Dmitry Vilensky


Dmitry Vilensky (selected publications):

Ранние тексты

Искусство траты (заметки о питерской ситуации) /// 2001
опубликовано в 2001 – Художественный журнал N°33 (не опубликовано на сайте)

Дискуссии с Дмитрием Гутовом и Анатолием Осмоловским на рассылке Грундриссе
в период с 2001 по 2005 год, во многом отразившие важнейшие аспекты развития российского искусства в последующие годы.

2003

Что Делать
вступление к первому номеру газеты Что Делать
https://chtodelat.org/ar_4/nr_9_9_9_9_2/%D1%87%D1%82%D0%BE-%D0%B4%D0%B5%D0%BB%D0%B0%D1%82%D1%8C-%D0%B2%D0%B2%D0%B5%D0%B4%D0%B5%D0%BD%D0%B8%D0%B5/?lang=ru

Автономия как пространство действия
https://chtodelat.org/ar_4/nr_9_9_9_9_1/editorial-autonomy-as-a-space-for-action/?lang=ru

2004

9 тезисов для начала дискуссии о субъекте истории
https://chtodelat.org/ar_4/nr_9_9_9_9/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-9-%D1%82%D0%B5%D0%B7%D0%B8%D1%81%D0%BE%D0%B2-%D0%B4%D0%BB%D1%8F-%D0%BD%D0%B0%D1%87%D0%B0%D0%BB/?lang=ru

Джин Фишер и Дмитрий Виленский
Диалог о коллективной субъективности, об открытии новых социальных пространств и радикальной публике
Опубликовано в газете Что Делать №5
https://chtodelat.org/ar_4/nr_9_9_9_3/%D0%B4%D0%B6%D0%B8%D0%BD-%D1%84%D0%B8%D1%88%D0%B5%D1%80-%D0%B8-%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D0%B4%D0%B8%D0%B0%D0%BB%D0%BE/?lang=ru

2005

К вопросу о политической выставке
Художественный Журнал ВЫПУСК: №58-59 2005
http://moscowartmagazine.com/issue/30/article/570

К вопросу о чрезвычайном положении
(в соавторстве с Давидом Риффом)
https://chtodelat.org/ar_4/nr_9_9_9_3-ar_4/%D1%87%D1%82%D0%BE-%D0%B4%D0%B5%D0%BB%D0%B0%D1%82%D1%8C-%D0%BE%D1%82-%D1%80%D0%B5%D0%B4%D0%B0%D0%BA%D1%86%D0%B8%D0%B8/?lang=ru

Frédéric Maufras and Dmitry Vilensky dialogue
The case of first Moscow Biennale
Published at Neue Review, 2005, Berlin
https://chtodelat.org/b9-texts-2/vilensky/frederic-maufras-and-dmitry-vilensky/

Кронштадтский Дневник (стихотворение для проекта Кронштадт навсегда)
https://chtodelat.org/ar_4/nr_9_9_9_2/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D0%BA%D1%80%D0%BE%D0%BD%D1%88%D1%82%D0%B0%D0%B4%D1%81%D0%BA%D0%B8%D0%B9-%D0%B4%D0%BD%D0%B5%D0%B2/?lang=ru

Диалоги: Борис Михайлов – Дмитрий Виленский:
Этика взгляда
http://moscowartmagazine.com/issue/32/article/589

2006

Почему Брехт?
https://chtodelat.org/ar_4/nr_9_9_9/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D0%BF%D0%BE%D1%87%D0%B5%D0%BC%D1%83-%D0%B1%D1%80%D0%B5%D1%85%D1%82/?lang=ru

Тезисы о самообразовании
Опубликовано в газете Что Делать #14: Самообразование https://chtodelat.org/ar_4/nr_9_9_6/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D1%82%D0%B5%D0%B7%D0%B8%D1%81%D1%8B-%D0%BE-%D1%81%D0%B0%D0%BC%D0%BE%D0%BE%D0%B1%D1%80%D0%B0%D0%B7/?lang=ru

