Face to Face with Monument

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The Newspaper “What is monumental today?” was published on the occasion fo the Chto Delat project in Vienna at Schwarzenberg Platz (May-June 2014)

Face to Face with Monument – the documentation of the project

User manual to the square:
1. Study The Paper Soldier
2. Wake your inner Paper Soldier up
3. Visit history (in red container)
4. Take an audio tour
6. Evoke your ideological traumas
6. Ascend the tower through the forum
7. Use telescope to face the face of the Unknown Soldier.
8. Run down (carefully)
9. Engage with the mural
10. Visit library /white container/– study display “Transformation of monumentality”
pick up your own copy of project newspaper there

11. Free time (suggestions): seat at the forum discuss your experience with strangers, take a book and seat at the café, read the newspaper, listen to the radio, text friends to come….

Genaral Documentation of the project and making of


The display – Transformation of monumentality

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Shivering with Iris – a new film by Chto Delat

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Shivering with Iris from chto delat on Vimeo.

Talk show: Shivering with Iris
Based on a learning play which was premiered at Sommer festival at Kampnagel, Hamburg in August 2014. The play was realised in a form of talk show and filmed with 5 cameras . The final result of the performance is a videofilm.
The play is dedicated to the problem of the romantic sublime in art, which it represents using the symbol of fish. The muteness of fish and its underwater position pose a contrast to the current condition of art from which everyone expects a statement. Like the fish lives in the water as its medium, art today lives in the environment of the media, which keeps compromising it both through profanation and sublimation. The play addresses this conflict by engaging a dialectic of the artificial and the real in the contemporary artwork.

Host of the show: Iris Minich
Participants: Vedrana Madžar, Alexey Markin, Alicia Agustín, Tatiana Baskakova, Fransis Jacobi, Genja Loginova, Antje Prust, Corina Lucia Apostol
Tom Frank: Marc Siemoneit

Chto Delat on the stage: Nina Gasteva; Artyom Magun; Alexander Skidan
Directing and narration: Artyom Magun; Alexander Skidan; Tsaplya Olga Egorova and Dmitry Vilensky
Cheer leaders: Nikolay Oleynikov /Chto Delat/ and Alicia Agustín
Cameras: Andrey Nesteruk, Marlene Denningmann, Dmitry Vilensky; Katharina Duve; Karsten Wiesel
Set: Nikolay Oleynikov
Sound effect at the play: Arvild Baud
Sound mastering: Alexander Dudarev
Special thanks: Oxana Timofeeva and Gluklya Natalya Pershina and Schwabinggrad Ballett (Ted Gaier, Margarita Tsomou, Christine Schulz and Christoph Twickel); Hamburger Kunsthalle (Brigitte Kölle, Mira Forte, Petra Pirsch) and many our friends from Hamburg who consulted us and provided help and hospitality.
Maria Markina performed a poem by Maxim Gorky “The Song of the Stormy Petrel” (1901) at the happening at Hamburger Kunsthalle
Music: Revolutionary Étude by Frédéric Chopin
At the happening at Reeperbahn the fragment of the poem by Nikolay Oleynikov “Inspiration” (1932) was used.
The play and film was produced with the generous support of
Otto Runge Stiftung, Kampnagel Sommerfestival, Hamburg;
the postproduction of the film is supported by Gallery Apart, in collaboration with “Joan of Art”

Second and third part of the installation is a display with few objects specially made for performances documented in the film – the artificial fishes hang from the ceiling of the gallery and collection of hand painted aprons with a texts from the most famous Russian revolutionary poem of Maxim Gorky "The Song of the Stormy Petrel" and from the absurdist Soviet poet Nikolay Oleynikov (1932) which formed a base for the conceptual narrative of the play and whole composition of the installation.

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What Could be Done with Manifesta Here?

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In recent months, our friends (members of Chto Delat collective) to comment on the situation around the realization of Manifesta 10 in Petersburg. We have had many personal conversations, skypes and mails but now, it looks like it is time to summarize things in public.

