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This is not the first programme showing the predicament of Roma in Dortmund. Two years ago, a young Roma woman who sought to earn money for her family through prostitution was thrown out of a window by a brutal client and severely disabled.

The television report used her fate as an opportunity to expose the grim conditions facing Roma in the city.

Many of the Roma who arrive in Germany come from Stolipinovo, a district in Plovdiv. This part of the town is one of the largest Roma ghettos in the Balkans.

Some 45, mainly Turkish-speaking Roma live there, often with no electricity or running water. Their living conditions have worsened catastrophically since the break-up of the Stalinist regimes in Eastern Europe.

Bulgarians and Romanians are only allowed to stay in Germany for more than three months if they obtain a registration certificate, a rental agreement and health insurance.

Most of those who arrive have no idea how to obtain such documents. Full freedom of movement and the legal right to work will only apply after In the meantime some try to sell old scrap vehicles to dealers.

Others have to beg or are forced in to criminal activity. Many women manage to exist precariously on the streets. More than in Dortmund reported prostitution as their occupation.

The measure was aimed at deterring further immigration. Prostitution now takes place in illegal brothels. Social workers who were previously able to look after the women by providing contraceptives and organising courses in the German language now have no opportunity to do so.

They confirm every well-known stereotype. Instead of blaming the miserable economic conditions, government officials and gouging landlords, the media makes the Roma the convenient scapegoats for social problems.

More is to come. Of course Roma immigrants will not be able to afford the rent in these houses. Dortmund is not unique. In several large German cities the conditions are similar.

In Duisburg, at the other end of the Ruhr region, around 6, Roma from Bulgaria and Romania live under the same inhuman conditions.

German social democrats pursue law-and-order policies in Hamburg General field: Die Polizei rechtfertigte das Vorgehen mit wachsender Gewalt gegen Polizisten.

Verfassungsrechtliche Bedenken wischte er beiseite: So argumentieren die Vertreter eines Polizeistaats. Mit Ausschreitungen auf einer Demonstration am Die Ausschreitungen am Dezember waren das Ergebnis polizeilicher Provokationen.

Gegen diese Politik des Senats entwickelt sich breiter Widerstand. Die Offensive von Scholz und Neumann und ihre antidemokratische Argumentation zeigen allerdings, dass es um mehr geht.

Letzterer ist ein vehementer Verfechter der Vorratsdatenspeicherung. Das hat in der SPD Tradition. The measure, justified on the pretext of violence against police officers, was only lifted on Monday.

They can order pedestrians to leave the area and issue bans on their presence throughout the entire zone. Such bans are normally restricted to a few streets and are rarely issued.

The approximately 50, people living in the affected areas were placed under general suspicion and had to assume that they would be searched. Scholz has now explicitly defended these actions, which are unprecedented in post-war Germany.

He brushed aside constitutional issues of democratic rights, stating: They are even more remarkable in that it has become clear over recent days that it was predominantly the police who flouted the law.

These were clashes at a demonstration on December 21 against the closure of the Rote Flora alternative culture centre and an apparent attack on the Davidwache, the building of the Hamburg police commissioner, seven days later.

Officials claimed that it was attacked at night by 40 people from anarchist groups, seriously injuring a policeman. It later emerged that the policeman was injured far from the Davidwache.

Doubts also arose about the perpetrators. The clashes on December 21 resulted from provocations by the police.

The 10, protesters, who were peaceful at first, were blocked after a few metres by a large contingent of police.

Officers plunged repeatedly into the midst of the demonstration in order to create a provocation. When a few bottles and fireworks were thrown, the police employed water cannon, batons and tear gas, and the situation escalated.

The driving of socially disadvantaged layers out of rented properties in the central districts of the city has developed into an explosive social issue.

In October last year, the police organised an unprecedented campaign targeting black migrants, in order to detect African immigrants who had come to Hamburg from the Italian island of Lampedusa and deport them.

Widespread opposition developed to the policies of the senate. There were repeated demonstrations against police violence, in defence of the refugees and against the gentrification of the city.

