BEGIN:VCALENDAR VERSION:2.0 PRODID:-//UM//UM*Events//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:America/Detroit TZURL:http://tzurl.org/zoneinfo/America/Detroit X-LIC-LOCATION:America/Detroit BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20070311T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20071104T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260910T080000 DTEND;TZID=America/Detroit:20260910T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907471@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260910T080000 DTEND;TZID=America/Detroit:20260910T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907707@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260911T080000 DTEND;TZID=America/Detroit:20260911T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907472@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260911T080000 DTEND;TZID=America/Detroit:20260911T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907708@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260810T101222 DTSTART;TZID=America/Detroit:20260911T120000 DTEND;TZID=America/Detroit:20260911T130000 SUMMARY:Lecture / Discussion:CSEAS Friday Lecture Series | Translation as Jungle Warfare: How Zhang Guixing’s novel The Crossing of the Boars Crossed into English DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/E7rRM\n\nMalaysian-Taiwanese novelist Chang Kuei-hsing (b. 1956\, publishes as Zhang Guixing) has spent\ndecades doing for tropical Asia what Gabriel García Márquez did for Latin America: enchanting\na land with a violent history. Set in wartime Sarawak\, *The Crossing of the Boars* (Ye zhu du he\,\n2018\, rev. 2024)\, released in English this year\, dazzles with a wartime mystery enmeshed in an\necological fantasia: ghostly colonists mating like guppies\, macaques mirroring Japanese war\ncriminals\, bomber storks\, ominous urinating porcupines\, wildfire-igniting squirrels\, monstrous\nquagmires\, vengeful flying she-vampires\, and herd upon herd of insatiable bearded pigs.\n\nChristopher Rea discusses how he and Julie M. Wang rendered this award-winning novel into\nEnglish\, including the process of researching a historical epic whose architectonic sentences\nteem with flora and fauna found only in Borneo. In doing so\, he offers answers to a more\ngeneral question: When faced with a challenging text\, how can a translator get out alive?\n\nChristopher Rea is professor of modern Chinese literature at the University of British Columbia.\nHis book-length translations from Chinese into English include *China’s Chaplin: Comic Stories\nand Farces by Xu Zhuodai* (Cornell\, open access)\, *The Book of Swindles and More Swindles from\nthe Late Ming* (both with Bruce Rusk\, Columbia)\, *Humans\, Beasts\, and Ghosts by Qian Zhongshu*\n(Columbia)\, and Zhang Guixing’s *The Crossing of the Boars: A Novel* (with Julie M. Wang\,\nColumbia\, 2026). He is also the founding director and lead translator of the Chinese Film\nClassics Project\, the world’s largest free online collection of early Chinese films with English\nsubtitles.\n\nhttps://cup.columbia.edu/book/the-crossing-of-the-boars/9780231217668/\n\nhttps://asia.ubc.ca/profile/christopher-rea/\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150042-21907901@events.umich.edu URL:https://events.umich.edu/event/150042 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Books,center for chinese studies,center for southeast asian studies,China,Ecology,Languages,Literature LOCATION:Weiser Hall - Room 110 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260914T080000 DTEND;TZID=America/Detroit:20260914T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907475@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260914T080000 DTEND;TZID=America/Detroit:20260914T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907711@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260915T080000 DTEND;TZID=America/Detroit:20260915T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907476@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260915T080000 DTEND;TZID=America/Detroit:20260915T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907712@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260901T083047 DTSTART;TZID=America/Detroit:20260915T120000 DTEND;TZID=America/Detroit:20260915T130000 SUMMARY:Presentation:International Studies Information Session DESCRIPTION:Please note: This information session will be held in person. The session is free and open to all interested students\, and registration is encouraged.\n\nStudents considering a major or minor in International Studies are strongly encouraged to attend an International Studies Information Session and Q&A. The International Studies program coordinator will discuss:\n\n• Prerequisites\n• Major and minor requirements\n• Sub-plans\n• How to declare\n• Additional majors and minors offered at the International Institute\n• Study abroad\, grants\, and internships\n• Relevance of an International Studies major or minor\n\nUndeclared students should plan to attend an International Studies Information Session and Q&A. A half-hour presentation will be followed by questions and discussion. For dates of all upcoming sessions\, please review the PICS event calendar. If you have questions\, please email is-michigan@umich.edu.\n\nParents and prospective students are welcome. For more information\, please email is-michigan@umich.edu. Prospective students who would like to receive correspondence about International Studies related orientations\, events\, and special announcements should sign up for the International Studies Prospective Student email list: https://myumi.ch/29DWZ\n\nIf there is anything we can do to make this event accessible to you\, please contact us at is-michigan@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151288-21911321@events.umich.edu URL:https://events.umich.edu/event/151288 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:international,Majors,Undergraduate Students LOCATION:Weiser Hall - 355 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140022 DTSTART;TZID=America/Detroit:20260915T160000 DTEND;TZID=America/Detroit:20260915T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | Cultivating a Global Radical Imagination at the Grassroots: Communist Women’s Mobilization in Mid-20th-c. Assam/Eastern Bengal DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/2jjGN\n\nThis talk examines the lives and political projects of young women activists in 1930s–40s Sylhet who were drawn to join the Communist Party. Among them was Hena (Dutt) Das\, who remained in (East) Pakistan after Partition\, and who would be politically and socially engaged in Bangladesh until her death in 2009. In this talk\, Shehabuddin will focus on the revolutionary education and experiences that first brought Hena Dutt and her teenage classmates to the Communist Party\, how they understood and inhabited communism in their daily lives\, and how their personal and political histories complicate ideas about religious and national belonging\, about the much-described tug between communism and feminism\, and about the relationship between the personal and the political.\n\nElora Shehabuddin is professor of gender & women's studies\, director of global studies\, and director of the Subir and Malini Chowdhury Center for Bangladesh Studies at UC Berkeley. Her last book\, *Sisters in the Mirror: A History of Muslim Women and the Global Politics of Feminism* was selected as a 2022 Choice Outstanding Academic Title by the American Library Association and awarded the 2023 Ananda Kentish Coomaraswamy Book Prize from the Association for Asian Studies. She currently serves as co-editor of the *Journal of Bangladesh Studies* (Brill)\, on the editorial board of the Cambridge University Press book series\, *Muslim South Asia* and as president of the Association for Asian Studies.\n\n*Image Credit: Waseka Nahar/HerStories*\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151199-21911059@events.umich.edu URL:https://events.umich.edu/event/151199 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Asian Languages And Cultures,Feminism,Gender,gender studies,Muslim,Politics,South Asia LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260916T080000 DTEND;TZID=America/Detroit:20260916T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907477@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260916T080000 DTEND;TZID=America/Detroit:20260916T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907713@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260816T221357 DTSTART;TZID=America/Detroit:20260916T140000 DTEND;TZID=America/Detroit:20260916T160000 SUMMARY:Lecture / Discussion:CMENAS 2026 Fall Colloquium Series | Projecting Power: Film Diplomacy and the Making of the Turkey-US Alliance DESCRIPTION:How do states project power beyond military cooperation? This talk examines the role of educational films\, institutional networks\, and audiovisual media in shaping the US–Turkey alliance before and during the Cold War. Drawing on *Film Diplomacy: A Media History of Turkey–US Relations *(Columbia University Press\, 2026)\, Etem argues that film was central to the projection of power through international alliances and institution building. Bringing together archival research from Turkey and the United States\, the talk traces how governments\, universities\, philanthropic foundations\, and international organizations collaborated to produce\, circulate\, and exhibit films that supported political\, educational\, and developmental agendas. By examining film as a technology of governance\, the talk offers a new perspective on how media shaped international relations and the making of Cold War alliances in the Middle East.\n\nAyşehan Jülide Etem is Assistant Professor of Media Studies and Director of the Film Studies concentration at the University of Virginia. She is a media historian and documentary film scholar whose research examines how media infrastructures and cultural institutions shape international relations\, public life\, and systems of power. Her work focuses on global film cultures\, public diplomacy\, documentary\, and the politics of media. She is the author of *Film Diplomacy: A Media History of Turkey–US Relations* (Columbia University Press\, 2026)\, which identifies and examines how institutional networks\, educational films and audiovisual media helped construct the US–Turkey alliance before and during the Cold War. Her current research investigates documentary film and gun violence\, as well as the history of population control films and reproductive governance. Her work has appeared in journals including *Communication\, Culture & Critique*\, *Global Perspectives*\, the *Historical Journal of Film\, Radio and Television*\, the* Journal of e-Media Studies*\, and *NECSUS: European Journal of Media Studies*\, and is forthcoming in Film History.\n\nJoin on Zoom: https://myumi.ch/8Jqy2\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: warsansa@umich.edu UID:150313-21909004@events.umich.edu URL:https://events.umich.edu/event/150313 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Area Studies,center for middle eastern and north african studies,cmenas,Cmenas Colloquium Series,Discussion,Lecture,turkey LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T115944 DTSTART;TZID=America/Detroit:20260916T160000 DTEND;TZID=America/Detroit:20260916T180000 SUMMARY:Lecture / Discussion:Democracy Against Workers? DESCRIPTION:Webinar Link: https://myumi.ch/ww7q9\n\nCanonical models of democracy expect working-class people to be the main beneficiaries -- even the natural beneficiaries -- of democratization. Yet not all democratic systems deliver economic gains to average citizens. Even after they gain the right to vote\, very rarely do they become candidates for office and get to serve as the people's representatives. When is \"democracy against workers\" and how might we make it work better for working people? In this Democracy Week roundtable\, Nick Carnes\, Adam Dean\, and Noam Lupu discuss their book projects on these themes\, with Ann Heffernan serving as respondent.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at emergingdemocracies@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149378-21906293@events.umich.edu URL:https://events.umich.edu/event/149378 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:democracy LOCATION:Michigan Union - Kuenzel Room CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260818T130814 DTSTART;TZID=America/Detroit:20260916T180000 DTEND;TZID=America/Detroit:20260916T200000 SUMMARY:Lecture / Discussion:2026 Dr. Berj H. Haidostian Annual Distinguished Lecture | Poetry\, Traumatic History\, Memory: Thinking about the Armenian Genocide DESCRIPTION:How can a past historical event be transformed by literature that comes after? Pulitzer Prize winning poet Peter Balakian will discuss the impact of the Armenian Genocide on his work. He will explore the transmission of trauma across generations and how poetry’s resources can ingest the past. Balakian examines how his ancestors have provided a grounding for his work\, ancestors like his great-great uncle\, Krikoris Balakian (Bishop in the Armenian Church)\, one of the 250 cultural leaders arrested on April 24\, 1915\, and his grandmother\, Nafina Shekerlemdjian who along with her two young daughters survived the Genocide enduring a harrowing death march into the Syrian desert.\n\nPeter Balakian is an award winning poet\, author and translator. His *Ozone Journal* was awarded the 2016 Pulitzer Prize for poetry. Most recently he has published a book of poems\, *New York Trilogy* (2025)\, that moves between decades of tumultuous life in New York City and the politics of the Middle East. Balakian’s poems have appeared widely in leading magazines and journals including\, *The New Yorker: 100 Years of Poetry*. His prose books range from *Vice and Shadow: Essays on the Lyric Imagination*\, poetry\, art and culture\, to *Black Dog of Fate: A Memoir*\, — winner of the 1998 PEN/Martha Albrand Prize for the Art of the Memoir (a best book of the year for the New York Times\, the LA Times\, and Publisher’s Weekly). Balakian is the recipient of many awards and prizes amongst them: the Pulitzer Prize\, The Presidential Medal and the Movses Khorenatsi Medal from the Republic of Armenia\, a Guggenheim Fellowship\, and a National Endowment for the Arts Fellowship. He is the Rebar Professor of the Humanities\, Professor of English at Colgate University.\n\nhttps://umich.zoom.us/j/99080532632\n\nCosponsors: Center for Middle Eastern & North African Studies\, Department of Middle East Studies\, Department of English Language and Literature\, Residential College\, and National Association for Armenian Studies and Research (NAASR)\n\n–––––\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: armenianstudies@umich.edu UID:150146-21908257@events.umich.edu URL:https://events.umich.edu/event/150146 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:armenia,Armenian Studies,Discussion,Lecture,Poetry LOCATION:Museum of Art - Helmut Stern Auditorium CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260917T080000 DTEND;TZID=America/Detroit:20260917T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907478@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260917T080000 DTEND;TZID=America/Detroit:20260917T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907714@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T143717 DTSTART;TZID=America/Detroit:20260917T120000 DTEND;TZID=America/Detroit:20260917T133000 SUMMARY:Lecture / Discussion:CJS Noon Lecture Series | Gathering Fading Voices: Endangered Dialect Research in Japan Today DESCRIPTION:Please note: This lecture will be held in person in East Hall 4448 and virtually on Zoom. If you are attending in person\, we recommend entering East Hall using the Church Street entrance and taking the elevator to the 4th floor. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/VDMnJ.\n\nMany of Japan's regional dialects are now critically endangered\, as intergenerational transmission breaks down in aging and depopulating communities. This lecture surveys the current state of endangered dialects in Japan and introduces a range of efforts to document and pass them on to future generations. In particular\, it focuses on Professor Taniguchi’s fieldwork in Ikawa\, a remote mountain community in northern Shizuoka Prefecture\, and presents the various revitalization activities she has carried out in collaboration with local residents.\n\nJoy Taniguchi (Ph.D.\, The University of Tokyo) is a professor in the faculty of informatics at Shizuoka Institute of Science and Technology and a collaborating researcher on a joint project at the National Institute for Japanese Language and Linguistics (NINJAL). A sociolinguist\, she leads efforts to document\, preserve\, and revitalize the endangered dialect of Ikawa\, a mountain community in northern Shizuoka Prefecture. She also conducts large-scale surveys of language variation and change across Shizuoka.\n\nThis talk is cosponsored by the Department of Linguistics: https://lsa.umich.edu/linguistics. \n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:149996-21907794@events.umich.edu URL:https://events.umich.edu/event/149996 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,center for japanese studies,japan,Japanese Studies,Language,Languages LOCATION:East Hall - Room 4448 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T151628 DTSTART;TZID=America/Detroit:20260917T130000 DTEND;TZID=America/Detroit:20260917T160000 SUMMARY:Conference / Symposium:For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy DESCRIPTION:Description:\nPresented as part of the University of Michigan’s Democracy Week\, this symposium explores the enduring legacy of the May 18\, 1980 Gwangju Democratization Movement and the role of visual media in shaping South Korea’s democratic consciousness. Organized in conjunction with an exhibition of 90 curated images from the Gwangju 5·18 Archives on campus\, the event bridges historical analysis with living memory. Survivors and eyewitnesses will share their reflections alongside scholars to examine how images and personal testimony break through censorship and serve as vital tools for historical justice—connecting Gwangju’s struggle to global conversations on human rights.\n\nThis event is organized by Nam Center for Korean Studies and co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, the Donia Human Rights Center\, and Asia Library.\n\nOfficial event poster: https://myumi.ch/G7Ge1\n\nParking information: https://myumi.ch/WDpNd \n\nProgram\n1:00 - 1:05 / Opening Remarks \nJuhn Ahn / University of Michigan \n\n1:05 - 1:15 / May 18 Gwangju: Brief Historical Overview \nJi Yeon Hong / University of Michigan \n\n1:15 - 2:15 / Witnessing and Documenting Gwangju \nDavid Dolinger / Former Peace Corps Volunteer \n“Called by Another Name – Gwangju’s Impact on a Life”\n\nNa Kyung-taek / Former Jeonnam Daily Photojournalist \n“A Reporter's Eyewitness Account of the Command to Open Fire” \n\nQ & A\n\n2:30 - 3:10 / O-IL-PAL: South Korean Democracy as Performance and Event\nHayana Kim / Ohio State University \n\"The Gwangju Uprising and the Performativity of South Korean Democracy\" \n\nSohl Lee / Stony Brook University \n\"The Photographs of Gwangju in 1980: Uneven Disseminations and Reactivated Events\" \n\n3:10 - 3:25 / Gwangju in the World \nThierry Bonzon / Université Gustave Eiffel \n\n3:25 - 4:00 / Q & A\n\n\nSpeakers: \nJuhn Ahn / University of Michigan\nDirector of the Nam Center for Korean Studies and associate professor of Buddhist and Korean studies\, Juhn Y. Ahn earned his B.A. in Asian studies and religion from the University of Michigan\, Ann Arbor\, and his Ph.D. in Buddhist Studies from UC Berkeley. He taught East Asian religions at the University of Toronto from 2006 to 2011. After a year researching religion and Koryŏ history at the Institute for Advanced Study in Princeton\, NJ\, he joined U-M's Department of Asian Languages and Cultures in 2011. His research covers East Asian religions\, Buddhism\, Chan and Zen\, traditional medicine\, and premodern Korean cultural and economic histories. He has published widely on Japanese Zen\, Zen master Hakuin Ekaku\, traditional medicine in Japan\, Korean Buddhism and Sŏn monasticism\, and Korean film. Major publications include *Buddhas and Ancestors: Religion and Wealth in Fourteenth-Century Korea* (2018)\, *Transgression in Korea* (2018)\, and translations like *The Orthodox Path of Seon* (2023) and *Gongan Collections I* (2012). He is currently co-editing a volume on Koryŏ and contributing to the Cambridge Histories Series\, and is the recipient of awards including the Puri Award\, Andrew W. Mellon Fellowship\, and Kyujanggak Fellowship.\n\nJi Yeon Hong / University of Michigan\nJi Yeon Hong is an associate professor of political science and the Korea Foundation Chair Professor of Korean Politics at the University of Michigan. Her research focuses on authoritarian politics\, democratization\, political violence\, and elite behavior under dictatorship in East Asia. Her scholarship has been widely published in leading field publications\, including *the American Journal of Political Science*\, *British Journal of Political Science*\, and *Journal of Politics*. \n\nHer academic path is deeply rooted in the historic political movements she witnessed firsthand. Raised in Seoul\, South Korea\, her experience observing the country's democratization during the 1980s and 1990s inspired her to pursue political science. After earning her Bachelor’s and Master’s degrees from Seoul National University and her Ph.D. from New York University\, she served on the faculty at the Hong Kong University of Science and Technology (HKUST) from 2014 to 2022\, where she observed another defining wave of pro-democracy activism before joining U-M.\n\nDavid Dolinger / Former Peace Corps Volunteer\nDavid L. Dolinger is a scientist and global health professional currently working in India. He has played key roles in the development and commercialization of diagnostic solutions with a focus on their practical implementation and use in low- and middle-income countries. His work sits at the intersection of laboratory science\, regulatory rigor\, and a long-standing commitment to social justice and patient-centered care. Over the years he has also taken on advisory and collaborative roles with diagnostic manufacturers and global health partners focused on expanding access to high-quality testing in low- and middle-income countries. \n\nHowever\, this passion and drive would not have fermented to the level if it had not been for his life-forming experiences as a Peace corps volunteer in the Republic of Korea. At the young age of 22\, he travelled for the first time outside of the United States\, landing in south Jeolla province in the small county of Yeongam. He worked in the local health center focusing on tuberculosis control. It was there that he started to understand how diagnostic tests are the foundation of good health care. It was his experiences in and participation in the May 18 Democratization Movement\, in Gwangju that grounded him and has driven him through his life to utilize his talents and understanding of diagnostics to focus on those that are marginalized and ignored.\n\nNa Kyung-taek / Former Photojournalist\nNa Kyung-taek\, former head of the Yonhap News Bureau for Gwangju and Jeonnam\, began his career in journalism in 1967. As a pioneering photojournalist\, he captured the frontlines of the May 18 Democratization Movement\, exposing the truth to the world through his lens. His unwavering journalistic integrity earned him both the Courageous Journalist Award and the Korea Journalist Award.\n\nFollowing his retirement\, Mr. Na continued to serve the public through university lectures and welfare foundation work. He has remained dedicated to sharing the historical significance of May 18 globally\, authoring books such as *When That Day in May Comes Again and We Saw*\, and hosting photo exhibitions across South Korea and internationally\, including in Germany and the United States.