Arseniy Zhilyaev, Ilya Budraitskis.
Pedagogical Poem. The archive of the Future Museum of History
Interdisciplinary research into the museum as an institution at the intersection of history, contemporary art and pedagogy.
НАСТОЯЩИЙ МАТЕРИАЛ (ИНФОРМАЦИЯ) ПРОИЗВЕДЕН БУДРАЙТСКИСОМ ИЛЬЕЙ БОРИСОВИЧЕМ, ЖИЛЯЕВЫМ АРСЕНИЕМ АЛЕКСАНДРОВИЧЕМ, ЯВЛЯЮЩИМИСЯ УЧАСТНИКАМИ РОССИЙСКОГО СОЦИАЛИСТИЧЕСКОГО ДВИЖЕНИЯ (РСД), ВКЛЮЧЕННОГО В РЕЕСТР ИНОСТРАННЫХ АГЕНТОВ.
Arseniy Zhilyaev is an artist, a curator, a theorist of contemporary art. In his projects he addresses the legacy of Soviet museology and also the interpretation of the museum in the philosophic tradition of Russian cosmism. He has participated in many exhibitions in Russia and beyond.
Ilya Budraitskis is a historian, a political and cultural activist. Between 2001 and 2004 he organized Russian activists in international actions against the G8, in European and Global Social forums. A member of the editorial board of the “Moscow Art Journal” he regularly publishes in various political and cultural internet websites.
The publication contains texts by artists, historians and cultural theorists that cover topics raised during
The central theme of the “Pedagogical Poem” is about the way the museum as an institution acts as an important educational tool not only in the dissemination of knowledge about culture and civilization, but also in the formation of personality, development of one’s abilities, as well as the interpretation of society’s cultural legacy and the production of modernity.
The name of the project refers to the work of the Soviet pedagogue A. S. Makarenko, who sought to educate “a human being of the Communist future”. The authors of the new “Pedagogical Poem” do not aim to develop survival skills in the cultural industry but offer a joint creative search in the realm of history and knowledge.
The vector of art development that was outlined in the early twentieth century and found its ultimate manifestation in the art of the historic avant-garde and the contemporary art of the second half of the century was initially set out for the fullest possible union with life, i.e. the concept of art as a separate sphere was abolished.