The escalation of violence by the police and the systematic attack on fundamental democratic rights serves to suppress these protests. However, the offensive by Scholz and Neumann and their anti-democratic argumentation show that much more is at stake.

At a federal level, the recently formed grand coalition of the SPD with the Christian Democratic Union and Christian Social Union is planning major social attacks and the militarisation of foreign policy.

This will inevitably lead to opposition and cannot be implemented by democratic means. Scholz is one of the main architects of the grand coalition, having led the finance group during the coalition talks, where he drafted future social attacks.

In Hamburg, he has now provided a precedent for massive restrictions on democratic rights and supplied anti-democratic arguments to justify this.

It is no accident that this is attempted by the only state in Germany which has a single-party SPD government.

Gall is a vehement advocate of the storing of personal data by the authorities. The SPD has a long history on this issue. Its leading members included the butcher Gustav Noske, who played a key role in suppressing the revolutionary uprising of the workers in The politics of the SPD in Hamburg makes it unmistakably clear that it will draw on this tradition in the grand coalition.

Sie suchten ganz neue Wege und Formensprachen. Viele von ihnen setzten die Anregungen und neuen Ideen, die sie Westeuropa kennen gelernt hatten, in ihrer Heimat auf ihre Weise um, verbanden sie mit russischen Traditionen und entwickelten sie fort.

Angefangen von symbolistischen Bildern, wie sie z. Von dort aus gelangt man in die eigentliche Ausstellung. Noch bis ins Um erschien die einflussreiche Zeitschrift Mir iskusstwa Welt der Kunst.

Andere wie Archip Kuindschi experimentierten mit Landschaften, in denen fast nur noch die Farbe ein Rolle spielte. Manche weisen schon auf die abstrakte Malerei hin, wie sie Wassily Kandinsky und Kasimir Malewitsch kurz darauf entwickelten.

Auf diesem Bild stellt der Maler sich und seinen Freund als kraftstrotzende, muskelstarke Turner dar, das Gesicht dem Betrachter zugewandt, auf Hockern in einem Zimmer sitzend mit Geige und Noten in der Hand, an der linken Seite ein Klavier, an der rechten ein gedeckter Tisch und im Hintergrund zwei ovale Bilder, die an die traditionelle russische Blumenmalerei erinnern.

Von ihm sind eine ganze Reihe sehr verschiedenartiger Bilder aus seinen einzelnen Schaffensperioden zu sehen. Gemeinsam experimentierten sie mit verschiedenen Stilen wie dem Kubofuturismus, einer Weiterentwicklung von Kubismus und Futurismus, und entwickelten eine neue Kunstform, den sie Rayonismus nannten.

Besonders beeindruckend ist das Bild von mit dem Titel Die, die nichts zu verlieren haben. Die, die nichts zu verlieren haben, Foto: Auch er und seine Kunst fielen in den er Jahren in Ungnade.

Many of the approximately 90 paintings are hardly known in the West and several have never even been exhibited outside Russia.

The young generation of painters during this period responded to changes in society and rebelled against convention and the ossified art world of the academies.

They were in active contact with major figures in other artistic forms including music, theatre, ballet and literature, travelling abroad, above all in France, Germany and Italy, and engaged in fierce debates and polemics.

They turned away from realist painting and also from the artists of the Peredvizhniki The Wanderers such as Ilya Repin, who captured social and popular themes, but continued to paint in a traditional way.

They sought new means and forms of expression. Many of them brought back home the impulses and ideas that they encountered in Western Europe, connecting them with Russian traditions and developing them further.

Beginning with symbolist paintings such as those of the young Kazimir Malevich, through works influenced by Italian futurism, the rayonism of Mikhail Larionov, the neo-primitivism of his partner Natalia Goncharova, a Russian style of futurism known as cubofuturism, and the first abstract constructivist and suprematist paintings by Malevich, Lyubov Popova and Olga Rozanova—all of this exciting period was present in Maastricht.

Along with well-known artists such as Malevich, Vladimir Tatlin three of whose works were on view in Maastricht and Wassily Kandinsky, who played an important role after the Russian revolution in , many lesser-known or virtually unknown artists in the West were exhibited.

