The Master and Margarita
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Nothing in the whole of literature compares with ''The Master and Margarita.'' One spring afternoon, the Devil, trailing fire and chaos in his wake, weaves himself out of the shadows and into Moscow. Mikhail Bulgakov's fantastical, funny, and devastating satire of Soviet life combines two distinct yet interwoven parts, one set in contemporary Moscow, the other in ancient(...)
The Master and Margarita
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Nothing in the whole of literature compares with ''The Master and Margarita.'' One spring afternoon, the Devil, trailing fire and chaos in his wake, weaves himself out of the shadows and into Moscow. Mikhail Bulgakov's fantastical, funny, and devastating satire of Soviet life combines two distinct yet interwoven parts, one set in contemporary Moscow, the other in ancient Jerusalem, each brimming with historical, imaginary, frightful, and wonderful characters. Written during the darkest days of Stalin's reign, and finally published in 1966 and 1967, ''The Master and Margarita'' became a literary phenomenon, signaling artistic and spiritual freedom for Russians everywhere. This newly revised translation, by the award-winning team of Pevear and Volokhonsky, is made from the complete and unabridged Russian text.
Expositions en cours
Speech: 14, kids
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The 14th issue of Moscow-based journal Speech is dedicated to architecture projects for children, such as kindergartens, schools, recreation centers, playgrounds, libraries, museums and cafes. The publication pays particular attention to sites that have contributed to the transformation of cities, creating truly child-friendly urban environments.
Speech: 14, kids
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The 14th issue of Moscow-based journal Speech is dedicated to architecture projects for children, such as kindergartens, schools, recreation centers, playgrounds, libraries, museums and cafes. The publication pays particular attention to sites that have contributed to the transformation of cities, creating truly child-friendly urban environments.
Revues
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Chanel head designer Karl Lagerfeld founded Métiers d'Arts in 2002 to showcase the talents of Chanel's seven specialist ateliers (that provide the couture house with costume jewelry, embroidery and millinery). This volume focuses on Chanel's 2008-2009 Métiers d'Arts collection Paris-Moscow. If Paris-Moscow indulges Lagerfeld's fascination for Russia through fashion, then(...)
Karl Lagerfeld : Chanel's Russian collection
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Chanel head designer Karl Lagerfeld founded Métiers d'Arts in 2002 to showcase the talents of Chanel's seven specialist ateliers (that provide the couture house with costume jewelry, embroidery and millinery). This volume focuses on Chanel's 2008-2009 Métiers d'Arts collection Paris-Moscow. If Paris-Moscow indulges Lagerfeld's fascination for Russia through fashion, then Russian Connection is that fascination embodied in book form. Lagerfeld's images evoke Imperial Russia, Constructivism, Catherine the Great, Fabergé, Russian folklore and Coco Chanel's own passion for Russia, via the great Ballets Russes, Byzantine jewelry and her affair with the Grand Duke Dmitri Pavlovich. Included here is a DVD featuring Lagerfeld's directorial debut, Coco 1913/Chanel 1923, a silent black-and-white film depicting Chanel's flirtation with Russian-Parisian émigré society in the 1910s and 1920s.
Création de mode
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Preservation is ordinarily reserved for architecture that is unique. So how would we go about preserving buildings that are utterly generic? Such is the case with Belyayevo, an ordinary residential district in Moscow. Belyayevo is a typical microrayon – the standardised neighbourhood system that successive Soviet regimes laid out across the USSR in what was the most(...)
janvier 2016
Belyayevo forever: a Soviet microrayon on its way to the UNESCO list
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Preservation is ordinarily reserved for architecture that is unique. So how would we go about preserving buildings that are utterly generic? Such is the case with Belyayevo, an ordinary residential district in Moscow. Belyayevo is a typical microrayon – the standardised neighbourhood system that successive Soviet regimes laid out across the USSR in what was the most expansive programme of industrialised construction the world has ever seen. Belyayevo’s buildings, and the desolate spaces between them, are identical to thousands of others, but is it different? Kuba Snopek argues that it is. Home to many of the artists of the Moscow Conceptualism school, the place was written into the character of their art. Snopek argues that this intangible heritage is the key to saving a neighbourhood many feel has had its day. But as Russia comes to terms with ist Soviet legacy, will such arguments fall on deaf ears?
