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	<title>Vladislav Shapovalov</title>
	<link>https://vladislavshapovalov.com</link>
	<description>Vladislav Shapovalov</description>
	<pubDate>Fri, 27 Jun 2025 09:14:19 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://vladislavshapovalov.com/Home</link>

		<pubDate>Tue, 03 Sep 2019 21:50:36 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

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		<title>CV</title>
				
		<link>https://vladislavshapovalov.com/CV</link>

		<pubDate>Tue, 03 Sep 2019 19:32:28 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

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		<description>Vladislav Shapovalov is an artist and researcher based in Milan, Italy. He was a member of the art collective Radek Community (Moscow, 1999–2007) and has been working independently since 2008. His projects use exhibitions as a medium to investigate the intersections of historical narratives, political imaginary and geopolitical configurations.
In 2016–2017, he was a fellow in the International Fellowship Program for Art and Theory at Künstlerhaus Büchsenhausen in Innsbruck. 
Currently, he is a PhD researcher at HDK-Valand – Academy of Art and Design, University of Gothenburg.The book dedicated to his long-term project Image Diplomacy was awarded a grant from Graham Foundation for Advanced Studies in the Fine Arts and published by Mousse publishing in 2020.Solo– Image Diplomacy, curated by Sarp Renk Özer, 16 November – 31 December 2018, AVTO, Istanbul– Image Diplomacy, curated by Emanuele Guidi, 1 December 2017 – 10 February 2018, Ar/ge Kunst, Bolzano, Italy– Image Diplomacy, curated by Anna Ilchenko, 16 November 2017 – 25 January 2018, Moscow Museum of Modern Art with V-A-C Foundation, MoscowSelected group exhibitions– The Cost of Alliance, curated by Lua Vollaard and Alexandra Landre, 12 – 26 June 2025, Stroom Den Haag, The Hague, Netherlands
– Stories of Time, curated by Nina Tabassomi, 30 July – 06 November 2022, Taxispalais Kunsthalle Tirol, Innsbruck, Austria
– Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini, 23 October 2020—14 March 2021, Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy– The Missing Planet, curated by Marco Scotini and Stefano Pezzato, 7 November 2019 – 27 September 2020, Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy
– Unexpected Encounters, curated by Solvita Krese, Inga Lāce and Andra Silapētere, 13 December 2019 - 23 February 2020, “Arsenāls” Exhibition Hall of the Latvian National Museum of Art / Latvian Centre for Contemporary Art (LCCA), Riga
– The Fabric of Felicity, curated by Valentin Diaconov, Iaroslav Volovod and Ekaterina Lazareva, 12 September 2018 – 27 January 2019, Garage Museum of Contemporary Art, Moscow– Holes In The Wall. Anachronic Approaches To The Here-And-Now, curated by Gudrun Ratzinger, 7 February – 25 March 2018, Kunsthalle Exnergasse, Vienna– A Thousand Roaring Beasts: Display Devices For A Critical Modernity, curated by Olga Fernández López, 20 October 2017 – 4 March 2018, Centro Andaluz de Arte Contemporáneo, Seville, Spain (catalogue)– Was Tun?!, curated by Petra Gerschner, Aspekte Galerie, Munich, Germany, 2017– Looking At The Present Through Rear-View Mirrors, curated by Andrei Siclodi, Kunstpavillon, Innsbruck, Austria, 2017– Atlas [of the ruins] of Europe, curated by Julia Morandeira Arrizabalaga and José Riello, CentroCentro Cibeles de Cultura y Ciudadania, Madrid, 2016– Uncanny Formations, curated by Andrei Siclodi, Kunstlerhaus Buchsenhausen, Innsbruck, Austria, 2016 – Fear. The Origin of the State, curated by Fedor Blašák and Christian Kobald, Nová synagóga / Kunsthalle Žilina, Slovakia, 2015 – The School of Kyiv. Kyiv Biennial, curated by Hedwig Saxenhuber and Georg Schollhammer, Kyiv, 2015– Sources Go Dark, curated by Valerio Borgonuovo and Silvia Franceschini, Futura Center for Contemporary Art, Prague, 2015Screenings
—International Film Festival Innsbruck, 10 October 2021, Leokino 2, Innsbruck, Austria
– Image Diplomacy, in "Komplexe Bilder 4: De/Konstruktionen", curated by Maia Gusberti, 4 June 2019, Kino REX, Bern, Switzerland
– FOTO WIEN, Festival Headquarters, 23 March 2019, Vienna
– Image Diplomacy, 19 December 2018, SALT Beyoğlu, Istanbul
– Besides the Screen. Vaults, Archives, Clouds and Platforms: Archiving and Preservation in the 21st Century, 2 – 3 July 2018, King’s College, London and 5 – 6 July 2018, CIAC-ISMAI, Porto,&#38;nbsp;Portugal

Symposia curated– Exhibitions of Influence. Display and Film as Political Medium, Kunstpavillon, Innsbruck, Austria, 30 May 2017. Speakers: Susan Reid (Loughborough University), Oksana Sarkisova (Central European University), Anna Ladinig (University of Innsbruck)Lectures, public talks and conferences

He is a lecturer at NABA – New Academy of Fine Arts, Milan.– Socialist Visual Cultures and Decolonization, Circulations, (Re)Interpretations, and Resistances of Visual Models in the Context of the Cold War,&#38;nbsp;The French National Institute for Art History (INHA), Paris, 11 February 2026
– History Has No Lessons For Us, Stroom Den Haag, The Hague, Netherlands, 20 June 2025, 
– Art Past Present with Vladislav Shapovalov. Hosted by Farrah Karapetian and Joes Segal, The Wende Museum, Culver City, CA, 16 June 2021
– Image Diplomacy.&#38;nbsp;Vladislav Shapovalov in conversation with Elvira Vannini and&#38;nbsp;Emanuele Guidi,&#38;nbsp;Ar/ge Kunst, Bolzano, Italy,&#38;nbsp;7 February 2018
– Forgotten Internationalism &#38;amp; Filmmakers of the World, Unite!, National Gallery in Prague / Tranzit, 14 December 2017– Between Diplomacy and Dissidence: Politics of Exhibition and Curatorial Positioning During the Cold War, Modernidad(es) Descentralizada(s), University of Barcelona, 13 December 2017– Image Diplomacy. Vladislav Shapovalov in conversation with Erika Balsom, Moscow Museum of Modern Art, 18 November 2017 – Image Diplomacy: Archives That Were Never Meant To Be Kept, The 5th Garage International Conference "The Archive: Savior, Inventor, Witness", Garage Museum of Contemporary Art, Moscow, 13-14 October 2017– Image Diplomacy, Kunstlerhaus Buchsenhausen, Innsbruck, Austria, 21 October 2016– Archives in Contemporary Art: Artist as Researcher and Artistic Practices within the Archives, National Center for Contemporary Art, Moscow, 27 November 2015– Future Present. Archives in an Expanded Field, Strelka Institute for Media, Architecture and Design, Moscow, 18 June 2014– Focus East, official programme of Bologna Art Fair, Bologna, Italy, 28 January 2014– Archive in Art-Practice, Baza Institute, Moscow, 16 December 2013
Publications
 
