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After Moscow Conceptualism: Reflections on the Center and Periphery and Cultural Belatedness
ARTMargins ( IF 0.2 ) Pub Date : 2020-02-01 , DOI: 10.1162/artm_a_00254
John Roberts

Conceptual art is not only subject to a striking unevenness and a range of diverse forms across national territories during its emergence, but each national-cultural context in which it emerges is also exposed to the general belatedness of conceptual art’s relationship to its own avant-garde past. Each national-cultural formation was working with, and through, very different cultural and historical materials on the basis of very different kinds of awareness of the avant-garde past and the recent conceptual present. This article addresses this unevenness and belatedness by looking at the case of Moscow conceptualism in the 1970s and 1980s. In a period of post-Thaw and late Soviet ‘stagnation’, conceptual art takes the form in Russia of a generalised apophatic withdrawal from the ‘public sphere’, in which the absences, phlegmatic silences, and textual ambiguities of (some) conceptual art, assume a kind of heightened moral and poetic antipode to the (failed) rhetoric of Stalinist productivism. Yet, despite, its modernist reverence for indeterminancy, this work, nevertheless, retains an active ‘working’ relationship to the avant-garde (collective practice, the critique of the artistic monad). As such, this article examines the active and revenant links of Moscow Conceptualism to the memory of the avant-garde, based on Russian art’s contemporary sense of itself as a once major (revolutionary) centre of avant-garde production.

中文翻译:

莫斯科概念主义之后:对中心与外围文化迟钝的反思

概念艺术的兴起不仅在全国范围内引起巨大的不平衡和多种形式,而且在其出现的每个民族文化背景下,概念艺术与其前卫的关系也普遍迟来。过去的。每个民族文化形态都在对前卫的过去和最近的概念性现在有非常不同的认识的基础上,并通过非常不同的文化和历史材料进行工作。本文通过研究1970年代和1980年代莫斯科概念主义的案例来解决这种不平衡和迟来的问题。在解冻后期和苏联后期的“停滞”时期,概念艺术在俄罗斯采取了一种形式,即从“公共领域”全面消融,其中缺少,沉寂,以及(一些)概念艺术的文本含糊不清,对斯大林的生产力主义(失败的)言论提出了一种高度的道德和诗意的对立面。然而,尽管它具有对不确定性的现代主义崇敬,但该作品仍然与前卫(集体实践,对艺术单子的批判)保持着积极的“工作”关系。因此,本文基于俄罗斯艺术作为前卫生产曾经(主要的)革命中心的当代意义,考察了莫斯科概念主义与前卫记忆之间的活跃和怀旧联系。与先锋派保持着积极的“工作”关系(集体实践,对艺术单子的批评)。因此,本文基于俄罗斯艺术作为前卫生产曾经(主要的)革命中心的当代意义,考察了莫斯科概念主义与前卫记忆之间的活跃和怀旧联系。与先锋派保持着积极的“工作”关系(集体实践,对艺术单子的批评)。因此,本文基于俄罗斯艺术作为前卫生产曾经(主要的)革命中心的当代意义,考察了莫斯科概念主义与前卫记忆之间的活跃和怀旧联系。
更新日期:2020-02-01
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