This experimental essay, a set of TikTok videos, focuses on the video archives of Sergey Borisov, a photographer and a chronicler of the Russian unofficial art culture of the perestroika and later period. The problems raised in this essay have to do with the reflections concerning the role of documentary musical video recordings in the modern Russian museum discourse, in the context of the tight links between the musical underground and visual artists in Russia.
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.