The Outer Circle

Ideas and Forms of the Russian Avant-Garde

Semen Andreev Dmitry Babenko Denis Beznesov Kristina Elekoeva Alex Galper Tim Gaze Yuli Ilyuschenko Sveta Litva Evgenij V Kharitonov Inna !irillova Gleb Kolomiets "d#ard !ulemin Ale$ander %otsar !illy " #elnikov Ale$ander Ocheret&ans & $ergai %avlovski 'estor (ovarnin &leg "a'umovsky !at&a Sami)ulina #ikhail Vayatkin 'i olai *a&at in
(urate) by Gleb Kolomiets * &lchar E +in)sann

%arch +,-./ 01.2 Liminal Galler&/ %ar)inal Arts Festival/ Roano e/ *A

Cover image: Ale$ander %otsar/ "usskoe ,ebo Dostoevsky

by Olchar E. Lindsann In writing this Preface, as with initiating this exhibition, I make no claim to s ecial insight, or even knowledge, of the ost!"oviet avant!garde. #ather, my intention in asking $leb %olomiets &who, in tr'th, has done the lion(s share of the work) to hel me c'rate this exhibition has been to initiate a conversation, and to assemble a framework from which those of 's working in non!commercial, 'ndergro'nd, avant!garde networks here in *merica might begin to form a more coherent ict're of the world of o'r #'ssian co'nter arts, leading to more fr'itf'l dialog'e regarding the many challenges that face 's all. +ere in this Preface, I wo'ld like to write a few words abo't why I have felt that this is a necessary time to no'rish this dialog'e, and an a ro riate ven'e in which to do it. ,his exhibition(s connection to the -arginal *rts .estival is not witho't reason/ it is the res'lt of several long!standing connections between #oanoke and the comm'nities re resented here. .or reasons disc'ssed in this catalog, m'ch of the c'rrent work of the #'ssian avant!garde 'tili0es and ex lores *semic 1riting: the 'se of letter!forms that do not refer to existing al habets, to ex ress s'bconscio's tho'ght or comm'nication. 1hile ex lorations in this direction can traced back inde2nitely, the #oanoke avant!garde comm'nity has layed an im ortant role in the develo ment of *semia as a self!conscio's movement. ,he term itself was 2rst cham ioned by the #oanoke oet and theorist 3im Leftwich &then living in Charlottesville) and *'stralian writer ,im $a0e &also shown here, in collaboration with #'ssian asemic writers)/ while even a wiki edia search for *semic 1riting shows that many of the early develo ers of the form have long!standing relationshi s with the -*., incl'ding 3ohn -. 4ennett, #eed *ltem's, $eof +'th, and #oanoke artist and m'sician 4illy 4ob 4eamer. ,he #'ssian avant!garde 5o'rnal Slova, whose contrib'tors formed the kernel of the exhibition, has 'blished translations of theoretical texts and oetry by #oanoke!based

Olchar Lindsann &the writer of this Preface) and a n'mber of ast and resent -*. g'ests. ,he decentrali0ed 'ndergro'nd ress Mycelium, 'blished in #'ssia, #oanoke, and other laces aro'nd the world, has rinted biling'al editions of writers from #oanoke and cities in #'ssia and across the globe, incl'ding books by many -*. artici ants. #oanoke(s mOnocle!Lash *nti!Press is releasing two books by writers incl'ded in this show. ,he main cond'it for all of these relationshi s has been the Eternal 6etwork7a web of co'ntless intersecting avant!garde comm'nities who comm'nicate and collaborate thro'gh -ail *rt, Cha book and (8ine circ'lation, erformance scores, m'lti le identities, online ro5ects and many other strategies. ,hat *semia and 9is'al Poetry sho'ld lay s'ch a large role in this exchange is nat'ral: it affords 's the means to comm'nicate and collaborate across the do'ble!ga of not only different lang'ages, b't different al habets. ,here is a third ga however, which f'rther volatili0es these challenges: that of history. 1itho't the contrib'tions of #'ssian writers, artists, ling'ists, and theorists the avant!garde as we know it today wo'ld be 'nthinkable. 4eginning at least with the start of the :;th Cent'ry, #'ssia was a centre of the international avant!garde, in which movements s'ch as 8o'm, Oberi', vario's .'t'rist collectives, and do0ens of other gro' s less well! known or 'nderstood in the 1est s'bconscio's, and ioneered ex erimentation with the a!rational, hysical as ects of lang'age. ,he roots of today(s 9is'al Poetry,

Lettristic writing, and *semia lie in the activity of these gro' s, as do many traditions of abstraction in the vis'al arts, dance, ex erimental m'sic, and semiotics. .rom the t'rn of the cent'ry 'ntil the every s here of activity. ,he Cold 1ar cleaved the avant!garde &like so m'ch of the world(s social body) in half/ for generations, there were two avant!gardes, sidereal do elgangers, 'nited by a shared heritage and shared concerns, yet 'rs'ing different aths. ,ho'gh this was tr'e of the entire o 'lations of all of the many co'ntries involved, it osed s ecial roblems for roscri tion of formally ex erimental creative activity some thirty years later, #'ssian avant!gardists collaborated closely with their international comrades in

'ndergro'nd, co'nterc'lt'ral comm'nities who faced two very different modes of attem ted ne'trali0ation. 1hile we in the 1est watched the ethical osition of innovative *rt become discredited as it became more l'crative, granted com lete ex ressive (freedom( b't absorbed by the commercial -arket as a kind of l'x'ry investment, o'r "oviet co'nter arts faced a m'ch more terrifying set of dangers/ while 1estern avant! gardists scro'nged for cash to rint small!r'n mimeogra hed 5o'rnals, they vag'ely aware that their "oviet co'nter arts circ'lated clandestine zamisdat 'blications in r'ns of one to ten, r'nning the risk of incarceration in a rison or an insane asyl'm sho'ld they fall into the wrong hands/ b't direct contact was rare and often fra'ght with danger. ,o a great degree we were each 'naware of what was occ'rring on the (other side(. 1hat was gleaned was fragmentary and 'ncertain, most of it either collected thro'gh conversation, hearsay, and rarely thro'gh archives sm'ggled o't by ex atriates or incriminating mail/ or else 2ltered, distorted and re!context'alised by the r'ling owers of both nations in transit. *s the Cold 1ar drifted toward its concl'sion, channels began to o en ' , and translations of oems and essays began to a ear. $erald 3anecek, 3ohn +igh, and many other editors and translators began to establish an awareness of "oviet oetry within the *merican avant!garde, b't it is a slow rocess that still contin'es. ,he artists and writers in this exhibition are, for the most art, of the 2rst generation to come of age d'ring or after the colla se of the "oviet <nion. ,his generation has taken it ' on itself to be roactive and intentional in how to navigate this f'ndamental resh'f=ing of their c'lt'ral contexts. ,he #'ssian!lang'age 5o'rnals whose contrib'tors are re resented here7Slova &(1ords(), Drugoe polusharie &(*nother +emis here() and Chernovik &(>raft()7consistently 'blish works in translation between #'ssian, English, and many other lang'ages, and are vital to efforts thro'gho't the world to res ond this generations!long historical divide in ways that are ethical, innovative, and intelligent. ,hey are making the most challenging and rigoro's 'ndergro'nd tho'ght and creation in both the #'ssian!s eaking and the English!s eaking world available to each other, often translating work that is still obsc're and ioneering

