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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = [{"id":70138360,"link":"http://www.museumofmuseums.art/","name":"personal site","link_domain":"www.museumofmuseums.art","icon":"//www.google.com/s2/u/0/favicons?domain=www.museumofmuseums.art"}]</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://naba.academia.edu/ArsenyZhilyaev","location":"/ArsenyZhilyaev","scheme":"https","host":"naba.academia.edu","port":null,"pathname":"/ArsenyZhilyaev","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-b75f58c7-519a-47f5-8093-c6ca0e164982"></div> <div id="ProfileCheckPaperUpdate-react-component-b75f58c7-519a-47f5-8093-c6ca0e164982"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="Arseny Zhilyaev" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/12407668/3706863/20717038/s200_arseny.zhilyaev.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">Arseny Zhilyaev</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://naba.academia.edu/">NABA</a>, <a class="u-tcGrayDarker" href="https://naba.academia.edu/Departments/Fine_Arts/Documents">Fine Arts</a>, <span class="u-tcGrayDarker">Faculty Member</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="Arseny" data-follow-user-id="12407668" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="12407668"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">327</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">215</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-authors</p><p class="data">6</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">Arseny Zhilyaev (b. 1984, Voronezh, USSR) is a Venice-based former of gatherings, exhibitions, quests, and scripts for (future) histories, employing a variety of artistic practices. His projects often take shape of (para)fictional institutions and use museum as their medium. Zhilyaev plays roles in the Institute for Mastering of Time and the Institute of the Cosmos, while following reflections of the Museum of Museums in the lagoon. The artistic works have been shown at the Manifesta in Marseille, the biennales in Shanghai, Gwangju, Liverpool, Lyon, Riga, Thessaloniki and Ljubljana Triennale as well as at the exhibitions at Centre Pompidou, Palais de Tokyo (Paris); de Appel (Amsterdam); HKW (Berlin); Kadist Art Foundation (Paris and San Francisco); GAM (Turin), MAMbo (Bologna). Zhilyaev graduated from Voronezh State University (2006); Moscow Institute of Contemporary Art (2008); and MA International Program, Valand School of Fine Arts, Gothenburg, Sweden (2010). He is a professor at NABA (Nuova Accademia di Belle Arti) in Milan who gave lectures and master classes at MoMA, Brooklyn Museum, Bard Graduate Center, CUNY (New York); Tate Modern, Whitechapel (London); Princeton University (New Jersey). Zhilyaev is an editor of an anthology Avant-Garde Museology (e-flux, University of Minnesota Press, V-a-c Press, 2015) and publishes articles on e-flux and in Moscow Art Magazine. His works are in the collections of Tate Modern (London); M HKA, Museum (Antwerp); Kadist Art Foundation (Paris, San Francisco); MSU (Zagreb).<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="12407668">View All (10)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="12407668" href="https://www.academia.edu/Documents/in/Avant-Garde_Museology"><div id="js-react-on-rails-context" style="display:none" 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data-dom-id="Pill-react-component-368882d6-6066-48aa-ba53-01066cb23e20"></div> <div id="Pill-react-component-368882d6-6066-48aa-ba53-01066cb23e20"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="12407668" href="https://www.academia.edu/Documents/in/Museology"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Museology"]}" data-trace="false" data-dom-id="Pill-react-component-0fe2ba24-3a86-41fb-b123-c4a07da3858b"></div> <div id="Pill-react-component-0fe2ba24-3a86-41fb-b123-c4a07da3858b"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>13</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Interviews" data-toggle="tab" href="#interviews" role="tab" title="Interviews"><span>9</span> <span class="ds2-5-body-sm-bold">Interviews</span></a></li><li class="nav-chip" role="presentation"><a 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profile--work_container" data-work-id="124802882"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124802882/A_Soviet_Engineer_of_Eternal_Life"><img alt="Research paper thumbnail of A Soviet Engineer of Eternal Life" class="work-thumbnail" src="https://attachments.academia-assets.com/118960900/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124802882/A_Soviet_Engineer_of_Eternal_Life">A Soviet Engineer of Eternal Life</a></div><div class="wp-workCard_item"><span>e-flux #142</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Arseny Zhilyaev's article published in e-flux magazine is devoted to the work of Ilya and Emilia ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arseny Zhilyaev's article published in e-flux magazine is devoted to the work of Ilya and Emilia Kabakov, in particular, to their relationship to the cosmos and their aspiration to immortality. The author analyzes the artists' works through the prism of Russian cosmism and the Soviet context. Zhilyaev emphasizes that Kabakov, despite his critical attitude to Soviet reality, inherited from it a pragmatic, engineering approach to problem solving. The artist did not succumb to mysticism or dissident heroism, but sought practical solutions for survival under the totalitarian regime. "Kabakov, having chosen the role of "double agent" (official work as an illustrator along with underground conceptual experiments with Soviet reality), "trembled with fear" until he left the USSR. But this condition made him extremely sensitive to the challenges of reality and extremely pragmatic in developing responses to them.  In the late work of the Kabakovs Zhilyaev notes the transition from installations to painting. The author attributes this to the artist's desire to achieve immortality through the preservation of his works in museums. Installations, according to Kabakov, are too difficult to preserve, while painting has greater stability. Paintings, according to the artist, are best preserved.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8d6c00ba00b27ff97a8366ca9cc9fcc8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118960900,"asset_id":124802882,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118960900/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124802882"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124802882"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124802882; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124802882]").text(description); $(".js-view-count[data-work-id=124802882]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124802882; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124802882']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124802882, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8d6c00ba00b27ff97a8366ca9cc9fcc8" } } $('.js-work-strip[data-work-id=124802882]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124802882,"title":"A Soviet Engineer of Eternal Life","translated_title":"","metadata":{"abstract":"Arseny Zhilyaev's article published in e-flux magazine is devoted to the work of Ilya and Emilia Kabakov, in particular, to their relationship to the cosmos and their aspiration to immortality. 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","owner":{"id":12407668,"first_name":"Arseny","middle_initials":null,"last_name":"Zhilyaev","page_name":"ArsenyZhilyaev","domain_name":"naba","created_at":"2014-05-27T02:39:59.863-07:00","display_name":"Arseny Zhilyaev","url":"https://naba.academia.edu/ArsenyZhilyaev"},"attachments":[{"id":118960900,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/118960900/thumbnails/1.jpg","file_name":"Arseny_Zhilyaev_A_Soviet_Engineer_of_Eternal_Life_Journal_142.pdf","download_url":"https://www.academia.edu/attachments/118960900/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"A_Soviet_Engineer_of_Eternal_Life.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/118960900/Arseny_Zhilyaev_A_Soviet_Engineer_of_Eternal_Life_Journal_142-libre.pdf?1729236819=\u0026response-content-disposition=attachment%3B+filename%3DA_Soviet_Engineer_of_Eternal_Life.pdf\u0026Expires=1734008450\u0026Signature=Iqo6Q6s6ynpEXWI4jNZF3hcPPVnRdw2Mt-5uXBHBYhfipmbDYMZiOVaNDrWbQ8TmaUfjm3Yya4dOCpE8NCFO9vK9Oa~Vsss4WOqKd2YVsmlwzqCkl9UDodAfwCTAHyU8aJR96oNUs23ydVQxTlim3STrkd0H5E-QSZBxeHKNbZLTabKGIk~CVx6UaHVH15EegGxRGouw88WAV7i7l~-LkPkHgcchaqzKIqDgAwqXfIzF~Z7vscQhCe~Q6I2mTwOI~Y0Rv6TkCWjEjZZe4LAx2Ywyz1v~5-S5VpDGF8lMCJsoSsuZQC-D73Il1z3M0BNVmHA35zTxunWxba~oN3pFgw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art"},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting"},{"id":21751,"name":"Russian \u0026 Soviet Art","url":"https://www.academia.edu/Documents/in/Russian_and_Soviet_Art"},{"id":24360,"name":"Culture in the Soviet Union","url":"https://www.academia.edu/Documents/in/Culture_in_the_Soviet_Union"},{"id":32375,"name":"Painting Conservation","url":"https://www.academia.edu/Documents/in/Painting_Conservation"},{"id":505428,"name":"Moscow Conceptualism","url":"https://www.academia.edu/Documents/in/Moscow_Conceptualism"},{"id":863422,"name":"Ilya \u0026 Emilia Kabakov","url":"https://www.academia.edu/Documents/in/Ilya_and_Emilia_Kabakov"},{"id":1156220,"name":"Ilya Kabakov","url":"https://www.academia.edu/Documents/in/Ilya_Kabakov"},{"id":1174487,"name":"Russian Cosmism","url":"https://www.academia.edu/Documents/in/Russian_Cosmism"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124008084"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124008084/Marco_Scotini_The_Impossibility_of_Neutrality_Six_Questions_to_Arseny_Zhilyaev"><img alt="Research paper thumbnail of Marco Scotini: The Impossibility of Neutrality. Six Questions to Arseny Zhilyaev" class="work-thumbnail" src="https://attachments.academia-assets.com/118313671/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124008084/Marco_Scotini_The_Impossibility_of_Neutrality_Six_Questions_to_Arseny_Zhilyaev">Marco Scotini: The Impossibility of Neutrality. Six Questions to Arseny Zhilyaev</a></div><div class="wp-workCard_item"><span>Arseny Zhilyaev "Lingua Madre"</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"The Impossibility of Neutrality: Six Questions for Arseny Zhilyaev" is a conversation in which c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"The Impossibility of Neutrality: Six Questions for Arseny Zhilyaev" is a conversation in which curator Marco Scottini asks artist Arseny Zhilyaev about his work, the current Russian political situation and the role of art in it. The dialogue is based on the theme of "Mother Language", which runs like a red thread through all of Zhilyaev's works. Scottini tries to understand how Zhilyaev how uses his artistic language to express his position and his feelings. The conversation also touches on the topics of art and power, problems of identity and nationalism, the role of history in contemporary art</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="578897f6dfcf6c60385a68f39450e02f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118313671,"asset_id":124008084,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118313671/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124008084"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124008084"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124008084; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124008084]").text(description); $(".js-view-count[data-work-id=124008084]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124008084; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124008084']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124008084, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "578897f6dfcf6c60385a68f39450e02f" } } $('.js-work-strip[data-work-id=124008084]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124008084,"title":"Marco Scotini: The Impossibility of Neutrality. 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The conversation also touches on the topics of art and power, problems of identity and nationalism, the role of history in contemporary art","publisher":"C+N Gallery CANEPANERI, ISBN 979-12-210-5898-7","ai_title_tag":"Art, Politics, and Identity: A Dialogue with Arseny Zhilyaev","publication_date":{"day":null,"month":null,"year":2024,"errors":{}},"publication_name":"Arseny Zhilyaev \"Lingua Madre\""},"translated_abstract":"\"The Impossibility of Neutrality: Six Questions for Arseny Zhilyaev\" is a conversation in which curator Marco Scottini asks artist Arseny Zhilyaev about his work, the current Russian political situation and the role of art in it. The dialogue is based on the theme of \"Mother Language\", which runs like a red thread through all of Zhilyaev's works. Scottini tries to understand how Zhilyaev how uses his artistic language to express his position and his feelings. The conversation also touches on the topics of art and power, problems of identity and nationalism, the role of history in contemporary art","internal_url":"https://www.academia.edu/124008084/Marco_Scotini_The_Impossibility_of_Neutrality_Six_Questions_to_Arseny_Zhilyaev","translated_internal_url":"","created_at":"2024-09-19T08:33:35.845-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":42408111,"work_id":124008084,"tagging_user_id":12407668,"tagged_user_id":49163841,"co_author_invite_id":null,"email":"m***i@googlemail.com","display_order":1,"name":"Marco Scotini","title":"Marco Scotini: The Impossibility of Neutrality. 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The article compares the main exhibition "Foreigners Everywhere" with the projects "Museum of the Old Colony" by Pablo Delano and "Pinacoteca Migrante" by Sandra Gamarra Heshiki, which critically reflect on the legacy of colonialism in museum practice. The author also analyzes the work of the artist Christoph Büchel "Monte de Pietà" at the Fondazione Prada, which offers a view of capitalism, where the "cabinet of curiosities" is presented through the prism of a pawnshop with its complex system of debts and loans.