\n\nSohl Lee / Stony Brook University\nSohl Lee is associate professor of art history at Stony Brook University (SUNY)\, specializing in modern and contemporary Asian art\, decolonial visual culture\, socially engaged art\, and ecological art history\, with a particular interest in oceanic and transpacific frameworks. Her first book\, *The Minjung Art Movement: Decolonization and Democracy in South Korea* (Duke University Press\, 2026)\, historicizes an influential movement of activist art from the 1970s and 1980s. Her current book project\, *Seaweed as Method: Art History with Oceans\, Multispecies Life\, and Empire* examines the global visual cultures of seaweeds through the intertwined lenses of ecology\, decolonization\, food sovereignty\, and Indigenous onto-epistemologies. She is a recipient of the SUNY Chancellor’s Award for Excellence in Teaching (2020) and has received grants and fellowships from the Social Sciences Research Council (SSRC)\, the Korea Foundation\, the Korean Ministry of Culture\, the Academy of Korean Studies\, the Getty Research Institute\, and the Andy Warhol Foundation\, among others.\n\nHayana Kim / Ohio State University\nHayana Kim is an assistant professor in the Department of East Asian Languages and Literatures at the Ohio State University. As an interdisciplinary performance and media historian of twentieth- and twenty-first-century South Korea\, her research centers on cultures of democracy in contemporary South Korea. Her teaching is at the intersections of Korean studies\, Asian diasporic studies\, and theatre\, performance\, and media studies. Kim is currently working on her book manuscript entitled *Making P’an for a New World: The Kwangju Uprising\, Women\, and the Performativity of South Korean Democracy*. This project\, based on extensive archival and ethnographic research\, investigates the role of the body and affect in advancing democracy in South Korea by illuminating various forms of performances that women in Kwangju and in broader Chŏlla Province created to bring out insurgent cultural spaces where deaths disavowed by the state and concealed from the public eye emerge into communal memories. Her work has appeared or is forthcoming in *Journal of Asian Studies*\, *Asian Theatre Journal*\, and in edited collections published by Cambridge University Press\, Chonnam National University\, among others. She received her Ph.D. from the Interdisciplinary Ph.D. Program in Theatre and Drama at Northwestern University.\n\nThierry Bonzon / Université Gustave Eiffel\nThierry Bonzon\, associate professor (Maître de conférences) in contemporary history at Université Gustave Eiffel\, conducts research at the intersection of First World War history and the historical analysis of photography as a primary source. His first line of inquiry examines the local dynamics of wartime sacrifice\, social policy\, and pacifist movements—notably explored through the \"La France pétitionne\" project and the co-organization of the international conference Les défenseurs de la paix\, 1899–1917\, which integrated Peace Studies into French historiography. His second field explores photojournalism and image-based history through two distinct geographical and temporal contexts: a collective project analyzing over 2\,000 photographer-correspondents for l'Humanité documenting social and urban changes in the Paris region (1950s–1990s)\, and a current investigation into the photographic archives of the May 1980 Gwangju Uprising in South Korea. Together\, these projects bridge archival discovery\, public history\, and the study of visual media as a fundamental tool for constructing historical memory.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150847-21910304@events.umich.edu URL:https://events.umich.edu/event/150847 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asian Languages And Cultures,Democracy,International,Korea,Korean Studies,Politics LOCATION:Hatcher Graduate Library - Gallery CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260918T080000 DTEND;TZID=America/Detroit:20260918T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907479@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260918T080000 DTEND;TZID=America/Detroit:20260918T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907715@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260918T120000 DTEND;TZID=America/Detroit:20260918T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910123@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140037 DTSTART;TZID=America/Detroit:20260918T160000 DTEND;TZID=America/Detroit:20260918T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | Rummana Hussain's Feminist Cosmopolitics DESCRIPTION:In her relatively brief career\, the Indian artist Rummana Hussain (1952-1999) straddled painting\, drawing\, performance\, video\, and installation. She turned to the latter three modes in the mid-nineties\, following the demolition of the Babri Masjid in Ayodhya and the ensuing anti-Muslim violence in her adopted city of Bombay. This talk will analyze Hussain’s shifting approach to her artistic practice during this period\, as her postmodernist allegories in paint gave way to feminist interrogations of identity\, representation and signification using objects\, language and the body.\n\nRattanamol Singh Johal is the Shireen and Afzal Ahmad Assistant Professor in history of art at the University of Michigan\, Ann Arbor. His current book project\, *Forms of Despair*\, offers an account of experimental\, lens and time-based art emerging in India in the final decades of the twentieth century as metropolitan artists were confronted with the limitations and failings of their postcolonial\, cosmopolitan imaginaries.\n\nImage caption: Rummana Hussain\, Living on the Margins\, 1995. Performance at the National Centre for Performing Arts\, Mumbai. Estate of Rummana Hussain. Image courtesy Talwar Gallery New York | New Delhi.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151087-21910855@events.umich.edu URL:https://events.umich.edu/event/151087 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asian Languages And Cultures,history of art,South Asia,South Asian Studies,Visual Arts LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260920T120000 DTEND;TZID=America/Detroit:20260920T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910125@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260921T080000 DTEND;TZID=America/Detroit:20260921T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907482@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260921T080000 DTEND;TZID=America/Detroit:20260921T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907718@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260922T080000 DTEND;TZID=America/Detroit:20260922T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907483@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260922T080000 DTEND;TZID=America/Detroit:20260922T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907719@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T091357 DTSTART;TZID=America/Detroit:20260922T120000 DTEND;TZID=America/Detroit:20260922T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | How to Fill Out a Circle: Design in Warring States Bronze\, Jade\, Lacquer\, and Silk DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/e7gRJ\n\nNew developments in the lacquer and silk workshops posed significant challenges to other medium\, causing a complete change of aesthetic during the Warring States period (5th-3rd century BC). Moreover\, because fine examples of lacquer and silk have actually survived from that time\, we can see what other materials copied from them. But the only reason we can recognize borrowings is that each material has a character of its own. The lecture will explore this two-sided phenomenon—the individual character of each workshop tradition and the exchanges between workshops—by looking at inlaid bronzes\, mirrors\, jades\, lacquers\, and silks\, using the problem of designing for a circular space as a case study to infer the thinking of designers working in each medium.\n\nWang Haicheng is Mary and Cheney Cowles Endowed Professor of Chinese art at the University of Washington\, Seattle. His research interest focuses on the comparative study of the art and archaeology of early China. Recent publications include *Art and Artistic Thinking in Ancient China* (co-authored with Robert Bagley\, 2025) and a chapter on ancient states and the rise of writing in *The Oxford Handbook of Archaeology & Language* (2025).\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150160-21908305@events.umich.edu URL:https://events.umich.edu/event/150160 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Archaeology,Art,Asian Languages And Cultures,China,chinese history,Chinese Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260922T120000 DTEND;TZID=America/Detroit:20260922T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910127@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260923T080000 DTEND;TZID=America/Detroit:20260923T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907484@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260923T080000 DTEND;TZID=America/Detroit:20260923T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907720@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260923T120000 DTEND;TZID=America/Detroit:20260923T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910128@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260902T091753 DTSTART;TZID=America/Detroit:20260923T140000 DTEND;TZID=America/Detroit:20260923T160000 SUMMARY:Lecture / Discussion:CMENAS 2026 Fall Colloquium Series | Making the ‘Migrant Crisis?’: Media\, Power and Perception DESCRIPTION:More than a decade since the so-called ‘migrant crisis’ transformed European politics and media\, it remains a deeply contested story. From the Syrian civil war to conflicts across Africa and the movement of people from the Indian subcontinent\, this moment in 2015-16 came to be framed as the ‘migrant crisis’. It also became a media crisis\, marked by an explosion of alarmist reporting about people on the move. Rather than being treated as a humanitarian emergency requiring search and rescue missions\, the movement of vulnerable people across the Mediterranean was increasingly depicted as an attack by “invaders” from “over there”. The media too often relied on visual tropes of small boats\, barbed wire\, and faceless masses\, stripping people of their dignity and humanity.\n\nDrawing on a decade of his reporting across Europe\, the Middle East and Africa\, Ismail Einashe will in this lecture examine how the media constructed the figure of the “migrant” in the global public imagination\, reducing complex human movements to extreme binaries: the “vulnerable body” or the “dangerous outsider.” He will consider how\, a decade on\, this narrative has fueled increasing securitisation across the Mediterranean\, even as fewer migrants arrive.\n\nEinashe will explore why this story has become one of the biggest — and most divisive — stories in recent history. He will also analyse whether the media simply reported Europe's migration story or helped shape it into a permanent ‘crisis’ that now threatens European democracy.\n\nIsmail Einashe is an award-winning British-Somali journalist and author whose work on migration and refugee issues has appeared in numerous publications – including *Foreign Policy*\, *The Guardian*\, *BBC News*\, *The Nation*\, *The Sunday Times*\, *The New York Times*\, *NPR* and *ArtReview*. He is the author of *Strangers* (2023)\, a book by Tate Publishing that explores migration through the lens of art\, and he co-edited *Lost in Media: Migrant Perspectives and the Public Sphere* (2019)\, a collection of critical essays examining how migrants are represented in European media. He was a 2025–26 Knight-Wallace Fellow at the University of Michigan\, where he examined migration reporting through the lens of trauma and art. Einashe is also part of a team of journalists working on Lost in Europe\, a cross-border journalism collaborative that investigates the disappearance of child migrants. He is currently a lecturer in the Department of Sociology at the University of Michigan.\n\nRegister at: https://myumi.ch/qwg1Z\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: warsansa@umich.edu UID:151368-21911416@events.umich.edu URL:https://events.umich.edu/event/151368 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:center for middle eastern and north african studies,Cmenas Colloquium Series,Discussion,Lecture,Middle East Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260901T100135 DTSTART;TZID=America/Detroit:20260923T163000 DTEND;TZID=America/Detroit:20260923T183000 SUMMARY:Lecture / Discussion:Mary in the Qur'an - A Book Talk with Younus Y. Mirza DESCRIPTION:September 23\, 2026\, 4:30 PM ET\n555 Weiser Hall (5th floor)\, University of Michigan\, 500 Church St\, Ann Arbor\nRSVP: https://myumi.ch/2j9QR\n\nJoin the University of Michigan Global Islamic Studies Center (GISC) on Thursday\, December 4\, 2025 at 4:00PM in 555 Weiser Hall for \"Mary in the Qur'an\,\" a book talk on the figure of the Islamic Mary (Maryam) by Dr. Younus Y. Mirza. \n\n\nDr. Mirza will be discussing his latest book *The Islamic Mary: Maryam Through the Centuries *(Fortress Press\, 2025)\, which examines the appearances of Mary\, mother of Jesus (Isa) in various Islamic theological and cultural contexts. Mary has been historically revered throughout the Islamic and Christian traditions. In the Qur’an\, she is known by the name “Maryam.” The Islamic Mary discusses Maryam's extended history\, from her scriptural mentions in the Qur’an and the traditional biographies (Sīrah) of the Prophet Muhammad\, to her appearances in medieval debates on prophecy\, to citations of her model virtue in Sufi discussions of piety\, to her representations in art and film\, to her role in modern interfaith relations\, particularly between Muslims and Christians.\n\nDr. Mirza will be introduced by Abderrahim Er-ragragi\, Ph.D. Candidate in the Department of Middle East Studies and Co-organizer\, Rackham Interdisciplinary Islamic Studies Seminar (IISS).\n\nThis event is brought to you by the U-M Global Islamic Studies Center and co-sponsored by the Department of American Culture\, the Arab and Muslim American Studies Program in American Culture\, and the Islamophobia Working Group.\n\n\nThe talk is part of GISC’s ongoing “Qahwah & Authors” series\, which launches new books and writers in the fields of Muslim and Islamic Studies. For more events from the Global Islamic Studies Center at the University of Michigan\, please visit ii.umich.edu/islamicstudies.\n\n\n\nMeet the speaker:\n\nDr. Younus Y. Mirza is the Founding Director of the Barzinji Institute for Global Virtual Learning at Shenandoah University\, Virginia. He defended his dissertation in Arabic and Islamic Studies from Georgetown University\, where he is currently a visiting researcher. He has also taught at Millsaps and Allegheny Colleges. His research focuses on the relationship between the Bible and the Qur’an and the shared stories between them. He is the author of the new book *The Islamic Mary: Maryam Through the Centuries*\, co-author of the book *The Bible and the Qur’an: Biblical Figures in the Islamic Tradition*\, and has published in journals such as the *Journal of the American Academy of Religion (JAAR)*\, the *Journal of Qur’anic Studies (JQS) *and *Islam Christian-Muslim Relations (ICMR)*. He has been profiled for his teaching by Interfaith America\, and regularly teaches classes on the Qur’an and Bible\, and Marriage and Sexuality in Islam. Dr. Mirza was recently Senior Editor of the *Oxford Research Encyclopedia of Religion*\, and hosts the *A Common Word and The Islamic Mary *podcasts. UID:151292-21911325@events.umich.edu URL:https://events.umich.edu/event/151292 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Book Talk,Global Islamic Studies,Lecture,Middle East Studies,Muslim,Religious Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260924T080000 DTEND;TZID=America/Detroit:20260924T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907485@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260924T080000 DTEND;TZID=America/Detroit:20260924T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907721@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260811T160541 DTSTART;TZID=America/Detroit:20260924T120000 DTEND;TZID=America/Detroit:20260924T133000 SUMMARY:Lecture / Discussion:CJS Noon Lecture Series | Rivers and the Politics of Temporality in Ainu Mosir DESCRIPTION:Please note: This lecture will be held in person in East Hall 4448 and virtually on Zoom. If you are attending in person\, we recommend entering East Hall using the Church Street entrance and taking the elevator to the 4th floor. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/kVx6z.\n\nBased on fourteen months of ethnographic fieldwork in Ainu Mosir (Hokkaido\, Japan)\, this talk considers the crucial role that rivers play in Indigenous Ainu articulations of sovereignty and futurity. As an important medium through which kin-based\, territorial\, and cosmological rights and responsibilities continue to be expressed\, rivers connect ancestral Ainu lifeways with visions of an Indigenous future. In their struggles for Indigenous rights today\, Ainu activists continue to focus on rivers as the central locus of Ainu sovereignty and the origin from which Ainu cultural and territorial rights emerge\, envisioning and enacting futures of flourishing and abundance that are rooted in ancestral relationships to their native lands and waters and the more-than-human beings who inhabit them. In so doing\, they insist upon a future for the Ainu as an Indigenous people\, challenging Japan’s ongoing settler-colonial structure of Ainu dispossession and elimination.\n\nDr. Michael J. Ioannides is a teaching postdoctoral fellow at the University of Michigan Center for Japanese Studies. He received his Ph.D. in cultural anthropology from the University of California Santa Barbara\, in June 2026\, with an interdisciplinary emphasis on environment and society. His research focuses on Ainu environmental and Indigenous rights activism in rural Hokkaido\, Japan. Aside from his research\, he is a contributor to the website AinuToday (https://ainutoday.com/)\, as well as a saxophonist and independent music producer who regularly collaborates with Ainu artists.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149998-21907795@events.umich.edu URL:https://events.umich.edu/event/149998 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,center for japanese studies,Ecology,Environment,japan,Japanese Studies LOCATION:East Hall - Room 4448 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260924T120000 DTEND;TZID=America/Detroit:20260924T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910129@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260804T091616 DTSTART;TZID=America/Detroit:20260924T130000 DTEND;TZID=America/Detroit:20260924T170000 SUMMARY:Workshop / Seminar:Donia Human Rights Center and Artificial Intelligence Laboratory Workshop | AI & Human Rights Workshop DESCRIPTION:Co-sponsored by the Artificial Intelligence Laboratory: https://ai.engin.umich.edu/\n\nLocation: Registration required. Please message ailabadmin@umich.edu with your name\, e-mail\, faculty or student status\, and a brief indication of how your work relates to AI & Human Rights.\n \n Presenters/facilitators:\n \nRada Mihalcea (Janice M. Jenkins Collegiate Professor of Computer Science and Engineering\, Professor and Director\, Artificial Intelligence Lab)\n\nPeter Railton (Emeritus Gregory S. Kavka Distinguished University Professor\; John Stephenson Perrin Professor\; Arthur F. Thurnau Professor\, UM LSA Philosophy)\n\nZhijing Jin (Assistant Professor at the University of Toronto\, and a Research Scientist at the Max Planck Institute)\n \n Human rights are under pressure worldwide\, and AI is increasingly part of both the problem and the solution. AI systems can help uncover abuses\, expand access to services\, support crisis response\, and detect harmful patterns at scale. But they can also amplify surveillance\, bias\, disinformation\, and exclusion. To develop solutions that are genuinely helpful and safe\, we need collaboration among AI researchers\, human rights practitioners\, domain experts\, and impacted communities.\n \n In this workshop\, we’ll explore the points of interaction between AI and human rights challenges\, and discuss how existing obstacles in human right solutions can inform new research directions in artificial intelligence. U(M) researchers will briefly present on current topics in AI and in human rights\, followed by table discussions with domain experts in both human right related issues and AI. You are encouraged to bring your own topics\, problems\, and innovations to share with the group.\n \n Discussion topics brought up in this workshop will be used as the basis for a whitepaper on the intersection of AI & Human Rights.\n \n Program\n 1:00-1:30 pm\n Introduction (goals and directions) and Keynote Talk\n \n 1:30-1:50 pm\n Human Rights Talk\n \n 1:50-1:55 pm\n Q & A\n \n 1:55-2:15 pm\n AI Talk\n \n 2:15-2:20 pm\n Q & A\n \n 2:20-2:25 pm\n TBA\n \n 2:25-2:40 pm\n Break\n \n 2:40-2:55 pm\n Introduction to the Roundtable discussion format\n \n 2:55-4:50 pm\n Roundtables with 1 lead and 1 note-taker (7 tables)\n \n 2:55-3:10 pm: (15 min) Brief introductions (“I am X\, from Dept Y\, I’m interested in the aspects of Z on Climate and/or AI”)\n 3:10-3:15 pm: (5 min) Individual thinking and notes on stickies for (i) Challenges that (could) intersect with AI\n 3:15-3:40 pm: (25 min) Group discussions\n 3:40-4:00 pm: (20 min) Report back\n 4:00-4:05 pm: (5 min) (ii) Potential Solutions\, e.g.\, conversation and user interviews to set up the -solution\, new task formulation for research\, dataset building\, and study design\n 4:05-4:30 pm: (25 min) Group discussions\n 4:30-4:50 pm: (20 min) Report back\n With this roundtable conversations\, we aim to:\n \n (1) identify list of challenges and potential paths to solutions\n \n (2) facilitate new collaborations\n \n (3) work together on a white paper identifying a roadmap for this space (pending interest)\n \n 4:50-5:00 pm\n Wrap-up\n\nIf there is anything we can do to make this event accessible to you\, please contact us at umichhumanrights@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149629-21906822@events.umich.edu URL:https://events.umich.edu/event/149629 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:human rights,Technology LOCATION:Off Campus Location CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260925T080000 DTEND;TZID=America/Detroit:20260925T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907486@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260925T080000 DTEND;TZID=America/Detroit:20260925T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907722@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260925T120000 DTEND;TZID=America/Detroit:20260925T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910130@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T143117 DTSTART;TZID=America/Detroit:20260925T173000 DTEND;TZID=America/Detroit:20260925T200000 SUMMARY:Reception / Open House:CSEAS 2026 Fall Potluck Reception DESCRIPTION:Join the Center for Southeast Asian Studies for the 2026 Fall Potluck Reception.\n\nCSEAS will provide appetizers\, drinks\, and utensils.\n\nWe ask that you share your favorite dish (Southeast Asian or non-Southeast Asian) dish that can feed 8-10 people.