2. Ines Rotermund-Reynard - Echoes of Exile. Moscow Archives and the Arts in Paris 1933-1945 (Contact Zones)[Retail].pdf

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Echoes of Exile
Contact Zones
Editors
Lars Blunck, Bénédicte Savoy, Avinoam Shalem
Volume 2
Echoes of Exile
Moscow Archives and the Arts in Paris 1933–1945
Editor
Ines Rotermund-Reynard
Publication was financed by
ISBN 978‑3‑11‑029058‑5
ISSN 2196–3746
Library of Congress Cataloging‑in‑Publication Data
A CIP catalog record for this book has been applied for at the Library of Congress.
Bibliographic information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie;
detailed bibliographic data are available on the internet at http://dnb.dnb.de
© 2015 Walter de Gruyter GmbH, Berlin/Munich/Boston
Photo on the title page: Otto Freundlich,
Composition inachevée (Unfinished Composition),
ca. 1940 (Detail)
Typesetter: LVD GmbH, Berlin
Printer: Hubert & Co. GmbH & Co. KG, Göttingen
Printed in Germany
www.degruyter.com
Acknowledgements
First and foremost, my gratitude to Prof. Dr. Bernd Bonwetsch, founding director of
the German Historical Institute (DHI Moskau) in Moscow, who awarded me a research
grant which included organization of the international conference
Wie das zweite Exil
das erste zum Sprechen bringt – Moskauer Archive und die Künste in Paris 1933-1945
(How the Second Exile Gives a Voice to the First – Moscow Archives and the Arts in
Paris 1933-1945). That conference took place at the DHI Moskau in June 2011, and the
present volume can be called its “scientific harvest”. My gratitude also goes to the
Zeit-Stiftung Ebelin und Gerd Bucerius
and the
Alfried Krupp von Bohlen und Halbach
Stiftung,
without whose co-funding the realization of this international, interdisci-
plinary project and book would not have been possible.
I am also extremely grateful to Prof. Dr. Nikolaus Katzer, who became director of
the DHI Moskau in 2010 and supported all aspects of the project with great human-
ity and understanding. My thanks also to Prof. Dr. Andreas Beyer, former director of
the Deutsche Forum für Kunstgeschichte in Paris (DFK Paris), who very kindly offered
me a place to work in his Paris Institute while I was preparing this project. And I am
pleased to add that our Moscow conference was the first cooperation between the two
sister institutions, the DHI Moskau and the DFK Paris, both members of the Founda-
tion of German Humanities Institutes Abroad (DGIA), now the Max Weber Foundation.
The final publication of this book is a result of the generous financial support
of the International Music & Art Foundation, and I wish to express my very special
thanks to Walter Feilchenfeldt, who made this possible. Once again, my thanks to
Prof. Dr. Nikolaus Katzer (DHI Moskau), as well as Prof. Dr. Thomas Kirchner, current
director of the DFK Paris, whose institutions co-funded the publication.
On the scientific side, special thoughts go to Ingrid Schierle and Dr. Corinna Kuhr-
Korolev, both former research fellows of the DHI Moskau, who from the very begin-
ning encouraged the project and were of precious aid in getting it off the ground. The
DHI Moskau team were ideal collaborators, and I especially thank Andrej Doronin
for his always helpful advice and in particular, for arranging our informative and
fascinating visit to the Special Archive in Moscow, led by its deputy director Vladimir
Korotayev.
I also thank my colleagues at the DFK Paris office, with whom I shared an excep-
tional moment of scientific inspiration.
It was my good fortune to have worked closely with Isabelle le Masne de Cher-
mont, current head of the Department of Manuscripts at the Bibliothèque Nationale
de France, and Didier Schulmann, director of the Bibliothèque Kandinsky and curator
of the Musée National d’Art Moderne/Centre Pompidou. They served as advisers and
friends in the preparation of the conference and as important participants in Moscow.
And of course, I extend my deepest thanks to the authors of this book for accepting
to meet together in Moscow, despite the often tedious administrative details involved,
and share what turned out to be a very special interdisciplinary experience, not only

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