I have already written a critique on the boycott position (recently updated call to boycott Manifesta can be seen generic cialis at the official web-site of AICA:, and my position has not changed: a boycott focusing on the local attack on LGBT rights will not benefit but rather harm both local civil society as well as the potential audience of contemporary art in Russia. Putinism never took seriously such measures. Without further discussing why the boycott doesn’t work, it is quite buy viagra online clear that if the goal is to repeal repressive legislation, one needs to use more sophisticated and complex modes of pressure cialis tadalafil by creating new zones of public life where all forms of confrontation could become visible.

So, what could be done with Manifesta here?


We have received and accepted a pre-invitation of Kasper Konig to participate in his exhibition. It is very important heart attack for us and we are in a process of developing a full scale project around our old film “The Tower: a Songspiel”. This musical order cialis online was realized in 2010 and it was our reflection on the civic resistance to the construction of the Gazprom Tower in St. Petersburg. Unfortunately the film has not lost its political actuality – four years later, we still face the shameless greed of corporation like Gazprom, the disgraceful clericalization of public life, a glut of sheer physical violence, the conscious destruction of civil society and its social space. Our work focuses on finding an artistic language for reflecting and opposing such issues, and therefore often meets a cold reception from Russian institutions, aside from some exceptions. Thus, it is crucial for us to show this piece to the local public. It was never shown properly in Petersburg, and the visibility that Manifesta-Hermitage could provide would vault into above the safe horizon of invisibility into the realm of broader political and artistic significance. This is a minefield of dangers, including direct censorship, at the first sign of which we will have to withdraw from the show.

Active ingredient also we are 36 hours looking forward to participate with our new School for Engaged art (1) in different forms increased blood of collaboration with the Manifesta Public Program as long as it makes sense for our mutual interest. At the moment, it looks like that our possibilities of collaboration with the Manifesta’s Educational program buy cialis is not welcomed from their side.


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Current events

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Texts // Dmitry Vilensky

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INTERVIEW WITH DMITRY VILENSKY by Cosmin Costinaş and Maria Hlavajova

  • Location: Amsterdam
  • Date and time: 12 March 2010 at 12:00
  • Duration: 1:42:26


Они говорят…

стихотворение 2005 года – впервые опубликовано в ХЖ №60


Dmitry Vilensky // Theses on the Soviet Experience


Dialogue Victor Misiano – Dmitry Vilensky // Singular Together!

Published at the catalogue of Chto Delat solo exhibition at Kunsthalle Baden-Baden

(see here:


Дмитрий Виленский // Критика «живого романтического образа».
Комментарий к взаимоотношениям нового акционизма и искусства в России

Опубликовано в Московском Художественном Журнале №81, 2010


О репрезентации и участии. Современное политическое искусство и социальные движения.

опубликован в журнале Luxemburg 01 на немецком языке




Искусство траты (заметки о питерской ситуации) /// 2001

опубликовано в 2001 – Художественный журнал N°33 (не опубликовано на сайте)


Sven Spieker in Conversation with Dmitry Vilensky

Artmargins, internet journal, Aprill 2010

Chto delat’? The Theory and Practice of Critical Intervention: Sven Spieker in Conversation with Dmitry Vilensky (St. Petersburg) (Podcast)


We Teach With Our Works And Our Lives

DMITRY VILENSKY IN CONVERSATION WITH BORIS BUDEN published at transversal journal, An-academy, 12-2010


Activist Club or On the Concept of Cultural Houses, Social Centers & Museums

at New Productivism, 09 201; eipcp  transversal


Искусство будет оставаться левым или его не будет вообще

опубликовано на


Lolita Jablonskiene & Dmitry Vilensky // Hybrid Spaces for Common

Published in “Printed Project”Nr 10, 2009


Dmitry Vilensky // On the current situation for engaged artist in Russia today, distribution of knowledge and the political transformation of aesthetic experiences

Interview with Bankleer, Berlin, 2008


Marina Gržinić in conversation with Dmitry Vilensky // What is to be done?

