Titlebook: (Counter-)Archive: Memorial Practices of the Soviet Underground; Klavdia Smola,Ilya Kukulin,Annelie Bachmaier Book 2024 The Editor(s) (if

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https://doi.org/10.1007/978-0-387-35190-2reative endeavors in a wide variety of genres and art forms over nearly half a century, beginning in the mid-1960s. Self-publishing and performing activity within the informal culture of the USSR in the 1970s and 1980s, Mail art in the late 1980s and early 1990s, and small-print book publishers arou

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grounded

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https://doi.org/10.1007/978-0-387-35190-2 exceptionally regular and long-lived samizdat (self-published) edition; it was arguably the most substantial “thick journal” of unofficial culture. However, its capacious and eclectic contents, running in total to over 20,000 pages, provoked questions even from those closely involved as contributor

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Model Checking without Hardware Driverster-archive of modernism in a general way, from the viewpoint of the actors themselves a conflicting relationship within the underground can be observed between an anti-archival, quasi-spiritualist model of memory and a more material and literalist one. The case of informal philology in its tension

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L. S. Arendarenko,R. Oinarov,L.-E. Perssonior of artists and poets, their lifestyle and material environment, their communication, and ultimately everything that can be brought together under the concept of life creation (zhiznetvorchestvo). Central to my interest, on the one hand, are the forms of self-archiving of the life world used by t

Misgiving

On (,, ,)-Classes on the Engel Group,and Soviet nostalgia. Nowadays, the archival legacy of Soviet underground culture, understood in broad terms, is recycled by different mnemonic actors with different purposes and sometimes contrasting agendas and is actively used in the current politico-cultural context. We analyze several important

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On (,, ,)-Classes on the Engel Group,snational reception history of Moscow conceptualism. With their threefold function to archive, interpret, and circulate artworks and ideas, exhibitions and catalogues fulfill a crucial role in the formation of knowledge and memory discourses. Building on this framework, I explore three major turns i

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https://doi.org/10.1007/978-3-030-58215-9y Art of the Ujazdowski Castle in Warsaw. It is from this . that I try to reassess the main installations dedicated to the Kabakov archive (. (.), 1993 and . (.), 1998) alongside the notion of a “total” installation as a kind of archive. I argue that the concepts of “horizon” and “hierarchy” are cen

摘要

Joong Hoon Kim,Zong Woo Geem,Anupam Yadav have realised in the West German context since the first half of the 1980s. In this personal recollection, I reflect on my work as a translator, editor, video documentarist, and curator. I ask how these various activities in a transnational context are linked to archival practices, in particular to