Chapter
1: Keti Chukhrov: The Nomadic Theater of the Communist: A Manifesto
2: Ilya and Emilia: Kabakovthe Center of Cosmic Energy
I the Principle and Main Structure of the “Center of Cosmic Energy”
3: Boris Groys: The Truth of Art
4: Andrey Monastyrsky: VDNKh, the Capital of the World: A Schizoanalysis
5: Anton Vidokle: The Communist Revolution was caused by the Sun: A Partial Script for a Short Film
Desert, a Mountain of Sand
A Dressing Room of a Nightclub
A Village Cemetery Near Almata
Fields on the Outskirts of an Industrial City
Aerial View of a Vast Cemetery
A Two-Lane Road after Dark
Part Two: Inherited Aesthetics
6: Joseph Backstein: History of Angels
A Tour of the Philosophy of Angels
So What Is the Essence of Moscow Conceptualism and Why Should So Much Attention Be Paid to It?
On the Correlation of the Visual and the Verbal in Russian Art
On the Notion of the Borderline in Art
7: Dmitry Gutov and Anatoly Osmolovsky: Concerning Abstractionism
8: Olga Chernysheva: Screens
9: Dmitry Prigov: Two Manifestos
Where Are Our Hands, in Which Our Future Lies?
The Second Sacro-Cularization
10: Maria Chehonadskih: The Form of Art as Mediation: A History and Storytelling before and After Moscow Conceptualism
In Place of an Introduction: A ≠ A, or Dialectical Doubt
Benjamin’s “Storyteller” and the Land of Soviets
The Storyteller after the Storyteller: The Experience of Soviet Conceptualism
11: Artemy Magun: Soviet Communism and the Paradox of Alienation
“Communism” of the Past and Communism of the Future
12: Alexander Brener: The Russian Avant-Garde as an Uncontrollable Beast
Part Three: From the Archive
13: Vadim Zakharov: Author, Cosmos, Archive
Additional Terms Used by Vadim Zakharov from The Dictionary of Terms of the Moscow Conceptual School
14: Bogdan Mamonov: A Binary System
15: Maria Kapajeva: You Can Call Him another Man (2015–2017)
16: Andrey Kuzkin: Running to the Nest
Event Number One – The Manipulator Mirror
Event Number Two – The Green Swing
Event Number Three – The Red-Dotted Wood
Event Number Four – The Triang
17: Masha Sumnina: Brink, Kerbside, Fence, Margin
18: Ilya Budraitskis: A Heritage Without an Heir
The ‘Eternal Present’: The Russian Version
A Revolution against Circumstances
On the Path to the “Historical Russia”
The Nontransparency of the Heritage
19: Dmitry Venkov: Krisis: A Film Script
20: Gleb Napreenko: Questions Without Answers, Answers Without Questions
21: Gluklya / Nataliapershina-Yakimanskaya: The Utopian Union of the Unemployed
22: Dmitry Vilensky: Chto Delat? and Method: Practicing Dialecticm
On the Usefulness of Declarations
On the Totality of Capital, or Playing the Idiot
On Working with Institutions
On Subjugation to the Dominant Class
On the Historicity of Art
The Formula of Dialectical Cinema
On the Boundaries of the Disciplines
On the Question of Self-Education
On the Theory of the Weakest Link
On the Withering Away of Art
On the Utility of Reading, Viewing and the Supreme Privilege
On Defamiliarization and Subversive Affirmation
Is It Possible to Make Love Politically?
23: Yevgeny Granilshchikov: Weakness: A Scenario for Two Actors and One Camera
Part Five: Future Futures
24: Oxana Timofeeva: Ultra Black: Brief Notes Towards a Materialist Theory of Oil
25: Arseny Zhilyaev: Demand Full Automation of Contemporary Art
26: Alex Anikina: The Antichthon
27: Ivan Novikovi: Want to Be Afraid of the Forest
28: Pavel Pepperstein: The Skyscraper-Cleaner Pine Marten
Cosmic Shift
：Russian Contemporary Art Writing
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