Viktoria Schindler (neé Prokopovic) was born in Lithuania. From 1998 until 2002, she studied German philology at Vilnius University. She continued her studies by earning a Master of Public Administration and Law at Mykolas Romeris University and performing research at the Verbandsmanagement Institute at University of Fribourg (VMI) in Switzerland for the master thesis “New Public management in Switzerland” supported by a scholarship from Gebert Rüf Stiftung.
She moved to Germany after having successfully completed her studies in Vilnius. Between 2003 and 2007 she worked as a production coordinator for the international movie projects “Wellen” produced by Ziegler Film GmbH & Co and “Die Flucht” produced by teamWorx Television & Film GmbH.
In 2004, she began studying art history at the Free University of Berlin and received her Magister in History of Art with the thesis “Color and Form Theory of Wassily Kandinsky” in 2011. During her studies she focused on, European Modernism, Bauhaus, Art of Nazareners in the 19th century, Classicism, American Abstract Expressionism, Non-finito in Michelangelo’s sculptures, and color theory in art from the 18th to the 20th century. In April 2006 Viktoria guided through the exhibition “Faszination Licht” which was organized by Vdi Technologiezentrum in Urania in Berlin to spark the visitors fascination for light phenomena. In 2011 during an internship at the Hamburger Kunsthalle in the Kupferstichkabinett in Hamburg she catalogued graphics by Paul Wunderlich.
From Oktober 2011 till April 2012 she supported the gallery Schmalfuss Berlin – Contemporary Fine Arts in organizing exhibitions.
At present Viktoria is finishing her Ph.D. thesis on the “Examination of the Manuscripts of Wassily Kandinsky and Ivan Kliun on the Primary Elements of Painting as a Premise for the Establishment of the Science of Art” supervised by Prof. Werner Busch at the Free University of Berlin. She has performed on-site research in different archives in Western and Eastern Europe among them Bauhaus Archives in Weimar and Berlin, Tretyakov Gallery Moscow, Russian State Archive of Literature and Art (RGALI), Costakis Archive in Thessaloniki as well remote research in Getty Research Institute in Los Angeles.
To fund the first year of her doctoral research, Viktoria was granted an Elsa Neumann Ph.D. Scholarship from the State of Berlin. From 2013 to 2016 she was supported by a scholarship from the Gerda Henkel Foundation.
From 2014 Viktoria has been an active member of the Russian Art and Culture Group at Jacobs University Bremen giving talks in several of the group’s workshops as well as organizing the 5th workshop Russian Art on the Rise | Russische Kunst im Aufbruch at Free University of Berlin.
The focus of Viktoria’s current interest lies on European concrete art and movements of Russian Avant-Garde, interface between art and science, color and light phenomena, correspondences between color and form and their perception in art works as well experiments with elements of different arts in art academies of Moscow, St. Petersburg in the early 20th and middle 20th such as INKhUK, RAKhN, VKhUTEMAS and GINKhUk. In a broader context she is interested on issues related to intuition, anthroposophy and subconscious mind in art and art theory.
“Wassily Kandinskys kunsttheoretische Schriften und ihre Rezeption in den Kreisen der russischen Avantgarde”, 5th Graduate Workshop of Russian Art and Culture Group, Kunsthistorisches Institut at Free University of Berlin, Berlin, Germany, 2017 (collaboration between Department of Humanities and Social Sciences at Jacobs University Bremen and Free University of Berlin).
“Searching for Objective Methods of Investigation in Art: Ivan Kliun’s Scientific Approach to Artistic Media”, 4th Graduate Workshop of Russian Art and Culture Group, Department of Humanities and Social Sciences, Jacobs University, Bremen, Germany, 2016.
“Color Theories in the Manuscripts of Russian Avant-Garde Artist Ivan Kliun”, 1st Graduate Workshop of Russian Art and Culture Group, Department of Humanities and Social Sciences, Jacobs University, Bremen, Germany, 2014.
„Wassily Kandinsky’s Theory of Color and Form: From Theosophy to a Science of Art“, The Fourth Biennial Conference of the European Network for Avant-garde and Modernism Studies (EAM), University of Helsinki, Finland, 2014.
“Ivan Kliun and science of color”, conference Neue Forschungen und Quellen zum Werkstoff Farbe, Technical University Munich, Germany, 2013.
“Color Theories from Western Europe and the United States in the Writings of Ivan Kliun”, EXPERIMENT: A Journal of Russian Culture, ed. John E. Bowlt, Volume 23 (2017): 253–266.
„Robert Marc im Spannungsfeld von kubistischer, konstruktiver und konkreter Kunst“, in Robert Marc im Spannungsfeld von kubistischer, konstruktiver und konkreter Kunst. Cuno Amiet, Max Bill, Gustave Buchet, Roman Clemens, Sonia Delaunay, Otto Freundlich, Fritz Glarner, Albert Gleizes, Peter Hächler, Auguste Herbin, Hans Hinterreiter, Gottfried Honegger, Johannes Itten, Erika Giovanna Klien, Jaques Lipchitz, Verena Loewensberg, Richard Paul Lohse, Otto Nebel, Otto Ritschl, Xanti Schawinsky, Jacques Villon, exh. cat., ed. Sussane Orlando, Galerie Orlando, (Switzerland: 2017), 3–17.
“Producing a Grammar of Painting: Color and Form in the Manuscripts of Ivan Kliun,” in Practices of Abstract Art: Between Anarchism and Appropriation, ed. Isabel Wünsche and Wiebke Gronemeyer (Newcastle upon Tyne: Cambridge Scholars Publishing, 2016), 69–94.