Objects-3: Russian Street Art by Igor Ponosov

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Êíèãà «Objects» ðàäà âíîâü ïðèâåòñòâîâàòü ÷èòàòåëåé íà ñâîèõ ñòðàíèöàõ. Êàê è â ïðîøëûé ðàç, ñîäåðæàíèå íîìåðà áóäåò ïîñâÿùåíî îáçîðó èííîâàöèé â îáëàñòè ðîññèéñêîãî óëè÷íîãî èñêóññòâà è ñâÿçàííûõ ñ ýòèì ñîáûòèé. Îäíàêî íàñòîÿùåå èçäàíèå èçíà÷àëüíî çàäóìûâàëîñü êàê íå÷òî áîëüøåå, ÷åì ïðîñòî àëüáîì î ñòðèò-àðòå. «Objects» â êóáå — ýòî ïðîåêò, ñòàâÿùèé ñâîåé öåëüþ ñòèìóëÿöèþ òâîð÷åñêîãî ýêñïåðèìåíòà â ðÿäàõ îòå÷åñòâåííûõ óëè÷íûõ õóäîæíèêîâ, ïðèçûâàþùèé âûéòè çà ðàìêè äâóõìåðíîãî è «òèïîãðàôè÷åñêîãî» ñòðèòàðòà (ê ñîæàëåíèþ, äî ñèõ ïîð ïðåîáëàäàþùåãî â Ðîññèè), è íàïðàâèòü ñâîé ïîòåíöèàë â ñôåðó ñâîáîäíîãî èñêóññòâà, íå îãðàíè÷åííîãî ïîâåðõíîñòÿìè ãîðîäñêîé ôóðíèòóðû. Òàê, â ôîêóñå òðåòüåãî íîìåðà îêàçûâàþòñÿ íåïîñðåäñòâåííî òðåõìåðíûå îáúåêòû, à òàê æå îáúåìíî-ïðîñòðàíñòâåííûå êîìïîçèöèè, ñîçäàâàåìûå ðàçëè÷íûìè õóäîæíèêàìè íà óëèöàõ ãîðîäà — â ýòîì ïëàíå ñîäåðæàíèå êíèãè âïåðâûå îòðàæàåò åå íàçâàíèå íàñòîëüêî áóêâàëüíî. Áîëüøàÿ ÷àñòü îïóáëèêîâàííûõ ïðîåêòîâ ñîçäàíà ñïåöèàëüíî äëÿ íîìåðà, ïîñêîëüêó äëÿ áîëüøèíñòâà ïðåäñòàâëåííûõ â íåì õóäîæíèêîâ îáúåì — äîâîëüíî íîâîå ïîëå äëÿ ýêñïåðèìåíòà. Îäíàêî åñëè äëÿ îäíèõ ýòî — äåáþò, òî äëÿ äðóãèõ — âïîëíå ïðèâû÷íàÿ ïðàêòèêà. Ýòî îáóñëîâëåíî òåì, ÷òî ñåãîäíÿ íà ãîðîäñêèõ óëèöàõ Ðîññèè îðóäóþò õóäîæíèêè, âûøåäøèå íå òîëüêî èç ãðàôôèòè ñîîáùåñòâà, íî è èç äðóãèõ ñôåð — ýòî äèçàéíåðû, èëëþñòðàòîðû, òðàäèöèîííî «ãàëåðåéíûå» õóäîæíèêè ñîâðåìåííîãî èñêóññòâà è ò.ï. Îá èõ âàðèàíòàõ îðãàíèçàöèè ãîðîäñêîãî ïðîñòðàíñòâà íà ýòîò ðàç è ðàññêàçûâàåò «Objects».

"Objects" book is glad to welcome its readers. This issue content, like the previous one, is mostly dedicated to Russian street art innovation reviews and events in the street art community. But this issue was conceived as something more meaningful than an ordinary street art album. "Objects" cubed — is a project aimed to stimulate creative experimentation among Russian street artists, a call to overcome two dimensional and typographic street art, which is unfortunately dominant trend in Russia. Our goal is redirect artists potential into the field of free art unrestricted to the urban surfaces only. So, this third issue is focused on three dimensional objects and spacevolume compositions, created by various artists on the streets of the city. It's the first time when the title reflects the contents so literally. Most part of the content is created exclusively for this issue, because "volume" is a relatively new area to explore for the majority of the artists. It may be a first step for some artists, while others are more accustomed to it. Today the streets of the Russian cities are a workplace not only for graffiti artists but also for artists of other background — designers, illustrators, contemporary gallery artists. This "Objects" issue tells their views on organizing urban spaces.

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CONTENTS

“RUSSIAN STREET ART”, ARTICLE

010 “3D OBJECTS” 012.IGOR P. 016.ZACHEM 018.BIGOOD 020.TROP 022.183 028.APL 030.ZUEV 031.HOMER 032.0331C 034.HUDOY 035.MH 038.MOST 040.RENAISSANCE 041.INCUBUS PR. 042.PB 044.POLET 046.PPROFESSORS 048.SUMO 050.SY 053.RED BULL CO. 054.TSM 055.AZ 056.310 S. 058.DOPLUDO 060.FOKER 062.CHES 064.ZA KADROM

072 “3D EXHIBITIONS” 074.SKATE OBJECTS 080.STYKOVKA LUNOHOD-MASKS

115.VISUAL ART. 114.ZUK,SCISSOR 110.404 PHOTO 108.MOST 106.IK 104.SICKS 102.PB 100.INFLUX 098.310 S. 095.ZUK CLUB 094.INCUBUS PR. 092.UNPLATE 091.LIMITE 090.ARTEK 088.0331C

“ORIGINAL STREET ART”

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RUSSIAN STREET ART II BY ANDREY TSELUIKO MOSCOW, 2008

ßçûêè óëè÷íîãî èñêóññòâà ïîñòîÿííî ìîäèôèöèðóþòñÿ. Ñëèâàÿñü ñ ãîðîäñêèì ýíâàéðîíìåíòîì 1, ñòðèò-àðò ñòàë íåîòúåìëåìîé ÷àñòüþ âèçóàëüíîãî ÿçûêà ìåãàïîëèñà. Õóäîæíèêè íå ñòîÿò íà ìåñòå — îñòàâàÿñü àêòèâíûìè íà óëèöå, îíè îñâàèâàþò íîâûå ìåäèà, ëåæàùèå â îáëàñòè ñîâðåìåííîãî èñêóññòâà è ïðîìûøëåííîãî äèçàéíà… Âåðáàëüíûé ÿçûê àìåðèêàíñêîãî ðàéòèíãà 80-õ ñìåíèëñÿ îáðàçíûì ÿçûêîì 90-õ â Åâðîïå. Ñåãîäíÿ, â êîíöå ïåðâîé äåêàäû íîâîãî âåêà, ìû âíîâü ñòàëêèâàåìñÿ ñ «ÿçûêîâûìè» èçìåíåíèÿìè â îáëàñòè ñòðèò-àðòà. Íî ïåðåìåíû ïðîèñõîäÿò íå òîëüêî â ñîäåðæàíèè ðàáîò, íî è â ïðîñòðàíñòâåííîì ìûøëåíèè ñàìèõ õóäîæíèêîâ. Ïëîñêîñòíîå, äâóìåðíîå îòíîøåíèå ê ïîâåðõíîñòè ñìåíÿåòñÿ òðåõìåðíûì — èñïîëüçóÿ ñîâðåìåííûå ïðîìûøëåííûå ìàòåðèàëû è òåõíè÷åñêèå äîñòèæåíèÿ èíôîðìàöèîííîé ýïîõè, àâòîðû äîáèâàþòñÿ íîâûõ ðåçóëüòàòîâ, ïðåäëàãàÿ çðèòåëþ ñâîé âàðèàíò ïðî÷òåíèÿ «åñòåñòâåííîé» ïîâñåäíåâíîé ñðåäû. Â ÷åì-òî îíè ïåðåçàïóñêàþò óñòàíîâêè ëåíäàðòà è «ýíâàéðîíìåíòàëüíîãî» èñêóññòâà, à òàêæå âñåãî òîãî, ÷òî îáû÷íî îáúåäèíÿþò ïîä øàïêîé «site-specific art2». Äåéñòâèòåëüíî, ñòðèò-àðò âî ìíîãîì ïðîäîëæàåò ïðîöåññû ïåðåîïðåäåëåíèÿ, ðàññåèâàíèÿ è äåòåððèòîðèàëèçàöèè îáúåêòà èñêóññòâà, íà÷àòûå õóäîæíèêàìè II ï. XX â. (Ýíäè Ãîëäñóîðñè, Êðèñòî, Êëàóñ Îëüäåíáóðã è äð). Òàê æå, êàê è òîãäà, õóäîæíèêè âòîðãàþòñÿ â ãîðîäñêóþ ñðåäó, ñîçäàâàÿ ìàñøòàáíûå èíñòàëëÿöèè è îáúåêòû. Òàê æå, êàê è òîãäà, îíè ñèòóàòèâíû è íåäîëãîâå÷íû. Îäíàêî, åñëè ïðåäñòàâèòåëè ëåíä-àðòà ñêëîíÿëèñü ê èñïîëüçîâàíèþ «íàòóðíûõ» ìàòåðèàëîâ, òî äëÿ ñòðèòàðòà áîëåå õàðàêòåðíî èñïîëüçîâàíèå ìàòåðèàëîâ ïðîìûøëåííûõ. Òàê èëè èíà÷å, ñîâåðøåííî î÷åâèäíî, ÷òî ñîîáùåñòâî ïðåäñòàâèòåëåé óëè÷íîãî èñêóññòâà ñàìî äëÿ ñåáÿ âûõîäèò íà ïðèíöèïèàëüíî íîâûé óðîâåíü ïðîñòðàíñòâåííîãî ìûøëåíèÿ. Çäåñü èäåè ñòèëÿ è êîíêóðåíöèè — áàçèñ âñåé ãðàôôèòè êóëüòóðû, ñàìè ñòèìóëèðóþò èçîáðåòåíèå íîâûõ ïóòåé âûõîäà èç âèçóàëüíîãî êðèçèñà, â êîòîðîì îêàçàëîñü «äâóìåðíîå» óëè÷íîå èñêóññòâî. Íåïðåêðàùàþùèéñÿ äèàëîã ñóáêóëüòóðû è ñîâ-