\n\nRSVP Link - https://myumi.ch/G7GNJ\n\nContact us at cseas@umich.edu for any questions\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:151745-21912084@events.umich.edu URL:https://events.umich.edu/event/151745 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Culture,Food,Free,International Students,international studies,Southeast Asia,Southeast Asian Studies LOCATION:Weiser Hall - Fourth Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260909T170422 DTSTART;TZID=America/Detroit:20260925T200000 DTEND;TZID=America/Detroit:20260925T230000 SUMMARY:Reception / Open House:Full Moon Festival DESCRIPTION:For many cultures across East Asia\, family and friends come together for the mid-autumn Full Moon with festivities\, delicious food\, and good company. The Lieberthal-Rogel Center for Chinese Studies\, U-M Astronomy\, the Nam Center for Korean Studies\, and the Center Japanese Studies invite you to the Judy & Stanley Frankel Detroit Observatory for a celebration of the Mid-Autumn Full Moon. \n\nThis drop-in program includes activities in the observatory classroom\, exploration of the historic observatory\, and telescope viewing of the Moon! Families are welcome! Free and open to the public. UID:150281-21908578@events.umich.edu URL:https://events.umich.edu/event/150281 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Chinese Studies,free,Humanities,Japanese Studies,Korean Studies,Museum,museums,observing,Science,Storytelling LOCATION:Detroit Observatory CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260927T120000 DTEND;TZID=America/Detroit:20260927T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910132@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260831T181650 DTSTART;TZID=America/Detroit:20260927T160000 DTEND;TZID=America/Detroit:20260927T180000 SUMMARY:Performance: The SeAH Korean Art Song Gala DESCRIPTION:The SeAH Korean Art Song Gala is a high-profile Korean Performing Arts Initiative event. The first half of the concert will feature student performances of Korean song\, interwoven with historical and cultural narration by SMTD’s Dr. Matthew Thompson\, and will end with a performance by SMTD’s alum Jack Morin (’25)\, whose Korean song performances have garnered millions of views online. The second half of the concert will showcase the world-renowned Korean soprano Sumi Jo\, joined by Thompson at the piano. \n\nThe concert marks the first time that Korean song performance has been taught at U-M and is generously supported by the SeAH corporation and numerous campus entities: the Arts Initiative\, the Jessye Norman Fund\, the School of Music\, Theatre & Dance\, the Nam Center for Korean Studies\, and the Office of the President. Concert proceeds will be used to support future Korean Performing Arts Initiative events. \n\nMatthew Thompson\, artistic director\n\nNot eligible for the Flex Series discount.\n\n–––\n*Parking / Traffic alert for attendees:*\nhttps://smtd.umich.edu/2026-construction UID:148633-21904549@events.umich.edu URL:https://events.umich.edu/event/148633 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Concert,Music LOCATION:Hill Auditorium CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260928T080000 DTEND;TZID=America/Detroit:20260928T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907489@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260928T080000 DTEND;TZID=America/Detroit:20260928T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907725@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T141617 DTSTART;TZID=America/Detroit:20260928T130000 DTEND;TZID=America/Detroit:20260928T140000 SUMMARY:Fair / Festival:Korea Week | Korean Games & Crafts for Kids DESCRIPTION:Play traditional Korean games and create your own paper charye sang to celebrate Chuseok\, a mid-autumn harvest holiday.\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150765-21910143@events.umich.edu URL:https://events.umich.edu/event/150765 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Ann Arbor,Art,Asian Languages And Cultures,Children,Culture,Family,Free,global,In Person,Library LOCATION:Off Campus Location - 1st Floor Lobby CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T141658 DTSTART;TZID=America/Detroit:20260928T173000 DTEND;TZID=America/Detroit:20260928T193000 SUMMARY:Workshop / Seminar:Korea Week | The Beauty of Hanbok: Discovering Korean Culture Through Traditional and Modern Hanbok DESCRIPTION:Join us to learn about the beauty\, history\, and cultural significance of Korean hanbok\, one of Korea's most treasured cultural traditions. The presentation will discuss the differences in traditional and modern hanbok\, and the colors\, fabrics\, designs\, and symbols featured.\n\nAn introduction will also be given to Korean traditional wedding customs\, including the Paebaek Ceremony\, one of Korea's most meaningful wedding traditions.\n\nPresented by Laura Park\, a fourth-generation hanbok designer with over 36 years of experience\, the program will explore how hanbok has evolved throughout history while preserving its elegance\, symbolism\, and cultural identity.\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150766-21910145@events.umich.edu URL:https://events.umich.edu/event/150766 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Culture,Free,global,In Person,Korea,Korean Studies LOCATION:Off Campus Location - 1st Floor Lobby CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260929T080000 DTEND;TZID=America/Detroit:20260929T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907490@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260929T080000 DTEND;TZID=America/Detroit:20260929T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907726@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260831T105927 DTSTART;TZID=America/Detroit:20260929T120000 DTEND;TZID=America/Detroit:20260929T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | Sea as Medium in Early Modern Chinese Fiction DESCRIPTION:In this talk\, Dr. Kile demonstrates how we might better understand Chinese early modernity through environment and experience\, categories that also open up possibilities of geographical comparison. He analyzes how the sea novels *Sanbao taijian xiyang ji* (*Record of the Sanbao Eunuch in the Western Seas*\, pub. 1597)\, *Haiyou ji* 海遊記 (*Record of a Sea Journey*\, pub. ca. early nineteenth century)\, and *Xiyi meng Xiyi meng Haiguo chunqiu* 希夷夢 海國春秋 (*A Dream of the Master of Infinitesimal Subtlety\, or A Chronicle of the Sea Kingdom*) describe travel by sea – for example\, into a luoji 落漈 (whirlpool)\, or across a ruanshui yang 軟水洋 (“soft water” sea) – and how this fictional practice details and elaborates the perceived and imagined qualities of water. Lu Xun famously described Ming and Qing novels that abounded with super-mobile human characters as “supernatural” fiction (shenmo xiaoshuo 神魔小說). Dr. Kile departs from this foundational paradigm to look more precisely: what terms do these novels use for moving through air\, and how did that relate to water travel? The depths of the seas and the heights of the skies did not function as media for actually existing humans in the early modern period\, but in the fiction of the time\, humans could travel through the sea\, both across its surfaces and through its depths\, as well as through the sky in all its vastness.\n\nSE Kile is a scholar of early modern Chinese literature and cultural history\, focusing on the intersections of multimedia practice across a broad range of cultural objects\, from poetry to props\, from novels to gardens. An associate professor in the Department of Asian Languages and Cultures at the University of Michigan\, Kile’s first book\, *Towers in the Void: Li Yu and Early Modern Chinese Media* (Columbia\, 2023)\, theorizes early modern mediation and entrepreneurship through Li Yu's cultural production across the areas of playwriting\, fiction writing\, garden and architectural design\, theater direction\, and body modification. His current book project argues for the relevance of the “early modern” to the study of China\, exploring how novelists synthesized scientific\, religious\, and vernacular knowledge about the world.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150163-21908308@events.umich.edu URL:https://events.umich.edu/event/150163 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,chinese history,Chinese Studies,Literature LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260929T120000 DTEND;TZID=America/Detroit:20260929T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910134@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260831T133452 DTSTART;TZID=America/Detroit:20260929T163000 DTEND;TZID=America/Detroit:20260929T181500 SUMMARY:Lecture / Discussion:Guerline Jozef | 2026 Wallenberg Medal and Lecture DESCRIPTION:Guerline Jozef\, the co-founder and executive director of the Haitian Bridge Alliance\, will receive the 2026 Wallenberg Medal on Tuesday\, September 29th at 4:30PM in Rackham Auditorium. In keeping with the tradition of the Wallenberg Lecture\, Jozef will draw on her personal experience to share with the audience her understanding of how one person can make a difference.\n\nGuerline M. Jozef\, a servant leader rooted in faith\, is a globally recognized human rights advocate\, thought leader\, and strategist who has worked to transform the conversation on migration\, race\, and justice. Jozef is the executive director of the Haitian Bridge Alliance (HBA)\, a Haitian-American-women-led organization serving immigrants\, with a particular focus on Black immigrants at the US-Mexico border and beyond. With the HBA\, she has built a movement that centers people of African descent in migration while amplifying the voices of the most marginalized. She is the creator of “Tales from the Borderlands and Beyond\,” and co-founder of both the Black Immigrants Bail Fund (BIBF) and the Cameroon Advocacy Network.\n\nHer influence has been recognized nationally and internationally. She was named one of the Washingtonian’s 500 Most Influential People of 2025\, one of Politico’s 40 Most Influential People on Race\, Politics\, and Policy of 2021\, and one of the BBC’s Top 100 Women of 2024. She was honored with the Afro-Caribbean Diaspora IMPACT Award from the Caribbean Philanthropic Alliance (CariPhil)\, the 2021 Robert F. Kennedy Human Rights Award\, the AFL-CIO’s 2024 GMLK Human Rights Award\, the 2024 Haitian Impact Awards\, and the 2023 Midwin Charles Legacy Award from the 1804 Haitian Roundtable. She has been recognized by the Women’s Refugee Commission (Voices of Courage Award\, 2024)\, The Haitian Times (Newsmaker of the Year\, 2022)\, the National Haitian-American Elected Officials Network\, and the American Immigration Lawyers Association’s Arthur C. Helton Human Rights Award among others.\n\nMs. Jozef has been featured in Forbes\, The New York Times\, The Washington Post\, Time Magazine\, The Miami Herald\, The Haitian Times\, Politico\, and DemocracyNow. She has testified before the United Nations\, the United States Congress\, and the Inter-American Commission on Human Rights (IACHR)\, and recently brought her advocacy to the international stage during the IV International Forum of Parlamentarians in Barranquilla\, Colombia. Guerline went to the border for Haitians—but she stayed for everyone seeking safety and protection. \n\n“Guerline Jozef is a powerful advocate for the dignity and rights of migrants who has linked the experience of migration at the US-Mexico border to global human rights movements. She works tirelessly to give voice to the marginalized and to shape a more just future for all\,” said Sioban Harlow\, chair of the Wallenberg Medal Executive Committee and Professor Emerita of Epidemiology\, Obstetrics and Gynecology\, and Global Public Health.\n\nFree and open to the public. Wheelchair and ADA accessible. ASL and CART provided. UID:145865-21897966@events.umich.edu URL:https://events.umich.edu/event/145865 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:human rights,Wallenberg Lecture LOCATION:Rackham Graduate School (Horace H.) - Auditorium CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T142033 DTSTART;TZID=America/Detroit:20260929T180000 DTEND;TZID=America/Detroit:20260929T190000 SUMMARY:Workshop / Seminar:Korea Week | Korean Ink Wash Painting Workshop with Jiyoung Kim When DESCRIPTION:Discover the beauty and philosophy of traditional Korean painting (Hangukhwa) through an engaging demonstration. Jiyoung Kim will introduce the history\, materials\, and artistic principles of Korean painting\, explaining how natural materials such as ink\, brushes\, and traditional paper are used to express harmony with nature.\n\nParticipants will watch two live painting demonstrations—one featuring a traditional Korean painting and another focusing on a simple plum blossom composition that is easy to follow. The plum blossom is a meaningful symbol in Korean art\, representing resilience\, hope\, and the arrival of spring.\n\nJiyoung Kim is an award-winning artist and art instructor who studied painting at Hongik University\, where she is currently working on an MFA. Her work has been on display in many galleries in South Korea\, Los Angeles\, New York and in Michigan.\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150769-21910147@events.umich.edu URL:https://events.umich.edu/event/150769 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,Asian Languages And Cultures,Culture,Free,global,In Person,Korea,Korean Studies LOCATION:Off Campus Location - 1st Floor Lobby CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20260930T080000 DTEND;TZID=America/Detroit:20260930T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907491@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20260930T080000 DTEND;TZID=America/Detroit:20260930T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907727@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20260930T120000 DTEND;TZID=America/Detroit:20260930T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910135@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T142104 DTSTART;TZID=America/Detroit:20260930T180000 DTEND;TZID=America/Detroit:20260930T190000 SUMMARY:Lecture / Discussion:Korea Week | Korean Food: Culture\, Politics\, and Identities DESCRIPTION:Korean food is having a moment–one that's been decades in the making. Dr. Rory Walsh explores what Korean food is\, how it got that way\, and how it's changing under our noses. From Ann Arbor to Seoul\, this talk explores what food has to do with tradition\, identity\, international politics\, ancient history\, family\, self\, and\, of course\, the deceptively complicated concept of authenticity.\n\nRory Walsh has been studying the anthropology of Korea since 2012\, and has eaten her way across the peninsula (and Jeju!). She has written extensively on Korean archaeology and hosts the UM Nam Center for Korean Studies' podcast\, \"Korea in Maize and Blue: How Did You Get Here?\"\, interviewing Korean scholars and other professionals across disciplines.\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150770-21910148@events.umich.edu URL:https://events.umich.edu/event/150770 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Cooking,Culture,Food,Free,In Person,Korea,Korean Studies LOCATION:Off Campus Location - 1st Floor Lobby CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261001T080000 DTEND;TZID=America/Detroit:20261001T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907492@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261001T080000 DTEND;TZID=America/Detroit:20261001T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907728@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260821T130540 DTSTART;TZID=America/Detroit:20261001T120000 DTEND;TZID=America/Detroit:20261001T133000 SUMMARY:Lecture / Discussion:CJS Noon Lecture Series | Living Ainu Art: Community\, Nature\, and Intergenerational Knowledge through Song and Dance DESCRIPTION:Please note: This lecture will be held in person in room 1010\, Weiser Hall\, and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/pg7N9.\n\nThis lecture-performance introduces Ainu culture through the living traditions of art\, song\, and dance. Participants will learn how Ainu art-making is rooted in community\, intergenerational knowledge\, and relationships with the natural world\, offering a perspective that differs from conventional notions of individual artistic practice. The session concludes with an interactive performance\, inviting the audience to experience Ainu culture through shared movement\, music\, and dialogue.\n\nKanako Uzawa is an Ainu multidisciplinary artist\, scholar\, and curator whose work bridges artistic practice\, academic research\, and community engagement. Originally from Japan and based in Norway\, she holds a Ph.D. in community planning and cultural understanding from UiT – The Arctic University of Norway\, where her research explored urban Indigenous identity and contemporary Ainu perspectives. Uzawa works across contemporary dance\, film\, animation\, installation\, and socially engaged art\, and her work has been exhibited and performed internationally. She is currently an invited faculty member at Hokkaido University\, an affiliated researcher at the University of Oslo\, and a guest curator at the University of Michigan Museum of Art and the Józef Piłsudski Museum. Across her research\, exhibitions\, performances\, and collaborations\, Uzawa works to create spaces where Indigenous knowledge\, contemporary art\, and lived experience meet\, fostering dialogue across cultures and generations.\n\nPhoto credit: Susan Dine\n\nThis lecture is co-sponsored by the Department of Dance. To learn more about this department\, please visit https://smtd.umich.edu/department/dance/.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149999-21907796@events.umich.edu URL:https://events.umich.edu/event/149999 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:arts,Asian Languages And Cultures,center for japanese studies,japan,Japanese Studies,Music,Performance LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20261001T120000 DTEND;TZID=America/Detroit:20261001T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910136@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T142135 DTSTART;TZID=America/Detroit:20261001T180000 DTEND;TZID=America/Detroit:20261001T190000 SUMMARY:Workshop / Seminar:Korea Week | Learn About Hangul\, the Korean Alphabet DESCRIPTION:Learn about Hangul (the Korean alphabet) with staff members from the Korean Language Program at the University of Michigan. Then try your hand at writing in Hangul through various activities.\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150771-21910153@events.umich.edu URL:https://events.umich.edu/event/150771 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Free,In Person,Korea,korean cinema,Korean Studies,Language,Languages LOCATION:Off Campus Location - 1st Floor Lobby CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261002T080000 DTEND;TZID=America/Detroit:20261002T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907493@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261002T080000 DTEND;TZID=America/Detroit:20261002T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907729@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20261002T120000 DTEND;TZID=America/Detroit:20261002T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910137@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260831T115454 DTSTART;TZID=America/Detroit:20261002T160000 DTEND;TZID=America/Detroit:20261002T180000 SUMMARY:Lecture / Discussion:CSAS 2026 Kavita Datla Memorial Lecture | Minor Cosmopolitanisms: Islam\, Urdu\, and Secularism in Postcolonial India DESCRIPTION:Attend in person or via Zoom: https://myumi.ch/e73ZQ\n\nThis lecture seeks to build upon Kavita Datla’s work by exploring Urdu as a secular language of Islam. It does so by examining the life and intellectual biography of Syed Abid Husain (1896–1978)\, drawing upon his extensive corpus of works – including translations from German into Urdu\, creative literary writings\, and educational and political activism at Jamia Millia Islamia – to paint a portrait of a nationalist Indian Muslim in colonial and postcolonial India. Moving beyond the framework of nationalist history and adopting a global intellectual history approach\, my lecture aims to expand our geographical and conceptual understanding of ideas by mapping what I call the minor cosmopolitanisms of Husain’s intellectual journeys. I argue that Husain’s engagement with both German majoritarian and minority thought worlds offer valuable insights into the minority not merely as a political category but also as an intellectual and ethical one. Ultimately\, I contend that Husain’s life and writings provide unique insight on both the crises facing democracy and the potential for critical secularism and minority thought in an era dominated by majoritarian nationalism.\n\nDr. Razak Khan is a senior research fellow in global history at the Department of History\, Free University\, Berlin. He is part of the European Research Council funded project “Unfamiliar: Family\, Law\, and Democracy in South Asia.” It looks at the intersection of religion\, gender and sexual minorities\, and family law on the issues of marriage\, adoption\, and inheritance. His monograph *Minority Pasts: Locality\, Emotions\, and Belonging in Rampur* was published by (Oxford University Press\, 2022). He also edited the English translation edition of *The Incomparable Festival* (Penguin Random House India\, 2021) and co-edited *Nodes of Translation: Intellectual History between Modern India and Germany* (De Gruyter\, 2024). His second monograph is an intellectual biography of Syed Abid Husain and will be published by Routledge in 2027.\n\nThe lecture is made possible through the generosity of Dr. Kavita Datla's family and friends.\n\nFree and open to the public\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150690-21909931@events.umich.edu URL:https://events.umich.edu/event/150690 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Center For South Asian Studies,German,History,India,International,Islam,islamic studies,Politics,Religion LOCATION:Michigan Union - Pendleton Room CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T142223 DTSTART;TZID=America/Detroit:20261002T180000 DTEND;TZID=America/Detroit:20261002T193000 SUMMARY:Performance:Korea Week | Traditional Korean Drumming with Sinaboro DESCRIPTION:Learn about samul nori and pungmul nori (traditional Korean drumming) with Sinaboro\, the Korean percussion ensemble at the University of Michigan. We'll learn about the four traditional Korean percussive instruments and listen to a short performance by Sinaboro.\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150772-21910154@events.umich.edu URL:https://events.umich.edu/event/150772 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Concert,Free,In Person,Korea,Korean Studies,Music,Performance LOCATION:Off Campus Location - Lower Level Program Room CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T142253 DTSTART;TZID=America/Detroit:20261003T130000 DTEND;TZID=America/Detroit:20261003T140000 SUMMARY:Lecture / Discussion:Korea Week | Korean Storytime DESCRIPTION:Hear stories told by Eunjae Cheon and sing songs led by Andrea Yun! All activities will be led in Korean. After storytime\, stay for a craft!\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150773-21910156@events.umich.edu URL:https://events.umich.edu/event/150773 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Children,Family,Free,In Person,Kids,Korea,Korean Studies,Music LOCATION:Off Campus Location - Program Room CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20261004T120000 DTEND;TZID=America/Detroit:20261004T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910139@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T142326 DTSTART;TZID=America/Detroit:20261004T130000 DTEND;TZID=America/Detroit:20261004T140000 SUMMARY:Workshop / Seminar:Korea Week | Learn about Gangdong-gu! DESCRIPTION:Learn about AADL's partnership with Gangdong-gu in Seoul while enjoying simple crafts!\n\nThis event is part of Korea Week\, and is held in partnership with the Ann Arbor District Library and the Korean Cultural Center of Washington D.C. For more information\, visit https://myumi.ch/9JJ4g.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150776-21910158@events.umich.edu URL:https://events.umich.edu/event/150776 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,Asian Languages And Cultures,Free,In Person,Korea,Korean Studies LOCATION:Off Campus Location - Program Room CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261005T080000 DTEND;TZID=America/Detroit:20261005T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907496@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261005T080000 DTEND;TZID=America/Detroit:20261005T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907732@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260728T143415 DTSTART;TZID=America/Detroit:20261005T170000 DTEND;TZID=America/Detroit:20261005T183000 SUMMARY:Lecture / Discussion:WCEE Distinguished Lecture. Europe's Coalition of the Willing\, Ukraine\, and the Future of NATO DESCRIPTION:What is Europe’s strategic future as transatlantic ties unravel? What are its options as US priorities and capabilities change over in a world in which the distribution of power is changing rapidly? Europe has to chart its new course beyond the immediate impact of the second Trump presidency.