The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond

From the ruins of communism, Boris Groys emerges to impress our curiosity within the aesthetic pursuits pursued with such catastrophic outcomes through its founders. analyzing totalitarian paintings and literature within the context of cultural background, this exceptional essay likens totalitarian goals to the modernists’ objective of manufacturing world-transformative paintings. during this re-creation, Groys revisits the talk that the booklet has inspired because its first booklet.

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119–70. 27. The heroes of Nikolai Ostrovskii’s How the metal used to be Tempered and Boris Polevoi’s a narrative a couple of genuine guy, respectively. 28. Tretyakov, “From the place to the place? ” p. 206. 29. Quoted in Livshits, The One-and-a-Half-Eyed Archer. 30. Katerina Clark, The Soviet Novel: heritage as Ritual (Chicago, 1981). 31. at the sacred measurement of Khlebnikov’s poetry, see Aage Hansen-Love, “Velimir Chlebnikovs Onomapoetik. identify und Anagramm” (manuscript). 32. Tugendkhol’d, Iskusstvo oktiabr’skoi epokhi, p. 31. 33. The texts on Lenin’s variety are in LEF, no. 1 (5)(1924): 53–104. 34. See Clark, The Soviet Novel, pp. 141–45, and A. Siniavskii, “Stalin—geroi i khudozhnik stalinskoi epokhi,” Sintaksis, no. 19 (1987): 106–25. 35. L. Reingardt, “Po tu storonu zdravogo smysla. Formalizm na sluzhbe reaktsii,” Iskusstvo, no. five (1949): 77–78. 36. Cf. Martha Rosler, “Lookers, dealers, purchasers, and Makers: innovations on Audience,” in Brian Wallis, ed. , paintings after Modernism: Rethinking illustration (New York: the recent Museum of latest paintings, 1984), pp. 311–40. 37. N. Dmitrieva, “Esteticheskaia kategoriia prekrasnogo,” Iskusstvo, no. 1 (1952): seventy eight. bankruptcy 3 POSTUTOPIAN artwork 1. Cf. B. Groys, “Der Paradigmawechsel in der Sowjetischen inoffiziellen Kultur,” in D. Beyrau and W. Eichwede, eds. , Auf der Suche nach Autonomie (Bremen, 1987), pp. 53–64. 2. Livshits, The One-and-a-Half-Eyed Archer. See additionally Rodchenko’s vehemently “anti-Western” letters from Paris in “Rodchenko v Parizhe,” Novyi LEF, no. 2 (1927): 9–21. three. For reproductions of Bulatov’s works, see Katalog Erik Bulatow (Kunsthalle Zurich, 1988). See Boris Groys’s interview with Bulatov in A-Ia, no. 1 (1979): 26–33. four. Friedrich Nietzsche, The homosexual technology (Aphorism 125), within the transportable Nietzsche, trans. Walter Kaufmann (New York, 1980), p. ninety five. five. Kazimir Malevich, “From Cubism and Futurism to Suprematism: the hot Painterly Realism,” in John E. Bowlt, ed. , Russian artwork of the Avant-Garde: concept and feedback, 1902–1934 (London, 1988), p. 118. 6. Erik Bulatov, “Ob otnoshenii Malevicha okay prostranstvu,” A-Ia, no. five (1983): 26–31. 7. B. Grois, “Kartina kak tekst: ‘Ideologicheskoe iskusstvo’ Bulatova i Kabakova,” Wiener Slawistischer Almanakh 17: 329–36. eight. B. Grois, “Albomy Il’i Kabakova,” A-Ia, no. 2 (1980): 17–22. For reproductions and a normal description, see Katalog Ilya Kabakov “Am Rande” (Kunsthalle Bern, 1985). nine. Il’ia Kabakov, “Semidesiatie gody” (manuscript). 10. Jacques Derrida, Margins of Philosophy, trans. Alan Bass (Chicago, 1982), p. 18. eleven. Cf. the identify of Kabakov’s Bern exhibition, “Am Rande. ” 12. Jacques Derrida, the reality in portray, trans. Geoff Bennington and Ian McLeod (Chicago and London, 1987), pp. 60–61. thirteen. at the functionality of white in Kabakov, see A-Ia, no. 6 (1984). 14. For reproductions and a basic advent, see Melvyn B. Nathanson, ed. , Komar & Melamid: Soviet Dissident Artists (Carbondale, ailing. , 1979), and Komar and Melamid, Museum of recent paintings Catalogue (Oxford, 1985). 15. V. Komar and A. Melamid, “A. Ziablov (Etiud dlia monografii,” in Russica-81. Literaturnyi sbornik (New York, 1982), p.

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