Published at Reartikulacija 03, 2008 


Интервью Дмитрия Виленского // Обществу нужно демократическое пространство площади, агоры, а не фаллосы

Опубликовано на Закс.ру, 2008


Thomas Campbell’s interview with Dmitry Vilensky

A Funny Thing Happened on the Way to the Forum


Redas Dirzys in a dialogue with Dmitry Vilensky // On Alytus Art Strike Biennale

published at (in Lithuanian) and


Олеся Туркина задает вопросы Дмитрию Виленскому // Ответственность художника

Опубликовано в 2006 году


Frédéric Maufras and Dmitry Vilensky dialogue // The case of first Moscow Biennale

Published at Neue Review, 2005, Berlin


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Materialities of Independent Publishing: A Conversation with Aaaaarg, Chto Delat?, I Cite, Mute, and Neural

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Jodi Dean, Sean Dockray, Alessandro Ludovico, Pauline van Mourik Broekman, Nicholas Thoburn, and Dmitry Vilensky

This text is a conversation among practitioners of independent political media, focusing on the diverse materialities of independent publishing associated with the new media environment. The conversation concentrates on the publishing projects with which the participants are involved: the online archive and conversation platform AAAAARG, the print and digital publications of artist and activist group Chto Delat?, the blog I Cite, and the hybrid print/digital magazines Mute and Neural. Approaching independent media as sites of political and aesthetic intervention, association, and experimentation, the conversation ranges across a number of themes, including: the technical structures of new media publishing; financial constraints in independent publishing; independence and institutions; the sensory properties of paper and the book; the politics of writing; design and the aesthetics of publishing; the relation between social media and communicative capitalism; publishing as art; publishing as self-education; and post-digital print.

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Russian Woods (2011-2014) – documentations

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First presenation of the installation Russian Woods at the solo show “Perestroika: XX years after”

Kölnischer Kunstverein, 2011

When working abroad we often ask ourselves what we represent in this context and why we have been invited. There is the hidden pressure to talk about some exotic, artistic/activist experience drawn from our own country, where politics somehow survives against coercion more brutal than that in the West. As we have often written, there is a certain problem with this outsourcing of politics. As Elena Filipovic correctly notes in a recent article about our group, we have to represent “a certain history while overcoming common preconceptions in order to act as international translators.” But what are we actually translating/representing?

The point of departure for our solo show at Kölnischer Kunstverein is our first songspiel, *Perestroika Songspiel: Victory over the Coup* (2008), which marks the end of one period in Russian history. For most of us, it was an event that was crucial in shaping our political subjectivity: we date the history of the new Russian state to this moment. So we asked ourselves what remains in our memories after all the transformations of the past two decades, and we ran head-on into a set of disturbing, weird, grotesque images. As usual, our narration is based on the media and the popular imagination: we merely decided to push them to the limit and reveal their inner irrational and vital functions, and to try and confront them with our body of documentary film works. That’s how the installation *The Russian Woods* began to grow.

This time we have decided to try and find a way to represent the Russian unconscious and to examine how far the language of art is able to take a representation of reality rooted in its historical dynamism, brutality, and lack of transparency. What can we do with this reality’s horrible and largely indescribable violence that renders all varieties of artistic virtuosity powerless? It is not our intention to sensationalize or demonize Russia: we are convinced that the Russian situation is very much the result of the global division of labor and geopolitical confrontations triggered by capitalism, and that its political system is no less irrational (or, for that matter, rational) than the “Russian soul.” So we must speak about Russia in the context of a new global order where sheer exploitation of the periphery goes hand in hand with the accumulation of enormous wealth by the minority who control all resources (human and natural), the self-elected few who deprive the majority of the fruits of their labor, forcing them to live in poverty and misery like modern-day slaves.

It is important not just to demonstrate our negative attitude to Russia’s current regime, but also to offer a visual explanation for why we continue to oppose our country’s current development and the mode of governance that has brought it to a dead end.