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(àíãë. environment — îêðóæåíèå, ñðåäà) ïðåâðàùåíèå ñóùåñòâóþùèõ ýëåìåíòîâ ñðåäû â ïðîèçâåäåíèÿ èñêóññòâà ñ ïîìîùüþ äîïîëíèòåëüíûõ ñðåäñòâ

ðåìåííîãî èñêóññòâà ïðèâîäèò ê ïåðìàíåíòíîìó óìíîæåíèþ ÿçûêîâûõ èãð, â ðåçóëüòàòå ÷åãî ðîæäàþòñÿ âñå íîâûå è íîâûå ôîðìû ïîñò-ãðàôôèòè. Òàê, óëè÷íûå õóäîæíèêè ïîñòåïåííî îñâàèâàþò ïåðôîðìàíñ (Ðîáèí Ðîä), à ñîäåðæàíèå ðàáîò âñå áîëüøå êîíöåïòóàëèçèðóåòñÿ (Influenza). Ðàéòèíã 80-õ ìàêñèìàëüíî âûðàçèë ñåáÿ â ïëàñòèêå «wild style». Ñòðèò-àðò 90-õ ïîäìåíèë èìÿ áðåíäîì è îòêàçàëñÿ îò âåðáàëüíîñòè â ïîëüçó îáðàçà. Â 2000-õ îáðàçû òðàíñôîðìèðîâàëèñü â îáúåêòû, ïåðåêî÷åâàâ èç äâóìåðíîãî ïðîñòðàíñòâà â òðåõìåðíîå. Ýòîò ïðîöåññ ñòàë íå ïðîñòî ðåàêöèåé íà îáùèé èííîâàöèîííûé êðèçèñ â óëè÷íîì èñêóññòâå. Íå ñòàëî ýòî è ïðîñòî î÷åðåäíûì ñðåäñòâîì âûñòðàèâàíèÿ «àâòîðñêîé» èäåíòè÷íîñòè — ýòî ñòàëî íîâîé ôîðìîé îòâåòà ñàíêöèîíèðîâàííîìó èñêóññòâó è òîòàëüíîé êîììåðöèàëèçàöèè ïîâñåäíåâíîñòè — êàê ðåàëüíîé, òàê è âèðòóàëüíîé. Ðåêëàìå, ïåðìàíåíòíî àòàêóþùåé çðèòåëÿ, õóäîæíèêè ïðîòèâîïîñòàâëÿþò ñâîáîäíîå òâîð÷åñêîå âîîáðàæåíèå, ïðåâðàùàÿ òàêèì îáðàçîì óëèöó â ïîëå áèòâû çà âíèìàíèå ïóáëèêè. Îíè èðîíèçèðóþò íàä ðåêëàìîé, «ïåðåîçíà÷èâàþò» åå è, ïîäîáíî õóäîæíèêàì ïîï-àðòà, èñïîëüçóþò åå ñîäåðæàíèå è ìàòåðèàë äëÿ ñîçäàíèÿ ñîáñòâåííûõ ïðîèçâåäåíèé (Äæåéñîí Åïïèíê). Äâóìåðíîå óëè÷íîå èñêóññòâî òàêæå áðîñàëî âûçîâ êîììåðöèè. Îäíàêî, åãî àêòèâíîå ðàçâèòèå íà óëèöàõ ãîðîäîâ ïîñòåïåííî ïðèâåëî ê ñëèÿíèþ èñêóññòâà è ðåêëàìû — ìíîãèå êîðïîðàöèè, ïî÷óâñòâîâàâ ïîòåíöèàë ñòðèò-àðòà (â ñôåðå åãî âîñïðèÿòèÿ), áûñòðî îñâîèëè åãî ìåòîäèêó è âêëþ÷èëè åå â ñâîè ìàðêåòèíãîâûå êîìïàíèè (èñïîëüçîâàíèå ñïðåÿ, ñòèêåðîâ, òðàôàðåòîâ, ðàçìåùåíèå ðåêëàìû â íå ñîâñåì «ïðèâû÷íûõ» äëÿ íåå ìåñòàõ è ò.ï.). Â èòîãå ðåêëàìà ñòàëà ìàñêèðîâàòüñÿ ïîä èñêóññòâî, êîòîðîå, â ñâîþ î÷åðåäü, èçíà÷àëüíî èñïîëüçîâàëî íåêîòîðûå ìåõàíèçìû ðåêëàìû (òèðàæèðîâàíèå, áðýíäèíã è ò.ï.). Ïåðåäâèãàþùèìñÿ ïî ãîðîäó ëþäÿì ñòàëî ïî÷òè íåâîçìîæíî îòäåëèòü ïîäëèííî õóäîæåñòâåííîå îò êîììåð÷åñêîãî. Ñåãîäíÿ, â íà÷àëå íîâîãî âåêà, õóäîæíèêàìè ïðåäïðèíèìàåòñÿ ïîïûòêà ïðî÷åðòèòü ýòó ãðàíèöó.

Spy, Madrid

Óëè÷íûå õóäîæíèêè «íîâîé âîëíû» áîðþòñÿ ñ ðåêëàìîé, çàäåéñòâóÿ òðåòüå èçìåðåíèå. Èñïîëüçóÿ íîâûå ìåäèà, îíè ñîçäàþò íà óëèöàõ ãîðîäà îáúåìíûå îáúåêòû è ñêóëüïòóðû (Ìàðê Äæåíêèíñ, Ýëüòîíî), îïòè÷åñêèå èëëþçèè (Êàéòàíî Ôåððý, Äæóëèàí Áèâåð), ïðîñòðàíñòâåííûå êîìïîçèöèè (Lines rouge, Truth). Òàêèì îáðàçîì, îíè èçîáðåòàþò íîâûé ñïîñîá íåêîììåð÷åñêîãî ïðåîáðàæåíèÿ ãîðîäñêîé ñðåäû. Â Ðîññèþ èííîâàöèè òðàäèöèîííî ïðèõîäÿò ñ Çàïàäà — ïîýòîìó íåò íè÷åãî óäèâèòåëüíîãî â òîì, ÷òî ñðåäè âûøåïåðå÷èñëåííûõ õóäîæíèêîâ íåò íè îäíîé ðóññêîé ôàìèëèè. Â Ðîññèè âûøåîïèñàííûé ïðîöåññ (åñëè âîîáùå î íåì ìîæíî ãîâîðèòü) ïðîòåêàåò âÿëî, ñ íåîõîòîé. Ïðè âçãëÿäå íà ñîâðåìåííîå ðîññèéñêîå ñîîáùåñòâî óëè÷íûõ õóäîæíèêîâ, ñîçäàåòñÿ âïå÷àòëåíèå, ÷òî áîëüøèíñòâî èç åãî ïðåäñòàâèòåëåé óþòíî îáóñòðîèëîñü â áàøíå èç ñëîíîâîé êîñòè — æåëàíèå ðàçâèâàòüñÿ è ýêñïåðèìåíòèðîâàòü ñ íîâûìè ìåäèà äåìîíñòðèðóþò ëèøü åäèíèöû. Äà è î êàêîì ðàçâèòèè ìîæåò èäòè ðå÷ü, êîãäà áîëüøå ïîëîâèíû èç íèõ íå âûõîäÿò çà ðàìêè êëàññè÷åñêîãî ðàéòèíãà è òðåéíðàéòèãà (íå ãîâîðÿ óæå îá èñêëþ÷èòåëüíî «òèïîãðàôè÷åñêîì» ñòðèò-àðòå, çàïîëîíèâøåì ãîðîäñêèå óëèöû). Ñòàíîâÿñü â ïîçó ïóðèñòîâ, «èäåîëî-

ãè÷åñêè ïðåäàííûõ» êîðíÿì êóëüòóðû (à èìåííî äâèæåíèþ ñîïðîòèâëåíèÿ àâòîðèòàðíîé âëàñòè âî èìÿ ñâîáîäíîãî èñêóññòâà, íà÷àòîìó íüþ-éîðêñêèìè ðàéòåðàìè â 80-õ), îíè îòêàçûâàþòñÿ ïðèíèìàòü ÷òî-ëèáî åùå, è óæ òåì áîëåå — ïðîáîâàòü ñåáÿ â ýòîì. Çíà÷èòåëüíàÿ ÷àñòü íîâûõ äèñöèïëèí óëè÷íîãî èñêóññòâà îòñåêàåòñÿ è îñòàåòñÿ «çà áîðòîì», ïî îäíîé ëèøü ïðè÷èíå èõ ïîïàäàíèÿ â êàòåãîðèþ «íå-ãðàôôèòè». Êîíå÷íî æå, íåîáõîäèìî ðàçëè÷àòü «ãðàôôèòè» è «ïîñò-ãðàôôèòè», íî îïðåäåëåííî íå ñòîèò èñêëþ÷àòü îäíî èç äðóãîãî — âåäü ìîæíî îäíîâðåìåííî è ýêñïåðèìåíòèðîâàòü, è ïîääåðæèâàòü òðàäèöèþ (êîíå÷íî, åñëè íå ïðèäåðæèâàòüñÿ ðàäèêàëüíûõ âçãëÿäîâ îòíîñèòåëüíî âòîðîãî), êàê ýòî äåìîíñòðèðóþò ìíîãèå åâðîïåéñêèå õóäîæíèêè (Banksy, Spy, Jonone, Daim, Daddy Cool è äð.). È ïîòîì, â îòëè÷èå îò ãðóïïèðîâîê, äåéñòâèòåëüíî âåðíûõ äâèæåíèþ ñîïðîòèâëåíèÿ, (òàêèõ, íàïðèìåð, êàê WUFC), â Ðîññèè ñóùåñòâóåò ìíîæåñòâî òàêèõ, äëÿ êîòîðûõ ñëåäîâàíèå äàííîé òðàäèöèè ÿâëÿåòñÿ ëèøü ïîçîé, ïðîïóñêîì â «ïîëíîïðàâíûå» ÷ëåíû ñîîáùåñòâà. Ëèäåðû òóñîâêè, (ñðåäè êîòîðûõ íåìàëî îðòîäîêñîâ), äèêòóþò ìîäó âíóòðè ñîîáùåñòâà, ÷òî îòðàæàåòñÿ íà òâîð÷åñòâå åãî ó÷àñòíèêîâ (ïðè÷åì íå òîëüêî äèëåòàíòîâ, íî è óæå èåðàðõè÷åñêè

