| 31. |
- Tillberg, Margareta
(författare)
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Mikhail Matiushin and the Study of Colour
- 2005
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Ingår i: Light and Colour in the Russian Avant-Garde. - Cologne : Dumont. - 3832174044 ; , s. 473-475
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Bokkapitel (refereegranskat)
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| 32. |
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| 33. |
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| 34. |
- Tillberg, Margareta
(författare)
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Soviet Design 1950-1980
- 2013
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Ingår i: Baltic Worlds. - 2000-2955 .- 2001-7308. ; :1, s. 28-29
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 35. |
- Tillberg, Margareta
(författare)
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The Cold War from a Swedish Perspective
- 2010
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Ingår i: A new deal. - Lund : The Swedish Art Critics Association Press. - 9789163349614 ; , s. 25-38
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Bokkapitel (populärvet., debatt m.m.)
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| 36. |
- Tillberg, Margareta
(författare)
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Why is design "Made in the USSR" invisible in design history
- 2013
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Ingår i: Crafting the Future.
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Konferensbidrag (refereegranskat)abstract
- In order to find out whether "the core actitivites" that constitute our canon of design history "have changed" or not - we need to look closer at what constitutes that very canon.In the literature, the standard account of design is usually linked to increased sales curves. When applying the market economy as a model, the hitherto most frequently used model in design studies, Eastern Bloc designers come to resemble little more than embarrassing imitators of their more advanced Western counterparts.So far, the countries behind the iron curtain have been invisible in the design literature. Is the reason for this because design did not play any role at all in these countries? But what if it did - what tools would be required to make this design visible on its own terms? And could it even be so that there is something for us to be learned from the design experience from behind the iron curtain?This paper will present VNIITE, the Federal Scientific Research Institute for Technical Esthetics, the only design institute in the Soviet Union and the biggest research institute for design world-wide. VNIITE, founded in Moscow in 1962, promoted a new attitude towards industrial production. A short introduction will be given to the prerequisites of the institute as well as of its major ideas. Informed by sources that include studies on technology as well as on economics and culture it will give an alternative perspective as to how the Soviet Union tackled the competition to “catch up and surpass America”.
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| 37. |
- Tillberg, Margareta, 1960-
(författare)
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ASSA
- 1988
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Ingår i: De nya från Leningrad: Novye chudožniki. - Stockholm : Konstavd. Stockholms kulturförvaltning.
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Bokkapitel (populärvet., debatt m.m.)
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| 38. |
- Tillberg, Margareta, 1960-
(författare)
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Venedig : Alexandra Exter
- 1992
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Ingår i: Bulletin från Moderna museet. - Stockholm : Moderna museets vänner. - 0282-3136. ; 3, s. 10-11
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 39. |
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| 40. |
- Tillberg, Margareta, 1960-
(författare)
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White : Composition. Tension. Balance. Light
- 2014
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Ingår i: The Infinite White Abyss. - Köln : Snoeck. - 9783864420818 ; , s. 247-260
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Bokkapitel (refereegranskat)abstract
- »The white, free abyss – infinity lies before us«, according to Kazimir Malevich in 1919 when describing his use of white as a monochrome ground in »Suprematist painting« and as a surface in front of which his geometric shapes seem to float weightlessly. For Wassily Kandinsky, the compositional white area in his expressive abstractions was the all-important opening of pictorial space through which the complexity of the world was to be reflected synaesthetically and thereby art simultaneously ranked alongside science. Piet Mondrian, for his part, tried to find universal harmonies through the depiction of mathematical problems behind visible phenomena. His exploration of »non-colour« in his grids of black lines and primary coloured surfaces forms a »neoplastic system« devoid of any representational function and is unique in the history of painting. On the occasion of the 2014 Quadrennial, the Kunstsammlung Nordrhein-Westfalen will premiere an attractive synopsis the work of these three great artists, considered the most prominent pioneers of the avant-garde and of abstraction in the twentieth century. The show will focus upon selected major works and the complex issue of white surfaces, all which is meticulously recreated the catalogue. The discussion of materiality and immateriality of the colour white arising here is also reflected in the latest research results from the restoration process. This leads to some surprising answers that are treated separately. If the colour white provided an umbrella for art, science and parareligions, did it necessarily have to function as a symbol of a future world?
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