Dmitry Vilensky, August 2011

The description of the figures

Print, MDF plates (various dimensions) Concept: Dmitry Vilensky and Tsaplya (Olga Egorova)

Visuals: Nikolay Oleynikov

List of Objects1/1. Hares with Sour Faces

The Hare is a popular character in the Russian Woods. Usually in danger of being eaten by the other animals, the Hare is cowardly and embittered, and always on the lookout.

1/2. Two-Headed ChickenRapacious and merciless to its foes, the Chicken appears on the official seal of the Russian Woods.

  1. Oil Derrick Dragon

The fire-breathing Dragon guards Oil, the main treasure of the Russian Woods. It has all the qualities of a regular dragon. Greed and ferocity are its dominant traits.

  1. Oil Pipeline Mermaid

The Mermaid evokes the wraith of unquenched desire. In the Russian Woods, she serves the Dragon. She prefers the company of Bears, and despises Hares.

  1. Skyscraper Church

The Skyscraper Church is the symbol of modernization in the Russian Woods. The modernization process draws foreign Merchants, Foxes, and Robbers to the Russian Woods.

  1. New Year’s Tree The magical New Year’s Tree produces the most desirable gifts for the Dragon, the Chicken, the Mermaid, the Bears, and other characters in the Russian Woods.
  2. Special Purpose Police

The Special Purpose Police serve the Dragon, the Chicken – and themselves. They are corrupt and criminal. They show up in the most unexpected places, often intoxicated. For the most part, they are engaged in individual entrepreneurship.

  1. Toadstool The Toadstool is the main intoxicating and poisonous mushroom in the Russian Woods. It clouds the mind with nightmarish fairytales, which often become reality. Caucasian Warriors (a new generation of soldiers in an endless war) wait in ambush under the Toadstool.
  2. “Free Education!” Fence Fences are an important element in the constant repartition of the Russian Woods. Spells known as “protest slogans” are usually written on fences in the Russian Woods. The “Free Education!” spell was inscribed on this fence by the Pyotr Alexeev Resistance Movement.

10/1. Black Widows outside a Metro Station

Metro Stations are entrances into caves in the Russian Woods. The Black Widows (the insidious spawn of the Toadstool) blow themselves up in these caves, taking the lives of other inhabitants of the Russian Woods.

10/2. Stalin Empire-Style Chandelier

The favorite nesting spot of Spy Bats in the Russian Woods.

  1. “Popular Front” Bear Show

The Bear is the beloved hero of the Russian Woods. As a performer in the Popular Front show, it skates, juggles, and does various magic tricks. In the arena, it is jolly, kind, and fond of children. Outside the arena, the Bear is often a defendant in cases involving the repartition of the Russian Woods.

  1. Glamour Tank

The main sources of pride in the Russian Woods are weapons and beauty. They are also its principal exports. The tanks and girls of the Russian Woods are unfailingly popular amongst respectable men outside the Russian Woods.

  1. The Mausoleum

Despite the fact that mushrooms have sprouted on it, the Mausoleum remains the most important historical monument in the Russian Woods.

  1. White House on Chicken Legs

Government house in the Russian Woods. After being shelled by tanks in 1993, it is always ablaze. The chicken legs enable it to turn in any direction on the orders of its Owner. Possession of Fabergé eggs is a sign of love for the Powers That Be. They grow on the inhabitants of the White House on Chicken Legs, who thus display their proper national orientation.

  1. Wolf-Girl

Wolf-Girls are the contradictory elements of history. They laugh, dance and obey no one. Their habitat extends beyond the Russian Woods.

  1. Dog’s Heads Separated from the body, the Dog’s Heads faithfully serve the Powers That Be of the Russian Woods. They are invisible and merciless.

The videofilm “Russian Woods”

Русский Лес /// The Russian woods from chto delat on Vimeo.

