The First Russian Art Exhibition (Erste Russische Kunstausstellung), which opened at the Galerie van Diemen in Berlin on October 15, 1922, and later travelled to Amsterdam, introduced a broad Western audience to the most recent artistic developments in Russia. The extensive show – more than a thousand works, including paintings, graphic works, sculptures, stage designs, architectural models, and works of porcelain – was remarkably inclusive in its scope, which ranged from traditional figurative painting to the latest constructions of the Russian avant-garde. Coming on the heels of the Treaty of Rapallo, the exhibition was a first cultural step towards bilateral relations between two young and yet internationally isolated new states – the Weimar Republic and the Russian Soviet Republic. Moving away from the narrow focus on the avant-garde, the volume presents new research that examines the exhibition's broader historical scope and cultural implications. The reception of the exhibition within artistic circles in Germany, Europe, the United States, and Japan in the 1920s is addressed, as well as the disposition of many of the works exhibited. The combination of longer, thematic essays and short features, along with reproductions of newly identified works and a selection of unpublished archival materials make this book valuable to both a scholarly and a general readership.

CHAPTER SIX: "KVN Is an Honest Game": Game Shows and the Problem of Authority -- CHAPTER SEVEN: A Dress Rehearsal for Life: Artloto and What? Where? When? -- Epilogue: The Origins of Central Television's Perestroika -- Notes -- Bibliography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z

When this was originally published in 1959 it was the first full-length biography of Alexander Radishchev published outside Russia and was based on hitherto unpublished material, memoir literature and Radishchev’s own writings. Radishchev occupies a notable position in the history of European social thought, as the first writer to apply the criteria of the Western Age of Reason to conditions in Tsarist Russia. Sentenced to death on the orders of Catherine the Great and subsequently exiled in Siberia, Radishchev stands out as the first great figure of the Russian radical intelligentsia and the first literary victim of Tsarist official intolerance.

The growing influence of Russia on the Western far right has been much discussed in the media recently. This book is the first detailed inquiry into what has been a neglected but critically important trend: the growing links between Russian actors and Western far right activists, publicists, ideologues, and politicians. The author uses a range of sources including interviews, video footage, leaked communications, official statements and press coverage in order to discuss both historical and contemporary Russia in terms of its relationship with the Western far right. Initial contacts between Russian political actors and Western far right activists were established in the early 1990s, but these contacts were low profile. As Moscow has become more anti-Western, these contacts have become more intense and have operated at a higher level. The book shows that the Russian establishment was first interested in using the Western far right to legitimise Moscow’s politics and actions both domestically and internationally, but more recently Moscow has begun to support particular far right political forces to gain leverage on European politics and undermine the liberal-democratic consensus in the West. Contributing to ongoing scholarly debates about Russia’s role in the world, its strategies aimed at securing legitimation of Putin’s regime both internationally and domestically, modern information warfare and propaganda, far right politics and activism in the West, this book draws on theories and methods from history, political science, area studies, and media studies and will be of interest to students, scholars, activists and practitioners in these areas.

This book looks at the different ways in which Russian historians and authors have thought about their country’s first Antarctic expedition (1819-21) over the past 200 years. It considers the effects their discussions have had on Russia’s Antarctic policy and may yet have on Antarctica itself. In particular, it examines the Soviet decision in 1949, in line with the cultural policies of late Stalinism, to revise the traditional view of the expedition in order to claim that it was Russian seamen that first sighted the Antarctic mainland in January 1820; this claim remains the official position in Russia today. The author illustrates, however, that the case for such a claim has never been established, and that attempts to make it damaged the work of successive Russian historians. Providing a timely assessment of Russian historiography of the Bellingshausen expedition and examining the connections between the priority claim and national policy goals, this book represents an important contribution to the history of the Antarctic.