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• Moscow romantic conceptualism
• Privatizations/psychologizations
• Sots-art : eastern prophecies
• Communist conceptual art
• Ilya Kabakov : the artist as storyteller
• Ilya Kabakov : we shall be like flies
• Ilya Kabakov : the theater of authorship
• Ilya Kabakov : the utopia of painting
• Boris Mikhailov : the eroticism of imperfection
• Andrei Monastyrski : living in art
• Medical hermeneutics, or curing health
• Medical hermeneutics : after the big tsimtsum
• Grisha Bruskin : allegorical man
• Alexander Kosolapov : the artist in the age of commodity fetishism.

In the 1970s and 1980s, a group of "unofficial" artists in Moscow -- artists not recognized by the state, not covered by state-controlled media, and cut off from wider audiences -- created artworks that gave artistic form to a certain historical moment: the experience of Soviet socialism. The Moscow conceptualists not only reflected and analyzed by artistic means a spectacle of Soviet life but also preserved its memory for a future that turned out to be different from the officially predicted one. They captured both the shabby austerity of everyday Soviet life and the utopian energy of Soviet culture. In History Becomes Form, Boris Groys offers a contemporary's account of what he calls the most interesting Russian artistic phenomenon since the Russian avant-garde. The book collects Groys's essays on Moscow conceptualism, most of them written after his emigration to the West in 1981. The individual artists of the group -- including Ilya Kabakov, Lev Rubinstein, and Ivan Chuikov -- became known in the West after perestroika, but until now the artistic movement as a whole has received little attention. Groys's account sheds light not only on the Moscow Conceptualists and their work but also on the dilemmas of Soviet artists during the cold war.
(source: Nielsen Book Data)

• Foreword Preface and Acknowledgments Part I: A General Introduction to KD and Moscow Conceptualism
• Chapter 1. A Bibliographic Overview The Literature Before 1989 The Literature After 1989 The Consolidation of the Discursive Field of Moscow Conceptualism
• Chapter 2. Mapping Moscow Conceptualism The Attribute "Romantic" The Central Concept of "Emptiness" Part II: Transition: From KD to [KD]
• Chapter 1. KD's Journeys Before 1989 Volume I (phase 1976-80): "Appearance" Volume II (phase 1980-83): "Ten Appearances" Volume III (phase 1983-85): "Discussion" Volume IV (phase 1985-87) and Volume V (1987-89)
• Chapter 2. "During:" Transition to Capitalism Transition and Transitology The Cultural Transition: The SCCA Model
• Chapter 3. [KD]'s Journeys After 1989 Temporality of Transition New Schizo- Terms in the Dictionary Bracketed Totality: From KD to [KD] From Numerology to Statistics From Action to Installation From Descriptions to Projects Kievogorskoe Field: From No One's Land to Housing Development A More Comfortable Journey: From Public to Private Transportation The Democratization of Language Afterword: From KD to [KD]: From Objectivation to Reification Appendix: Dictionary of Moscow Conceptualism Bibliography Index.
• (source: Nielsen Book Data)

The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Esanu introduces Moscow Conceptualism by performing a close examination of the Collective Actions group's ten-volume publication Journeys Outside the City and of the Dictionary of Moscow Conceptualism. He analyzes above all the evolution of Collective Actions through ten consecutive phases, discussing changes that occur in each new volume of the Journeys. Compares the part of the Journeys produced in the Soviet period with those volumes assembled after the dissolution of the USSR. The concept of "transition" and the activities of Soros Centers for Contemporary Art are also analyzed.
(source: Nielsen Book Data)

The Norton and Nancy Dodge Collection at Rutgers University's Zimmerli Art Museum is the largest collection of Soviet nonconformist art in existence. Comprising more than 25,000 works by over 900 artists, it documents the activities of underground artists from Moscow and Leningrad, as well as from the former Soviet republics of Estonia, Latvia, Lithuania, Armenia, Georgia, Azerbaijan, Ukraine, Belarus, Kazakhstan and Uzbekistan between the years 1956-1987. This volume features the most outstanding of these works in stunning color and black-and-white reproductions. Essays by leading scholars and statements and interviews with artists such as Ilya Kabakov, the Gerlovins, Vitaly Komar and Alexander Melamid, who played a major role in this important movement, offer a general critical appraisal and history of the movement and highlight certain distinctive aspects such as performance and experimental art. The book also looks at this movement through a Western lens, comparing and contrasting the works with those of the Conceptualists in the US and the rest of the Free World.
(source: Nielsen Book Data)