2007

Тезисы о Советском
Художественный Журнал ВЫПУСК: №65-66 2007
http://moscowartmagazine.com/issue/26/article/440

К вопросу о композиции современного политического искусства
Художественный Журнал ВЫПУСК: №64 2007
http://moscowartmagazine.com/issue/27/article/467

2008

Marina Gržinić in conversation with Dmitry Vilensky
What is to be done?
Published at Reartikulacija 03, 2008
https://chtodelat.org/b9-texts-2/vilensky/marina-grini-a-conversation-with-dmitry-vilensky/

Dmitry Vilensky Interview with Bankleer
On the current situation for engaged artist in Russia today, distribution of knowledge and the political transformation of aesthetic experiences, Berlin, 2008
https://chtodelat.org/b9-texts-2/vilensky/dmitry-vilensky-about-the-current-situation-for-engaged-artist-in-russia-today-distribution-of-knowledge-and-the-political-transformation-of-aesthetic-experiences-interview-with-bankleer-berlin-2008/

Опыты поражения / Комментарий к фильму «Победа над Путчем»
опубликовано в газете Что делать №19
https://chtodelat.org/ar_4/nr_9_3/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D0%B2%D0%B2%D0%B5%D0%B4%D0%B5%D0%BD%D0%B8%D0%B5-%D0%BA-%D0%BF%D1%83%D0%B1%D0%B5%D0%B4%D0%B5/?lang=ru

Dialogue with Gerald Raunig
An Issue of Organisation: Chto Delat?
Published at Afterall Journal #19;  Autumn/Winter 2008
https://afterall.org/journal/issue.19/issue.organisation.chto.delat

2009

Беседа Дмитрия Виленского и Александра Бикбова
Производство критически ангажированного искусства
Неприкосновенный запас 2009, 5(67)
http://magazines.russ.ru/nz/2009/5/po16.html

Беседа с Давидом Рифиом (A conversation with David Riff)
From Communism to Commons?
Опубликовано в  Third Text, Vol. 23, Issue 4, July, 2009, 465–480
https://chtodelat.org/b9-texts-2/riff/from-communism-to-commons-david-riff-and-dmitry-vilensky/

Activist Club or On the Concept of Cultural Houses, Social Centers & Museums
Опубликовано в он-лайн журнале New Productivism, 2009; eipcp  transversal
http://eipcp.net/transversal/0910/vilensky/en

Lolita Jablonskiene & Dmitry Vilensky
Hybrid Spaces for Common
Опубликовано в “Printed Project” Nr. 10, 2009
https://chtodelat.org/b9-texts-2/vilensky/hybrid-spaces-for-common-lolita-jablonskiene-a-dmitry-vilensky/

Диалог – Алексей Пензин и Дмитрий Виленский
В чем ваша польза?
Искусство, философия и формирование субъективности
https://chtodelat.org/ar_4/nr_9/%D0%B0%D0%BB%D0%B5%D0%BA%D1%81%D0%B5%D0%B9-%D0%BF%D0%B5%D0%BD%D0%B7%D0%B8%D0%BD-%D0%B8-%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D0%B2/?lang=ru

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

опубликован в журнале Luxemburg 01 (на немецком языке)
https://chtodelat.org/b9-texts-2/vilensky/2011-06-04-20-35-45/

2010

Исследовательское интервью в рамках проекта Former West
c Cosmin Costinaş and Maria Hlavajova
https://www.formerwest.org/ResearchInterviews/InterviewwithDmitryVilensky

Критика «живого романтического образа»
Комментарий к взаимоотношениям нового акционизма и искусства в России
Опубликовано в Московском Художественном Журнале №81, 2010
http://moscowartmagazine.com/issue/16/article/226

Pavilion UniCredit: An Artist’s Tale
Published at http://eipcp.net/policies/vilensky/en