Russian with English subtitles

Our work on the musical performance “Russian Woods” was largely provoked by political developments in Russia last winter. By participating in these important events that all of sudden have emerged inside Russian civil society, we were intrigued by the huge amount of use of mythic images and rhetoric, both from the government and from the protesters. We found that this phenomenon is not by chance and really reflects the level of a political culture in the country. And we wanted to try to analyze it in the form of a fairy tail story that would be able to not only reflect the totality of socio-political structure of our society, but also think about the possibilities of its transformation.

The film is based on the documentation of the theatrical performance which happened in St. Petersburg on 2nd of May 2012

Film Concept and script: Vilensky Dmitry & Tsaplya (Olga Egorova); Director: Tsaplya (Olga Egorova); Composer: Mikhail Krutik; Choreography: Nina Gasteva; Graphics and Set: Nikolay Oleynikov and Dmitry Vilensky; Director of Photography: Artyom Ignatov

This film is a production of the collective Chto Delat

The First Kyiv International Biennial of Contemporary Art

This film was produced with support from the Chto Delat’ Fund.

The English version of this play was staged on 25th of March in a framework of the festival “Speaking and understanding” // Episode 3 Copying without copying, concept and production by Arika (

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Press & Reviews

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KOW Podcasts 17 – dialogue with Alexander Koch


– ILiana Fokianaki
Re-activating language: The work of CHTO DELAT and the logos of the revolution


– The End of the Line: Historicity, Possibility and Perestroika
By Simon Sheikh, Afterall 78

Sheikh Chtodelat (1)


Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology; The Museum of Modern Art, New York
Edited by Ana Janevski and Roxana Marcoci with Ksenia Nouril


— Irmgard Emmelhainz
The Grammar of Collectivity as Experimented by Chto Delat
Afterall: A Journal of Art, Context and Enquiry 2018


— Simon Sheikh
The End of the Line: Historicity, Possibility and Perestroika

Afterall: A Journal of Art, Context and Enquiry 2018

Wakana KONO. Artists Collective in Russia. “BT” 2018.4-5. vol.7 No.1066. P.102-105., Japan


The Darkness by Raimar Stange, 23.02.17
published at artmagazine (in German) 

– Alexei Penzin,
In Defence of Crude Thinking

Critical Mass: Moscow Art Magazine 1993–2017


Anastasia Murney
Pushing the Political Imagination
Ideological Disruption in the Practices of Inspection Medical Hermeneutics and Chto Delat
Journal Third Text Volume 29, 2015 - Issue 6

Francesco Scasciamacchiai //
Performing Urgency #1, 2015

John Roberts 

Chto Delat and Third Avangarde

published in New Literary History. What is an avant-garde. University of Wolverhampton, 2015 







– Sezgin Boynik

Discontents with theoretical practice in contemporary political artworks: Theory as vanishing mediator in the art of Chto Delat
Journal of Visual Art Practice


– Agata Pyzik

What is to be done? Radical collective Chto Delat confront the paradoxes of political art published at Calvert Journal


– Antonia Majača
To Teach, To Move, To Delight. How to map cognitively?
published in a framework of the exhibition Moving Forwards, Counting Backwards, Museo Universitario Arte Contemporáneo, Mexico City, 2012

Игорь Гулин о платформе «Что делать?» //
Творцы невидимого фронта

Журнал “Коммерсантъ Weekend”, №18 (263), 18.05.2012


Thomas Campbell // What Are Deportees Doing in a Museum?

published in the catalogue of the show “Towards the Other”, edited by TOK, St. Petersburg, 2011


Corina L. Apostol / / Political Art Actions: On Chto Delat? and the Avant-Garde

published in CRITICATAC (in Romanian and English); 2011


Simon Sheikh / / What Remains? – Chto Delat?, Post-Communism and Art

published at Chto Delat? catalogue, Kunsthalle Baden-Baden; Walter Koenig, 2011


Tom Holert / / On the state of collaboration, published in ARTFORUM international, February 2011


Jakob Schilinger / /  Ghost train of Marx. Chto Delat? and the theme park of communism

published in Mousse Magazine #26  December 2010 / January 2011 (English-Italian)


in Boris Buden book “Zone des Uebergangs. Von Ende des Postkommunismus”

(Seite 74-84), edition surkamp, 2010

David Bussel, Forwards not forgetting,
Texte zur Kunst, Issue Nr. 80 / December 2010 “Political Art ?”

