By Victor Tupitsyn;Susan Buck-morss

The historical past of up to date paintings in Russia, from socialist realism to the post-Soviet replacement artwork scene.

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66 The still pending question is what the communal will turn into while authoritarian power is being replaced by the power of money. Everyone who visits Russia regularly notices the intensive growth of real estate prices in hard currency. The reason for this lies not in the foreigners’ desire to buy apartments there, but that in Russia there are only two “prestigious” cities, Moscow and St. Petersburg. Everyone who becomes rich in Siberia, the northern regions, or anywhere else buys apartments in the best areas of these two cities.

Luckily, many such contexts, including those which are considered to be “similar” and “synchronous,” are both different and deferred. NN The 1960s mark the decommunalization of a remarkably broad mass of Soviet citizens. This was due to the sweep of Khrushchev’s building programs, which were charged with resettling people from the communal apartments of Stalin’s time. The “new lands” program (in Siberia and Kazakhstan)—which provided for the migration of “productive forces” to rural localities—also helped to lessen the population density in the nation’s cities.

Non–socialist realist) art, and negative in that for many years its body of works, still partially unaccounted for, constituted the would-be contents of an indefinitely deferred museum. The failure to obtain a museum niche made artists feel anxious and prompted them to compete collectively for inclusion, thereby triggering the formation (around this void) of a compensatory symbolic structure that alludes to the notion of “museological unconscious” discussed in chapter 10. After the death of Stalin in 1953, a few more years were needed for the fresh air of the Khrushchev thaw to become perceptible in the art world.

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