Abstract
For Walter Benjamin, the trip to Moscow in the winter of 1926-1927 was a disappointment not only for his love aspirations, but also in terms of his belief in a socialist future. Consequently, on this occasion he ignored signs of modernity, such as avant-garde art or constructivist architecture. Instead he was fascinated, even obsessed, with folk art. He spent hours in the Toy museum; his Moscow Diary is full of descriptions of the colourful range of lacquered caskets, stacked eggs, paper flow...
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