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e3c9fd9841412cc77ea0ed3a8b529214" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118313285,"asset_id":124007463,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118313285/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124007463"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124007463"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124007463; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124007463]").text(description); $(".js-view-count[data-work-id=124007463]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124007463; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124007463']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124007463, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e3c9fd9841412cc77ea0ed3a8b529214" } } $('.js-work-strip[data-work-id=124007463]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124007463,"title":"In Cabinet of Curiosities Populists Are Everywhere","translated_title":"","metadata":{"abstract":"This text analyzes the 60th Venice Biennale of Contemporary Art, which took place in 2024, and questions its concept, namely how effectively the Biennale copes with the task of decolonizing the exhibition form, given its current format. 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Addressing its two types – cosmist life-creation and Marxist life-building proposed by Boris Arvatov and Alexander Bogdanov respectively – he tries to synthesize them in search of a better form of artistic activity and organisation of the world.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2aea5115c51a54683e4515b3d27fc5a8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107569182,"asset_id":109446334,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107569182/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109446334"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109446334"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109446334; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109446334]").text(description); $(".js-view-count[data-work-id=109446334]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109446334; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109446334']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109446334, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2aea5115c51a54683e4515b3d27fc5a8" } } $('.js-work-strip[data-work-id=109446334]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109446334,"title":"Boundless Art, or Beauty as the Organisation of Eternal Life","translated_title":"","metadata":{"abstract":"Arseny Zhilyaev imagines contemporary art without its current modernist matrix and tells how it can be rooted in the productivist art, in particular, in the production of life. 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Conversation with "Temporal Eternal Boris Groys"" class="work-thumbnail" src="https://attachments.academia-assets.com/100123015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98892341/Nowhere_Romantic_Automatism_Conversation_with_Temporal_Eternal_Boris_Groys_">Nowhere Romantic Automatism. Conversation with "Temporal Eternal Boris Groys"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Some time ago, the Institute for Mastering of Time, as part of the study of the instability of th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Some time ago, the Institute for Mastering of Time, as part of the study of the instability of the canon, created Temporal Eternal philosopher Boris Groys. In honor of the 76th birthday of its original prototype, we are publishing a conversation held in the institute’s laboratory on the relationship between “copy” and “original”, digital immortality, the role of art during the war, the possibilities of reactualization of conceptual practices today.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0865683a6ebf030cac4b12c31328d6f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100123015,"asset_id":98892341,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100123015/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98892341"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98892341"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98892341; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98892341]").text(description); $(".js-view-count[data-work-id=98892341]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98892341; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98892341']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 98892341, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a0865683a6ebf030cac4b12c31328d6f" } } $('.js-work-strip[data-work-id=98892341]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98892341,"title":"Nowhere Romantic Automatism. 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Yes, in these “minor humanity” times it is...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. And burying art is perhaps the most popular method for achieving personal immortality in 20th century—after having offspring</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7b98e0916feeb8e956329b2069f0d9e3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64860369,"asset_id":44440439,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64860369/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44440439"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44440439"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44440439; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44440439]").text(description); $(".js-view-count[data-work-id=44440439]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44440439; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44440439']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44440439, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7b98e0916feeb8e956329b2069f0d9e3" } } $('.js-work-strip[data-work-id=44440439]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44440439,"title":"LETTER F̶ R̶ O̶ M̶ TO MARSEILLE","translated_title":"","metadata":{"abstract":"I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. And burying art is perhaps the most popular method for achieving personal immortality in 20th century—after having offspring","publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":"I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. And burying art is perhaps the most popular method for achieving personal immortality in 20th century—after having offspring","internal_url":"https://www.academia.edu/44440439/LETTER_F_R_O_M_TO_MARSEILLE","translated_internal_url":"","created_at":"2020-11-05T07:16:02.777-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":64860369,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64860369/thumbnails/1.jpg","file_name":"LETTER_FROM_TO_MARSEILLE_3_BY_ARSENY_ZHILYAEV_Manifesta_13_Marseille.pdf","download_url":"https://www.academia.edu/attachments/64860369/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"LETTER_F_R_O_M_TO_MARSEILLE.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64860369/LETTER_FROM_TO_MARSEILLE_3_BY_ARSENY_ZHILYAEV_Manifesta_13_Marseille-libre.pdf?1604590616=\u0026response-content-disposition=attachment%3B+filename%3DLETTER_F_R_O_M_TO_MARSEILLE.pdf\u0026Expires=1734008450\u0026Signature=WRNsttPh2lXLb8CLr9xPxTuvZeunFtsaZfJo2~y4-HddRnkmcoOcxvMFTvO7s2Upe~a76U-AjiQfhUZUE6hAmJDmeW7CuTYgYwR3pQ2~acmGgGg1M7uFJ4tK~KNMmK8ZR9mxZgmnK-wyfCTtwaSwYWXnSA1FMxxHoCja7W-fJ2vKuBHBz~BZ-orB9tVUiTGrv1Mf2DHVYnmzQ1WRz5-6oY1SCsdNj28iInROqclFm08Q1iP65GoCnhWKy4Otl5SLpGrAAIMpxH4esP~BI1Tey1PS0cGty3680XFrMBk3Eja98F~KuefAvjo0OxiKjmauZF65rh12AXXG~kWwm2E1DQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"LETTER_F_R_O_M_TO_MARSEILLE","translated_slug":"","page_count":5,"language":"en","content_type":"Work","summary":"I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. 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Everyone who has an interest in experiments with display design has seen images of the Abstract Cabinet installed at Landesmuseum in late 1928. This masterpiece marks the limit of known ambitions for the transformation of the museum in the time associated with the young Soviet state or even the historical avant-garde. But most interpretations of the Abstract Cabinet reduce its meaning to formal innovations distinctive for Western modernism. The new concept of the museum that resulted from the combination of new social relationships and a political agenda remains unconsidered. I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fd91ce820abe3934339eabb3cc3e612e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61768052,"asset_id":41612695,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61768052/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41612695"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41612695"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41612695; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41612695]").text(description); $(".js-view-count[data-work-id=41612695]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41612695; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41612695']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41612695, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fd91ce820abe3934339eabb3cc3e612e" } } $('.js-work-strip[data-work-id=41612695]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41612695,"title":"Tracing Avant-Garde Museology","translated_title":"","metadata":{"abstract":"If you have “avant-garde” and “museology” or “museum exhibitions” in one sentence, especially if that sentence is in English, the first name that comes to mind is El Lissitzy and his collaboration with Alexander Dorner in Hannover. Everyone who has an interest in experiments with display design has seen images of the Abstract Cabinet installed at Landesmuseum in late 1928. This masterpiece marks the limit of known ambitions for the transformation of the museum in the time associated with the young Soviet state or even the historical avant-garde. But most interpretations of the Abstract Cabinet reduce its meaning to formal innovations distinctive for Western modernism. The new concept of the museum that resulted from the combination of new social relationships and a political agenda remains unconsidered. I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"e-flux #05"},"translated_abstract":"If you have “avant-garde” and “museology” or “museum exhibitions” in one sentence, especially if that sentence is in English, the first name that comes to mind is El Lissitzy and his collaboration with Alexander Dorner in Hannover. Everyone who has an interest in experiments with display design has seen images of the Abstract Cabinet installed at Landesmuseum in late 1928. This masterpiece marks the limit of known ambitions for the transformation of the museum in the time associated with the young Soviet state or even the historical avant-garde. But most interpretations of the Abstract Cabinet reduce its meaning to formal innovations distinctive for Western modernism. The new concept of the museum that resulted from the combination of new social relationships and a political agenda remains unconsidered. I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.","internal_url":"https://www.academia.edu/41612695/Tracing_Avant_Garde_Museology","translated_internal_url":"","created_at":"2020-01-13T06:18:39.158-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":61768052,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61768052/thumbnails/1.jpg","file_name":"article_12881520200113-85296-1v3zzu0.pdf","download_url":"https://www.academia.edu/attachments/61768052/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Tracing_Avant_Garde_Museology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61768052/article_12881520200113-85296-1v3zzu0-libre.pdf?1578926702=\u0026response-content-disposition=attachment%3B+filename%3DTracing_Avant_Garde_Museology.pdf\u0026Expires=1734008450\u0026Signature=UNVlYMvcJpd0lJLvPSMwjGK2epOZ3DCqgwA3cpkUG8NWbaDy6H6OLHfZpEx57q4jfvTnIVCh9LC3y7Xn~YnLUfvumQnxyt2p-HLL~l3ubzUfCGPEvSCRossnKOwy2ApCUlNMeQURk8xnRxVItIGIlq2QUdXoAgioYpQZVhDgp4BeZGmLCEWe4YrMjZbPKV26PTVnu0DA6eea~zNCDr15mPogl0CF-dNgaGMtsywS7EM6lTqa93scpdlKvPW~tf5PJK1n13SLAwxl8j8k37ujwes7QrF9g08nP7Koro9IOjw73bPF7qCxB78EQVEws09sWrwd0zHYSQV6S0TFptXtaQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Tracing_Avant_Garde_Museology","translated_slug":"","page_count":12,"language":"en","content_type":"Work","summary":"If you have “avant-garde” and “museology” or “museum exhibitions” in one sentence, especially if that sentence is in English, the first name that comes to mind is El Lissitzy and his collaboration with Alexander Dorner in Hannover. Everyone who has an interest in experiments with display design has seen images of the Abstract Cabinet installed at Landesmuseum in late 1928. This masterpiece marks the limit of known ambitions for the transformation of the museum in the time associated with the young Soviet state or even the historical avant-garde. But most interpretations of the Abstract Cabinet reduce its meaning to formal innovations distinctive for Western modernism. The new concept of the museum that resulted from the combination of new social relationships and a political agenda remains unconsidered. I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.","owner":{"id":12407668,"first_name":"Arseny","middle_initials":null,"last_name":"Zhilyaev","page_name":"ArsenyZhilyaev","domain_name":"naba","created_at":"2014-05-27T02:39:59.863-07:00","display_name":"Arseny Zhilyaev","url":"https://naba.academia.edu/ArsenyZhilyaev"},"attachments":[{"id":61768052,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61768052/thumbnails/1.jpg","file_name":"article_12881520200113-85296-1v3zzu0.pdf","download_url":"https://www.academia.edu/attachments/61768052/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Tracing_Avant_Garde_Museology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61768052/article_12881520200113-85296-1v3zzu0-libre.pdf?1578926702=\u0026response-content-disposition=attachment%3B+filename%3DTracing_Avant_Garde_Museology.pdf\u0026Expires=1734008450\u0026Signature=UNVlYMvcJpd0lJLvPSMwjGK2epOZ3DCqgwA3cpkUG8NWbaDy6H6OLHfZpEx57q4jfvTnIVCh9LC3y7Xn~YnLUfvumQnxyt2p-HLL~l3ubzUfCGPEvSCRossnKOwy2ApCUlNMeQURk8xnRxVItIGIlq2QUdXoAgioYpQZVhDgp4BeZGmLCEWe4YrMjZbPKV26PTVnu0DA6eea~zNCDr15mPogl0CF-dNgaGMtsywS7EM6lTqa93scpdlKvPW~tf5PJK1n13SLAwxl8j8k37ujwes7QrF9g08nP7Koro9IOjw73bPF7qCxB78EQVEws09sWrwd0zHYSQV6S0TFptXtaQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies"},{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies"},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism"},{"id":20622,"name":"Avant-Garde","url":"https://www.academia.edu/Documents/in/Avant-Garde"},{"id":24016,"name":"Museology","url":"https://www.academia.edu/Documents/in/Museology"},{"id":119473,"name":"Kasimir Malevich","url":"https://www.academia.edu/Documents/in/Kasimir_Malevich"},{"id":455183,"name":"Alexander Bogdanov","url":"https://www.academia.edu/Documents/in/Alexander_Bogdanov"},{"id":1174487,"name":"Russian Cosmism","url":"https://www.academia.edu/Documents/in/Russian_Cosmism"},{"id":1382677,"name":"Nikolai Fyodorovich Fyodorov","url":"https://www.academia.edu/Documents/in/Nikolai_Fyodorovich_Fyodorov"},{"id":2187371,"name":"Avant-Garde Museology","url":"https://www.academia.edu/Documents/in/Avant-Garde_Museology"}],"urls":[{"id":8933122,"url":"https://www.e-flux.com/journal/82/128815/tracing-avant-garde-museology/"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37805941"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37805941/Demand_Full_Automation_of_Contemporary_Art"><img alt="Research paper thumbnail of Demand Full Automation of Contemporary Art" class="work-thumbnail" src="https://attachments.academia-assets.com/57804415/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37805941/Demand_Full_Automation_of_Contemporary_Art">Demand Full Automation of Contemporary Art</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">As we know, photography, as automated visual art, only indicated the need to rethink human artist...