even its native environment, sometimes a

'blishing translations before a

iece has

eared in its original lang'age. ,his is to say that these 5o'rnals are not mere 2lling in

c'lt'ral ga s/ they are actively sha ing the resent and f't're of the international avant! garde in ways that were 'nforeseeable a co' le decades ago, on either side of the Cold 1ar. 1e do well to regret the co'ntless lost o ort'nities since the s lit in the avant! aths ex lored, two garde took lace/ b't what strikes me at this historical moment is rather the promise that o'r sit'ation may hold for its f't're. +ere we have two sets of shared and develo ed and a converging contexts and disco'rses, two sets of awarenesses and strategies that can be lied by co'nterc'lt'ral comm'nities as economic, ecological, social and olitical str'ct'res contin'e to dissolve and re!form in what seems likely to rove a dangero'sly accelerating ace. #'ssian avant!gardes, as %olomiets( essay indicates, 2nd themselves battling on two fronts: 2rst against the contin'ed intimidation and o ression that it is dif2c'lt, if not im ossible, for 's here to imagine/ second against the insin'ating all're of the 1estern *rt -arket now beginning to assimilate and coloni0e Eastern E'ro ean c'lt're. ,he second threat is one which, in the liberal comfort and safety it rovides, can be enticing and el'sive/ it is one which we in *merica have a great deal of ex erience in combatting, tho'gh o'r s'ccess has been mixed at best. ,he 2rst is one which, tho'gh 'nimaginable now, may be less so in two or three decades as civil liberties contin'e to give way before the im osition of a s'rveillance state/ at this oint we, o'r o'r s'ccessors, may well be thankf'l for the dialog'e that is only now beginning. ,his dialog'e itself contin'es to bear the scars of the E'ro ean co'ntries to the contin'ed legal ast. ,hese scars are co'ntless, from the dearth of ='ent #'ssian!s eakers and translators in *merican and ersec'tion of #'ssian artists of which %olomiets writes. One res'lt of the latter condition is a vibrant conversation in which dynamics of (s eaking( and (not!s eaking( are bl'rred and ?'estioned, in order to carry

o't constant constant acts of comm'nication that defy legalistic classi2cation, which do not re?'ire (meaning( of the tangible kind that can be offered ' as evidence or twisted to serve an ideology. +ere again we ret'rn to *semic writing, and to mail *rt as a way to interact with colleag'es thro'gho't the world while avoiding 'blic dis lays that wo'ld lead to legal harassment or ersec'tion. In all of this, the otential of which I am s eak is not a f'sion, m'ch less an absor tion, of two de2nitive (avant!gardes(. ,here is no single (#'ssian *vant!$arde( any more than a single (E'ro ean( or (*merican( avant!garde. 1hile we were re aring the exhibition, my #'ssian co!c'rator, $leb %olomiets &see his essay following this Preface) re eatedly stressed to me this heterogeneity: the #'ssian avant!garde cannot be s'mmari0ed or l'm ed together, adheres to no common ideological banner, no 'niversal disco'rse or a roach. ro riately referred to as a network; it *s mentioned, the avant!garde has been a

is not a (thing( b't is heterogeneo's by nat're, and it is from this that it draws its disr' tive and transformative ower. If we seek to bring abo't revol'tionary change within the avant! garde, and th's in life, we will do so not by some single e och!making stroke, b't in the form of concrete, extended collaboration between h'ndreds of small gro' s and individ'als in do0ens of co'ntries, interacting and intersecting in a tho'sand different directions. It has always been th's. 1hat has been 'ni?'e abo't the sit'ation of the avant! garde d'ring the six decades of m't'al alienation between "oviet and non!"oviet creative comm'nities is that whole swaths of the avant!garde were arti2cially sliced o't of this network and segregated, on one side of the divide or the other, for generations. It is a sit'ation which has been tragic in its reali0ation, b't which offers n'mberless otential f't'res. +ow we all res ond to this sit'ation, which seeds we choose to n'rt're and which we allow to lie 'n lanted, shall lay a large role in determining o'r generation(s legacy.

The Contem3orar& Russian Avant-)arde4 Bet#een (rison and Formalism
by $leb %olomiets The goal of this essay is to give one of many possible interpretations of the interaction between the contemporary e"hibit# One co'ld call the @Criminal Code of the #'ssian .ederationA and @#'ssian .ederation Code of *dministrative OffensesA the reference books of contem orary #'ssian artists. 4efore making hisBher artwork &or afterward), they m'st cons'lt these books in order to reali0e how many laws they have violated and how long their rison sentence wo'ld be were olice to consider the work signi2cant eno'gh to start the machine of ractice in contem orary #'ssia consist in the lied differently to vario's eo le &it lication of a law to the case: the wordings of many @5'sticeA. ,he s eci2cs of the 5'ridical selectivity and arbitrariness of the a ussian avant!garde and its social conte"t# This essay voices only the author$s opinion which could differ from the opinions of the artists shown on the

laws are inter reted broadly and co'ld be a

de ends on their social stat's and roximity to the a'thorities). ,here is a whole s ectr'm of laws that are dangero's for artists. Let 's s eak abo't them one by one. - Article ./. Extremism ,he infamo's :C: article of the #'ssian Criminal Code @Incitement of +atred or Enmity, as 1ell as *basement of +'man >ignityA im oses the 2ne of D;;,;;; r'bles E or rison sentence for ' to F years for @actions aimed at the incitement of hatred or enmity, as well as abasement of dignity of a erson or a gro' of ersons on the basis of sex, race,

Between $14,000 and $15,000 U.S. Dollars as of February, 2014.

