Search Results (43)

This article explores, from a historical and comparative perspective, how Chinese and Japanese theatre inspired the revolutionary theatre movement in 1920s and 1930s Moscow, which in turn influenced German theatre. One notable example of this intercultural transmission of aesthetics can be seen in the play I Want a Child! by Sergei Tretiakov. It showcases the impact of Asian traditions, embodying theatre as a Eurasian phenomenon—a style of staging recognised by Brecht and Meyerhold as a means of actively educating the audience. Inspired by the power of this medium in China, Tretiakov who was a friend of Brecht, attempted to develop a theatrical language that would have the strongest impact on the masses with socialist values. The selected play exemplifies art as a communicative transfer zone where Asian, Soviet, and Western theatre traditions converge. Brecht later adopted these aesthetics in relation to gender roles and conventional (“epic”) theatre techniques, with the aim of politicising the audience. The article considers these dimensions, after delving into the context of I Want a Child! and revising Tretiakov’s activities related to his work in China. Finally, it situates the Brechtian alienation effect in the intercultural, Euro-Asian dimension of instructive modernist theatre. Full article

The study reconsiders the architectural production associated with Russian Suprematism (which was speaking of “the supremacy of pure artistic sensation” rather than the veritable figurative depiction of real-life subjects) in the early Soviet period as a coherent and conceptually rigorous mode of speculative world-making rather than as a marginal or unrealized appendix to avant-garde art history and theory. By examining the architectural propositions articulated by Kazimir Malevich and then elaborated by his younger colleagues Lazar Khidekel, Ilya Chashnik, and Nikolai Suetin, the study advances the claim that Russian Suprematist architecture constituted an epistemic experiment aimed at redefining the very ontological premises of architecture. Far from functioning as a mere transposition of abstract pictorial language into three-dimensional form, Suprematist planits, architectons, and aerocentric projects operated as instruments for thinking spatiality beyond terrestrial gravity, anthropocentric utility, and historical typology. Situating these projects within the intellectual horizon of Russian cosmism and early aerospace thought, the article demonstrates how Suprematist architecture intersected with contemporary philosophical, scientific, and technological discourses that envisioned humanity’s active participation in the reorganization of cosmic space. The architectural imagination of Suprematism emerges here as inseparable from broader debates on excitation, non-objectivity, transformation of matter, and the reconfiguration of human corporeality. Through close analysis of formal strategies, pedagogical frameworks, and theoretical writings, the paper reveals the internal plurality of avant-garde Suprematist architectural inquiry, ranging from ecological proto-urbanism and hovering settlements to magnetic and cruciform spatial systems. Ultimately, the paper argues that the historical non-realization of these projects should not be interpreted as a failure but as an intrinsic feature of their speculative methodology. Suprematist architecture is thus redefined as an anticipatory practice whose unresolved propositions continue to resonate with contemporary discussions on space habitation, planetary design, ecological responsibility, and post-human architectural thought, challenging inherited assumptions about the scope and function of architecture as such. Full article

Released in 2012, Svetlana Baskova’s Za Marksa… (For Marx…) poses the question of the abolition of capitalism through workers’ struggle—that is, the question of revolution in decidedly non-revolutionary times. A follow-up to her activist documentary Odno reshenie—soprotivlenie (The Only Solution Is Resistance, 2011), For Marx… can be read as a post-Soviet return to Sergei Eisenstein’s Stachka (Strike, 1925), one that confronts the historical afterlife of the revolutionary proletariat following the rapid decomposition of the industrial working class once positioned at the center of the socialist imaginary. Borrowing its title from Louis Althusser and situating itself within an international genealogy of left debates on form and revolution—running from the Soviet avant-garde through Brechtian estrangement, militant cinema of 1968, and the collapse of “actually existing socialism”—the film mobilizes inherited models of committed art only to expose their historical limits. I argue that For Marx… does not revive earlier oppositional forms but stages their failure under contemporary capitalism. Montage, estrangement, and documentary realism appear as sedimented forms that no longer cohere into an operative revolutionary praxis. By foregrounding the exhaustion of political form, For Marx… reframes abolition—not only of the police or the carceral state but of capitalism itself—as a horizon that persists precisely where inherited aesthetic strategies break down. The film’s success lies in its refusal to offer closure, keeping the question of political transformation open. Full article

