A platform for research: civil engineering, architecture and urbanism
A platform for research: civil engineering, architecture and urbanism
This article discusses the Soviet-Estonian home decoration magazine Kunst ja Kodu (Art and Home). It focuses on the transformation of the magazine's content in the 1970s, under the direction of a newly appointed editor with a background in art and design professions who used the magazine as a platform for communicating alternative accounts of the environment and for presenting new ideas for a changed practice of art. The home during the late Soviet period has often been characterized retrospectively as having been a self-enclosed, private sanctuary from repressive state institutions. However, in the context of Soviet domestic life, what emerged from the pages of Kunst ja Kodu was the home as a ground for critical dialogue with the outside—a space where the border between private and public was permeated by, among other things, consumer items, popular culture, and information networks. I argue that the processes that transformed the home and enabled the permeation of its borders in the 1960s also continued in the 1970s, albeit in another form. Following the period of the Thaw, in which rational values and positivist argument represented a prevailing culture of expertise, there was a shift towards individuality in the home and criticism of the prevailing hierarchical relationship between high art and mass culture.
This article discusses the Soviet-Estonian home decoration magazine Kunst ja Kodu (Art and Home). It focuses on the transformation of the magazine's content in the 1970s, under the direction of a newly appointed editor with a background in art and design professions who used the magazine as a platform for communicating alternative accounts of the environment and for presenting new ideas for a changed practice of art. The home during the late Soviet period has often been characterized retrospectively as having been a self-enclosed, private sanctuary from repressive state institutions. However, in the context of Soviet domestic life, what emerged from the pages of Kunst ja Kodu was the home as a ground for critical dialogue with the outside—a space where the border between private and public was permeated by, among other things, consumer items, popular culture, and information networks. I argue that the processes that transformed the home and enabled the permeation of its borders in the 1960s also continued in the 1970s, albeit in another form. Following the period of the Thaw, in which rational values and positivist argument represented a prevailing culture of expertise, there was a shift towards individuality in the home and criticism of the prevailing hierarchical relationship between high art and mass culture.
Fractured Boundaries
Kurg, Andres (author)
Home Cultures ; 9 ; 257-283
2012-11-01
27 pages
Article (Journal)
Electronic Resource
English
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