nationality, lang'age, origin, attit'de to religion, as well as af2liation to any social gro' , if these acts have been committed in 'blic or with the 'se of mass mediaA :. *nd here we 2nd an es ecially do'btf'l conce t of a @social gro' A. 1hat is a @social gro' AG ,here is no de2nition for it in the Criminal Code, so 5'dges inter ret this conce t broadly. One can label olicemen, fascists, and, of co'rse, of2cials who steal money from the b'dget of #'ssia as @social gro' sA. *ny critical generali0ation and any negative a a raisals) can become a ca'se for the initiation of raisal &I think there is no need to rove that art often deals with critical generali0ations and negative roceedings on *rticle :C:: for exam le, the co'rt can convict a olitical artist for his criticism of a government, a

feminist artist H for her criticism of male cha'vinism, an artist who draws a caricat're of a oliceman H for the @incitement of hatred or enmityA of olicemen, an artist who rotests against homo hobia H for the incitement of hatred of homo hobes. ,hat is why the article :C: is a cho lied to artists more fre?'ently than others. One of the earliest recedents is the trial against *vdey ,er!Oganyan, who lied for olitical asyl'm in C0ech #e 'blic and

ed Orthodox Icons with an axe d'ring his erformance @Io'ng *theistA in EJJC.

1itho't waiting for the sentence, he a left #'ssia.K

Oleg -avromati, artist and director, was forced to leave #'ssia in :;;;. ,he ca'se of rosec'tion was his erformance @>onLt 4elieve Io'r EyesA: the artist, ' on whose back the hrase @ILm not a son of godA was written, was cr'ci2ed near the Cathedral of Christ the "avior, which also became a lace for a scandalo's erformance of the art!gro' @P'ssy #iotA &we will talk abo't them later). -avromati was charged with extremism and was forced to immigrate to 4'lgaria before the sentence.M
2 '

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,he exhibit @1atch o't, #eligionNA, which took lace in *ndrei "akharov -'se'm and Comm'nity Center for .reedom, Progress and +'man #ights in -oscow three years later, rovoked another scandal. 1orks incl'ded in the exhibition ro'sed indignation among Orthodox believers, who attacked the exhibition several times and damaged some of the works exhibited. 6ext, the trial against 3'ri "amod'rov and L'dmila 9asilovskaya, c'rators of the exhibit, was anno'nced. It 2nished with de lorable res'lts: "amod'rov and 9asiloskaya were obliged to ay a 2ne of E;;,;;; r'bles.DF In :;;O!:;E; "amod'rov became the acc'sed once again, the ca'se for this trial being an exhibition of @.orbidden artA &"akharov -'se'm, :;;F) c'rated by him and art historian *ndrei Erofeev. ,he co'rts declared the exhibition extremist &signs of incitement of the religio's hatred was fo'nd in the works), and the c'rators were obliged to ay a 2ne of ED;,;;; r'bles.OC In the cases I have 5'st observed, the acc'sed are eo le who are somehow or other tied with the #'ssian establishment/ they have wide connections, an o ort'nity to emigrate from #'ssia, and therefore it is do'btf'l that the si0e of these 2nes, which is vast from the oint of view of most #'ssians, im aired their f'nds greatly. ,hey are l'ckyN ,he sit'ation is m'ch worse when the article :C: is a no c'shion of social safety. *nton Evstratov, the :E!yearold st'dent from 9orone0h, fo'nd himself in the risonerLs box in :;E;. ,he ca'ses of the trial were his Islamist oems and essays 'blished on the Internet. Evstratov was convicted to robation of two years.J In the October of :;EK, "ergey L'nev, a :;!year old man from Orenb'rg, was convicted to :C; ho'rs of .orced Labor for 'blishing his oem in a social network. ,he Between $2,500 and $',500 U.S. Dollars as of February, 2014. Nataliya Rivo, Konstantin Rubakhin. Draw"n! boundar"es. (ost%so)"et #ontro)ers"es on #onte$porary art *ultura, 4 200&. + pp. 5%2. & 3ppro4"$ately $4,'00 "n U.S. Dollars as of February 2014. 5 http: www.the$os#owt"$es.#o$ $ob"le art"#le$l 6 http: www.)est") 7"dnews822229news#at85

lied to the ordinary citi0ens, who have


co'rt fo'nd that the oem showed signs of incitement of a racial enmity.E; *nd these are only two exam les of the many. -oreover, it is almost im ossible to ascertain how many literary or vis'al works have been bro'ght to trial. I have no do'bt that most of s'ch cases are not covered by the mass!media beca'se of the low social stat's of the defendants. -ost #'ssian 5o'rnalists and h'man rights defenders do not care for @cattleA, 'nless there is an o ort'nity to 'se them as a olitical tool. . 0nsanctione) "allies *mendments to the law @On *ssemblies, #allies, >emonstrations, Processions and PicketingA and to the #'ssian .ederation Code of *dministrative Offenses, which were a roved in :;E:, as far as I know, have yet to affect #'ssian artists, b't there are no g'arantees that they will not affect them soon. ,he fact of the matter is that the wording of the amended law obliges #'ssian citi0ens to inform the a'thorities abo't any meeting of more than one erson EE. Ies, this is not a mis rint, and the translation of this assage is correct: in #'ssia yo' are breaking a law even when yo' sto on the street to talk with yo'r friend or sim ly take a walk with yo'r family. Of co'rse, any collective erformance also falls 'nder this wording. I s' tr'ly in2nite. .or exam le, in :;EE and :;E: olicemen dis ersed 0ombie arades in -oscow and Omsk res ectively. ,he organi0ers of the arades, ordinary citi0ens, were arraigned.E: In :;E: "aint!Petersb'rg olice dis ersed a @Pillow 2ghtA =ashmob, organi0ed by ose that the rimary goal of these amendments is the re ression of rotests lication are on the streets, b't the 5'ridical ractice shows that the ossibilities of their a


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enth'siasts thro'gh the social networks. ,he co'rt obliged them to ay large 2nes.EK In the next year and in the same city, a s ecial 'nsanctioned snowballing. organi0ed by artistsG -5 Slander5 *rticle :C: of the Criminal Code made any criticism of @social gro' sA im ossible, b't in :;E: #'ssian government also took away the right to critici0e individ'als. In this year the law on slander was to'ghened and it became a criminal offense. *ccording to the *mendments, @"lander, that is the s reading of deliberately falsi2ed information that denigrates the hono'r and dignity of another erson or 'ndermines his re 'tation, PQR contained in a 'blic s eech or in a 'blicly erformed work, and mass!media libel, shall be 'nishable by a 2ne in the amo'nt of E;; to :;; minim'm wages PQR or by com 'lsory works for a term of E:; to EC; ho'rs, or by corrective labo'r for a term of one year to two years, or by arrest for a term of three to six months.A.ED In other words, an artist or a director who critically ortrays, for exam le, a olitician, can s'ffer cr'elly for his work if he has no 5'ridical roofs of his ethical oint of view. 25 O6scene lan)ua)e in mass-media #'ssian avant!garde artist, writers and oets often 'se obscene lang'age in their works. ,ransgression of the lang'age taboos, one of ty ical feat'res of #'ssian art of EJJ;s, is still in 'se. ,he amendments to the law on mass!media, a mass!media.
14 EM

olice s?'ad dis ersed erformance

1ho can give g'arantees that

olicemen will never attack a

roved in :;EK, made

it im ossible to 'blish or demonstrate any artworks containing obscene lang'age in the

