Rodin Educational Consultancyhas developed a range of Teaching Tools to Empower Thinking. With over 30,000 copies sold, Reflections on Classroom Thinking Strategies is a popular resource for teachers, with easy to use tools and worksheets for empowering students to think, and engage in a lifelong love of learning.
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Kazimir Malevich. Kyiv Aspect' is an anthology that contains 18 researches on Malevich’s Kyiv period, his first 17 years living in Ukraine, his time of teaching at Kyiv Art Institute and his artworks of that time; parallel comparisons of Malevich’s style and his relationships with his contemporary artists, new biographical studies, etc. Some of the most respected Ukrainian and international Malevich researchers (Jean-Claude Marcadé, Christina Lodder, Irina Vakar, Myroslava M. Mudrak, Iwona Luba, Aleksandr Lisov, Dmytro Horbachov, Tetyana Filevska, Serhii Pobozhii, Ostap Kovalchuk, Yaryna Tsymbal) are among the authors of this volume. Published by RODOVID and 'Malevich Institute' NGO
![Narbut. Studies. Memoirs. Letters [A Supplemented Reproduction of the "Narbut Anthology", destroyed in 1933]](https://cdn-production.frankfurtrights.com/Content/Upload/BookJackets/Thumbnails/19049830ff3.jpg "Narbut. Studies. Memoirs. Letters [A Supplemented Reproduction of the \"Narbut Anthology\", destroyed in 1933]")
This story behind this biographical memoir of a great artist begins before Narbut’s death. The best-known experts were invited to participate and contribute articles, which they spent many years preparing. But the Soviet censors “trimmed” the texts to their liking. When it was finally published in 1933, nearly all the authors had been repressed or executed. The anthology went under the knife at the printing press. It was a shame, too, because the paper was beautiful, specially allotted by the state printing press, as was the print. Only two incomplete copies remain, both in private collections. Serhii Bilokin first proposed the idea of the Narbut Anthology to Rodovid Press ten years ago, and now it is finally came to fruition with the support of the Ukrainian Cultural Foundation. This is thanks to Bohdan Zavitii, Anastasia Bilousova, and entire project team including designers Sasha Bychenko, Oleksii Salnykov, and Alina Bielova. The Institute of Art History, Folklore, and Ethnology, the National Art Museum of Ukraine, the Kharkiv Art Museum, and others assisted with the illustrations and texts. Heorhii Narbut was a decisive figure in twentieth-century Ukrainian art, yet the Communist taboos of the Soviet period ensured he remained unknown to a broader audience. This unique project fleshes out a significant aspect of art history and puts certain things back where they belong. Content and introduction: Serhii Bilokin Editors: Anastasiia Bilousova and Bohdan Zavitii Design: Sasha Bychenko and Numo Team
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This book is the first detailed look at the contribution of artists from Ukraine to the phenomenon known as the School of Paris. Many Ukrainian artists, such as Alexander Archipenko, Mykhailo Boichuk, Sonia Delaunay, Sophia Lewitska, Vladimir Baranoff-Rossiné, and Hannah Orloff were living and working in Paris at the same time as Picasso, Modigliani and Chagall. In the early 1920s they were joined by Oleksa Hryshchenko (Alexis Gritchenko), Mykhailo Andriienko, Vasyl Khmeliuk, and many others. Some of these artists achieved fame, others are long since forgotten. The book also tells about Ukrainian events that unfolded in the French capital between 1900-1939. The book's Appendix includes a list of over 250 Ukrainian artists in Paris as well as a chronology of Ukrainian events in Paris.
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This publication presents Kazymyr Malevich’s theoretical legacy, which is first and foremost connected to the time he spent in Kyiv and in Ukraine. When he lived in Kyiv, he taught at the Kyiv Art Institute and published in the journals Nova Generatsiia (New Generation) and Avanhard (Avant-Garde). The book also contains his letters, memoirs, and various publications related to his exhibition at the Kyiv Art Gallery in the 1930. Kazymyr Malevich: The Kyiv Period is unique in that it includes not only the artist’s well-known essays, but also tsome previously unpublished exts of his authorship that were discovered in 2015 in the Kyiv archive of a well known artist Marian Kropyvnytsky. In the late 1920s, Kropyvnytsky was Malevich’s personal assistant at the Kyiv Art Institute.
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"The Charm of Morocco" is the debut travel novel of the Ukrainian traveler, writer, artist and photographer Sofia Yablonska, first published in Lviv in 1932. The author lived in Morocco for four months, during which she researched and described Arab Africa. The writer's report is deeply personal, her unbiased view of this country is devoid of French influence and established genre traditions of the exotic novel, despite the fact that Sofia had already lived in Paris for several years before going to Morocco. It describes the different strata of Arab society, their relations with each other and with foreigners, the position of women and the Berber tribes free from the European protectorate. The 2018 edition is part of the TEURA art project. Sofia Yablonska", the purpose of which is to return Sofia Yablonska to the cultural discourse and establish her as a relevant character of Ukrainian art. In addition to "The Charm of Morocco", two other travel novels by Sofia - "From the Land of Rye and Opium" and "Far Horizons", as well as a book of her photos taken in the 1930s - will be published as part of the project. Compilers: Andrii Benytskyi, Veronika Khomeniuk Designer: Volodymyr Gavrish The publication was made with the support of the Ukrainian Cultural Faundation
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Post-photographic research, which explores traces of a traumatic historical event in everyday practices and in contemporary landscape and tests the limits of photography as a medium in trauma representation. The starting point of this project was the personal sense of guilt which accompanies the acts of throwing food away. This feeling is common in contemporary Ukrainian culture and originates in our postmemory - it was imprinted into our generation’s behavioral patterns by the stories of our grandparents - survivors of the man-made famine of 1932-33 in Soviet Ukraine called the Holodomor, which killed millions. The ink prints document the thrown-away food while fragments of found black-and-white photographs of unrecognisable landscapes demonstrate the lack of the famine’s traces in the landscape – unlike many collective traumas which have exact geographic locations and present in the landscape in the form of ‘places of memory’.
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"TEURA. SOFIA YABLONSKA" is a project that presents an outstanding Ukrainian female photographer, writer, traveler, and film documentarian Sophia Yablonska. It combines a photo album and 3 books of traveling prose from the literary heritage of Sofia Yablonska (1907-1971) Sophia was called "Theura" - a red bird - and thus recognized as female native of the island of Bora Bora, where she was one of the first to appear with a photo and film camera. In Indochina, Egypt, Ceylon, Bali, Tahiti, New Zealand - everywhere in the world, she filmed a "live" picture of life, and not fashionable productions at that time. The photo album, which was printed in Ukrainian and French (separate versions) with the support of the UKRAINIAN CULTURAL FOUNDATION, includes her photos from a trip around the world in the 1930s. Foreword - Oksana Zabuzhko (Kyiv) Photos from the archive of Natalie Udin, Yablonska's granddaughter (Paris) Biography: Veronika Khomenyuk and Andrii Benytskyi (Lviv) Photo captions: Natalka Beshta (Bangkok) Selection of illustrations and design (almost curators): Maria Norazyan and Ilya Pavlov, Grafprom studio (Kharkiv) Project manager: Lidia Likhach"
