By Arseny Zhilyaev
The museum of latest paintings may be the main complex recording machine 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 past due 19th and early twentieth-century Russia, this recording equipment was once undertaken through artists and thinkers as a domain for experimentation.
Arseny Zhilyaev’s Avant-Garde Museology provides essays documenting the wildly encompassing progressivism of this era by way of figures akin to Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, and others—many that are translated from the Russian for the 1st time. right here the pressing query is: How may the contents of the museum be reanimated with a purpose to go beyond even the social and actual limits imposed on humankind?
participants: 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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Progress can be called a true, real hell, whereas the museum, if it be paradise, is only in planning, because now it is collecting, under the guise of old tatters, the departed souls of the dead. But these souls reveal themselves only to those who have a soul. For the museum, man is infinitely higher than an object; for the installation, for factory civilization and culture, the object is higher than man. The museum is the last remnant of the cult of ancestors; it is a special type of that cult, which while being expelled from religion, as we see with Protestants, is reestablished in the form of the museum.
The carpet approach to covering the wall is undoubtedly rejected. 17 15. See the chapter “The Museum Newspaper: Suggestions for Regional Museums and Community Centers,” by V. Karpov on pages 275–277 of this volume. 16. “The Museum of Painting Culture atRozhdestvenka Street, 11” from the guide Museums and Places of Interest in Moscow. Reproduced on pages 307–312 of this volume. 17. Aleksandr Rodchenko, “On the Museum Bureau,” trans. Jamey Gambrell, from Aleksandr Rodchenko: Experiments for the Future, Diaries, Essays, Letters, and Other Writings (New York: The Museum of Modern Art, 2004), 115.
See the chapter “Avalanche Exhibitions: The Experience of the Leningrad Organization of Worker-Artists” by Leonid Chetyrkin on pages 279–280 of this volume. 15 But all these are examples of “amateur” variations on the avant-garde museum. A professional version appeared in Moscow in 1919 in the form of the Museum of Painting Culture. A guide to Moscow’s museums from 1926 describes its mission as follows: “to demonstrate the chief preoccupations of new Russian painting. ”16 The museum lasted for ten years, and in that time it functioned as a collection of works by left-leaning artists, arranged in accordance with certain theoretical conceptions of the evolution of artistic form.
Avant-Garde Museology by Arseny Zhilyaev