By Arseny Zhilyaev
The museum of up to date paintings could be the main complex recording equipment ever invented. it's a position for the garage of ancient grievances and the reminiscence of forgotten inventive experiments, social tasks, or errant futures. yet in overdue 19th and early twentieth-century Russia, this recording gadget used to be undertaken by way of artists and thinkers as a domain for experimentation.
Arseny Zhilyaev’s Avant-Garde Museology provides essays documenting the wildly encompassing progressivism of this era via figures akin to Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, and others—many that are translated from the Russian for the 1st time. the following the pressing query is: How may possibly the contents of the museum be reanimated in order to go beyond even the social and actual limits imposed on humankind?
individuals: David Arkin; Vladimir Bekhterev; Alexander Bogdanov; Osip Brik; Vasiliy Chekrygin; Leonid Chetyrkin; Nikolai Druzhinin; Nikolai Fedorov; Pavel Florensky; R. N. Frumkina; M. S. Ilkovskiy; V. I. Karmilov; V. Karpov; Valentin Kholtsov; P. N. Khrapov; Yuriy Kogan; Natalya Kovalenskaya; Nadezhda Krupskaya; S. P. Lebedyansky; A. F. Levitsky; Vera Leykina (Leykina-Svirskaya); Ivan Luppol; Kazimir Malevich; Andrey Platonov; Nikolay Punin; Aleksandr Rodchenko; Yuriy Samarin; I. F. Sheremet; Andrey Shestakov; Natan Shneerson; Ivan Skulenko; M. Vorobiev; N. Vorontsovsky; Boris Zavadovsky; I. M. Zykov.
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Extra resources for Avant-Garde Museology
This did not, however, prevent him from supporting their advancements to influential academic posts as a tactical expediency of the moment, especially given the dearth of adequately trained professional philosophers. Without delving too deeply into the disputes of the time, we can point out the main tenets of Plekhanovite dialectical materialism that came to be adopted by the victorious Stalinist Bolshevist party line. From Plekhanov, the future official philosophy of the USSR inherited the conception of the dialectic as a theory of progress, driven by the struggle and synthesis of opposites—the transformation of quantity into quality and the negation of the negation.
The only thing that is higher than the old tatters preserved in museums is the very dust itself, the very remains of the dead; just as the only thing higher than the museum would be the grave, unless the museum itself does not become the transposition of the dust to the city, or the transformation of a cemetery into a museum. e. the struggle, the extrusion—and of course would wish eternal existence for this extrusion, which it calls progress, this perfecting, which will become so perfected as to annihilate that pain which necessarily accompanies this perfecting, as it does all struggle.
What does this institution represent in its most general form? The museum is an expedient collection of elements, extracted from reality and arranged in a particular manner, presupposing the exposition i 40 Arseny Zhilyaev of said collection for the general public. If we remove from this definition its final term concerning exhibition, we will be left with a definition of the archive, or even more broadly, of any repository, such as a library, warehouse, information center, server, and even, to a certain extent, a prison and a hospital.
Avant-Garde Museology by Arseny Zhilyaev