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75 (ro3a)anda of 8omose$ualit&5 ,he amendments to the law @On Protecting Children from Information +armf'l to ,heir +ealth and >evelo mentA and to the Code on *dministrative Offences a :;EK , forbid the creation of any owners of a website on cinema:;. 95 An insult of the reli)ious feelin)s *mendments to the article EMC of the Criminal Code, a society and committed with ex ress roved in :;EK :E, im ose a enalty of a 2ne or rison term of ' to three years for 'blic actions, clearly defying the 'r ose of ins'lting religio's feelings. ,he biggest roblem concerning this law is that there is no clear de2nition of @religio's feelingsA in the Criminal Code. ,here have been no trials relating to the article EMC, b't any #'ssian know that any 'nwary word abo't religion, or even tied to religion in any sense, co'ld lead him to rison. +5 8ooli)anism ,he Criminal Code describes hooliganism as @a gross violation of the 'sed as wea ons/ b) by reason of 'blic order manifested in atent contem t of society and attended: a) by the 'se of wea ons or articles olitical, ideological, racial, national or religio's

roved in

ositive images of homosex'ality. ,rials have been

initiated against L$4,!activistsEO, a man'fact'rer of toysEC, ED!year old schoolgirlEJ and

12 1&

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hatredA:: or @by reason of hatred or enmity to any social gro' A :K. ,he acc'sed in the act of hooliganism can be 'nished by large 2nes or im risonment for ' to 2ve years. *rticle :EK often becomes a latform for criminali0ation of #'ssian art. *rtists have been rosec'ted 'nder this article more than once. ,he best known recedent is the conviction of -aria *lyokhina, 6ade0hda ,olokonnikova and Iekaterina "am'tsevich, members of the @P'ssy riotA art!gro' . On the K rd of -arch :;E: they staged the erformance @-other of $od, Chase P'tin *wayNA in the Cathedral of Christ the "avior, one of the largest orthodox cathedrals in -oscow. -embers of the @P'ssy #iotA were charged with hooliganism @by reason of religio's enmityA and convicted to two years of im risonment.:M ,here are also less well!known recedents: for instance, the arrest of Leonid after the olice cars was t'rned ' side 6ikolayev and Oleg 9orotnikov, members of @9oinaA &1ar) art!gro' erformance @Palace revol'tionA d'ring which several

down. 9orotnikov and 6ikolayev were charged with hooliganism by reason of @hatred or enmity to the social gro' A & olicemen) and then were released on bail only in :;EE, after s ending M months 'nder arrest. In the same year 9orotnikov was detained for assa'lting a olice of2cer at an 'nsanctioned olitical rally for the freedom of assembly. "hortly after, he was released and went into hiding, b't in 3'ne of :;EE he was added to the international wanted list, so he was forced to leave #'ssia in the end of :;E: or in the beginning of :;EK.:D Petr Pavlensky, another artist charged with hooliganism, was street erformance. On the E;th of 6ovember :;EK he a rosec'ted for a eared on the main s?'are of

both -oscow and #'ssia itself H #ed "?'are H and, as a sign of rotest against the a athy

http: le!"slat"onl"ne.or! do#u$ents se#t"on #r"$"nal%#odes #ountry & Ahe translat"on "s $"ne. Unfortunately, > ha)enBt found th"s passa!e "n the 0n!l"sh translat"ons of the @r"$"nal @ode, but "t e4"sts "n the or"!"nal )ers"on. 24 http: en.w"."ped"a.or! w"." (ussy/,"ot 25 http: en.w"."ped"a.or! w"." ?o"na

of the #'ssian eo le and the @ olice stateA, nailed his scrot'm to the avement. Charges were 2led against Pavlensky, he was charged with hooliganism, b't fort'nately the hearing was cancelled.:F I wo'ld like to em hasi0e once more that the mass!media, which are the so'rces for this verview, cover only the cases that seem most im ortant for the 5o'rnalists or those who ay them money. ItLs ossible that h'ndreds or even tho'sands of #'ssian citi0ens have become s's ects or been convicted for works of art made by them d'ring recent years. *nyway, these laws and recedents are the ob5ective facts forming the resent and f't're environment of #'ssian art. In s'ch a sit'ation an artist m'st always act circ'ms ectly in order to kee o't of 5ail, or even to obey the law. "o, I think it wo'ld not be an exaggeration to say that #'ssian law has made any critical statement made by an artist im ossible, thereby blocking any not want to know what artists are thinking abo't it. -aybe this is the best ex lanation for the fact that the contem orary #'ssian avant!garde, having no ossibility to direct its criticism on the real world, on the life s'rro'nding it, t'rns to the criticism of art itself. S S S henomenon. It ossibility of dialog'e between an artist &or art) and society. It seems that #'ssian society sim ly does

,he contem orary #'ssian avant!garde is a heterogeneo's

incarnates all of the ty ical feat'res resent in #'ssian life: atomi0ation, xeno hobia, over! instit'tionali0ation and conformism. 6owadays the #'ssian avant!garde is s lit into n'mero's isolated segments and movements, which are s reading like concentric circles

http: www.the!uard"an.#o$ world 201' no) 15 art"st%s#rotu$%red%sCuare%#har!ed% hool"!an"s$%petr%pa)lens.y http: news 201' 11 11 return

from the oints of concentration of ower and wealth: galleries, f'nds, ri0es, the -inistry of C'lt're, the totalitarian <nions of *rtists, or conservative, liberal and radical ideological associations. ,his exhibition shows the works of the a'thors from the o'ter circle of #'ssian avant!garde. ,his o'ter circle is not connected with of2cial instit'tions, virt'ally 'nre resented in the mass!media, and seldom showed in galleries. Collectors rarely b'y the works of these artists, and they are never 't ' for a'ction, so these artists for a o 'lating the o'ter n'mber of reasons &some of them com 'lsory) refer to their art as non!commercial. ,he distance from the o'ter circle to the center shows that the artists circle treat art not as rofession or the ideological state a and arat's, b't as a olitical, social roaches to art in

ersonal lifestyle. +owever, these artists do not form a single front, a single art

movement, so I think it wo'ld not be wrong to say that the n'mber of a

this exhibition is e?'al to the n'mber of the exhibited a'thors &and I ex ect that most of the artists will disagree with my inter retation of their art). "o, a general text abo't the ro erly artistic com onent of the exhibition can give only vag'e, abstract descri tion of the works. It sho'ld also be noted that some of the exhibited a'thors live o'tside of #'ssia. I'li Ily'schenko and %atya "amig'lina live in 4elar's, *lexander -otsar H in <kraine, *lexander Ocheretyansky and *lexander $al er H in the <"*. +owever, they all artici ate in #'ssian c'lt're. % % %