Even though only a minority of them would later support the revolution and consciously place their art in the service of building a new socialist society, the spirit of was clearly anticipated in the exhibition.

The exhibition was well conceived and contributed to an understanding of the pre-revolutionary period in Russian painting.

It began with a presentation of the artists through a series of portraits. There was also a circular room in which each artistic group or exhibition, their conceptions, debates, controversies, and social milieu were represented through texts, pictures and posters.

Well into the 18th century, Russian painting remained completely dominated by icon painting, but then a rapid development began, parallel to that in Western Europe and in constant exchange with Western art.

In , the influential magazine Mir iskusstva World of Art appeared. This magazine and an artistic group of the same name played an important role in unifying artists educated in Russia with artistic tendencies that had developed in the rest of Europe.

The declared goal was the integration of all artistic forms and their international collaboration. To this end, the group organised exhibitions of Russian and Western European artists in Moscow and Petersburg, and mutual visits.

Important roles in this group were played by Sergei Diaghilev, who was active in the theatre and famously organised the Ballets Russes , and the painter Leon Bakst.

The famous portrait of Diaghilev by Bakst was exhibited in Maastricht, in which he looks at the viewer with a self-conscious pose and his hands in his trouser pockets.

On the left in the background sits an old woman, his childhood nanny, with her hands folded in her lap. The picture depicts the emergence of a new era, while simultaneously recalling traditional roots.

At the same time, the focus of visual artists shifted from what was being represented, to how it was represented.

Some painters, such as Nicholas Roerich [or Nikolai Rerikh], rebelled against the established art world by trying to represent an internal world of fairytales and symbolism, in which mythical figures or creatures, animals and landscapes expressed only dream worlds, atmospheres and feelings of anxiety and trepidation.

Others like Arkhip Kuindzhi experimented with landscapes in which the focus was almost exclusively on the colours.

The works of Mikhail Vrubel are particularly impressive. They included not only wonderful paintings, but also works on paper. His sketches barely resemble real objects, but open up new spaces and worlds into which the viewer can project himself.

His paintings, like the two portraits of his wife and his son, are not concerned with realistic portrayal, recognition or perspective, but rather with an atmosphere or spiritual feeling, expressed through a sparse pallet of colours, dominated by brown and grey tones.

Some give an indication of the abstract painting that Kandinsky and Malevich would develop shortly thereafter. The latter was represented at the exhibition with his later abstract paintings, as well as with his earlier symbolist works in delicate yellow and orange tones.

He understood suprematism to be an imagery that totally abandoned objects and limited itself to clear colours and geometrical forms.

Together with his pupils, he created prototypes for industry, graphic design and architectural models. In the second half of the s, his fortunes waned as the Stalinist regime increasingly suppressed the avant-garde artists.

In he was able to exhibit again in Warsaw and Berlin, and he visited the Bauhaus. Jack of Diamonds was a platform for various experiments and artistic styles, playing a key role in the development of the Russian avant-garde.

In the latter work the painter and his friend are depicted as vigorous and muscular gymnasts, their faces turned toward the viewer while sitting in a room with a violin and musical score in their hands, respectively.

On the left is a piano, on the right a laid table and in the background two oval pictures, which resemble traditional Russian flower painting.

Another example of the rapid development of outstanding individual artists in this period is Larionov, one of the few painters already to have been exhibited in the West.

He produced a series of extremely distinctive works at different creative points in his career. Together with his partner Goncharova, Larionov was undoubtedly one of the most innovative artists in Russia in the period before Together Larionov and Goncharova experimented with different artistic styles, including cubofuturism, which was a further development of cubism and futurism.

They created a new art form, which they called rayonism. Now I am shaking the dust from my feet and leaving the West, my road runs to the source of all art: This style was also propagated for a time by Pablo Picasso among others, thereby connecting him with elements of Russian folk art.

A joint founder of Jack of Diamonds, Lentulov was represented at the exhibition by several large paintings.

He painted futuristic or cubist landscapes and cities on large canvases in iridescent colours, reminiscent of August Macke and Paul Klee.