–&#38;nbsp;Vladislav Shapovalov, Image Diplomacy, On The Question of Exhibition Part 2, Parse Journal, Issue 13.2 – Summer 2021
– Vladislav Shapovalov: Image Diplomacy, Edited by Emanuele Guidi and Andrei Siclodi, Mousse Publishing, 2020 (monograph)
Catalogues
– Protext!,&#38;nbsp;Centro Pecci, Nero Publishing, 2021
– The Missing Planet,
Centro Pecci, Nero
Publishing, 2020
– A Thousand Roaring Beasts: Display Devices For A Critical Modernity / Mil bestias que rugen. Dispositivos de exposición para una modernidad crítica, Edited by Olga Fernández López, CAAC, Seville, Spain, 2017

Press
–&#38;nbsp;How to Deal With Dystopia: “The Missing Planet” at Pecci Centre, Prato / Mousse magazine, March 2020
–&#38;nbsp;Krievu izcelsmes mākslinieks Vladislavs Šapovalovs: pieredžu redaktors, Interview with&#38;nbsp;Šelda Puķīte, Delfi.lv, January 2020 (in Latvian)– 222 Emerging Artists Worth Investing In / 222 artisti emergenti su cui investire, Exibart, 2019, p. 205.
– On the Circulation of Images. Essay by Gudrun Ratzinger, Camera Austria International No. 145, March 2019, pp. 23–34. (in English and German,&#38;nbsp;.pdf)– The Cold War of Image Diplomacy. Conversation with Maria Abdulhamid. The Americana Issue, Archivio magazine, December 2018, p. 164–169.&#38;nbsp;– Image Diplomacy, review by Andrey Shental, Flash Art magazine, 9 February 2018– The politics of exhibiting – The exhibiting of politics. Conversation with Elvira Vannini, Hotpotatoes, 10 January 2018 (in Italian)– Bringing communism back to Moscow. Conversation with Andrey Shental, Artgiude, 22 January 2018 (in Russian)</description>
		
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		<title>History Has No Lessons For Us</title>
				
		<link>https://vladislavshapovalov.com/History-Has-No-Lessons-For-Us</link>

		<pubDate>Fri, 27 Jun 2025 09:14:19 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

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&#60;img width="3744" height="2496" width_o="3744" height_o="2496" data-src="https://freight.cargo.site/t/original/i/d2be08995ff44b287d0e14f4ec14134ac4bf102289c56955f00ee01b2544b79c/20250616-Stroom-The-Cost-of-Alliance-high-res-11.jpg" data-mid="235098221" border="0" alt="Vladislav Shapovalov, History Has No Lessons For Us, 2025. Detail. NATO&#38;rsquo;s Caravan of Peace exhibition plan, 1952. Courtesy of NATO Archive." data-caption="Vladislav Shapovalov, History Has No Lessons For Us, 2025. Detail. NATO’s Caravan of Peace exhibition plan, 1952. Courtesy of NATO Archive." src="https://freight.cargo.site/w/1000/i/d2be08995ff44b287d0e14f4ec14134ac4bf102289c56955f00ee01b2544b79c/20250616-Stroom-The-Cost-of-Alliance-high-res-11.jpg" /&#62;
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History Has No Lessons For Us
Display of archival materials, 2025Images: NATO Archive, Archivio Fondazione Fiera Milano, personal archive

Courtesy the artist&#38;nbsp;
Photo credit: Dana La Monda and Studio Uittenbogaart

 
	Is it possible to disentangle the idea of world peace from the nexus of military alliances and geopolitical antagonisms? 
Reacting to the NATO summit descending on The Hague—and its call for the remilitarization of the continent—the first iteration of long-term research project revisits a forgotten case: The Caravan of Peace, a traveling exhibition developed by the military alliance at the height of the Cold War, which toured through Italy, Greece, Turkey, and France. This early stage of research is presented through a display of archival documents and a public lecture, aiming to reclaim and reimagine the format of “exhibition for peace” as a critical space for political reflection.

	&#38;nbsp;

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		<title>Foresight Council</title>
				
		<link>https://vladislavshapovalov.com/Foresight-Council</link>

		<pubDate>Wed, 17 Aug 2022 17:01:15 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