*s one can infer from the receding review, #'ssian artists who cannot enlist the s' ort of h'man rights defenders, 5o'rnalists and ex ensive lawyers &i.e. are not members of the #'ssian establishment or not connected to it by friendly or familial links), risks being 5ailed any time they show their artwork, and it is a risk which cannot be acce ted by every artist. *n artist m'st eval'ate the form and the content of his work caref'lly and ca tio'sly

in order to make s're that it will not draw the oliceLs attention. Perha s this can serve as an ex lanation for #'ssian avant!gardistsL commitment to formalist themes, styles and techni?'es. *rt, revented from t'rning toward o'ter world, t'rns on itself. ,he contem orary #'ssian avant!garde shown in this exhibition is directed 2rst of all to form. .ormalism 'ri2es a work of art from everything o'ter H context, a'thor, history and reality itself. *nd the criticism of forms remains the only ossibility for the im lementation of the destr'ctive otential of art, that s eci2c form of destr'ction which is able to change the world beyond recognition. ,he confrontation between 2g'rative and abstract vis'al art is still to ical for #'ssian art &a ortion of #'ssian a'dience and art!critics are still not ready to admit that the @4lack "?'areA by %a0imir -alevich is act'ally a work of art). "o the works by -ikhail T 6ikolay 9yatkin, "veta Litvak and *lexander Ocheretyansky contrib'te to this confrontation. #elying on the considerable tradition of the avant!garde of the early :;th Cent'ry H Constr'ctivism, 8a'm, "' rematism, >adaism H they broaden the s ectr'm of criticism of classical and early modernist forms of ex ression. Lettrism, Conce t'alism and 9is'al Poetry have obvio'sly in='enced and contin'e to in='ence the #'ssian avant!garde. In the work of 1illy -elnikov, *lexander -otsar and Edward %'lemin text becomes an a'tonomo's artistic henomenon, sometimes c't off from its readable content and sometimes commenting and broadening the textLs content into 'niversal conce ts, which give birth to an a'tonomo's artwork and gives g'idelines for inter retation. *semic writing, the genre that reaches the limit of the criticism of 6at'ral Lang'age and enco'rages the m'lti lication of inter retations, is becoming increasingly o 'lar amongst #'ssian artists. ,he idea of creation of texts that are able to contain whole worlds of meaning at once, is one of the conce t'al bases for works by Edward %'lemin, "veta Litvak, Evgeniy 9. %haritonov, *lexander Ocheretyansky, I'li Ily'schenkso and %atya

"amig'lina. ,he two latter artists live in 4elar's and artici ate in the #'ssian and world art from their own social and olitical context. I think this can be a good ex lanation of the fact that their art has an ex ressive tendency to bridge the ga between life and art ty ical of the #'ssian avant!garde. In their works they t'rn to the facts of real life and even 2nd a way to 'se asemic writing as a wea on of olitical str'ggle &see their @-anifesto of the *semiс InternationalA). % % % erha s

,he t'rn toward the world of ideas and forms is a factor that one can

detect in all the works in the exhibition. "'ch a tendency is wides read in the world and in #'ssian art of the :; th and :Est cent'ries. +owever, when the conversation t'rns to the contem orary #'ssian avant!garde, one can 2nd the distinctive backgro'nd of Idealism and .ormalism. -ost of the artists from the o'ter circle of the avant!garde are ad'lt, older eo le. It is my estimation that their average age is a dangero's occ' ation than it is nowadays. Im risonment and com 'lsory treatment in a mental instit'tion were the wides read forms of re ression of the artists in "oviet <nion. In EJF:, the government la'nched the cam aign against formalism and abstractionism in art, and many artists &for exam le, -ikhail "chemyakin, who is one of the most res ectable #'ssian sc'l tors today, or >mitry Prigov, a key 2g're of #'ssian conce t'alism) were forced to ass co'rses of @treatmentA in mental instit'tions. "ince that time the ref'sal to de ict reality @as it isA and ex loit social themes in art, has became a form of rotest against the government. *nd 'ntil the crash of <""#, the government treated s'ch rotest serio'sly and reacted to it roximately D;!DD years. ,heir creative mat'ring fell d'ring the years of "oviet government, when art in #'ssia was an even more

with all its cr'elty and ra idity. It seems that this tradition of resistance is still develo ing in the works of the contem orary avant!gardists, des ite the changes in social and olitical circ'mstances in #'ssia. Iet, there is a hidden olitical com onent in the a arent olitical indifference of ositively c't off from the the contem orary #'ssian avant!garde. ,he abstract forms,

reality, narrate the loss of the olitical str'ggle and the tri'm h of a athy over the creative forces of the society. ,he exhibition silently ex resses the intolerability of the loss in the 2ght for resort. &'leb (olomiets olitical freedom and social 5'stice, lest the world of ideas become oneLs last