Nataša Ilić / / On Chto Delat?’s Songspiels

published in art/knowledge: overlaps and neighboring zones; transversal online magazine, 2010

ar/ge kunst, Issue # 07, November 2010 and (cover here)

Creamer 2010. Chto Delat? from Petersburg

ICA journal Roland on the Chto Delat?


Third Text, Vol. 23, Issue 4, July, 2009, 465-480


Ilana Tenenbaum / / Self-Extreme. Between the Political Self and the Social Body


Charlotte Jansen review on the show at ICA “The Urgent Need to Struggle”

published at Artslant, London, November 2010


Bojana Kunst, Collaboration and Space, Maska (Ljubljana) 2005


Gail Day, Steve Edwards, David Mabb‘What Keeps Mankind Alive?’: the Eleventh International Istanbul Biennial. Once More on Aesthetics and Politics

published in Historical Materialism

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Александр Скидан // Pawel Lwowich Tselan, russkij poet

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Die Liebe loscht ihren Namen: sie

schreibt sich dir zu.

Paul Celan

Редко какой текст, посвященный Паулю Целану, упускает случай припомнить сакраментальную фразу Адорно о «невозможности поэзии после Освенцима», с тем, чтобы посрамить философа, а в его лице и мысль вообще: дескать, суха теория, а искусство дышит где хочет. В самом деле, разве не опровергает «Фуга смерти», да и вся поэзия Целана, еврея, чьи родители сгинули в немецком концлагере, максиму Адорно? Между тем, никакая это не максима, а вырванная из контекста, покалеченная цитата, которую, как культю, не возбраняется пользовать в культурных целях, что в точности соответствует той диалектике культуры и варварства, о которой как раз и ведет речь Адорно в работе «Критика культуры и общество». Целан знал, более того, в 1968-ом участвовал в семинаре Адорно (задолго до этого тень философа мелькает в «Меридиане» и «Разговоре в горах»); год спустя в письме он так отозвался на его смерть: «Я почувствовал боль, я и сейчас чувствую боль. Это тяжелая потеря. Он был гениальный человек, богато одаренный, и одарил его не дьявол. Теперь мы читаем некрологи – они такие безлюбые, кажется мне, ну что ж…». После этих слов, мы, быть может, сподобимся иными глазами прочитать то, что в «Негативной диалектике» (1966), переосмысляя сказанное им в 1949-м, говорит Адорно: «Многолетнее страдание имеет такое же право выразить себя, как истязаемый – кричать; поэтому, должно быть, ошибочно было утверждать, что после Освенцима писать стихи невозможно. Не ошибочен, однако, менее “культурный” вопрос: а можно ли после Освенцима продолжать жить тому, кто по справедливости должен был умереть, но благодаря случайности избежал смерти? Их длящееся существование уже с необходимостью подразумевает равнодушие, этот основополагающий принцип капиталистической субъективности, без которого Освенцим был бы невозможен: глубочайшая вина тех, кого пощадили. Как своего рода воздаяние, втайне их преследуют сны, в которых они не живы, а задохнулись в газовой камере в 1944 году, как если бы все их существование после этого свелось к чисто воображаемому, к эманации блуждающего, бесприютного желания того, кто был убит двадцать лет тому назад».

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Борьба на два фронта

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Книга о «маоистском» периоде Годара, вышедшая в «Свободном марксистском    издательстве»

Борьба на два фронта
Жан-Люк Годар и группа Дзига Вертов. 1968 — 1972

Москва, 2010, 111 стр.

Составление : Кирилл Медведев, Кирилл Адибеков.

