Keti Chukhrov
Keti Chukhrov is a guest professor at the University of Arts and Design in Karlsruhe. In 2016-2023 she was an associate professor and then full professor the School of Philosophy and Cultural Studies at the National Research University Higher School of Economics (Moscow). In 2023-2024 she was the Tage Danielsson guest professor and the Linköping University, Sweden. In 2012-2017 she has been the head of Theory and Research department at the National Center of Contemporary Art, Moscow. Chukhrov has authored numerous texts on art theory, culture, politics, and philosophy. Her postdoctoral dissertation dealt with the anthropology and ontology of performativity. Her full-length books include: "Practicing the Good. Desire and Boredom in Soviet Socialism" (University of Minnesota Press, 2020), "To Be—To Perform. ‘Theatre’ in Philosophic Critique of Art" (Spb: European Un-ty, 2011), and "Pound &£" (Logos, 1999) and a volume of dramatic writing: "Just Humans" (2010). In 2017-19 she has been a Marie Sklodowska fellow in UK. Her present research interests and publications deal with 1.the impact of non-surplus economy on the epistemes of historical socialism, with 2. performance studies and 3. Institutional and bureaucratic issues of contemporary art production in global context. With her video-play “Love-machines” she participated at the Bergen Assembly and “Specters of Communism” (James Gallery, CUNY, NY, 2015). Her Latest video-play “Communion” was in the program of the Kansk video film festival (Moscow, 2016) and at the Ljubljana Triennial U-3 “Beyond the Globe (2016, cur. B. Groys). Her video-play Undead was featured at the Steirischer Herbst 2022.
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In the paper the post-dramatic practices of theater are juxtaposed to the "theatre of theatre", in which, - paradoxic as it might seem, - conceptualization and self-reflection intensify the dramatic merits.
By means of the philosophical and politico-economical consideration of Soviet socialism of the 1960 and 1970s, this book manages to reveal the hidden desire for capitalism in contemporaneous anticapitalist discourse and theory. The research redefines old Cold War and Slavic studies’ views of the post-Stalinist years, as well as challenges the interpretations of this period of historical socialism in Western Marxist thought.
Пытаясь заимствовать практики contemporary art, cовременный театр, быть может, идет по ложному пути. В тексте пост-драматическим практикам противопоставляется "театр театра", в котором парадоксальным образом концептуализация и саморефлексия ведут к усилению драматизации.
Кризис мимезиса совпал со многими видами кризиса - кризисом наук о духе, отказом от образа в искусстве, от драматизации и катарсиса в театре, от мелодии и лада в музыке. Практики подобия были отвергнуты как эстетически устаревшие. Сегодня понятие художественного образа звучит как анахронизм. Однако, художественный образ это не оптическая категория. Образ - топология события, которая артикулируется через чувственное, нетеоретическое (миметическое) подключение к миру в Произведении. В конце текста дан комментарий на него самого Валерия Александровича Подороги
VALIE EXPORT incorporated in her studies radical actionism, investigations of femininity, new media , photo experiments, film. EXPORT's radical experiments can be described as the practice of expanding boundaries, rather than the transgressive overcoming of them. While many performances of the 1960s and 70s had a declarative character, marking the expressionistic and transgressive investigations of feminism and sexuality, VALIE EXPORT's explorations of sexuality could not be reduced to the feminist appeal to discover the true feminine sovereignty and pleasure. Nor do we find here the call for a matriarchal pro-tomythology - a pre-Platonic cave not yet inhabited by a philosopher. Investigating the empirical data available for her body, VALIE EXPORT relies on transcendental categories. In other words, her female body and its signifiers become the tool for resolving complex theoretical , political and aesthetic tasks.