In the canon of Soviet travel writings of the 1920s–30s, Andrei Bely’s lesser-known book Veter s Kavkaza (1928, not reprinted since its first publication) and the essay Armenia (1929) are something of an oddity. They are generally seen аs an active attempt on his part to become a Soviet writer. This attempt by all accounts had very limited success, but the intention was genuine, and it enters into a most intriguing constellation with the more successful travel writings of the same period that ostensibly are based on the same practice of participatory observation as was practiced by members of LEF and other literary groups. Bely’s writings are more about observation itself than they are about anything else. His entire approach to the subject matter of his travel narratives is based on an obsessive mapping of the topography of his journey in an attempt to learn (by his own account) the Goethean art of seeing—not just the physical topography but also the past and the future of the human landscape in its revolutionary transformation. Ultimately, Bely’s spatially focused narrative seeks to see and represent time, and for this reason suffers the most spectacular failure, which Bely the Kantian and Bely the Symbolist wants to celebrate, but Bely the Soviet writer desperately tries to overcome. The article examines this failure in the broader political and artistic context of the time. Full article

This article examines the influence of tradition, particularly Orthodox thought and icons, on the “Russian” and Soviet avant-garde. This field of research was systematically initiated in the 1990s and continues to this day, as evidenced, among others, by recent articles in the Arts Journal. The present article contributes to this field by broadening the perspective, which has overwhelmingly focused on art. The step towards architecture is taken with a case study on the famous Soviet architect Ivan Leonidov. The article positions him in the context of contemporary debates on icons led by theorists Evgeniy Trubetskoy, Pavel Florensky and Nikolay Tarabukin, but also in connection with the emergence of Suprematism, which was introduced by Kazimir Malevich and further developed by El Lissitzky. Leonidov’s geometric bodies, which dynamically “float” in space, prove to be relevant to “Russian”/Soviet aesthetic interpretations of icons and “Russian”/Soviet artistic forms of expression. Just as the icon aimed at bringing believers closer to God, or Suprematism sought to reveal to the masses a higher spiritual or scientific truth, Leonidov’s architecture offered a metaphysical spectacle for a corresponding universalist goal: the creation of a pan-humanist utopia. Full article

For the spiritual situation at the turn of the 19th and 20th centuries, it is appropriate to speak of the project of the new man, which was caused by a grandiose revolution that had various dimensions, including scientific, technological, and artistic aspects. From this perspective, it is useful to distinguish between two models of the relationship between experimental art and science and technology. According to the first model, art assists science and technology to create the new man, with science and technology playing a fundamental role (Futurism). According to the second model, art opposes science and technology, which poses a threat to the individual and humanity as a whole. Bely is closer to the second model, but with important clarifications. The treatise The History of the Formation of the Self-conscious soul occupies a central place among his philosophical texts. In this treatise, the author examined the development of culture from Christ to the beginning of the 20th century. Bely worked on The History in the USSR, but did not plan to publish it. Therefore, he freely used the anthroposophical methodology and conceptual methodology, which led to the radically experimental (avant-garde) character of the treatise. In The History, science and technology are an important expression of culture, but by no means the highest. Their significance is determined by when and how they contribute to understanding the spiritual laws of the universe. At the same time, Bely published a review of Fyodor Gladkov’s novel Energy in the Soviet magazine Novy Mir, in which he continued to criticize the cult of science and technology being self-sufficient. Finally, in his experimental novel Moscow, Bely explored the tragedy of the scientist in modern society. The protagonist of the novel makes a scientific discovery that has potential for industrial (military) applications. The character realizes the danger of the discovery, and he is tortured, but he does not reveal the discovery to either foreign spies or the communists. In other words, in his Soviet-era writings, Bely did not so much deny the importance of science and technology as he did prioritize spiritual work and art. Thus, his texts express the type of interference between scientific reflection and avant-garde art that R. Poggioli described as “general dynamism”. Full article

