BOOK
Cosmic Shift
Bart de Baere | Ilya Kabakov | Emilia Kabakov | Boris Groys | Pavel Pepperstein | Dmitri Prigov | Anton Vidokle | Andrey Monastyrsky | Arseny Zhilyaev | Elena Zaytseva | Alex Anikina
(2017)
Additional Information
Book Details
Abstract
A TLS Book of the Year 2017
In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country’s most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region’s contemporary art, culture and and theory.
With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.
‘Fascinating ... packed with original essays,
projects and even conceptual fiction.’
TLS Book of the Year 2017
With contributions from an impressive list of artists, curators, theorists and historians, this book offers an incredible insight into not only contemporary writing on Russian art but writing as art in Russia.’
Adrian George, previously curator at Tate, and author of The Curator’s Handbook
‘Theory and practice are brought together with clarity and conviction in this powerful selection of aesthetic statements.’
John Bowlt, Director, Institute of Modern Russian Culture
‘Zaytseva and Anikina’s comprehensive anthology illuminates the constellation of Russian art across realism and fantasy, Communism and Cosmism, orthodoxy and perpetual revolution.’
Gilda Williams, author of How to Write about Contemporary Art
‘Cosmism is the lure, when a revived mysticism is the order of the day. But this collection is more energetically eclectic than that. It provides a window into three generations of artists and critics – Soviet, Post-Soviet, and today.'
Peter Osborne, author of Anywhere or Not at All: Philosophy of Contemporary Art
‘Fascinating! More proof of the continued vibrancy of Russian art: modern, postmodern or cosmic, despite the fringe ideas increasingly becoming mainstream.’
Alena Ledeneva, Director, UCL FRINGE Centre
‘Long overdue, this anthology is the first to reveal the idiosyncratic and singular perspectives of leading contemporary artists from Russia. Together, the texts offer a portrait of creative resistance from what Bart de Baere calls “the virtually invisible center of the world”.’
Kate Fowle, Chief Curator, Garage Museum of Contemporary Art, Moscow
‘A fascinating collection of essays, full of stimulating paradoxes, which perfectly reflects the intensity of debate on the contemporary Russian art scene, as precarious in everyday life as it is majestic in its cosmic dreams.’
Ekaterina Degot, Alexander Rodchenko School of Photography and New Media, Moscow
‘An excellent initiative to shed light in the English speaking world on Russian writing about and by contemporary artists. It will help give them a broader audience and spark important cross-cultural debate.’
Andrew Jack, journalist for the Financial Times
Ilya and Emilia Kabakov, Russian-born, US-based conceptual artists known for their pioneering large-scale environments and installations. Andrey Monastyrsky, who along with Illya Kabakov, pioneered the Moscow Conceptualism movement. Boris Groys, art critic, media theorist, and philosopher. Bart De Baere, Director of the Museum of Contemporary Art in Antwerp. Pavel Pepperstein, prominent author, painter and film maker. Dmitri Prigov, famous dissident writer and artist who died in 2007. Anton Vidokle, founder of e-flux. Arseny Zhilyaev, artist and author.
Table of Contents
Section Title | Page | Action | Price |
---|---|---|---|
Cover | Cover | ||
Half Title | i | ||
Title Page\r | iii | ||
Contents | v | ||
Foreword – Bart De Baere | ix | ||
Acknowledgments – Elena Zaytseva and Alex Anikina | xv | ||
Introduction | 1 | ||
Part One: Past Futures | 19 | ||
1: Keti Chukhrov: The Nomadic Theater of the Communist: A Manifesto\r | 25 | ||
2: Ilya and Emilia: Kabakovthe Center of Cosmic Energy \r | 33 | ||
I the Principle and Main Structure of the “Center of Cosmic Energy”\r | 33 | ||
II Four Intuitions\r | 37 | ||
3: Boris Groys: The Truth of Art\r | 53 | ||
4: Andrey Monastyrsky: VDNKh, the Capital of the World: A Schizoanalysis\r | 69 | ||
5: Anton Vidokle: The Communist Revolution was caused by the Sun: A Partial Script for a Short Film | 91 | ||
A Field of Wind Turbines | 91 | ||
Desert, a Mountain of Sand | 93 | ||
A Dressing Room of a Nightclub | 94 | ||
A Village Cemetery Near Almata | 94 | ||
Fields on the Outskirts of an Industrial City | 96 | ||
A Factory Workshop | 97 | ||
Aerial View of a Vast Cemetery | 98 | ||
A Two-Lane Road after Dark | 101 | ||
Note | 103 | ||
Part Two: Inherited Aesthetics\r | 105 | ||
6: Joseph Backstein: History of Angels\r | 111 | ||
A Tour of the Philosophy of Angels | 112 | ||
On Succession in Art | 114 | ||
So What Is the Essence of Moscow Conceptualism and Why Should So Much Attention Be Paid to It?\r | 117 | ||
