Curated by Masha Chlenova

On view: October 12 – December 16, 2017
Opening reception: Thursday, October 12, 6–8pm.

International Print Center New York (IPCNY) is pleased to present Russian Revolution: A Contested Legacy. Commemorating the centennial of the 1917 Russian Revolution, this scholarly exhibition looks beyond the canon of the Russian avant-garde to focus on three avenues of individual freedoms sought by the fledgling socialist society: the equality and emancipation of women; internationalism, including racial equality and the rights of ethnic minorities, especially Jews; and sexual and gay liberation. By placing a selection of historical print-based works by key Russian avant-garde artists of the early 20th century in dialogue with contemporary works by Russian-born, New York-based artists Yevgeniy Fiks and Anton Ginzburg, the exhibition evaluates these often-obscured goals of the Revolution and addresses their continued resonance and urgency today – in Russia, the United States, and elsewhere.

Click here to read the full press release.

Selected Images


Top row: Gustav Klucis, Let’s Repay the Coal Debt to the Country, 1931 Lithograph. 41 x 29 in. Published by Izogiz, Moscow. Edition: 20,000. Courtesy of Productive Arts, Bratenahl, Ohio. Mariia Bri-BeinRabotnitsa, Kolkhoznitsa Bud’ Udarnitsei Oborony (Female Worker and Collective Farmer, Be a Shock Worker of Defense), 1931. Lithograph, 34 x 23 1/2 in. Published by Ogiz-Izogiz, Moscow. Edition: 30,000 Courtesy of Productive Arts, Bratenahl, Ohio. Mikhail Dlugach, Poster for the 3rd lottery organized by OZET to raise funds for Birobidzhan, 1930 Lithograph. 39 3/4 in. x 28 1/8 in. Published by OZET, Moscow. Edition: 50,000. Courtesy of Productive Arts, Bratenahl, Ohio.
Second Row: Anton Ginzburg. Zaum ESL#6. 2017. Anodized print on aluminum. 12 x 24 in. Courtesy of the artist. Anton Ginzburg. Stargaze: Orion , 2016 model for public sculpture at the US Embassy in Moscow (1/8 of actual size) Digital print, chromed aluminum, stainless steel, anodized aluminum, and enamel paint. Courtesy of the artist. Yevgeniy Fiks. Beat the Whites with the Red Wedge, 2015. Screenprint. 30 x 36 in. Printed by Axelle Editions, NY. Published by Eminence Grise Editions, New York. Edition: 18 Collection of Richard Gerrig and Timothy Peterson. All contemporary images (c) 2017 the artists.

Public Programs

Friday, October 27, 2017 at 3:00pm at IFPDA Print Fair: Curator Masha Chlenova will give a lecture entitled “Embattled Images: Print Culture in the Russian Revolution”, followed by a Q&A session. Tickets at Masha will then lead a walkthrough of the exhibition at IPCNY at 5pm.

Saturday, October 28, 2017, 1:004:00pm at 524 West 26th Street, Ground Floor:Exhibiting artist Yevgeniy Fiks, working with Bushwick Print Lab, will lead “Obama, Trump, and the Russian Revolution,” a poster-making workshop exploring the use of re-purposed Russian Revolutionary imagery to satirize contemporary American politicians. Using a selection of thematic imagery, participants will let their political subconscious run loose to reveal what philosopher Boris Groys defined as “Russia as the West’s subconscious.” Free and open to the public.

Tuesday, November 28, 2017, 6:45pm and 9pm at Anthology Film Archives: “Show & Tell: Anton Ginzburg.” Two screenings of exhibiting artist Anton Ginzburg’s short films, each followed by Q&A sessions. Tickets at

Thursday, November 30, 2017, 6:008:00pm at IPCNY: “Lily Golden, Harry Haywood, Langston Hughes, Yelena Khanga, Claude McKay, Paul Robeson, Robert Robinson on Soviet Jews” (2017). A performative reading organized by Yevgeniy Fiks which traces the history of the Jewish community in the Soviet Union between the 1920s and 1980s via memoirs of Soviet citizens of African American decent and African Americans who resided in or visited the USSR. Free and open to the public.