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. On the contrary, it was the catalyst for processes that led to the increased complexity of this activity and the crystallization of a number of its characteristic features in contemporary art, including the reinforcement of innate, specifically human features such as a unique ‘signature’ and distinctive human expression, or even the opposite tendency of the mimicry of machine art or collaborative activity – geometric abstraction, the rationalization of visual forms or even production art. In a certain sense a situation in which the artist is formed together with an archive of future art is like the situation of a chess player who plays with the help of a computer that calculates the consequences of the human being’s strategic decisions, but does not take decisions independently. Rodchenko already dreamed of a time when the development of technology would mean that an artist only had to imagine a specific work of art in his mind, after which it could be realized automatically. Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8fa03e1e7f070342f4d9ccb66e6d31b3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57804415,"asset_id":37805941,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57804415/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37805941"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37805941"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37805941; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37805941]").text(description); $(".js-view-count[data-work-id=37805941]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37805941; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37805941']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37805941, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8fa03e1e7f070342f4d9ccb66e6d31b3" } } $('.js-work-strip[data-work-id=37805941]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37805941,"title":"Demand Full Automation of Contemporary Art","translated_title":"","metadata":{"abstract":"As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. 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Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial."},"translated_abstract":"As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. On the contrary, it was the catalyst for processes that led to the increased complexity of this activity and the crystallization of a number of its characteristic features in contemporary art, including the reinforcement of innate, specifically human features such as a unique ‘signature’ and distinctive human expression, or even the opposite tendency of the mimicry of machine art or collaborative activity – geometric abstraction, the rationalization of visual forms or even production art. In a certain sense a situation in which the artist is formed together with an archive of future art is like the situation of a chess player who plays with the help of a computer that calculates the consequences of the human being’s strategic decisions, but does not take decisions independently. Rodchenko already dreamed of a time when the development of technology would mean that an artist only had to imagine a specific work of art in his mind, after which it could be realized automatically. Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial.","internal_url":"https://www.academia.edu/37805941/Demand_Full_Automation_of_Contemporary_Art","translated_internal_url":"","created_at":"2018-11-19T06:29:24.384-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":57804415,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/57804415/thumbnails/1.jpg","file_name":"ZHILYAEV_On_Automation_1.docx","download_url":"https://www.academia.edu/attachments/57804415/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Demand_Full_Automation_of_Contemporary_A.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57804415/ZHILYAEV_On_Automation_1.docx?1542637761=\u0026response-content-disposition=attachment%3B+filename%3DDemand_Full_Automation_of_Contemporary_A.docx\u0026Expires=1734008450\u0026Signature=fUCT5TcwaLti4THAmGkDWQn9WnGB~jrHnM5S63mNz6N~edECZtyvxrBq8NF7Dp9J8mxK01w-srJeWy9~~ahnJM6~7oC5yP-d1CmvFbdp5Tpbz0aGF~Du5gJkYsHokO-uiaDxHt-rovtSNarSzedXF2exqDdfXquPBZajHBy~GNlK-Jnnoaz8dKNmgYjHX6idudo96JkTCZ~MoyuZUz8mEIRYDpEJ40dzuDmmm~c4bd1lU66QV0CamXIRS0awXHtup9FZxJvOuq8IszOTv6XZ157VgABufzFnsk7Cak7J1mv6hTLrsizVA6Y58ldZREmFoDo~W~2AwXGsCFMO4TO6yA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Demand_Full_Automation_of_Contemporary_Art","translated_slug":"","page_count":11,"language":"en","content_type":"Work","summary":"As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. 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Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial.","owner":{"id":12407668,"first_name":"Arseny","middle_initials":null,"last_name":"Zhilyaev","page_name":"ArsenyZhilyaev","domain_name":"naba","created_at":"2014-05-27T02:39:59.863-07:00","display_name":"Arseny Zhilyaev","url":"https://naba.academia.edu/ArsenyZhilyaev"},"attachments":[{"id":57804415,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/57804415/thumbnails/1.jpg","file_name":"ZHILYAEV_On_Automation_1.docx","download_url":"https://www.academia.edu/attachments/57804415/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Demand_Full_Automation_of_Contemporary_A.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57804415/ZHILYAEV_On_Automation_1.docx?1542637761=\u0026response-content-disposition=attachment%3B+filename%3DDemand_Full_Automation_of_Contemporary_A.docx\u0026Expires=1734008450\u0026Signature=fUCT5TcwaLti4THAmGkDWQn9WnGB~jrHnM5S63mNz6N~edECZtyvxrBq8NF7Dp9J8mxK01w-srJeWy9~~ahnJM6~7oC5yP-d1CmvFbdp5Tpbz0aGF~Du5gJkYsHokO-uiaDxHt-rovtSNarSzedXF2exqDdfXquPBZajHBy~GNlK-Jnnoaz8dKNmgYjHX6idudo96JkTCZ~MoyuZUz8mEIRYDpEJ40dzuDmmm~c4bd1lU66QV0CamXIRS0awXHtup9FZxJvOuq8IszOTv6XZ157VgABufzFnsk7Cak7J1mv6hTLrsizVA6Y58ldZREmFoDo~W~2AwXGsCFMO4TO6yA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence"},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":42215,"name":"Futurology","url":"https://www.academia.edu/Documents/in/Futurology"},{"id":66379,"name":"Automation","url":"https://www.academia.edu/Documents/in/Automation"},{"id":148162,"name":"Accelerationism","url":"https://www.academia.edu/Documents/in/Accelerationism"},{"id":1174487,"name":"Russian Cosmism","url":"https://www.academia.edu/Documents/in/Russian_Cosmism"},{"id":2187371,"name":"Avant-Garde Museology","url":"https://www.academia.edu/Documents/in/Avant-Garde_Museology"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37203899"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37203899/Optimists_of_the_Future_Past_Perfect"><img alt="Research paper thumbnail of Optimists of the Future Past Perfect" class="work-thumbnail" src="https://attachments.academia-assets.com/57154630/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37203899/Optimists_of_the_Future_Past_Perfect">Optimists of the Future Past Perfect</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In his text, Areseny Zhilyaev uses Leo Trotsky's classification of the optimist in order to trace...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In his text, Areseny Zhilyaev uses Leo Trotsky's classification of the optimist in order to trace the appearance of infinity as one of capitalism's promises and possible connection of cosmism and communism.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8c00e35dc725c6a1d8c5cf91caec399f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57154630,"asset_id":37203899,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57154630/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37203899"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37203899"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37203899; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17036088"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17036088/Second_Advents_On_the_Issue_of_Planning_in_Contemporary_Art"><img alt="Research paper thumbnail of Second Advents: On the Issue of Planning in Contemporary Art" class="work-thumbnail" src="https://attachments.academia-assets.com/39320476/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17036088/Second_Advents_On_the_Issue_of_Planning_in_Contemporary_Art">Second Advents: On the Issue of Planning in Contemporary Art</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">We are now coming to the core of Nikolai Fedorov's project and to the quintessence of the avant-g...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">We are now coming to the core of Nikolai Fedorov's project and to the quintessence of the avant-garde museum, i.e. to the resurrection of dead generations. By then, most likely, a friendly, collective artificial intelligence will have been created by all living humans. This will become possible due to the development of production and of the general intellect. The development of a collective artificial intelligence will mean that enough common effort exists to implement all-universe projects. The procedure of resurrection will most likely be performed in the name of a collective artist-curator.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7a909202b3e283ab8b9e86d246ac33ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39320476,"asset_id":17036088,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39320476/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17036088"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17036088"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17036088; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17036088]").text(description); $(".js-view-count[data-work-id=17036088]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17036088; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17036088']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17036088, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7a909202b3e283ab8b9e86d246ac33ed" } } $('.js-work-strip[data-work-id=17036088]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17036088,"title":"Second Advents: On the Issue of Planning in Contemporary Art","translated_title":"","metadata":{"abstract":"We are now coming to the core of Nikolai Fedorov's project and to the quintessence of the avant-garde museum, i.e. to the resurrection of dead generations. 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Do we deny aesthetic cogency to the sculpture of Pallas Athena merely because it depicts a pagan goddess, and not Jesus Christ or a spaceship?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7a54408dbf022d1561420933fdc98741" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36239009,"asset_id":10124064,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36239009/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10124064"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10124064"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10124064; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10124064]").text(description); $(".js-view-count[data-work-id=10124064]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10124064; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10124064']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 10124064, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7a54408dbf022d1561420933fdc98741" } } $('.js-work-strip[data-work-id=10124064]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10124064,"title":"Conceptual Realism: The Vulgar Freedom of Avant-Garde Museum Work","translated_title":"","metadata":{"abstract":"The avant-garde character of the art created by Soviet museologists must be reopened to the world, in spite of the critique by the official Soviet bureaucracy and the silence of their Western colleagues, who considered the Soviet experiments of the ’20s as too far beyond the institutional borders of art. 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From this perspective, it is very important to study the transformations undergone by the Soviet museums after the victory of the proletarian socialist revolution.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="37c880db15bc8555586b900f00d56c53" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":35524400,"asset_id":9256979,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/35524400/download_file?st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="9256979"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9256979"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9256979; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9256979]").text(description); $(".js-view-count[data-work-id=9256979]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9256979; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='9256979']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 9256979, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "37c880db15bc8555586b900f00d56c53" } } $('.js-work-strip[data-work-id=9256979]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":9256979,"title":"The Places of History","translated_title":"","metadata":{"abstract":"The museum of the revolution and the museum of modernist art are meeting places for the politician and the artist fighting against the limitations of time and space; they are heterotopias that have paradoxically retained their importance despite the radicalism of certain twentieth-century thinkers who were opposed to any spatio-temporal capture. 