On the Correlation of the Visual and the Verbal in Russian Art | 120 | ||
On the Notion of the Borderline in Art | 123 | ||
References | 125 | ||
7: Dmitry Gutov and Anatoly Osmolovsky: Concerning Abstractionism\r | 127 | ||
Letter 1 | 128 | ||
Letter 2 | 130 | ||
Letter 3 | 132 | ||
Letter 7\r | 136 | ||
Letter 12 | 141 | ||
Letter 14 (Extract) | 146 | ||
Letter 17\r | 148 | ||
Note\r | 155 | ||
8: Olga Chernysheva: Screens\r | 157 | ||
9: Dmitry Prigov: Two Manifestos\r | 171 | ||
Where Are Our Hands, in Which Our Future Lies? | 171 | ||
The Second Sacro-Cularization | 179 | ||
10: Maria Chehonadskih: The Form of Art as Mediation: A History and Storytelling before and After Moscow Conceptualism\r | 191 | ||
In Place of an Introduction: A ≠ A, or Dialectical Doubt\r | 191 | ||
Benjamin’s “Storyteller” and the Land of Soviets | 194 | ||
The Storyteller after the Storyteller: The Experience of Soviet Conceptualism | 198 | ||
Notes | 205 | ||
11: Artemy Magun: Soviet Communism and the Paradox of Alienation\r | 209 | ||
Communism as Idea | 211 | ||
“Communism” of the Past and Communism of the Future | 215 | ||
Desert Communism | 219 | ||
Negativity in Communism | 226 | ||
Notes | 228 | ||
12: Alexander Brener: The Russian Avant-Garde as an Uncontrollable Beast | 231 | ||
Part Three: From the Archive\r | 241 | ||
13: Vadim Zakharov: Author, Cosmos, Archive | 247 | ||
Additional Terms Used by Vadim Zakharov from The Dictionary of Terms of the Moscow Conceptual School\r | 255 | ||
Notes | 257 | ||
14: Bogdan Mamonov: A Binary System\r | 259 | ||
15: Maria Kapajeva: You Can Call Him another Man (2015–2017) | 267 | ||
Note | 280 | ||
16: Andrey Kuzkin: Running to the Nest\r | 283 | ||
Foreword | 283 | ||
The Journey | 285 | ||
There | 288 | ||
Event Number One – The Manipulator Mirror | 289 | ||
Event Number Two – The Green Swing | 290 | ||
Event Number Three – The Red-Dotted Wood | 294 | ||
Event Number Four – The Triang | 295 | ||
17: Masha Sumnina: Brink, Kerbside, Fence, Margin\r | 301 | ||
Part Four: Russia, Today | 307 | ||
18: Ilya Budraitskis: A Heritage Without an Heir\r | 313 | ||
The ‘Eternal Present’: The Russian Version | 313 | ||
A Revolution against Circumstances | 316 | ||
Order and Disorder | 323 | ||
On the Path to the “Historical Russia” | 325 | ||
The Nontransparency of the Heritage | 329 | ||
Notes | 330 | ||
19: Dmitry Venkov: Krisis: A Film Script\r | 333 | ||
20: Gleb Napreenko: Questions Without Answers, Answers Without Questions\r | 341 | ||
21: Gluklya / Nataliapershina-Yakimanskaya: The Utopian Union of the Unemployed\r | 353 | ||
05.09.16 | 354 | ||
06.09.16 | 356 | ||
07.09.16 | 356 | ||
08.09.16 | 357 | ||
09.09.16 | 357 | ||
10.09.16 | 357 | ||
11.09.16 | 358 | ||
12.09.16 | 358 | ||
15.09.16 | 359 | ||
16.09.16 | 360 | ||
17.09.16 | 361 | ||
18.09.16 | 362 | ||
19.09.16 | 362 | ||
20.09.16 | 363 | ||
21.09.16 | 363 | ||
22.09.16 | 364 | ||
23.09.16 | 364 | ||
24.09.16 | 365 | ||
25.09.16 | 365 | ||
26.09.16 | 366 | ||
27.09.16 | 366 | ||
28.09.16 | 367 | ||
29.09.16 | 367 | ||
30.09.16 | 367 | ||
31.09.16 | 368 | ||
1.10.16 | 369 | ||
24.09.16 | 370 | ||
22: Dmitry Vilensky: Chto Delat? and Method: Practicing Dialecticm\r | 371 | ||
Mixing Different Things | 371 | ||
On the Usefulness of Declarations | 372 | ||
On the Totality of Capital, or Playing the Idiot | 372 | ||
Being Productive? | 372 | ||
On Compromises | 373 | ||
On Working with Institutions | 373 | ||
On Subjugation to the Dominant Class | 374 | ||
On the Historicity of Art | 374 | ||
The Formula of Dialectical Cinema | 374 | ||
On Financing | 375 | ||
On the Boundaries of the Disciplines | 375 | ||
On the Question of Self-Education | 375 | ||
On the Theory of the Weakest Link | 376 | ||
On the Withering Away of Art | 377 | ||
On the Utility of Reading, Viewing and the Supreme Privilege | 378 | ||
Ideas and the Masses | 379 | ||
On Universality | 379 | ||
On World Art | 379 | ||
On Leaders | 379 | ||
On Defamiliarization and Subversive Affirmation | 380 | ||
Is It Possible to Make Love Politically? | 381 | ||
23: Yevgeny Granilshchikov: Weakness: A Scenario for Two Actors and One Camera\r | 383 | ||
Part Five: Future Futures | 393 | ||
24: Oxana Timofeeva: Ultra Black: Brief Notes Towards a Materialist Theory of Oil | 399 | ||
25: Arseny Zhilyaev: Demand Full Automation of Contemporary Art\r | 413 | ||
26: Alex Anikina: The Antichthon\r | 433 | ||
27: Ivan Novikovi: Want to Be Afraid of the Forest\r | 461 | ||
28: Pavel Pepperstein: The Skyscraper-Cleaner Pine Marten | 467 | ||
About the Contributors | 489 | ||
Text Credits | 500 | ||
Image Credits | 503 | ||
Index | 506 |