\n\nFrançois Heisbourg is a senior advisor on Europe of the London-based International Institute for Strategic Studies (IISS) and special adviser of the Paris-based Fondation pour la Recherche Stratégique (FRS). He has served in government (French mission to the UN in New York\, policy planning at the Ministry of Foreign Affairs\, international security adviser to the Minister of Defense)\, industry (Thomson-CSF\, today’s Thales\; Matra\, now in Airbus)\, academia (professor of the world politics course at Sciences-Po Paris)\, and the think-tank world (as director of the IISS and subsequently the FRS). He has sat on blue-ribbon bodies\, notably the French government’s White Paper on terrorism (2006) and the Defense and National Security White Papers (under President Sarkozy in 2007-2018 and President Hollande in 2012-2013)\; the International Commission on Nuclear Non-Proliferation and Disarmament\; and the International Commission on the Balkans. He chaired the council of the Geneva Centre for Security Policy (GCSP) from 1998 to 2018\, and of the IISS (2001-2018)\, and was a Richard von Weizsäcker Fellow at the Bosch Academy in Berlin (2015-2017). He dealt with defense and national security issues as part of Emmanuel Macron’s first presidential campaign (2016-17).Since the beginning of 2022\, he has been focusing on French and European military assistance to Ukraine.\n \nIf there is anything we can do to make this event accessible to you\, please contact us at gosiak@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149133-21905804@events.umich.edu URL:https://events.umich.edu/event/149133 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:europe,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261006T080000 DTEND;TZID=America/Detroit:20261006T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907497@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261006T080000 DTEND;TZID=America/Detroit:20261006T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907733@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T143310 DTSTART;TZID=America/Detroit:20261006T120000 DTEND;TZID=America/Detroit:20261006T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | Bad Romance in Southeast Asia: China-Linked Cyber-Scamming\, Variegated Govotolerance\, and the Geopolitics of Criminality along China's Belt and Road DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/7JPzN\n\nThe rise of Chinese-linked criminal actors in Southeast Asia – including cyber scammers running fake online romance schemes for financial extortion – has disrupted traditional narratives of China's Belt and Road Initiative (BRI) infrastructure investment strategy. Counter to the \"romantic\" Silk Road imagery the BRI commonly draws on\, these activities are forcing a reconfiguration of political and economic realities across the region\, shifting attention toward changing practices of digital economy and governance along the BRI. This paper introduces the concept of 'variegated govotolerance' to explain why governments and citizens have (to varying degrees) come to tolerate\, regional cybercriminal activity linked to Chinese actors.\n\nTom Narins is an associate professor of geography\, planning\, and sustainability at the University at Albany with research interests in the critical geopolitics of China's growing engagement with the global economy.\nHis current research examines the political and economic tensions associated with “Global China” in terms of both traditional and digital infrastructure\, with a special focus on China’s digital expansion across the Global South. As a political and economic geographer\, Tom has published on sovereignty issues relating to China's Belt and Road Initiative (BRI) as well as on official Chinese lending to BRI-participant countries after the coronavirus pandemic. His work has been published in peer-reviewed journals such as: *Geopolitics\; Human Geography*\; *Territory\, Politics\, Governance*\; *The Professional Geographer*\; *Asian Perspective\; Area*\; and *The Extractive Industries and Society*.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150164-21908309@events.umich.edu URL:https://events.umich.edu/event/150164 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,center for chinese studies,China,Chinese Studies,Economics,Politics LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20261006T120000 DTEND;TZID=America/Detroit:20261006T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910141@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T082340 DTSTART;TZID=America/Detroit:20261006T180000 DTEND;TZID=America/Detroit:20261006T193000 SUMMARY:Lecture / Discussion:CCPS/Slavic Event. Student Symposium – Experiences in Poland DESCRIPTION:What is it really like to study\, work\, and live in Poland? Come hear firsthand from students who turned the experience into unforgettable memories. From learning Polish at leading universities to completing internships and exploring Polish culture\, our presenters will share the stories\, challenges\, discoveries\, and connections that shaped their journeys. Be inspired\, ask questions\, and discover where your own Poland experience could begin!\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149977-21907697@events.umich.edu URL:https://events.umich.edu/event/149977 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:poland LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261007T080000 DTEND;TZID=America/Detroit:20261007T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907498@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261007T080000 DTEND;TZID=America/Detroit:20261007T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907734@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T094529 DTSTART;TZID=America/Detroit:20261007T120000 DTEND;TZID=America/Detroit:20261007T180000 SUMMARY:Exhibition:Democracy Week | Beacon of Democratic Resilience: Visual Truths and the Legacy of Korea's 5·18 Democratization Movement - A Photographic Archive of the May 1980 People’s Uprising in Korea DESCRIPTION:Link to the official event poster: \nhttps://myumi.ch/kVdVV\n\n*Exhibition Description*\nThis photo exhibition features 90 curated images from the UNESCO-inscribed May 18 Archives. Documenting the May 18–27\, 1980 democratization uprising in Gwangju\, South Korea\, the collection captures the shift from peaceful student protests to military violence and unified citizen resistance\, carried out under a complete blackout as civilians and photojournalists risked their lives to photograph atrocities and smuggle film past cordons. Beyond serving as historical artifacts\, these preserved visual truths offer a living blueprint for popular resilience against authoritarianism\, transforming local trauma into a universal defense of human rights. Displaying these records at Michigan bridges 1980 Gwangju with our present moment\, inviting viewers to engage past resistance in the ongoing effort to defend democracy today.\n\n*Exhibition Composition*\nThe exhibit will be composed of a visual narrative comprised of six chronological sections and two additional special sections:\n\n1. Protest (May 5–16\, 1980): \nFollowing the collapse of Park Chung-hee’s military dictatorship in October\, 1979\, Gwangju students and citizens held peaceful rallies for campus autonomy and the end of martial law. Photos from this era show orderly marches and hopeful faces\, capturing a society on the brink of change before the structural contradictions shifted toward state-led violence. \n\n2. Suppression (May 18–19\, 1980): \nA new junta government led by Chun Doo-hwan extended martial law to the entire country on May 17. Students at Chonnam National University protested against the new junta government’s decision. State violence escalated as paratroopers\, who were deployed to Gwangju\, engaged student protesters. Streets became scenes of brutal beatings and kidnappings. Beyond documenting victims\, the images on display in this section serve as primary historical evidence and legal proof of the military's methods and the sudden transformation of citizens into targets of control. \n\n3. Uprising (May 20–21\, 1980): \nThe movement shifted into a popular struggle. Vehicles lined up in Gwangju’s main thoroughfare\, Geumnam-ro. This massive vehicle parade symbolized the people becoming active subjects of resistance. The military was given the order to use live ammunition against civilians. In reaction\, the city became a space of voluntary mobilization and citizens emerged as historical political actors. \n\n4. Resistance (May 22–26\, 1980): \nWhile isolated and cut off from communications\, Gwangju established an autonomous system of self-governance. Photos in this section testify to the efforts made to establish a sense of order based on solidarity—sharing food and donating blood—rather than chaos. The formation of this \"Daedong (Great Unity) Community\" and the visual documentation thereof serve as foundations of democracy in South Korea. \n\n5. Massacre (May 27\, 1980): \nThe uprising was crushed by a dawn military operation. While the armed resistance ended\, the resulting photographs of the aftermath reveal the stark reality of the massacre. These images became the catalyst for future truth-seeking movements and the pursuit of historical justice in South Korea. \n\n6. Mourning: \nScenes of coffins\, portraits\, and silent vigils represent a collective ethical gaze. During this period\, mourning was more than a display of grief\; it was a communal act used to redefine the city’s identity and establish new moral standards for justice.\n\n7. Special Section A: The Photographers\nThis special section highlights the domestic and international photographers who documented the uprising. This includes Korean journalists alongside US journalists Robin Moyer and Norman Thorpe\, French correspondents Patrick Chauvel and François Lochon\, and German cinematographer Jürgen Hinzpeter. Their images transcend simple reporting\, reflecting a moral commitment to record and a historical duty to ensure remembrance. Rather than viewing these photos solely as evidence\, the exhibition reinterprets them through a lens of photographic history—examining their context\, distribution\, and how they transformed raw records into social truth and collective memory.\n\n8. Special Section B: The Peace Corps: Americans Who Helped Gwangju\nWhen Gwangju was isolated under martial law in May 1980\, four American Peace Corps volunteers—Tim Warnberg\, David Lee Dolinger\, Judi Chamberlin\, and Paul Courtright—refused to leave\, choosing instead to assist the wounded\, aid foreign journalists\, and ultimately expose the truth to the world. Those pivotal ten days reshaped their lives into lifelong commitments to human rights\, inspiring decades of memoirs\, academic writings\, and testimonies. Through photographs\, video footage\, and personal records\, this section traces their journey from eyewitnesses to active defenders of human dignity\, inviting us to reflect on what it truly means to take a stand in the face of another’s suffering. \n\nTwo additional events programmed in conjunction with this photo exhibition\n1. Symposium: \n“For Thee and All the World to See: May 18 Gwangju and the Visual Tenacities of South Korean Democracy”\nhttps://myumi.ch/mVdVJ \n\n2. Third Thursday at the Library: \nDemocracy in Motion: The Advancement of Democracy in Korea and the Students at the Frontline\nhttps://myumi.ch/rwdwn \n\nContent Warning: This exhibition contains historical photographs documenting the 1980 Gwangju Democratization Movement\, including graphic depictions of violence\, state military suppression\, injuries\, and grief. Viewer discretion is advised.\n\nThis exhibit is co-sponsored by the May 18 Archives\, Center for Democracy & Civic Empowerment\, Department of Political Science\, Center for Emerging Democracies\, Donia Human Rights Center\, Asia Library\, and Duderstadt Center.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150763-21910142@events.umich.edu URL:https://events.umich.edu/event/150763 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Activism,Art,Asia,Asian Languages And Cultures,Exhibition,History,Korea,Korean Studies LOCATION:Duderstadt Center CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260831T141646 DTSTART;TZID=America/Detroit:20261007T120000 DTEND;TZID=America/Detroit:20261007T132000 SUMMARY:Livestream / Virtual:CREES Noon Lecture. When Everyday Life Becomes an Event: Mobility in the Georgia-Abkhazia Conflict Zone DESCRIPTION:What does it take to sustain an ordinary life in a place shaped by decades of unresolved conflict and political uncertainty? Drawing on long-term ethnographic research in the de facto Georgia-Abkhazia borderland\, this talk examines how displaced Georgians with constructed lives across an unrecognized but highly militarized border learn to navigate a landscape in which mobility is continually subject to political\, material\, and documentary contingencies. Rather than approaching protracted conflict primarily through rupture\, destruction\, or spectacular violence\, Aydemir-Kundakci focuses on everyday eventfulness: how ordinary journeys to attend a wedding\, shop\, visit family\, or go to a hospital can unexpectedly become consequential—when rising waters turn a familiar river crossing into a life-threatening swim\, a document check evolves into harassment or extortion\, or a passport stamp creates the risk of punishment on the other side.\n\nAydemir-Kundakci develops the concept of manageable eventfulness to describe the practical and anticipatory work through which people seek not necessarily to eliminate such contingencies altogether\, but to keep their consequences within manageable limits. Following these practices across changing border regimes\, landscapes\, documents\, and generations\, she shows how people continually recalibrate their movements and anticipations as they strive for uneventful\, ordinary lives amid prolonged conflict.\n\nDr. Görkem Aydemir-Kundakci is an FWO Postdoctoral Fellow in Anthropology at KU Leuven. Her research examines long-term displacement\, conflict\, mobility\, environmental change\, and precarity in Georgia’s de facto borderland with Abkhazia. She holds a PhD in Anthropology from George Washington University and held a postdoctoral fellowship at the University of Calgary. Her writing has appeared in journals such as the Journal of Refugee Studies\, History and Anthropology\, and Anthropology News. Aydemir-Kundakci’s research has been funded by the National Science Foundation (NSF)\, American Council of Learned Societies (ACLS)\, and Research Foundation Flanders (FWO).\n\nPlease note this event will be held virtually on Zoom. Please register at this link: https://myumi.ch/mVV9g\n\nIf there is anything we can do to make this event accessible to you\, please contact us at CREES@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151245-21911142@events.umich.edu URL:https://events.umich.edu/event/151245 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:central asia LOCATION:Off Campus Location CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260811T163745 DTSTART;TZID=America/Detroit:20261007T163000 DTEND;TZID=America/Detroit:20261007T180000 SUMMARY:Lecture / Discussion:Manoogian Postdoctoral Lecture | Purist Pursuits: Language\, Global Ideas\, and the Creation of Western Armenian in the Ottoman Empire DESCRIPTION:This lecture follows Armenians in the Ottoman Empire through a dramatic linguistic transformation\, the aftershocks of which are still being felt today throughout the Armenian diaspora. It chronicles how and why Armenians in the Ottoman Empire fashioned a new language called Western Armenian in the eighteenth\, nineteenth and early twentieth centuries and explores the evolution of an ever-changing ideology that undergirded all phases of the language's formation: linguistic purism. Manoukian will examine the power of global intellectual movements in crafting new language ideologies in the Ottoman Empire and reimagines what language histories can be for Ottoman-era language communities.\n\nJennifer Manoukian is a historian of language. Her work explores the language practices and ideologies of Armenians in the Ottoman Empire and post-genocide diaspora. She earned her PhD in Near Eastern Languages and Cultures from the University of California\, Los Angeles\; her MA in Middle Eastern\, South Asian and African Studies from Columbia University\; and her BA in French and Middle Eastern Studies from Rutgers University. She is the author of *Purist Pursuits: Language\, Global Ideas\, and the Creation of Western Armenian in the Ottoman Empire* and two book-length literary translations from Western Armenian: *The Gardens of Silihdar by Zabel Yessayan* and* The Candidate by Zareh Vorpouni*. She is also the author of a number of articles and the co-founder of Gesaria Armenian Research and Academic Services. UID:150148-21908292@events.umich.edu URL:https://events.umich.edu/event/150148 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:armenia,Armenian Studies,Discussion,eurasia,history,Lecture LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261008T080000 DTEND;TZID=America/Detroit:20261008T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907499@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261008T080000 DTEND;TZID=America/Detroit:20261008T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907735@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261009T080000 DTEND;TZID=America/Detroit:20261009T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907500@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261009T080000 DTEND;TZID=America/Detroit:20261009T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907736@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260810T164813 DTSTART;TZID=America/Detroit:20261009T120000 DTEND;TZID=America/Detroit:20261009T130000 SUMMARY:Lecture / Discussion:CSEAS Friday Lecture Series | Lee Kuan Yew Goes Global? DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: http://myumi.ch/PbkD4\n\nThere is little that connects the Chinese Communist Party\, British Conservative Party\, Kenyan leadership\, Silicon Valley right-wing\, and elites in post-Soviet states. But they all exhibit an acute fascination with founding Singaporean Prime Minister Lee Kuan Yew\, invoking select strands of his political thought and practice to legitimate their own political projects or imaginaries. Yet\, while interest in Lee outside of Singapore is consistently growing\, within Singaporean society there is a growing sense of exhaustion and indifference in appealing to his figure – especially when it is perceived as a cynical means to derive political profit for his long-ruling People’s Action Party (PAP). Using this observation as a launching pad\, this lecture explores the contradictions of Lee’s legacy and develops rudiments to pursue a global history of Lee Kuan Yew\, bringing his international reception and footprints within a single frame. This entails treating Lee as a global figure of world-historical importance\, situating his political thought\, movements\, and interventions within global trends and networks. While this global approach magnifies Lee’s stature\, it also amplifies the less comfortable aspects of his legacy: his “original sin” is no longer the detention without trial\, but his role in legitimizing the bloody Vietnam War. A global history of Lee thereby presents intensified contradictions to grapple with.\n\nQuah Say Jye is a Klarman Postdoctoral Fellow at Cornell University. He is a political theorist of postcolonial modernity\, with a focus on Southeast Asia. His writing is forthcoming or can be found at the *American Journal of Political Science*\, *Review of International Studies*\, *Journal of Contemporary Asia*\, *Critical Asian Studies*\, *International Affairs*\, and *Perspectives on Politics*. For more\, see https://quahsayjye.wordpress.com/about/.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150078-21907988@events.umich.edu URL:https://events.umich.edu/event/150078 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,center for southeast asian studies,international policy,Politics,Southeast Asia LOCATION:Weiser Hall - Room 110 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261012T080000 DTEND;TZID=America/Detroit:20261012T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907503@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261012T080000 DTEND;TZID=America/Detroit:20261012T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907739@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260901T095156 DTSTART;TZID=America/Detroit:20261012T080000 DTEND;TZID=America/Detroit:20261012T170000 SUMMARY:Conference / Symposium:Africa Conference | Shifting Tides: The U.S.-Africa Relationship Amid Global Competition DESCRIPTION:“Shifting Tides: The U.S.-Africa Relationship Amid Global Competition” is a two-day conference examining how African states\, regional institutions\, and global powers are navigating rapidly evolving geopolitical\, economic\, and legal landscapes. Bringing together scholars\, policymakers\, legal experts\, investors\, and diplomats\, the conference will explore African perspectives on global governance reform\, climate and innovation challenges\, great power competition\, peace and security\, and emerging economic growth trajectories—including trade integration\, industrial policy\, and Africa-to-Africa investment. With a blend of legal and policy perspectives across five thematic panels\, the conference seeks to analyze the strategic choices facing African governments\, assess implications for U.S. diplomatic and economic engagement\, and highlight the African Union’s growing influence in global diplomacy\, trade\, and law. Through a private expert roundtable and public panel discussions\, the conference will foster critical dialogue and produce actionable policy recommendations aimed at strengthening U.S.–Africa engagement in a more multipolar and economically dynamic world.\n\nSpeakers:\n+Hajer Gueldich\, African Union and University of Carthage+\n+Ebenezer Obadare\, Council on Foreign Relations+\n+Susan D. Page\, University of Michigan+\n+Boubacar Bocoum\, World Bank+\n+Eghosa Ekhator\, University of Derby+\n+Olanrewaju Suraju\, HEDA Resource Centre+\n+Bilal Butt\, University of Michigan+\n+Benedito Machava\, Yale University+\n+Kamissa Camara\, University of Michigan+\n+Shakirah Hudani\, University of North Carolina at Chapel Hill+\n+Omotade Akin Aina\, Carnegie Corporation of New York+\n+Murithi Mutiga\, International Crisis Group+\n+Chidi Blyden\, Culturally Bound and Georgetown University+\n+Olufunmilayo Arewa\, George Mason University+\n+Anita Plummer\, Howard University+\n+Laura Beny\, University of Michigan+\n\nPlease RSVP: https://docs.google.com/forms/d/e/1FAIpQLSd_7vqvXpfabMWFssspB47cq0UNdRcVGnm7TjujLNy43lXLHw/viewform UID:150688-21909914@events.umich.edu URL:https://events.umich.edu/event/150688 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:African Studies,African Studies Center,Conference,Global Affairs LOCATION:Weiser Hall - 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261013T080000 DTEND;TZID=America/Detroit:20261013T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907504@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261013T080000 DTEND;TZID=America/Detroit:20261013T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907740@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260901T095156 DTSTART;TZID=America/Detroit:20261013T080000 DTEND;TZID=America/Detroit:20261013T170000 SUMMARY:Conference / Symposium:Africa Conference | Shifting Tides: The U.S.-Africa Relationship Amid Global Competition DESCRIPTION:“Shifting Tides: The U.S.-Africa Relationship Amid Global Competition” is a two-day conference examining how African states\, regional institutions\, and global powers are navigating rapidly evolving geopolitical\, economic\, and legal landscapes. Bringing together scholars\, policymakers\, legal experts\, investors\, and diplomats\, the conference will explore African perspectives on global governance reform\, climate and innovation challenges\, great power competition\, peace and security\, and emerging economic growth trajectories—including trade integration\, industrial policy\, and Africa-to-Africa investment. With a blend of legal and policy perspectives across five thematic panels\, the conference seeks to analyze the strategic choices facing African governments\, assess implications for U.S. diplomatic and economic engagement\, and highlight the African Union’s growing influence in global diplomacy\, trade\, and law. Through a private expert roundtable and public panel discussions\, the conference will foster critical dialogue and produce actionable policy recommendations aimed at strengthening U.S.–Africa engagement in a more multipolar and economically dynamic world.