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Cayetano Ferrer, USA

Mark Jenkins, USA

«ïîäíÿâøèõñÿ» õóäîæíèêîâ), æàæäóùèõ ïðèçíàíèÿ ñî ñòîðîíû àâòîðèòåòîâ. Ñëåïîå ïîäðàæàíèå èäåàëàì, ñòèëåâûì è ïîâåäåí÷åñêèì íîðìàì, èñõîäÿùèì îò òóñîâî÷íûõ ëèäåðîâ, áëîêèðóåò ïîòåíöèàë âíîâü ïðèøåäøèõ è íå äàåò èì âîçìîæíîñòè ñâîáîäíî ðàçâèâàòüñÿ. Íàèáîëåå ýôôåêòèâíîå ðàçâèòèå (çà ðåäêèìè èñêëþ÷åíèÿìè) ïðîèñõîäèò òàì, ãäå îòñóòñòâóåò ñòðàõ áûòü íåïðèçíàííûì òóñîâêîé. È íåðåäêî èìåííî äåÿòåëüíîñòü «áåëûõ âîðîí» ñòàíîâèòñÿ íàèáîëåå ïåðñïåêòèâíîé è èíòåðåñíîé (÷òî è ïîäòâåðæäàåò òåêóùàÿ ñèòóàöèÿ íà ðîññèéñêîé ñöåíå). Â èòîãå äâèæóùèìè ñèëàìè ðîññèéñêîãî óëè÷íîãî èñêóññòâà ñòàíîâÿòñÿ òå, êòî íå áîèòñÿ îòîéòè îò ìåéíñòðèìà è ïðîáóåò ñåáÿ â íîâûõ ñôåðàõ, îòâå÷àþùèõ ñîâðåìåííîìó ñîñòîÿíèþ ìèðîâîãî ñòðèò-àðò ñîîáùåñòâà. Íåêîòîðûå, îñîáî «èäåéíûå» ïðåäñòàâèòåëè óëè÷íîãî èñêóññòâà áîÿòñÿ, ÷òî âûøåäøåå çà ðàìêè ìåéíñòðèìà è ñîçäàííîå ïîñðåäñòâîì «íåòðàäèöèîííûõ» ñðåäñòâ, èõ èñêóññòâî ïåðåñòàíåò áûòü ñâîáîäíûì è ïðåâðàòèòñÿ â êîììåð÷åñêîå. Íî ýòà áîÿçíü àáñóðäíà, ïîñêîëüêó èñïîëüçîâàíèå íîâûõ ìåäèà (ïóñòü è èç ìèðà êîììåðöèè) íå åñòü êîììåðöèÿ — ñîòíè õóäîæíèêîâ ïîñòîÿííî ïðîáóþò ñåáÿ íà íîâîì ïîïðèùå, äàæå è íå äóìàÿ ïðîäàâàòüñÿ. Î êîììåðöèè ìîæíî ãîâîðèòü ëèøü ïðè íàëè÷èè îïëàòû, êîíòðàêòà, à òàê æå íàìåðåíèÿ ñâîèì èñêóññòâîì çàðàáàòûâàòü, èçìåíÿÿ â÷åðàøíèì èäåàëàì ïî ìàëåéøåìó êîëåáàíèþ ìîäû; à âîò î ðàçâèòèè áåç ýêñïåðèìåíòà ãîâîðèòü íåëüçÿ. Êóëüòóðà, âîñïðîèçâîäÿùàÿ òðàäèöèþ, è ïðè ýòîì íå ñîçäàþùàÿ êà÷åñòâåííî íîâîãî — ìåðòâàÿ êóëüòóðà . Èìåííî ïîýòîìó â ÷èñëå îñíîâíûõ èíòåíöèé äàííîãî èçäàíèÿ ñòîèò ïðèçûâ ê îòêðûòèþ íîâûõ ïðîñòðàíñòâ äëÿ ýêñïåðèìåíòà, èñïîëüçîâàíèþ íîâûõ ñðåäñòâ è èçîáðåòåíèþ íîâûõ ôîðì óëè÷íîãî ñàìîâûðàæåíèÿ, ïîñêîëüêó èç îãðîìíîãî êîëè÷åñòâà ðîññèéñêèõ óëè÷íûõ õóäîæíèêîâ ïîõâàñòàòü ýòèì ìîãóò, ê ñîæàëåíèþ, ïîêà ëèøü î÷åíü è î÷åíü íåìíîãèå…

english translated by Fedor Barkov

The languages of street art are constantly changing. Merging with the urban environment, street art has become an indivisible part of the metropolitan visual language. Artists don't lag behind — staying active on the streets, they are mastering new media of contemporary art and industrial design origin… The verbal language of American writing of the 80’s was replaced by the European image language of the 90’s. And now with the first decade of the 21th century coming to an end, we are once again facing street art language changes. These changes occur not only in the content itself but also in the artists spatial thinking paradigm. Horizontal, two dimensional view of the surface evolves into three dimensional one. Authors, using modern industrial materials and technological advances of the information age, strive to get new results and offer viewers their own ways of perceiving "natural" everyday environment. They partially reemploy the techniques of "land-art" and "environmental" art and other methods known under the umbrella term "site-specific art". It is true that street art continues art object redefinition, dispersion and deterritorialization processes, started by the artists of the second half of 20th century (Andy Goldsworthy, Christo, Claes Oldenbourg and others). Back then, just like now, artists invaded the urban space, creating large scale installations and objects. And just like now, these objects are situation-specific and nondurable. But land-art supporters preferred "natural" materials, meanwhile street art sticks to industrial materials. It is evidently clear that street art community has reached a new level of spatial thinking. The notions of style and competition, which form the basis of the graffiti culture, foster new ways to overcome the visual crisis of flat two dimensional street art. Continuing interaction of subculture and contemporary art leads to language games multiplication and gives birth to new forms of post-graffiti. For example, street artists gradually learn performance techniques (Robin Rhode), and the works contents are getting more and more conceptualized (Influenza).

80’s writing has fully expressed itself in the "wild style" esthetics. Street art of the 90’s replaced name with brand and chose image over verbalism. 2000’s saw images transformed into objects, conquering the third dimension. This process wasn't only a reaction to general innovation crisis in street art. Neither was it another way to construct author's identity. This process was a new form of backslash on authorized arts and total commercialization of everyday life both virtual and real. Artists turn streets into a battle field where they fight against advertising for public attention. They mock ads, redefine them and, like pop-art artists, use their contents to create original art (Jason Eppink). Two dimensional art tried to challenge commerce as well. But it's active proliferation on the streets gradually led to merging art and advertisement — numerous corporations, recognizing street art messaging potential, promptly adopted its methods and employed them in marketing campaigns (spray, stickers, stencils, creative placement). As a result advertising tried to mimic art, which originally used some of the advertising techniques (distribution, branding and such). Urban dwellers have become unable to distinguish original art from commercial. Now at the beginning of a new century artists endeavor to redefine the line between art and ad. "New wave" street artists confront ads using the third dimension. Mobilizing new media, they create volume installations and sculptures (Mark Jenkins, Eltono), optical illusions (Cayetano Ferrer, Julian Beever), spatial compositions (Lines rouge, Truth). As we can see, they invent new ways to commercial-freely modify urban environment. Traditionally Russia imports innovations from the West — no wonder that there is not a single Russian name among abovementioned artists. The process described above (if it even takes place) develops itself slowly and reluctantly. Observing the present-day community of Russian street artists, one may get a feeling that the majority of artistes are living snugly in an ivory tower. Only few of them wish to evolve and experiment with new media. The development has practi-

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Eltono & Nuria Mora, Italy

cally come to a stop, more than a half of the artists never cross the guidelines of classical writing and trainwriting (let alone strictly typographical street-art, which has flooded the streets). Taking the purist stance and displaying "ideological dedication" to the cultural roots (opposition movement against authority started by New-York writers in the 80â&#x20AC;&#x2122;s), they refuse to accept something else, let alone using new ways. Large part of new practices is left behind due to sole reason of its "non-graffitiness". Of course, we need to distinguish between "graffiti" and "post-graffiti", but we shouldn't exclude one from another â&#x20AC;&#x201D; one can simultaneously experiment with the new and guard the traditional (if artists don't become zealots of the latter), as it's done by many European artists (Banksy, Spy, Jonone, Daim, Daddy Cool and others). Also, unlike the groups that are uncompromisingly true to the resistance movement (for example, WUFC), many Russian groups view the tradition as a form of a password to enter the community. Pack leaders (many of them are explicitly orthodox) set the fashion trends within the community, and this takes it's toll on artist creativity and affects not only amateurs but also more established artists, who seek recognition from the so-called "masters".

Copycat attitude, which extends to ideals, stylistic and behavior patterns set by pack leaders, restricts the newcomers potential and impairs their free development. Most effective development (apart from a few exceptions) takes place where there is no fear to be unrecognized by the peers. Often "black sheep" produce the most interesting and pioneering works, and current situation in Russia only proves this point. As a result, ones who dare to abandon mainstream and venue new fields, coherent with the modern street art trends, become the driving force of Russian street art. Some most orthodox members of the street art community fear that if their art created by unconventional means transcends the mainstream boundaries, it may lose its freedom and become commercial. But this fear is completely irrational as employment of new media (even of commercial origin) is not commerce â&#x20AC;&#x201D; hundreds of artists try themselves in new fields without a slightest inclination to sell-off. Art becomes commercial if it is done with intend to profit and created on paid contracted basis, which force artist to forfeit his ideals in favor of ever changing fashion whims.

