![]() Yevgeniy Fiks, Communist Conspiracy in Art Threatens American Museums, 2009. In Communist Conspiracy in Art Threatens American Museums (2009), Fiks examines American conservatives’ understanding of modern art as a Communist conspiracy intended to undermine the stability of the United States, as exemplified by the views of US Congressman George Dondero. By 2010, Fiks turned his attention to Communist-loathing Senator McCarthy’s supporters’ views on modern art. A year later, in a multi-media installation entitled simply Moscow (2008), Fiks focused on documenting a parallel invisibility of the life of gay people in the Soviet Moscow, photographing cruising sites popular over the roughly 70 years of Communist rule. This history is largely invisible to an average person, because the buildings in which it happened are not identified for a public eye by memorial plaques or other markers. The earliest work in the show, Communist Guide to New York City (2007), is a projection featuring photographs of buildings linked to the history of the Communist Party in the United States. The show brought together works that were created in the past twelve years, examining various kinds of dissent against the status quo. Deviant, Comrade Degenerate: Selected Works by Yevgeniy Fiks, which was on view at the Zimmerli Art Museum at Rutgers University until the end of July, focuses on three different types of nonconformism – artistic, gender, and political – that fueled anger of the establishment both in the Soviet Union and in the United States during the Cold War. His first “mini-retrospective” entitled Mr. ![]() His work can be characterized as an archival exploration of history, understood as the unearthing of facts, events, and narratives that have been forgotten or obscured by dominant ideological discourses. Yevgeniy Fiks calls himself a “post-Soviet” artist, thus designating his personal history of belonging to the generation that was born in the Soviet Union and came to the West after its collapse.
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