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    Museological Unconscious

    ISBN-10: 0262201739
    ISBN-13: 9780262201735
    Author(s): Victor Tupitsyn, Susan Buck-Morss, Susan Buck-Morss
    Description: 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,  More...
    Buy it from: $6.88
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    List Price: $24.95
    Publisher: MIT Press
    Binding: Hardcover
    Pages: 352
    Size: 8.25" wide x 9.25" long x 1.25" tall
    Weight: 2.838
    Language: English

    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 movementsfrom socialist realism to its "dangerous supplement," sots art, and from alternative photography to feminismas 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 perceptionwhich, as he notes, does not easily fit into crates when paintings travel out of Russia for exhibition in Kassel or New York. Russia, he writes, went through an immense "optical restructuring" in the 1930s, in which viewers of art were "communalized." This restructuring (and the effect it had on Soviet cultural mentality) is the leitmotif that runs through the book, as Tupitsyn discusses such topics as the history of alternative Russian art, the communal conceptualism of the 1970s and 1980s (epitomized by Ilya Kabakov and Andrei Monastyrsky), the iconoclastic sots art movement (the best known practitioners of which are the artistic team of Komar and Melamid), the different art worlds of Moscow and St. Petersburg (the "aesthetics of transparency" versus the "aesthetics of a blind spot"), the "creative violence" of the telesniks, and the relationship among different generations of "nonconformists." 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.

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