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Friday March 15 | Session 13:15 - 14:45 (20 min)
De Brakke Grond | Steegzaal

At the end of his Baudelaire essay (The Paris of the Second Empire in Baudelaire) depicts Walter Benjamin the invisible (for others) review of Blanqui’s underground army (“Blanqui held his review without anyone’s having an inkling of the strange spectacle”). Hundred years later some conceptual artists in the Soviet bloc countries revitalized the idea of unnoticed public intervention, now as a part of non-conformist aesthetic activity. So performed Czech conceptual artist Jiří Kovanda (b. 1953) in the 70ies a series of “unnoticeable actions” in Prague, and Russian conceptual artists of the Collective Actions group (1976– ) produced in Moscow artistic actions which were not recognized as such by the city inhabitants. The social, political and aesthetic gesture of being publicly active, but unreachable in the time of restrictions was at the first sight clear enough. However, considering the changing experience of artistic activity in different temporal and social contexts one can realize that some basic problems of artistic existence and status of art object are touched by these deeds on different levels and in various ways. The validation of artistic intervention on a long distance is an essential question for philosophy of art and for artists themselves as well.

Sergei A. Romashko. Born 1952 in Moscow. Study at Moscow state university, research fellow at the Academy of sciences, professor of Moscow state university (now emeritus). Publications on language theory, poetics and art theory, art criticism. In the 70-80ies participant of Moscow non-official art activities, member of performance group Collective Actions. Works of concrete poetry and art, translations of philosophical, aesthetic and poetic texts mainly from German.
As a member of Collective Actions participant of several international exhibitions, e.g. Out of Actions: Between Performance and the Object, 1949–1979. MOCA 1998; Venice Biennale 2011, Russian Exposition. Invited professor at DasArts, Amsterdam (2003) and other artistic institutions. As a long time Walter Benjamin researcher and interpreter participant of several national and international projects, including Benjamin-Handbuch (ed. by B. Lindner, Frankfurt/M. 2006, 2nd ed. 2011). 
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