By Arseny Zhilyaev
The museum of up to date paintings will be the main complicated recording gadget ever invented. it's a position for the garage of ancient grievances and the reminiscence of forgotten creative experiments, social initiatives, or errant futures. yet in overdue 19th and early twentieth-century Russia, this recording equipment used to be undertaken via artists and thinkers as a website for experimentation.
Arseny Zhilyaev’s Avant-Garde Museology offers essays documenting the wildly encompassing progressivism of this era through figures resembling 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 could the contents of the museum be reanimated with a view to go beyond even the social and actual limits imposed on humankind?
members: 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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The opposing tendencies—on the one hand, calling for the preservation and study of religious art (be it iconic painting or the church ritual as a whole, a “synthetic work of art,” i 48 Arseny Zhilyaev to borrow Pavel Florensky’s term), and on the other, for the total rejection of an alien and dangerous ideological delusion—determined the specific character of antireligious museums and, at the same time, served as the driving force of their development in the Soviet Union. Thus, oftentimes the critical aspect of an exhibit differed considerably from what is generally thought of as the more temperate museum presentation within the context of a functioning house of worship, which treats religious attributes strictly as cultural artifacts.
Moreover, an important characteristic of the museum exhibit is its partial abstraction or idealization. This has to do with its being necessarily severed from its natural interconnections in reality and placed in the abstract context of interaction within the museum exhibition. Even in the case of a fragment of reality, it too has been in some way selected, differentiated, and thus bears the stamp of rational activity. Accordingly, the elements of a museum always contain some aspect of artificiality: none belongs to primary reality in its pure form, which we encounter in everyday life.
Accordingly, the materialist dialectic of Marx was a distinct form of logic, different from formal logic: it was the logic of human reasoning that allowed one to analyze the historical development and formation of various social forms as a result of interactions within the framework of materialist industrial relations. Let us get back to the museum. 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.