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Svetlana Lunkina the 33 year old Russian Bolshoi principal ballerina having trained under the great Soviet ballerina Ekaterina Maximova under whose leadership at 18 years of age she became the youngest dancer in the history of the company to perform the title role in Giselle. Lunkina is the subject of an article published in the Independent by Matilda Battersby titled ‘Bolshoi ballerina Svetlana Lunkina says she's been driven from Russia by 'threats'’, following the acid attack on artistic director Sergei Filin two weeks ago, and general director Anatoly Iksanov stating that 'evil' has entered the company. Battersby states “…the company’s top ballerina [Lunkina] has revealed she has moved to Canada in response to unspecified “threats”. …Lunkina has left Russia claiming that threats had been made towards herself and her film producer husband. Lunkina… told Russian newspaper Izvestia: “I think we need to react to these threats. These people have no right to interfere in our private lives or my professional work.” The 33-year-old dancer’s unspecified allegations suggest that the threats were made in connection with a film project involving her husband. She had been due to perform in Stravinksy’s The Rite of Spring later this year. "I was supposed to be doing a lot of interesting work, including several premieres," she said. While believed to be unconnected the news of Lunkina’s departure from Russia comes at a dark time for the Bolshoi after its well-liked artistic director Sergei Filin, 42, was brutally attacked in Moscow on 17 January. A masked man threw sulphuric acid in his face as Filin was returning home after a party.  Inspired by Matilda Battersby, The Independent ow.ly/hnHUj Image source Malixia ow.ly/hnIt6 No right to interfere in our private lives (February 12 2013)Svetlana Lunkina the 33 year old Russian Bolshoi principal ballerina having trained under the great Soviet ballerina Ekaterina Maximova under whose leadership at 18 years of age she became the youngest dancer in the history of the company to perform the title role in Giselle. Lunkina is the subject of an article published in the Independent by Matilda Battersby titled ‘Bolshoi ballerina Svetlana Lunkina says she’s been driven from Russia by ‘threats’’, following the acid attack on artistic director Sergei Filin two weeks ago, and general director Anatoly Iksanov stating that ‘evil’ has entered the company. Battersby states “…the company’s top ballerina [Lunkina] has revealed she has moved to Canada in response to unspecified “threats”. …Lunkina has left Russia claiming that threats had been made towards herself and her film producer husband. Lunkina… told Russian newspaper Izvestia: “I think we need to react to these threats. These people have no right to interfere in our private lives or my professional work.” The 33-year-old dancer’s unspecified allegations suggest that the threats were made in connection with a film project involving her husband. She had been due to perform in Stravinksy’s The Rite of Spring later this year. “I was supposed to be doing a lot of interesting work, including several premieres,” she said. While believed to be unconnected the news of Lunkina’s departure from Russia comes at a dark time for the Bolshoi after its well-liked artistic director Sergei Filin, 42, was brutally attacked in Moscow on 17 January. A masked man threw sulphuric acid in his face as Filin was returning home after a party.

 

Inspired by Matilda Battersby, The Independent ow.ly/hnHUj Image source Malixia ow.ly/hnIt6

Sergei Yurevitch Filin the 42 year old Russian ballet dancer artistic director of the Bolshoi Ballet in Moscow was attacked with acid by an unknown assailant. He suffered third-degree burns to his face and is in danger of losing his eyesight. The attack came after a lengthy period of infighting and rows within the Bolshoi Ballet company. Ellen Barry has published an article in the New York Times titled ‘Harsh Light Falls on Bolshoi After Acid Attack’, in which she states “The stories about vengeance at the Bolshoi Ballet go back centuries: The rival who hid an alarm clock in the audience, timed to go off during Giselle’s mad scene, or who threw a dead cat onto the stage at curtain in lieu of flowers. There are whispers of needles inserted in costumes, to be discovered in midpirouette, or - the worst - broken glass nestled in the tip of a toeshoe. The ballet has experienced poisonous infighting in recent years as artistic directors have come and gone. But this ballet-loving city awoke … to a special horror. A masked man had flung acid in the face of Sergei Filin, the artistic director of the Bolshoi, causing third-degree burns and severely damaging his eyes. Video from the hospital showed Mr. Filin’s head covered entirely in bandages, with openings for his eyes and mouth, his eyelids grossly swollen. Though police officials said they were exploring theories including disputes over money, Mr. Filin’s colleagues at the Bolshoi said they suspected professional jealousy. In recent weeks Mr. Filin’s tires had been slashed, his car scratched, his two cellphones disabled, his personal e-mail account hacked and private correspondence published, according to Bolshoi officials.”  Inspired by Ellen Barry, New York Times ow.ly/gXHut Image source Bolshoi ow.ly/gXHsr Harsh light falls on Bolshoi after acid attack (February 3 2013)