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&#60;img width="5233" height="7845" width_o="5233" height_o="7845" data-src="https://freight.cargo.site/t/original/i/c2178ccf4662dfad35c3ce6adbab786997e12d8679a8dea7591ff16b91e596fc/_DSC5060-copy.jpg" data-mid="150774618" border="0" data-scale="41" alt="Portal, 2022. Mixed media installation; plywood sculpture, 250x250x250 cm; Sound, 9:58, loop. Sound design: Alexander Khokhlov. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="Portal, 2022. Mixed media installation; plywood sculpture, 250x250x250 cm; Sound, 9:58, loop. Sound design: Alexander Khokhlov. Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/c2178ccf4662dfad35c3ce6adbab786997e12d8679a8dea7591ff16b91e596fc/_DSC5060-copy.jpg" /&#62;
&#60;img width="7803" height="5204" width_o="7803" height_o="5204" data-src="https://freight.cargo.site/t/original/i/9a6092682af1333a2a26aee344315b448364b810420ad30f033d8e02f40d1970/_DSC5114.jpg" data-mid="150719428" border="0" alt="Foresight Prevents Blindness, 2022. Framed pigment print, 100x75 cm. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="Foresight Prevents Blindness, 2022. Framed pigment print, 100x75 cm. Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/9a6092682af1333a2a26aee344315b448364b810420ad30f033d8e02f40d1970/_DSC5114.jpg" /&#62;
&#60;img width="7844" height="5232" width_o="7844" height_o="5232" data-src="https://freight.cargo.site/t/original/i/accb43c2a604269c8639c40dd1c9e4b1b05172f8e00c1fe9551b2a68a007cd80/_DSC5055-copy-2.jpg" data-mid="150775199" border="0" alt="Portal, 2022. Mixed media installation; plywood sculpture, 250x250x250 cm; Sound, 9:58, loop. Sound design: Alexander Khokhlov. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="Portal, 2022. Mixed media installation; plywood sculpture, 250x250x250 cm; Sound, 9:58, loop. Sound design: Alexander Khokhlov. Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/accb43c2a604269c8639c40dd1c9e4b1b05172f8e00c1fe9551b2a68a007cd80/_DSC5055-copy-2.jpg" /&#62;
&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/28d06f084c4cf4cdf01310572598f2f2f489501addca2798f0b10b63634f920b/_DSC5080.jpg" data-mid="150718616" border="0" alt="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser " data-caption="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: Günter Kresser " src="https://freight.cargo.site/w/1000/i/28d06f084c4cf4cdf01310572598f2f2f489501addca2798f0b10b63634f920b/_DSC5080.jpg" /&#62;
&#60;img width="5120" height="3415" width_o="5120" height_o="3415" data-src="https://freight.cargo.site/t/original/i/1aa124d420d7754ddd51858e4958f4fa373659cc0d9af76d11bea6d1cfc99c70/_DSC4000.jpg" data-mid="159525334" border="0" alt="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser " data-caption="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: Günter Kresser " src="https://freight.cargo.site/w/1000/i/1aa124d420d7754ddd51858e4958f4fa373659cc0d9af76d11bea6d1cfc99c70/_DSC4000.jpg" /&#62;
&#60;img width="7867" height="5247" width_o="7867" height_o="5247" data-src="https://freight.cargo.site/t/original/i/35afa7926afa2dbcaf8746ed654bde3c5d370b17979bd4118afb9eb0efa93e2d/_DSC5073.jpg" data-mid="150718219" border="0" alt="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser " data-caption="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: Günter Kresser " src="https://freight.cargo.site/w/1000/i/35afa7926afa2dbcaf8746ed654bde3c5d370b17979bd4118afb9eb0efa93e2d/_DSC5073.jpg" /&#62;
&#60;img width="7822" height="5217" width_o="7822" height_o="5217" data-src="https://freight.cargo.site/t/original/i/81a77fff43a3c0464259a77c28547576dd108048e4e3aa5beb1cc19a24e117cf/_DSC5048.jpg" data-mid="150720129" border="0" alt="The Best of All Possible Worlds, 2022. Wall-size black-and-white digital print; 19 frames with 24 postage stamps and 3 envelopes, various dimensions.   Wall photograph courtesy: WHO Archive. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="The Best of All Possible Worlds, 2022. Wall-size black-and-white digital print; 19 frames with 24 postage stamps and 3 envelopes, various dimensions.   Wall photograph courtesy: WHO Archive. Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/81a77fff43a3c0464259a77c28547576dd108048e4e3aa5beb1cc19a24e117cf/_DSC5048.jpg" /&#62;
&#60;img width="3748" height="2500" width_o="3748" height_o="2500" data-src="https://freight.cargo.site/t/original/i/98a10679f18fff59ee92c07835b1fe830ae74aecd31899c2fee44b29c7fc4247/vladislav-shapovalov-foresight-council-detail-the-best-of-all-possible-worlds-2022.jpg" data-mid="159525596" border="0" alt="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/98a10679f18fff59ee92c07835b1fe830ae74aecd31899c2fee44b29c7fc4247/vladislav-shapovalov-foresight-council-detail-the-best-of-all-possible-worlds-2022.jpg" /&#62;
&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/2dda125e1745a3d3b8c12f7446b78e375f27ac608ca38c300b8948ee9279a692/_DSC5115.jpg" data-mid="150720828" border="0" alt="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/2dda125e1745a3d3b8c12f7446b78e375f27ac608ca38c300b8948ee9279a692/_DSC5115.jpg" /&#62;
&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/08c189a0f1d35b374997671a1cfab4ecb48a855ef17ca003d8b82e5371d4056c/_DSC5109.jpg" data-mid="150721314" border="0" alt="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/08c189a0f1d35b374997671a1cfab4ecb48a855ef17ca003d8b82e5371d4056c/_DSC5109.jpg" /&#62;
&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/9a7a627c0e7a87e53ce7be78531bac9e7aa0711c8745d402f54a84c481c0b4e5/_DSC5107.jpg" data-mid="150721313" border="0" alt="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="The Best of All Possible Worlds, 2022 (detail). Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/9a7a627c0e7a87e53ce7be78531bac9e7aa0711c8745d402f54a84c481c0b4e5/_DSC5107.jpg" /&#62;
&#60;img width="5120" height="3415" width_o="5120" height_o="3415" data-src="https://freight.cargo.site/t/original/i/8dc76940ea9fc5c5e1f6a995323f6a5c02019ad2b8ade57ffbc758b63925053d/_DSC3880.jpg" data-mid="159525711" border="0" alt="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser " data-caption="Foresight Council, 2022. Installation view at STORIES OF TIME, TAXISPALAIS Kunsthalle Tirol, Innsbruck, 2022. Courtesy: the artist. Photo: Günter Kresser " src="https://freight.cargo.site/w/1000/i/8dc76940ea9fc5c5e1f6a995323f6a5c02019ad2b8ade57ffbc758b63925053d/_DSC3880.jpg" /&#62;
&#60;img width="7925" height="5286" width_o="7925" height_o="5286" data-src="https://freight.cargo.site/t/original/i/c114be00e454be19a6e192ac9260fe89d3b75748e39c83578da4c5505d6c2c24/_DSC5144.jpg" data-mid="150721504" border="0" alt="God of Smallpox, 2022. Framed pigment print, 100x75 cm. Courtesy: the artis. Photo: G&#38;uuml;nter Kresser" data-caption="God of Smallpox, 2022. Framed pigment print, 100x75 cm. Courtesy: the artis. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/c114be00e454be19a6e192ac9260fe89d3b75748e39c83578da4c5505d6c2c24/_DSC5144.jpg" /&#62;
&#60;img width="7848" height="5234" width_o="7848" height_o="5234" data-src="https://freight.cargo.site/t/original/i/246b00d180f703bbb2bb4503b9923abb0846fa2273d6508cf98cf02e5ec6ea17/_DSC5139.jpg" data-mid="159525869" border="0" alt="Exhibition captions, 2022. 15 framed risograph prints, 21x29,7 cm each. Documents courtesy: WHO Archive. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser " data-caption="Exhibition captions, 2022. 15 framed risograph prints, 21x29,7 cm each. Documents courtesy: WHO Archive. Courtesy: the artist. Photo: Günter Kresser " src="https://freight.cargo.site/w/1000/i/246b00d180f703bbb2bb4503b9923abb0846fa2273d6508cf98cf02e5ec6ea17/_DSC5139.jpg" /&#62;
&#60;img width="5268" height="7898" width_o="5268" height_o="7898" data-src="https://freight.cargo.site/t/original/i/65c92bbb6d3ca2c12e04c4d7f56d3d9534c83c2e83c5776488579cdd1959b7fa/_DSC5146.jpg" data-mid="150721403" border="0" alt="Exhibition captions, 2022 (detail). Courtesy: the artist. Photo: G&#38;uuml;nter Kresser " data-caption="Exhibition captions, 2022 (detail). Courtesy: the artist. Photo: Günter Kresser " src="https://freight.cargo.site/w/1000/i/65c92bbb6d3ca2c12e04c4d7f56d3d9534c83c2e83c5776488579cdd1959b7fa/_DSC5146.jpg" /&#62;
&#60;img width="7952" height="5304" width_o="7952" height_o="5304" data-src="https://freight.cargo.site/t/original/i/e1afffbffe68e6f3a4c65a7c352a9ed81db83f477e041c77937deae589c54e39/_DSC5145.jpg" data-mid="150721464" border="0" alt="Letters, 2022. 6 framed risograph prints, 21x29,7 cm each. Documents courtesy: WHO Archive. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="Letters, 2022. 6 framed risograph prints, 21x29,7 cm each. Documents courtesy: WHO Archive. Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/e1afffbffe68e6f3a4c65a7c352a9ed81db83f477e041c77937deae589c54e39/_DSC5145.jpg" /&#62;
&#60;img width="5120" height="3415" width_o="5120" height_o="3415" data-src="https://freight.cargo.site/t/original/i/3857a589fe885a51db6617227617899cbc1d0053fa26712a2dab660f4feccbfc/_DSC3949.jpg" data-mid="159526111" border="0" alt="Portal, 2022. Mixed media installation; plywood sculpture, 250x250x250 cm; Sound, 9:58, loop. Sound design: Alexander Khokhlov. Courtesy: the artist. Photo: G&#38;uuml;nter Kresser" data-caption="Portal, 2022. Mixed media installation; plywood sculpture, 250x250x250 cm; Sound, 9:58, loop. Sound design: Alexander Khokhlov. Courtesy: the artist. Photo: Günter Kresser" src="https://freight.cargo.site/w/1000/i/3857a589fe885a51db6617227617899cbc1d0053fa26712a2dab660f4feccbfc/_DSC3949.jpg" /&#62;
Foresight Council
Mixed media installation, 2022
Commissioned by TAXISPALAIS Kunsthalle Tirol for STORIES OF TIME
Developed in collaboration with the Archive of the World Health Organization (WHO)
Courtesy the artist