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This angel may want to revive the dead, but this is beyond his power. The Wind of Artistic Progress steadily carries him forward in time. The only hope lies in finding an angelic video recorder that can capture the losses caused in the fight for future salvation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="25daf890e41b72ae582cb309f3fbc419" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34291926,"asset_id":7781580,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34291926/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7781580"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7781580"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7781580; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7781580]").text(description); $(".js-view-count[data-work-id=7781580]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7781580; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7781580']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7781580, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "25daf890e41b72ae582cb309f3fbc419" } } $('.js-work-strip[data-work-id=7781580]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7781580,"title":"The Mission of Contemporary Art and the Universal Museum","translated_title":"","metadata":{"abstract":"It is commonly known that the Angel of the History of Contemporary Art faces the past, and what he sees is just a pile of catastrophes. 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","internal_url":"https://www.academia.edu/7781580/The_Mission_of_Contemporary_Art_and_the_Universal_Museum","translated_internal_url":"","created_at":"2014-07-25T15:21:34.614-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":34291926,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/34291926/thumbnails/1.jpg","file_name":"The_Mission_of_Contemporary_Art_and_the_Universal_Museum.doc","download_url":"https://www.academia.edu/attachments/34291926/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Mission_of_Contemporary_Art_and_the.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34291926/The_Mission_of_Contemporary_Art_and_the_Universal_Museum.doc?1406326677=\u0026response-content-disposition=attachment%3B+filename%3DThe_Mission_of_Contemporary_Art_and_the.doc\u0026Expires=1734008450\u0026Signature=McrgfCsCchDiq1W7T3AS3aVcSaA0y31ETMZYvO7nhaEoQxDQG2WN7E~sSySeOM0N2xzoJkCImbKmUIg1P09RKjcYY-0XQY-U-iajig2Lf8upcAxuYp2XslD4l8fWwyXzqBSG8-TJe9oNVsC5DINY7gdguXLj1k872WxAtQvd2VC8DPueiGMRIyyRcIo6wMp-wDSxSP575B8X2~GOAnOx79in6dEQCl78WDfN2ANHBBqw9o0wT49HOg4l9KgQbz8TK6aFhi2-C4gcBEHQRDV~Klx1mJoAl8EaZ0VXmV6y1UIId2n8GvHhFYdC9bEpBWFjSv5fN5zSgNi9JTBlpsYLjA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"The_Mission_of_Contemporary_Art_and_the_Universal_Museum","translated_slug":"","page_count":1,"language":"en","content_type":"Work","summary":"It is commonly known that the Angel of the History of Contemporary Art faces the past, and what he sees is just a pile of catastrophes. 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","owner":{"id":12407668,"first_name":"Arseny","middle_initials":null,"last_name":"Zhilyaev","page_name":"ArsenyZhilyaev","domain_name":"naba","created_at":"2014-05-27T02:39:59.863-07:00","display_name":"Arseny Zhilyaev","url":"https://naba.academia.edu/ArsenyZhilyaev"},"attachments":[{"id":34291926,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/34291926/thumbnails/1.jpg","file_name":"The_Mission_of_Contemporary_Art_and_the_Universal_Museum.doc","download_url":"https://www.academia.edu/attachments/34291926/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Mission_of_Contemporary_Art_and_the.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/34291926/The_Mission_of_Contemporary_Art_and_the_Universal_Museum.doc?1406326677=\u0026response-content-disposition=attachment%3B+filename%3DThe_Mission_of_Contemporary_Art_and_the.doc\u0026Expires=1734008450\u0026Signature=McrgfCsCchDiq1W7T3AS3aVcSaA0y31ETMZYvO7nhaEoQxDQG2WN7E~sSySeOM0N2xzoJkCImbKmUIg1P09RKjcYY-0XQY-U-iajig2Lf8upcAxuYp2XslD4l8fWwyXzqBSG8-TJe9oNVsC5DINY7gdguXLj1k872WxAtQvd2VC8DPueiGMRIyyRcIo6wMp-wDSxSP575B8X2~GOAnOx79in6dEQCl78WDfN2ANHBBqw9o0wT49HOg4l9KgQbz8TK6aFhi2-C4gcBEHQRDV~Klx1mJoAl8EaZ0VXmV6y1UIId2n8GvHhFYdC9bEpBWFjSv5fN5zSgNi9JTBlpsYLjA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies"},{"id":24016,"name":"Museology","url":"https://www.academia.edu/Documents/in/Museology"},{"id":42181,"name":"New Museology","url":"https://www.academia.edu/Documents/in/New_Museology"},{"id":148162,"name":"Accelerationism","url":"https://www.academia.edu/Documents/in/Accelerationism"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Interviews" id="Interviews"><h3 class="profile--tab_heading_container">Interviews by Arseny Zhilyaev</h3></div><div class="js-work-strip profile--work_container" data-work-id="124008434"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124008434/History_repeats_itself_A_conversation_between_Alessandra_Franetovich_and_Arseny_Zhilyaev"><img alt="Research paper thumbnail of History repeats itself? A conversation between Alessandra Franetovich and Arseny Zhilyaev" class="work-thumbnail" src="https://attachments.academia-assets.com/118313892/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124008434/History_repeats_itself_A_conversation_between_Alessandra_Franetovich_and_Arseny_Zhilyaev">History repeats itself? A conversation between Alessandra Franetovich and Arseny Zhilyaev</a></div><div class="wp-workCard_item"><span>Arseny Zhilyaev "Lingua Madre"</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The text presents an interview between artist Arseny Zhilyaev and curator Alessandra Franetovich,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The text presents an interview between artist Arseny Zhilyaev and curator Alessandra Franetovich, in which they discuss the development of Russian contemporary art in the context of political, social and historical changes. Zhilyaev talks about his experience as an artist who used to work in Voronezh and Moscow and notes the influence of Western art and conceptualism on his work. Franetovich is interested in how the events he experienced — from the collapse of the USSR and the breakup of Yugoslavia to the current war in Ukraine — influenced the perception of contemporary art, how it shapes values and historical memory.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb56fe6fe962fc73a3d5619cfc9b26c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118313892,"asset_id":124008434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118313892/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124008434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124008434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124008434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124008434]").text(description); $(".js-view-count[data-work-id=124008434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124008434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124008434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124008434, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cb56fe6fe962fc73a3d5619cfc9b26c2" } } $('.js-work-strip[data-work-id=124008434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124008434,"title":"History repeats itself? 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Ведь, следуя коинсидентальной логике, бессмертие либо лишено смысл...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Что в таком случае бессмертие? Ведь, следуя коинсидентальной логике, бессмертие либо лишено смысла и равнозначно смерти, либо оно указывает на несовпадение, на разрыв связи без связи между живым и неживым. Если смерть - это неузнанное совпадение, то бессмертие в вашем понимании - это скорее всего не то, что, как считается, стремится получить каждый смертный.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="faba86f1c9cb6d5463468f7c404497a9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100774641,"asset_id":99409425,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100774641/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99409425"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99409425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99409425; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=99409425]").text(description); $(".js-view-count[data-work-id=99409425]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 99409425; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='99409425']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 99409425, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "faba86f1c9cb6d5463468f7c404497a9" } } $('.js-work-strip[data-work-id=99409425]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":99409425,"title":"Беседа с Йоэлем Регевым \"Смерть как непримечательное совпадение\"","translated_title":"","metadata":{"abstract":"Что в таком случае бессмертие? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37510056"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37510056/The_Fascinating_and_Unknown_Story_of_Soviet_Museology_Russian_Avant_Garde_and_Cosmism_Paco_Barrag%C3%A1n_interviews_Russian_Artist_and_Theorist_Arseny_Zhilyaev"><img alt="Research paper thumbnail of The Fascinating and Unknown Story of Soviet Museology, Russian Avant-Garde, and Cosmism: Paco Barragán interviews Russian Artist and Theorist Arseny Zhilyaev" class="work-thumbnail" src="https://attachments.academia-assets.com/57482171/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37510056/The_Fascinating_and_Unknown_Story_of_Soviet_Museology_Russian_Avant_Garde_and_Cosmism_Paco_Barrag%C3%A1n_interviews_Russian_Artist_and_Theorist_Arseny_Zhilyaev">The Fascinating and Unknown Story of Soviet Museology, Russian Avant-Garde, and Cosmism: Paco Barragán interviews Russian Artist and Theorist Arseny Zhilyaev</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/PacoBarrag%C3%A1n">Paco Barragán</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://naba.academia.edu/ArsenyZhilyaev">Arseny Zhilyaev</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Arseny Zhilyaev: “The experimental marxist exhibition was a complex, multilevel, conceptual insta...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arseny Zhilyaev: “The experimental marxist exhibition was a complex, multilevel, conceptual installation that even for a trained spectator of the time was something like a UFO coming down from heaven.”<br /><br />Arseny Zhilyaev is a Russian artist based in Moscow and Venice. He is also the editor of 'Avant-Garde Museology' (2015), published by e-flux in collaboration with the V-A-C Foundation, through which Western audiences can access many key texts of Russian and Soviet museology undisclosed until today. We spoke with Zhilyaev, among others, about the heritage of cosmism, the avant-garde and Soviet museology, and how his interest in these fascinating and challenging experiments feeds his own artistic practice.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a257e303f41a95b2a1f91f37d4fab010" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57482171,"asset_id":37510056,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57482171/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37510056"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37510056"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37510056; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37510056]").text(description); $(".js-view-count[data-work-id=37510056]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37510056; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37510056']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37510056, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a257e303f41a95b2a1f91f37d4fab010" } } $('.js-work-strip[data-work-id=37510056]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37510056,"title":"The Fascinating and Unknown Story of Soviet Museology, Russian Avant-Garde, and Cosmism: Paco Barragán interviews Russian Artist and Theorist Arseny Zhilyaev","translated_title":"","metadata":{"abstract":"Arseny Zhilyaev: “The experimental marxist exhibition was a complex, multilevel, conceptual installation that even for a trained spectator of the time was something like a UFO coming down from heaven.”\n\nArseny Zhilyaev is a Russian artist based in Moscow and Venice. 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Second Advent' (October 7 – November 10, 2016) in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">On the occasion of the exhibition 'Tsiolkovsky. Second Advent' (October 7 – November 10, 2016) in New Holland, St. Petersburg critic, curator and Kommersant’ correspondent Valentin Diaconov spoke with artist Arseny Zhilyaev.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="07db6752aa14476e1db091e2a844d69d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50740162,"asset_id":30273897,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50740162/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30273897"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30273897"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30273897; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30273897]").text(description); $(".js-view-count[data-work-id=30273897]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30273897; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30273897']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30273897, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "07db6752aa14476e1db091e2a844d69d" } } $('.js-work-strip[data-work-id=30273897]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30273897,"title":"Arseny Zhilyaev in conversation with Valentin Diaconov: \"In this pulsing we can hear an echo of the Big Bang\".","translated_title":"","metadata":{"abstract":"On the occasion of the exhibition 'Tsiolkovsky. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="1652411" id="papers"><div class="js-work-strip profile--work_container" data-work-id="124802882"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124802882/A_Soviet_Engineer_of_Eternal_Life"><img alt="Research paper thumbnail of A Soviet Engineer of Eternal Life" class="work-thumbnail" src="https://attachments.academia-assets.com/118960900/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124802882/A_Soviet_Engineer_of_Eternal_Life">A Soviet Engineer of Eternal Life</a></div><div class="wp-workCard_item"><span>e-flux #142</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Arseny Zhilyaev's article published in e-flux magazine is devoted to the work of Ilya and Emilia ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arseny Zhilyaev's article published in e-flux magazine is devoted to the work of Ilya and Emilia Kabakov, in particular, to their relationship to the cosmos and their aspiration to immortality. The author analyzes the artists' works through the prism of Russian cosmism and the Soviet context. Zhilyaev emphasizes that Kabakov, despite his critical attitude to Soviet reality, inherited from it a pragmatic, engineering approach to problem solving. The artist did not succumb to mysticism or dissident heroism, but sought practical solutions for survival under the totalitarian regime. "Kabakov, having chosen the role of "double agent" (official work as an illustrator along with underground conceptual experiments with Soviet reality), "trembled with fear" until he left the USSR. But this condition made him extremely sensitive to the challenges of reality and extremely pragmatic in developing responses to them.  