Yann Le Dluz, France

But evolution cannot exist without experiment. Culture that blindly replicates tradition is a dead culture. One of the main intentions of this title â&#x20AC;&#x201D; is a call to discover new areas of experimentation, to employ new media, to invent new forms of street expression, because, unfortunately, only few of the Russian street artists dare to tread new pathsâ&#x20AC;Ś

Truthtag, Poland

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Ýòîò ðàçäåë ïîñâÿùåí ãëàâíîé òåìå èçäàíèÿ — òðåõìåðíûì îáúåêòàì è ïðîñòðàíñòâåííûì èíñòàëëÿöèÿì íà óëèöå. Ê ñîæàëåíèþ, ìíîãèå õóäîæíèêè íàñòîëüêî ïðèâûêëè èñïîëüçîâàòü ñòàíäàðòíûå èíñòðóìåíòû è ìàòåðèàëû (êðàñêà, êèñòè, ñïðåé), ÷òî â îïðåäåëåííûé ìîìåíò íå ñìîãëè âûéòè çà ïðåäåëû ñóùåñòâóþùèõ ñïîñîáîâ óëè÷íîãî ñàìîâûðàæåíèÿ, â òî âðåìÿ êàê ó÷àñòíèêè ìèðîâîãî ñòðèò-àðò ñîîáùåñòâà îñâàèâàþò íîâûå ìåäèà è àêòèâíî èñïîëüçóþò èõ â ñâîèõ óëè÷íûõ èíòåðâåíöèÿõ. Â ñâÿçè ñ ýòèì îáùåå ñîñòîÿíèå óëè÷íîãî èñêóññòâà â Ðîññèè ïðîäîëæàåò íîñèòü îòñòàëûé õàðàêòåð. Òåì íå ìåíåå, ñäâèãè åñòü. Ìàòåðèàë, ïðåäñòàâëåííûé â ýòîé ðóáðèêå, ðåïðåçåíòèðóåò íåêîòîðûå èç íèõ. Îòðàæàÿ îïûò èñïîëüçîâàíèÿ ðîññèéñêèìè óëè÷íûìè õóäîæíèêàìè íîâûõ ñðåäñòâ ñàìîâûðàæåíèÿ. Áîëüøàÿ ÷àñòü ïðåäñòàâëåííûõ ïðîåêòîâ ñîçäàíà ñïåöèàëüíî äëÿ ýòîãî èçäàíèÿ, ÷òî ìîæíî ïðîèíòåðïðåòèðîâàòü êàê ãîòîâíîñòü íåêîòîðûõ àâòîðîâ îòå÷åñòâåííîãî ñòðèò-àðò ñîîáùåñòâà ñâîáîäíî ýêñïåðèìåíòèðîâàòü ñî ñðåäîé è îòêðûâàòü íîâûå, àëüòåðíàòèâíûå äâóõìåðíûì ñïîñîáû ñàìîâûðàæåíèÿ.

This section deals which the general theme of the issue — 3-d objects and spatial installation on the streets. Unfortunately, most artists are so used to employing standard tools and materials (paint, brushes, and spray) that they at some point failed to transgress the existing means of self-expression meanwhile members of the world street-art community explore new media and actively use them during their street interventions. Because of this Russian street art is still underdeveloped. Nevertheless there are some positive steps. This section represents several of them, depicting new means of self-expression being used by Russian street-artists. A large part of the presented projects were created exclusively for this title, that can be interpreted as a desire of some of Russian artists to freely experiment with the environment and discover new ways of selfexpression alternative to flat, 2-d ones.

3D OBJ ECTS & INSTALL ATIONS

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“CUBE” PERFORMANCE IN MOSCOW SUBWAY BY IGOR P.

photo by Valera Belobeev

Ôèãóðà êðàñíîãî êóáà — ñèìâîë íàñòîÿùåãî èçäàíèÿ, îçíà÷àþùèé îáúåì. Èçíà÷àëüíî ïåðôîðìàíñ ñ êóáîì çàäóìûâàëñÿ êàê ïðîìî-àêöèÿ, çíàìåíóþùàÿ íà÷àëî ðàáîòû íàä «Objects3», íî ïîçæå îí «îáðîñ» äîïîëíèòåëüíûìè ñìûñëàìè è îáðåë âòîðîå íàçâàíèå — «Ñòåðåî», ñîêðàùåííî îò «ñòåðåîòèï». Ïåðôîðìàíñ ñ êðàñíûì êóáîì ÿâëÿåòñÿ àêòîì òâîð÷åñêîé ðåôëåêñèè àâòîðà íà îãðàíè÷åííîñòü ÷åëîâå÷åñêîãî ñîçíàíèÿ, íàõîäÿùåãîñÿ âî âëàñòè ñòåðåîòèïîâ. Ñòåðåîòèïû, óïðàâëÿþùèå îáùåñòâåííûì ñîçíàíèåì, îãðàíè÷èâàþò ñâîáîäó èíòåðïðåòàöèè ìèðà îòäåëüíûì ÷åëîâåêîì è íå äàþò åìó äîëæíûõ ïåðñïåêòèâ â îáëàñòè ðàñøèðåíèÿ ãðàíèö ñâîåãî ñîçíàíèÿ. Ïî ìûñëè àâòîðà, ÷åëîâåê, íàõîäÿùèéñÿ â êîñòþìå êóáà, íàèáîëåå áóêâàëüíî îòðàæàåò ïîíÿòèå îãðàíè÷åííîñòè.

Red cube — is the symbol of the title, which denotes volume. The performance involving the cube was originally conceived as a promo-action, marking the commencement of "Objects3" project, but later it accumulated additional meanings and received the second name — "Stereo", a short for "stereotype". Red Cube performance is an act of author's creative reflexion on the limits of human's conscientiousness plagued by the stereotypes. Stereotypes which rule mass conscientiousness restrain personal freedom of world interpretation and deprive him\her of proper perspectives on conscientiousness expansion. According to the author, a person in a cubic dress is most literally reflects the notion of restrain.

photo by Valera Belobeev

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photo by Eugeniy Dolzhanskiy

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“STREET GEOMETRY” SERIES ON MOSCOW STREET BY IGOR P.

Ëþáîé ïðåäìåò, ÷óâñòâî, ýìîöèþ ìîæíî ïðåäñòàâèòü â âèäå ãåîìåòðè÷åñêîé ôèãóðû. Òàêèì æå ñïîñîáîì ìîæíî ïðåäñòàâèòü è õàðàêòåð ÷åëîâåêà. Íî êàêèå áû ôèãóðû äëÿ ýòîãî íå èçáèðàëèñü, â êà÷åñòâå îáÿçàòåëüíîãî êîìïîíåíòà â ýòîì ïðîöåññå âñåãäà äîëæíà ïðèñóòñòâîâàòü ëèíèÿ, ñèìâîëèçèðóþùàÿ æèçíü è ðàçâèòèå ëè÷íîñòè. Ïëîñêèå ôèãóðû, âûðàæåííûå â îáúåìå, óïîäîáëÿþòñÿ ëþäÿì, ñêðûâàþùèì ñâîå íàñòîÿùåå «ß» çà íåñ÷åòíûì êîëè÷åñòâîì ìàñîê. Ïîêàçûâàÿ ôèãóðû ñ ðàçíûõ ðàêóðñîâ, àâòîð ïðåäëàãàåò ïîíàáëþäàòü çà èõ äåôîðìàöèÿìè, ïðîåöèðóÿ êàæäóþ èç íèõ íà îòäåëüíûå ìîìåíòû ëè÷íîñòíîãî ïåðåîïðåäåëåíèÿ â ïîâåäåíèè è ñîçíàíèè ëþäåé, è íà àáñóðäíîñòü ñèòóàöèé, â êîòîðûå ýòè ëþäè ïîïàäàþò âïîñëåäñòâèè.

Every object, feeling, emotion can be represented by a geometry figure. By the same means one can represent a personality. But whatever figures are used, a line, which symbolizes life and personal growth, must be always present during the process. Flat figures, expressed in volume, are like people who hide their true self beneath innumerable masks. Author showing the figures from different angles offers us to watch their deformations projecting every figure on separate moments of personal redefinition of behavior and conscientiousness, and on situational absurdity where people get afterwards.

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“3D LETTERS” OBJECT ON MOSCOW STREET BY ZACHEM CREW

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THE “KISS” MASKS ON MOSCOW STREET BY BIGOOD, INFLUX CREW

Â êîíöå XX — íà÷àëå XXI âåêà àêòèâíîñòü ýëåêòðîííûõ ÑÌÈ è Èíòåðíåòà, íàðÿäó ñ âûõîäîì ïîñòìîäåðíèñòñêèõ èäåé â ìàññîâîå ñîçíàíèå ïîñòåïåííî ïðèâåëà ê îáîñòðåíèþ êðèçèñà èíäèâèäóàëüíîñòè â îáùåñòâå. Ëè÷íîñòü ñòàëà ôîðìèðîâàòüñÿ ïî ïðèíöèïó ìîçàèêè, ïðèîáðåòàÿ «êëèïîâóþ» ôîðìó âèçóàëüíîé êóëüòóðû ñîâðåìåííîñòè. Íîâóþ ñèëó ïîëó÷èëè âå÷íûå âîïðîñû î æèçíåííîì ïðåäíàçíà÷åíèè ÷åëîâåêà, åãî ïðàêòè÷åñêîé è äóõîâíîé äåÿòåëüíîñòè, ñìûñëå æèçíè, òâîð÷åñòâà, ìîðàëüíîãî è ýòè÷åñêîãî âîçâûøåíèÿ, óñòðåìëåííîñòè ê âûñøèì äîñòèæåíèÿì êóëüòóðû. Äðóãèìè ñëîâàìè, èäåò ïðîöåññ òîòàëüíîãî âîñïðîèçâåäåíèÿ îáðàçîâ, ñòèëåé è âçãëÿäîâ. Ëþäè, çàíÿòûå ïîäðàæàíèåì, òåðÿþò ñâî¸ íàñòîÿùåå «ß» è, íàäåâàÿ ðàçëè÷íûå ìàñêè, ÷àñòî ïåðåñòàþò áûòü òåìè, çà êîãî ñåáÿ âûäàþò.

