By Arseny Zhilyaev
The museum of up to date paintings could be the main complex recording gadget ever invented. it's a position for the garage of old grievances and the reminiscence of forgotten inventive experiments, social tasks, or errant futures. yet in overdue 19th and early twentieth-century Russia, this recording machine used to be undertaken by means of artists and thinkers as a website for experimentation.
Arseny Zhilyaev’s Avant-Garde Museology provides essays documenting the wildly encompassing progressivism of this era by means of figures corresponding 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 possibly the contents of the museum be reanimated for you 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
Accordingly, dialectical materialism was named the principal method of museum activity. In general, this meant that, in contrast to the bourgeois museum of the past, its Soviet counterpart must treat natural history, social history, and the cultural sphere not as alienated and antagonistic to man, but as products of his conscious effort. e. the vulgar materialist or idealistic museum so despised by museologists, would be replaced by the museum as an integral aspect of the artistic transformation of life.
In addition to old-guard artworks, admitted by the bourgeois museum, the exhibition also introduced works that were not granted such status, including folk art, street design, political slogans, and banners. Finally, the exhibition included economic information, diagrams, eyewitness accounts, literary fragments, and so on, meant to substantiate the various aesthetic interpretations of the artworks on display. Those amateur viewers who were interested specifically in the historical development of a particular art form were invited to visit a special study room, where they could familiarize themselves with historical materials tracing this development in a manner similar to the presentation at the Museum of Painting Culture.
And our age in no way dares to imagine that progress itself would ever become the achievement of history, and this grave, this museum, becomes the reconstruction of all of progress’s victims at the time when struggle will be supplanted by accord, and unity in the purpose of reconstruction, only in which parties of progressives and conservatives can be reconciled—parties that have been warring since the beginning of history. I 62 Nikolai Fedorov The second contradiction of the contemporary museum is the fact that the age that values only what is useful ends up collecting and preserving what is useless.