In the late work of the Kabakovs Zhilyaev notes the transition from installations to painting. The author attributes this to the artist's desire to achieve immortality through the preservation of his works in museums. Installations, according to Kabakov, are too difficult to preserve, while painting has greater stability. Paintings, according to the artist, are best preserved.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8d6c00ba00b27ff97a8366ca9cc9fcc8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118960900,"asset_id":124802882,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118960900/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124802882"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124802882"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124802882; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124802882]").text(description); $(".js-view-count[data-work-id=124802882]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124802882; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124802882']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124802882, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8d6c00ba00b27ff97a8366ca9cc9fcc8" } } $('.js-work-strip[data-work-id=124802882]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124802882,"title":"A Soviet Engineer of Eternal Life","translated_title":"","metadata":{"abstract":"Arseny Zhilyaev's article published in e-flux magazine is devoted to the work of Ilya and Emilia Kabakov, in particular, to their relationship to the cosmos and their aspiration to immortality. 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Six Questions to Arseny Zhilyaev" class="work-thumbnail" src="https://attachments.academia-assets.com/118313671/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124008084/Marco_Scotini_The_Impossibility_of_Neutrality_Six_Questions_to_Arseny_Zhilyaev">Marco Scotini: The Impossibility of Neutrality. Six Questions to Arseny Zhilyaev</a></div><div class="wp-workCard_item"><span>Arseny Zhilyaev "Lingua Madre"</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"The Impossibility of Neutrality: Six Questions for Arseny Zhilyaev" is a conversation in which c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"The Impossibility of Neutrality: Six Questions for Arseny Zhilyaev" is a conversation in which curator Marco Scottini asks artist Arseny Zhilyaev about his work, the current Russian political situation and the role of art in it. The dialogue is based on the theme of "Mother Language", which runs like a red thread through all of Zhilyaev's works. Scottini tries to understand how Zhilyaev how uses his artistic language to express his position and his feelings. The conversation also touches on the topics of art and power, problems of identity and nationalism, the role of history in contemporary art</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="578897f6dfcf6c60385a68f39450e02f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118313671,"asset_id":124008084,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118313671/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124008084"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124008084"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124008084; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124008084]").text(description); $(".js-view-count[data-work-id=124008084]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124008084; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124008084']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124008084, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "578897f6dfcf6c60385a68f39450e02f" } } $('.js-work-strip[data-work-id=124008084]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124008084,"title":"Marco Scotini: The Impossibility of Neutrality. 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The article compares the main exhibition "Foreigners Everywhere" with the projects "Museum of the Old Colony" by Pablo Delano and "Pinacoteca Migrante" by Sandra Gamarra Heshiki, which critically reflect on the legacy of colonialism in museum practice. The author also analyzes the work of the artist Christoph Büchel "Monte de Pietà" at the Fondazione Prada, which offers a view of capitalism, where the "cabinet of curiosities" is presented through the prism of a pawnshop with its complex system of debts and loans.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e3c9fd9841412cc77ea0ed3a8b529214" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118313285,"asset_id":124007463,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118313285/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124007463"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124007463"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124007463; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124007463]").text(description); $(".js-view-count[data-work-id=124007463]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124007463; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124007463']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124007463, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e3c9fd9841412cc77ea0ed3a8b529214" } } $('.js-work-strip[data-work-id=124007463]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124007463,"title":"In Cabinet of Curiosities Populists Are Everywhere","translated_title":"","metadata":{"abstract":"This text analyzes the 60th Venice Biennale of Contemporary Art, which took place in 2024, and questions its concept, namely how effectively the Biennale copes with the task of decolonizing the exhibition form, given its current format. 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Addressing its two types – cosmist life-creation and Marxist life-building proposed by Boris Arvatov and Alexander Bogdanov respectively – he tries to synthesize them in search of a better form of artistic activity and organisation of the world.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2aea5115c51a54683e4515b3d27fc5a8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107569182,"asset_id":109446334,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107569182/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109446334"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109446334"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109446334; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109446334]").text(description); $(".js-view-count[data-work-id=109446334]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109446334; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109446334']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109446334, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2aea5115c51a54683e4515b3d27fc5a8" } } $('.js-work-strip[data-work-id=109446334]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109446334,"title":"Boundless Art, or Beauty as the Organisation of Eternal Life","translated_title":"","metadata":{"abstract":"Arseny Zhilyaev imagines contemporary art without its current modernist matrix and tells how it can be rooted in the productivist art, in particular, in the production of life. 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Conversation with "Temporal Eternal Boris Groys"" class="work-thumbnail" src="https://attachments.academia-assets.com/100123015/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/98892341/Nowhere_Romantic_Automatism_Conversation_with_Temporal_Eternal_Boris_Groys_">Nowhere Romantic Automatism. Conversation with "Temporal Eternal Boris Groys"</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Some time ago, the Institute for Mastering of Time, as part of the study of the instability of th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Some time ago, the Institute for Mastering of Time, as part of the study of the instability of the canon, created Temporal Eternal philosopher Boris Groys. In honor of the 76th birthday of its original prototype, we are publishing a conversation held in the institute’s laboratory on the relationship between “copy” and “original”, digital immortality, the role of art during the war, the possibilities of reactualization of conceptual practices today.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a0865683a6ebf030cac4b12c31328d6f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100123015,"asset_id":98892341,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100123015/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="98892341"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="98892341"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 98892341; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=98892341]").text(description); $(".js-view-count[data-work-id=98892341]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 98892341; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='98892341']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 98892341, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a0865683a6ebf030cac4b12c31328d6f" } } $('.js-work-strip[data-work-id=98892341]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":98892341,"title":"Nowhere Romantic Automatism. Conversation with \"Temporal Eternal Boris Groys\"","translated_title":"","metadata":{"abstract":"Some time ago, the Institute for Mastering of Time, as part of the study of the instability of the canon, created Temporal Eternal philosopher Boris Groys. In honor of the 76th birthday of its original prototype, we are publishing a conversation held in the institute’s laboratory on the relationship between “copy” and “original”, digital immortality, the role of art during the war, the possibilities of reactualization of conceptual practices today.","more_info":"https://syg.ma/@arsienii-zhiliaiev/nowhere-romantic-automatism","ai_title_tag":"Conversation with Boris Groys on Art and Digital Immortality","publication_date":{"day":null,"month":null,"year":2023,"errors":{}}},"translated_abstract":"Some time ago, the Institute for Mastering of Time, as part of the study of the instability of the canon, created Temporal Eternal philosopher Boris Groys. 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In honor of the 76th birthday of its original prototype, we are publishing a conversation held in the institute’s laboratory on the relationship between “copy” and “original”, digital immortality, the role of art during the war, the possibilities of reactualization of conceptual practices today.","owner":{"id":12407668,"first_name":"Arseny","middle_initials":null,"last_name":"Zhilyaev","page_name":"ArsenyZhilyaev","domain_name":"naba","created_at":"2014-05-27T02:39:59.863-07:00","display_name":"Arseny Zhilyaev","url":"https://naba.academia.edu/ArsenyZhilyaev"},"attachments":[{"id":100123015,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/100123015/thumbnails/1.jpg","file_name":"Nowhere_Romantic_Automatism.pdf","download_url":"https://www.academia.edu/attachments/100123015/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Nowhere_Romantic_Automatism_Conversation.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/100123015/Nowhere_Romantic_Automatism-libre.pdf?1679402872=\u0026response-content-disposition=attachment%3B+filename%3DNowhere_Romantic_Automatism_Conversation.pdf\u0026Expires=1734008450\u0026Signature=G0G2sIr40chFZh7hemJjL2QN8eBasN-JUkOheKaoKJHFxxamoNpzUSPkY~dtigoCKGHkGOmZb94MCkIywbhmgdF3FxbkqwiT1a5lQKmF9NanVIOfgutEMe~8cesy9CNHh0OimA61m2ffnyAAcX4C~sLbZknISOqeZIQPTVFHSkJH0Q4wOiCcl4GG4bSL7bgHCwHSNEapluLUgwjcNTjOSab8-SlLnkDDIt0YlthOZ5e7~RBz-mdVulE1sQCjXbPsN8oWPqKNBorYHQ9lrwqOWF0-MhPPHyQrXbC1GmFG6MMJuLMlB3F2BcktTAq8t4IapT5RxmGQCpS6af97orya8g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":8673,"name":"Digital Media \u0026 Learning","url":"https://www.academia.edu/Documents/in/Digital_Media_and_Learning"},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art"},{"id":44469,"name":"Boris Groys","url":"https://www.academia.edu/Documents/in/Boris_Groys"},{"id":52853,"name":"Immortality","url":"https://www.academia.edu/Documents/in/Immortality"},{"id":66379,"name":"Automation","url":"https://www.academia.edu/Documents/in/Automation"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44440439"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44440439/LETTER_F_R_O_M_TO_MARSEILLE"><img alt="Research paper thumbnail of LETTER F̶ R̶ O̶ M̶ TO MARSEILLE" class="work-thumbnail" src="https://attachments.academia-assets.com/64860369/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44440439/LETTER_F_R_O_M_TO_MARSEILLE">LETTER F̶ R̶ O̶ M̶ TO MARSEILLE</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">I must say right away that I understand your interest. Yes, in these “minor humanity” times it is...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. And burying art is perhaps the most popular method for achieving personal immortality in 20th century—after having offspring</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7b98e0916feeb8e956329b2069f0d9e3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64860369,"asset_id":44440439,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64860369/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44440439"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44440439"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44440439; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44440439]").text(description); $(".js-view-count[data-work-id=44440439]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44440439; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44440439']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44440439, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7b98e0916feeb8e956329b2069f0d9e3" } } $('.js-work-strip[data-work-id=44440439]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44440439,"title":"LETTER F̶ R̶ O̶ M̶ TO MARSEILLE","translated_title":"","metadata":{"abstract":"I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. And burying art is perhaps the most popular method for achieving personal immortality in 20th century—after having offspring","publication_date":{"day":null,"month":null,"year":2020,"errors":{}}},"translated_abstract":"I must say right away that I understand your interest. Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. 