Anton Vidokle

A film based on a mock trial staged at an art fair in Madrid in February 2007 organized by Anton Vidokle and Tirdad Zolghadr. It playfully raises a number of polemical issues in the world of contemporary art: collusion with the "new bourgeoisie," instrumentalization of art and its institutions, the future possibility of artistic agency, as well as other pertinent topics.

Shot in the village of Oliveto Lucano in the south of Italy, Autotrofia is simultaneously a documentation of a very ancient pagan fertility ritual that is still practiced in this region, and scripted fiction, based on writings by the painter Vassily Chekrygin and the scientist Vladimir Vernadsky.

The last film in Vidokle's trilogy on Cosmism is a meditation on the museum as the site of resurrection-a central idea for many Cosmist thinkers, scientists and avant-garde artists. Filmed at the State Tretyakov Gallery, the Moscow Zoological Museum, The Lenin Library, and the Museum of Revolution, the film looks at museological and archival techniques of collection, restoration and conservation as a means of the material restoration of life, following an essay penned by Nikolai Federov on this subject in the 1880s. The film follows a cast comprised of present-day followers of Federov, several actors, artists and a Pharaoh Hound that playfully enact a resurrection of a mummy, a close examination of Malevich's Black Square, Rodchenko's spatial constructions, taxidermied animals, artifacts of the Russian Revolution, skeletons, and mannequins in tableau vivant-like scenes, in order to create a contemporary visualization of the poetry implicit in Federov's writings.

The last film in Vidokle's trilogy on Cosmism is a meditation on the museum as the site of resurrection-a central idea for many Cosmist thinkers, scientists and avant-garde artists. Filmed at the State Tretyakov Gallery, the Moscow Zoological Museum, The Lenin Library, and the Museum of Revolution, the film looks at museological and archival techniques of collection, restoration and conservation as a means of the material restoration of life, following an essay penned by Nikolai Federov on this subject in the 1880s. The film follows a cast comprised of present-day followers of Federov, several actors, artists and a Pharaoh Hound that playfully enact a resurrection of a mummy, a close examination of Malevich's Black Square, Rodchenko's spatial constructions, taxidermied animals, artifacts of the Russian Revolution, skeletons, and mannequins in tableau vivant-like scenes, in order to create a contemporary visualization of the poetry implicit in Federov's writings.

Inspired by the legendary hero Gilgamesh, She Who Saw the Deep reflects on the ancient pursuit of immortality and explores the power of art, landscape and social organisation to transcend the limitations of circumstance.

Inspired by the legendary hero Gilgamesh, She Who Saw the Deep reflects on the ancient pursuit of immortality and explores the power of art, landscape and social organisation to transcend the limitations of circumstance.

Based on the ideas of Russian philosopher, Nikolai Fedorov, Anton Vidokle’s film was shot in Siberia, Crimea, and Kazakhstan. Fedorov, like others, believed that death was a mistake, “because the energy of cosmos is indestructible, because true religion is a cult of ancestors, because true social equality is immortality for all.” Fedorov was one of the Cosmo-Immortalists, a surge of thinkers that emerged in Russia in the late 19th and early 20th centuries. They linked Western Enlightenment with Russian Orthodoxy and Eastern philosophical traditions, as well as Marxism, to create an idiosyncratically concrete metaphysics. For the Russian cosmists, cosmos did not mean outer space: rather, they wanted to create “cosmos” on earth. “To construct a new reality, free of hunger, disease, violence, death, need, inequality – like communism.”

Based on the ideas of Russian philosopher, Nikolai Fedorov, Anton Vidokle’s film was shot in Siberia, Crimea, and Kazakhstan. Fedorov, like others, believed that death was a mistake, “because the energy of cosmos is indestructible, because true religion is a cult of ancestors, because true social equality is immortality for all.” Fedorov was one of the Cosmo-Immortalists, a surge of thinkers that emerged in Russia in the late 19th and early 20th centuries. They linked Western Enlightenment with Russian Orthodoxy and Eastern philosophical traditions, as well as Marxism, to create an idiosyncratically concrete metaphysics. For the Russian cosmists, cosmos did not mean outer space: rather, they wanted to create “cosmos” on earth. “To construct a new reality, free of hunger, disease, violence, death, need, inequality – like communism.”