Sergei Yurevitch Filin the 42 year old Russian ballet dancer artistic director of the Bolshoi Ballet in Moscow was attacked with acid by an unknown assailant. He suffered third-degree burns to his face and is in danger of losing his eyesight. The attack came after a lengthy period of infighting and rows within the Bolshoi Ballet company. Ellen Barry has published an article in the New York Times titled ‘Harsh Light Falls on Bolshoi After Acid Attack’, in which she states “The stories about vengeance at the Bolshoi Ballet go back centuries: The rival who hid an alarm clock in the audience, timed to go off during Giselle’s mad scene, or who threw a dead cat onto the stage at curtain in lieu of flowers. There are whispers of needles inserted in costumes, to be discovered in midpirouette, or – the worst – broken glass nestled in the tip of a toeshoe. The ballet has experienced poisonous infighting in recent years as artistic directors have come and gone. But this ballet-loving city awoke … to a special horror. A masked man had flung acid in the face of Sergei Filin, the artistic director of the Bolshoi, causing third-degree burns and severely damaging his eyes. Video from the hospital showed Mr. Filin’s head covered entirely in bandages, with openings for his eyes and mouth, his eyelids grossly swollen. Though police officials said they were exploring theories including disputes over money, Mr. Filin’s colleagues at the Bolshoi said they suspected professional jealousy. In recent weeks Mr. Filin’s tires had been slashed, his car scratched, his two cellphones disabled, his personal e-mail account hacked and private correspondence published, according to Bolshoi officials.”

 

Inspired by Ellen Barry, New York Times ow.ly/gXHut Image source Bolshoi ow.ly/gXHsr

Most powerful figure in the art world (November 6 2012) Most powerful figure in the art world (November 6 2012)

Carolyn Christov-Bakargiev the 54 year old American Art historian and curator has been listed by ArtReview as the number one world ‘mover and shaker’ in its Power 100 list, the first time the position has been occupied by a female. Christov-Bakargiev was the Artistic Director of the current year’s dOCUTMENTA 13 exhibition in Kassel, regarded generally as an outstanding exhibition with record setting attendances. Coline Milliard for an Blouin Artinfo article states “globe-trotting curator Carolyn Christov-Bakargiev is the most powerful figure in the art world, according to ArtReview’s Power 100 list. In this much-awaited Who’s Who — published yearly by the veteran art magazine for more than ten years…  That it has taken over a decade for ArtReview’s Power 100 to have a female number one might well be indicative of a lingering gender inequality in the visual arts. And to get there, Christov-Barkargiev has had to pull out the big guns. Her critically acclaimed dOCUMENTA(13) … was the most popular dOCUMENTA ever. 860,000 people saw her show in Kassel, and an extra 27,000 visited the Kabul outpost (in total almost twice as much as the number of visitors at the last Venice Biennale). …The Power 100 jury is undisclosed but it is said to be composed of twenty members from different parts of the world, including staff from ArtReview’s editorial team. Shortlisted high-flyers were considered for their activity between September 2011 and September 2012. The criteria – “local and international influence” and “impact” — are almost as nebulous as the concept of power they are supposed to pinpoint. Yet few art professionals would deny that ArtReview’s 2012 Power 100 feels like a credible snapshot of the art world in the last twelve months.”

 

Inspired by Coline Milliard ow.ly/eU7PC image source Facebook ow.ly/eU7NN

Mutual quest of discovery and participation (August 16 2012) Mutual quest of discovery and participation (August 16 2012)

Juliana Engberg the Australian curator and artistic Director of ACCA (Australian Centre for Contemporary Art) has been appointed as the Artistic Director of the 19th Biennale of Sydney (2014). Chairman Luca Belgiorno-Nettis, in a statement states ‘The Biennale of Sydney has a proud history of attracting and working with independent Artistic Directors of international standing. Juliana is one of Australia’s most accomplished curators and the Biennale is very pleased to be able to work with her.’ Engberg stated in response “The Biennale of Sydney, as one of the most established and certainly one of the largest of the world’s biennales, provides an exciting and challenging opportunity for curatorial development. There is a great artistic history to reflect and build upon, and take forward. My curatorial quest is to further invigorate the Biennale with works that excite the imagination of the audience and answer their desire to discover new artists, different ideas and emotionally charged and intellectually stimulating art. I hope to provide memorable encounters that linger in the minds of the audience. I am for the celebration of artistic imagination. I believe works that encourage exuberance, joy, exalted states and transcendence are valuable to the human psyche. And I am for the power of artistic observation. Art that elevates the commonplace by bestowing upon it extraordinary concentration, that helps us see our world as remarkable, essential and fragile. I am for art that probes certainties, whether they be historical or contemporary. I’m looking forward to creating a Biennale that provides opportunities for artists and audience in a mutual quest of discovery and participation.”

 

Inspired by Biennale of Sydney ow.ly/cQHR7 image source Vimeo ow.ly/cQHLR

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