This visual essay looks at five exhibition projects of the postwar Soviet Union and post-Perestroika Russia which were conceived but never produced. Their stories exemplify the logic and conditions in which the production and distribution of artworks are carried out, as viewed through Richard Peterson’s production paradigm. The situation of an exhibition is seen in the essay not only as a set of conditions determining the meaning and perception of the artworks, but rather as a litmus test that makes the broader context and the social structure of the cultural industry more visible.
To cite this item:
Ledenev V (2021) The Logic of Cancellation: Five Exhibitions of Russian Art Which Never Happened. The Garage Journal: Studies in Art, Museums & Culture, 02: 108-131. DOI: 10.35074/GJ.2021.73.38.006
To link to this item: https://doi.org/10.35074/GJ.2021.73.38.006
Publication type: Archive materials