Upcoming
Péter Forgács’s film A Bibó Reader (69 minutes, video, 2001) introduces the social and political analysis of István Bibó, a philosopher and minister during the 1956 Hungarian revolution.
Cristina-Cuevas Wolf, resident historian at the Wende Museum, and Isotta Poggi, assistant curator at the Getty Research Institute, will lead a tour of the collaborative exhibition Promote, Tolerate, Ban: Art and Culture in Cold War Hungary.
Heiner Carow's film The Legend of Paul and Paula (Die Legend von Paul und Paula) (105 minutes, video, 1973) co-presented by the Goethe-Institut.
This screening complements the exhibition Promote, Tolerate, Ban: Art and Culture in Cold War Hungary, a collaboration with the Getty Research Institute that is on view at the Wende Museum of the Cold War in Culver City from May 20 to August 26, 2018.
Following the screenings, Forgacs will be present for a Q&A.
Cristina-Cuevas Wolf, resident historian at the Wende Museum, and Isotta Poggi, assistant curator at the Getty Research Institute, will lead a tour of the collaborative exhibition Promote, Tolerate, Ban: Art and Culture in Cold War Hungary.
This exhibition will address the various layers of mutual suspicion, fear and mistrust between the Soviet Bloc and the Western world, and its impact on the lives of everyday people.
Ballet was part of the high drama of the “culture wars,” as the US and USSR jockeyed for position during the Cold War. The Soviet Union produced some of the greatest dancers the world has ever known, with the Bolshoi and Kirov companies as standard bearers. But there were also painful losses, such as the defections of star dancers Nureyev, Makarova, and Baryshnikov, and the stifling of dance innovation during a time of great creativity in the West. How did the culture wars fit into the larger context of Soviet and American ballet, and the place of dance in Soviet life?
In collaboration with AIGA San Diego, the Wende Museum will display Soviet paintings from the Tom and Jeri Ferris Russian Collection.
Sun Mu, trained by the North Korean army as a propaganda artist, managed to escape in 1998 via China, Laos, and Thailand to South Korea. He uses the officially sanctioned painting style of socialist realism, inspired by propaganda posters from the Chinese Cultural Revolution under Mao Zedong, to create images filled with criticism and irony in the style of American Pop Art and Soviet Sots Art. This is the first exhibition of his work in the United States.
Organized in collaboration with British-Slovenian media historian Sabina Mihelj and British cultural historian Susan Reid, this exhibition focuses on the impact of Cold War-era television programming in Eastern and Western Europe on private lives.