Lentulov belonged to that group of artists who dedicated themselves at first to a new orientation in the teaching of Russian art after From he gave lectures at the Vkhutemas Higher Art and Technical Studios , whose goals were comparable to those of the Bauhaus in Germany.

Tatlin, Popova and Kandinsky also taught at Vkhutemas. Lentulov, along with other members of the Jack of Diamonds group such as Mashkov and Konchalovsky, adjusted to the Stalinist cultural doctrines in the late s and painted beaming Komsomol members or collectivised peasants.

Others, such as Malevich and Tatlin, who developed their art further after the revolution and became involved in the building of socialism, resigned themselves or desperately sought out means to survive.

Still others emigrated to the West. WSWS] There were five large paintings from Filonov, a representative of Russian futurism, which show an extremely independent development of this artist.

The son of proletarian parents, he trained mainly through evening courses and as an autodidact. It shows stretched and bent figures in different poses, confined to interlaced cubist buildings.

The picture is painted in greys, bluish and reddish-brown tones. From now on the people will live, grow, speak and think in paintings, and they will return to the mysteries of the lives of the great and miserable people of the present and future, whose roots, and the eternal fount as well, lie within us.

The monumental picture is in brown and beige shades, with a few splashes of green. Virtually nothing is recognisable; everything is split up by small prism-like shapes, which creates a dynamic of horror.

Filonov served in the military from the autumn of until the February revolution on the Romanian front. Filonov and his art fell out of favour in the s.

He died in from starvation and a lung infection in Leningrad, which was then under siege. The exhibition in Maastricht provides a comprehensive view of the different trends in the Russian avant-garde and makes clear that the explosion of artistic creativity after had been prepared in the two previous decades.

The name of the group came from Larionov, who intended to ridicule the French avant-garde. In his view, art in Paris could no longer be distinguished from shoddy works that even a donkey could create.

Ich arbeite derzeitig auch im Versicherungsbereich. I am a freelance German-English translator with a masters degree in law. I also currently works in the insurance industry.

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Trotzdem kamen allein In ihrer Heimat haben sie mit der Abwickelung der staatlichen Betriebe ihre Arbeit verloren und keine Hoffnung auf einen Job.

Er ist seit einer Woche in Dortmund. Geld um mit seiner Frau zu telefonieren, hat er nicht. Als er ankam, fand er in einem Haus eine Schlafstelle.

Aber daraus wurde nichts. Seine Sachen waren in dem Haus geblieben. Das Fernsehteam begleitet ihn mit versteckter Kamera zur Diakonie, der Wohlfahrtseinrichtung der Evangelischen Kirche.

Dort wird er abgewiesen. Und ich muss immer wieder diesen Zettel hier zeigen. Das ist ihre Sprache. Nach der Frage des Reporters, weshalb Ercan nicht duschen durfte, kommt es zu folgendem Dialog.

Nur Dortmund, only Germany. Vom Sozialamt, Stadt Dortmund ist das so. Mehr kann ich nicht machen. Vor zwei Jahren ging ein anderer Fall durch die Presse.

Ihre Lage hat sich seit dem Zusammenbruch der stalinistischen Regimes in Osteuropa katastrophal verschlechtert, weil sie als erste ihre Arbeit verloren.

Die meisten, die herkommen, haben keine Ahnung, wie sie diese bekommen sollen. So schrieben die Ruhr-Nachrichten am 2.

Wer sich nicht wehrt, geht unter, meint Hubert Scheuer als alter Gewerkschafter. Dortmund ist kein Einzelfall. Translation - English A recent report aired by the German public broadcaster ARD provided a shocking exposure of the contempt shown by local authorities and church institutions in the city of Dortmund for impoverished workers from southeastern Europe.

The extreme poverty in the countries from which these workers have emigrated—above all, Bulgaria and Romania—has been deliberately exacerbated by the policies of the European Union EU.

This, in turn, has acted as a mechanism to drive living standards down sharply in countries such as France and Germany. Immigrants from Bulgaria and Romania can legally live in Germany, since both countries joined the EU in , but they are refused the right to work legally.

Nonetheless, in , such workers came to Germany to attempt to earn money mostly as day labourers. Thousands have come to Dortmund.

