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- Tillberg, Margareta, Docent Associate Professor
(författare)
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Design, disability and human rights–for all? : Sweden visits Cold War ICSID'75 Moscow
- 2023. - 1
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Ingår i: Transnational Discourses in Nordic Design. - London : Bloomsbury Academic. - 9781350249219
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Bokkapitel (refereegranskat)abstract
- This chapter offers a glimpse of the unknown design discourse during the Cold War – from both sides of the Iron Curtain – but from an unusual perspective: the Scandinavian-Nordic periphery. It gives insight into the world congress in design which took place in the capital of Soviet Russia in October 1975. We will experience Moscow 1975 through the eyes of contemporary witnesses including delegates and local organizers and their accounts will be placed in an historical context, with references to political events of today.Sweden sent its largest delegation ever to a design event, represented by more than forty of the country’s leading designers. Some of them made presentations, some were interviewed by the local media. This paper asks what were their objectives? How did the Swedish media and Russian-language media cover the event? ICSID'75 Moscow was a prestigious event for the Soviets. With the title "Design for Man and Mankind", nothing less was at stake than to present the socialist life-style as the most desirable. With its planned command economy, Soviet Russia was very far away from glossy department stores and streamlined sales curves. Fewer but better possessions rather than excessive consumerism was the mantra. Over the course of four intense days, one and a half thousand specialists, including the VIPs in the design world of the day, met in the heart of the socialist world. But only a few days before the congress took place behind the Iron Curtain, the Nobel Peace Prize was awarded to human rights activist, Soviet citizen Andrei Sakharov. This event roared internationally and changed the premises for the Moscow congress in the very last moment.
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| 2. |
- Tillberg, Margareta
(författare)
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"But we refused to be scared into Silence" : Swedish Designers' Cold War Visit to ICSID '75 Moscow
- 2022
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Ingår i: Baltic Worlds. - : Centre for Baltic and East European Studies (CBEES). - 2000-2955 .- 2001-7308. ; XV:1-2, s. 72-91
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Tidskriftsartikel (refereegranskat)abstract
- This text gives a glimpse of a hitherto unknown design discourse during the Cold War – from both sides of the Iron Curtain – by exploring the 1975 Congress of the International Council of Societies of Industrial Design (ICSID), held in Moscow. Sweden sent a big delegation to Russia. More than forty of the small country’s top designers and influencers participated, which was more than twice as many as usual to these international design congresses. Thanks to reactions published about the events in journals on design in Sweden and in the Soviet Union, archival material, and the author’s own interviews with the delegates from Sweden who participated in Moscow, as well as one-off exclusive backstage witnesses from the local staff of the host organization during the ongoing congress, Moscow 1975 is experienced through the eyes of contemporary witnesses. The essay gives new insights into the world congress in design and illustrates the international atmosphere during the Cold War.
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| 3. |
- Tillberg, Margareta, Docent Associate Professor
(författare)
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“Not Art but Life”: 360° Vision Practised by the Egyptian Sphinxes in the Capital of Russia
- 2022
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Ingår i: <em> Organic Culture and the Avant-Garde in Petrograd</em>. - Thessaloniki : MOMus Metropolitan Organisation of Museums of Visual Arts of Thessaloniki. Museum of Modern Art – Costakis Collection. ; , s. 30-42
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Bokkapitel (refereegranskat)abstract
- As we all know – art is what we find in museums and – with the exception of statues of rulers and warlords in city squares – life is everything else. But wait! Not everyone viewed things in exactly the same way. The Group for Organic Culture visited different places in the city of Petersburg/ Petrograd/ Leningrad to make observations. One such place was the steps down to the water in front of the Academy of Arts. One day a conventional academy-professor saw them there and became outraged: "They sat with their backs to the river painting it." The spot however, was well chosen. What did they see? Oddly, there were (and still are) two stone sphinxes. What are Egyptian sphinxes doing in northern Europe? Why in St Petersburg? And why this location? What did they see from between the sphinxes on the steps down to the river Neva? From the well-chosen spot between the Egyptian sphinxes, they saw a panorama of tasteful palaces. They practiced vision with a 360° angle. But to be able to see what happened behind your back also meant having to be vigilant. Names mentioned in the text (in order of appearance): Albert Benois, Ivan Pavlov, Mikhail Matiushin, Ender siblings – Boris Ender, Ksenia Ender, Maria Ender, Yuri Ender, Nikolai Grinberg, Elena Guro, Napoleon, Tsar Peter the Great, Karl Marx, Lenin, Stalin, Trotsky, Empress Catherine the Great, Denis Diderot, Kazimir Malevich, "Seryi" - Grigorii Ginger, Herostratus, Evgenii Kovtun, Nikolai Punin, Rembrandt, Angelica Zander Rudenstine, Natalia Murray, Andrei Zhdanov, Putin, Russian Tsar Alexandre, Kirov, Gustav Eiffel, Tolstoy, George Costakis.