Искусство будет оставаться левым или его не будет вообще
Опубликовано на сайте опенспейс
http://os.colta.ru/art/projects/15960/details/16073/?expand=yes

Sven Spieker in Conversation with Dmitry Vilensky
Теория и практика критических интервенций (на англ. подксаст)
Artmargins, internet journal, Aprill 2010
http://www.artmargins.com/index.php/podcast/119-interviews/563-qthe-theory-and-practice-of-critical-interventionq-sven-spieker-in-conversation-with-dmitry-vilensky-st-petersburg

Dmitry Vilensky in conversation with Boris Buden
We Teach With Our Works And Our Lives
published at transversal journal, An-academy, 12-2010
http://eipcp.net/transversal/1210/buden-interviews/vilensky

Что значит делать фильм политически сегодня?
Опубликовано в газете Что Делать #04- 28
https://chtodelat.org/ar_4/nr_7/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D1%87%D1%82%D0%BE-%D0%B7%D0%BD%D0%B0%D1%87%D0%B8%D1%82-%D0%B4%D0%B5%D0%BB%D0%B0%D1%82%D1%8C/?lang=ru

Interfug In conversation: interview with chto delat (Dmitry Vilensky)
https://www.interflugs.de/wp-content/uploads/2011/05/interflugspublikationIII_net.pdf

 2011

Диалог Виктор Мизиано и Дмитрий Виленский
Singular Together!
Published at the catalogue of Chto Delat solo exhibition at Kunsthalle Baden-Baden
https://www.kunsthalle-baden-baden.de/kaufen/publikationen/
https://chtodelat.org/b9-texts-2/vilensky/dialogue-victor-misiano-dmitry-vilensky-singular-together/#
По-русски опубликован в http://moscowartmagazine.com/issue/14/article/190

Интервью с Merijn Oudenampsen
educate, entertain, inspire
опубликовано в Published in: Andrea Phillips and Markus Miessen (eds)
Caring Culture: Art, Architecture and the Politics of Public Health. Sternberg Press 2011
https://merijnoudenampsen.org/2013/04/18/interview-dmitry-vilensky-of-chto-delat/

2012

Мы победили!
небольшой лирический комментарий к текущей ситуации о протестах зимы 2012 года в России
(опубликовано на ФБ)

«Оккупай», которого все так давно ждали
http://moscowartmagazine.com/issue/12/article/168

Dmitry Vilenski in conversation with Artur Żmijewski
Fucking Winter Outside
Published at POST-POST-SOVIET?
ART, POLITICS & SOCIETY IN RUSSIA AT THE TURN OF THE DECADE
https://docplayer.net/67412515-Post-post-soviet-art-politics-society-in-russia-at-the-turn-of-the-decade.html

В защиту репрезентации
Опубликовано в газете Что Делать #10-34
https://chtodelat.org/ar_4/nr_3/%D0%B4%D0%BC%D0%B8%D1%82%D1%80%D0%B8%D0%B9-%D0%B2%D0%B8%D0%BB%D0%B5%D0%BD%D1%81%D0%BA%D0%B8%D0%B9-%D0%B2-%D0%B7%D0%B0%D1%89%D0%B8%D1%82%D1%83-%D1%80%D0%B5%D0%BF%D1%80%D0%B5%D0%B7%D0%B5%D0%BD%D1%82/?lang=ru

2013

A dialogue between Charles Esche and Dmitry Vilensky
Living in pre-period conditions
Опубликовано в газете Что Делать #36 The Sublime is Now?
https://chtodelat.org/b8-newspapers/12-36/dialogue-charles-esche-dmitry-vilensky/

ArtLeaks: From intervention to infrastructure (with Corina Lucia Apostol)
Published at Frakcija Časopis za izvedbene umjetnosti / Performing Arts Journal
No. 68/69,  zima/winter 2013 and Eurozine in English in 2015
https://www.eurozine.com/artleaks-from-intervention-to-infrastructure/