\n\nSpeakers:\n+Hajer Gueldich\, African Union and University of Carthage+\n+Ebenezer Obadare\, Council on Foreign Relations+\n+Susan D. Page\, University of Michigan+\n+Boubacar Bocoum\, World Bank+\n+Eghosa Ekhator\, University of Derby+\n+Olanrewaju Suraju\, HEDA Resource Centre+\n+Bilal Butt\, University of Michigan+\n+Benedito Machava\, Yale University+\n+Kamissa Camara\, University of Michigan+\n+Shakirah Hudani\, University of North Carolina at Chapel Hill+\n+Omotade Akin Aina\, Carnegie Corporation of New York+\n+Murithi Mutiga\, International Crisis Group+\n+Chidi Blyden\, Culturally Bound and Georgetown University+\n+Olufunmilayo Arewa\, George Mason University+\n+Anita Plummer\, Howard University+\n+Laura Beny\, University of Michigan+\n\nPlease RSVP: https://docs.google.com/forms/d/e/1FAIpQLSd_7vqvXpfabMWFssspB47cq0UNdRcVGnm7TjujLNy43lXLHw/viewform UID:150688-21909915@events.umich.edu URL:https://events.umich.edu/event/150688 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:African Studies,African Studies Center,Conference,Global Affairs LOCATION:Weiser Hall - 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T101202 DTSTART;TZID=America/Detroit:20261013T120000 DTEND;TZID=America/Detroit:20261013T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | Haunted Modernities: Gender\, Memory\, and Place-Making in Postindustrial Taiwan DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/VDGR3\n\nThis talk interrogates the nature of shared expressions of history\, sentiments\, and memory as it investigates the role of women workers in the shifting public narrative surrounding the Memorial Park for Women Laborers in Kaohsiung\, Taiwan. As a heritage site\, the Memorial Park for Women Laborers elucidates how “history” and “memory” are not simply about the past but part of a forward-looking process that emerges from the social\, political\, and economic needs of the present\, legitimized and validated through its associations with the past.\n\nA cultural anthropologist\, Anru Lee's research focuses on the Asian Pacific region and issues of capitalism\, modernity\, gender and sexuality\, and urban anthropology. She is the author of *In the Name of Harmony and Prosperity: Labor and Gender Politics in Taiwan's Economic Restructuring* and *Haunted Modernities: Gender\, Memory\, and Placemaking in Postindustrial Taiwan* and is co-editor of *Women in the New Taiwan: Gender Roles and Gender Consciousness in a Changing Society*\, *Why Taiwan? Anthropological Perspectives*\, and *Brill Encyclopedia of Taiwan Studies* (The Gender and Women's Studies Section). She is currently working on a book manuscript that investigates mass rapid transit systems as related to issues of technology\, governance\, and citizenship. She is professor of anthropology at the City University of New York.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150166-21908311@events.umich.edu URL:https://events.umich.edu/event/150166 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Anthropology,Asian Languages And Cultures,China,Chinese Studies,Gender,Politics,taiwan,Women's Studies LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260825T102647 DTSTART;TZID=America/Detroit:20261013T160000 DTEND;TZID=America/Detroit:20261013T173000 SUMMARY:Film Screening:WCEE Film Screening. (Un)known Holocaust DESCRIPTION:This documentary explores the history of World War II and the Holocaust in Ukraine.While rooted in a regional perspective\, the film addresses a much broader phenomenon of mass violence and its legacy.\n\n2026\, Ukrainian with English subtitles.\n\nDirected by Les Kasyanov and Yurii Kaparulin\, U-M Wallnberg Fellow and former WCEE Ukrainian Fellow.\nScreening time: 42 minutes.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at gosiak@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150869-21910343@events.umich.edu URL:https://events.umich.edu/event/150869 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Film,Poland LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261014T080000 DTEND;TZID=America/Detroit:20261014T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907505@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261014T080000 DTEND;TZID=America/Detroit:20261014T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907741@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260821T164441 DTSTART;TZID=America/Detroit:20261014T100000 DTEND;TZID=America/Detroit:20261014T170000 SUMMARY:Conference / Symposium:CMENAS 65th Anniversary: Celebrate the Legacy\, Scholarship\, & Future of Mena Studies DESCRIPTION:10:30–11: Arrival & Registration\n\n11:00–11:10: Director Welcome Remarks by CMENAS Director Jay Crisostomo\, George G. Cameron Professor of Ancient Near Eastern Civilization and Languages+\n\n11:15–12:30: Building CMENAS: Foundations & Transformations\, Former Directors Panel \n\n1:30 – 2:45: CMENAS in Practice: Careers & Impact featuring CMENAS Alumni\, Language Lecturers\, and K–12 Educators\n\n2:50– 2:55: Keynote Introductions\n\n3:00–4:30: Keynote by Aaron David Miller\, Senior Fellow\, Carnegie Endowment for International Peace\n\n4:30–4:40 PM: Closing Remarks\n\nAbout the Keynote Speaker:\nAaron David Miller is a senior fellow at the Carnegie Endowment for International Peace\, focusing on U.S. foreign policy. He has written five books\, including his most recent\, The End of Greatness: Why America Can’t Have (and Doesn’t Want) Another Great President (Palgrave\, 2014) and The Much Too Promised Land: America’s Elusive Search for Arab-Israeli Peace (Bantam\, 2008)\, and hosts Carnegie Connects\, Carnegie’s premier live podcast. He received his PhD in Middle East and U.S. diplomatic history from the University of Michigan in 1977. Miller hosts Carnegie Connects\, Carnegie’s premier live podcast.\n\nMiller’s articles have appeared in the *New York Times*\, *Washington Post*\, *Politico*\, *Foreign Policy Magazine*\, and *Foreign Affairs Magazine*. He is a frequent commentator on CNN\, MSNBC\, NPR\, BBC\, and SiriusXM Radio.\n\nJoin on Zoom: https://myumi.ch/E78M6 UID:150692-21909932@events.umich.edu URL:https://events.umich.edu/event/150692 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Area Studies,center for middle eastern and north african studies,cmenas,Conference,Middle East Studies LOCATION:Michigan League - Vandenberg Room (2nd Floor) CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261015T080000 DTEND;TZID=America/Detroit:20261015T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907506@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261015T080000 DTEND;TZID=America/Detroit:20261015T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907742@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260821T130734 DTSTART;TZID=America/Detroit:20261015T120000 DTEND;TZID=America/Detroit:20261015T133000 SUMMARY:Lecture / Discussion:CJS Noon Lecture Series | A History of Unowned Dance: Bodies in Transmission DESCRIPTION:Please note: This lecture will be held in person in East Hall 4448. We recommend entering East Hall using the Church Street entrance and taking the elevator to the 4th floor. This event is in-person only and will not be livestreamed or recorded.\n\nThis lecture examines how dance is transformed through embodied transmission rather than preserved as a fixed tradition. Drawing on more than three decades of artistic practice between New York and Japan\, Yasuko Yokoshi reflects on how choreography\, Nihon Buyo\, and Noh have continually reshaped her body and artistic practice. Through performance examples and the ongoing dojojiproject\, the lecture considers transformation not as the opposite of the archive\, but as the very condition through which dance survives.\n\nYasuko Yokoshi is a choreographer and dancer whose work explores embodied transmission\, dance lineage\, and the unstable nature of dance as a living archive. Based in New York from 1996 to 2015\, she received two New York Dance and Performance “Bessie” Awards (2003\, 2006)\, a Guggenheim Fellowship\, a NYFA Artist Fellowship\, support from Creative Capital\, and a Foundation for Contemporary Arts Award. Her works have been presented internationally\, often engaging the space between contemporary dance and Japanese traditional performing arts.\n\nThis lecture is co-sponsored by the Department of Dance. To learn more about this department\, please visit https://smtd.umich.edu/department/dance/.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150001-21907799@events.umich.edu URL:https://events.umich.edu/event/150001 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:arts,Asian Languages And Cultures,center for japanese studies,Dance,japan,Japanese Studies,Performance LOCATION:East Hall - Room 4448 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261016T080000 DTEND;TZID=America/Detroit:20261016T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907507@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261016T080000 DTEND;TZID=America/Detroit:20261016T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907743@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261019T080000 DTEND;TZID=America/Detroit:20261019T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907510@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261019T080000 DTEND;TZID=America/Detroit:20261019T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907746@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261020T080000 DTEND;TZID=America/Detroit:20261020T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907511@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261020T080000 DTEND;TZID=America/Detroit:20261020T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907747@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261021T080000 DTEND;TZID=America/Detroit:20261021T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907512@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261021T080000 DTEND;TZID=America/Detroit:20261021T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907748@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261022T080000 DTEND;TZID=America/Detroit:20261022T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907513@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261022T080000 DTEND;TZID=America/Detroit:20261022T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907749@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261023T080000 DTEND;TZID=America/Detroit:20261023T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907514@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261023T080000 DTEND;TZID=America/Detroit:20261023T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907750@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261026T080000 DTEND;TZID=America/Detroit:20261026T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907517@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261026T080000 DTEND;TZID=America/Detroit:20261026T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907753@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261027T080000 DTEND;TZID=America/Detroit:20261027T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907518@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261027T080000 DTEND;TZID=America/Detroit:20261027T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907754@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T104000 DTSTART;TZID=America/Detroit:20261027T120000 DTEND;TZID=America/Detroit:20261027T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | Metricracy: The Data and Symbolic Politics of a Chinese Social Credit System DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/kVZXk\n\nBased on fieldwork inside one of China's most celebrated social credit systems\, this talk shows what actually happens when a state tries to score the moral lives of its citizens. Far from the all-seeing surveillance machine\, the system runs on data that are selectively collected and routinely fabricated—and even then\, the state struggles to make the score mean anything\, facing constant contestation and reinterpretation. This notorious system\, Dr. Liu will suggest\, is less an authoritarian anomaly than a sharp lens on the contradictions of governing by numbers anywhere.\n\nChuncheng Liu is a sociologist of knowledge and technology who studies the politics of data and classification. An assistant professor of communication and sociology at Northeastern University\, he earned his Ph.D. in sociology and science studies at the University of California\, San Diego\, and was a postdoctoral researcher at Microsoft Research New England. His current research examines the politics of sociotechnical systems that surveil and classify citizens. His work has appeared in journals including *Big Data & Society*\; *Information\, Communication & Society*\; *Social Science & Medicine*\; and *Science\, Technology & Human Values*\, and has been featured in outlets such as The Guardian\, Bloomberg\, and Rest of World. UID:150169-21908314@events.umich.edu URL:https://events.umich.edu/event/150169 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,chinese,Chinese Studies,Data,Politics,Sociology LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261028T080000 DTEND;TZID=America/Detroit:20261028T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907519@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261028T080000 DTEND;TZID=America/Detroit:20261028T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907755@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260901T102705 DTSTART;TZID=America/Detroit:20261028T140000 DTEND;TZID=America/Detroit:20261028T160000 SUMMARY:Lecture / Discussion:CMENAS 2026 Fall Colloquium Series | Chokepoints: Temporalities of Navigation in the Red Sea DESCRIPTION:The story of shipping and of global trade is often narrated as one of ever-increasing efficiency and speed\, of transitions from sail to steam to cargo and futures of automation—of making straight lines. But\, for as long as there has been trade (and ships) there have been delays and interruptions—rerouters and rerouting. I argue that disruptions and moments when things appear to be stuck or rerouted are neither aberrations nor failures. Rerouting\, far from being an exception\, is both the norm and\, at times\, such as this contemporary moment of wars\, sanctions\, and tariffs\, is a condition desired by many as a mode of profit and possibility.\n\nTo showcase the productive possibilities of rerouting\, I focus on one sea route—the Bab-el-Mandeb\, a key chokepoint for global trade connecting Europe to Asia and the Red Sea to the Indian Ocean. In 2023\, in response to Houthi attacks on merchant ships\, this shipping route briefly disappeared\, as cargo ships were rerouted through the Cape of Good Hope. I tell this story of this rerouting and its consequences both ephemeral and long-lasting from the perspective of a mobile set of actors in the Red Sea. Locating them within longer histories and wider geographies\, I argue for the centrality of interruptions within our understandings of circulation and crossings in the Indian Ocean and beyond.\n\nJatin Dua is an associate professor of anthropology at the University of Michigan (U-M). He also directs the Oceans Lab at U-M\, dedicated to collaborative and multimodal ways of engaging oceans as anthropological interlocutors. His research explores maritime mobility\, and its perils and possibilities\, in the Indian Ocean\, focusing on processes and projects of governance\, law\, and economy. His book\, *Captured at Sea: Piracy and Protection in the Indian Ocean\, published with the University of California Press* (December 2019) [winner of the 2020 Elliot P. Skinner Book Award\; shortlisted for the 2024 Monsoon Book Prize and translated into Italian and Greek] is a multi-sited ethnographic and archival engagement with Somali piracy and contestations over legitimate and illegitimate commerce in the Western Indian Ocean. In addition\, he has published several articles on maritime anthropology\, captivity\, political economy\, and sovereignty in *Public Culture*\, *American Ethnologist*\, *Cultural Anthropology\,* *Ethnos*\, *Annual Review of Anthropology*\, *History and Anthropology* and *Comparative Studies in Society and History*. He is currently the editor-in-chief of *Comparative Studies in Society and History*.\n\nRSVP: https://myumi.ch/PbbAb\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: warsansa@umich.edu UID:151293-21911330@events.umich.edu URL:https://events.umich.edu/event/151293 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:center for middle eastern and north african studies,Cmenas Colloquium Series,Discussion,Global Affairs,History,Lecture,Middle East Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261029T080000 DTEND;TZID=America/Detroit:20261029T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907520@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261029T080000 DTEND;TZID=America/Detroit:20261029T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907756@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261030T080000 DTEND;TZID=America/Detroit:20261030T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907521@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T081915 DTSTART;TZID=America/Detroit:20261030T080000 DTEND;TZID=America/Detroit:20261030T170000 SUMMARY:Exhibition:CCPS Photo Exhibition. This is the Place DESCRIPTION:There are nearly one million refugees currently living in Poland. While the vast majority arrived from Ukraine\, Poland has also welcomed forcibly displaced people from Central Asia\, Latin America\, Africa\, and the Middle East. While refugees may be different\, they all search for a place that reminds them of home.\nIn *This Is The Place*\, a project supported by the UN Refugee Agency (UNHCR)\, Anna Liminowicz asked refugees to show what\, in Poland\, reminds them of their home. These portraits and the personalized confessions her subjects handwrote in their native languages tell poignant stories about safety and hope.\nAnna Liminowicz is an award-winning photographer and reportage journalist based in Warsaw\, Poland. A frequent contributor to the *The New York Times*\, *The Guardian*\, *The Wall Street Journal*\, *The Washington Post*\, *El Pais*\, *Der Spiegel* and UNHCR\, Liminowicz divides her time between assignments and long-term personal projects\, mainly focusing on social issues like identity and loss\, and what uplifts her subjects. She has covered the war in Ukraine and Ukrainian refugees in Poland since the start of Russia's full-scale invasion\, and received the 2022 Grand Press Photo Award for her project “Too Precious to Leave Behind”.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149978-21907757@events.umich.edu URL:https://events.umich.edu/event/149978 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:russia,Ukraine LOCATION:Weiser Hall - Room 547 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140059 DTSTART;TZID=America/Detroit:20261030T160000 DTEND;TZID=America/Detroit:20261030T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | Beyond the Seas Blue DESCRIPTION:In this lecture\, Kazmi will discuss *Beyond the Seas Blue* alongside earlier projects that connect contemporary technologies to histories of science\, material transformation\, and knowledge production in the Middle East and South Asia.\n\nAsma Kazmi is an interdisciplinary artist whose work explores the relationships among art\, technology\, history\, and power. Through installations\, video\, sculpture\, virtual environments\, and collaborative research\, she examines how contemporary technologies emerge from longer histories of science\, extraction\, trade\, and knowledge production. Her work centers connections between the Middle East\, South Asia\, and the West\, often using archives\, material culture\, and speculative storytelling. Her newest project\, *Beyond the Seas Blue*\, traces lapis lazuli from the mines of Badakhshan through histories of pigment making\, museums\, colonial collecting\, and digital infrastructure. Kazmi is associate professor of art practice at the University of California\, Berkeley\, and teaches at the Berkeley Center for New Media.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151092-21910859@events.umich.edu URL:https://events.umich.edu/event/151092 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,Asian Languages And Cultures,Center For South Asian Studies,History,history of art,South Asia,South Asian Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261102T080000 DTEND;TZID=America/Detroit:20261102T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907524@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260824T163746 DTSTART;TZID=America/Detroit:20261102T170000 DTEND;TZID=America/Detroit:20261102T183000 SUMMARY:Lecture / Discussion:Teresa Poggi Lecture on Italy and the Mediterranean World. “Signor Presidente:\" Giorgia Meloni and the Italian Laboratory DESCRIPTION:In 2022\, Prime Minister Giorgia Meloni became the first far-right leader of Italy since Fascism and the first woman to ever lead the country. Four years later\, Meloni has proven resilient\, despite challenging economic indicators and after losing a referendum to limit the independence of the judiciary. A skillful politician\, Meloni has deftly navigated between Italy’s commitments to the European Union and the country’s longtime strategic alliance with the United States\, even as the Trump Administration has pushed to scale back NATO in Europe\, causing confusion and distress in Europe’s halls of power.\n\n From Fascism to the personality-driven phenomenon of Silvio Berlusconi to the anti-system Five Star Movement\, Italy has always been a political laboratory\, a harbinger of political trends to come. With this lens\, what larger lessons can we draw from Meloni’s leadership about the direction of Italy and Europe? Has Meloni normalized the far right or transformed it into a mainstream conservative movement? What are her most concrete accomplishments? As a study in power\, what do we make of this small\, blonde\, fierce woman who insists on using the masculine form of address\, “Signor Presidente”?\n \nThe annual Teresa Poggi Lecture on Italy and the Mediterranean World focuses on contemporary and historical issues related to the region. It is made possible by a generous gift from Stephanie and Sue Augustyniak in honor of their mother.\n \nRachel Donadio is a Paris-based writer\, a contributing writer for *The Atlantic*\, and a former Rome Bureau Chief and European Culture Correspondent for *The New York Times*. She regularly publishes textured profiles and features at the intersection of culture and politics\, as well as literary criticism\, and is a frequent contributor to *The New York Review of Books*. Donadio has reported from more than two dozen countries and interviewed heads of state and major cultural figures\, including four Nobel Laureates in literature.\n \nIn her many years covering Italy\, she has written on Giorgia Meloni’s culture wars\, Curzio Malaparte\, Nicola Gratteri when he was a leading Italian anti-Mafia prosecutor\, former Prime Minister Silvio Berlusconi\, Gina Lollobrigida\, Paolo Sorrentino\, a rare book theft in Naples\, why Italians gesticulate\, Amalfi lemons\, a family of centenarians in Sardinia\, a Bangladeshi Cricket league in Rome\, and the first non-Italian director of the Uffizi. She has also covered the Vatican and led *The New York Times* coverage of the conclave in which Pope Francis was elected.\n \nIf there is anything we can do to make this event accessible to you\, please contact gosiak@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149056-21905367@events.umich.edu URL:https://events.umich.edu/event/149056 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Europe,italian,Italian Studies,Politics LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261103T080000 DTEND;TZID=America/Detroit:20261103T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907525@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T143401 DTSTART;TZID=America/Detroit:20261103T120000 DTEND;TZID=America/Detroit:20261103T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | From a 'Ton of Steel' to 'Another Province Overseas': Foreign and Diaspora Tourism to Mao-Era China DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/gk19J\n\nIn the early years of the People’s Republic of China\, state tourism officials saw sightseeing as a form of public diplomacy\, but noted also that they could earn as much from hosting just one Soviet tourist as they could from exporting a ton of steel. At the same time\, the vast majority of visitors to China during the Mao years came from China’s diaspora\, which officials referred to as “another province overseas” that could contribute to the economic and political foundations of the new nation. This talk will examine the challenges faced by China’s state tourism officials in promoting foreign and diaspora tourism as a form of public diplomacy and economic development from the founding of the PRC to the Cultural Revolution.