Late 20th — early 21st century saw a surge in mass media and Internet activities and postmodernist ideas infusion into mass conscientiousness. All of that led to identity crisis aggravation in the society. Identity started to be built on mosaic principles, based on contemporary visual culture clip pattern. Age-old questions of life purpose, spiritual and practical activities, meaning of life, moral and ethical progress, striving for the greatest cultural hallmarks have been revitalized. To put it another way, now we witness the process of total simulation of images, styles and opinions. People engaged in simulation lose their true self and by means of wearing different masks cease to be original human beings.

THE MASKS ON MOSCOW STREET BY BIGOOD, INFLUX CREW

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“SICK SPOTS” SERIES ON MOSCOW STREET BY TROP ART-GROUP

Äëÿ îïèñàíèÿ ðàáîò ýòîé ãðóïïû õóäîæíèêîâ ëó÷øå âñåãî ïîäîéäåò òåðìèí «ëå÷åíèå». Êàæäûé îáúåêò ãîðîäñêîé ñðåäû çàíÿòûé â ñëóæåíèè ÷åëîâåêó, ïðè âûïîëíåíèè ñâîèõ îáÿçàííîñòåé ðàíî èëè ïîçäíî íå âûäåðæèâàåò íàïðÿæåíèÿ è âûõîäèò èç ñòðîÿ — ðàáî÷àÿ êëåøíÿ òðàêòîðà ëîìàåòñÿ â ñóñòàâàõ, ñèäåíèå àâòîáóñíîé îñòàíîâêè òðåñêàåòñÿ ïîïîëàì… «Ãîðîäñêîé ñàíèòàð» — àðò-ãðóïïà Trop ñâîèì òâîð÷åñòâîì ñòðåìèòñÿ èçáàâèòü èõ îò òàêîãî ðîäà óâå÷èé, çàëå÷èâàÿ èõ ðàíû ñ ïîìîùüþ áèíòà è íàêëàäíûõ ìåäèöèíñêèõ ïîâÿçîê.

"Healing" — is the best word to describe the works of this art group. Every object of urban environment, which serves humans, sooner or later breaks down under stress: working claw of a tractor breaks its joints, bus-stop seat splits in halves… "Urban medic" Trop tries by his work to heal their wounds with band-aid and bandages.

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“WHO HAS SOLD THE WORLD?” LIGHT OBJECT ON MOSCOW STREET BY 183

“FORK” INSTALLATION

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Ïðîåêò «âîäíîå çåðêàëî». Èäåÿ ïðîåêòà âûðîñëà íà îñíîâå çàêîíà îòðàæåíèÿ Ôåðìà, çâó÷àùåãî êàê: «Ïàäàþùèé è îòðàæåííûé ëó÷è ëåæàò â îäíîé ïëîñêîñòè». Òî åñòü ëþáîé îáúåêò, ïîäíåñåííûé ê çåðêàëüíîé ïëîñêîñòè, áóäåò â òî÷íîñòè îòðàæåí. Âñå ïðîñòî, çàêðåïëåííûå íà ïîíòîíå ïîëîâèíêè öèôðîâîé êîìáèíàöèè «183» â îòðàæåíèè âîäû ñîçäàþò ýôôåêò «äîðèñîâûâàíèÿ» ïîëîâèíîê â ïîëíîöåííîå èçîáðàæåíèå. Â êà÷åñòâå îäíîãî èç ýòàïîâ ïðîåêòà ïîíòîí áûë ïóùåí â íåáîëüøîé «êðóèç» ïî Ìîñêâà-ðåêå, â õîäå êîòîðîãî ïðîïëûë îò îêðàèí äî ñàìîãî öåíòðà.

"Water mirror” project. The project is based on the Fermat reflection law which states that "Fallen and reflected rays lay in the same plane". It means that every object near mirror surface is accurately reflected. Everything is simple: the halves of the 183 digits are placed on the pontoon and their mirrored reflection in the water creates fullsized image. During one of the stages of the project pontoon was set on a cruise down the Moscow River and it floated from the city suburbs to its very center.

“ULA 08” LIGHT PROJECTION SERIES IN MOSCOW UNDERGROUND BY 183

“WATER MIRROR” PROJECT

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“ULA 08” LIGHT PROJECTION SERIES IN MOSCOW UNDERGROUND BY 183

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ROCK’S PAINTINGS IN YALTA BY APL, FAT315 CREW

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030 Êàæäûé «îáúåêò» íàïîëíåí ñîäåðæàíèåì, â òîé èëè èíîé ìåðå ðàñêðûâàþùèì åãî ñóòü. Îñíîâû íåò, åñòü òîëüêî óñòîÿâøèåñÿ èíòóèòèâíûå íàïðàâëåíèÿ. Ïî ìûñëè àâòîðà, ãëàâíûì èç íèõ ÿâëÿþòñÿ òå, êîòîðûå íàïðàâëåíû íà «îêóëüòóðèâàíèå» çðèòåëÿ. Òàê êàê áåç çðèòåëÿ, ñïîñîáíîãî ê «àäåêâàòíîìó» ïðî÷òåíèþ àâòîðñêèõ ñìûñëîâ, ñîäåðæàíèå óòðà÷èâàåò ñâîå çíà÷åíèå. Íî ïðè ïðîöåññå êîäèðîâàíèÿ ìîãóò âîçíèêíóòü è îïðåäåëåííûå ñëîæíîñòè… Èíòåðâåíöèè, íå ñîäåðæàùèå â ñåáå èíîé èíôîðìàöèè êðîìå ôàêòà ñâîåãî ñóùåñòâîâàíèÿ, äëÿ çðèòåëÿ îêàçûâàþòñÿ ëèøü çíàêîì, óêàçûâàþùèì íà ïðèíàäëåæíîñòü èõ àâòîðà ê òîìó èëè èíîìó òå÷åíèþ. Ýêñïåðèìåíòû ñ äâîéíûì êîäèðîâàíèåì, òàê æå êàê è ÷ðåçìåðíîå àêöåíòèðîâàíèå âèçóàëüíûõ è ïðîñòðàíñòâåííûõ ïðèåìîâ, íåðåäêî ïðèâîäèò ê õàîòè÷íîìó ñìåøåíèþ ïåðâè÷íûõ ñìûñëîâ ñ âòîðè÷íûìè, óäàëÿÿ çðèòåëÿ îò îñíîâíîãî ñîäåðæàíèÿ îáúåêòà è çàòðóäíÿÿ åãî ïðî÷òåíèå â öåëîì. Îäíàêî, íåñìîòðÿ íà ýòî, àâòîð ïðîäîëæàåò ýêñïåðèìåíòèðîâàòü èìåííî â ýòîé îáëàñòè, ñ÷èòàÿ åå íàèáîëåå ýôôåêòèâíîé äëÿ ðàçâèòèÿ ñâîèõ çðèòåëåé.

“ALFA VIZORE” INSTALLATION

“ST. RADIATION’S CATHEDRAL” IN ODESSA ABANDONED PLACE BY ZUEV, FAT315 CREW

Every "object" is full of content, which to some extent reveals its essence. There is no base, but only conventional intuitive directions. According to the author, main directions are set towards cultural initiation of a viewer. Without a viewer who is capable to adequately extract author's message, content loses its meaning. But several problems may arise during encoding… Interventions, which contain no information apart the fact of its own existence, are perceived by viewer as a sign denoting author affiliation to a certain style. Double encoding experimentation as well as excessive accentuation on visual and spatial methods often leads to chaotic mixture of primary and secondary meanings, distancing viewer from the object's main content and hindering its reading in general. Despite of this author continues to experiment in this area, regarding it as the most effective for his viewers development.

“HOMER” INSTALLATION ON KIEV STREET BY HOMER, PSKR CREW

Øðèôòû è ðèñóíêè ýòîãî óëè÷íîãî õóäîæíèêà â èçîáèëèè ìîæíî âñòðåòèòü íà óëèöàõ ñîâðåìåííîãî Êèåâà. Òàêæå åãî òâîð÷åñòâî íåðåäêî âñòðå÷àåòñÿ â «òåìíîé» ÷àñòè ãîðîäà — íà ñòåíàõ ñòàðûõ äîìîâ, çàáðîøåííûõ è ïîëóðàçðóøåííûõ çäàíèé, è ò.ï. Â õóäîæåñòâåííî-ñòèëèñòè÷åñêîì ïëàíå åãî ðàáîòû ìîæíî îõàðàêòåðèçîâàòü êàê, ïðèìèòèâèñòñêèå, òåñíî ãðàíè÷àùèå ñ òðýø-àðòîì, à èõ ñîäåðæàíèå — êàê àáñóðäíîå è ïîðíîãðàôè÷åñêîå, çà÷àñòóþ ïðåâîçíîñÿùåå ýòè êàòåãîðèè äî óðîâíÿ ýñòåòè÷åñêîãî àáñîëþòà. Êàê è äëÿ ìíîãèõ óëè÷íûõ õóäîæíèêîâ, äëÿ äàííîãî àâòîðà î÷åíü âàæíà çðèòåëüñêàÿ ðåàêöèÿ, à òàê æå âîçìîæíîñòü âåñòè ïîñòîÿííûé äèàëîã ñ îáùåñòâåííîñòüþ ïîñðåäñòâîì ñâîåãî èñêóññòâà. Âîò êàê îïèñûâàåò ñâîå òâîð÷åñòâî ñàì õóäîæíèê: «ß î÷åíü ëþáëþ áóêâû, î äà…èãðàòü ñ íèìè, èñêàòü íîâûå ôîðìû, ñêëàäûâàòü èç íèõ ñëîâà, âêëàäûâàòü èäåþ è ñîâìåùàòü âñå ýòî ñ ãîðîäñêîé ñðåäîé, ñòàðàÿñü íå îñòàíàâëèâàòüñÿ íà ÷åì-òî îäíîì». Modern Kiev is flooded with typography and drawings of this artist. His art often hides in the "dark" park of the city — it can found on the walls of old, abandoned and half-decayed buildings. The style of his art can be classified as primitive, intimately close to trash-art, and its content — as absurd and pornographic, its qualities treated as esthetic absolute. The author, like many other street-artists, values viewer reaction and possibility to constantly interact with the public by the means of his art. The artist describes his art in the following way: "I love letters very much. Oh, yeah… To play with them, to look for the new forms, to make up words with them, to fill them with ideas and to merge them all with the urban environment trying not become fixed on the one single theme".

