he most advanced recording device ever invented.
It is a place for the storage of historical grievances and the memory of forgotten artistic experiments, social projects, or errant futures.
But in late nineteenth and early twentieth-century Russia, this recording device was undertaken by artists and thinkers as a site for experimentation.
Arseny Zhilyaev's Avant-Garde Museology presents essays documenting the wildly encompassing progressivism of this period by figures such as Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, and others-many which are translated from the Russian for the first time.
Here the urgent question is: How might the contents of the museum be reanimated so as to transcend even the social and physical limits imposed on humankind? Contributors: David Arkin; Vladimir Bekhterev; Alexander Bogdanov; Osip Brik; Vasiliy Chekrygin; Leonid Chetyrkin; Nikolai Druzhinin; Nikolai Fedorov; Pavel Florensky; R.
Frumkina; M.
Ilkovskiy; V.
Karmilov; V.
Karpov; Valentin Kholtsov; P.
Khrapov; Yuriy Kogan; Natalya Kovalenskaya; Nadezhda Krupskaya; S.
Lebedyansky; A.
Levitsky; Vera Leykina (Leykina-Svirskaya); Ivan Luppol; Kazimir Malevich; Andrey Platonov; Nikolay Punin; Aleksandr Rodchenko; Yuriy Samarin; I.
Sheremet; Andrey Shestakov; Natan Shneerson; Ivan Skulenko; M.
Vorobiev; N.
Vorontsovsky; Boris Zavadovsky; I.
Zykov.
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| Is | How might the contents of the museum be reanimated so as to transcend even the social and physical limits imposed on humankind |
|---|---|
| Contributors | David |
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