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Yes, in these “minor humanity” times it is customary to reflect on the exhibitions that were popular in the 20th century and gave us a “start”, or if we are talking about a bolder gesture, then about exhibitions of the end that “draw the line”, but always on behalf of an artistic genius. You well know that the first is about creating art, and the second is about burying it. 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Everyone who has an interest in experiments with display design has seen images of the Abstract Cabinet installed at Landesmuseum in late 1928. This masterpiece marks the limit of known ambitions for the transformation of the museum in the time associated with the young Soviet state or even the historical avant-garde. But most interpretations of the Abstract Cabinet reduce its meaning to formal innovations distinctive for Western modernism. The new concept of the museum that resulted from the combination of new social relationships and a political agenda remains unconsidered. I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="fd91ce820abe3934339eabb3cc3e612e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61768052,"asset_id":41612695,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61768052/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41612695"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41612695"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41612695; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41612695]").text(description); $(".js-view-count[data-work-id=41612695]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41612695; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41612695']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41612695, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "fd91ce820abe3934339eabb3cc3e612e" } } $('.js-work-strip[data-work-id=41612695]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41612695,"title":"Tracing Avant-Garde Museology","translated_title":"","metadata":{"abstract":"If you have “avant-garde” and “museology” or “museum exhibitions” in one sentence, especially if that sentence is in English, the first name that comes to mind is El Lissitzy and his collaboration with Alexander Dorner in Hannover. 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I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"e-flux #05"},"translated_abstract":"If you have “avant-garde” and “museology” or “museum exhibitions” in one sentence, especially if that sentence is in English, the first name that comes to mind is El Lissitzy and his collaboration with Alexander Dorner in Hannover. Everyone who has an interest in experiments with display design has seen images of the Abstract Cabinet installed at Landesmuseum in late 1928. This masterpiece marks the limit of known ambitions for the transformation of the museum in the time associated with the young Soviet state or even the historical avant-garde. But most interpretations of the Abstract Cabinet reduce its meaning to formal innovations distinctive for Western modernism. The new concept of the museum that resulted from the combination of new social relationships and a political agenda remains unconsidered. I’d like to risk going beyond this limitation to describe the trajectory and logic of the transformation of the concept of the museum and art in general from the late nineteenth century to the beginning of the twentieth century in Russia and the Soviet Union.","internal_url":"https://www.academia.edu/41612695/Tracing_Avant_Garde_Museology","translated_internal_url":"","created_at":"2020-01-13T06:18:39.158-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":61768052,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61768052/thumbnails/1.jpg","file_name":"article_12881520200113-85296-1v3zzu0.pdf","download_url":"https://www.academia.edu/attachments/61768052/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Tracing_Avant_Garde_Museology.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61768052/article_12881520200113-85296-1v3zzu0-libre.pdf?1578926702=\u0026response-content-disposition=attachment%3B+filename%3DTracing_Avant_Garde_Museology.pdf\u0026Expires=1734008450\u0026Signature=UNVlYMvcJpd0lJLvPSMwjGK2epOZ3DCqgwA3cpkUG8NWbaDy6H6OLHfZpEx57q4jfvTnIVCh9LC3y7Xn~YnLUfvumQnxyt2p-HLL~l3ubzUfCGPEvSCRossnKOwy2ApCUlNMeQURk8xnRxVItIGIlq2QUdXoAgioYpQZVhDgp4BeZGmLCEWe4YrMjZbPKV26PTVnu0DA6eea~zNCDr15mPogl0CF-dNgaGMtsywS7EM6lTqa93scpdlKvPW~tf5PJK1n13SLAwxl8j8k37ujwes7QrF9g08nP7Koro9IOjw73bPF7qCxB78EQVEws09sWrwd0zHYSQV6S0TFptXtaQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Tracing_Avant_Garde_Museology","translated_slug":"","page_count":12,"language":"en","content_type":"Work","summary":"If you have “avant-garde” and “museology” or “museum exhibitions” in one sentence, especially if that sentence is in English, the first name that comes to mind is El Lissitzy and his collaboration with Alexander Dorner in Hannover. 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On the contrary, it was the catalyst for processes that led to the increased complexity of this activity and the crystallization of a number of its characteristic features in contemporary art, including the reinforcement of innate, specifically human features such as a unique ‘signature’ and distinctive human expression, or even the opposite tendency of the mimicry of machine art or collaborative activity – geometric abstraction, the rationalization of visual forms or even production art. In a certain sense a situation in which the artist is formed together with an archive of future art is like the situation of a chess player who plays with the help of a computer that calculates the consequences of the human being’s strategic decisions, but does not take decisions independently. Rodchenko already dreamed of a time when the development of technology would mean that an artist only had to imagine a specific work of art in his mind, after which it could be realized automatically. Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8fa03e1e7f070342f4d9ccb66e6d31b3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57804415,"asset_id":37805941,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57804415/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37805941"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37805941"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37805941; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37805941]").text(description); $(".js-view-count[data-work-id=37805941]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37805941; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37805941']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37805941, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8fa03e1e7f070342f4d9ccb66e6d31b3" } } $('.js-work-strip[data-work-id=37805941]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37805941,"title":"Demand Full Automation of Contemporary Art","translated_title":"","metadata":{"abstract":"As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. On the contrary, it was the catalyst for processes that led to the increased complexity of this activity and the crystallization of a number of its characteristic features in contemporary art, including the reinforcement of innate, specifically human features such as a unique ‘signature’ and distinctive human expression, or even the opposite tendency of the mimicry of machine art or collaborative activity – geometric abstraction, the rationalization of visual forms or even production art. In a certain sense a situation in which the artist is formed together with an archive of future art is like the situation of a chess player who plays with the help of a computer that calculates the consequences of the human being’s strategic decisions, but does not take decisions independently. Rodchenko already dreamed of a time when the development of technology would mean that an artist only had to imagine a specific work of art in his mind, after which it could be realized automatically. Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial."},"translated_abstract":"As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. On the contrary, it was the catalyst for processes that led to the increased complexity of this activity and the crystallization of a number of its characteristic features in contemporary art, including the reinforcement of innate, specifically human features such as a unique ‘signature’ and distinctive human expression, or even the opposite tendency of the mimicry of machine art or collaborative activity – geometric abstraction, the rationalization of visual forms or even production art. In a certain sense a situation in which the artist is formed together with an archive of future art is like the situation of a chess player who plays with the help of a computer that calculates the consequences of the human being’s strategic decisions, but does not take decisions independently. Rodchenko already dreamed of a time when the development of technology would mean that an artist only had to imagine a specific work of art in his mind, after which it could be realized automatically. Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial.","internal_url":"https://www.academia.edu/37805941/Demand_Full_Automation_of_Contemporary_Art","translated_internal_url":"","created_at":"2018-11-19T06:29:24.384-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":12407668,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":57804415,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/57804415/thumbnails/1.jpg","file_name":"ZHILYAEV_On_Automation_1.docx","download_url":"https://www.academia.edu/attachments/57804415/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Demand_Full_Automation_of_Contemporary_A.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57804415/ZHILYAEV_On_Automation_1.docx?1542637761=\u0026response-content-disposition=attachment%3B+filename%3DDemand_Full_Automation_of_Contemporary_A.docx\u0026Expires=1734008450\u0026Signature=fUCT5TcwaLti4THAmGkDWQn9WnGB~jrHnM5S63mNz6N~edECZtyvxrBq8NF7Dp9J8mxK01w-srJeWy9~~ahnJM6~7oC5yP-d1CmvFbdp5Tpbz0aGF~Du5gJkYsHokO-uiaDxHt-rovtSNarSzedXF2exqDdfXquPBZajHBy~GNlK-Jnnoaz8dKNmgYjHX6idudo96JkTCZ~MoyuZUz8mEIRYDpEJ40dzuDmmm~c4bd1lU66QV0CamXIRS0awXHtup9FZxJvOuq8IszOTv6XZ157VgABufzFnsk7Cak7J1mv6hTLrsizVA6Y58ldZREmFoDo~W~2AwXGsCFMO4TO6yA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Demand_Full_Automation_of_Contemporary_Art","translated_slug":"","page_count":11,"language":"en","content_type":"Work","summary":"As we know, photography, as automated visual art, only indicated the need to rethink human artistic activity, it did not completely destroy it. On the contrary, it was the catalyst for processes that led to the increased complexity of this activity and the crystallization of a number of its characteristic features in contemporary art, including the reinforcement of innate, specifically human features such as a unique ‘signature’ and distinctive human expression, or even the opposite tendency of the mimicry of machine art or collaborative activity – geometric abstraction, the rationalization of visual forms or even production art. In a certain sense a situation in which the artist is formed together with an archive of future art is like the situation of a chess player who plays with the help of a computer that calculates the consequences of the human being’s strategic decisions, but does not take decisions independently. Rodchenko already dreamed of a time when the development of technology would mean that an artist only had to imagine a specific work of art in his mind, after which it could be realized automatically. Today the mass production of images that is typical of the social networks exploits various kinds of filters as a similar kind of technology (including filters with the distinctive stylistic features of the art of the past): the user makes his selection each time, depending on his concept. The existence of an archive of all potential artistic forms carries this tendency to the limit. Co-creation and the coexistence of human being and robot in the field of art represent a scenario for the further development of the tendency towards automation that is optimistic for the human being, although there are no grounds for assuming that it will exist for long without the disappearance of the clear boundary between the ‘natural’ and the artificial.","owner":{"id":12407668,"first_name":"Arseny","middle_initials":null,"last_name":"Zhilyaev","page_name":"ArsenyZhilyaev","domain_name":"naba","created_at":"2014-05-27T02:39:59.863-07:00","display_name":"Arseny Zhilyaev","url":"https://naba.academia.edu/ArsenyZhilyaev"},"attachments":[{"id":57804415,"title":"","file_type":"docx","scribd_thumbnail_url":"https://attachments.academia-assets.com/57804415/thumbnails/1.jpg","file_name":"ZHILYAEV_On_Automation_1.docx","download_url":"https://www.academia.edu/attachments/57804415/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Demand_Full_Automation_of_Contemporary_A.docx","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/57804415/ZHILYAEV_On_Automation_1.docx?1542637761=\u0026response-content-disposition=attachment%3B+filename%3DDemand_Full_Automation_of_Contemporary_A.docx\u0026Expires=1734008450\u0026Signature=fUCT5TcwaLti4THAmGkDWQn9WnGB~jrHnM5S63mNz6N~edECZtyvxrBq8NF7Dp9J8mxK01w-srJeWy9~~ahnJM6~7oC5yP-d1CmvFbdp5Tpbz0aGF~Du5gJkYsHokO-uiaDxHt-rovtSNarSzedXF2exqDdfXquPBZajHBy~GNlK-Jnnoaz8dKNmgYjHX6idudo96JkTCZ~MoyuZUz8mEIRYDpEJ40dzuDmmm~c4bd1lU66QV0CamXIRS0awXHtup9FZxJvOuq8IszOTv6XZ157VgABufzFnsk7Cak7J1mv6hTLrsizVA6Y58ldZREmFoDo~W~2AwXGsCFMO4TO6yA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence"},{"id":1698,"name":"Marxism","url":"https://www.academia.edu/Documents/in/Marxism"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art"},{"id":42215,"name":"Futurology","url":"https://www.academia.edu/Documents/in/Futurology"},{"id":66379,"name":"Automation","url":"https://www.academia.edu/Documents/in/Automation"},{"id":148162,"name":"Accelerationism","url":"https://www.academia.edu/Documents/in/Accelerationism"},{"id":1174487,"name":"Russian Cosmism","url":"https://www.academia.edu/Documents/in/Russian_Cosmism"},{"id":2187371,"name":"Avant-Garde Museology","url":"https://www.academia.edu/Documents/in/Avant-Garde_Museology"}],"urls":[]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="17036088"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/17036088/Second_Advents_On_the_Issue_of_Planning_in_Contemporary_Art"><img alt="Research paper thumbnail of Second Advents: On the Issue of Planning in Contemporary Art" class="work-thumbnail" src="https://attachments.academia-assets.com/39320476/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/17036088/Second_Advents_On_the_Issue_of_Planning_in_Contemporary_Art">Second Advents: On the Issue of Planning in Contemporary Art</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">We are now coming to the core of Nikolai Fedorov's project and to the quintessence of the avant-g...