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“0331C HOUSE” OBJECT ON MOSCOW APARTMENT BLOCKS BY 0331C

“SKATEBOARD RAMP”

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“BIRDS’ HOUSES” INSTALLATION IN THE FOREST BY HUD (RUSSIA)

“RED CUBES” INSTALLATION IN THE BY MH (UKRAINE) Ñåãîäíÿ òðóäíî êîãî-ëèáî óäèâèòü íàëè÷èåì ñòðèò-àðòà íà óëèöàõ. Ïðîÿâëåíèé óëè÷íîãî èñêóññòâà â ãîðîäå íàñòîëüêî ìíîãî, ÷òî îíè íåðåäêî ïîïðîñòó òåðÿþòñÿ â íåì, ïîëíîñòüþ ñëèâàÿñü ñ îêðóæàþùåé ñðåäîé è ïðåêðàùàÿ âñþ âîçìîæíóþ êîììóíèêàöèþ ñî çðèòåëåì. Ïðè÷åì òàêàÿ ó÷àñòü íåðåäêî ïîñòèãàåò íå òîëüêî ðèñóíêè, òðàôàðåòû, ñòèêåðû è ïîñòåðû, íî è îáúåêòíûå èíñòàëëÿöèè. Èìåííî ïîýòîìó óêðàèíñêèé óëè÷íûé õóäîæíèê MH ãîðîäó ïðåäïî÷èòàåò òåððèòîðèè, ëåæàùèå çà åãî ïðåäåëàìè. Çäåñü, íà ïðèðîäå, îí ðàçâîðà÷èâàåò ñâîþ äåÿòåëüíîñòü, íàïðàâëåííóþ íà õóäîæåñòâåííóþ îðãàíèçàöèþ åñòåñòâåííîé ñðåäû — ïîñðåäñòâîì âíåäðåíèÿ â íåå «ïîñòîðîííèõ» îáúåêòîâ ïðîìûøëåííîãî ïðîèñõîæäåíèÿ. Òóò íàäî ñäåëàòü íåáîëüøóþ îãîâîðêó, ïîñêîëüêó äëÿ îïðåäåëåíèÿ òàêîãî ðîäà èíòåðâåíöèé òåðìèí «ñòðèò-àðò» áóäåò óæå íå ñîâñåì ïîäõîäÿùèì. Íî âñå æå åñëè, íåñìîòðÿ íà ýòî, ïðîäîëæèòü åãî èñïîëüçîâàòü, òî, óïîòðåáëÿÿ ïîíÿòèå «street» (óëèöà), êîððåêòíåå áóäåò â óìå äîïîëíÿòü åãî çíà÷åíèåì «nature» (ïðèðîäà).

It is difficult to impress someone with the street art. Urban art manifestations are so numerous in a city, that often art is lost in it, fully merging with the environment and ceasing any type of possible communication with viewers. This may happen not only to drawings, stencils, stickers and posters, but to volume installations as well. That is the reason why Ukrainian artist MH prefers the country to the city. Nature becomes this workshop, where he unfolds his endeavors, aimed at creating environment based on art structure by means of inserting alien objects of industrial origin. Here we need to specify that the term "street art" becomes less appropriate. But if we still want to stick to it, then we need to add notion of "nature" to our mental concept of "street".

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“BLACK MAN” SERIES IN THE UKRAINIAN ABANDONED PLACE, BY MH

Îñíîâîé äëÿ äàííîãî ïðîåêòà ïîñëóæèëè çàðèñîâêè èç ñòàðûõ øêîëüíûõ òåòðàäåé àâòîðà, Âûïîëíåííûå â êðàñíî-÷åðíûõ öâåòàõ, êàðòèíêè èçîáðàæàëè âñåâîçìîæíûå ñöåíû íàñèëèÿ è æåñòîêèõ óáèéñòâ (â òîì ÷èñëå ñ ðàñ÷ëåíåííûìè òåëàìè). Ñåãîäíÿ, ñïóñòÿ äåñÿòü ëåò, õóäîæíèê âñå åùå íå óòðàòèë èíòåðåñà ê ïîäîáíûì ñþæåòàì, ÷òî è ñòàëî îñíîâíîé ïðè÷èíîé ñîçäàíèÿ ýòîãî ìðà÷íîãî ïðîåêòà ñ âûðåçàííûìè èç ðóáåðîèäà ÷åðíî-êðàñíûìè ôèãóðàìè óáèòûõ ëþäåé, îäèíîêî ïîêîÿùèõñÿ â ïîìåùåíèÿõ çàáðîøåííûõ óêðàèíñêèõ ïîñòðîåê…

The project was based on the old school-time drawings in the authors. The red-black pictures depicted various scenes of violence and gory murders (including ones with dismembered bodies as well). 10 years later, the artist has preserved interest in such themes which were the base for the creation of this doom and gloom project. Red-black figures of the dead formed from roofing felt are scattered over abandoned Ukrainian buildings…

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“MEMENTO MORI” OBJECT ON MOSCOW STREET BY MOST, NO FUTURE FOREVER

“DIFFERENT LIGHT” INSTALLATION

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“TEABAG” INSTALLATION ON S.PETERSBURG STREET BY RENAISSANCE GROUP

«Renaissance» — ýòî ïåòåðáóðãñêèé äóåò õóäîæíèêîâ Mistu è Endier. Â ñâîåì ïðîåêòå «teabag» îíè ðåêîíñòðóèðóþò äîâîëüíî îáûäåííûé îáúåêò ðåàëüíîñòè — çàâàðî÷íûé ïàêåòèê ÷àÿ. Â êà÷åñòâå îñíîâíîãî ìàòåðèàëà äëÿ ñâîåé èíñòàëëÿöèè àâòîðû âûáðàëè àðãàëèò, à â êà÷åñòâå ïëîùàäêè äëÿ åå óñòàíîâêè — íåáîëüøîé îòðåçîê ïðèðîäíîãî ëàíäøàôòà, ñ ðåêîé è ïðîõîäÿùèì ÷åðåç íåå ìîñòîì. Ïî îêîí÷àíèþ ìîíòàæà âèñÿùèé íà ìîñòîâûõ ïåðèëëàõ è ÷àñòè÷íî îïóùåííûé â âîäó ãèãàíòñêèé ïàêåòèê ñ ÷àåì ñâîèì âìåøàòåëüñòâîì â ïîâñåäíåâíûé êîíòåêñò êàðäèíàëüíî èçìåíèë âîñïðèÿòèå âñåé îêðóæàþùåé ñðåäû. Èçìåíèëîñü è ôóíêöèîíàëüíîå íàçíà÷åíèå âêëþ÷åííûõ â íåå îáúåêòîâ — ìîñòà è ðåêè. Âçàèìîäåéñòâèå àðò-îáúåêòà ñî ñðåäîé íåâîëüíî ïîðîæäàåò ñâîåîáðàçíóþ ÿçûêîâóþ èãðó — ðåêà ïåðåñòàåò áûòü «ðåêîé», ïðåâðàùàÿñü â ïîäîáèå ïðîäîëãîâàòîãî ñîñóäà ñ âîäîé. Âîäà â ñâîþ î÷åðåäü ñòàíîâèòñÿ ÷àåì, à ìîñòîâûå ïåðèëëà — «äåðæàòåëåì» äëÿ âåðõíåé ÷àñòè ïàêåòà, àíàëîãè÷íûì êðàþ ÷àøêè, íà êîòîðûé îáûêíîâåííî «âåøàþò» ÷àéíûé ïàêåò â ïðîöåññå çàâàðêè. Î ñåáå õóäîæíèêè ãîâîðÿò ñëåäóþùåå: «Ìû íå ëþáèì ïðèâåðæåííîñòü îäíîé èäåå è ïîñòîÿíñòâî, êàê â âûáîðå ñòèëÿ, òàê è â âûáîðå èíñòðóìåíòîâ äëÿ âîïëîùåíèÿ íàøèõ çàìûñëîâ. Ìû — ñàìîäîñòàòî÷íûé òâîð÷åñêèé äóýò, âåðíûé ñâîèì èäåàëàì».

Renaissance — is a duet of two artists from Saint Petersburg — Mistu and Endier. In their latest project they have reconstructed a mundane object — a tea bag. The authors chose fiberboard as the base material for the installation, and a small slice of a natural landscape, with a lake and a bridge across it, was set to be the object assembly area. When installed, the giant tea bag, hanging from the rails and half-submerged in the water, radically changed the perception of the environment. Original functions of the included objects have also altered. Art-object interacts with the environment which spontaneously gives the birth of a language game — the river ceases to be the river, morphing into oblong vessel of water. The water becomes tea, bridge rails — a "holding" place for the tea bag, analogous to the upper edge of a cup, where a tea bag is usually hanged. The artists describe themselves as: "We don't value the commitment to one particular idea and devotion to a curtain style, neither we have a preference for the tools to implement our ideas. We a self-sufficient art duet and hold true of our ideals".