They stand on the street every morning and hope that a passing driver will offer them work. These houses are either already occupied, meaning that the workers can be evicted at any time, or the latter must pay the owner for a single mattress on which to sleep each night.

Washing facilities and kitchen appliances are often broken or completely inadequate for the number of people staying in the houses.

The overcrowding leads quickly to a build-up of rubbish and unhygienic conditions, as well as social tensions. The owners do not provide enough rubbish bins for the large number of occupants.

In one house, where 19 people were living, there was no water and only one toilet. Ercan worked for a firm for 22 years in Bulgaria as a packer, but like many Roma workers he lost his job.

Since coming to Dortmund a week earlier, Ercan had had no money to phone his wife. When he arrived in the German city, he found a place to sleep and was told by a Romanian, who said he was the head of the house, that he could stay there for four or five days.

But when Ercan returned that evening he found the windows and doors boarded up. Having left his belongings inside, he found himself with only the clothes on his back.

Because of the freezing temperatures, Ercan needed to find somewhere to shower and warm up as soon as possible. The television reporters accompanied him to a charity run by the local evangelical church.

And I have to show them this note again. Can they not read it? It is in their language. So Bulgarians and Romanians cannot shower here, but anyone else can?

People were simply sent on from there to the immigration centre, where they had a public clinic at 1pm. After a reporter asked if that meant Ercan could not shower, the following dialogue took place.

Who is allowed to shower in there? Only Germans; no immigrants. Ercan finds a place where he can shower, but only three times a week. He has similar problems with where to sleep.

He tries to gain emergency accommodation from the welfare services for men, but he is also unwelcome there. Oh, no sleeping here.

Only people from Dortmund. This is only for Germans. Not for Bulgarians or Romanians. That is unfortunately how it works. Is there a reason for that?

Social services and the city authorities have said so. The only thing the man from welfare services can offer Ercan is that if he returns at But this time will only be an exception, because it is so cold.

The reporters give him the money for the trip. This is not the first programme showing the predicament of Roma in Dortmund. Two years ago, a young Roma woman who sought to earn money for her family through prostitution was thrown out of a window by a brutal client and severely disabled.

The television report used her fate as an opportunity to expose the grim conditions facing Roma in the city.

Many of the Roma who arrive in Germany come from Stolipinovo, a district in Plovdiv. This part of the town is one of the largest Roma ghettos in the Balkans.

Some 45, mainly Turkish-speaking Roma live there, often with no electricity or running water. Their living conditions have worsened catastrophically since the break-up of the Stalinist regimes in Eastern Europe.

Bulgarians and Romanians are only allowed to stay in Germany for more than three months if they obtain a registration certificate, a rental agreement and health insurance.

Most of those who arrive have no idea how to obtain such documents. Full freedom of movement and the legal right to work will only apply after In the meantime some try to sell old scrap vehicles to dealers.

Others have to beg or are forced in to criminal activity. Many women manage to exist precariously on the streets. More than in Dortmund reported prostitution as their occupation.

The measure was aimed at deterring further immigration. Prostitution now takes place in illegal brothels. Social workers who were previously able to look after the women by providing contraceptives and organising courses in the German language now have no opportunity to do so.

They confirm every well-known stereotype. Instead of blaming the miserable economic conditions, government officials and gouging landlords, the media makes the Roma the convenient scapegoats for social problems.

More is to come. Of course Roma immigrants will not be able to afford the rent in these houses. Dortmund is not unique. In several large German cities the conditions are similar.

In Duisburg, at the other end of the Ruhr region, around 6, Roma from Bulgaria and Romania live under the same inhuman conditions.

German social democrats pursue law-and-order policies in Hamburg General field: Die Polizei rechtfertigte das Vorgehen mit wachsender Gewalt gegen Polizisten.

Verfassungsrechtliche Bedenken wischte er beiseite: So argumentieren die Vertreter eines Polizeistaats. Mit Ausschreitungen auf einer Demonstration am Die Ausschreitungen am Dezember waren das Ergebnis polizeilicher Provokationen.