О необходимости Школы
опубликовано в Художественном Журнале №92
http://moscowartmagazine.com/issue/6/article/56

Materialities of Independent Publishing: A Conversation with AAAAARG, Chto Delat?, I Cite, Mute, and Neural. / Dean, J.; Dockray, S.; Ludovico, A.; van Mourik Broekman, P.; Thoburn, N.; Vilensky, D. In: New Formations, Vol. 78, 2013, p. 157-158.

https://chtodelat.org/b9-texts-2/vilensky/materialities-of-independent-publishing-a-conversation-with-aaaaarg-chto-delat-i-cite-mute-and-neural/

2014

Лицом к лицу с монументом
Опубликовано в газете ЧД №37
https://chtodelat.org/b8-newspapers/37_face-to-face-with-the-monument/

Открытое письмо: Выход с манифесты (совместно с коллективом Что Делать)
https://art-leaks.org/2014/03/15/chto-delat-withdraws-from-manifesta-10-st-petersburg-russia/

2015

Об Источниках и составных частях Что Делать
Опубликовано в газете Что Делать #39
https://chtodelat.org/category/ar_4/39-%D0%BE%D0%B1-%D0%B8%D1%81%D1%82%D0%BE%D1%87%D0%BD%D0%B8%D0%BA%D0%B0%D1%85-%D0%B8-%D1%81%D0%BE%D1%81%D1%82%D0%B0%D0%B2%D0%BD%D1%8B%D1%85-%D1%87%D0%B0%D1%81%D1%82%D1%8F%D1%85-%D1%87%D1%82%D0%BE/?lang=ru

Создавая Школу
опубликовано в газете Что Делать и на сайте ЧД
https://chtodelat.org/ar_4/%D1%81%D0%BD%D0%BE%D0%B2%D0%B0-%D0%B7%D0%B0-%D0%BF%D0%B0%D1%80%D1%82%D1%83-%D1%81%D0%BF%D0%B5%D1%86-%D0%B2%D1%8B%D0%BF%D1%83%D1%81%D0%BA/%D1%81%D0%BE%D0%B7%D0%B4%D0%B0%D0%B2%D0%B0%D1%8F-%D1%88%D0%BA%D0%BE%D0%BB%D1%83/?lang=ru

2016

БЕСЕДА ДМИТРИЯ ВИЛЕНСКОГО И АРСЕНИЯ ЖИЛЯЕВА
«“Что делать» основана на принципах делегирования и инициативы
https://colta.ru/articles/art/12050

2017

О возможности света
https://chtodelat.org/category/%D0%BE-%D0%B2%D0%BE%D0%B7%D0%BC%D0%BE%D0%B6%D0%BD%D0%BE%D1%81%D1%82%D0%B8-%D1%81%D0%B2%D0%B5%D1%82%D0%B0/?lang=ru

Equal in Inequality: True Art Knows How to Wait
Petar Jandric in conversation with Dmitry Vilensky (Chto Delat) (co-authored with Ana Kuzmanić)
Learning in the Age of Digital Reason pp 331-352,  Sense Publishers 2017
https://link.springer.com/chapter/10.1007/978-94-6351-077-6_15

Интервью: Дмитрий Виленский и Сэм Торн
К истории Школа Вовлеченного искусства (2013-)
из книги — «Школа: Беседы об искусстве и низовом само-образовании» (School: Conversations on Art and Self-Organised Education), опубликована в издательстве Sternberg Press весной 2017
http://schoolengagedart.org/about/history/

2018

И еще раз о возможности Единого
Художественный журнал №106

On Fables
“Figures of Speech”, SUMMER 2018 ISSUE
http://magazine.art21.org/2018/08/20/on-fables/#.W-r4CWgzZ1s

Conversation: Dmitry Vilensky with Ksenia Nouril
Опубликовано в книге Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, The Museum of Modern Art, Нью-Йорк
https://post.at.moma.org/content_items/1168-conversation-dmitry-vilensky-with-ksenia-nouril?fbclid=IwAR05F-9J6b-BcUQhUt-HWtdaO4m_e1kHI6lNa1CFkVvcYwiEgHMM0e1BQMg

 

 

 

 

What Could be Done with Manifesta Here?