\n\nGavin Healy is a center associate of the Lieberthal-Rogel Center for Chinese Studies at the University of Michigan and has taught Chinese history at Columbia University and the State University of New York. He is the author of *A Guide to Mao’s China: Showing the Nation to Foreign Guests* (Cornell University Press\, 2026). His work appears in *20th Century China*\, *Modern China*\, and the *Journal of Contemporary History*. UID:150172-21908317@events.umich.edu URL:https://events.umich.edu/event/150172 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,chinese history,Chinese Studies,Travel LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261104T080000 DTEND;TZID=America/Detroit:20261104T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907526@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260826T083727 DTSTART;TZID=America/Detroit:20261104T120000 DTEND;TZID=America/Detroit:20261104T133000 SUMMARY:Lecture / Discussion:Pious Politics: Cultural Foundations of the Islamist Movement in Turkey DESCRIPTION:What explains the rise and resilience of the Islamist movement in Turkey? Since its founding in 1923\, the Turkish republic has periodically reined in Islamist actors. Secular laws denied legitimacy to religious ideas\, publications\, and civic organizations\, while military coups jailed or banned Islamist party leaders from politics. Despite such adversity\, Islamists won an unprecedented victory at the 2002 national elections and have continued to rule since. 'Pious Politics' explains how Islamists succeeded by developing a popular\, well-organized movement over decades that rallied the masses and built vigorous political parties. But an equally formative-if not more significant-factor was the cultural groundwork Islamists laid through a remarkably robust model of mobilization. Drawing on two years of ethnographic and archival research in Turkey\, Zeynep Ozgen explores how social movements leverage cultural production to create sociopolitical change.\n\nWebinar Link: https://umich.zoom.us/webinar/register/WN_oQqwZXShTuWSZaHhojrtGg\n\nIf there is anything we can do to make this event accessible to you\, please contact us at emergingdemocracies@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150927-21910454@events.umich.edu URL:https://events.umich.edu/event/150927 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:democracy,Turkey LOCATION: CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261105T080000 DTEND;TZID=America/Detroit:20261105T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907527@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260807T152312 DTSTART;TZID=America/Detroit:20261105T120000 DTEND;TZID=America/Detroit:20261105T133000 SUMMARY:Lecture / Discussion:CJS Noon Lecture Series | Nourishing Life: Cultures of Food and Health in Early Modern Japan DESCRIPTION:Please note: This lecture will be held in person in room 1010\, Weiser Hall\, and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/ykpz2\n\nCan food determine your fate? Could indulging in delicacies bring calamity to your community? This talk reevaluates the history of Japanese food culture by examining how ideas of healthy eating became both a popular phenomenon and a matter of grave concern among trained medical experts and amateur culinary enthusiasts alike. It explores why ordinary people ate what they did\, how these ideas on proper eating came to be\, and what social\, economic\, and moral concerns propelled their rise. Guidance on dietetics conveyed priorities about how well-nourished bodies were meant to act in the world\, whether as agricultural workers\, samurai bureaucrats\, or merchant consumers. Failure to keep a proper diet carried life-or-death consequences\, according to these guides\, that could bring not just disease to oneself but financial and moral ruin to one’s household\, domain\, or even society at large. This study of historical nourishment modes in Japan thus reveals an early modern dietetic revolution in the making\, which disrupted older forms of expertise and provided a venue to critique official policies on eating and living right before the introduction of modern scientific nutrition.\n\nJoshua Schlachet is a historian of Japan\, specializing in the cultural history of nourishment in the eighteenth and nineteenth centuries. His new book\, *Nourishing Life: Cultures of Food and Health in Early Modern Japan* (University of Hawaiʻi Press\, 2026)\, examines how the emergence of a dietary common knowledge expanded concepts of a well-nourished body to encompass economic productivity\, status hierarchy\, and moral cultivation. Schlachet is co-editor of *Interdisciplinary Edo: Towards an Integrated Approach to Early Modern Japan* (Routledge\, 2024)\, a collected volume of innovative humanistic research on society and culture in the Tokugawa era. He received his Ph.D. in East Asian languages and cultures from Columbia University in 2018 and is a proud graduate of the University of Michigan's Center for Japanese Studies.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150002-21907801@events.umich.edu URL:https://events.umich.edu/event/150002 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asia,Asian Languages And Cultures,center for japanese studies,Food,History,japan,Japanese Studies LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261106T080000 DTEND;TZID=America/Detroit:20261106T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907528@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261109T080000 DTEND;TZID=America/Detroit:20261109T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907531@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261110T080000 DTEND;TZID=America/Detroit:20261110T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907532@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T142448 DTSTART;TZID=America/Detroit:20261110T120000 DTEND;TZID=America/Detroit:20261110T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | The Sacred Edict as Hate Speech: Griffith John\, the Hunan Riots\, and Qing imperial ideology DESCRIPTION:In the 1890s\, a series of anti-missionary riots swept through Hunan province. While the disturbances were promptly quelled and the instigators brought to justice\, missionaries found themselves in heated debates about the origins of the riots. One of them was Welshman Griffith John who singled out the Sacred Edict as one root cause of anti-Christian sentiment and argued for its amendment. This talk examines the context behind the debate and what it can tell us about endurance of and contradictions within imperial ideology in late imperial China.\n\nPär Cassel is an associate professor of modern Chinese history at the University of Michigan. He is strongly committed to multi-lingual and multi-archival research and is especially interested in historical problems where international relations\, jurisprudence\, institutional history\, and linguistics intersect. He is currently working on a book length project about the Sacred Edict. UID:150196-21908382@events.umich.edu URL:https://events.umich.edu/event/150196 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,chinese history,Chinese Studies,History,Imperialism LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260901T092147 DTSTART;TZID=America/Detroit:20261110T173000 DTEND;TZID=America/Detroit:20261110T190000 SUMMARY:Lecture / Discussion:CREES Annual Borka Tomljenović Lecture. Reading through the Double Archival Grain: Yugoslav Socialist Humanitarianism and its Whiteness DESCRIPTION:For the 2026 Annual Borka Tomljenović Lecture\, Professor Čarna Brković will consider different forms of affective engagement with humanitarian activities in socialist Yugoslavia\, including irony and nostalgia. Ironic engagement assumes that Yugoslav solidarity with formerly colonized populations during the Cold War was empty rhetoric\, driven by a pragmatic desire to establish the country as a significant player on the geopolitical stage. Nostalgic engagement\, by contrast\, is shaped by the belief that Yugoslavs were motivated by an honest ideological commitment to solidarity and anti-racism that ultimately placed them on the “right side” of history. Both ironic and nostalgic engagements with socialist humanitarianism evaluate the past through contemporary ideas about solidarity\, socialism\, capitalism\, and their interrelations.\n\nTo understand socialist humanitarianism on its own terms\, Brković proposes reading it through the double grain of state socialism and the end of history. Such an analytical approach illuminates the role of racial socialism—socialist ideologies of “race” and local racial projects—and its interactions with global racial hierarchies\, showing how these ideologies were shaped by particular value constellations.\n\nBy discussing a 1961 humanitarian initiative of the Yugoslav Red Cross that brought sixty children and young people from the Congo to Tivat\, Montenegro\, this talk sheds light on the workings of socialist whiteness. This was not a colourist project but rather a normative regime of political value with two key characteristics: it ascribed superiority to Yugoslavs on the basis of their greater socialist experience\, and it overlooked present problems in favour of a future in which “race” would no longer matter.\n\nČarna Brković is professor of cultural studies and European ethnology at the University of Mainz. Dr. Brković has a PhD in Social Anthropology from the University of Manchester and a BA in Ethnology and Anthropology from the University of Belgrade. In her European Research Council (ERC) Consolidator Grant “Racial Socialism” (2026-2031) as well as in her book Realigning Humanitarianism in the Balkans: From Cold War Politics to Neoliberal Ethics (Indiana University Press\, 2026)\, she studies historical projects of integrating the world differently\, such as socialist humanitarianism and Europeanization.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at CREES@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151290-21911323@events.umich.edu URL:https://events.umich.edu/event/151290 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:eastern europe,yugoslavia LOCATION:Michigan League - Vandenberg Room (2nd floor) CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261111T080000 DTEND;TZID=America/Detroit:20261111T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907533@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260816T221446 DTSTART;TZID=America/Detroit:20261111T140000 DTEND;TZID=America/Detroit:20261111T160000 SUMMARY:Lecture / Discussion:CMENAS 2026 Fall Colloquium Series | Western Sahara: Multi-scalar Struggles\, Recognition and Change in a Thawing Conflict DESCRIPTION:Irene Fernández-Molina is a senior lecturer in International Relations at the University of Exeter. She is a scholar of international relations of the Global South and across the Euro-Mediterranean space\, contested statehood and international recognition politics\, and foreign policy and conflicts in the Maghreb. She previously worked as a research fellow at the European Neighbourhood Policy Chair of the College of Europe (Warsaw)\, Schuman fellow at the Directorate-General for External Policies of the European Parliament (Brussels)\, and PhD research fellow at Complutense University of Madrid. Her research has been published in journals such as *International Affairs*\, *International Studies Review*\, *Review of International Studies*\, *International Political Sociology*\, and the *Journal of Intervention and Statebuilding*. She is the author of *Moroccan Foreign Policy under Mohammed VI\, 1999–2014 *(2016)\, and co-editor of *Global\, Regional and Local Dimensions of Western Sahara’s Protracted Decolonization* (2017)\, and* Foreign Policy in North Africa: Navigating Global\, Regional and Domestic Transformations* (2021).\n\nJoin on Zoom: https://myumi.ch/7J946\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: warsansa@umich.edu UID:150315-21909006@events.umich.edu URL:https://events.umich.edu/event/150315 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:center for middle eastern and north african studies,Cmenas Colloquium Series,Discussion,Lecture LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260903T110438 DTSTART;TZID=America/Detroit:20261111T163000 DTEND;TZID=America/Detroit:20261111T180000 SUMMARY:Lecture / Discussion:Guest Lecture | Heritage Forensics: Culture on the Front Lines of the Armenia-Azerbaijan Conflict DESCRIPTION:This talk introduces the concept of heritage forensics\, a framework for studying abuses of cultural heritage in contexts of conflict\, genocide\, and ethnic cleansing. Drawing on the new co-authored volume\, *Heritage Forensics: Cultural on the Front Lines of the Armenia-Azerbaijan Conflict*\, the presentation examines how cultural sites became entangled in the conflict over Nagorno-Karabakh during the interwar period (1994-2020). The talk considers how satellite-based heritage forensics is being deployed prospectively\, to monitor hundreds of Armenian sites in Karabakh following Azerbaijan's 2023 takeover of the region and the displacement of its Armenian population. In doing so\, it asks: how can satellite-based monitoring function as a form of \"counter-forensics\,\" turning surveillance technologies developed for military purposes back on the state? Can heritage forensics move us beyond retrospective documentation to actively deter erasure and support truth\, reconciliation\, and accountability wherever cultural heritage is at stake?\n\nLori Khatchadourian is Professor of Near Eastern Studies and Anthropology at Cornell University\, and co-founder and co-director of Caucasus Heritage Watch. She currently serves as Director of the Cornell Institute of Archaeology and Material Studies. Khatchadourian’s research spans the fields of archaeology\, social anthropology\, and heritage studies\, with a particular focus on Armenia\, the wider South Caucasus\, and neighboring regions. Current projects explore the archaeology of modernity\, including problems of genocide\, deindustrialization\, and the entanglements of cultural heritage and war. She is the co-author of *Heritage Forensics: Culture on the Front Lines of the Armenia-Azerbaijan Conflict* (Cornell\, 2026) and author of Imperial Matter: Ancient Persia and the Archaeology of Empires (UC Press\, 2016). She is also co-editor of *Rethinking Empire: Materiality\, Metaphysics\, and Imperial Politics* (SAR\, 2026) and *Fitful Histories and Unruly Publics: The Archaeology of Eurasia *(2017).\n\nhttps://umich.zoom.us/j/99311308952\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: armenianstudies@umich.edu UID:150145-21908256@events.umich.edu URL:https://events.umich.edu/event/150145 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Area Studies,armenia,Armenian Studies,Discussion,History,Lecture LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261112T080000 DTEND;TZID=America/Detroit:20261112T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907534@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260811T160816 DTSTART;TZID=America/Detroit:20261112T120000 DTEND;TZID=America/Detroit:20261112T133000 SUMMARY:Lecture / Discussion:CJS Noon Lecture Series | When Self-Empowerment Goes South (or East\, More Precisely): Gender\, Neoliberalism\, and Romance Fraud in Japan DESCRIPTION:Please note: This lecture will be held in person in East Hall 4448 and virtually on Zoom. If you are attending in person\, we recommend entering East Hall using the Church Street entrance and taking the elevator to the 4th floor. The webinar is free and open to the public\, but registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/rwr6E.\n\nBuilding on scholarship on changing gender and intimacy norms under neoliberalism in Japan\, this lecture explores how these transformations are reflected in the realm of romance fraud. Drawing on two contrasting sets of empirical material—interviews with romance fraud victims and publications and interviews with followers and supporters of the fraudster ‘Ririchan the Grantee Gal’—the lecture argues that these seemingly disparate groups are connected by a common underlying dynamic: women's struggle for autonomy and/or recognition within a gendered social hierarchy. It examines how aspirations for self-empowerment and liberation\, often intensified by neoliberal ideals of personal responsibility and self-realization\, can paradoxically lead individuals towards both victimization and offending.\n\nDr. Yutaka Yoshida is a lecturer in criminology at Cardiff University. His research explores romance fraud victimization\, digital vigilantism\, and far-right movements in Japan\, with a particular interest in narratives\, identity\, and technology-mediated social harms. His current work examines how romance fraud victims make sense of their experiences and reconstruct their lives in the aftermath of victimization\, drawing on psychosocial approaches.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150003-21907802@events.umich.edu URL:https://events.umich.edu/event/150003 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,center for japanese studies,Gender,gender studies,japan,Japanese Studies LOCATION:East Hall - Room 4448 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261113T080000 DTEND;TZID=America/Detroit:20261113T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907535@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260826T100220 DTSTART;TZID=America/Detroit:20261113T150000 DTEND;TZID=America/Detroit:20261113T170000 SUMMARY:Workshop / Seminar:International Education Week Celebration (2026) DESCRIPTION:Join various International Education units on campus to celebrate International Education Week 2026!\n\nNovember 13th\, 3-5pm: IEW Rock Painting (George Washington Park Rock)\nNovember 18th\, 5-6:30pm: IEW Global Photo Showcase (Weiser Hall 10th floor)\n\nFeel free to register for one or both of these events to join us in celebrating study abroad\, international internships\, and international students here at the University of Michigan. :)\n\nThese events are organized by the Center for Global & Intercultural Study\, Global Engagement — Office of the Provost\, the International Institute\, International Programs in Engineering\, Ross Global Initiatives\, and the International Center. UID:149937-21907398@events.umich.edu URL:https://events.umich.edu/event/149937 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Abroad,All Majors Welcome,Community,Exhibition,global engagement,Graduate Students,International Education,International Education Week,photography,Sessions,study abroad,Travel,Undergraduate LOCATION:George Washington Park Rock (Corner of Hill Street & Washtenaw) CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140120 DTSTART;TZID=America/Detroit:20261113T160000 DTEND;TZID=America/Detroit:20261113T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | Indians and Cowboys: Race\, Caste\, and Catholic Missionary Priests from India in Rural America DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/Mpp95\n\nOver the past four decades\, the U.S. has become increasingly dependent on international priests to help run Catholic parishes\, schools\, hospitals\, missions\, and more. 90% of dioceses in the U.S. today rely on foreign born priests. Many of these priests are from India and they come on the R-1 temporary religious worker visa - a lesser researched visa category in South Asian diaspora studies that does not require a salary\, only compensation. Thomas' research shows that 64%+ of missionary priests from India come from dominant caste backgrounds. Based on chapters from my forthcoming book on Indian Catholic priests in Eastern Montana and Western North Dakota\, in this talk I discuss caste\, remittances\, and the intricacies of the R-1 religious worker visa. \n\nSonja Thomas is a professor of women’s gender and sexuality studies at Colby College. Her research focuses on gender\, race\, caste\, and Christianity in India and the U.S. She is the author of *Privileged Minorities: Syrian Christianity\, Gender\, and Minority Rights in Postcolonial India*. Her second book\, *Indians and Cowboys\, on Catholic priests from India in rural America*\, is forthcoming from University of Washington Press. She is an associate editor of *South Asia: The Journal of South Asian Studies*\, is a member of Waterville Maine's K-12 Social Justice and Equity group\, and is an appointed commissioner with Maine’s Permanent Commission on Racial\, Indigenous\, and Tribal Populations.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151111-21910881@events.umich.edu URL:https://events.umich.edu/event/151111 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,India,Religion,Religious Studies,South Asia,South Asian Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260819T151451 DTSTART;TZID=America/Detroit:20261113T180000 DTEND;TZID=America/Detroit:20261113T220000 SUMMARY:Film Screening:33rd Ann Arbor Polish Festival DESCRIPTION:The Ann Arbor Polish Film Festival is an annual celebration of Polish cinema\, organized by the Polish Cultural Fund in collaboration with the Ann Arbor Polonia Association and the U-M Polish Student Association. Since its inception in 1993\, the festival has brought audiences a vibrant selection of contemporary Polish documentaries\, short films\, and feature-length movies—each offering unique perspectives on Polish culture and global issues alike.\n\nA highlight of the festival is its juried competition\, which recognizes outstanding achievements in three categories: documentary film\, short narrative film\, and film debut.\n\nMichigan Theater\, 603 East Liberty St.\, Ann Arbor\n\nFestival Schedule:\n\nFriday\, November 13\, 2026\n6:00 PM – 10:00 PM\n\nSaturday\, November 14\, 2026\n10:00 AM – 10:00 PM\n\nSunday\, November 15\, 2026\n11:00 AM – 5:00 PM\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150560-21909597@events.umich.edu URL:https://events.umich.edu/event/150560 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:film,poland LOCATION: CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260819T151451 DTSTART;TZID=America/Detroit:20261114T100000 DTEND;TZID=America/Detroit:20261114T220000 SUMMARY:Film Screening:33rd Ann Arbor Polish Festival DESCRIPTION:The Ann Arbor Polish Film Festival is an annual celebration of Polish cinema\, organized by the Polish Cultural Fund in collaboration with the Ann Arbor Polonia Association and the U-M Polish Student Association. Since its inception in 1993\, the festival has brought audiences a vibrant selection of contemporary Polish documentaries\, short films\, and feature-length movies—each offering unique perspectives on Polish culture and global issues alike.\n\nA highlight of the festival is its juried competition\, which recognizes outstanding achievements in three categories: documentary film\, short narrative film\, and film debut.\n\nMichigan Theater\, 603 East Liberty St.\, Ann Arbor\n\nFestival Schedule:\n\nFriday\, November 13\, 2026\n6:00 PM – 10:00 PM\n\nSaturday\, November 14\, 2026\n10:00 AM – 10:00 PM\n\nSunday\, November 15\, 2026\n11:00 AM – 5:00 PM\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150560-21909598@events.umich.edu URL:https://events.umich.edu/event/150560 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:film,poland LOCATION: CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260819T151451 DTSTART;TZID=America/Detroit:20261115T110000 DTEND;TZID=America/Detroit:20261115T170000 SUMMARY:Film Screening:33rd Ann Arbor Polish Festival DESCRIPTION:The Ann Arbor Polish Film Festival is an annual celebration of Polish cinema\, organized by the Polish Cultural Fund in collaboration with the Ann Arbor Polonia Association and the U-M Polish Student Association. Since its inception in 1993\, the festival has brought audiences a vibrant selection of contemporary Polish documentaries\, short films\, and feature-length movies—each offering unique perspectives on Polish culture and global issues alike.\n\nA highlight of the festival is its juried competition\, which recognizes outstanding achievements in three categories: documentary film\, short narrative film\, and film debut.\n\nMichigan Theater\, 603 East Liberty St.