Gegen diese Politik des Senats entwickelt sich breiter Widerstand. Die Offensive von Scholz und Neumann und ihre antidemokratische Argumentation zeigen allerdings, dass es um mehr geht.

Letzterer ist ein vehementer Verfechter der Vorratsdatenspeicherung. Das hat in der SPD Tradition. The measure, justified on the pretext of violence against police officers, was only lifted on Monday.

They can order pedestrians to leave the area and issue bans on their presence throughout the entire zone. Such bans are normally restricted to a few streets and are rarely issued.

The approximately 50, people living in the affected areas were placed under general suspicion and had to assume that they would be searched.

Scholz has now explicitly defended these actions, which are unprecedented in post-war Germany. He brushed aside constitutional issues of democratic rights, stating: They are even more remarkable in that it has become clear over recent days that it was predominantly the police who flouted the law.

These were clashes at a demonstration on December 21 against the closure of the Rote Flora alternative culture centre and an apparent attack on the Davidwache, the building of the Hamburg police commissioner, seven days later.

Officials claimed that it was attacked at night by 40 people from anarchist groups, seriously injuring a policeman.

It later emerged that the policeman was injured far from the Davidwache. Doubts also arose about the perpetrators.

The clashes on December 21 resulted from provocations by the police. The 10, protesters, who were peaceful at first, were blocked after a few metres by a large contingent of police.

Officers plunged repeatedly into the midst of the demonstration in order to create a provocation. When a few bottles and fireworks were thrown, the police employed water cannon, batons and tear gas, and the situation escalated.

The driving of socially disadvantaged layers out of rented properties in the central districts of the city has developed into an explosive social issue.

In October last year, the police organised an unprecedented campaign targeting black migrants, in order to detect African immigrants who had come to Hamburg from the Italian island of Lampedusa and deport them.

Widespread opposition developed to the policies of the senate. There were repeated demonstrations against police violence, in defence of the refugees and against the gentrification of the city.

The escalation of violence by the police and the systematic attack on fundamental democratic rights serves to suppress these protests.

However, the offensive by Scholz and Neumann and their anti-democratic argumentation show that much more is at stake.

At a federal level, the recently formed grand coalition of the SPD with the Christian Democratic Union and Christian Social Union is planning major social attacks and the militarisation of foreign policy.

This will inevitably lead to opposition and cannot be implemented by democratic means. Scholz is one of the main architects of the grand coalition, having led the finance group during the coalition talks, where he drafted future social attacks.

In Hamburg, he has now provided a precedent for massive restrictions on democratic rights and supplied anti-democratic arguments to justify this. It is no accident that this is attempted by the only state in Germany which has a single-party SPD government.

Gall is a vehement advocate of the storing of personal data by the authorities. The SPD has a long history on this issue.

Its leading members included the butcher Gustav Noske, who played a key role in suppressing the revolutionary uprising of the workers in The politics of the SPD in Hamburg makes it unmistakably clear that it will draw on this tradition in the grand coalition.

Sie suchten ganz neue Wege und Formensprachen. Viele von ihnen setzten die Anregungen und neuen Ideen, die sie Westeuropa kennen gelernt hatten, in ihrer Heimat auf ihre Weise um, verbanden sie mit russischen Traditionen und entwickelten sie fort.

Angefangen von symbolistischen Bildern, wie sie z. Von dort aus gelangt man in die eigentliche Ausstellung. Noch bis ins Um erschien die einflussreiche Zeitschrift Mir iskusstwa Welt der Kunst.

Andere wie Archip Kuindschi experimentierten mit Landschaften, in denen fast nur noch die Farbe ein Rolle spielte.

Manche weisen schon auf die abstrakte Malerei hin, wie sie Wassily Kandinsky und Kasimir Malewitsch kurz darauf entwickelten.

Auf diesem Bild stellt der Maler sich und seinen Freund als kraftstrotzende, muskelstarke Turner dar, das Gesicht dem Betrachter zugewandt, auf Hockern in einem Zimmer sitzend mit Geige und Noten in der Hand, an der linken Seite ein Klavier, an der rechten ein gedeckter Tisch und im Hintergrund zwei ovale Bilder, die an die traditionelle russische Blumenmalerei erinnern.

