The irony of emptiness and collective (un)consciousness: the Philosophical and Aesthetic Foundations of Moscow Conceptualism in Conversation with Andrei Monastyrsky (Interview Conducted by Denis Ioffe, with the Participation of Elena Penskaya) Cover Image

Ирония пустоты и коллективное (бес)сознание: философские и эстетические основания московского концептуализма в беседе с Андреем Монастырским (беседу вел Д. Иоффе, с участием Е. Пенской)
The irony of emptiness and collective (un)consciousness: the Philosophical and Aesthetic Foundations of Moscow Conceptualism in Conversation with Andrei Monastyrsky (Interview Conducted by Denis Ioffe, with the Participation of Elena Penskaya)

Author(s): Andrei Monastyrsky, Dennis Ioffe
Subject(s): Fine Arts / Performing Arts, History of Art
Published by: Матица српска
Keywords: Moscow Conceptualism; Andrei Monastyrsky; emptiness; irony; existential aesthetics; “Collective actions”

Summary/Abstract: The interview with Andrei Monastyrsky, presented to the readers of Matica Srpska Journal of Slavic Studies, prepared by Dennis Ioffe with the participation of Elena Penskaia, reveals the spiritual, philosophical, and aesthetic foundations of Moscow Conceptualism. The artist describes in detail his early poetic experiments, the transition from verse material to “elementary poetry” and the creation of objects, as well as the formation of the circle associated with Ilya Kabakov, Viktor Pivovarov, and other artists. In the conversation, significant attention is devoted to the philosophical foundations of Moscow Conceptualism, in particular the categories of emptiness, detachment, and the oneiric state, through which the artistic experience of Collective Actions is articulated. Monastyrsky emphasizes the existential-aesthetic nature of his practice, which distinguishes it from a magical or ritual understanding of art. Also important are the themes of irony, defamiliarization (ostranenie), and otherness, which determine both the internal logic of the works and the collective character of Moscow Conceptualism, juxtaposed with Western anthropocentric actionist aesthetics. The interview demonstrates that philosophical impulses — from Kant and Husserl to Buddhism and the I Ching — became structuring for Monastyrsky’s artistic language. Thus, the conversation sheds light not only on the genesis of Moscow Conceptualism but also on its unique position in the context of the second Russian avant-garde, where irony, emptiness, and collective consciousness form the synthetic foundation of aesthetic practice.

  • Issue Year: 2026
  • Issue No: 109
  • Page Range: 173-202
  • Page Count: 30
  • Language: Russian
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