Friday, December 1, 2017, all day, at Columbia University: In collaboration with the Harriman Institute, Columbia University, curator Masha Chlenova and Harriman Postdoctoral Research Scholar Maria Ratanova have organized an academic conference where leading scholars of Soviet modernism, including Dan Healey (University of Oxford),Julia Mickenberg (University of Texas, Austin), and Kate Baldwin (Northwestern University), Christina Kiaer (Northwestern University), and Maria Gough (Harvard University) will address key topics of the exhibition. Chlenova, Fiks and Ginzburg will discuss responsibility towards Russian revolutionary history and its legacy in a round-table. Program to be announced by the Harriman Institute at

About the Curator

Masha Chlenova (Ph.D., Columbia University; b. 1973 Moscow; has lived and worked in New York since 1995) is a curator and modernist art historian specializing in the Russian avant-garde. She has worked at several New York museums, including the Metropolitan Museum of Art, the Guggenheim Museum, and The Museum of Modern Art, where she co-organized a major survey of abstraction across the media entitled Inventing Abstraction, 1910-1925 with Leah Dickerman. This exhibition and its publication won awards from the International Association of Art Critics, the Association of Art Museum Curators, The Association of American Publishers, and the Dedalus Foundation. Her writing has appeared in the journal October and in publications of the Guggenheim Museum, MoMA, Tate Modern, Royal Academy of Arts in London and Art Institute of Chicago. She recently contributed a chapter to a monograph on the Polish abstract artist of the 1920s-30s Waclaw Szpakowski and organized the first extensive presentation of his work in the United States in an exhibition Grounding Vision: Waclaw Szpakowski, held at Miguel Abreu Gallery in New York in January 2017. She served as curatorial consultant for the upcoming exhibition on the Russian avant-garde at the Art Institute of Chicago entitled Revolutsiia! Demonstratsiia! Soviet Art Put to the Test, 1917-37 and contributed an essay to its catalog. Her other publications this year include: “Soviet Museology in the Cultural Revolution: An Educational Turn, 1928-33” in the French peer- reviewed journal Histoire@Politique, 2017 and“Soviet Art in Review: ‘Fifteen Years of Artists of the Russian Soviet Republic’ in Leningrad, 1932 ” in Revolution: Russian Art, 1917-32. John Millner and Natalia Murray, eds. London: Royal Academy of Arts, 2017. Since 2015 she has been teaching art history at The New School and in April 2017, she began as a project-based curator at the Stedelijk Museum, Amsterdam, where she is initiating a multi-year research and exhibition project dedicated to the Stedelijk’s outstanding collection of Russian modernism and organizing a major exhibition of Willem de Kooning.

About the Contemporary Artists

Yevgeniy Fiks (b. 1972, Moscow; has lived and worked in New York since 1994) is a contemporary artist who works across mediums and disciplines, producing artworks, exhibitions, and books that seek out and explore repressed microhistorical narratives that highlight the complex relationships between social histories of the West and the Soviet bloc in the 20th century. Fiks’s work has been shown at Winkleman and Postmasters galleries (New York), MASS MoCA, and the Philadelphia Museum of Art; the Moscow Museum of Modern Art and Marat Guelman Gallery in Moscow; Sala de Arte Público Siqueiros in Mexico City; and the Museu Colecção Berardo in Lisbon. His work has been included in the Biennale of Sydney (2008), Moscow Biennale of Contemporary Art (2011), and Thessaloniki Biennale of Contemporary Art (2015). His most recent projects include the installation Óptica Bronstein (2017) (with Pablo Helguera) in the exhibition Space Force Construction at the V-A-C Foundation, Venice; and the curatorial project In Edenia, a City of the Future (2017) (with Larissa Babij) in Yermilov Center, Kharkiv, Ukraine.

Anton Ginzburg (b. 1974, St. Petersburg; has lived and worked in New York since 1992) is known for his films, sculptures, paintings, and text-based printed work investigating historical narratives and poetic studies of place, representation, and post-Soviet identity. His work has been shown at the 54th Venice Biennale, the Blaffer Art Museum at the University of Houston, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille3000 in Euralille, France, and the first and second Moscow Biennales. His films have been screened at the San Francisco Museum of Modern Art, Dallas Symphony Orchestra, Nasher Sculpture Center in Dallas, Les Rencontres Internationales in Paris, and Haus der Kulturen der Welt in Berlin. Forthcoming projects include Stargaze: Orion (2016), a 24-foot outdoor sculpture commission for the US Embassy in Moscow (Art in Embassies), as well as screenings of his recent films at Whitechapel Gallery in London on October 1, 2017 and at Anthology Film Archives in New York on November 28, 2017. His work will be the subject of a one-person exhibition at Fridman Gallery in New York, November 14 – December 23, 2017.