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In recent months, our friends have often asked us (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 at the official web-site of AICA: https://www.aicanederland.org/manifestas-unfortunate-choice-of-location/), 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 clear that if the goal is to repeal repressive legislation, one needs to use more sophisticated and complex modes of pressure by creating new zones of public life where all forms of confrontation could become visible.

So, what could be done with Manifesta here?

A)

We have received and accepted a pre-invitation of Kasper Konig to participate in his exhibition. It is very important for us and we are in a process of developing a full scale project around our old film “The Tower: a Songspiel”. This musical 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.

Also we are looking forward to participate with our new School for Engaged art (1) in different forms 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 is not welcomed from their side.

B)

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Dmitry Vilensky / Theses on the Soviet Experience

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Today, nostalgia for all things Soviet is a popular commodity that is so fluid precisely because its underlying experience has already been hollowed out. As the Soviet experience returns in new capitalist packaging, even the right to interpret its history becomes an object of unabashed speculation.

A host of contemporaries is attempting to construct a comfortable image of the past (Stalin – the might of empire – party dictatorship – socialist realism – avant-garde as surface design) to legitimate a flimsy power and a shabby everyday. To interrupt the din of this choir, it makes sense to turn to the central question that Benjamin asks in his theses on the concept of history: who is the subject of history? For those who take on the task of continuing the struggle for emancipation, the answer to this question is unambiguous: “not man or men, but the struggling, oppressed class itself is the depository of historical knowledge,” a class-multitude that clearly realizes and rejects the status quo that fetters its lives, dreams, and the dignity and strength of constituent labor: all those who still remember the pride of belonging to the human struggle for freedom.

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Dialogue Victor Misiano – Dmitry Vilensky /// Singular Together!

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

(see here: https://www.kunsthalle-baden-baden.de/kaufen/publikationen/)


Singular Together!

Viktor Misiano: In one of the latest issues of Chto Delat you and Alexei Penzin discussed the ways that a new subjectivity is shaped. Indeed, how can protest consciousness suddenly emerge in a passive, apathetic society, which is what contemporary Russian society is? One possibility here (almost the only one) is traumatic experience, a personal encounter with flagrant injustice and cynical lawlessness capable of instantly jolting a person from their civic hibernation. Alexei defined this process as a kind of “metanoia,” a “transfiguration” that happens in an explosive, uncontrolled, revolutionary manner. Hence my question. How did it happen that a group of artists and intellectuals living in apolitical Putinist Russia united into a group that programmatically defends political goals? What “metanoia” could lead to the fact that during the second post-Soviet decade creative people began criticizing the regime – not, however, in unison with rightist/liberal public opinion, but speaking a language that had seemingly vanished into the past, reviving terms like solidarity, soviets, non-alienated labor, and communism? Moreover, what matters here are not even the gestures of fidelity to the communist legacy, because they have occurred (albeit extremely rarely) before and after Chto Delat’s emergence. The important thing is that until very recently you were the only example of an artistic practice that consistently identified itself with civic activism. So what were the circumstances, what was the trauma that led to the formation of your working platform?

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Дмитрий Виленский /// Критика «живого романтического образа»

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КОММЕНТАРИЙ К ВЗАИМООТНОШЕНИЮ НОВОГО АКЦИОНИЗМА И ИСКУССТВА В РОССИИ

Опубликовано в Московском Художественном Журнале №81

текст написан в июне 2011

За последнее время появилась целая серия критических материалов о феномене нового российского активизма. Вот только некоторые из них: текст из блога Павла Арсеньева на сайте радио «Свобода», публикация Анатолия Осмоловского на сайте OpenSpace.ru, статья Андрея Ерофеева в «Артхронике» [1].Отдельно стоит отметить деятельность галереи «Жир», специализирующейся на репрезентации уличного и активистского искусства. Последние громкие акции группы «Война», недавний арест двух ее активистов, выход номера «Артхроники», посвященный их творчеству и, конечно же, присуждение им госпремии «Инновация» также подогрели интерес к вопросу, что же такое активизм в его улично-перформативных формах и как он соотносится с искусством, политикой и повседневной реальностью.