Asemic International4 The %anifesto
by I'li Ily'schenko T %atya "amig'lina

E. *semic International is an international revol'tionary organi0ation that 'nites forces to 2ght against any b'rea'cracy, any system of lies and total control, any ine?'ality and in5'stice in the ca italist world. :. *semic writing is a means of de!b'rea'crati0ation and sho'ld be 'sed as s'ch. Even today, there is a necessity to 'se it everywhere: at work and in a rally, while 2lling in 'seless forms and answering st' id ?'estions in writing, in co'rt, in 5ail and even at the mental hos ital. K. *semic writing is a reasonable answer to 'nreasonable b'rea'cratic relationshi s and 'nreasonable demands to eo le of vario's ind'stries, economic conditions, skin colors, gender, religions, and beliefs. M. Every worker can become a member of *semic International. .or this, itLs necessary to start 'sing asemic writing whenever they re?'ire that yo' do something beyond yo'r ca abilities, that yo' act against yo'r conscienceand obey to their idiot directions with no ?'estions, that yo' testify against yo'rself andBor yo'r relatives andBor yo'r friends andBor yo'r ac?'aintances andBor yo'r colleag'es andBor any re resentative of the working class 5'st like yo'. D. Every artici ant of >*-P, can become a member of *semic International since >*-P, behalf. F. *semic International declares asemic writing to be not art b't a means of revol'tionary str'ggle, a means to '00le all managers and s' ervisors, exec'tive and 5'dicial a'thorities, a means to destroy the relationshi model of s' erior! s'bordinate and ca italist!slave. O. Vali) 1or the "ussian2speaking countries3 ,he members of *semic International artially meets the *semic International re?'irements and acts on its

demand that the workers in all the ind'stries, be they rod'ction or intellect'al s heres, the workers of the lowest levels and dirtiest 5obs, all the workers whose work is val'able to any extent, be renamed from @работникиA &note H this #'ssian word has the connotation of slavery) into @трудящиесяA &note H this #'ssian word 'nderlines the dignity of work). ItLs time to abolish this markerN ,h's, every member of *semic International is a @трудящийся.A C. Every child who scribbles and draws illegible signs in res onse to the teacherLs gibberish is 'nconscio'sly 'sing asemic writing and therefore is a member of *semic International. J. *semic writing is a reasonable answer to all o 'list s eeches, all constit'tions and all the strongholds of ca italism, lies and total control. It is im ossible to o ress and eliminate something with no clear borders,incom rehensible, dynamic, and inde2nite. E;. ,he members of *semic International 'nderstand that asemic writing in the new world, in the classless society of fair and e?'al relationshi s with no racist s' erstitions, with no ca italism, b'rea'cracy and cens're, with no o can exist. The Manifesto re)uires no names, signatures, identi*cations, strict obligations and vows, charges and reports# Those who want to +oin ,semic -nternational bear any obligations whatsoever only to themselves# .e welcome continuous addition and amendment of the Manifesto stipulations if it doesn$t contradict its core ideas / the *ght against bureaucracy, oppression, racist superstitions, patriarchy, phobias, and capitalism# Translation of the %anifesto into other lan)ua)es and its distri6ution all across the #orld are #elcome: ression of individ'ality and freedom, will again become art, for only in s'ch a society the art

"$hi6ited (oets and Artists
Semen Andreev &EJCC, <hta, #'ssia H :;E:, <hta, #'ssia): *rtist, fo'nder and member
of the @>ecadent 3amA m'sical ro5ect. Exhibite) !ork 45 $ergay %avlovsky3 'oodbye, Communism0 &"hort .ilm)

Dmitr& Ba6en o was born in EJO;. In EJJF he grad'ated from the .ac'lty of *rt and
,echnical $ra hics of the %'ban "tate <niversity. +e has taken art in -ail *rt ro5ects since EJJM. ,he basic s heres of his creative activity are -ail *rt, 9is'al oetry, and *rtists( 4ooks. +is solo exhibitions incl'de U,he life and rhymes ...U &%rasnodar, #'ssia, EJJF), @Piscinacom'naleA &-ilano, :;E;) T Piscinacom'nale, &-ilano, :;E:). $ro' Exhibitions incl'de: the 1oot!ware 1estival in 4'da est +'ngary, 2isual 3oetics4 ,rt and the .ord at the -iami *rt -'se'm, The 1irst ,semic 5"hibition in ussia, 1lu"us 6ives There, and many others. +e has 'blished in Chernovik &#'ssia), 700 8one &<"*), and has been feat'red in -argaret "he erd(s 6earn .orld Calligraphy, Leonid Pronenko(s Calligraphy for 5veryone, and the recently 'vlished 6ast 2-S37 ,nthology4 2isual 3oetry 9::;!<==;# Exhibite) !orks3 Page from the book, Surf4 Thrash 3oem on Shozo >ead &"ilkscreen) Te"t &,ri tych, *crylic on 4oard)

Denis Beznesov: 4orn in EJCC. 1orks in the International >e artment of the #'ssian
"tate ChildrenLs Library and as an editor at O$I P'blishing +o'se. Poems and ,ranslations from English &>avid $ascoyne, +'gh "ykes >avies, Peter 1a'gh etc.) and from " anish &3ose -aria +ino5osa, .ernando *rrabal, -an'el *ltolag'irre etc.) have been 'blished in vario's almanacs and 5o'rnals s'ch as 1uturum , T, Dety a, Translit, 2ozduch, >omo 6egens, (reshatik etc. *rticles abo't #'ssian and foreign literat're have been 'blished in

?ezavisimaya gazeta &news a er s'

lement @Ex LibrisA), 5o'rnals ?ovy mir, 2olga, etc.

P'blished two!vol'me edition of the #'ssian oet ,ychon Ch'rilin &in collaboration with *rsen -ir0aev/ Т.Чурилин. Стихотворения и поэмы. В :!х тт. H М.: Гилея, :;E:) and a book of translations of 9irgilio PiVera &В. Пиньера. Взве енный остров. H М.: !Г", :;EM). Partici ant in several #'ssia. Exhibite) !ork3 'lasseyed 3ipe &Cha book) oetical and translational congresses inside and o'tside

!ristina "le oeva4 I was born in EJOJ in Ekibast'0. I donLt know when and where ILll
die. Exhibite) !orks3 2erses &9ideo #eading)

Ale$ Gal3er was born in %iev, <kraine and has been writing oems and short stories
since he co'ld remember. Immigrating to *merica at the age of EJ did not change it/ to the contrary, ma5oring in Creative 1riting at 4rooklyn College and being mostly in='enced by *merican oets created a f'sion of #'ssian essimism, 3ewish h'mor and 1estern literary traditions and hiloso hy. ,ranslations of his oems a eared in over K; maga0ines in the oet whereas <"* and the <%. In his homeland, he is considered a c'lt 'ndergro'nd erotic imagery, and being Utoo *mericanU. Exhibite) !ork3 ,utocrats, 'ods ,?D 1aggots &cha book)

mainstream #'ssian literary maga0ines ignore him for l'ck of res ect for rhymes, heavy

