The Museological Unconscious
Communal (Post)Modernism in Russia
Seiten
2012
MIT Press (Verlag)
978-0-262-51751-5 (ISBN)
MIT Press (Verlag)
978-0-262-51751-5 (ISBN)
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The history of contemporary art in Russia, from socialist realism to the post-Soviet alternative art scene.
In The Museological Unconscious, Victor Tupitsyn views the history of Russian contemporary art through a distinctly Russian lens, a "communal optic" that registers the influence of such characteristically Russian phenomena as communal living, communal perception, and communal speech practices. This way of looking at the subject allows him to gather together a range of artists and art movements-from socialist realism to its "dangerous supplement," sots art, and from alternative photography to feminism-as if they were tenants in a large Moscow apartment.
Describing the notion of "communal optics," Tupitsyn argues that socialist realism does not work without communal perception-which, as he notes, does not easily fit into crates when paintings travel out of Russia for exhibition in Kassel or New York. Russian artists, critics, and art historians, having lived for decades in a society that ignored or suppressed avant-garde art, have compensated, Tupitsyn claims, by developing a "museological unconscious"-the "museification" of the inner world and the collective psyche.
In The Museological Unconscious, Victor Tupitsyn views the history of Russian contemporary art through a distinctly Russian lens, a "communal optic" that registers the influence of such characteristically Russian phenomena as communal living, communal perception, and communal speech practices. This way of looking at the subject allows him to gather together a range of artists and art movements-from socialist realism to its "dangerous supplement," sots art, and from alternative photography to feminism-as if they were tenants in a large Moscow apartment.
Describing the notion of "communal optics," Tupitsyn argues that socialist realism does not work without communal perception-which, as he notes, does not easily fit into crates when paintings travel out of Russia for exhibition in Kassel or New York. Russian artists, critics, and art historians, having lived for decades in a society that ignored or suppressed avant-garde art, have compensated, Tupitsyn claims, by developing a "museological unconscious"-the "museification" of the inner world and the collective psyche.
Victor Tupitsyn is a critic and theorist living in New York City and Paris. He is on the advisory board of Third Text, London. Susan Buck-Morss is Distinguished Professor of Political Theory at the CUNY Graduate Center and Jan Rock Zubrow Professor Emerita of Government at Cornell University. She is the author of Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West (MIT Press) and other books. Victor Tupitsyn is a critic and theorist living in New York City and Paris. He is on the advisory board of Third Text, London.
| Reihe/Serie | The Museological Unconscious |
|---|---|
| Einführung | Susan Buck-Morss, Victor Tupitsyn |
| Zusatzinfo | 90 b&w illus. |
| Verlagsort | Cambridge, Mass. |
| Sprache | englisch |
| Maße | 203 x 229 mm |
| Gewicht | 1021 g |
| Themenwelt | Kunst / Musik / Theater ► Kunstgeschichte / Kunststile |
| ISBN-10 | 0-262-51751-5 / 0262517515 |
| ISBN-13 | 978-0-262-51751-5 / 9780262517515 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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