 

	The project uses sculpture, sound, photography, and staged documents to visualize the history of the only human viral disease that counts as eradicated.
Smallpox was the first and so far the only virus to be eliminated globally through mass vaccination. Until it was wiped out, it had plagued humanity for thousands of years and its epidemics swept across continents, decimating populations and changing the course of history. Since then, the smallpox campaign has been considered the greatest public health triumph in history and a reminder of what is possible when people come together to fight a common threat.
The project is driven by the need to critically engage histories of transnational cooperation and reflect on their implications for our time. In today’s world, haunted by global catastrophes (climate change, pandemics, nuclear arms), where our very survival hinges on cooperation, where does the vision of the future reside? Is it to be found in abstraction from the past or the actual historical moment? 
	Connecting past to present, the project points to the diverse ways that ideals of progress, inherent to the narrative of modernity, remain entwined within the asymmetrical assertions of power. Is there a way to salvage its emancipatory potential and reformulate it for the future, and which will be the role of art and more specifically of the exhibition here?
 “Here and now, this story not only raises questions as to the connection with the current pandemic, it also displays the ambivalences and effects of an ideology that divides time into three, into past, present and future: The modernist blue, red and yellow structure is revealed as an optical or ideological illusion that cannot be transferred as such to spatiotemporal reality”
 – Nina Tabassomi, curator of the exhibition STORIES OF TIME, Taxispalais, 2022
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		<title>Political Dreams</title>
				
		<link>https://vladislavshapovalov.com/Political-Dreams</link>

		<pubDate>Tue, 05 Jan 2021 13:09:41 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

		<guid isPermaLink="true">https://vladislavshapovalov.com/Political-Dreams</guid>

		<description>
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&#60;img width="3667" height="5498" width_o="3667" height_o="5498" data-src="https://freight.cargo.site/t/original/i/ec26c0b35a19e1d5795e8d3ea10df9ce15c233ba3faf325aa5007151b8d8f2d1/08-DSC03360-ph.OKNOstudio.jpg" data-mid="94021208" border="0"  src="https://freight.cargo.site/w/1000/i/ec26c0b35a19e1d5795e8d3ea10df9ce15c233ba3faf325aa5007151b8d8f2d1/08-DSC03360-ph.OKNOstudio.jpg" /&#62;
&#60;img width="5566" height="3713" width_o="5566" height_o="3713" data-src="https://freight.cargo.site/t/original/i/eca624c704792fa3ae8e21a427d7f83e8fbfd61f7674a5f266924a04b5482571/01-DSC02337-ph.OKNOstudio.jpg" data-mid="94021184" border="0"  src="https://freight.cargo.site/w/1000/i/eca624c704792fa3ae8e21a427d7f83e8fbfd61f7674a5f266924a04b5482571/01-DSC02337-ph.OKNOstudio.jpg" /&#62;
Political Dreams
Part of the Image Diplomacy project
Two framed archival pigment prints on Hahnemühle Photo Rag Ultra Smooth paper mounted on dibond, 60 x 80 cm each, &#38;nbsp;2018
 

	The two framed color photographs make up Political Dreams (2018). One documents a portable “Ukraine”-branded 16mm film projector, and the other, a lunar globe. The lunar globe, with its Cyrillic labeling, is photographed in such a way that a slight area of damage is noticeable on its surface. This blemish marks the spot in the Sea of Tranquility where the American moon landing took place in 1969.