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| 4. |
- Tillberg, Margareta, Docent Associate Professor
(författare)
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Elena Guro : Malerin, Dichterin, Pantheistin. St. Petersburg – Karelische Landenge 1877-1913
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Elena Genrichowna Guro (1877-1913) war Malerin und Dichterin. Erst seit gut zehn Jahren erfährt Guro immer mehr Aufmerksamkeit, und das vor allem als Schriftstellerin. Hier werde ich aber auch auf Guro als Malerin eingehen, weil ich finde, dass sich diese beiden Seiten ihres Schaffens gegenseitig bereichern. Guros lyrische Landschaften waren St. Petersburg und Gegenden an der Ostsee, insbesondere die Karelische Landenge. Diese Kulturlandschaft bewohnte Elena Guro zusammen mit anderen Intellektuellen, die über demokratische Rechte, das Frauenwahlrecht, Sozialhilfe und Bildungsreformen diskutierten. Sie erlebte das Silberne Zeitalter Russlands (1890-1914), eine Epoche prägender Veränderungen in der Politik, in der Wissenschaft, sowie in der Kultur. Die Zensurfreiheit vor dem Ersten Weltkrieg führte zu einem geistigen Erwachen. Die Kulturbereiche waren offen und im Austausch miteinander. Berlin und Petersburg waren wichtige Städte für skandinavische, baltische und russische Künstler. Die Beziehungen zwischen all diesen Ländern waren sehr lebhaft.
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| 5. |
- Tillberg, Margareta, Docent Associate Professor
(författare)
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Елена Гуро : художник, поэт и пантеист. Санкт-Петербург – Карельский перешеек 1877-1913
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Елена Генриховна Гуро была художником и поэтом, годы ее жизни – 1877-1913. Ее семья имела французские корни. В поэзии она вдохновлялась пейзажами Санкт-Петербурга и Прибалтики, в частности, Карелии. Гуро была представительницей Серебряного века 1890-1914 гг., эпохи решительных перемен в политической, научной и особенно культурной жизни страны. Снятие цензуры накануне Первой мировой войны обусловило подъем духовной жизни. Возникли условия для появления русского авангарда. Гуро была одним из активных участников русского кубо-футуризма, но не получила широкой известности. И лишь в последнее десятилетие ее творчество, в основном литературное, стало привлекать к себе все большее внимание.В числе духовно близких ей людей были скрипач, живописец, а позднее теоретик цвета Михаил Матюшин; создатель картины «Черный квадрат» (1915) Казимир Малевич; поэт и художник Владимир Маяковский; «Председатель Земного шара» Велимир Хлебников, который вывел математические закономерности исторического процесса и создал свой собственный язык – птичий и смеховой; и Николай Кульбин, представивший петербургской публике труд Василия Кандинского «О духовном в искусстве» еще до того, как он был опубликован в Мюнхене. Всех этих новаторов сближали две вещи: вера в художника как посредника между природой с ее тайнами и человеком, и влияние на всех них Елены Гуро.Литературное творчество Гуро изучается наиболее активно. Гуро была автором объемных прозаических сочинений, стихов и пьес. Но мне хотелось бы остановиться на ее художественном наследии. По моему мнению, две стороны ее дарования взаимно дополняют и обогащают друг друга.
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