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From Communism to Commons? /// David Riff and Dmitry Vilensky

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DV: What does it mean today to talk about the ‘communist imaginary’? What is it to ‘imagine communism’? Is it some revenge fantasy with a happy ending; Latin American tanks knocking down prefabs in the American South West? Is it the memory of the Fordist ‘worker’s state’ in the biomechanics of the Moscow Metro? Is it when we collectively invent practices that make temporary worlds beyond private property? Or is it when we imagine that the world is still moving toward the total emancipation of the socialized human senses, conscious species being, that reveals itself in the collaboration of a ‘free community of producers’? Can we imagine a communist government that conceives of governmentality as withering away, made up of our own incorruptible comrades? Or are we just imagining things? Does all of what I have just written sound absurd? That doubt is always there. Maybe its just idealism… If you consider yourself a Marxist, this is hell: banished to utopia. I’m not saying that we should immediately give up ‘imagining communism,’ but maybe we should try to be more “scientific” in an old-fashioned Marxist way, namely by setting out a central hypothesis, and then by proving that hypothesis in practice. It’s funny, but when I was studying at the university we were all obliged to take a yearlong course in ‘scientific communism’. Can you imagine this now? Of course, we played all kinds of tricks to escape this dull course at any price. Now things are quite different for me, and I’ve left that traumatic experience behind. I think that it definitely makes sense to keep on thinking the ‘hypothesis of communism,’ a term Alain Badiou has been using, and I think it’s the right place to start. I too would much prefer this term to the ‘communist imaginary,’ which seems so abstract. You can see it right away: we’re talking about two different intellectual patterns that are always actualized differently. One is practical – a hypothesis you set out to prove; the other is speculation that has no consequences. So what is this ‘communist hypothesis’? Let’s look at Badiou’s definition: given in its canonic Manifesto, ‘communist’ means, first, that the logic of class—the fundamental subordination of labor to a dominant class, the arrangement that has persisted since Antiquity—is not inevitable; it can be overcome. The communist hypothesis is that a different collective organization is practicable, one that will eliminate the inequality of wealth and even the division of labor. The private appropriation of massive fortunes and their transmission by inheritance will disappear. The existence of a coercive state, separate from civil society, will no longer appear a necessity: a long process of reorganization based on a free association of producers will see it withering away.

To me, that doesn’t sound absurd at all, and I see no intellectual problems with still believing in the validity of this statement. But on the level of practice, the realization of the ‘hypothesis of communism’ encounters many obstacles at this particular historical moment as well, obstacles that we should talk about.

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

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опубликован в журнале Luxemburg 01 на немецком языке

For if we agree that the mere existence of social misery and class struggle will not lead automatically to an emancipating system change, and that conscious agency always has to be prepared and organized strategically, then we have to grant culture – learning and the arts, and the arts of learning – an important part in any future renewal of radical leftist politics.