The materials for both works were sourced by the artist from the archive of the former Italy-USSR Friendship Society in Milan. The film projector and the lunar globe were sent from the USSR in an attempt to reduce distances, in both a literal and a figurative sense. 
	They were designed to bring the horizon of possibility closer by rendering projections of potential achievements as (already) real – be they space flight, another kind of society, or a cinematic utopia of moving images. Illustrated against colorful backdrops, in a dreamlike setting, these objects reveal the conjunction of travel, movement, and vision unique to our time.
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		<title>Publication</title>
				
		<link>https://vladislavshapovalov.com/Publication</link>

		<pubDate>Tue, 03 Dec 2019 15:22:19 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

		<guid isPermaLink="true">https://vladislavshapovalov.com/Publication</guid>

		<description>
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Vladislav Shapovalov: Image Diplomacy
Mousse Publishing, 2020 
English, Soft cover, 
16 × 24 cm, 92 pages,&#38;nbsp;
ISBN 9788867494057

Edited by Emanuele Guidi and Andrei Siclodi
Foreword by Emanuele Guidi and Andrei Siclodi; conversation between Vladislav Shapovalov and Emanuele Guidi; film script by Vladislav Shapovalov; essays by Gudrun Ratzinger, Alex Fletcher and Andrei Siclodi


	This publication documents Vladislav Shapovalov’s long-term undertaking Image Diplomacy, consisting of a film and a series of installations focused on exhibitions as a political medium. The project narrates the battle waged between two ideological blocs, the USSR and the United States, in the field of “exhibition diplomacy” during the Cold War and gives insight into the unwritten history of Soviet soft power and socialist internationalism. It compares forgotten archival materials left behind in Europe from Soviet photographic “kit” exhibitions and films with the American Family of Man exhibition, on display today at Luxembourg’s Clervaux Castle and included in the UNESCO Register. 
	Interplays between exhibition histories, geopolitics, and art practice are further examined in the contributions by film scholar Alex Fletcher and curator and researcher Gudrun Ratzinger; a conversation between Shapovalov and curator Emanuele Guidi; and an essay by curator and researcher Andrei Siclodi. 

This book has been supported by the Graham Foundation for Advanced Studies in the Fine Arts and published in collaboration with ar/ge kunst, Bolzano, and Künstlerhaus Büchsenhausen, Innsbruck.



“Image Diplomacy attempts to bring to light not only the collective desires and utopian hopes that once animated the dream of twentieth-century modernity, but those who were excluded from or repressed by the dream. In doing so it challenges the false and forgotten promises of historical and technological progress that continue to unconsciously inform the nightmare that is our political present and impel us interminably toward further catastrophes. In rescuing and reshuffling the shattered and unredeemed dreams of futures past, Image Diplomacy asks whether these collective desires and utopian energies are capable of alternative configurations.” —Alex Fletcher

Buy a copy from Mousse Publishing</description>
		
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	<item>
		<title>Image Diplomacy film</title>
				
		<link>https://vladislavshapovalov.com/Image-Diplomacy-film</link>

		<pubDate>Mon, 28 Mar 2016 17:02:20 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

		<guid isPermaLink="true">https://vladislavshapovalov.com/Image-Diplomacy-film</guid>

		<description>
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Image Diplomacy
28'55'', color, English, 2017
Trailer 1’22’’

The film documents the battle waged between the two ideological blocs in the field of “exhibition diplomacy” and gives an insight into the unwritten history of Soviet soft power and socialist internationalism. It compares the forgotten archival materials left behind in Europe from the Soviet photographic exhibitions and films with the American Family of Man exhibition, on display today at Luxembourg’s Clervaux Castle and included in the UNESCO Memory of the World Register.
Image Diplomacy deals with history and the materials from which it is made. Dedicated to the re-composition of facts and narratives considered obsolete or forgotten, it ruminates over the question: Why do we look at the past?
The film is set inside the archive of Association Italy Russia (ex-friendship society Italy-USSR) in Milan, at the Film Archive in Bologna, and inside the reconstruction of UNESCO recognised photographic exhibition The Family of Man.To request a screening link and watch the full film, please get in touch via the contact form.
Image Diplomacy, 28'55'', color, English, 2017. A film by Vladislav Shapovalov / Director of Photography: Jaroslav Moravec and Michael Šroubek / Editing: Jaroslav Moravec / Music and Sound Design: Nicola Ratti / Narrated by Elena Vogman / Sound Recordist: Martin Blauber / Colourist: Tomáš Štastny / Design: Till Gathmann / Translation: Ben McGarr / Equipment: Biofilms Rental / Produced by V-A-C Foundation / Developed within the framework of the Fellowship Program for Art and Theory at Künstlerhaus Büchsenhausen, Innsbruck / With thanks to Associazione Italia Russia, Milano; Cineteca di Bologna; Centre national de l’audiovisuel (CNA), Luxembourg, Steichen Collections CNA/The Family of Man</description>
		
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	<item>
		<title>Opening Titles</title>
				
		<link>https://vladislavshapovalov.com/Opening-Titles</link>

		<pubDate>Thu, 10 Nov 2016 21:55:18 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

		<guid isPermaLink="true">https://vladislavshapovalov.com/Opening-Titles</guid>

		<description>
&#60;img width="5000" height="3327" width_o="5000" height_o="3327" data-src="https://freight.cargo.site/t/original/i/13614d3831a126179c1b1e03c1c3bc7c64d48e1f1bc16b1ab434e87692781915/Shapovalov_Opening_Titles_2016_01_o.jpg" data-mid="49820291" border="0" data-scale="100" alt="Photo: Daniel Jarosch / K&#38;uuml;nstlerhaus B&#38;uuml;chsenhausen" data-caption="Photo: Daniel Jarosch / Künstlerhaus Büchsenhausen" src="https://freight.cargo.site/w/1000/i/13614d3831a126179c1b1e03c1c3bc7c64d48e1f1bc16b1ab434e87692781915/Shapovalov_Opening_Titles_2016_01_o.jpg" /&#62;
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Opening Titles
Part of the Image Diplomacy project
5 archival pigment prints on Hahnemühle Bright White paper mounted on dibond, 50 x 60 cm each, 2016


The work consists of a sequence of opening titles from the 16 mm short films that were distributed regularly through the international network of Soviet exhibitionary complex during the period of the Cold War. These newsreels usually included several reportage pieces and were intended to communicate the virtues and advantages of a different political project to the citizens of the capitalist countries.