\, Ann Arbor\n\nFestival Schedule:\n\nFriday\, November 13\, 2026\n6:00 PM – 10:00 PM\n\nSaturday\, November 14\, 2026\n10:00 AM – 10:00 PM\n\nSunday\, November 15\, 2026\n11:00 AM – 5:00 PM\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:150560-21909600@events.umich.edu URL:https://events.umich.edu/event/150560 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:film,poland LOCATION: CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261116T080000 DTEND;TZID=America/Detroit:20261116T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907538@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261117T080000 DTEND;TZID=America/Detroit:20261117T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907539@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T141940 DTSTART;TZID=America/Detroit:20261117T120000 DTEND;TZID=America/Detroit:20261117T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | Chinese and Muslim Refugees on the Tibetan Frontier\, 1860–1965 DESCRIPTION:From 1860 onward\, frequent wars and disasters claimed millions of lives in Northwest China. More than one million Chinese and Muslims sought refuge on the northeastern Tibetan Plateau. This talk explores the diverse experiences of these refugees as they crossed multiple ethnocultural and administrative boundaries\, lived\nalongside Tibetans\, and forged new homelands during China’s transition from empire to nation-state.\n\nGyatso Marnyi is a historian of empires and frontiers in Asia. Combining textual sources with ethnographic fieldwork\, his research examines interactions and exchanges between China and surrounding Asian regions from the fourteenth to the twentieth century. He is currently completing a monograph that explores the uneven\nexperiences of Tibetan\, Mongol\, Chinese\, and Muslim communities during China’s transition from empire to nation-state on the Inner Asian frontier. UID:150195-21908379@events.umich.edu URL:https://events.umich.edu/event/150195 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,chinese history,Chinese Studies,History,Tibet LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261118T080000 DTEND;TZID=America/Detroit:20261118T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907540@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260826T100220 DTSTART;TZID=America/Detroit:20261118T170000 DTEND;TZID=America/Detroit:20261118T183000 SUMMARY:Workshop / Seminar:International Education Week Celebration (2026) DESCRIPTION:Join various International Education units on campus to celebrate International Education Week 2026!\n\nNovember 13th\, 3-5pm: IEW Rock Painting (George Washington Park Rock)\nNovember 18th\, 5-6:30pm: IEW Global Photo Showcase (Weiser Hall 10th floor)\n\nFeel free to register for one or both of these events to join us in celebrating study abroad\, international internships\, and international students here at the University of Michigan. :)\n\nThese events are organized by the Center for Global & Intercultural Study\, Global Engagement — Office of the Provost\, the International Institute\, International Programs in Engineering\, Ross Global Initiatives\, and the International Center. UID:149937-21907399@events.umich.edu URL:https://events.umich.edu/event/149937 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Abroad,All Majors Welcome,Community,Exhibition,global engagement,Graduate Students,International Education,International Education Week,photography,Sessions,study abroad,Travel,Undergraduate LOCATION:1010 Weiser Hall (10th Floor, 500 Church Street) CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261119T080000 DTEND;TZID=America/Detroit:20261119T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907541@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261120T080000 DTEND;TZID=America/Detroit:20261120T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907542@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260811T101823 DTSTART;TZID=America/Detroit:20261120T120000 DTEND;TZID=America/Detroit:20261120T130000 SUMMARY:Lecture / Discussion:CSEAS Friday Lecture Series | After the War: Vietnamese Memory\, Identity\, and the Unfinished Stories of Vietnam DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: http://myumi.ch/G74ng\n\nWhat happens to a war after the war is over?\n\nVietnamese journalist and documentary filmmaker Van Le reflects on the Vietnam War through the memories of those who lived through it. Drawing on her years of reporting and documentary filmmaking\, she explores how the war continues to shape Vietnamese identity\, relationships\, and understandings of the past—both in Vietnam and across the diaspora. The talk focuses on personal memories of loss\, fear\, displacement\, loyalty\, and silence\, and how trauma is remembered\, carried\, and passed across generations.\n\nVan Le is an investigative journalist\, author\, and independent documentary filmmaker based in Vietnam. She is a 2026–2027 Knight-Wallace Journalism Fellow at the University of Michigan. She was a reporter for the acclaimed documentary The Stringer and has contributed environmental reporting to ProPublica. She previously worked as a feature writer and investigative journalist for Thanh Nien Newspaper\, a national news outlet in Vietnam.\n\n*If there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange.* UID:150113-21908029@events.umich.edu URL:https://events.umich.edu/event/150113 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,center for southeast asian studies,Cseas Lecture Series,History,Journalism,Southeast Asia,Vietnam LOCATION:Weiser Hall - Room 110 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261123T080000 DTEND;TZID=America/Detroit:20261123T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907545@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261124T080000 DTEND;TZID=America/Detroit:20261124T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907546@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261125T080000 DTEND;TZID=America/Detroit:20261125T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907547@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261126T080000 DTEND;TZID=America/Detroit:20261126T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907548@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261127T080000 DTEND;TZID=America/Detroit:20261127T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907549@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261130T080000 DTEND;TZID=America/Detroit:20261130T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907552@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261201T080000 DTEND;TZID=America/Detroit:20261201T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907553@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260812T143453 DTSTART;TZID=America/Detroit:20261201T120000 DTEND;TZID=America/Detroit:20261201T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | The Forgotten\, Gourmet Origins of Your Favorite Chinese Takeout DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/8Jq1G\n\nPotstickers. Kung Pao Chicken. General Tso's. Americans can't get enough of these dishes\, yet food critics and historians often dismiss them as pale imitations of \"authentic\" Chinese cuisine. This lecture reveals the surprising origins of American Chinese takeout in the elite kitchens of the Chinese Nationalist Party in wartime Chongqing and traces its remarkable journey through postwar Taiwan to the United States in the 1970s. Far from being corruptions of Chinese food\, these beloved dishes preserve a gourmet culinary tradition that once inspired swoons among China's elite and earned rave reviews from New York Times critics.\n\nMiranda Brown is the Yi-Tsi Mei Feuerwerker Collegiate Professor of Chinese Studies in the Department of Asian Languages and Culture\, where she has taught since 2002. A San Franciscan by birth and historian of early China by training\, she discovered in her later career her true passion: Chinese food. Her book\, *Dumpling Therapy*\, will be published by St. Martin's Press in January 2027. Professor Brown spent the 2023-2024 academic year in Taipei\, Taiwan on a Fulbright grant\, which enabled her to research post-war Taiwanese foodways and to eat way too much. UID:150197-21908383@events.umich.edu URL:https://events.umich.edu/event/150197 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,Chinese Studies,Cooking,Culture,Food LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261202T080000 DTEND;TZID=America/Detroit:20261202T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907554@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260816T221514 DTSTART;TZID=America/Detroit:20261202T140000 DTEND;TZID=America/Detroit:20261202T160000 SUMMARY:Lecture / Discussion:CMENAS 2026 Fall Colloquium Series | ‘Vernacular Sovereignty’ Without a State: Kurdish Studies\, Decolonial Thought\, and the Making of Online Kurdistan DESCRIPTION:What does it mean to imagine a nation without a state? This talk draws on my broader research in Kurdish studies to examine how Kurdish political life has repeatedly been organized around forms of authority and belonging that do not depend on\, or wait for\, a state. Taking my recent article \"The Making of Online Kurdistan\,\" co-authored with Barış Öktem\, as its empirical center\, the talk asks how Kurdish Generation Z constructs national belonging through digital platforms — building a transnational field of community through hashtags\, online seminars\, and digitally organized movements\, even as this same infrastructure exposes Kurdish youth to surveillance and repression across borders. I situate this case within a longer arc of my work on Kurdish politics and within a decolonial reading of Kurdish studies more broadly. Rather than offering a general theory of sovereignty\, the talk uses the Kurdish case to think through a live and unresolved question in the study of stateless nations: what forms can political authority\, legitimacy\, and collective imagination take when territorial statehood is foreclosed\, and what is gained and lost when that struggle moves online.\n\nMashuq Kurt is Associate Professor of Sociology in the Department of Law and Criminology at Royal Holloway\, University of London. His work sits at the intersection of Middle Eastern studies and the sociology of migration and diaspora\, examining how Kurds and other marginalised communities construct political authority and belonging outside the institutions of the nation-state. He is the author of *Kurdish Hizbullah in Turkey: Islamism\, Violence and the State* (Pluto Press\, 2017)\, co-editor of the *South Atlantic Quarterly Special Issue: Decolonizing Kurdish Studies *(2024) and the *Contemporary Islam Special Issue: Islam\, Critique and the Canon* (2024)\, and has published in journals including *Current Anthropology*\, *Journal of Middle East Women's Studies*\, and *Social Research: An International Quarterly*. His recent article \"The Making of Online Kurdistan\" (*Journal of Ethnic and Migration Studies*\, 2026)\, co-authored with Barış Öktem\, examines how Kurdish Generation Z constructs national belonging through digital platforms. He was a Marie Curie Global Fellow at the London School of Economics and Yale University\, has held visiting positions at Stanford and Sciences Po CERI. A regular contributor to public and policy debates\, he has organised panels and given talks at the UK Parliament\, Chatham House\, and RUSI\, and his commentary has appeared in Foreign Policy\, Le Monde\, and The New Arab\, among others. He is also an award-winning filmmaker: his documentary *The Seven Doors *received the Jean Rouch Award from the American Anthropological Association's Society for Visual Anthropology in 2020.\n\nJoin on Zoom: https://myumi.ch/pgV2y\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: warsansa@umich.edu UID:150314-21909005@events.umich.edu URL:https://events.umich.edu/event/150314 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:center for middle eastern and north african studies,cmenas,Cmenas Colloquium Series,Discussion,Lecture LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261203T080000 DTEND;TZID=America/Detroit:20261203T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907555@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260619T084541 DTSTART;TZID=America/Detroit:20261203T170000 DTEND;TZID=America/Detroit:20261203T183000 SUMMARY:Lecture / Discussion:Annual Copernicus Lecture. The Beauty and Significance of Interwar Polish Popular Music DESCRIPTION:In this lecture\, Jan Emil Młynarski will offer an immersive exploration of Polish popular music of the interwar period (1918–1939)\, examining Polish tango\, the development of the recording industry\, and the vibrant world of theatres and cabarets that shaped popular musical culture between the wars. Młynarski will perform selected works and present archival recordings\, guiding the audience through the rich landscape of Polish song\, its composers\, lyricists and performers\, situating their work within the broader cultural context of the era and assessing its artistic value\, cultural significance and contemporary reception.\n\nJan Emil Młynarski is a drummer\, street singer and passionate advocate for Polish popular music of the first half of the twentieth century. He holds degrees from the Karol Lipiński Academy of Music in Wrocław and from the Drummers Collective in New York.\n\nHe hosts *Salon\, Ulica\, Dancing (Salon\, Street\, Dance Hall)* — a weekly radio show on Polskie Radio 3 dedicated to Interwar Polish music\, is the founder and leader of the Warszawskie Combo Taneczne *(Warsaw Dance Combo)*\, and is a member of the Jazz Band Młynarski-Masecki. He has released several dozen albums and was awarded multiple Fryderyk \, the Polish music industry's most prestigious recording award.\n\nIf there is anything we can do to make this event accessible to you\, please contact gosiak@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149007-21905310@events.umich.edu URL:https://events.umich.edu/event/149007 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:europe,European,Music,Performance,Poland LOCATION:Rackham Graduate School (Horace H.) - Amphitheatre CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261204T080000 DTEND;TZID=America/Detroit:20261204T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907556@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261207T080000 DTEND;TZID=America/Detroit:20261207T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907559@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261208T080000 DTEND;TZID=America/Detroit:20261208T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907560@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260821T115315 DTSTART;TZID=America/Detroit:20261208T120000 DTEND;TZID=America/Detroit:20261208T130000 SUMMARY:Lecture / Discussion:LRCCS Noon Lecture Series | China’s Economic Slowdown: A Firm-Level Perspective DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/DW8j6\n\nThis talk develops a new representative firm-level dataset for Chinese manufacturing from 1998 to 2019 by combining tax\, registry\, and inspection records and correcting for sampling biases in existing administrative data. Using a CES production framework with firm-specific distortions\, the talk introduces a novel decomposition of aggregate TFP growth into efficient growth and changes in misallocation. The analysis documents a sharp slowdown in Chinese manufacturing productivity growth after 2010\, driven both by weaker incumbent-firm productivity growth and by a diminished contribution from firm turnover and reallocation. \n\nLoren Brandt is a professor of economics at the University of Toronto specializing in the Chinese economy. He has published widely on the Chinese economy in leading economic journals including the *American Economic Review*\, *the Quarterly Journal of Economics*\, *Review of Economic Studies*\, *Econometrica and the Journal of Political Economy*\, and been involved in extensive household and enterprise survey work in both China and Vietnam. With Thomas Rawski\, he completed *Policy\, Regulation\, and Innovation in China’s Electricity and Telecom Industries* (Cambridge University Press\, 2019)\, an interdisciplinary effort analyzing the effect of government policy on the power and telecom sectors in China. He was also co-editor and major contributor to *China’s Great Economic Transformation* (Cambridge University Press\, 2008)\, which provides an integrated analysis of China’s unexpected economic boom of the past three decades. His current research focuses on issues of entrepreneurship and firm dynamics\, industrial policy and innovation\, and economic growth and structural change. UID:150699-21909978@events.umich.edu URL:https://events.umich.edu/event/150699 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,China,Chinese Studies,Data,Economics LOCATION:Weiser Hall - 10th Floor CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261209T080000 DTEND;TZID=America/Detroit:20261209T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907561@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260909T112903 DTSTART;TZID=America/Detroit:20261209T120000 DTEND;TZID=America/Detroit:20261209T132000 SUMMARY:Lecture / Discussion:CREES Noon Lecture. \"Who Defines Central Asia?\" Decolonial Disruptions from Below DESCRIPTION:A consequential shift is taking place in Central Asian studies today. What started as a slow rejection of the idea that the region benefited from Soviet control has turned into a decentralized\, collective effort to revise the region’s relationship to its colonial identity and to search for indigenous interpretations of the self. A recent Cambridge Element publication co-authored by Erica Marat and Aizada Arystanbek explores the current decolonial disruptions in Central Asia – how the region is being redefined by its inhabitants\, both in discourse and in practice. It captures the main areas of activism in memory studies\, language activism\, art installations\, and transnational solidarity networks. Decolonial discussions are gaining traction\, challenging political elites’ hegemony over national identity formation. Such changes harbor the potential to profoundly alter Russia’s influence in the areas it once controlled. Decolonial disruptions are reshaping how Central Asians think about their past and imagine their future.\n\nDr. Erica Marat is an adjunct professor at the Center for Security Studies\, Georgetown University. Her research focuses on violence\, mobilization and security institutions in Europe\, Central Asia\, India\, and Mexico. She is an author of several books\, including \"Decolonial Disruptions in Central Asia: Discussion\, Practices\, and Networks\" (Cambridge Elements 2026) and \"Transformative Violence: When Routine Cruelty Sparks Historic Mobilization\" (Oxford University Press 2024). Her articles have appeared in \"Foreign Affairs\,\" \"Foreign Policy\,\" \"Just Security\,\" and \"Open Democracy.\"\n\nIf there is anything we can do to make this event accessible to you\, please contact us at crees@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151822-21912231@events.umich.edu URL:https://events.umich.edu/event/151822 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:central asia LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260816T221327 DTSTART;TZID=America/Detroit:20261209T140000 DTEND;TZID=America/Detroit:20261209T160000 SUMMARY:Lecture / Discussion:CMENAS 2026 Fall Colloquium Series | Middle Eastern Christians: The Struggle for Recognition and Rights DESCRIPTION:A continued presence of Christians in the Middle East is perceived as at risk due to demographic change\, adverse socio-economic conditions\, political instability\, conflict\, and migration. Indeed\, from making up 12.7% of the population in the Middle East in 1900\, the Christian presence has dwindled to 4% by 2020\, with a notable decline in countries with a considerable Christian population but affected by conflict\, such as Iraq and Syria. Indigenous to the region\, Christians are proud of their contributions to the education\, society\, and politics of the Middle East. Yet\, they struggle to translate these forms of soft power into political actions that address legislation\, practices\, and violence that infringe their rights as citizens. Relationships with powerful Western actors campaigning against the persecution of Christians have led to international visibility but also accusations of undermining national unity from political and societal actors in the region. This paper explores the different strategies pursued by Middle East Christians in the region and diaspora to be recognized as Christians and claim their rights as citizens.\n\nFiona McCallum Guiney is Professor and Head of the School of International Relations at the University of St Andrews in Scotland. Her research on Middle Eastern Christians focuses on group identity\, the connection between legitimacy and religious leadership\, and group interactions at the state-community and society-community levels\, both in the Middle East and diaspora. Professor Guiney was the Project Leader of the EU funded study ‘Defining and Identifying Middle Eastern Christian Communities in Europe’. She is a former Director of the Institute of Middle East\, Central Asia and Caucasus Studies at the University of St Andrews.