<p>The article is devoted to the analysis of a project developed by Nikolai Fyodorov and considered through the prism of the triple problematic of memory, technics, and kinship. By reconstructing Fyodorov’s view of the constitution of the self-knowing subject, the article demonstrates that the Russian thinker’s conception of immanent resurrection is a modification of Plato’s idea of knowledge as anamnesis. This idea, however, is transferred by Fyodorov into the realm of practice, taking the form of a literal restoration of kinship carried out by technical means. The article shows how the question concerning technics in Fyodorov’s thinking is intertwined with the question of the non-kindred relation of nature toward people, and in this perspective, the regulation of nature appears as an extension of the project of restoring kinship to the nonhuman world. Special attention is paid to Fyodorov’s understanding of man as <i>animal religiosum</i>, in which the religious is inseparable from the technical. The thematic lines of memory and technics, as well as religion and regulation, are intertwined in the Russian thinker’s conception of the museum, which is interpreted in the article through the operations of storage and restoration. Noting that Fyodorov’s museum is conceived as a path to the realization of an otherworldly ideal in the world itself, the article demonstrates that this path passes through the elimination of contingency. The concluding part of the article discusses the consequences of this decision by Fyodorov, and for this purpose, a brief comparative analysis of his project with the ideas of British anthropologist Tim Ingold on memory, technology, and kinship is carried out.</p>