By examining the work of conceptual artist and writer Dmitri Prigov from the 1970s to the 2000s, this chapter argues that cross-cultural engagements profoundly shaped Russian culture in the two decades before as well as after the collapse of the Soviet Union. Negotiating the transition from underground readings to international contemporary art, Prigov developed a “global project” encompassing diverse discourses, genres, and media, and various local and transnational languages and cultural systems from samizdatto dinosaur mania, poetry to performance art. Prigov undermined each medium, language, or system’s totality by bringing them together––a process he called “intersection,” or peresechenie. Extending Mikhail Bakhtin’s view that the manipulation of genres is a form of agency, Prigov offers a model for understanding cross-cultural encounter and globalization that emphasizes both the unfreedom of endless repetition and the freedom of each gesture among the infinite possibilities of intersecting systems and languages.
Jacob Edmond at
TagsA Common Strangeness ann vickery Arkadii Dragomoshchenko Brian Reed Charles Bernstein chinese poetry Christopher Bush Cilla McQueen comparative literature conceptual poetry conceptual writing dmitri prigov Fordham University Press Gerald Janecek Gone with the Wind Haun Saussy iteration iterations iterative poetics Jacket2 Jacob Edmond Jonathan Stalling kenneth goldsmith lisa samuels literature long poems Lucas Klein Lyn Hejinian Margaret Mitchell Maria Damon Michele Leggott New Zealand poetry poetry rachel blau duplessis revolution Russian literature russian poetry Stephanie Sandler the book translation US poetry Vanessa Place yang lian Аркадий Драгомощенко Дмитрий Пригов