Eastern blocks
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''Eastern blocks'' by Zupagrafika is a photographic journey through the suburbs of the former Eastern Bloc featuring over 100 photographs showcasing modernist and brutalist architecture scattered around the cities of Moscow, Berlin, Warsaw, Budapest, Kyiv and Saint Petersburg. Divided into 6 chapters, the book also includes maps and informative texts on the featured(...)
Eastern blocks
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''Eastern blocks'' by Zupagrafika is a photographic journey through the suburbs of the former Eastern Bloc featuring over 100 photographs showcasing modernist and brutalist architecture scattered around the cities of Moscow, Berlin, Warsaw, Budapest, Kyiv and Saint Petersburg. Divided into 6 chapters, the book also includes maps and informative texts on the featured cities and constructions.
Littérature jeunesse
livres
Description:
xx, 571 pages : illustrations, portraits ; 24 cm
Cambridge, Massachusetts : Harvard University Press, 1968., ©1968
The journals of Claire Clairmont / edited by Marion Kingston Stocking, with the assistance of David Mackenzie Stocking.
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xx, 571 pages : illustrations, portraits ; 24 cm
livres
Cambridge, Massachusetts : Harvard University Press, 1968., ©1968
$29.95
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A cross-section of a year chosen at random, the poster collection casts its net in its own archive and presents posters from Paris, London, Moscow, Vienna, Zurich or Milan. They all have only one thing in common: the year in which they were produced. History is not seen as a continuous development, but as a broad showplace for simultaneity.
février 2002, Zurich
Poster collection 01 : revue 1926
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A cross-section of a year chosen at random, the poster collection casts its net in its own archive and presents posters from Paris, London, Moscow, Vienna, Zurich or Milan. They all have only one thing in common: the year in which they were produced. History is not seen as a continuous development, but as a broad showplace for simultaneity.
livres
Full Unemployment Cinema 2012
livres
Full Unemployment Cinema 2012
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"The Artist as Producer" reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s - the Institute of Artistic Culture (INKhUK) in Moscow - Maria Gough offers a powerful reinterpretation of the work of the first group of(...)
The artist as producer : Russian Constructivism in revolution
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"The Artist as Producer" reshapes our understanding of the fundamental contribution of the Russian avant-garde to the development of modernism. Focusing on the single most important hotbed of Constructivist activity in the early 1920s - the Institute of Artistic Culture (INKhUK) in Moscow - Maria Gough offers a powerful reinterpretation of the work of the first group of artists to call themselves Constructivists. Her lively narrative ranges from famous figures such as Aleksandr Rodchenko to others who are much less well known, such as Karl Ioganson, a key member of the state-funded INKhUK whose work paved the way for an eventual dematerialization of the integral art object. Through the mining of untapped archives and collections in Russia and Latvia and a close reading of key Constructivist works, Gough highlights fundamental differences among the Moscow group in their handling of the experimental new sculptural form - the spatial construction - and of their subsequent shift to industrial production. "The Artist as Producer" upends the standard view that the Moscow group's formalism and abstraction were incompatible with the sociopolitical imperatives of the new Communist state. It challenges the common equation of Constructivism with functionalism and utilitarianism by delineating a contrary tendency toward non-determinism and an alternate orientation to process rather than product. Finally, the book counters the popular perception that Constructivism failed in its ambition to enter production by presenting the first-ever case study of how a Constructivist could, and in fact did, operate within an industrial environment. "The Artist as Producer" offers provocative new perspectives on three critical issues - formalism, functionalism, and failure - that are of central importance to our understanding not only of the Soviet phenomenon but also of the European vanguards more generally.
Anti-shows: Aptart 1982-84
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A collective of artists, a gallery and a movement, APTART was a series of self-organized “anti-shows” that took place in a private apartment and outdoor spaces in Moscow between 1982 and 1984. These covert and anarchic actions, which soon came into conflict with the Soviet authorities, represented a collective attempt to rethink the politics of exhibition-making and the(...)
Anti-shows: Aptart 1982-84
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A collective of artists, a gallery and a movement, APTART was a series of self-organized “anti-shows” that took place in a private apartment and outdoor spaces in Moscow between 1982 and 1984. These covert and anarchic actions, which soon came into conflict with the Soviet authorities, represented a collective attempt to rethink the politics of exhibition-making and the making of a public in the absence of a public sphere.
Théorie de l’art