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">We are now coming to the core of Nikolai Fedorov's project and to the quintessence of the avant-garde museum, i.e. to the resurrection of dead generations. By then, most likely, a friendly, collective artificial intelligence will have been created by all living humans. This will become possible due to the development of production and of the general intellect. The development of a collective artificial intelligence will mean that enough common effort exists to implement all-universe projects. The procedure of resurrection will most likely be performed in the name of a collective artist-curator.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7a909202b3e283ab8b9e86d246ac33ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":39320476,"asset_id":17036088,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/39320476/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="17036088"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="17036088"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 17036088; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=17036088]").text(description); $(".js-view-count[data-work-id=17036088]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 17036088; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='17036088']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 17036088, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7a909202b3e283ab8b9e86d246ac33ed" } } $('.js-work-strip[data-work-id=17036088]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":17036088,"title":"Second Advents: On the Issue of Planning in Contemporary Art","translated_title":"","metadata":{"abstract":"We are now coming to the core of Nikolai Fedorov's project and to the quintessence of the avant-garde museum, i.e. to the resurrection of dead generations. 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Do we deny aesthetic cogency to the sculpture of Pallas Athena merely because it depicts a pagan goddess, and not Jesus Christ or a spaceship?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7a54408dbf022d1561420933fdc98741" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36239009,"asset_id":10124064,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36239009/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="10124064"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="10124064"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 10124064; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=10124064]").text(description); $(".js-view-count[data-work-id=10124064]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 10124064; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='10124064']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 10124064, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7a54408dbf022d1561420933fdc98741" } } $('.js-work-strip[data-work-id=10124064]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":10124064,"title":"Conceptual Realism: The Vulgar Freedom of Avant-Garde Museum Work","translated_title":"","metadata":{"abstract":"The avant-garde character of the art created by Soviet museologists must be reopened to the world, in spite of the critique by the official Soviet bureaucracy and the silence of their Western colleagues, who considered the Soviet experiments of the ’20s as too far beyond the institutional borders of art. 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From this perspective, it is very important to study the transformations undergone by the Soviet museums after the victory of the proletarian socialist revolution.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="37c880db15bc8555586b900f00d56c53" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":35524400,"asset_id":9256979,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/35524400/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="9256979"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="9256979"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 9256979; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9256979]").text(description); $(".js-view-count[data-work-id=9256979]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 9256979; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='9256979']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 9256979, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "37c880db15bc8555586b900f00d56c53" } } $('.js-work-strip[data-work-id=9256979]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":9256979,"title":"The Places of History","translated_title":"","metadata":{"abstract":"The museum of the revolution and the museum of modernist art are meeting places for the politician and the artist fighting against the limitations of time and space; they are heterotopias that have paradoxically retained their importance despite the radicalism of certain twentieth-century thinkers who were opposed to any spatio-temporal capture. 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This angel may want to revive the dead, but this is beyond his power. The Wind of Artistic Progress steadily carries him forward in time. The only hope lies in finding an angelic video recorder that can capture the losses caused in the fight for future salvation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="25daf890e41b72ae582cb309f3fbc419" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":34291926,"asset_id":7781580,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/34291926/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="7781580"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="7781580"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 7781580; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=7781580]").text(description); $(".js-view-count[data-work-id=7781580]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 7781580; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='7781580']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 7781580, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "25daf890e41b72ae582cb309f3fbc419" } } $('.js-work-strip[data-work-id=7781580]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":7781580,"title":"The Mission of Contemporary Art and the Universal Museum","translated_title":"","metadata":{"abstract":"It is commonly known that the Angel of the History of Contemporary Art faces the past, and what he sees is just a pile of catastrophes. 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This angel may want to revive the dead, but this is beyond his power. The Wind of Artistic Progress steadily carries him forward in time. The only hope lies in finding an angelic video recorder that can capture the losses caused in the fight for future salvation. 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A conversation between Alessandra Franetovich and Arseny Zhilyaev" class="work-thumbnail" src="https://attachments.academia-assets.com/118313892/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124008434/History_repeats_itself_A_conversation_between_Alessandra_Franetovich_and_Arseny_Zhilyaev">History repeats itself? A conversation between Alessandra Franetovich and Arseny Zhilyaev</a></div><div class="wp-workCard_item"><span>Arseny Zhilyaev "Lingua Madre"</span><span>, 2024</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The text presents an interview between artist Arseny Zhilyaev and curator Alessandra Franetovich,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The text presents an interview between artist Arseny Zhilyaev and curator Alessandra Franetovich, in which they discuss the development of Russian contemporary art in the context of political, social and historical changes. Zhilyaev talks about his experience as an artist who used to work in Voronezh and Moscow and notes the influence of Western art and conceptualism on his work. Franetovich is interested in how the events he experienced — from the collapse of the USSR and the breakup of Yugoslavia to the current war in Ukraine — influenced the perception of contemporary art, how it shapes values and historical memory.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb56fe6fe962fc73a3d5619cfc9b26c2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118313892,"asset_id":124008434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118313892/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124008434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124008434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124008434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124008434]").text(description); $(".js-view-count[data-work-id=124008434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124008434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124008434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 124008434, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cb56fe6fe962fc73a3d5619cfc9b26c2" } } $('.js-work-strip[data-work-id=124008434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124008434,"title":"History repeats itself? 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Ведь, следуя коинсидентальной логике, бессмертие либо лишено смысл...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Что в таком случае бессмертие? Ведь, следуя коинсидентальной логике, бессмертие либо лишено смысла и равнозначно смерти, либо оно указывает на несовпадение, на разрыв связи без связи между живым и неживым. Если смерть - это неузнанное совпадение, то бессмертие в вашем понимании - это скорее всего не то, что, как считается, стремится получить каждый смертный.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="faba86f1c9cb6d5463468f7c404497a9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":100774641,"asset_id":99409425,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/100774641/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="99409425"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="99409425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 99409425; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=99409425]").text(description); $(".js-view-count[data-work-id=99409425]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 99409425; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='99409425']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 99409425, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "faba86f1c9cb6d5463468f7c404497a9" } } $('.js-work-strip[data-work-id=99409425]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":99409425,"title":"Беседа с Йоэлем Регевым \"Смерть как непримечательное совпадение\"","translated_title":"","metadata":{"abstract":"Что в таком случае бессмертие? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37510056"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37510056/The_Fascinating_and_Unknown_Story_of_Soviet_Museology_Russian_Avant_Garde_and_Cosmism_Paco_Barrag%C3%A1n_interviews_Russian_Artist_and_Theorist_Arseny_Zhilyaev"><img alt="Research paper thumbnail of The Fascinating and Unknown Story of Soviet Museology, Russian Avant-Garde, and Cosmism: Paco Barragán interviews Russian Artist and Theorist Arseny Zhilyaev" class="work-thumbnail" src="https://attachments.academia-assets.com/57482171/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37510056/The_Fascinating_and_Unknown_Story_of_Soviet_Museology_Russian_Avant_Garde_and_Cosmism_Paco_Barrag%C3%A1n_interviews_Russian_Artist_and_Theorist_Arseny_Zhilyaev">The Fascinating and Unknown Story of Soviet Museology, Russian Avant-Garde, and Cosmism: Paco Barragán interviews Russian Artist and Theorist Arseny Zhilyaev</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/PacoBarrag%C3%A1n">Paco Barragán</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://naba.academia.edu/ArsenyZhilyaev">Arseny Zhilyaev</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Arseny Zhilyaev: “The experimental marxist exhibition was a complex, multilevel, conceptual insta...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arseny Zhilyaev: “The experimental marxist exhibition was a complex, multilevel, conceptual installation that even for a trained spectator of the time was something like a UFO coming down from heaven.”<br /><br />Arseny Zhilyaev is a Russian artist based in Moscow and Venice. He is also the editor of 'Avant-Garde Museology' (2015), published by e-flux in collaboration with the V-A-C Foundation, through which Western audiences can access many key texts of Russian and Soviet museology undisclosed until today. We spoke with Zhilyaev, among others, about the heritage of cosmism, the avant-garde and Soviet museology, and how his interest in these fascinating and challenging experiments feeds his own artistic practice.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a257e303f41a95b2a1f91f37d4fab010" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57482171,"asset_id":37510056,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57482171/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37510056"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37510056"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37510056; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37510056]").text(description); $(".js-view-count[data-work-id=37510056]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37510056; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37510056']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37510056, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a257e303f41a95b2a1f91f37d4fab010" } } $('.js-work-strip[data-work-id=37510056]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37510056,"title":"The Fascinating and Unknown Story of Soviet Museology, Russian Avant-Garde, and Cosmism: Paco Barragán interviews Russian Artist and Theorist Arseny Zhilyaev","translated_title":"","metadata":{"abstract":"Arseny Zhilyaev: “The experimental marxist exhibition was a complex, multilevel, conceptual installation that even for a trained spectator of the time was something like a UFO coming down from heaven.”\n\nArseny Zhilyaev is a Russian artist based in Moscow and Venice. 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Second Advent' (October 7 – November 10, 2016) in...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">On the occasion of the exhibition 'Tsiolkovsky. Second Advent' (October 7 – November 10, 2016) in New Holland, St. Petersburg critic, curator and Kommersant’ correspondent Valentin Diaconov spoke with artist Arseny Zhilyaev.