23.11.2018, UCL IAS. 6pm-8pm.

Dramaturgia: on Russian Machiavellianism as exportable political strategy

A Friday talk by Denis Maksimov.

Audio recording available here.

The current outpouring of analyses of Russian internal and foreign politics give rise to a feeling of d矇j vu, bringing to mind Cold War-era American Sovietology. Amidst assorted Novichoks, Brexits, Trumps and Bolsonaros, political science seems to be in global methodological trouble as predictions and foresights are consistently being proven wrong to the shock of both the think tanks and the public. Meanwhile in Russia, the key principles of the "dramaturgical" design of political space, introduced in Moscow in the early 2000s, are today floating on the surface sans masque. So what are the politics and aesthetics of Russian Dramaturgia?

Political theorist and curator Denis Maksimov will speak about Russian political greyness - an engineered ambience, whose purpose it is to make it impossible to establish trust among actors - and its exportability. His talk will build on Avenir Institutes transdisciplinary research of political auteurship. A former insider of several political near-Kremlin think tanks, Maksimov will look at the highly ambivalent work and thought of two crucial theorists of Russian political Dramaturgia: the former (2000-2004) head of the Expert Department of the Administration of the Russian President Simon Kordonsky's interdisciplinary analysis of Russian administrative markets'; and the former Deputy Chief of Staff (1999-2011) of the same institution Vladislav Surkovs interest in theatre and fiction.

Denis Maksimov is a political theorist, praxeologist, independent curator and creative consultant. His transdisciplinary research and design span across the intersections of metaphysics, socio-political history, Ancient Greek and comparative mythography, regimes of power, ideology, visual and rhetoric ideography, aesthetics, critical theory, geopolitics, futures studies, fashion and style. In 2015 he co-founded a think tank and creative studio Avenir Institute with nodes in Brussels, Berlin, London and Athens. He is a Fellow of the Royal Society of Arts and a member of Sandbox Network.

Updated: Jul 5, 2019

2.11.2018, UCL IAS. 6pm-8pm.

The Universality of Culture: Totalitarianism or Emancipation?

A talk by Keti Chukhrov

Un-edited audio recording available here.

Culture has long been accused of not living up to expectations of novelty in art, science and theory. Modernism and the avant-garde treated culture as a civilizational homeostasis and an obstacle to any dynamic artistic process, development of thought, or revolutionary political agency.

In Freuds programmatic text Civilization and its Discontents (1930), culture is defined as a universalizing institution of constraint, which inhibits desire, psychical drives and sexuality. In post-structuralism (Lacan, Deleuze, Guattari, Derrida, Foucault) a ferocious criticism of culture is complemented with the critique of language and its metaphysical dimension; culture is regarded as an obstacle hampering the access to the unthinkable, the ineffable, to the Real - i.e. access to something truly material that can only produce the conditions for political or creative subversion.

In post and de-colonial critique, culture as a universal category is seen as a tool of colonial and class domination dispersing into a multiplicity of subcultures and identitarian habits. This counter-universalist critique is, interestingly, perfectly inscribed into the quasi-democratic illusions of both critical theory and the pop-industry.

In Soviet aesthetics, philosophy or psychology (E. Ilyenkov, L. Vygotsky, A. Leontyev) we encounter a converse treatment of both the issue of culture as well as of language. Culture is seen as a generic form of labor that deals with timeless and non-localized human activity; it is possessed of the capability to exceed any confrontation between the old and the new. The talk will inquire into the paradoxes of such an idealist perspective on cultural universality.

Keti Chukhrov is an associate professor at the Department of 苤ultural Studies at the National Research University Higher School of Economics, Moscow. 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: To BeTo Perform. Theatre in Philosophic Critique of Art (Saint Petersburg: European University, 2011), and Pound &瞿 (Logos, 1999) and a volume of dramatic writing: Just Humans (2010).

Currently she is a Marie Skodowska-Curie Fellow at The University of Wolverhampton. Her present research interests and publications deal with: the impact of the Soviet economy on the ethical epistemes of historical socialism; performance studies; and neo-humanism in the conditions of post-human theory. 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, curated by Boris Groys).


Power Vertical #2 took place last Friday evening at UCL Institute of Advanced Studies. Art theorist and philosopher Keti Chukhrov, Associate Professor at Moscow's Higher School of Economics, gave a thought-provoking, thoughtful and provocative talk on the aesthetics and political economy of cultural universality. For Evald Ilyenkov and other post-war Soviet philosophers and pedagogues, the haptic and the affective realms were not pre-social or extra-social; they were an inherent part of social life already, they were forms of labour and - crucially - they were de-privatised and commonly-owned, Keti argued.

A few pictures from the talk are below, and you can find an un-edited audio recording of the talk and discussion here:

The film, from which Keti showed an excerpt - Talking Hands by Swedish artist Emanuel Almborg - examines the school for deaf and blind children established by Ilyenkov in Zagorsk in the 1960s. You can find a short excerpt here:

Many thanks to UCL SSEES and The Centre for the Study of Contemporary Art (UCL Art History) for support and propagation.

Updated: Jul 5, 2019

8.10.2018, UCL IAS, The Forum. 6-8pm.

United against fascism: ducks, rabbits, art workers and the use of value in art.

A talk by Kuba Szreder, in conversation with Peg Rawes.

Unedited audio recording of the first 1h40 minutes available here.

This is the launch event for the new seminar series, Perverting the Power Vertical: Politics and Aesthetics in the Global East.

Addressing the authoritarian turn in global politics, Kuba Szreder will discuss recent examples of art workers activism, from Poland and abroad, to substantiate the perennial discussions of artistic theory. He will talk about the use value of art, address the difference between the merely instrumental and really useful, reflect upon the promiscuity of artistic objects, ponder about the double ontology of ducks and rabbits, and advocate for the art of herding cats.

Kuba Szreder is a curator and researcher, and Associate Professor at the Department of Art Theory at the Academy of Fine Arts in Warsaw. A graduate of sociology at Jagiellonian University (Krakow), he was awarded a practice-based PhD from Loughborough University School of the Arts in 2015. In his interdisciplinary projects he carries out artistic and organizational experiments, hybridizing art with other domains of life. In 2009 he initiated the Free/Slow University of Warsaw, with which he completed several inquiries into the political economy of contemporary artistic production. He is editor and author of several catalogues, readers, book chapters and articles. In his most recent book ABC of Projectariat, he scrutinises economic and governmental aspects of project-making and their impact on 'independent' curatorial practice.

Peg Rawes is Professor of Architecture and Philosophy at Bartlett School of Architecture UCL.

6pm-8pm. The seminar will be followed by a tiny wine reception, thanks to the generosity of CSCA - the Centre for the Study of Contemporary Art at UCL.


The first-ever Power Vertical seminar took place two weeks ago today. Kuba Szreder discussed ducks, rabbits, use value and anti-fascism in art; Peg Rawes provided spirited and provocative commentary, and the discussion lasted for only a few minutes short of four hours. You can find a few photos of the event here, and an un-edited audio recording of the first 1h40 minutes or so of the talk and discussion at this link:

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