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contents

TO BEGIN

0. INTRODUCTION
Story/stories
Three phases of the reception of the avantgarde: From the great utopia over the damaged – and negated – to the latent utopia First paradigm shift: Aporias of the avantgarde in postutopianism and retroavantgarde Second paradigm shift: Neo and retroutopianism
Avantgarde in the rearview mirror – among the automobilists
Structure of the work


1. PARADIGM SHIFT IN THEORETICAL PERCEPTION OF AVANTGARDES
1.1. Three phases of the reception of the avantgarde
1.2. First paradigm shift: Aporias of the avantgardes Towers and caves (Kafka, Platonov) Critiques of the avantgarde (Einstein, Arendt, Enzensberger)
A break or continuity between the avantgarde and socialist realism (Paperni, Groys, Golomštok)
Ambivalences and aporias of the (Soviet) avantgarde
(Dis)functionality of avantgarde principles and procedures for the “total realism” (Günther, Clark)
1.3. Media archaeology as the second paradigm shift (the 90s)


2. POSTUTOPIANISM AND RETROAVANTGARDE
2.1. Negation of utopia – postutopianism
2.1.1. Postutopianism and the postmodern Russian discussion on postmodernism from the 80s on The birth of the state out of the death of the author
2.1.2. Negation of utopia – Groys’ postutopianism Pavel Korchagin as “the concealed narrative of the avantgarde” – (art) history as a myth The pact Malevich-Mondrian- Khlebnikov-Pollock-Hitler-Stalin: Parallels between artistic-poetic and political will to power Not an arbitrary eclecticism but the revealing of mythological networks
2.1.3. “How was it?” – Back from the future Radio Rojter: From great utopia to the shabby box Back from the future
2.2. Re-evaluation of the avantgarde: retro(avant)garde
2.2.1. Laibach, Irwin, Sisters Scipion Nasice Theatre: Monumental retroavantgarde, retro principle, retrogarde Avantgarde and retrogarde Retrogarde I.: Emphasized eclecticism as authentic national culture Retrogarde II.: psychoanalytical: Return to collective traumas Retrogarde III.: Radical intertextual practice. Original as a mosaic of texts. Retrogarde and art of appropriation Retrogarde, overidentification and “impossible complicity” of art of appropriation.
2.2.2. On the career of the concept of “retroavantgarde” in artistic and art historical context Peter Weibel: Retroavantgarde as “retrospective axis of avantgarde” Marina Gržinić: “(Post)socialism, ideology, projects of imitation and retroavantgarde”
2.2.3. Irwin: “History is not given. It has to be constructed.” Retroavantgarde as “retrospectively constructed avantgarde”, art history fiction and “modernism of the East”


3. AVANTGARDE IN THE REARVIEW MIRROR OF POSTUTOPIANISM AND RETROAVANTGARDE
3.1. Repetition and/as difference
3.1.1. Return of the Black Square in the art of the70s and 80s
3.1.2. Repetition as productive difference
3.1.2.1. Difference and return Repetition, singularity, universality Temporal and index character of repetition Static and dynamic repetition Repetition as synthesis of the present Repetition and the past Repetition and the future
3.1.2.2. For the archaeology of (im)material palimpsest
Palimpsest and cultural-semiotic notion of memory
(Im)material palimpsests of the group Irwin
Accumulation of connotation layers
3.1.3. Black Square on Red Square: Transparency vs. obscuration, confrontation vs. occultation
Aggressive palimpsests
Occultation/overgrowing vs. transparency/confrontation
3.1.3.1. Occultation/overgrowing Erik Bulatov: Surface vs. space Ilya Kabakov: Wallpaper as palimpsest Oleg Vasil’ev: Red/dead banner/square
Dear customers …: Soviet everyday life dismisses its avantgarde children
Kollektivnyje dejstvija: White field and ideological text
3.1.3.2. Transparency/confrontation Irwin: Black Square on Red Square Irwin: Malevich between the two wars
Replicants with/out the past – The last futurist exhibition 0.10 (1986)
Mladen Stilinović: Exploitation of the dead and The praise of laziness
3.2. In the lap of the collective: How to re-enact collectivism? With a collective body!
3.2.1. In the collective of Collective Actions
3.2.2. Laibach: Let’s construct a collective which will liberate us
3.2.3. Collective in zero gravity: Panoptic theatre of docile bodies of Cosmokinetic Cabinet Noordung Theatre of docile bodies Observatory as orbital panopticon
3.3. Dialogue as destruction, destruction as dialogue: repetition/overinscription as terrorist palimpsest and as dialogical “counter-signature” (Alexander Brener)


4. NEW UTOPIAS? NEOUTOPIANISM AND RETROUTOPIANISM
4.1. From the great over the damaged – and negated – to the latent utopia
4.2. “Will to utopia”: Neoutopianism is postutopian too
4.3. Ejection seat to utopia is not a prayer-machine: Working on the myth of the astronaut in post and retroutopianism
4.3.1. Space and avantgarde, utopia of flying and the myth of the astronaut
4.3.2. Space flight as ruinous/ruined utopia Utopia as ruin: Ilya Kabakov’s The man who flew into space Breath of death in everyday life: Last Call (Komarov Memorial room) Deficient technique, disabled heroes: Space flight as a fake in the novel Omon Ra by Viktor Pelevin Disabled heroes: A look in the torture chamber of socialist realism
Deficient technique
Ruthlessness of the system
4.3.3. Space flight as cosmic utopia
Back to the future: Noordung 1995-2045
Herman Potočnik Noordung, pioneer of space flights Red Pilot and the overcoming of gravity From retroheroes to Noordung Zero gravity and antimimesis – elimination of horizon
Retroutopianism – physics and metaphysics of avantgarde
4.3.4. Topos of space flight/myth of the astronaut: Utopia as ruin (postutopianism) and prospective reconstruction of utopia (retroutopianism)
4.4. Machines of the potential: On angels, dreamers, metaphysics and parallel realities in the works of Vadim Fishkin
4.5. Faktura and interface: Khlebnikov, Tesla and heavenly data traffic in the works of Marko Peljhan
Material and immaterial space structure – two intermeshed reality organizations
Faktura and interface: LADOMIR- FAKTYRA (LADOMIR- FAKTURA) LADOMIR- FAKTYRA (LADOMIR- FAKTURA): Third surface – macrolab (1997-2007)
Plejhan/Khlebnikov: “An uncannily contemporary vision” Radio visions I.: Radio theories of Velimir Khlebnikov and Bertolt Brecht Radio visions II.: Nikola Tesla’s “World System”


5. PROSPECTS

6. BIBLIOGRAPHY

7. INDEX

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