“DOOR” INSTALLATION ON S.PETERSBURG STREET BY INCUBUS PROJECT

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“PIPE BROS” INSTALLATION ON MOSCOW STREET BY PAIN BRAKERS

CHARACTER OBJECTS: “STUMP BOY”, “POSH BEAR”, “P BOY”, “SPRINGSHIT”, “DRACULA”, “WARRIOR”

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CHARACTER OBJECT ON MOSCOW STREET BY POLET

photo by Valera Belobeev

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“RED PEOPLE” PROJECT BY PPROFESSORS GROUP

Äëÿ ýòîãî ïðîåêòà âåñíîé 2007 ã. õóäîæíèêàìè êîëëåêòèâà «PPROFESSORS» áûë ñïåöèàëüíî ðàçðàáîòàí êîíñòðóêòîð, èç êîòîðîãî, ïðè èñïîëüçîâàíèè îïðåäåëåííîãî àëãîðèòìà, ñîáèðàåòñÿ àíòðîïîìîðôíûé îáúåêò-ïåðñîíàæ. Áëàãîäàðÿ ìîäóëüíîé ñèñòåìå êîíñòðóêòîðà ñòàíîâèòñÿ âîçìîæíûì ïîëó÷åíèå ñàìûõ ðàçíîîáðàçíûõ ïëàñòè÷åñêèõ âàðèàöèé. Ñîáðàííûå îáúåêòû ìîãóò áûòü âûñòàâëåíû ïî îòäåëüíîñòè èëè ãðóïïîé. Òàê æå îíè ìîãóò âçàèìîäåéñòâîâàòü ñ ïðÿìîóãîëüíûìè ñòðîåíèÿìè (äîìàìè, àíãàðàìè) è ñàìîãî ðàçíîãî ðîäà óãëàìè. Àâòîðû ðàññìàòðèâàþò äàííûé îáúåêò, â ïåðâóþ î÷åðåäü, êàê ñâîåîáðàçíûé «ìàðêåð», ñ ïîìîùüþ êîòîðîãî ìîæíî ìàðêèðîâàòü òî èëè èíîå ïðîñòðàíñòâî. Ïðèåçæàÿ â íîâîå ìåñòî, íîâûé ãîðîä, îíè ïðèâîçÿò «êðàñíîãî ÷åëîâåêà» ñ ñîáîé è ôîòîãðàôèðóþò åãî â ðàçëè÷íûõ ïðîñòðàíñòâàõ, ïîñëå ÷åãî îáúåêò îñòàåòñÿ íà ìåñòå è âïîñëåäñòâèè ñëóæèò çíàêîì, ñâèäåòåëüñòâóþùèì î ôàêòå ïðåáûâàíèÿ åãî ñîçäàòåëåé â ýòîì ìåñòå. Ê íàñòîÿùåìó ìîìåíòó «êðàñíûé ÷åëîâåê» óñïåë îòìåòèëñÿ â òàêèõ ãîðîäàõ, êàê Ñàíêò-Ïåòåðáóðã, Õåëüñèíêè, Áåðëèí, Êúåäæà, Ñîòòîìàðèíà, Ñòàìáóë, Êèåâ, Æåíåâà, Ìîíòð¸, Ëîçàííà, Íþðíáåðã. Êîíöåïöèÿ «êðàñíîãî ÷åëîâåêà», òàêèì îáðàçîì, îêàçûâàåòñÿ äîâîëüíî ñõîæåé ñ êîíöåïöèåé òåããèíãà â êëàññè÷åñêîì ãðàôôèòè — «êðàñíûé ÷åëîâåê» âûïîëíÿåò òó æå ôóíêöèþ, ÷òî è èìÿ/ïñåâäîíèì õóäîæíèêà â òåããèíãå, à èìåííî — ôóíêöèþ ìåòêè, óêàçûâàþùåé íà ôàêò ïðèñóòñòâèÿ åå àâòîðà â îïðåäåëåííîì ìåñòå (ïîæàëóé, ëó÷øå âñåãî ýòî èëëþñòðèðóåò õðåñòîìàòèéíûé ïðèìåð ðóññêîÿçû÷íîãî ãðàôôèòè «çäåñü áûë Âàñÿ»).

Spring 2007, "PPROFESSORS" art group exclusively designed for our project a constructor-kit, which can be assembled according to an algorithm into anthropomorphic object-character. Thanks for the modular structure, diverse plastical variations can be implemented. Assembled objects can be exhibited separately or in a group. Also they can interact with 3-d boxes (houses, hangars) and various edges. Authors view the object as, primarily, a sort of a "marker" which can be used to mark a certain place. Arriving in a new place, a new city, they bring the "Red person" along and take photos of the character in different spaces, and then the object is left behind to signify the fact that its creators were present in the place. Up to now "Red person" has visited Saint Petersburg, Helsinki, Berlin, Kiedja, Sottomarina, Istanbul, Kiev, Geneva, Montreux, Lausanne, and Nuremberg. "Red person" conception turns out to be somewhat similar to the tagging conception of the classical graffiti — "Red person" serves the same purpose as the artist name in tagging — to point to the artist presence in a certain place (this can be demonstrated by the classical Russian graffiti "Basil WUZ HERE").

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photo by Katya Kopytina

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“POSTMAN BOX” OBJECT ON MOSCOW STREET BY SUMO

Äëÿ äàííîãî õóäîæíèêà î÷åíü áîëüøîé èíòåðåñ ïðåäñòàâëÿåò ßïîíèÿ, óäà÷íî ñî÷åòàþùàÿ â ñåáå ñïåöèôè÷íûå äðåâíèå òðàäèöèè è ñâåðõíîâûå êîìïüþòåðíûå òåõíîëîãèè. Áîðüáà «ñóìî», òåìó êîòîðîé àâòîð èíòåðïðåòèðóåò â ñâîåì òâîð÷åñòâå, ÿâëÿåòñÿ îäíîé èç âàæíåéøèõ è íåîòúåìëåìûõ ñîñòàâëÿþùèõ ÿïîíñêîé êóëüòóðû. Ïðèìå÷àòåëüíî, ÷òî ñîçäàííûé àâòîðîì îáðàç áîðöîâ-ñóìîèñòîâ çíà÷èòåëüíî îòëè÷àåòñÿ îò ïðåäñòàâëåíèé, òðàäèöèîííî áûòóþùèõ î íèõ â îáùåñòâå. Â ðàáîòàõ Sumo áîðöû ïðåäñòàþò ïåðåä çðèòåëåì â îáðàçå âåñ¸ëûõ, óëûáàþùèõñÿ òîëñòÿêîâ, âñòóïàþùèõ â ïðîòèâîáîðñòâî ñî ñêóêîé è ãðóñòüþ. Îäíàêî, íåñìîòðÿ íà âñþ «íåñåðüåçíîñòü» èõ âíåøíåãî îáëèêà, îíè ñïîñîáíû ïåðåäàâàòü ñàìûå ñåðüåçíûå ñîîáùåíèÿ, èñõîäÿùèå îò èõ àâòîðà, îñóùåñòâëÿÿ, òàêèì îáðàçîì, îïðåäåëåííóþ êîììóíèêàöèþ ìåæäó õóäîæíèêîì è âíåøíèì ìèðîì. Ðàáîòàÿ íàä ïðîåêòîì, õóäîæíèê ïîñòàâèë äëÿ ñåáÿ çàäà÷ó — ñîçäàòü

íîâóþ ôîðìó äëÿ òàêîãî çíàêîìîãî âñåì ïðåäìåòà óëè÷íîé ôóðíèòóðû, êàê ïî÷òîâûé ÿùèê. Ïî÷òîâûå ÿùèêè ðàññðåäîòî÷åíû ïî âñåì ðàéîíàì, îäíàêî èõ ôîðìà è öâåò íàñòîëüêî ïðèâû÷íû äëÿ îáûâàòåëåé, ÷òî ïîñëåäíèå çà÷àñòóþ èõ ïðîñòî íå çàìå÷àþò. Ñâîèì ïðîåêòîì Sumo ïðåäëàãàåò îäèí èç ñïîñîáîâ «ïîâòîðíîãî âêëþ÷åíèÿ» ÿùèêîâ â ïîëå çðèòåëüñêîãî âíèìàíèÿ, ïåðåäåëûâàÿ èõ â àðò-îáúåêòû ïîñðåäñòâîì èçìåíåíèÿ èõ äèçàéíà Ñàì îáúåêò ïðåäñòàâëÿåò ñîáîé êîðîáêó-÷åõîë, âûïîëíåííóþ â âèäå êâàäðàòíîãî áîðöà ñóìî. Åãî êâàäðàòíàÿ ôîðìà â öåëîì èäåíòè÷íà ôîðìå ïî÷òîâîãî ÿùèêà, ÷òî îáåñïå÷èâàåò åìó áûñòðóþ óñòàíîâêó íà óëèöå. «Íàäåòûå» íà ïî÷òîâûé ÿùèê, êâàäðàòíûå áîðöû-ñóìîèñòû ñîõðàíÿþò âñþ åãî ôóíêöèîíàëüíîñòü è îäíîâðåìåííî ïðåäëàãàþò çðèòåëþ íîâûé ñïîñîá âîñïðèÿòèÿ îáûäåííîãî îáúåêòà ãîðîäñêîé ñðåäû.

photo by Sveta Rastebina

This artist is passionately interested in Japan, where original ancient traditions and ultramodern IT are successfully melted together. Sumo-wrestling, interpreted in artist works, is a large integral part of the Japanese culture. The image of sumo wrestlers developed by the author is staggeringly different from the traditional Russian preconceptions. Sumo created merry potbellied fighters challenging boredom and sadness. But despite their "unserious" looks, they are able to convey artist message serving as a communication link between the author and outside world. The artist defined the goal of the project as to completely reshape ordinary a postbox, which is a piece of street furniture known well to all of us. Postboxes are scattered everywhere but passers-by are so used to their shape and color that they hardly notice them at all. Sumo tries to re-include the postboxes into the viewers perception, turning them into art objects and changing their design. The object itself is a box-case, shaped as a sumo wrestler. Its square form is identical to one of a postbox, which facilitates its installation in the street. When they are on, Sumo wrestlers don't limit the functionality of the postbox and offer a new look on a mundane city environment object.

