NSK from Kapital to Capital: Neue Slowenische Kunst: An Event of the Final Decade of Yugoslavia (2015) [English, Slovenian]

15 December 2016, dusan

“The exhibition NSK from Kapital to Capital was the first major museum project of the Neue Slowenische Kunst (NSK) collective, and followed the events of its individual constitutive groups, from 1980 and the Laibach poster scandal in Trbovlje (Slovenia) through 1992, when the art collective transformed into the NSK State in Time. The title, NSK from Kapital to Capital, places the exhibition in the socio-political context of the turbulent 1980s, when the old world order was crumbling and the all-encompassing system of global capitalism was starting to come into its own.”

Publisher Moderna Galerija, Ljubljana, 2015
ISBN 9789612061142
83 pages
via L’Internationale

Exhibition

From Kapital to Capital (English, 2015, 2 MB, PDF)
Od Kapitala do kapitala (Slovenian, 2015, PDF, added on 2017-11-7)

Constant. New Babylon (2015) [EN, ES]

21 November 2016, dusan

Constant. New Babylon brings together a selection of works that Constant held in the framework of this project, whose realization and materialization has turned into a wide range of expressive means (architectural models, drawings, watercolors, prints, collages, modified maps, films, slides…), as well as an intense theoretical activity in the form of texts and lectures, with three representative examples in this catalog. There are also texts by Laura Stamps, Pedro G. Romero, Mark Wigley and a conversation between Rem Koolhaas and Pascal Gielen, among others.”

Catalogue of an exhibition held at the Museo Nacional Centro de Arte Reina Sofía, Madrid, 20 Oct 2015-29 Feb 2016.

Publisher Museo Nacional Centro de Arte Reina Sofía, Madrid, 2015
ISBN 9788480265232, 848026523X
310 pages

Exhibition
Publisher
WorldCat

English: PDF (48 MB), Issuu
Spanish: PDF (35 MB), Issuu

Victor Tupitsyn: The Museological Unconscious: Communal (Post)Modernism in Russia (2009)

18 August 2016, dusan

“In The Museological Unconscious, Victor Tupitsyn views the history of Russian contemporary art through a distinctly Russian lens, a “communal optic” that registers the influence of such characteristically Russian phenomena as communal living, communal perception, and communal speech practices. This way of looking at the subject allows him to gather together a range of artists and art movements–from socialist realism to its “dangerous supplement,” sots art, and from alternative photography to feminism–as if they were tenants in a large Moscow apartment.

Describing the notion of “communal optics,” Tupitsyn argues that socialist realism does not work without communal perception–which, as he notes, does not easily fit into crates when paintings travel out of Russia for exhibition in Kassel or New York. Russian artists, critics, and art historians, having lived for decades in a society that ignored or suppressed avant-garde art, have compensated, Tupitsyn claims, by developing a “museological unconscious”–the “museification” of the inner world and the collective psyche.”

With an Introduction by Susan Buck-Morss and Victor Tupitsyn
Publisher MIT Press, 2009
ISBN 0262201739, 9780262201735
x+341 pages

Reviews: Raoul Eshelman (ArtMargins 2009), Gillian McIver (a-n 2009), Alexander Etkind (Russian Review 2010), Sven Spieker (Slavic Review 2010), Lara Weibgen (ArtJournal 2011).

Publisher
WorldCat

PDF (6 MB)
PDF chapters