Перевод: Кирилл Адибеков, Борис Нелепо, Станислав Дорошенко, Кирилл Медведев,

Марксистский период в творчестве Годара некоторыми воспринимается как одна из   причуд его эксцентричного гения, другими — как лишнее доказательство того, что  подлинное новаторство в искусстве невозможно вне связи с освободительной политикой  и левой мыслью. Точно можно сказать одно: интуиция Годара привела художника в нужное время в нужные обстоятельства, и за несколько лет, прежде чем заодно с большинством интеллектуалов разочароваться в прямом политическом действии он сумел не только кардинально обновить собственное искусство, но, что важнее, существенно и глубоко, а вовсе не на уровне поверхностных веяний и конъюнктуры, развить критическую, брехтианскую линию в левом искусстве и арт-теории. В книге собраны материалы, связанные с этим периодом.

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Networks, partners and friends

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Here we mention our long-term collaboration partners and good friends – very sorry if we missed anyone

our works are represented by KOW Berlin


> Street Univercity, St. Petersburg

> MoscowArtMagazine ///Московский Художественный Журнал

> Russian Socialist Movement/ Российское Социалистическое Движение

> DSPA /// Движение Сопротивления имени Петра Алексеева

> May congress of creative workers /// Первомайскийконгресстворческихработников

> Collective Action Institute //ИнститутКоллективныхДействий

> FreeMarxistPublishingHouse /// Свободное Марксистское Издательство (С.М.И.)

> Translit /// Альманах актуальной поэзии и теории “Транслит”

> Галерея Экспериментального Звука (Experimental Sound Gallery)

> Европейский универиситет Спб/ European Univercity Saint Petersburg


> Р.Е.П. / R.E.P. Revolutionary Experimental Space

> Visual Culture Research Center


> Rosa Luxemburg Stiftung
> KOW Gallery 

> Rosa Perutz is a self-organised discussion context, dealing with nationalism, statism, and the specific conditions of production and reproduction in contemporary art

> NGBK (Neue Gesselschaft fuer Bildende Kunst)

> Interflugs ist eine selbstverwaltete und von Studierenden geleitete Organisation an der Universität der Künste Berlin

> Ex- Argentina & Potosi Principle net-work
(Alice Creischer and Andreas Siekmann)

– Hito Steyerl, Simon Sheikh, Boris Buden, Kathrin Becker, Kesrtin Stakemeier


> Biro for Culture and Communication (Vladan Jeremic and Rena Raedle)

> Prelom Collective & Jelena Vesic

> TkH is a Belgrade based independent platform for performing arts theory and practice

> KUDA centar za nove medije, Novi Sad (Serbia)

Buenos Aires

> Etcetera… formed in 1997 in Buenos Aires the group is composed of visual artists, poets, puppeteers and actors, most of who were under 20 at that time. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions.!/grupoetcetera

Collectivo Situationes; Federico Geller; Eduardo Molinari


> ex. Free University (Jakob Jakobsen)

> The Learning Site focuses on the local conditions in which its art practice is located. This entails a critical examination of the material resources and economies available within specific situations. Each situation may entail examination of economic and environmental factors, but also labor rights, property rights and the production and distribution of knowledge, which are investigated in tandem to produce a variety of different critical perspectives.


Perpetuum Mobilε, co-founded by Ivor Stodolsky and Marita Muukkonen, is a conduit and engine to bring together art, practice and enquiry. It acts as a vehicle to re-imagine certain basic historical, institutional as well as theoretical paradigms in these fields, which often exist in disparate institutional and political frames and territories. Perpetuum Mobilεzations include projects such as RE-ALIGNED (, the Perpetual Romani-Gypsy Pavilion (, The Arts Assembly ( and Perpetuum Labs.


> Rotor


> The Israeli Center for Digital Art in Holon

> Anarchists Against The Wall

The Netherlands

> Artist at Occupy Amsterdam network!/groups/155194434576968/

> BAK, Utrecht

> Van Abbemuseum, Eindhoven

– Charles Eshe;Merijn Oudenampsen; Jimini Hignett; Matthijs de Bruijne; Thomas Peutz & Una Henry


> Universidad Nomada& Marcelo Exposito


> Mute Magazine – Culture and politics after the net

>Third Textis an international scholarly journal providing critical perspectives on art and visual culture. It examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field.

