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dc.contributor.authorRoberts, J
dc.date.accessioned2020-07-24T11:34:07Z
dc.date.available2020-07-24T11:34:07Z
dc.date.issued2020-03-25
dc.identifier.citationRoberts, J. (2020) After Moscow conceptualism: reflections on the center and periphery and cultural belatedness. ARTMargins, 9(1). https://doi.org/10.1162/artm_a_00254en
dc.identifier.issn2162-2574en
dc.identifier.doi10.1162/artm_a_00254en
dc.identifier.urihttp://hdl.handle.net/2436/623394
dc.descriptionThis is an accepted manuscript of an article published by MIT Press in ARTMargins on 25/03/2020, available online: https://doi.org/10.1162/artm_a_00254 The accepted version of the publication may differ from the final published version.en
dc.description.abstract© 2020 ARTMargins and the Massachusetts Institute of Technology. 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 gen ralised 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.en
dc.formatapplication/pdfen
dc.languageen
dc.language.isoenen
dc.publisherMIT Pressen
dc.relation.urlhttps://www.mitpressjournals.org/doi/abs/10.1162/artm_a_00254en
dc.subjectMoscow conceptualismen
dc.subject1970sen
dc.subject1980sen
dc.subjectRussiaen
dc.subjectpost-Thawen
dc.subjectlate Sovieten
dc.subjectStalinist productivismen
dc.subjectconceptual arten
dc.titleAfter Moscow conceptualism: reflections on the center and periphery and cultural belatednessen
dc.typeJournal articleen
dc.identifier.eissn2162-2582
dc.identifier.journalARTMarginsen
dc.date.updated2020-07-21T14:13:28Z
rioxxterms.funderUniversity of Wolverhamptonen
rioxxterms.identifier.projectUOW24072020JRen
rioxxterms.versionAMen
rioxxterms.licenseref.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/en
rioxxterms.licenseref.startdate2020-07-24en
dc.source.volume9
dc.source.issue1
dc.source.beginpage47
dc.source.endpage57
dc.description.versionPublished version
refterms.dateFCD2020-07-24T11:31:04Z
refterms.versionFCDAM
refterms.dateFOA2020-07-24T11:34:07Z


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