Von ihm sind eine ganze Reihe sehr verschiedenartiger Bilder aus seinen einzelnen Schaffensperioden zu sehen. Gemeinsam experimentierten sie mit verschiedenen Stilen wie dem Kubofuturismus, einer Weiterentwicklung von Kubismus und Futurismus, und entwickelten eine neue Kunstform, den sie Rayonismus nannten.

Besonders beeindruckend ist das Bild von mit dem Titel Die, die nichts zu verlieren haben. Die, die nichts zu verlieren haben, Foto: Auch er und seine Kunst fielen in den er Jahren in Ungnade.

Many of the approximately 90 paintings are hardly known in the West and several have never even been exhibited outside Russia.

The young generation of painters during this period responded to changes in society and rebelled against convention and the ossified art world of the academies.

They were in active contact with major figures in other artistic forms including music, theatre, ballet and literature, travelling abroad, above all in France, Germany and Italy, and engaged in fierce debates and polemics.

They turned away from realist painting and also from the artists of the Peredvizhniki The Wanderers such as Ilya Repin, who captured social and popular themes, but continued to paint in a traditional way.

They sought new means and forms of expression. Many of them brought back home the impulses and ideas that they encountered in Western Europe, connecting them with Russian traditions and developing them further.

Beginning with symbolist paintings such as those of the young Kazimir Malevich, through works influenced by Italian futurism, the rayonism of Mikhail Larionov, the neo-primitivism of his partner Natalia Goncharova, a Russian style of futurism known as cubofuturism, and the first abstract constructivist and suprematist paintings by Malevich, Lyubov Popova and Olga Rozanova—all of this exciting period was present in Maastricht.

Along with well-known artists such as Malevich, Vladimir Tatlin three of whose works were on view in Maastricht and Wassily Kandinsky, who played an important role after the Russian revolution in , many lesser-known or virtually unknown artists in the West were exhibited.

Even though only a minority of them would later support the revolution and consciously place their art in the service of building a new socialist society, the spirit of was clearly anticipated in the exhibition.

The exhibition was well conceived and contributed to an understanding of the pre-revolutionary period in Russian painting.

It began with a presentation of the artists through a series of portraits. There was also a circular room in which each artistic group or exhibition, their conceptions, debates, controversies, and social milieu were represented through texts, pictures and posters.

Well into the 18th century, Russian painting remained completely dominated by icon painting, but then a rapid development began, parallel to that in Western Europe and in constant exchange with Western art.

In , the influential magazine Mir iskusstva World of Art appeared. This magazine and an artistic group of the same name played an important role in unifying artists educated in Russia with artistic tendencies that had developed in the rest of Europe.

The declared goal was the integration of all artistic forms and their international collaboration. To this end, the group organised exhibitions of Russian and Western European artists in Moscow and Petersburg, and mutual visits.

Important roles in this group were played by Sergei Diaghilev, who was active in the theatre and famously organised the Ballets Russes , and the painter Leon Bakst.

The famous portrait of Diaghilev by Bakst was exhibited in Maastricht, in which he looks at the viewer with a self-conscious pose and his hands in his trouser pockets.

On the left in the background sits an old woman, his childhood nanny, with her hands folded in her lap.

The picture depicts the emergence of a new era, while simultaneously recalling traditional roots. At the same time, the focus of visual artists shifted from what was being represented, to how it was represented.

Some painters, such as Nicholas Roerich [or Nikolai Rerikh], rebelled against the established art world by trying to represent an internal world of fairytales and symbolism, in which mythical figures or creatures, animals and landscapes expressed only dream worlds, atmospheres and feelings of anxiety and trepidation.

Others like Arkhip Kuindzhi experimented with landscapes in which the focus was almost exclusively on the colours. Even though the translations from English by Google and Microsoft are quite good, DeepL still surpasses them.

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We like to make ourselves a little bit small and pretend that there is no one in this country who can stand up to the big players.

DeepL is a good example that it is possible. The translated texts often read much more fluently; where Google Translate forms completely meaningless word chains, DeepL can at least guess a connection.

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Eng deutsch übersetzer - possible

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