Tamara Stoffers

N e w s

the lumiere brothers

center for photography , Moscow

The new past by

Tamara Stoffers

It's a joy to have had my first solo exhibition taking place in the city that was at the heart of the era I draw my inspiration from. 

In total almost 50 of my works were presented, amongst which many new collages showing all corners of the USSR.

Being present for the opening and for interactions with the public made for a valuable experience. Showing work in Europe, spectators asked questions about the technique and the aesthetic. In Russia visitors asked about the content and told personal stories connected to the objects, places and atmosphere familiar to them. 

 

The exhibition recieved positive press reviews.

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Travelling to Russia to present my works definitely presented the biggest adventure in my career thus-far. In Moscow I was invited to sit down with many journalists to have conversations. The resulting publications and reviews of the exhibition are collected here;

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Artist in residency

C o l o r

Blocking

blokowisko

The Baltic gallery

of contemporary art

Poland

How did the exterior of socialist apartment blocks change after the transition to a consumer society?

In my project I focused on the houses built according to the principles of an architectural style called functionalism. It features by a lack of ornament and the visibility of the construction material; concrete. The blocks are common in suburban areas throughout the former Eastern Bloc. Functionalist architecture is commonly associated with socialism.

 

In Poland the blocks were built on large scale since the 70s, when parts started to be premade in factories so the houses could simply be assembled on the building site. The number of houses grew rapidly answering to the promise of ‘an apartment for every family’. They were assigned for free to people on a long waiting list.

 

Currently, the exterior of these houses is being altered at a quick pace throughout the country. They are repainted in ways which stand in strong contrast to the concepts of their original architectural style. Colors vary from light purple, peach, yellow, baby blue to any other soft pastel hue. I tried to find out whether the repainting of houses is carried out to adjust them to the aesthetic needs of the current society, or if it aims to break associations with the past.

 

To establish contact with the local community, I sent out 100 letters in which I invited them to share their personal pictures, opinions and stories about the houses. Special attention was given to the times the exterior of the house still corresponded to the original architecture.

 

Thanks to the conversations I stumbled upon the current process of decommunisation. This shows through the renaming of streets referring to the PRL and the removal of monuments. The National Institute of Remembrance has an organ to suggest these changes; The Commission for the Prosecution of Crimes against the Polish Nation.

In the history of Poland, the Polish People’s Republic is now described as an occupation by a totalitarian Soviet-power.

 

In 2009 a new law was implemented which bans any form of totalitarian propaganda and makes it punishable to show or ship it. (Article 256) The consequences vary from fines up to two years of jail. This law is also applicable for communist symbols. Openly sympathizing with communism is considered propaganda of a totalitarian regime and therefor punishable. A small exception is made when the symbols are shown as part of an artistic or scientific activity.

 

Fascinated by the radical approach of history and the paradoxical of ‘protecting the democracy’ in this way, I let the subject inspire my paintings and drawings. On top of images from Ustka during the 70’s I manually added colors with gouache.

My aim is to show the paint covering the houses as a separate layer which isn’t attached to the underlying structure, but merely distracting from it. Perhaps it helps the residents to review their houses anew, with a deeper consciousness about both functionalism and the changes currently carried out. After all, irrespective of the interpretation of history, the houses are an unappreciated part of the cultural heritage of Poland.

 

Aside from images, I found slogans from the 60s and 70s which are connected to the attitude towards the blocks. These were commonly displayed in public space. Examples are ‘Come with us to build a happy tomorrow’ and ‘We are building a new culture for the happiness of the fatherland.’ These were incorporated in my drawings and collages. The results were on view in The Baltic Gallery of Contemporary Art.

 

Stumbling upon something much bigger than I initially anticipated, I decided to not drop the subject immediately upon completing the residency. Instead, I changed my question to focus on the current political function of the functionalist apartment blocks.

Het Concertgebouw Amsterdam

Commissioned by Van Lanschot Kempen, I created a work inspired by the Seventh Symphony of Beethoven. This collage has been reproduced in a small edition and gifted as a promotional gift amongst special guests of the performance.

 

This tenderly drawn hand plays on a dried violin flower. Through this visual translation of the concert I try to accentuate the poetic quality and fragility of music, as well as the contribution of each individual musician. Though the instruments all together form one symphony, it is formed under all these different hands expressing it in their personal way. Hands are at the core of a creation. The human aspect confers the beauty, timelessness and fragility to music. Resembling a dried flower. 

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Read the latest publication on my collages on

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Tamara Stoffers © 2019 All Rights Reserved. Unless otherwise noted, all artwork reproduced courtesy the artist.

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