Tim Gaze &*<) is trying to 2nd forms of writing which can comm'nicate beyond
lang'age, T beyond al habets. +is book of glitch :;;C by *rr'm Press &.inland), oetry, SnoologyS, was 'blished in

http: www.lulu.#o$ contentBKOKODEM, which is free to
oetry. SExeter +otel so'nd

download. In :;;J, he is recording some sim le so'nd

oetryS was released in -ay :;;J by -oscow internet!label *nother +emis here #ec,

http: www.$yspa#e.#o$

anotherhemis hererecnetlabel, which is also free to 'blished in literary 5o'rnals in many arts of the

download. Other works have been

world. -'sic s'ch as d'bste , d'b reggae T "o'th *frican %waito. Exhibite) !ork 45EugeneKha 6Evgenij Kharitonov73 ,S5M-C@-,?T &9ideo Poem)

;uli Il&uschen o4 4orn in EJCD in -ogilev &4elar's). *'thor of K books of avant!garde
oetry. >evotes artic'lar attention to contem orary #'ssian radical art, =arf oetry, google oetry and *ctionism. *n organi0er of oetry events in -ogilev and -insk. "$hi6ited <or s4 3oem Moscow &*idio Poem) 45 Katya $amigulina3 ,semia -nternational Manifesto ,semic Tables &-anifesto T ,ext) ,semic .riting on Sawn 3ine &Performance >oc'mentation) .riting in the .oods &Performance >oc'mentation)

"v)eni= *5 !haritonov4 Poet, -'sician &E'gene%ha, Ioko *bsorbing, atc.), 1riter,
"o'nd and vis'al artist. +e was born in EJFJ in -oscow. +as got hilological ed'cation, the a'thor of n'mero's literary 'blications and many books, works in 5o'rnalism. ,he 'blisher and the editor of maga0ine of literary and art avant!g'ard U>r'goe Pol'sharieB*nother +emis hereU, the c'rator of .estival of ex erimental art ULa a *0oraU. "ite: htt :BBacademia!f.blogs ot.r'B Exhibite) !orks3 9A 2isual 3oems 'B'BD,D, &9ideo Poem) <ntitled 9ideo Poem 45 8im Ga'e3 ,S5M-C@-,?T &9ideo Poem) Contact: dr'g ol'sharWyandex.r'

Inna !irillova: Editor and reviewer of X"lovaL 5o'rnal, dramatist. "he was born and lives

in "molensk, #'ssia. "he lect'red in a college of arts. "he is a 2 nalist of the @6onconformism !:;E:A literary ri0e. "he was a c'rator of @,he 2rst asemic exhibit in #'ssiaA &"molensk, :;E;), the exhibition of works from @,he Last 9is oA anthology &"molensk, :;E;) and exhibition @>avid Chirot in "molenskA &:;EE). Exhibite) !ork 45 Gleb Kolomiets3 ?ew >amlet &Cha book B >ramatic "cri t)

Gle6 !olomiets4 4orn in EJCF in ,'la, #'ssia, lives in "molensk, #'ssia. *'thor of
2ction, oems, essays and scienti2c a ers. C'rator of M exhibitions of avant!garde art. ,echnical editor of the 5o'rnal Slova, which is dedicated to radical and avant!garde tendencies in contem orary literat're, art and hiloso hy. Exhibite) !orks3 Slova, C Iss'es. &3o'rnal, as Editor) 1orgotten ,vant!'arde Seres4 Selected ,rtworks by obert 1ludd &Cha book, as editor) The Contemporary ussian ,vant!'arde4 @etween 3rison and 1ormalism &Essay, Exhibition Catalog) 45 Inna Kirillova3 ?ew >amlet &Cha book B >ramatic "cri t)

"d#ard !ulemin was born in EJF;, Iaroslavl &#'ssia). In EJCM, he grad'ated from the
-oscow Power Engineering Instit'te. +e is an artist, oet, and an a'thor of many realised and 'nrealised ro5ects &texts, aintings, art ob5ects, installations, erformance, vis'al oetry, video art, of * hotogra hy, book!art, mail art). +e has organised vario's artici ated in many art exhibitions and festivals. +is books

comm'nication creative societies7%EP6O", $ro' of <nknown *rtists, "molensk "chool ologists, etc7 and incl'de @-t seems to have begunC &EJJM), @7dnohu+stvenny BlyssesC &EJJD), @@y the arti*cial wayC &EJJC), Multimatum&:;;:) and others. Exhibite) !orks3 3oems of a Cash egister &EM 9is'al Poems) 1ill!-n &Partici atory Poetry Pro5ect)

6ive Dournal &Performance >oc'mentation) oll!Bp &Performance >oc'mentation) This is 2isual 3oetry &cha book) Multimatum &cha book) K *rtistam "heets <ntitled Postcard

Sveta Litva was born in EJDJ in %ovrov. "he is a grad'ate of the Ivanovo *rt Instit'te.
In -oscow she has worked in the "oviet *rmy ,heatre as a scene! ainter. +er work has a eared in a n'mber of exhibitions of yo'ng artists and in EJJJ she had her 2rst one! oet well!known in literary 'ndergro'nd, member of -oscow cl'b man show. "L is a

3758-,. "he is a member of the -oscow 1riters <nion. In EJJF, with 6ikolay 4aitov, she fo'nded a literary cl'b for the erformance of oetry, this cl'b has won in the com etition of ro5ects, rod'ced by the O en "ociety Instit'te in EJJC. Litvak has 'blished fo'r collections: aznotsvetnye prokazniki Y-otley mischievo's childrenZ &EJJ:), 3esni ' ilZ &EJJM), (niga nazivaets+a Y4ook namedZ &:;;O), assagesZ &:;;J) as well as two oems have been Bchenika Y"ongs of a

@eznravstvennie kollizii i amoralnie passadgi Y*moral

rose books, My Dourney to the 5ast &EJJC) and That$s love &:;;:). "he is a reg'lar contrib'tor to 8namia, ,rion and many other maga0ines. "ome translated by *merican, English, "erbian and #omanian oets. "L iss'es a sami0dat

maga0ine of literat're and art. "he works in mail art, book art, vis'al oetry, video. "he taken art in several .estivals of contem orary art in #'ssia, <kraina, "erbia, Estonia, and #omania. Exhibite) !orks3 O <ntitled *semic Poems &>igital Prints) Cake &Performance >oc'mentation) D <ntitled Poems.

