In 1993, a Danish critic reviewing Dubravka Ugresic’s novel Fording the Stream of Consciousness, a clever satire of a literary conference, accused her of engaging in a crass form of literary escapism when she should have been writing about the”bloody war” raging at home in her native Yugoslavia. Since the novel was first published in 1988, this criticism was entirely misplaced. In fact, the war has been on her mind the entire time, as is evident from her two most recent books, The Culture of Lies (essays 1991-1998) and The Museum of Unconditional Surrender (1991-1996). Her reflections, which are … Read more
Monthly Archive: December 1999
At the end of the millennium, it has become fashionable to speak about the “end of history” and the “end of art,” to say nothing about the end of the world. Boris Groys has commented that Soviet civilization was the first modern civilization whose death we have witnessed, and there are more to come. (Boris Groys, “Un homme qui veut duper le temps” in Installations 1983-1995 (Paris: Centre Georges Pompidou, 1995), pp. 17-19.) While the world might end, the art world does not have to. Arthur Danto suggests that we live in the era of the end of … Read more
28 June, 1999 – 22 August 1999, Mûcsarnok (Palace of Art), Budapest, Hõsõk tere
“Perspective is old evidence that we use fragmentally. By rethinking its structure, we can reach a dialogue covering everything that is essential to contemporary art. Questions arise, such as: what is the picture? What are the systems in space and their anti-systems like, where are the limits of artistic discourse?” These questions were asked by János Megyik, a Hungarian artist who was one of the participants at a summer exhibition/series of events entitled Perspective, presented by the Hungarian Palace of art (Mûsarnok) in cooperation with … Read more
Introduction by Oleysa Turkina and Victor Mazin; translated by A D Haun.
ARTMargins thanks I-20 gallery (NYC) for their support of this presentation.
Born in 1966, Novorossiysk (Black Sea)
Lives and works in Saint Petersburg, Miami and New York.
In the beginning was the rebus. The rebus spoke by means of things. The rebus presupposed translation from the language of words to the language of things. The rebus presupposed translation from the language of things to the language of words.… Read more
Quite a few people were astonished when a few months ago the portrait of the young “revolutionary” poet Dmitrii Pimenov appeared on Russian televsion. Anchormen and women quoted his revolutionary verses and commented on his performances. Why so? Had another of Mayakovskys’ or Lenin’s grandchildren appeared? Far from it: the cause was the bombing of the underground shopping center on Moscow’s central Manege Square on August 31, 1999, where 41 people were wounded. A German reporter commented that the “President of the Association of Russian Revolutionary Poets” had detonated the bomb in order to express his opinion about Russian consumerism. … Read more
In order to arrive at the present moment, to bring you “live from Russia,” which I intend to do in the second part of my essay, I will introduce the archeology of Russian historical and geopolitical “identity.” By doing that, the subsequent examples will appear as a part, hopefully, of a more systematic historical, or geopolitical, pattern. So, let’s situate Russia. Two preliminary theses:
1) Russia is after history. I will repeat it. Russia is after history. Which of these statements came first? Which second? I invite you to read in this repetition two regimes that constitute Russian history, its … Read more