> Precarious Workers Brigade are a UK-based growing group of precarious workers in culture & education. We call out in solidarity with all those struggling to make a living in this climate of instability and enforced austerity.

> Historical Materialism is a Marxist journal, appearing four times a year, based in London. Founded in 1997, it asserts that, notwithstanding the variety of its practical and theoretical articulations, Marxism constitutes the most fertile conceptual framework for analysing social phenomena, with an eye to their overhaul. In our selection of materials, we do not favour any one tendency, tradition or variant.

> is a not for profit artist run organization based in Tower Hamlets

– Steve Edwards, Gail Day, John Roberts, Susan Kelly


> REARTIKULACIJA is an art project of the group Reartikulacija (Marina Gržinić, Staš Kleindienst, Sebastjan Leban and Tanja Passoni). It is based on a precise intervention logic; through contemporary political theory, critic, art projects, activism and self-organization, it aims to intervene in the Slovene, Balkan and international space. The platform allows networking with other political subjects, activists, artists, who are interested in the possibility to create and maintain a dialogue with concrete social and political spaces in Slovenia, Europe and worldwide.

> Radical Education Collective

Bojana Pishkur, Marina Grzinic, Zdenka Badovinac, Vadim Fishkin, Mladen Dolar, Slavoj Zizek


> Disobedience Archive is an ongoing, multi-phase project curated by Marco Scotini and produced and presented by PLAY platform for Film & Video. The first phase started in Berlin in January 2005 and after Prague the next step will be in Mexico City in September 2005. Disobedience is a video station and a platform of discussion dealing with the relationship between artistic practices and political action.

Sao Paolo

> The BijaRi is a visual arts and multimedia breeding center. Developing projects in various platforms, the group operates between analog and digital media offering artistic experimentations, especially of a critical nature. Urban interventions, performances, installations, video art and design become a means to engage people, generating impact that generates a questioning of the current reality.


>Zanny Begg – artist and activist web site


> 16 Beaver is the address of a space initiated/run by artists to create and maintain an ongoing platform for the presentation, production, and discussion of a variety of artistic/cultural/economic/political projects. It is the point of many departures/arrivals.

> Greg Sholette web site

> Artist Organisation

> Brian Holmes blog

> Creative Time

> Tidal, occupy strategy journal


> WHW (What, How and for Whom?) / Galerija Nova, curators collective!/groups/70785898206/

> Theater collective

> FRAKCIJA, a Performing Arts Magazine

International networks

> eipcp – European Institute for Progressive Cultural Policies and multilingual web journal

> Former West a long-term international research, education, publishing, and exhibition project (2008–2014), which from within the field of contemporary art and theory: (1) reflects upon the changes introduced to the world (and thus to the so-called West) by the political, cultural, artistic, and economic events of 1989; (2) engages in rethinking the global histories of the last two decades in dialogue with post-communist and postcolonial thought; and (3) speculates about a “post-bloc” future that recognizes differences yet evolves through the political imperative of equality and the notion of “one world.”

> ArtLeaks is collective platform initiated by an international group of artists, curators, art historians and intellectuals in response to the abuse of their professional integrity and the open infraction of their labor rights. In the art world, such abuses usually disappear, but some events bring them into sharp focus and therefore deserve public scrutiny.

> International Errorist movement

> Ultrared
Activist art has come to signify a particular emphasis on appropriated aesthetic forms whose political content does the work of both cultural analysis and cultural action. The art collaboration Ultra-red propose a political-aesthetic project that reverses this model. If we understand organizing as the formal practices that build relationships out of which people compose an analysis and strategic actions, how might art contribute to and challenge those very processes? How might those processes already constitute aesthetic forms?


Documenta_12_magazines – was very important!

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