<ill& R5 %elni ov. 4orn in -oscow in *'g'st EJF:. $rad'ated from the -oscow
9eterinary *cademy, in absentia ! the -oscow ,heological "eminary. ,ook art in the lied *fghan war &EJCM!CD). *reas of Interest and Occ' ation: molec'lar biology, a

mathematics/ fractal solid geometry, astro hysics, m'sic, mythology of vario's c'lt'res, the history of architect're and 'rban landsca es, their relationshi with the man/ a'thor(s book, re=exology, caving, foreign lang'ages, art hotogra hy, oetry and... *ll that is born at the intersection of science and art ! a symbiosis of contrasts. ,he creator of a n'mber of art! oetry!genres: lingvogobelen/ ly'menoskri t/ com arative dragonogra hy, and oetic styles !m'ftolingva and intra!xeno!ling'a. >evelo ed a technic of treatment by lang'ages ! lingvotera y. +e s eaks abo't a h'ndred modern and ancient lang'ages. Partici ant of more than K;; mail!art ro5ects. Lives in -oscow. Exhibite) !orks3 ,nthology of 6emurian 3oetry &EE *semic >igital Prints)

Ale$ander %otsar: 4orn in EJOD. <krainian oet and novelist. C'rator of the online
version of the almanac Chernovik &>raft). ,ogether with I'ri $ik c'rated the international mail art ro5ect U MD years of #ay 3ohnsonLs school of corres ondenceU &:;;C) . 9ice ! President of the <krainian *cademy of 8a'm &*8'kr) . -ember of literary gro' >OO". Exhibite) !orks3 O 9is'al Poems &>igital Prints)

Ale$ander Ocheret&ans & was born in %iev, <kraine, in EJMF. +e grad'ated from the
Instit'te of C'lt're and worked as librarian. In EJOJ, he emigrated to *merica, where he has worked as a g'ard, salesman, and orter to make a living. In arallel he has been writing oetry, articles. "ince EJCJ -r. Ocheretyansky has been an editor and 'blisher of iteraryBvis'al almanac Chernovik. +e is c'rrently leaving in .air Lawn, 6ew 3ersey with his family. +e is the a'thor of C books of oetry, E book of oetry and short rose, and two books of collage. +is oems and vis'al works resented in many anthologies, maga0ines, almanacs, textbooks and exhibitions. +e is also the a'thor of the 4ibliogra hical Index

E6iterature and ,rt of ,vant!'arde

ussia F9;:= / 9:G=H, and co!a'thor of the two

vol'mes of reference and theory materials: 1orgotten ,vant!garde ussia# @eginning of the II! Century, and of the ,nthology of ,vant!garde 5poch# 3oetry# ussia# @eginning of II Century, and of a mini!*nthology of free style #'ssian oetry. Exhibite) !orks3 E; Pages from The Third @ook of Dapanese 6etters &>igital Prints)

Ser)e& (avlovs & was born in EJCF. Lives in <hta, #'ssia. +e writes contem orary
2ction, makes a'dios of short stories. Pavlovsky is a vocalist of olitici0ed ra core band @Pod sledstviem, st. :C;A &<nder investigation, article :C;). Exhibite) !ork 45$emen An)reyev3 'oodbye, Communism0 &"hort .ilm)

'estor (ovarnin/ artist. 4orn in EJOD in Irk'tsk. Lives in -oscow.
Exhibite) !orks3 : 9is'al!Poetry Envelo es

Ole) Razumovs & was born in "molensk, #'ssia. "erved in the 6avy. $rad'ated from
teachers( training school. .irst 'blications in 'ndergro'nd reviews The Third Modernisation, &#iga), Mitin Dournal, &"t.Petersb'rg), Chernovic &6ew Iork) and others. 4ooks by .ranc!,ire'r, <"*: >o!Chi!Min Trail, Merry 3ictures and others &in #'ssian). Literary ri0es: "tar Phall's &-oscow) and "ilver 4'llet &<"*). ,ranslations into 4'lgarian, >'tch and English. Exhibite) !orks3 "hort "tory

!at&a Sami)ulina. b. EJCC, lives in 4elar's. Poet, a'thor of asemic writings, member
of the Li ovy tsvet art gro' and %I< literary band. "he creates asemic writings, shamanic oetry, works in the (inner $oogle( style, and vis'al oetry was &htt :BBtae! 'blished ateh.live5o'rnal.comB). P'blications: @Cow(s death oemA

in ,ntipodes &EE.EE.:;EE) and -diot almanac &:;E:)/ *semic translations ro5ect was

'blished in Translit +o'rnal &-ay, :;EE) and ,ntipodes &:;EE)/

oems were


in Translit 5o'rnal &:;EE). "he is interested in a'tomatic writing, on the im act thro'gh oetry to closed 0ones of syche. ,hat is why she is so interested in rofo'nd themes: de ths of memory, de ths of history, the abyss of a erson(s mind. Exhibite) !orks 45 Yuli Ilyuschenko: ,semia -nternational Manifesto ,semic Tables &-anifesto T ,ext) ,semic .riting on Sawn 3ine &Performance >oc'mentation) .riting in the .oods &Performance >oc'mentation)

#ikhail Vyatkin3 oet and vis'al oet. 4orn in EJMJ, he lives in -oscow. -ember of
the <nion of #'ssian writers and the <nion of #'ssian 5o'rnalists. -ikhail has worked in abs'rd oetry since EJJC. .rom :;;K to :;;J he worked in the ost!abs'rd style. ,hen he ex erimented on connecting 6aive styles to >ada. In the last two years, -ichael has called his oetic ractice a UConversation of inner voicesU. P'blications: [Послеабсурда\ &М., :;;C), 5o'rnals: [#урналП!этов\, [$ети%а\, [Черновик\, [&утурум'%Т\, [$ру(оеполу арие\, [,ext only\, [Полутона\, collections of festivals of vers libre, etc. In vis'al oetry he works in collaboration with his son, gra hic artist 6ikolay 9yatkin. Exhibite) !orks 45 ,ikolay Vyatkin3 D 9is'al Poems &>igital Prints)

'i ola& *&at in4 artist and gra hic designer. 4orn in EJCO in -oscow. $rad'ated from
school of gra hic design &:;E;), grad'ated from the co'rse in U4ook Ill'strationU and .ree 1orksho s of the -oscow -'se'm of -odern *rt. +e has artici ated in more than thirty art exhibitions incl'ding the -oscow $lobal 4iennale of $ra hic *rt $olden 4ee &:;E;, :;E:), Mth -oscow 4iennale of Contem orary *rt, "t'dent*rtProm, -n the maze of a big shell, etc. In vis'al oetry he works in collaboration with his father, oet -ikhail 9yatkin. Exhibite) ! orks3 9 Visual %oems 6Digital %rints7 45 #ikhail Vyatkin3 D 9is'al Poems &>igital Prints)

The Outer Circle
Ideas and Forms of the Russian Avant-Garde

#arch :;<-= .>-? +iminal Gallery "oanoke= VA

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