In 1967, the Soviet government altered its expectations and procedures for mandatory military service by reducing the overall length of service and instituting biannual call-ups. This article looks at the demobilization albums created by several generations of conscripts as their time in the army or navy approached its end. These sources have received little attention to date, despite the wealth of information that they contain. The focus here will be on the artistic styles and different media commonly employed by the young men who made such scrapbooks and how these connect to the overall commemorative aspects of their creations. After discussing how some soldiers literally used parts of their uniforms to fashion their albums, thereby establishing an embodied memory of their time in the armed forces, the focus shifts to the ways in which picture postcard collages commemorated geographic locations and introduced a touristic aesthetic into the albums. Next the article considers the ways in which paintings and cartoons were employed to express concepts of time as experienced by the conscripts. The final section of the article is devoted to the private photographs that were included, specifically those taken to commemorate the friendships built while the young men endured a common rite of passage. Full article

This article explores Vsevolod Meyerhold’s biomechanics as an avant-garde theatrical and anthropotechnical method developed to forge new subjectivity and redefine roles in post-revolutionary society. It delves into early Soviet avant-garde theatre’s emphasis on movement as a core expressive tool and the transformation of the actor’s body into a precise instrument for calibrated gestures. Methodologically, the research is based on cultural studies examining relations between art processes and the functioning of social institutions. The article also analyzes a significant corpus of recently published archival materials related to Meyerhold’s development of biomechanical elements and details the structure of Meyerhold’s exercises and their role in enhancing motor skills and expressiveness on stage. The purpose of this article is to interpret biomechanics in the socio-cultural context of early Soviet times, while also examining it as a complex system transcending mere theatrical training. The key finding of the article is that the development of biomechanics encompassed not only theatrical, scientific, and social aspects but also proved close to the ideas of philosophy of Russian anthropocosmism. Full article

The so-called social turn toward collaborative art practices in the West has a curious but rarely discussed parallel in unofficial art in the late Soviet Union where collaborative performance art served as a significant catalyst for artistic innovation, particularly during the watershed period between 1975 and 1985. Pathbreaking performances by the Nest, SZ, and others, as well as the important collaborative art movement AptArt between 1982 and 1984, suggest interesting parallels to developments in the West and underappreciated precedents for Moscow Actionism in the 1990s and protest and street art in the 21st century. This article expands the picture we have of collaborative performance in the late-Soviet underground and highlights its role as precursor to participatory practices today. Full article

This article examines the processes of de-Sovietization of public spaces in Lithuania, focusing on the visual transformation of monuments after the collapse of the Soviet Union. While scholarship has primarily analyzed the dismantling of Soviet monuments as acts of iconoclasm, this study argues that de-Sovietization is a dual process involving both negative and positive dimensions: the removal of Soviet-era symbols and the creation of new monuments that articulate a post-Soviet national narrative. Drawing on Jacques Rancière’s framework of artistic regimes, the article explores how newly constructed or restored monuments embody the search for a new symbolic language of political and social communication. The analysis is based on qualitative content analysis of expert interviews with sculptors, architects, and artists involved in monument-making in Lithuania since 1990. Over the past three decades, more than 400 monuments have been erected in Lithuania, reflecting the tensions between continuity and rupture with Soviet monumentalism. While naturalistic monuments often avoided controversy, projects departing from realistic aesthetics—such as Regimantas Midvikis’ Exploded Bunker and Andrius Labašauskas’ Freedom Hill—became sites of conflict and public debate. By identifying the visual features of positive de-Sovietization, the article contributes to understanding how post-Soviet societies negotiate historical memory, identity, and aesthetic form in public space. Full article

