- Gebundene Ausgabe: 176 Seiten
- Verlag: Thames & Hudson; Auflage: 01 (27. Juni 2017)
- Sprache: Englisch
- ISBN-10: 0993191177
- ISBN-13: 978-0993191176
- Größe und/oder Gewicht: 20,3 x 1,3 x 16,5 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 160.043 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Looking for Lenin (Englisch) Gebundene Ausgabe – 27. Juni 2017
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Decapitating Lenin statues is the hottest new trend in Ukraine.--Kim Kelly "Vice "
a page-turner of a photo book--Claire Voon "Hyperallergic "
Mr. Gobert and Mr. Ackermann present the Lenin statues as a lens through which to view conflicting Ukrainian visions of the country's past, present and future.--Jordan G. Teicher "The New York Times Lens Blog "
Über den Autor und weitere Mitwirkende
Niels Ackermann is a Swiss photojournalist and founding member of the photography agency Lundi13. He has worked for the Swiss international press since 2007. For his project The White Angel (Les Editions Noir Sur Blanc, 2016) he spent four years documenting the transition to adulthood of a group of youths near Chernobyl. This reportage received many awards including the Prix Rémi Ochlik - Ville de Perpignan 2016 and the Swiss Press Photo Award of photographer of the year 2016. Ackermann uses documentary photography to reveal a more nuanced vision of Ukraine, challenging stereotypes and giving a voice to contradictory opinions. His work has been exhibited in both solo and group shows and festivals in Arles, Perpignan, Breda, Pingyao, Moscow, Kyiv, Zurich, Basel and Geneva. He has lived in Kyiv, Ukraine since 2015.<br\><br\> After travelling extensively, Gobert became fascinated by post-communist region, living in many different countries across this territory. In 2011 he settled in Ukraine, working as a journalist. He is a correspondent for various media including: Libération, Radio France Internationale, Le Monde Diplomatique and La Tribune de Genève. His position has granted him a privileged perspective to observe Ukraine s dramatic upheavals. He was awarded the Writing for CEE Award in 2013. In addition Gobert runs a blog entitled Nouvelles de l Est and is a contributing author to Odyssée Européenne. Dans l oeil des Géographes , a collection of books on subjective geography of European cities.
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Another similarity is that there doesn’t appear to be any consensus among Ukrainians as to what it all means. A difference is that Lenin has been much more brutalized than our now discredited icons. With one exception that I know about, our Confederate monuments are merely moved or in some cases splashed with paint. Many times, the Ukrainians chop them up and leave their parts scattered about a very disheveled landscape. Artists incorporate parts into bizarre sculptures. To keep large bronze examples from scrap metal pillagers they must be hidden. There is a collector trade in smaller Lenin statues and busts.
Our tributes to rebel generals are a bit better-crafted and more individual than the dull, repetitive, uninspired sculptures of Comrade Lenin. American Beaux Arts works may not be trendy, but they are esthetically superior to the products of the communist propaganda workshops.
Niels Ackermann’s sharp photographs imaginatively juxtapose these cast-off symbols of tyranny in a disordered environment. The running transcriptions of the overall puzzlement of Ukrainian citizens written by Sebastien Gobert are at times hilarious and parallel American puzzlement. A few Ukrainians, like Yevgenia Moliar, curator of art projects of Kyiv Foundation, thoughtfully point out the unanticipated consequences of statue toppling. Officials in favor of statue destruction censor discussion of the subject: “They’ve tried to create a state ideology that condemns any form of criticism.” This, ironically, has caused a renaissance of support for these relics: “In my opinion, nothing did more for the popularity of Soviet symbolism than the current process of decommunisation.”
What I got most of all out of this was a similarity in the diversity of responses to both decommunisation in the Ukraine and purging the memory of slavery in the U.S. Whatever the justification, both campaigns will leave an empty public space with nothing to replace the banished statuary. Myroslava Hartmond wrote in the beginning essay, “Leninfall is not just an act of violence against history. The empty plinths that litter the towns and villages of Ukraine today, much like the stumps of felled trees, attest to its destructiveness. They become points of convergence for contending visions of national representation, posing the question: What’s next?”
Congratulations to the publisher, Fuel. Last Christmas I gave copies of their provocative book, Soviet Bus Stops, to my wife and two sons. It was well received by this generally critical group. I’ll be purchasing multiple copies of this intriguing book for next Christmas.