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. Contact: warsansa@umich.edu UID:150316-21909007@events.umich.edu URL:https://events.umich.edu/event/150316 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:center for middle eastern and north african studies,Cmenas Colloquium Series,Discussion,Lecture,Middle East Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261210T080000 DTEND;TZID=America/Detroit:20261210T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907562@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261211T080000 DTEND;TZID=America/Detroit:20261211T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907563@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261214T080000 DTEND;TZID=America/Detroit:20261214T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907566@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261215T080000 DTEND;TZID=America/Detroit:20261215T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907567@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261216T080000 DTEND;TZID=America/Detroit:20261216T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907568@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261217T080000 DTEND;TZID=America/Detroit:20261217T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907569@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261218T080000 DTEND;TZID=America/Detroit:20261218T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907570@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261221T080000 DTEND;TZID=America/Detroit:20261221T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907573@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261222T080000 DTEND;TZID=America/Detroit:20261222T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907574@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261223T080000 DTEND;TZID=America/Detroit:20261223T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907575@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261224T080000 DTEND;TZID=America/Detroit:20261224T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907576@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261225T080000 DTEND;TZID=America/Detroit:20261225T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907577@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261228T080000 DTEND;TZID=America/Detroit:20261228T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907580@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261229T080000 DTEND;TZID=America/Detroit:20261229T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907581@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261230T080000 DTEND;TZID=America/Detroit:20261230T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907582@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20261231T080000 DTEND;TZID=America/Detroit:20261231T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907583@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270101T080000 DTEND;TZID=America/Detroit:20270101T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907584@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270104T080000 DTEND;TZID=America/Detroit:20270104T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907587@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270105T080000 DTEND;TZID=America/Detroit:20270105T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907588@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270106T080000 DTEND;TZID=America/Detroit:20270106T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907589@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270107T080000 DTEND;TZID=America/Detroit:20270107T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907590@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270108T080000 DTEND;TZID=America/Detroit:20270108T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907591@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270111T080000 DTEND;TZID=America/Detroit:20270111T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907594@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270112T080000 DTEND;TZID=America/Detroit:20270112T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907595@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270113T080000 DTEND;TZID=America/Detroit:20270113T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907596@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270114T080000 DTEND;TZID=America/Detroit:20270114T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907597@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270115T080000 DTEND;TZID=America/Detroit:20270115T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907598@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270118T080000 DTEND;TZID=America/Detroit:20270118T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907601@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270119T080000 DTEND;TZID=America/Detroit:20270119T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907602@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270120T080000 DTEND;TZID=America/Detroit:20270120T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907603@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270121T080000 DTEND;TZID=America/Detroit:20270121T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907604@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270122T080000 DTEND;TZID=America/Detroit:20270122T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907605@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140153 DTSTART;TZID=America/Detroit:20270122T160000 DTEND;TZID=America/Detroit:20270122T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | Annihilation of Caste: Dr. B.R. Ambedkar and the Making of a Radical Dalit Humanism DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/Mpp5R\n\nThis talk focuses on the intellectual and formidable anti-caste leader Dr. B. R. Ambedkar’s (1891–1956) multi-pronged – social\, cultural and political – strategies of creating manuski (human dignity)\, dharmantar (religious conversion) and respectable samaj (community) in a doubly colonial – British and brahmanical context. To Ambedkar\, the larger Indian society denied manuski to Dalits. The caste mechanism restricted Dalits claims to personhood as Dalit humanity itself was constituted as a state of injury and punishment. The consequences were particularly dangerous for Dalit women lacking even minimal security. As a result\, Ambedkar and his associates focused on both—external and internal—changes to cultivate manuski. Ambedkar constituted a new Dalit woman through these inner resources and interrelated ideas of an intrinsically caring and civilized humanity. He along with his associates robustly worked on a multi-pronged strategy—social\, educational\, political\, legal\, and religious\, to regenerate Dalits and not merely reform them like in the case of elite touchable reformers.\n\nShailaja Paik is Charles Phelps Taft Distinguished Professor of History and affiliate faculty in women’s\, Gender\, and sexuality studies\, sociology\, and Asian studies at the University of Cincinnati. She is a 2024 MacArthur Foundation “genius” Fellow. Paik is also the founding executive director of the Institute for Just Futures. Her work analyzes the politics of caste\, gender\, class\, and sexuality\, by focusing on the ideas\, actions\, and lives of Dalits (“Untouchables”). She is the author of the prestigious awards-winning book *The Vulgarity of Caste: Dalits\, Sexuality\, and Humanity* (Stanford University Press\, 2022) and *Dalit Women's Education in Modern India: Double Discrimination* (Routledge\, 2014). Paik is co-editing the *Cambridge Companion to Dr. B.R. Ambedkar* (forthcoming) and *Caste\, Race\, and Indigeneity in South Asia and Beyond* (Forthcoming Routledge). Her research is funded by the MacArthur Foundation\, the American Council of Learned Societies\, the Stanford Humanities Center\, the National Endowment for the Humanities\, the American Institute of Indian Studies\, Yale University\, Emory University\, the Ford Foundation\, and the Charles Phelps Taft Research Center\, among others. Paik has published several articles on a variety of themes\, including kissing and nationalism\, the politics of naming\, Dalit and African American women’s solidarity\, Dalit women’s education\, and new Dalit womanhood in colonial India. Her scholarship and research interests are concerned with contributing to and furthering the dialogue in anti-race\, anti-caste\, and anti-patriarchy\, human rights\, anti-colonial struggles\, transnational women’s history\, and women-of-color feminisms.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151116-21910882@events.umich.edu URL:https://events.umich.edu/event/151116 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Center For South Asian Studies,Gender,History,Sociology LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270125T080000 DTEND;TZID=America/Detroit:20270125T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907608@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270126T080000 DTEND;TZID=America/Detroit:20270126T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907609@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270127T080000 DTEND;TZID=America/Detroit:20270127T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907610@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270128T080000 DTEND;TZID=America/Detroit:20270128T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907611@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270129T080000 DTEND;TZID=America/Detroit:20270129T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907612@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140249 DTSTART;TZID=America/Detroit:20270129T160000 DTEND;TZID=America/Detroit:20270129T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | What is the Private Life of Caste in India? The caste economies of India's success story DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/399y2\n\nIn this talk Thiranagama will draw from her book *The Monster in Your Path: The Private Life of Caste in India* on the situated histories of caste and enslavement in the South Indian state of Kerala\, most often understood as India's success story. Thiranagama will discuss how new forms of caste disparities\, as well as caste formations\, have become sedimented not in the “public\,” the center of most contemporary work\, but rather in the new kinds of private spaces and private lives that arose after Kerala’s land reforms and communist transformation. Thiranagama suggests new ways to think about contemporary inequalities within historical economies of humiliation and subordination\, as well discussing the dignity projects embarked upon by Kerala’s Dalit communities.\n\nSharika Thiranagama is professor of anthropology at Stanford University. Her research explores violence\, inequality\, and intense political mobilization through a focus on intimacy\, gender and generation. She has been the author of multiple works on Sri Lanka including *In My Mother’s House: Civil War in Sri Lanka* (University of Pennsylvania Press\, 2011). Her most recent book *The Monster in Your Path* (University of California 2026) focuses on Dalit communities in Kerala\, South India examining the gendered inheritance and life of enslavement\, caste and work.\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151126-21910900@events.umich.edu URL:https://events.umich.edu/event/151126 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Anthropology,Asian Languages And Cultures,Center For South Asian Studies,History,India,South Asia,South Asian Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270201T080000 DTEND;TZID=America/Detroit:20270201T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907615@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270202T080000 DTEND;TZID=America/Detroit:20270202T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907616@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270203T080000 DTEND;TZID=America/Detroit:20270203T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907617@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270204T080000 DTEND;TZID=America/Detroit:20270204T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907618@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270205T080000 DTEND;TZID=America/Detroit:20270205T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907619@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270208T080000 DTEND;TZID=America/Detroit:20270208T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907622@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270209T080000 DTEND;TZID=America/Detroit:20270209T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907623@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270210T080000 DTEND;TZID=America/Detroit:20270210T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907624@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270211T080000 DTEND;TZID=America/Detroit:20270211T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907625@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270212T080000 DTEND;TZID=America/Detroit:20270212T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907626@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260908T140315 DTSTART;TZID=America/Detroit:20270212T160000 DTEND;TZID=America/Detroit:20270212T173000 SUMMARY:Lecture / Discussion:CSAS Lecture Series | Thinking in English\, Speaking in Hindi: Translation\, Creativity\, and Value in Bollywood and Beyond DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/4xmz3\n \nThis talk offers a preview of Ganti’s forthcoming book\, *Thinking in English\, Speaking in Hindi* (Duke 2027)\, centered on Bollywood and the dubbing industry based in Mumbai. Ganti illustrates the essential role played by translation in the political economy of media industries through an examination of screenwriting and dubbing practices in Mumbai. Investigating the translation practices\, linguistic ideologies\, and regimes of value structuring mainstream media production\, she argues that translation is not merely a linguistic bridge but a constitutive and material force in media production. Foregrounding the symbiotic relationship between Hindi and English within Mumbai’s media industries\, Ganti demonstrates that translation operates beyond notions of linguistic purity or inherent hierarchy and is a dynamic and multimodal process of creating social\, aesthetic\, and economic value.\n\nTejaswini Ganti is professor of anthropology and core faculty in the Program in Culture & Media at New York University. A media anthropologist specializing in South Asia\, her research and teaching interests include Indian cinema\, media industries\, production cultures\, translation studies\, visual culture\, cultural policy\, elites\, political economy\, and theories of development and globalization. She has been conducting research about the social world and filmmaking practices of the Hindi film industry since 1996 and is the author of *Producing Bollywood: Inside the Contemporary Hindi Film Industry* (Duke 2012) *Bollywood: A Guidebook to Popular Hindi Cinema* (Routledge 2004\; 2nd ed. 2013\; 3rd ed. 2027) and *Thinking in English\, Speaking in Hindi: Translation\, Creativity\, and Value in Bollywood and Beyond* (Duke 2027).\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151121-21910890@events.umich.edu URL:https://events.umich.edu/event/151121 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Center For South Asian Studies,Film,India,Language,Languages,South Asia,South Asian Studies LOCATION:Weiser Hall - Room 555 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270215T080000 DTEND;TZID=America/Detroit:20270215T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907629@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270216T080000 DTEND;TZID=America/Detroit:20270216T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907630@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270217T080000 DTEND;TZID=America/Detroit:20270217T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907631@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270218T080000 DTEND;TZID=America/Detroit:20270218T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907632@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270219T080000 DTEND;TZID=America/Detroit:20270219T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907633@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270222T080000 DTEND;TZID=America/Detroit:20270222T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907636@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270223T080000 DTEND;TZID=America/Detroit:20270223T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907637@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270224T080000 DTEND;TZID=America/Detroit:20270224T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907638@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270225T080000 DTEND;TZID=America/Detroit:20270225T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907639@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270226T080000 DTEND;TZID=America/Detroit:20270226T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907640@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270301T080000 DTEND;TZID=America/Detroit:20270301T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907644@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270302T080000 DTEND;TZID=America/Detroit:20270302T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907645@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270303T080000 DTEND;TZID=America/Detroit:20270303T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907646@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270304T080000 DTEND;TZID=America/Detroit:20270304T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907647@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270305T080000 DTEND;TZID=America/Detroit:20270305T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907648@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270308T080000 DTEND;TZID=America/Detroit:20270308T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907651@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270309T080000 DTEND;TZID=America/Detroit:20270309T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907652@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270310T080000 DTEND;TZID=America/Detroit:20270310T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907653@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270311T080000 DTEND;TZID=America/Detroit:20270311T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907654@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270312T080000 DTEND;TZID=America/Detroit:20270312T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907655@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270315T080000 DTEND;TZID=America/Detroit:20270315T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907658@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270316T080000 DTEND;TZID=America/Detroit:20270316T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907659@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270317T080000 DTEND;TZID=America/Detroit:20270317T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907660@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270318T080000 DTEND;TZID=America/Detroit:20270318T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907661@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270319T080000 DTEND;TZID=America/Detroit:20270319T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907662@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270322T080000 DTEND;TZID=America/Detroit:20270322T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907665@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270323T080000 DTEND;TZID=America/Detroit:20270323T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907666@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270324T080000 DTEND;TZID=America/Detroit:20270324T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907667@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270325T080000 DTEND;TZID=America/Detroit:20270325T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907668@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270326T080000 DTEND;TZID=America/Detroit:20270326T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907669@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270329T080000 DTEND;TZID=America/Detroit:20270329T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907672@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270330T080000 DTEND;TZID=America/Detroit:20270330T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907673@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270331T080000 DTEND;TZID=America/Detroit:20270331T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907674@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270401T080000 DTEND;TZID=America/Detroit:20270401T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907675@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270402T080000 DTEND;TZID=America/Detroit:20270402T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907676@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270405T080000 DTEND;TZID=America/Detroit:20270405T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907679@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270406T080000 DTEND;TZID=America/Detroit:20270406T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907680@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270407T080000 DTEND;TZID=America/Detroit:20270407T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907681@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270408T080000 DTEND;TZID=America/Detroit:20270408T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907682@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270409T080000 DTEND;TZID=America/Detroit:20270409T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907683@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260828T133346 DTSTART;TZID=America/Detroit:20270409T160000 DTEND;TZID=America/Detroit:20270409T180000 SUMMARY:Lecture / Discussion:CSAS Annual Thomas R. Trautmann Honorary Lecture 2027 | From the Ethic of Dying to the Ethic of Killing DESCRIPTION:Please note: This lecture will be held in person and virtually on Zoom. If you would like to attend via Zoom\, registration is required. Once you've registered\, joining information will be sent to your email. Register for the Zoom webinar at: https://myumi.ch/6P15n\n\nBeginning with the sixth century CE\, Karnataka witnessed the rise of dying as a cherished value. Warriors who swore fealty to a master committed suicide upon the latter's death\, men who lost their lives on the battlefield and women who died performing sati upon the death of her husbands were eulogized\, and Jainas practiced voluntary termination of life as a rite. These practices\, recorded in considerable numbers for over six centuries\, were on the decline by the twelfth century. In its stead appeared another sought-after value\, viz.\, acts of killing. Valorizing homicide - hitherto limited to kings and soldiers - was now turning into a desirable act. The talk is an attempt to describe and account for this transformation.\n\nManu V. Devadevan teaches history at the Indian Institute of Technology Mandi\, Himachal Pradesh\, India. He went to the Jawaharlal Nehru University\, New Delhi\, for graduate school and Mangalore University for doctoral research on the history of literary practices in Kerala (CE 1200-1800). He is a multilingual author with published books in English\, Kannada and Malayalam\, and a work in progress in Hindi. A practicing poet in Kannada with four books of poetry\, Devadevan is also a multilingual translator. His publications include *A Prehistory of Hinduism* (DeGruyter\, 2016) and *The 'Early Medieval' Origins of India* (Cambridge University Press\, 2020).\n\nIf there is anything we can do to make this event accessible to you\, please contact us. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:151125-21910899@events.umich.edu URL:https://events.umich.edu/event/151125 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Asian Languages And Cultures,Center For South Asian Studies,History,South Asia,south asian,South Asian Studies LOCATION:Michigan League - Vandenberg Room CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270412T080000 DTEND;TZID=America/Detroit:20270412T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907686@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270413T080000 DTEND;TZID=America/Detroit:20270413T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907687@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270414T080000 DTEND;TZID=America/Detroit:20270414T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907688@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270415T080000 DTEND;TZID=America/Detroit:20270415T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907689@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270416T080000 DTEND;TZID=America/Detroit:20270416T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907690@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270419T080000 DTEND;TZID=America/Detroit:20270419T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907693@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270420T080000 DTEND;TZID=America/Detroit:20270420T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907694@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT BEGIN:VEVENT DTSTAMP:20260806T162236 DTSTART;TZID=America/Detroit:20270421T080000 DTEND;TZID=America/Detroit:20270421T170000 SUMMARY:Exhibition:WCEE Exhibition. The Art of Memory\, Paintings by Felix Lembersky DESCRIPTION:Felix Lembersky (1913-1970) was a painter\, theater stage designer\, teacher\, and leader of artistic groups. He began his career within the Soviet Avant-Garde in Ukraine before studying realist painting in Leningrad (now Saint Petersburg). Throughout his life he worked across realist and modernist styles that fell outside of Soviet-mandated Socialist Realism. His Execution: Babyn Yar series (ca. 1944-52) is the earliest known artistic representation of Babyn Yar\, a Holocaust massacre site in Kyiv. For political reasons\, these paintings\, along with his later nonconformist work\, were barred from exhibition in the Soviet Union.\n\nHaving witnessed two world wars\, the 1917 revolution\, and political terror\, Lembersky reflected on these experiences with candor while imbuing his work with hope and optimism. He was drawn to vulnerable\, neglected\, and marginalized people: children\, the elderly\, ethnic minorities\, and industrial workers subjected to harsh labor and dangerous conditions. Regardless of their circumstances\, Lembersky portrayed his subjects with empathy\, dignity\, and admiration. \n\n“For my father\, honesty and integrity meant more than anything else. Art was an expression of freedom\, individuality\, and personalized creativity\, without which it ceased to be art.”\n— Galina Lembersky\, daughter\n\nExhibit curated by Yelena Lembersky\, granddaughter of Felix Lembersky\, and Geneviève Zubrzycki\, WCEE Director.\n\nWorks on loan from the private collection of Yelena Lembersky.\n\nContact weisercenter@umich.edu to schedule a viewing.\n\nIf there is anything we can do to make this event accessible to you\, please contact us at weisercenter@umich.edu. Please be aware that advance notice is necessary as some accommodations may require more time for the university to arrange. UID:149975-21907695@events.umich.edu URL:https://events.umich.edu/event/149975 CLASS:PUBLIC STATUS:CONFIRMED CATEGORIES:Art,russia,ukraine LOCATION:Weiser Hall - Room 1010 CONTACT: END:VEVENT END:VCALENDAR