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Socreālisma klasiskā modeļa adaptācijas Latvijā pirmajā padomju varas gadā (1940–1941)

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Pelše S.

Makslas Vesture un Teorija

2021

vol. 25

55-69

The article focuses on the short Soviet episode between the independence period and the subsequent German occupation, introducing Socialist Realism as a new paradigm for Latvian art theory and criticism. The doctrine had emerged in the USSR during the 1930s and was codified at the First Congress of Soviet Writers (1934) by Stalin’s propagandist Andrei Zhdanov in his famous speech. He proclaimed writers to be “engineers of human souls”. They were urged to represent reality in its “revolutionary development”, educate the working people in the spirit of socialism as well as to use the best achievements of all previous epochs for these purposes. Reflections of the regime’s officials as well as artists, art historians and critics on Socialist Realism appeared in Latvian periodicals by mid-1940. One of the most theoretical articles was published in the newly founded literature monthly Karogs by the renowned Russian-born art historian Boris Vipper (1888–1967) who came to Latvia in 1924 and returned to Moscow in 1941. He saw Socialist Realism in a quite Hegelian mode. Socialist Realism was popularised in articles praising Russian and Soviet art, for instance, on the Realist trend of the Peredvizhniki (Wanderers). More general surveys emerged too, mainly extolling the flourishing present in particular kinds of arts. Most of these surveys appeared soon after the occupation, likely aiming to quickly educate the public in the newly conquered territories. Some positive reviews on the USSR cultural scene even predated the occupation for example, in the magazine Atpūta whose editors had been involved with the Society for the Cultural Rapprochement with the USSR, functioning as a de facto recruiting agency for the future puppet government. A different tendency was to speculate on local precursors of Socialist Realism or at least some similar phenomena. Most of these pieces emerged in late 1940 and 1941, suggesting some time was needed in the attempt to inscribe the local heritage into the new paradigm. The first Soviet year reveals both continuities and interruptions in regard to the previous period. On the one hand, authors still promoted the traditional neo-realist approach and critique of avant-garde extremes; on the other, they sometimes radically shifted their opinions in favour of Russian art. Most seemingly attempted to somehow “tame” the new doctrine, associating it with established artistic values; these, however, could be exonerated only after Stalin’s death (1953) that started the modernisation and actual disintegration of Socialist Realism.

THE OTHER AND THE SAME VLADIMIR GLUSHENKOV, SON OF BORIS (Cits un tas pats Vladimirs Glusenkovs Borisa dels)

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Auzina D.

Makslas Vesture un Teorija

2011

vol. 14

30-36

The exhibition 'AND OTHERS. Movements, Explorations and Artists in Latvia 1960 - 1984' was on view at the Riga Art Space from 17 November to 30 December 2010. It examined the marginal aspects of Soviet cultural life and searches for alternative means of expression in the art of this period. Vladimir Glushenkov (1948-2009) was among the artists represented in this show; until now his name was known only among the small circle of connoisseurs. Although Glushenkov had received a typical professional education for an artist of Soviet Latvia, his entry onto the art scene was a relative failure. The diploma of stage designer allowed him to take a creative, state-paid job at Latvian Television where he worked as an artist-producer from 1976 to 1996. Alongside this state job and several stage-design projects for Latvian theatres, throughout his life he was an enthusiastic painter as well as engaging in verbal forms of expression such as writing journals and poetry. Attempts to take part in official exhibitions, submitting his compositions to the shows of thematic painting, were usually criticised and turned down by the jury; this was related to the style and theme, which was far removed from the requirements of that time and also the insufficient 'quality' of execution. The originality of Glushenkov's individual approach became especially manifest in the 1970s and 1980s when his stylistically diverse painted compositions (tempera) and graphic works (mostly ink drawings) revealed his interest in Western art history from the Renaissance to post-modernism. He had been interested in figural art but not in the traditional manner based on academic traditions or the canon of Socialist Realism. His images of the early 1970s, anthropomorphic rather than realistic, were joined in absurd combinations, works with a hardly readable spatial structure and subject, creating a painting endowed with surreal moods.

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Socreālisma klasiskā modeļa adaptācijas Latvijā pirmajā padomju varas gadā (1940–1941)

THE OTHER AND THE SAME VLADIMIR GLUSHENKOV, SON OF BORIS (Cits un tas pats Vladimirs Glusenkovs Borisa dels)