Liquid Museum: “A netu tetia takogo muzeia” [Lady, there is no such museum]

  • Dragan Kujundžić
Keywords: Genealogy of St Petersburg, Kunstkamera, museum, cinema, technical reproducibility, digital technology, Hermitage, Aleksander Sokurov, Sergey Shnurov


In recent years I have started making theoretico­mediatic installations, which try to create synergism between theoretical thought and mediatic performance, a new kind of theoretical and social space, or sphere, if you wish, which is responsive to the extreme mobility of new technologies that constitute this space. They constitute it, while at the same time un-working it in ways that have been dormant throughout the history of culture, but are now reaching new levels of speed and expediency. My two recent films, parts of which are related to museums, are of particular interest to this essay­film­installation: the first, Cinemuse: Selfie With Sokurov, with Aleksander Sokurov, the second, v Pitere–pet’ (In Peter–a song, English title: Windows to Europe. Sergey Shnurov) (the opening was at the Poslanie k cheloveku [Message to man] film festival in St Petersburg in September 2017), with Sergei Shnurov. You have no doubt recognized him in the second, Russian part of my title also featuring a museum. The inextricable collusion between preservation in the museum, technologies of archivization, and ideology, permeating the museum qua public sphere, will be analyzed in light of my two films and on the examples from the work of Alexander Sokurov and Sergey Shnurov.

Author Biography

Dragan Kujundžić

Professor of Jewish, Germanic, and Slavic Studies
University of Florida
Gainesville, FL, USA 32611


Adorno, Theodor (1967). “Valery Proust Museum.” In Prisms, trans. Samuel and Sherry Weber, 173–86. London: Neville Sperman.

Barrett, Jennifer (2011). Museums and the Public Sphere. Oxford: Wiley-Blackwell.

Benjamin, Walter (1980). “Das Kunstwerk im Zeitalter seiner technischen Reproduzier-barkeit.” In Gesammelte Schriften Band I, Teil 2, 471–508. Frankfurt am Main: Suhrkamp.

Benjamin, Walter (2008). The Work of Art in the Age of its Technical Reproducibility and Other Writings on Media. Cambridge, MA: The Belknap Press of Harvard University Press.

Charnock, Richard Stephen (1859). Local Etymology: A Derivative Dictionary of Geo-graphical Names. London: Houlston and Wright.

Derrida, Jacques (1987). “Restitutions.” In Truth in Painting, trans. Geoff Bennington and Ian McLeod, 255–383. Chicago: The University of Chicago Press.

Donato, Eugenio (1978). “Museum’s Furnace: Notes Towards contextual Reading of Bouvard and Pecuchet.” In Textual Strategies, ed. Josue V. Harari, 213–39. Ithaca, NY: Cornell University Press.

Crimp, Douglas (1993). On the Museum’s Ruin. Cambridge, MA: MIT Press.

Groys, Boris (2000). “Muzei kak medial’naia sreda” [The museum as mediatic sphere]. Iskusstvo kino, Arkhiv 2000, No1. Ianvar’

Groys, Boris (2013a). “Voiti v potok” [Enter the flow]. Moscow Art Magazin 92.

Groys, Boris (2013b). “Entering theFlow: Museum between Archive and Gesamtkunst-werk.” e-flux journal #50, December.

Iampolsky, Mikhail (1996). Demon i labirint [Demon and labyrinth]. Moscow: NLO.

Kujundzic, Dragan (1997). The Returns of History: Russian Nietzscheans after Modernity. Albany, NY: SUNY Press.

Maleuvre, Didier (1999). Museum Memories. History, Technology, Art. Stanford: Stanford University Press.

Rubinstein, Lev (2017). “Rekonstruktsiia rekonstruktsii” [Reconstruction of reconstruction]. Ekho Moskvy, 13 June.­echo/

Venediktov, Aleksey (2017). “Sut’ sobitii” [The essence of an event]. Ekho Moskvy, July 7.

Shnurov, Sergey (2017). “A netu tetia takogo muzeia” [Lady, there is no such museum]. Sobaka, February 17.
How to Cite
KujundžićD. (2018). Liquid Museum: “A netu tetia takogo muzeia” [Lady, there is no such museum]. Stasis, 6(1).