Russian Cosmism is the subject of the widely-exhibited film trilogy by Anton Vidokle, which traces, or better, resurrects the presence of Cosmist ideas in post-Soviet art, engineering, and architecture. Alma Mikulinsky reviews the films' installment in an artist-run space in Toronto, as well as the theoretical corpus that has been developed around the subject in the last four years.
Can one bypass the fact that Roee Rosen, through his writing, manufactures his art as a closed system? Can one approach his art from different perspectives? Alma Mikulinsky writes about Rosen’s mid-career retrospective at the Tel Aviv Museum of Art