Abstract
Abstract This article takes up Rancière’s conceptualization of the regimes of art in order to explore what might be left of art, if the scale of the world is expanded to the cosmos, rather than constrained to earth. Starting from the assertion that the beginning of the space age may be considered an event that radically reshapes the coordinates of subjectivity, the paper discusses its reverberations in the realm of aesthetics. The text focuses on two recent Russian films about the beginning of the space age: Dreaming of Space (2005) and Paper Soldier (2008). Both films are examined as statements – ones that are contextually bound and yet that harbour an element of excess – rather than as mere representations of a certain socio-cultural context.
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