Valeriy Borisov

The happiest day in Olga's life, when her daughter was born, turned into a nightmare - doctors broke the news that the child was born disabled and advised her to give up the girl. The most painful thing is that my husband Vlad agrees with them. Olga is categorically against it. Vlad leaves them, not wanting to raise a sick child, and goes to his mistress

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 happiest day in Olga's life, when her daughter was born, turned into a nightmare - doctors broke the news that the child was born disabled and advised her to give up the girl. The most painful thing is that my husband Vlad agrees with them. Olga is categorically against it. Vlad leaves them, not wanting to raise a sick child, and goes to his mistress