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Arseny Zhilyaev's Avant-Garde Museology presents a collection of crucial essays documenting the wildly encompassing progressivism of this period, by figures such as Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, Andrey Platonov and many others-several of which are translated from the Russian for the first time. While the first question for any progressive curatorial practice and museology concerns how the errant futures stored in the museum can be played back, for the authors in this compendium, the more urgent question becomes: How might the contents of the museum be reanimated so as to transcend even the social and physical limits imposed on humankind?

Museology --- museology --- Muséologie --- Avant-garde (esthétique) --- Artistes et musées --- Muséologie --- Avant-garde (esthétique) --- Artistes et musées

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What changes when we religiously worship the toxic? In this era of catastrophe, can a cosmic connection be achieved through a cult of pollution? Toxic Temple is an artistic-philosophical quest to understand the current parlous state of the world. We offer our inner contradictions and destructive lusts as objects of worship. We enter wastelands instead of new territory, leaving space for artifacts, expressing solidarity with the factual. We encounter colorful assemblages of things that connect the known cosmos, tread the shaky ground of novel divinity, inhale pungent odors that transport us to the sublime. Garbage dumps are the new temples. In a mania of sadistic composure we breathe in the here and now. Transformative forces are released, free radicals; rituals that expose the chaos that lurks beneath the surface.

Material culture in art. --- Art --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Philosophy. --- Analysis, interpretation, appreciation --- Anthropocene. --- art. --- artistic research. --- media art. --- philosophy.

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This book began as a two-part issue of e-flux journal devoted to the question: What is contemporary art? First, and most obviously: why is this question not asked? That is to say, why do we simply leave it to hover in the shadow of attempts at critical summation in the grand tradition of twentieth-century artistic movements? A single hegemonic “ism” has replaced clearly distinguishable movements and grand narratives. But what exactly does it mean to be working under the auspices of this singular ism? Widespread usage of the term “contemporary” seems so self-evident that to further demand a definition of “contemporary art” may be taken as an anachronistic exercise in cataloguing or self-definition. At the same time, it is no coincidence that this is usually the tenor of such large, elusive questions: it is precisely through their apparent self-evidence that they cease to be problematic and begin to exert their influence in hidden ways; and their paradox, their unanswerability begins to constitute a condition of its own, a place where people work.e-flux journal: What Is Contemporary Art? puts the apparent simplicity and self-evident term into doubt, asking critics, curators, artists, and writers to contemplate the nature of this catchall or default category. With texts by Julieta Aranda, Brian Kuan Wood, Anton Vidokle, Cuauhtémoc Medina, Boris Groys, Raqs Media Collective, Hans Ulrich Obrist, Hu Fang, Jörg Heiser, Martha Rosler, Zdenka Badovinac, Carol Yinghua Lu, Dieter Roelstraete, and Jan Verwoert.

Art --- art criticism --- Contemporary [style of art] --- hedendaagse kunst --- kunstbeschouwing --- anno 2000-2009 --- kunst --- eenentwintigste eeuw --- kunsttheorie --- esthetica --- 7.01 --- Kunsttheorie ; over hedendaagse kunst ; 21ste eeuw --- Kunst ; theorie, filosofie, esthetica