Gene Ray, Radical Learning and Dialectical Realism:Brecht and Adorno on Representing Capitalism

Истоки конфликта

Последнее время мне, в своей художественной деятельности, пришлось столкнуться с проявлениями открытой конфронтации между художниками – участниками выставок с откровенно политической программой, и активистами, которые эти проекты выбирали мишенью своей критики. Наиболее яркий конфликт произошел недавно в Стамбуле, во время последней Стамбульской биеннале, когда сеть активистов готовивших, как раз в момент открытия биеннале, протесты против проведения IMF форума в Стамбуле (https://resistanbul.wordpress.com/) выразили свой протест и против участников этого выставочного проекта, основанного на развитии идей Брехта и отрицания буржуазных ценностей. Своим протестом они поставили под сомнение возможности выражения левого критического пафоса в рамках проектов, поддержанных подозрительными корпоративными спонсорами, такими как семейство Коч, очевидно связанными с милитаристкой индустрией. После того как инициаторы Резистстамбул написали обращение к художникам участникам биеннале возникла важная и принципиальная дискуссия которая ярко высветила основную структуру разногласий между ними. В чем они заключаются?

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

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Нормальность.

Питерская художественная жизнь функционирует как никогда прежде нормально – вернисажи идут своей чередой, в “Борее” тусуются

писатели, в отремонтированной Пушкинской, 10, работает музей, Боровский открывает большие выставки и формирует коллекцию современного искусства, Африка представляет Россию на Венецианской биеннале, Олеся Туркина и Виктор Мазин пишут эссе для исторического шоу “После Стены”, работает новая образовательная программа для критиков и кураторов…

Список “нормальности” можно продолжать долго, впрочем, как и перечисление “ненормальностей”. Однако интересно понять, как достигнутый в середине 90-х годов статус-кво (очень точно закрепленный в каталогах выставок “Метафоры отрешения” и

“Самоидентификация”) поддерживается вот уже минимум пять лет практически без изменений (даже финансовый крах августа 1998 практически не повлиял на ситуацию)? И что значит эта атмосфера стабильности для члена петербургского артистического микросоциума и, конечно же, для автора этой статьи?

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Lolita Jablonskiene & Dmitry Vilensky // Hybrid Spaces for Common

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Lolita Jablonskiene, guest-editor of the 10th issue of the “Printed Project”, interviews the St Petersburg based artist, member of the group “Chto delat? / What is to be done?” Dmitry Vilensky about the groups’ project “Activist Club”, its historical forerunner Alexander Rodchenko’s “Workers’ Club”, and the potential of contemporary activist art to subserve in creating new public spaces.

 

Lolita Jablonskiene: I would like to start our conversation with a historical note, taking a glance at Alexander Rodchenko’s “Workers’ Club”. After all you chose to reference its title in the name of your project. I know that you have some interesting and rarely published material on Rodchenko’s “Club”? What is it and why does it appeal to you?

Dmitry Vilensky: The idea of the “Activist Club” diverges from the original concept of the “Workers’ Club” introduced in the USSR in mid-1920s and represented by famous piece made by Alexander Rodchenko. Created in 1925 for the International Exhibition of Modern Decorative and Industrial Arts in Paris it was never produced in the real life. So it was a sort of a model how such a places should be organised. The piece was introducing a Western bourgeois audience to the completely different method of www cultural activities in the workers’ free time in the USSR (such as “Lenin’s Corner”, a space for gatherings, or the performance of “Live Newspapers”, etc.) The task of the “workers’ club” was to orient the workers to issues of political struggle, and introducing them to a different type of aesthetic experience. It critically undermined the obsolete idea of an idle consumer, who, through the experiencing of the art object in the museum, could gain some pleasures and ‘emancipate’ herself from shabby everyday existence. It was about building a space based on educational methodology and creation.

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Thomas Campbell’s interview with Dmitry Vilensky // A Funny Thing Happened on the Way to the Forum