After the dissolution of the USSR, the networks of cultural diplomacy that had been established with the countries of the First, Second and Third Worlds collapsed. Nowadays the films reels remain disseminated all around the world, occasionally preserved in various archives but more often neglected.
Opening Titles examines closely how design is capable of shaping the political imaginary. The representation of a map of utopia, the choice of translation and typefaces in different languages, all is crystallised in a frame with a film title. 

The installation is formalised as a spatialised film-strip and re-mediates an unnoticeable filmic element into the historicity of the photographic medium. It acts as a prelude and an entry point to the Image Diplomacy project, concerned with the relationships between images, history and politics.</description>
		
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		<title>Flags</title>
				
		<link>https://vladislavshapovalov.com/Flags</link>

		<pubDate>Wed, 10 Oct 2018 10:48:04 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

		<guid isPermaLink="true">https://vladislavshapovalov.com/Flags</guid>

		<description>
&#60;img width="4000" height="2750" width_o="4000" height_o="2750" data-src="https://freight.cargo.site/t/original/i/6e7bd5c5fc62a4234c40bc10278248b44987c55a62327234aaf9a1ffe65f877a/_DSC6332-LOW-RES-OK.jpg" data-mid="87955530" border="0" alt="Vladislav Shapovalov, Flags, 2018 (detail). Courtesy: the artist" data-caption="Vladislav Shapovalov, Flags, 2018 (detail). Courtesy: the artist" src="https://freight.cargo.site/w/1000/i/6e7bd5c5fc62a4234c40bc10278248b44987c55a62327234aaf9a1ffe65f877a/_DSC6332-LOW-RES-OK.jpg" /&#62;
&#60;img width="3616" height="2652" width_o="3616" height_o="2652" data-src="https://freight.cargo.site/t/original/i/97cdc752f31840339b0e67af92135094bea87f96460f5b426e33805f2c1811d8/65-DSC06657photoOKNOstudio1x.jpg" data-mid="87949048" border="0" alt="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci &#38;copy;photoOKNOstudio" data-caption="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci ©photoOKNOstudio" src="https://freight.cargo.site/w/1000/i/97cdc752f31840339b0e67af92135094bea87f96460f5b426e33805f2c1811d8/65-DSC06657photoOKNOstudio1x.jpg" /&#62;
&#60;img width="3168" height="4752" width_o="3168" height_o="4752" data-src="https://freight.cargo.site/t/original/i/36bce6431d7a0124a32b06e1f71f72e62b72443c9e1ff6420028f6157e00bc5b/66-DSC08484photoOKNOstudio1x.jpg" data-mid="87949049" border="0" alt="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci &#38;copy;photoOKNOstudio" data-caption="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci ©photoOKNOstudio" src="https://freight.cargo.site/w/1000/i/36bce6431d7a0124a32b06e1f71f72e62b72443c9e1ff6420028f6157e00bc5b/66-DSC08484photoOKNOstudio1x.jpg" /&#62;
&#60;img width="3168" height="4176" width_o="3168" height_o="4176" data-src="https://freight.cargo.site/t/original/i/21ba9b863a5485202f97ae7f10d89aa5724f54e6c501b2597755271a1b361c29/70-DSC08399photoOKNOstudio1x.jpg" data-mid="87949051" border="0" alt="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci &#38;copy;photoOKNOstudio" data-caption="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci ©photoOKNOstudio" src="https://freight.cargo.site/w/1000/i/21ba9b863a5485202f97ae7f10d89aa5724f54e6c501b2597755271a1b361c29/70-DSC08399photoOKNOstudio1x.jpg" /&#62;
&#60;img width="2850" height="4276" width_o="2850" height_o="4276" data-src="https://freight.cargo.site/t/original/i/5f7668614f81369817ff84f32c13baece6c57fc35bb34174290108ac97a9b4a0/68-DSC08487photoOKNOstudio1x.jpg" data-mid="87949050" border="0" alt="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci &#38;copy;photoOKNOstudio" data-caption="Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini. Installation view at Centro Pecci ©photoOKNOstudio" src="https://freight.cargo.site/w/1000/i/5f7668614f81369817ff84f32c13baece6c57fc35bb34174290108ac97a9b4a0/68-DSC08487photoOKNOstudio1x.jpg" /&#62;

Flags
Two inkjet prints mounted on dibond, 130 х 87 cm each; two wall-sized black and white archival photographs, 2018

	Flags, the project by Vladislav Shapovalov, starts from his research in the archives of the Centro di Documentazione della Camera del Lavoro of Biella, a city once famous for its wool production, with an industrial history that in many ways resembles that of Prato. &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Among the many documents, memories and artifacts that narrate the history of the labor movement in the region, two flags in particular caught the artist’s eye, inside a collection of such items used during the demonstrations of the textile factory workers from the mid-1800s to the present. 

The two banners do not bear symbols of political or union allegiance, or of the factory they represented, but are composed of many small fragments of fabric embroidered with women’s names and sewn together: an emblematic object of exchange between two factories, shortly prior to the closing of one of them, dating back to 1962.
	  The embroidered names are those of the workers. In a context of labor where the worker is anonymous and the brand appears along the selvage of the bolt of fabric or on the label of the finished product, Shapovalov’s work offers a rare example of a group of workers presented as active individuals, in a snapshot of the political trajectory of the country, from Fascism to the labor movement of the 1960s and 1970s, with women as the protagonists.
– &#38;nbsp;Protext! When Fabric Becomes a Manifesto, curated by Camilla Mozzato and Marta Papini, 23 October 2020—14 February 2021, Centro per l'Arte Contemporanea Luigi Pecci, Prato, Italy


List of names:

Green Flag

“To the workers of the Rivetti wool weaving factory of Biella and Vigliano. From the workers of the spinning and weaving factory of Tollegno”
 