In avant-garde rhetoric, as appropriated by contemporary art, the ideas of social engagement and artistic achievement have been almost identical: after art’s self-sublation, its principal goal has supposedly been social engagement. Yet despite the internalization of the avant-garde’s socially oriented legacy, the true episteme and achievement of art since the 1960s has been conceptual surplus rather than social involvement. The negative antisocial character and vicious genealogy inherent to art since early modernist practices fostered various manipulations of this conceptual surplus, which eventually turned into the surplus value—the “metaphysical index”—of art’s economics, as Diedrich Diederichsen puts it. Regardless of whether this surplus is a cognitive gimmick, symbolic capital , or a financialized abstraction simply increasing the cost of art, it has functioned as a hidden power of contemporary art, and has been effectively disguised by art’s emancipatory intentions. But what happens to art as an institution of contemporaneity if its codex of self-sublation and the logic of conceptual surplus are demolished by post-secular, post-conceptual cyber-fantasies?
In the paper the post-dramatic practices of theater are juxtaposed to the "theatre of theatre", in which, - paradoxic as it might seem, - conceptualization and self-reflection intensify the dramatic merits.
By means of the philosophical and politico-economical consideration of Soviet socialism of the 1960 and 1970s, this book manages to reveal the hidden desire for capitalism in contemporaneous anticapitalist discourse and theory. The research redefines old Cold War and Slavic studies’ views of the post-Stalinist years, as well as challenges the interpretations of this period of historical socialism in Western Marxist thought.
Пытаясь заимствовать практики contemporary art, cовременный театр, быть может, идет по ложному пути. В тексте пост-драматическим практикам противопоставляется "театр театра", в котором парадоксальным образом концептуализация и саморефлексия ведут к усилению драматизации.
Кризис мимезиса совпал со многими видами кризиса - кризисом наук о духе, отказом от образа в искусстве, от драматизации и катарсиса в театре, от мелодии и лада в музыке. Практики подобия были отвергнуты как эстетически устаревшие. Сегодня понятие художественного образа звучит как анахронизм. Однако, художественный образ это не оптическая категория. Образ - топология события, которая артикулируется через чувственное, нетеоретическое (миметическое) подключение к миру в Произведении. В конце текста дан комментарий на него самого Валерия Александровича Подороги
VALIE EXPORT incorporated in her studies radical actionism, investigations of femininity, new media , photo experiments, film. EXPORT's radical experiments can be described as the practice of expanding boundaries, rather than the transgressive overcoming of them. While many performances of the 1960s and 70s had a declarative character, marking the expressionistic and transgressive investigations of feminism and sexuality, VALIE EXPORT's explorations of sexuality could not be reduced to the feminist appeal to discover the true feminine sovereignty and pleasure. Nor do we find here the call for a matriarchal pro-tomythology - a pre-Platonic cave not yet inhabited by a philosopher. Investigating the empirical data available for her body, VALIE EXPORT relies on transcendental categories. In other words, her female body and its signifiers become the tool for resolving complex theoretical , political and aesthetic tasks.
In avant-garde rhetoric, as appropriated by contemporary art, the ideas of social engagement and artistic achievement have been almost identical: after art’s self-sublation, its principal goal has supposedly been social engagement. Yet despite the internalization of the avant-garde’s socially oriented legacy, the true episteme and achievement of art since the 1960s has been conceptual surplus rather than social involvement. The negative antisocial character and vicious genealogy inherent to art since early modernist practices fostered various manipulations of this conceptual surplus, which eventually turned into the surplus value—the “metaphysical index”—of art’s economics, as Diedrich Diederichsen puts it. Regardless of whether this surplus is a cognitive gimmick, symbolic capital , or a financialized abstraction simply increasing the cost of art, it has functioned as a hidden power of contemporary art, and has been effectively disguised by art’s emancipatory intentions. But what happens to art as an institution of contemporaneity if its codex of self-sublation and the logic of conceptual surplus are demolished by post-secular, post-conceptual cyber-fantasies?
единственного) тома книги Пьера Булеза «Ориентиры. Воображать». Выбор статей ориентирован на представление связи
между композиторскими техниками XX века, критикой нововенской школы (додекафонии) и поэтикой сериализма. Переведенные работы
демонстрируют приоритеты Булеза по отношению к музыке и
искусству в целом. Книга рассчитана на широкий круг читателей,
интересующихся проблемами современной музыки и предварена предисловием составителя К. Чухров "От серии к расширяющейся вселенной".