Katerina Suverina

18+

Can one consider the contemporary museum to be purely a space for the preservation, protection, and transmission of cultural heritage? What role do visitors play within the museum? How is the transmission of the heritage possible in the context of a constant reproduction by the museum of the distance between the ‘masterpieces’ and the public? This visual essay analyzes the relationships between the museum and its visitors. Their inclusion in the museum process—or exclusion from it—is demonstrated by means of visitor books of Garage Museum of Contemporary Art. 

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Alexandra Philippovskaya

This discussion focuses on disability art, its interconnection with disability rights and the equal opportunities movement, the aesthetic parameters of this area of art, as well as the issues of self-identification of disabled artists. Through a phenomenon that is new for the Russian context — disability art — the discussion systematizes such notions as ‘inclusion’ and ‘diversity’. The material is based on the discussion that took place in 2020 in the format of a closed meeting between Russian and foreign specialists in the topic’s theoretical and practical aspects.

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Maria Shchekochikhina

The article focuses on the specificities of understanding inclusion in Russian museums by examining two exhibitions: Co-thinkers (Garage Museum of Contemporary Art, 2016) and The Art of Being (National Centre for Contemporary Art, 2019), as well as the projects followed these exhibitions. It discusses the key concepts of inclusion, looks at the origins of introducing the notion of inclusion into the field of museum discussions, explores the influence of different concepts of inclusion on the inclusive practices of Russian museums. 

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Evgeniya Kiseleva

Art working with the topic of boundaries and limitations mostly falls within the category of socio-cultural practices. The experiences of temporary blindness, color blindness, impaired bodily sensations, and other limitations and changes of perceptual abilities in works by contemporary artists are viewed in this article not as an integration technology, but as an artistic device and a method of contemporary art. 

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Lyudmila Luchkova

The essay reflects on the development of new social roles and, as a result, new identity aspects by deaf visitors of Garage Museum of Contemporary Art, in the period from 2016 to 2020. Based on her personal experience of working in the inclusion department of Garage and on unstructured interviews with deaf individuals, the author analyzes the process of rethinking deafness as the key factor that shapes their identity. By examining a series of examples of deaf people acquiring new social roles within the art institution, she looks for interconnections with their personal sense of self.

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Sela Kodjo Adjei

This paper examines the contributions of African art to the rise of global modernism in art. The concept of ‘modernism’ in art history remains inordinately attributed to Western male artists, and often ignores the creative contributions of African women in indigenous communities. These academic lapses highlight the need for more critical research, analysis, and documentation. The paper includes a photographic presentation that captures the creative practice of Ewe artists in South Eastern Ghana. 

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