time.news: The article highlights the ethical “minefield” of collaborating with individuals like Leonid Mikhelson,who has close ties to Putin. How should American institutions navigate these complexities?

Dr. Anya Sharma: Due diligence is absolutely paramount. Institutions must go beyond surface-level investigations. This means thoroughly vetting any individuals or organizations involved, examining their past statements and actions, and understanding their potential connections to the Russian government. Legal counsel and ethics advisors should be involved in the decision-making process. They must be prepared for scrutiny and potential criticism, and transparency is essential for justifying their decisions to stakeholders and the public.

Time.news: The piece quotes Mavica as believing that “art transcends politics,” but it also acknowledges the inherent political weight of these cultural exchanges. What’s your perspective on this long-standing debate?

Dr. Anya Sharma: The idea that art operates in a vacuum, completely divorced from the political realities of its creation and dissemination, is, frankly, naive. Art is, inevitably, shaped by its context. To pretend otherwise is to ignore the power dynamics at play. That being said, art can act as a bridge, fostering empathy and understanding across divides. But it requires conscious effort, critical engagement, and a willingness to confront uncomfortable truths.

Time.news: The article offers a helpful “Pros and Cons” list regarding engaging with Russian culture. What’s one piece of practical advice you would offer to American art institutions considering such engagement?

Dr. Anya sharma: Beyond due diligence, I would strongly advise fostering direct and open dialogue with Ukrainian artists and cultural organizations. Understand their perspectives,acknowledge their pain,and ensure that their voices are centered in any conversation about cultural exchange. This isn’t about tokenism; it’s about genuine solidarity and ethical responsibility. Their insights can inform and shape your approach,ensuring that your engagement is sensitive,meaningful,and doesn’t inadvertently contribute to the erasure of Ukrainian cultural identity under Russian aggression.

Time.news: Dr. Sharma, thank you for your invaluable insights on this complex and evolving situation.

Dr. Anya Sharma: My pleasure. It’s a crucial conversation, and I hope it encourages more thoughtful and ethical engagement within the art world.