This article analyzes the significance of the ruins and remnants of the Soviet Army in Borne Sulinowo, a former secret Soviet military base in Western Pomerania (Poland), as a source of inspiration for performance artists. This study draws from a variety of theoretical frameworks, including performance art theory, new materialism, and the thing theory. Additionally, it draws from the ideas of Carl Lavery, Richard Gough, Ann Laura Stoler, and Georg Simmel. This text delves into the notion that the transient character of performance art mirrors the fleeting nature of power, particularly in the context of the dissolution of the Soviet regime. Following the Polish reacquisition of the site in the early 1990s, artists such as Władysław Kaźmierczak and Brian Connolly transformed found objects and the decaying environment into performance art. This article analyzes performances such as Kaźmierczak’s кoнец фильма (The End of the Movie) and Connolly’s Frieze Frame. It discusses how these works captured the emotional and intellectual responses to the remnants of military occupation. The performances demonstrate the interplay between decay, memory, and historical consciousness, employing the ruins as a medium for reflecting on the collapse of Soviet influence in Poland and the shifting geopolitical landscape. Full article

The Ukrainian–Crimean artist Maria Kulikovska’s artistic practice has addressed war in Ukraine since the Annexation of Crimea and outbreak of war in the Donbas regions of Ukraine in 2014. In 2019 she created the video-performance Let Me Say: It Will Not Be Forgotten that responds to the ways artworks and women’s bodies are targeted by derisive retaliation and physical attacks during periods of political instability. Informed by explorations of feminism in post-Soviet countries, theories of prosthetic memory, and destruction art of the 1960s, I argue that Kulikovska does not let the destruction of her artwork silence her, but, rather, she uses destruction as a strategy to take control of oppressive forces. In their place, I argue that Let Me Say: It’s Not Forgotten demonstrates subjective and complex ways of building resilient feminist presents and futures that overcome oppressive violence and testify to continual perseverance. Full article

This text explores the life and legacy of Sergei Kuriokhin, a multifaceted artist who profoundly impacted Soviet and post-Soviet culture. Known for his radical experimentation in music, theater, and film, Kuriokhin defied conventional genres through his groundbreaking project, ‘Pop Mechanics’, which blended jazz, classical music, rock, circus acts, and more. His provocative performances often included surreal elements and bizarre satire, challenging cultural norms and the boundaries of Soviet censorship. Kuriokhin’s influence extended into politics, where his satirical “Lenin was a Mushroom” program questioned historical and ideological narratives, stirring public debate. His charisma, intellectual depth, and penchant for the absurd made him a central figure in Leningrad’s avant-garde scene. Kuriokhin collaborated with prominent artists and philosophers, leaving an indelible mark on Russian art and political discourse. This work, presented through the reflections of his close associates, offers insights into his lasting impact on Russian culture, blending history with personal mythologies. Full article

This essay discusses the genesis, evolution, and impact of the Leningrad Contemporary Music Club (CMC), a pivotal hub for avant-garde and experimental music in the late Soviet Union. Founded amidst the socio-political constraints of the late 1970s, the CMC emerged as a sanctuary for jazz, classical avant-garde, and progressive rock enthusiasts. This paper chronicles the CMC’s unique ability to foster creative expression within the repressive Soviet cultural framework, driven by a coalition of visionaries including such musicians as Sergey Kuryokhin and jazz theoreticians like Efim Barban. The narrative highlights the club’s seminal role in introducing Western avant-garde music to Soviet audiences, hosting groundbreaking performances, and cultivating a vibrant community of musicians, critics, and fans. Through an exploration of the CMC’s organisational strategies, cultural exchanges, and its ultimate closure following state intervention, the paper examines how the Club bridged underground and mainstream music while navigating ideological constraints. The research underscores the CMC’s legacy as a microcosm of resistance and innovation, situating its contributions within broader discussions of Soviet countercultural movements and global avant-garde practices. This work contributes to the historiography of Soviet underground culture, shedding light on the interplay between art, politics, and social transformation in late 20th-century Leningrad. Full article