(Gemma, T.V., D.M., Cesarina, A.R., B.R., P.G., D.S., Rosanna, L.F., Luisa, V.R., F.G., Lucia, C.Mariuccia, P.S., S.A., M. Anna, N.B., Q.A, P. Iolanda, C.M., B.F., G.M., M.G., C.A., M. Norma, Olga Laura, L.L., M.G., R.L., P.E., L.G., M.V., C.I., Mirella Bertecco, P.A., C.G., Norina, A.M., C. Mariuccia, M.S., S.G., Coda Caselia Maria, P.L., Maria, E.G., I.T., M. P., I.P., A.A., M.L., Magda Salvetti, Lella Luigina, B.L., Albertina, A.R., Elsa, L.A., R.L., M.P., Giuse, V.G., L.A., P.G., I.L., O.I., C.O., M.Lucia, Lina, T.I., Sala Ines, B. Francesca, M. Dalia, F.G., C.G., A.R., Bottino Rita, Romentino R, M.C., R.S., G.R., R.T., DCI, N. L., F.R., G.P., M.N., C.P., D.Meri, V.F, ZAM, B.G., Eliana, B.M., Negro Angela, L.S., Vittoria Cantone, P.A., M.P., Mosca Rina, A. F., Lorenzon Teresina, Vilma, Loiodice Mari, N.M., F.O., Dolores, C.C., Maria Pozzo, B.R., Bosetti Mari, Maria, G.L., N.L., A.A., R.G., E.C., Maria, L.L., A.M., Pera Piera, M.E., A.V., C.G., DLI, Orso Rosanna, Marchesini Iole, A.A., C.Carolina, C.R., N.R., V.F., B.A., M.Z., Z.Anna, Rosa, Paola, F. Gianna, Gina, L.R.E, Elsa, GA.E., E.M., A.E., L.I., B.G., Bruzadore Gina, L.R., B.F., A.M., A.N., M.A., C.R., Porrino C., Tonetto Elda, A.Rosina, R.M., N.R., M.G., M.A., T.M., A.R., P.A., G.D., B.M.R., B.Elsa, [illegible], C.L., S.M., Viviana, N.C., F.A., B.R., C.E., Giuseppina, M.Adelina)



Blue Flag
 
“To the workers of the spinning and weaving factory of Tollegno. From the workers of the Rivetti wool weaving factory of Biella and Vigliano”

(Corina, Maria, Gina, Giacinta, B.Maria, R.Norma, Pina, Silvana, Ginia, Clelia, Onorina, Elvira, Maria, Luciana, Lina, Anna P., Ines, Cibin Adriana, Rastello Idina, Mariuzzo Romilda, Gianna, Ramazzina S., Anna, Moro Regina, Ada, Vittoria, Maria, [Illegible], Mirella, Piera, PIA, Giovanna, Hamid El-Kanbouhi, Anna, Franca, Maria, Liliana Vagli, M. F., Teresa, Lucia Elda, Lea, Laura, Celestina, C.G., Orsingher Cecilia, Primina, Nores, Iole, Vallera Maria, Anita, ADA, Stefania, D.S., Lidia, Maria, Anna, Laura, Dirce, Marconato Bertilla, M. Isabella, Silli, Dina, Mary, G.Enrichetta, Giuseppina, Cappelletto Amelia, Matté Teresilla, Mina, Dorina, Rosalba, Edvige, Ramella Maria, Angela, Liliana, Giannina, B.T., T.I., Flavia, Maria, Delfina, Mariuccia, R.C.Maria, R.B. Rosita, Dilva, Libera, Rita, Piera, Edda, Dirce, A.E., N.F., Ravetti Mary, Salvetti Giorgina, Anna, Armida, Merina, Maria, Silvia, Rita, Silva, Rita, Mazzia Ernestina, Iole, Musso Rosa, Anna, Rosa, Carla, Lina, Livia, Ines, Mazzia Gilda, Maria, Bertini Antonieta, Rosso V., Sofia, Lea, Piera, Felicita, Silvia, Carla, Marisa, R. Rita-Anita, Pozzato Vanni, E.B., Elvira, Mara, Bianca, Isa, Rina, Motta Ida, Lia, Deloisa, Morzone Regina, Ada, Bonetti Anna, Angela, Egle Ramella, Lucia, Ester, Bice, Dellavalle Gisa, Nergo Maria, Jole, Eva Edmea, Nice Maria, Dina, Nanda, Vera, M. Edmea, Marisa, T. Anna, Annetta)
</description>
		
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	<item>
		<title>Image Diplomacy / Ar/ge kunst</title>
				
		<link>https://vladislavshapovalov.com/Image-Diplomacy-Ar-ge-kunst</link>

		<pubDate>Sat, 03 Feb 2018 15:47:19 +0000</pubDate>

		<dc:creator>Vladislav Shapovalov</dc:creator>

		<guid isPermaLink="true">https://vladislavshapovalov.com/Image-Diplomacy-Ar-ge-kunst</guid>