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="07db6752aa14476e1db091e2a844d69d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":50740162,"asset_id":30273897,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/50740162/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="30273897"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="30273897"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30273897; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30273897]").text(description); $(".js-view-count[data-work-id=30273897]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30273897; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='30273897']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 30273897, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "07db6752aa14476e1db091e2a844d69d" } } $('.js-work-strip[data-work-id=30273897]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":30273897,"title":"Arseny Zhilyaev in conversation with Valentin Diaconov: \"In this pulsing we can hear an echo of the Big Bang\".","translated_title":"","metadata":{"abstract":"On the occasion of the exhibition 'Tsiolkovsky. 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This recent conversation is part of the Center for Experimental Museology, a collaborative project between COLTA.RU and the V-A-C Foundation. 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Zhily...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Arseniy Zhilyaev is an artist, writer and political activist who lives and works in Moscow. Zhilyaev’s artistic practice poses questions about the political and social legitimisation of art. Through exhibitions and participatory projects, he explores the relationship between art and social production – from the labour conditions of creative workers to the demand for, and capitalisation on, workers' creativity. His projects often delve into the avant-garde practices of the Russian revolutionary era that attempted to bring together artistic and social concerns, elaborating on their contemporary currency for creative practices aiming to bridge art and activism. Below, Silvia Franceschini talks with Zhilyaev about his recent and upcoming projects, and the relationship between artistic production and the current socio-political context in Russia.1</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ae627a17f594953407263667bdd717e6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":38163934,"asset_id":13940459,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/38163934/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13940459"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13940459"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13940459; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13940459]").text(description); $(".js-view-count[data-work-id=13940459]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13940459; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13940459']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 13940459, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ae627a17f594953407263667bdd717e6" } } $('.js-work-strip[data-work-id=13940459]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13940459,"title":"Artists at Work: Arseniy Zhilyaev","translated_title":"","metadata":{"abstract":"Arseniy Zhilyaev is an artist, writer and political activist who lives and works in Moscow. 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Avant-gardes in Eastern Europe and Their L...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A talk at the summer school "The Big Shift: the 1990s. 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<div class="js-work-strip profile--work_container" data-work-id="41777356"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41777356/Razboy_of_the_imagination_%D0%A0%D0%B0%D0%B7%D0%B1%D0%BE%D0%B9_%D0%B2%D0%BE%D0%BE%D0%B1%D1%80%D0%B0%D0%B6%D0%B5%D0%BD%D0%B8%D1%8F_Interview_for_NOSOROG_magazine_Arseny_Zhiliaev_%D0%98%D0%BD%D1%82%D0%B5%D1%80%D0%B2%D1%8C%D1%8E_%D0%B4%D0%BB%D1%8F_%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB%D0%B0_%D0%9D%D0%9E%D0%A1%D0%9E%D0%A0%D0%9E%D0%93_%D0%90%D1%80%D1%81%D0%B5%D0%BD%D0%B8%D0%B9_%D0%96%D0%B8%D0%BB%D1%8F%D0%B5%D0%B2_rus_"><img alt="Research paper thumbnail of Razboy of the imagination / Разбой воображения | Interview for NOSOROG magazine (Arseny Zhiliaev) / Интервью для журнала НОСОРОГ (Арсений Жиляев) (rus)" class="work-thumbnail" src="https://attachments.academia-assets.com/63150622/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41777356/Razboy_of_the_imagination_%D0%A0%D0%B0%D0%B7%D0%B1%D0%BE%D0%B9_%D0%B2%D0%BE%D0%BE%D0%B1%D1%80%D0%B0%D0%B6%D0%B5%D0%BD%D0%B8%D1%8F_Interview_for_NOSOROG_magazine_Arseny_Zhiliaev_%D0%98%D0%BD%D1%82%D0%B5%D1%80%D0%B2%D1%8C%D1%8E_%D0%B4%D0%BB%D1%8F_%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB%D0%B0_%D0%9D%D0%9E%D0%A1%D0%9E%D0%A0%D0%9E%D0%93_%D0%90%D1%80%D1%81%D0%B5%D0%BD%D0%B8%D0%B9_%D0%96%D0%B8%D0%BB%D1%8F%D0%B5%D0%B2_rus_">Razboy of the imagination / Разбой воображения | Interview for NOSOROG magazine (Arseny Zhiliaev) / Интервью для журнала НОСОРОГ (Арсений Жиляев) (rus)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://kantiana.academia.edu/EugeneKuchinov">Eugene Kuchinov</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://naba.academia.edu/ArsenyZhilyaev">Arseny Zhilyaev</a></span></div><div class="wp-workCard_item"><span>НОСОРОГ</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Беседа художника Арсения Жиляева и философа, историка анархистского движения 1910 - 1920-х годов ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Беседа художника Арсения Жиляева и философа, историка анархистского движения 1910 - 1920-х годов Евгения Кучинова, поводом для которой послужил вышедший в 2017 году в издательстве Common Place сборник текстов поэта и идеолога анархизма-биокосмизма Святогора.<br /><a href="https://nosorog.media/interview/razboy_voobrazheniya" rel="nofollow">https://nosorog.media/interview/razboy_voobrazheniya</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2e966759157dfc14e9660915f3c125c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63150622,"asset_id":41777356,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63150622/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41777356"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa 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text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37218281/Artist_as_Co_producer_of_God">Artist as Co-producer of God</a></div><div class="wp-workCard_item"><span>Russian Cosmism: A Work of Art in the Age of Technological Immortality, MoMA, NY</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">I would like to tell you today about the aspects of the aesthetics of cosmism that intersect with...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">I would like to tell you today about the aspects of the aesthetics of cosmism that intersect with notions of contemporary art. This task is rather complicated for a variety of reasons. One major obstacle is the fact that Russian cosmism itself is little known in the West. Surprisingly, from the point of view of the philosophical canon, its arrival into the realm of public attention and intellectual discussion is very recent. The foundational cosmist texts, written between the late 19th and early 20th centuries, have only been translated into English in the last year or two. Even in its motherland, cosmism occupies a marginal position. The term " russian cosmism " arose in intellectual parlance in USSR in the 1970s, and its usage is still being debated by some researchers even though the very word " cosmism " was used by artists and poets associated with the historical avant-garde of the 1920s. Today, this is an umbrella term that unites disparate and sometimes polar positions in relation to outer space, the development of life, and the place of the human and God in this process. In a sense, it is not surprising that even now cosmism is still sometimes perceived as an exotic intellectual movement with a national flavor. A further complication exists: even those aspects of cosmist aesthetics which are close to discussions within contemporary art are examples that go beyond the latter's known extremes. Nevertheless, this fact makes them especially valuable in service of the search for what could replace the aesthetic canon of the 20th century.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dfd3ddc49584b208b6e2436fdc0d7b44" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":57169189,"asset_id":37218281,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/57169189/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37218281"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37218281"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37218281; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37218281]").text(description); $(".js-view-count[data-work-id=37218281]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37218281; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37218281']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37218281, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dfd3ddc49584b208b6e2436fdc0d7b44" } } $('.js-work-strip[data-work-id=37218281]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37218281,"title":"Artist as Co-producer of God","translated_title":"","metadata":{"abstract":"I would like to tell you today about the aspects of the aesthetics of cosmism that intersect with notions of contemporary art. 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class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A conversation with Arseny Zhilyaev on the future of museums and museology for Colta.ru (http://w...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A conversation with Arseny Zhilyaev on the future of museums and museology for Colta.ru (<a href="http://www.colta.ru/articles/art/13652" rel="nofollow">http://www.colta.ru/articles/art/13652</a>).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="97364aacb8d7a532572005f1f3210fc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" 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data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The role of Bolsheviks in the development of museums at the beginning of the 20th century is evident. One of the main achievements of their cultural policy was a wide access to cultural capital, which was now available to masses as a result of forced nationalization of private collections. Communists' approach here was in line with the general policy on capital established after the revolution. Private wealth, based on appropriation of surplus value, had to be returned to its producers / proletariat for further common usage. But cultural treasures differed from means of production like factories, farms etc. and differed from luxury goods that could be easily transformed into money. Thus the debates over and attitudes towards the history of art that had now become common were crucial for further understanding of art and its role in society thanks to the resolution of class contradictions.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cfc5a0d572a2296e1a6f39489460db29" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43820326,"asset_id":23367805,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43820326/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23367805"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23367805"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23367805; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23367805]").text(description); $(".js-view-count[data-work-id=23367805]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23367805; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23367805']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 23367805, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cfc5a0d572a2296e1a6f39489460db29" } } $('.js-work-strip[data-work-id=23367805]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23367805,"title":"When Art History Once Became Common","translated_title":"","metadata":{"abstract":"The role of Bolsheviks in the development of museums at the beginning of the 20th century is evident. 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It is a place for the storage of historical grievances and the memory of forgotten artistic experiments, social projects, or errant futures. But in late nineteenth and early twentieth-century Russia, this recording device was undertaken by a number of artists and thinkers as a site for experimentation.<br /><br />Arseny Zhilyaev’s Avant-Garde Museology presents a collection of crucial essays documenting the wildly encompassing progressivism of this period, by figures such as Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, Andrey Platonov and many others—several of which are translated from the Russian for the first time.<br /><br />While the first question for any progressive curatorial practice and museology concerns how the errant futures stored in the museum can be played back, for the authors in this compendium, the more urgent question becomes: How might the contents of the museum be reanimated so as to transcend even the social and physical limits imposed on humankind?</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0f45d8a788a9734f6777ec43f885d05e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107568622,"asset_id":109445547,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107568622/download_file?st=MTczNDAwNDg1MSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="109445547"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="109445547"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 109445547; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=109445547]").text(description); $(".js-view-count[data-work-id=109445547]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 109445547; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='109445547']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 109445547, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0f45d8a788a9734f6777ec43f885d05e" } } $('.js-work-strip[data-work-id=109445547]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":109445547,"title":"Avant-Garde Museology","translated_title":"","metadata":{"abstract":"Avant-Garde Museology is the first title in e-flux classics, a new book series focusing on an emerging historical canon specific to an era when the world’s many eccentric modernities, economies of knowledge, and shared political histories seek to be recognized through contemporary art.\n\nThe museum of contemporary art might very well be the most advanced recording device ever invented in the history of humankind. 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