During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages. Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists. This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.
A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.
During the 1960s and 1970s, the Russian conceptual artist Ilya Kabakov was a galvanizing figure in Moscow's underground art community, ultimately gaining international prominence as the “leader” of a band of artists known as the Moscow Conceptual Circle. Throughout this time, he created texts that he would distribute among his friends, and by the late 1990s his written production amounted to hundreds of pages. Devoted to themes that range from the “cosmism” of pre-Revolutionary Russian modernism to the philosophical implications of Moscow’s garbage, Kabakov’s handmade booklets were typed out on paper, then stapled or sewn together using rough butcher paper for their covers. Among these writings are faux Socialist Realist verses, theoretical explorations, art historical analyses, accompaniments to installation projects, and transcripts of dialogues between the artist and literary theorists, critics, journalists, and other artists. This volume offers for the first time in English the most significant texts written by Kabakov. The writings have been expressly selected for this English-language volume and there exists no equivalent work in any language.
A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country’s most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region’s contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.
Alexander Brodsky and Ilya Utkin are the best known of a loosely organized group of Soviet artists known as "Paper Architects," who designed much but built little in the early days of Glasnost, in the late 1980s. Many of their elaborate etchings, in which they depicted outlandish, often impossible, structures and cityscapes of allegorical content, were collected in our 1990 book Brodsky & Utkin. Now, with the addition of forty-three new and never-before-published prints, we are pleased to announce this updated edition. In their designs, by turns funny, cerebral, and deeply human, Brodsky & Utkin borrow from Egyptian tombs, Ledoux's visionary architecture, Le Corbusier's urban master palns, and other historical precedents, collaging these heterogeneous forms in learned and layered scrambles. Underlying the wit and visual inventiveness is an unmistakable moral: that the dehumanizing architecture of the sort seen in Russian cities in the 1980s and 1990s, and elsewhere around the globe, takes a sinister toll. A new preface assesses the works of Brodsky & Utkin and reminds us that the greatest art is often born of adversity. Beautifully printed in 300-screen dry-trap duotones by the Steinhauer Press, Brodsky & Utkin is a book for artists, architects, and collectors alike.
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