ThoughtGallery.org > post presents “Russian Cosmism: A Work of Art in the Age of Technological Immortality” at the Museum of Modern Art

post presents “Russian Cosmism: A Work of Art in the Age of Technological Immortality” at the Museum of Modern Art

Recent developments in biotechnology, genetics, and artificial intelligence suggest that the ancient myths of eternal youth, immortality, and material resurrection are now a tangible horizon of the technological imagination. At the same time, a century of dreams for travel in cosmic space and life on other planets have coalesced into a new transcendental realm—infinite in size, yet located in the material world, which itself has radically expanded. What are the politics and aesthetics of life in this new world?

Already in the late 19th century, Russian philosopher Nikolai Fedorov started considering some of these questions in his philosophy of the common task, which advocated technological immortality, material resurrection for all who had ever lived, and the exploration of outer space. A central tenet of Fedorov’s larger philosophical outlook, known as Russian Cosmism, puts art on par with science, technology, and social organization as an integral force ushering in the new world. Fedorov’s ideas inspired numerous artists, writers, and scientists in his lifetime and well after his physical death. Following the October Revolution in 1917, Russian Cosmism became attractive to the materialist philosophy at the core of Communist ideology. This radical vision of everlasting life in the cosmos was particularly important for the Russian avant-garde, which explored the possibilities of new worlds through Suprematism, Constructivism, and other related movements that have been long represented in the collection of The Museum of Modern Art.

post presents “Russian Cosmism: A Work of Art in the Age of Technological Immortality” will address the ideas of Russian Cosmism and their relevance to our time. During this one-night symposium, Boris Groys will speak on the biopolitics of technological immortality and resurrection; Arseny Zhilyaev considers the aesthetic ideals of Russian Cosmism including “life building” in collaboration with God; Hito Steyerl will talk about continued quests for the elixir of immortality, euthanasia, and genocide; and Anton Vidokle will present a recent short film called The Communist Revolution Was Caused by the Sun.

Boris Groys is a philosopher, essayist, and media theorist. Having taught in Philadelphia, Münster, and Los Angeles, he became Professor of Art History, Philosophy and Media Theory at the Karlsruhe University of Arts and Design in 1994. In 2009, he was appointed Professor of Russian and Slavic Studies at New York University. He has published widely on the subject of the Russian avant-garde and was curator of the exhibition Dream Factory Communism at Schirn Kunsthalle Frankfurt in 2003–04.











When: Wed., Nov. 15, 2017 at 6:00 pm
Where: Museum of Modern Art
11 W. 53rd St.
212-708-9400
Price: Free, RSVP required
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Recent developments in biotechnology, genetics, and artificial intelligence suggest that the ancient myths of eternal youth, immortality, and material resurrection are now a tangible horizon of the technological imagination. At the same time, a century of dreams for travel in cosmic space and life on other planets have coalesced into a new transcendental realm—infinite in size, yet located in the material world, which itself has radically expanded. What are the politics and aesthetics of life in this new world?

Already in the late 19th century, Russian philosopher Nikolai Fedorov started considering some of these questions in his philosophy of the common task, which advocated technological immortality, material resurrection for all who had ever lived, and the exploration of outer space. A central tenet of Fedorov’s larger philosophical outlook, known as Russian Cosmism, puts art on par with science, technology, and social organization as an integral force ushering in the new world. Fedorov’s ideas inspired numerous artists, writers, and scientists in his lifetime and well after his physical death. Following the October Revolution in 1917, Russian Cosmism became attractive to the materialist philosophy at the core of Communist ideology. This radical vision of everlasting life in the cosmos was particularly important for the Russian avant-garde, which explored the possibilities of new worlds through Suprematism, Constructivism, and other related movements that have been long represented in the collection of The Museum of Modern Art.

post presents “Russian Cosmism: A Work of Art in the Age of Technological Immortality” will address the ideas of Russian Cosmism and their relevance to our time. During this one-night symposium, Boris Groys will speak on the biopolitics of technological immortality and resurrection; Arseny Zhilyaev considers the aesthetic ideals of Russian Cosmism including “life building” in collaboration with God; Hito Steyerl will talk about continued quests for the elixir of immortality, euthanasia, and genocide; and Anton Vidokle will present a recent short film called The Communist Revolution Was Caused by the Sun.

Boris Groys is a philosopher, essayist, and media theorist. Having taught in Philadelphia, Münster, and Los Angeles, he became Professor of Art History, Philosophy and Media Theory at the Karlsruhe University of Arts and Design in 1994. In 2009, he was appointed Professor of Russian and Slavic Studies at New York University. He has published widely on the subject of the Russian avant-garde and was curator of the exhibition Dream Factory Communism at Schirn Kunsthalle Frankfurt in 2003–04.

Buy tickets/get more info now