The distant future. An orbital facility of unknown origin. Here, the debt of taking a life will finally be repaid... through resurrection. The victims of military violence across time are systematically brought back to life and guided through the all-too-familiar facility. As a staff of identical ushers draws back layers of confusion and pain, the freshly resurrected gradually become aware of the reality of their corporeal reinsertion: perhaps the world of the living is not a world at all; to be alive in this place may merely be an exhibit. We, the resurrected, overwhelmed by a literal second life, will of course discover our one inevitable destination: a place to sit, have a drink, and talk it out.

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Based on a 1922 manifesto by Ukrainian anarchist Alexander Svyatogor, the latest from artist Anton Vidokle transposes Russian cosmism to present-day Japan. Through a combination of song, speech, and interpretive dance, Svyatogor’s notions of mysticism and immortality find intriguing new resonances.

Inspired by the tranquility of public television programs in Japan (NHK TV) and accompanied by the meditative music of Brian Eno, The God-Building Theory is an educational video about the aesthetics of Russian Cosmism: a philosophy of technological immortality and resurrection that emerged in Russia at the end of the 19th century, which is the main subject of Anton Vidokle’s films.

Notes for a Time/Bank articulates a series of reflections about the political, historical and anthropological necessities for the existence of alternative economies and initiatives, such as time banking. Divided in ten chapters, the film combines researches on historical attempts to implement alternative economies with various commentaries on the nature and value of money.

The second installment of Anton Vidokle’s trilogy on Russian cosmism, The Communist Revolution Was Caused By The Sun, looks at the poetic dimension of the solar cosmology of Soviet biophysicist Alexander Chizhevsky. Shot in Kazakhstan, where Chizhevsky was imprisoned and later exiled, the film introduces Сhizhevsky’s research into the impact of solar emissions on human sociology, psychology, politics, and economics in the form of wars, revolutions, epidemics, and other upheavals. It aligns the life of post-Soviet rural residents and the futurological projects of Russian cosmism to emphasize that the goal of the early Soviet breakthroughs aimed at the conquest of outer space was not so much technical acceleration, but the common cause of humankind in their struggle against the limitations of earthly life.

The second installment of Anton Vidokle’s trilogy on Russian cosmism, The Communist Revolution Was Caused By The Sun, looks at the poetic dimension of the solar cosmology of Soviet biophysicist Alexander Chizhevsky. Shot in Kazakhstan, where Chizhevsky was imprisoned and later exiled, the film introduces Сhizhevsky’s research into the impact of solar emissions on human sociology, psychology, politics, and economics in the form of wars, revolutions, epidemics, and other upheavals. It aligns the life of post-Soviet rural residents and the futurological projects of Russian cosmism to emphasize that the goal of the early Soviet breakthroughs aimed at the conquest of outer space was not so much technical acceleration, but the common cause of humankind in their struggle against the limitations of earthly life.

The second installment of Anton Vidokle’s trilogy on Russian cosmism, The Communist Revolution Was Caused By The Sun, looks at the poetic dimension of the solar cosmology of Soviet biophysicist Alexander Chizhevsky. Shot in Kazakhstan, where Chizhevsky was imprisoned and later exiled, the film introduces Сhizhevsky’s research into the impact of solar emissions on human sociology, psychology, politics, and economics in the form of wars, revolutions, epidemics, and other upheavals. It aligns the life of post-Soviet rural residents and the futurological projects of Russian cosmism to emphasize that the goal of the early Soviet breakthroughs aimed at the conquest of outer space was not so much technical acceleration, but the common cause of humankind in their struggle against the limitations of earthly life.