		<description>
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/7791777dcb2b964837426d4559cd47cc55fe647592df2263d6aa588a06b591c9/HQ_image_diplomacy-vladislav_shapovalov_B6A5255_o.jpg" data-mid="49820213" border="0" data-scale="100" alt=" Vladislav Shapovalov, Opening of Soviet Week exhibition at the Palazzo Reale in Milan in 1967. Photo installation, 2017. Courtesy of the artist. Courtesy of photograph: Associazione Italia Russia, Milano. Photo Sorvillo, 2017 &#38;copy;argekunst, Bolzano" data-caption=" Vladislav Shapovalov, Opening of Soviet Week exhibition at the Palazzo Reale in Milan in 1967. Photo installation, 2017. Courtesy of the artist. Courtesy of photograph: Associazione Italia Russia, Milano. Photo Sorvillo, 2017 ©argekunst, Bolzano" src="https://freight.cargo.site/w/1000/i/7791777dcb2b964837426d4559cd47cc55fe647592df2263d6aa588a06b591c9/HQ_image_diplomacy-vladislav_shapovalov_B6A5255_o.jpg" /&#62;
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&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/456bd5da3c4e5db585c835093d7204e024591af4daea1fb4884b7748a7b9fab8/HQ_image_diplomacy-vladislav_shapovalov_B6A5379_o.jpg" data-mid="49820219" border="0"  src="https://freight.cargo.site/w/1000/i/456bd5da3c4e5db585c835093d7204e024591af4daea1fb4884b7748a7b9fab8/HQ_image_diplomacy-vladislav_shapovalov_B6A5379_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/367a2cd050dfbd502a2b29892b781b42e0e2eb1ea95c6b8618e642070dd8eb6f/HQ_image_diplomacy-vladislav_shapovalov_B6A5320_o.jpg" data-mid="49820214" border="0" alt="Vladislav Shapovalov, Contact Zones. Installation view at ar/ge kunst. Courtesy of the artist. Photo Sorvillo, 2017 &#38;copy;argekunst, Bolzano " data-caption="Vladislav Shapovalov, Contact Zones. Installation view at ar/ge kunst. Courtesy of the artist. Photo Sorvillo, 2017 ©argekunst, Bolzano " src="https://freight.cargo.site/w/1000/i/367a2cd050dfbd502a2b29892b781b42e0e2eb1ea95c6b8618e642070dd8eb6f/HQ_image_diplomacy-vladislav_shapovalov_B6A5320_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/2f6f2edfae131a3473b9c654483de7615476aa2c964d03b22e73ed3284677ffe/HQ_image_diplomacy-vladislav_shapovalov_B6A5341_o.jpg" data-mid="49820217" border="0" alt=" Vladislav Shapovalov, Opening Titles, 2016. Installation view at ar/ge kunst. Courtesy of the artist. Photo Sorvillo, 2017 &#38;copy;argekunst, Bolzano" data-caption=" Vladislav Shapovalov, Opening Titles, 2016. Installation view at ar/ge kunst. Courtesy of the artist. Photo Sorvillo, 2017 ©argekunst, Bolzano" src="https://freight.cargo.site/w/1000/i/2f6f2edfae131a3473b9c654483de7615476aa2c964d03b22e73ed3284677ffe/HQ_image_diplomacy-vladislav_shapovalov_B6A5341_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/dbcd12f31583146985db43a18b3a4cc54b07cf91624209b301f0ab5976579850/HQ_image_diplomacy-vladislav_shapovalov_B6A5338_o.jpg" data-mid="49820216" border="0"  src="https://freight.cargo.site/w/1000/i/dbcd12f31583146985db43a18b3a4cc54b07cf91624209b301f0ab5976579850/HQ_image_diplomacy-vladislav_shapovalov_B6A5338_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/d849c4f4447c88466d9eab045de288246cf0b283cc8bcc0b52607be0e7c057bf/HQ_image_diplomacy-vladislav_shapovalov_B6A5397_o.jpg" data-mid="49820220" border="0" alt="Vladislav Shapovalov, Political Complications. Detail. Installation View at ar/ge kunst. Photo Sorvillo, 2017 &#38;copy;argekunst, Bolzano. Table with archival documents on the cultural exchanges between USSR and Italy during the Cold war, 2017. Courtesy of the artist. Courtesy of photograph: The State Archive of the Russian  Federation (GARF) and Associazione Italia Russia, Milan" data-caption="Vladislav Shapovalov, Political Complications. Detail. Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano. Table with archival documents on the cultural exchanges between USSR and Italy during the Cold war, 2017. Courtesy of the artist. Courtesy of photograph: The State Archive of the Russian  Federation (GARF) and Associazione Italia Russia, Milan" src="https://freight.cargo.site/w/1000/i/d849c4f4447c88466d9eab045de288246cf0b283cc8bcc0b52607be0e7c057bf/HQ_image_diplomacy-vladislav_shapovalov_B6A5397_o.jpg" /&#62;
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&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/f4ea3878d9a0f27073347666d6492f6bb6f0995cc5789852b3c74178ca45c688/HQ_image_diplomacy-vladislav_shapovalov_B6A5335_o.jpg" data-mid="49820215" border="0"  src="https://freight.cargo.site/w/1000/i/f4ea3878d9a0f27073347666d6492f6bb6f0995cc5789852b3c74178ca45c688/HQ_image_diplomacy-vladislav_shapovalov_B6A5335_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/206965fca2894ce34ba2daa36ce0575820853d87ffa030fcd3d9dba2c6c1ce53/HQ_image_diplomacy-vladislav_shapovalov_B6A5272_o.jpg" data-mid="49820225" border="0" alt="Vladislav Shapovalov, Image Diplomacy. 29'55'', color, sound, 2017. Produced by V-A-C Foundation. Installation View at ar/ge kunst. Photo Sorvillo, 2017 &#38;copy;argekunst, Bolzano" data-caption="Vladislav Shapovalov, Image Diplomacy. 29'55'', color, sound, 2017. Produced by V-A-C Foundation. Installation View at ar/ge kunst. Photo Sorvillo, 2017 ©argekunst, Bolzano" src="https://freight.cargo.site/w/1000/i/206965fca2894ce34ba2daa36ce0575820853d87ffa030fcd3d9dba2c6c1ce53/HQ_image_diplomacy-vladislav_shapovalov_B6A5272_o.jpg" /&#62;
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&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/bd14c7e851d2d3c5b175ffbbc4a6832ba4f63b70a66e871dd122181b58080f86/HQ_image_diplomacy-vladislav_shapovalov_B6A5261_o.jpg" data-mid="49820226" border="0"  src="https://freight.cargo.site/w/1000/i/bd14c7e851d2d3c5b175ffbbc4a6832ba4f63b70a66e871dd122181b58080f86/HQ_image_diplomacy-vladislav_shapovalov_B6A5261_o.jpg" /&#62;

Image Diplomacy
Vladislav Shapovalov
02.12.2017 – 10.02.2018
Ar/ge kunst, Bolzano
Curated by Emanuele Guidi

Image Diplomacy is initiated by the discovery of an archive containing entire exhibitions and films sent from Soviet Union to Europe during cultural Cold War.  These exhibitions were designed by the Society for Cultural Relations with Foreign Countries (VOKS) and circulated through a network of friendship associations established in many countries in order to promote to the world the image of a modern, emancipating, internationalist and alternative project to that of American capitalism.

The central aspects of Shapovalov’s research focuses on methods of display and exhibition strategies employed for these expositions, which could be assembled autonomously and at low cost by simply following the instructions and technical drawings contained in the discovered files. The idea of a modernity within anyone’s reach was proclaimed not only through the reproducibility of photography and film, but also by the display systems themselves, thus transforming the exhibition into the ideal medium for conveying and spreading this message.

The exhibition of the project critically re-enacts, recalls and isolates historical forms of exhibition display systems designed by VOKS. The show unites a series of installations and of archival materials reassembled within the installations that testify to the role that culture and images had on international relations, and recount in particular the relations between the USSR and Italy (which was the country with the most deep-seated Communist Party in the West).
The exposition is accompanied by a film by the artist documenting the battle carried out in the field of “exhibition diplomacy" between the two ideological blocks during the Cold War, comparing the story of exhibitions organized by the USSR with the story of the exhibition, The Family of Man - organized by the United States at MOMA in New York in 1955 and then presented in 69 countries around the world, including Italy in 1958 and Moscow in 1959.
Shapovalov’s project offers a new perspective on the topics of display and politics of representation from the time when visual culture and exhibition design were capable of shaping political imaginary and forming transnational communities.

Image Diplomacy deals with history and the materials from which it is made. Dedicated to the re-composition of facts and narratives considered obsolete or forgotten, it ruminates over the question: Why do we look at the past?</description>
		
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