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In mid-July 2006, Saint Petersburg and Russia’s Petersburg-born president, Vladimir Putin, hosted the annual summit of G8 leaders. In keeping with recent summit practice and the aggressive reanimation of Petersburg’s erstwhile imperial image, most of the events of the summit took place at the lavishly refurbished Constantine Palace, in the southern suburb of Strelna. Meanwhile, in the far north of the city, on Krestovsky Island, hundreds of Russian leftists and a handful of their foreign counterparts gathered at the Second Russian Social Forum. The forum was held at the Kirov Stadium, a monument of Soviet public architecture now condemned to destruction. Although the forum had been sanctioned by municipal and federal authorities, in the event the government proved to be, literally, two-faced. While activists who managed to get to the stadium were treated to free meals and tents by the Emergency Situations Ministry and graced with a visit by the city’s governor, their comrades outside the stadium and throughout Russia were the targets of a concerted campaign of harassment, detention, and interrogation by security services in the days, weeks, and months leading up to the forum and the summit. Operation Barrier, as it was known, prevented or otherwise discouraged hundreds of activists from coming to Petersburg. Alterglobalists who made it to the stadium found themselves in a peculiar situation: free to do and say almost whatever they liked inside their nearly empty “reservation,” they were refused permission (which had been granted earlier) to march from the Kirov Stadium to the Aurora, the famous revolutionary battleship permanently moored across the Neva River from the Winter Palace (The State Hermitage Museum). Outside the stadium, especially in the downtown district, most attempts at spontaneous public protest were quickly suppressed by the police and special forces troops.

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

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RD: With greatest interest I red your manifesto on political exhibition and so far I am artist used to partake different kinds of the shows first would like to admit that many aspects of the show you’ve described fits to the ideal model I would like to deal with. But would you agree or not I found the model too much utopian and even contradictions because of many factors. First we should admit that the role of the Temporary Artists’ Soviets is nothing else but to seize the power. To what extend it should overtake the power? Curatorial, institutional, that inside of the art system or that of the whole society in general? What is the main goal of the seizing the power?

DV: First I should say that my idea of the Soviet is not about “to seize the power”. I think that Soviets, as a type of political organisation, is still the most challenging model because it non-dialectically embrasses two opposite types of power – constitutend (power over, force that administrates live) and constituting power – the potentiality in action – that is enable to permanently invent new forms of political life. So I do not want to speculate too much on the possibilities of crisis governing but I think that idea of the art soviets is about demonstrating that radically different form of organisation of cultural production and its dissemination from beuroctatic–corporate model is possible. And such a forms organise a sort of situation of clash of powers as once happened during Russian revolution when state power could do nothing without negotiation with local Soviets. But we should also admit that vice versa – Soviets also negotiate many of its activities with real power of state and its institutions and this is exactly the situation where the true politics begin.

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Олеся Туркина задает вопросы Дмитрию Виленскому // Ответственность художника

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Опубликовано в 2006 году

Newsletter: Дмитрий, как ты оцениваешь современную ситуацию в современном российском искусстве? Насколько по-твоему художественная среда отрефлексирована и критична по отношению к происходящему здесь и сейчас?

ДВ – ситуация на мой взгляд плохая именно с точки зрения рефлексии и критики. Возникает ощущение, что подавляющим большинством овладело слабоумие и предельная сервильность. Как точно заметил Виктор Тупицын в рецензии на выставку в Гуггенхайме: «эстрадный юмор не в состоянии компенсировать дефицит негативности и, в частности, нехватку критической рефлексии». При этом политическая ситуация эскалирует и, похоже, что власть теряет последний разум, и делает все более решительные шаги на пути своего разрушения. Искусство и культура в целом, пока делают вид, что это их не касается, и остаются далеки от процессов новой возможной политизации общества. В тоже время, как обычно, время отчаянья – это и время надежды. Появляются новые инициативы: я бы отметил активность группы КЭТ из Новосибирска, новые проекты группы Радек, недавнюю серию микро-политических дискуссии вокруг фашистских презентации, маршей и убийств – так что есть некоторое развитие, и я надеюсь, что в какой-то исторический момент эти процессы обретут массовую энергию, как это произошло во время перестройки. Я уверен, что нам предстоят снова очень напряженное и уникальное время, и мы в своей работе стремимся соответствовать задачам своего времени. Чем мне нравиться российская ситуация, так это своей нестабильностью, постоянной динамикой, где большинство отношений еще не зафиксированы в форме консенсуса.

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