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The Perspective – exhibition

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Date: 22 December, 1987

Participants: Andrej Bialou, Sirhej Voichanka, Aliaksej Zhdanau, Aliadsander Zabauchyk, Ihar Kashkurevich, Artur Klinau, Todar Kopsha, Valery Pesin, Andrej Pliasanau, Ludmila Rusava, Uladzimir Tsesler

Location: Belarusian Institute of Information Technology, Minsk

The big-scale exhibition has become a legend of the 1980s. It is believed to be a starting point in the history of Belarusian art. The opening of the exhibition was banned and the participants under the guidance of Andrej Pliasanau and Aliaksander Dabravolsky started a demonstration and protest action. They headed towards City’s Party Committee (Gorkom) carrying posters and paintings. As a result, they got permission to open the exhibition.


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The Art Holiday. Narva-88 – seminar on non-official art

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Date: 21–30 May, 1988

Participants: Artists from Belarus, Russia, Georgia, Armenia, and Kyrgyzstan. Belarusian artists Andrej Bialou, Aliaksander Zabauchyk, Ihar Kashkurevich, Yauhen Kirylau, Artur Klinau, Uladzimir Lapo, Valer Martynchyk, Viktar Piatrou, Vital Razhkou, Ludmila Rusava, and  Dzmitry Yarmilau.

Organizer: Department of Culture of Narva Gorispolkom (the city’s Executive Committee) of Estonian SSR, and curator Ninel Ziterava

Location: Narva, Estonia

The USSR seminar on non-official art that took place in in Narva, Estonia, was titled “The Art Holiday. Narva-88,” and was organized by the Department of Culture of Narva Gorispolkom (the city’s Executive Committee) of Estonian SSR and curator Ninel Ziterava. Participants included artists from Belarus, Russia, Georgia, Armenia, and Kyrgyzstan. The seminar included individual performances by artists, spontaneous collaborations between artists to make outdoor installations, site-specific sculptures, and other forms of visual art. It was first time that Belarusian avant-garde artists had participated in a large art festival in the Soviet Union—this was made possible thanks to Perestroika, a political movement for reformation. During the festival, Belarusian artists who usually felt isolated from those artists working in other Soviet countries, were able to introduce their artwork to their peers from other parts of the USSR, to make connections, and to become part of the larger network of non-official, avant-garde artists. Some fruitful, international collaborations between artists formed at this historic festival stayed viable for many years after.

Sourcehttp://partisanmag.by/


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