By Victor Tupitsyn, Susan Buck-Morss
In The Museological Unconscious, Victor Tupitsyn perspectives the historical past of Russian modern paintings via a tremendously Russian lens, a "communal optic" that registers the effect of such frequently Russian phenomena as communal residing, communal conception, and communal speech practices. this fashion of taking a look at the topic permits him to collect jointly a variety of artists and artwork movements--from socialist realism to its "dangerous supplement," sots artwork, and from replacement images to feminism--as in the event that they have been tenants in a wide Moscow residence. Describing the proposal of "communal optics," Tupitsyn argues that socialist realism doesn't paintings with out communal perception--which, as he notes, doesn't simply healthy into crates while work shuttle out of Russia for exhibition in Kassel or ny. Russian artists, critics, and paintings historians, having lived for many years in a society that overlooked or suppressed avant-garde artwork, have compensated, Tupitsyn claims, by way of constructing a "museological unconscious"--the "museification" of the interior global and the collective psyche.
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Additional info for The museological unconscious : communal (post)modernism in Russia
50 To make Lacan concrete,51 we may assert that the communal unconscious is structured like communal speech, and on the strength of the clichédness of the latter, almost everything that is displaced into the unconscious—save for the prelingual (the infantile period of life)—coincides to a signiﬁcant degree for the majority of communal dwellers. But the peculiarity of the language practiced in the communal “lower depths” of Civitas Solis lies in the fact that the decreasing vocalization in endophasy turns into its increasing in communal speech.
Iakovlev, a painter valued in the unofﬁcial milieu for his still lifes, abstractions, and distorted (at times, explicitly erotic) portraits, is yet another example of the paradigm of the “myth of originality”11 (see ﬁg. 3). From Goya and van Gogh to Egon Schiele and Antonin Artaud, the tradition of modernism not only legitimized but canonized the image of the madman-genius. In accordance with this tradition, insanity is considered a necessary correlate of artistic talent. 12 2. THE 1960 S When the lavishly reproduced books on Western modernism (the so-called coffee-table books) began to surface in the Soviet Union, it seemed that one had only to follow all of their commandments and a place in history would be guaranteed.
Interestingly, this concept arose and became popular in Moscow more than a decade before Deleuze and Guattari’s Anti-Oedipus, in which “schizoidness” and “schizoanalysis” are developed into a means of theoretical enterprise. As I have already noted, the 1960s were associated not only with artistic alternatives but with social experimentation. This was often connected to the search for new forms of camaraderie, intellectual and creative alike. Like the Lianozovo group, artists associated with Sretenskii Boulevard 46 CHAPTER 2 cannot be linked with any speciﬁc theoretical model or stylistic persuasion.