photo by Katya Kopytina

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“SYMBOLS” SERIES ON S.PETERSBURG STREET BY SY

Â áîëüøèõ ãîðîäàõ èç-çà î÷åíü áûñòðîãî òåìïà æèçíè ó ëþäåé íà óëèöå î÷åíü ÷àñòî íå áûâàåò íè âðåìåíè, íè æåëàíèÿ îñòàíàâëèâàòüñÿ äëÿ âíèìàòåëüíîãî ðàññìîòðåíèÿ êàêîãî-ëèáî èç îáúåêòîâ óëè÷íîãî èñêóññòâà, è óæ òåì áîëåå — äëÿ äåøèôðîâêè çàëîæåííûõ â íåãî ñìûñëîâ. Èìåííî ýòî ñòàëî îïðåäåëÿþùèì ôàêòîðîì â ðåøåíèè ïåòåðáóðãñêîãî óëè÷íîãî õóäîæíèêà SY — ñîçäàâàòü èíñòàëëÿöèè/ñèìâîëû, ïîíÿòíûå ëþáîìó ÷åëîâåêó äàæå ïðè áåãëîì îñìîòðå. Èíîðîäíûé îáúåêò, ðàçìåùåííûé â ïðèâû÷íîì ìåñòå, ñðàçó æå îáðàùàåò íà ñåáÿ âíèìàíèå. Ðàçìåùàÿ ñâîå óãëîâàòîå «ñåðäöå» â ñàìîì öåíòðå ãîðîäà, àâòîð ïðåæäå âñåãî õîòåë âûçâàòü óäèâëåíèå ïðîõîäÿùèõ ìèìî ëþäåé, è, âîçìîæíî, åùå ðàç íàïîìíèòü èì î ëþáâè… Ïðè ñîçäàíèè «ðîìáà» õóäîæíèê îòòàëêèâàëñÿ óæå îò íåñêîëüêî äðóãîé ìîòèâàöèè. Çà îñíîâó ýòîé ìèíè-èíñòàëëÿöèè áûëà âçÿòà ìèøåíü «ìîäîâ» (mods) — óçíàâàåìûé çíàê àíãëèéñêîé ìîëîäåæíîé ñóáêóëüòóðû âòîðîé ïîëîâèíû äâàäöàòîãî âåêà. Îòâåðãàÿ íîðìû è êîíñåðâàòèâíûå óñòîè âçðîñëûõ è, áóäó÷è äîñòàòî÷íî àãðåññèâíûìè, ïðåäñòàâèòåëè ýòîé ñóáêóëüòóðû îòêàçûâàëèñü ïðèíèìàòü îêðóæàþùóþ èõ äåéñòâèòåëüíîñòü ñ åå íåâûíîñèìîé ñêóêîé, öàðÿùåé âíóòðè ïðîìûøëåííûõ ãîðîäîâ. Îäíàêî íåïðèÿòèå ìîëîäåæüþ îêðóæàþùåé äåéñòâèòåëüíîñòè ñóùåñòâîâàëî è â äðóãèõ êóëüòóðàõ, îòíîñÿùèõñÿ ê ñàìûì ðàçëè÷íûì âðåìåííûì ïåðèîäàì. Ñîâðåìåííîñòü — íå èñêëþ÷åíèå. Â ýòîì ìîæíî óáåäèòüñÿ, ïîâíèìàòåëüíåå ïðèñìîòðåâøèñü ê íåëåãàëüíîé òâîð÷åñêîé àêòèâíîñòè ìîëîäåæè íà óëèöàõ ëþáîãî êðóïíîãî ãîðîäà. Íà÷èíàÿ ñ 80-õ, ãðàôôèòè êóëüòóðà ñòàëà îäíèì èç ñàìûõ ðàñïðîñòðàíåííûõ ôîðì òâîð÷åñêîãî ïðîòåñòà ìîëîäåæè ïðîòèâ àâòîðèòàðíîé âëàñòè. «Êîíôëèêòíîñòü è íåïîñëóøàíèå ïðèñóùè ìîëîäîìó áóíòàðñêîìó äóõó âî âñå âðåìåíà» — èìåííî òàê çâó÷èò ãëàâíûé àâòîðñêèé ïîñûë, çàëîæåííûé â ýòîé ðîìáîîáðàçíîé èíñòàëëÿöèè/ñèìâîëå. Â èíñòàëëÿöèè, ïðîíçàþùåé ñòåíó, àâòîð èñïîëüçîâàë áîëåå ïðèâû÷íóþ äëÿ ñåáÿ ôîðìó è ïîïûòàëñÿ ñîçäàòü íåêîòîðûé èëëþçîðíûé ýôôåêò, çàêëþ÷àþùèéñÿ â «ïðîõîæäåíèè» îáúåêòà ñêâîçü óãîë äîìà. Äàííûé îáúåêò íåñåò â ñåáå ìûñëü î òîì, ÷òî ëþáîå õóäîæåñòâåííîå ïðîèçâåäåíèå, ñîçäàííîå íà óëèöå, íåìèíóåìî âñòóïàåò â êîíôëèêò ñ îêðóæàþùåé ñðåäîé, â êîòîðîé îíî íàõîäèòñÿ. Âèäèìûé ðàçðóøèòåëüíûé õàðàêòåð êîìïîçèöèè èëëþçîðåí. Åå èñòèííîå íàçíà÷åíèå — â òîì, ÷òîáû ïðåäîñòàâèòü çðèòåëþ åùå îäíó âîçìîæíîñòü àëüòåðíàòèâíîãî âçãëÿäà íà îêðóæàþùóþ äåéñòâèòåëüíîñòü.

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Big city inhabitants suffer from the fast pace of life and lack time and desire to closely ponder on a street art object, let alone to decode its meaning. That was the driving factor behind the decision of SY artist to create installations\symbols instantly comprehensible to everyone. Alien object, inserted in an accustomed place, instantly grabs attention. Placing his edgy "heart" in the very center of the city, author wanted to surprise passers-by and, probably, remind them of love… The author motivation to create "lozenge" was somewhat different. It is based on the "mods" target — a recognizable sign from the second half of the 20th century English youth subculture area. Defying the norms and conservative conventions of the adults, subculture members refused to accept the surrounding reality and unbearable boredom of industrial cities. But the refusal to accept the reality is a feature of youth subcultures in any culture, at any period. Today is no exception. Youth illegal creative activity in the streets of any big city only proves the point. From the eighties and on, graffiti culture has become one of the most widespread forms of youth protest against authoritarian regime. "Conflict and disobedience is a part of the young rebellious spirit anytime" — this is the main message of the author, embodied in the lozenge-shaped installation\symbol. The author used more conventional form in the impaled wall installation and tried to create an illusion of the object penetrating the corner of the house. This symbol signifies the idea that any street art inevitably conflicts with the surrounding environment. The visible destructive nature of the composition is illusionary. Its main purpose is to offer a viewer alternative look on reality.

“EAGLE” OBJECT ON S.PETERSBURG STREET BY SY

"LENIN'S ESCAPE" VIA RED BULL CANS

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“WHITE GRAFFITI” ON MOSCOW STREET BY TSM CREW

“FLORAL KLUCK” OBJECT ON MOSCOW STREET BY BARADON, AZ CREW

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“DROP IT!” OBJECT ON MOSCOW STREET BY FET, 310 SQUAD

Ïðåäñòàâëåííûé îáúåêò ÿâëÿåòñÿ ÷àñòüþ ïðîåêòà «Drop it», â êîòîðîì àâòîð ðàçìûøëÿåò î êóðåíèè, î «âðåäíîé ïðèâû÷êå», èçáàâëåíèå îò êîòîðîé âûëèâàåòñÿ â ñåðü¸çíóþ ïðîáëåìó äëÿ ìíîãèõ ëþäåé, â òîì ÷èñëå äëÿ ñàìîãî õóäîæíèêà. Îáúåêò â âèäå çàêîïàííîé â çåìëþ ñèãàðåòû èç äåðåâà ïðèçûâàåò âñåõ «çàâÿçûâàþùèõ» ê òîìó, ÷òîáû áðîñèòü êóðèòü, âìåñòî òîãî, ÷òîáû «ïûòàòüñÿ», ïðèäóìûâàÿ ñåáå ðàçëè÷íûå îòãîâîðêè. Ðåøèòåëüíî, ðàç è íàâñåãäà, áðîñèòü.

The exhibited object is a part of the "Drop it"project. Author ponders on smoking, on the "bad habit", which gives a hard time for those who, like the artist, try to quit it. Dug in wooden cigarette urges all "quitting" people to decisively kick the habit instead of "trying" and thinking out different excuses for still smoking. To drop the cigarette butt once and forever.

“COSMOFISH” OBJECT ON MOSCOW STREET BY ZEANER, 310 SQUAD

Â îñíîâå âñåãî òâîð÷åñòâà ýòîãî àáñòðàêòíîãî õóäîæíèêà — àáñîëþòíî ïóðèñòñêàÿ êîíöåïöèÿ: îðãàíèçîâûâàòü ïðîñòðàíñòâî ïîñðåäñòâîì ëèíèé è öâåòà. Ôîðìà, ïîëó÷åííàÿ â èòîãå èõ âçàèìîäåéñòâèÿ, ïðåäñòàâëÿåò ãëàâíóþ öåííîñòü äëÿ àâòîðà… Ïðîìûøëåííûå îáúåêòû è ôóðíèòóðà, ðàçáðîñàííûå ïî ãîðîäñêèì óëèöàì, èíòåðåñíû òåì, ÷òî ïî îòíîøåíèþ ê ïëîñêîñòè ïðåäîñòàâëÿþò çàâåäîìî áîëüøåå ÷èñëî âàðèàíòîâ äëÿ îïðåäåëåíèÿ êîíå÷íîãî âèäà ôîðìû, êîòîðûé, â ñâîþ î÷åðåäü, çàâèñèò îò ðàêóðñà, êîëè÷åñòâà ãðàíåé è èçíà÷àëüíîé ôîðìû ñàìîãî îáúåêòà.

Absolutely purist conception forms the core of the art of this abstract artist: to organize spaces using lines and color. The form, which is a result of their interaction, is of the uppermost value for the author… Industrial objects and city furniture draw additional interest because they offer more variants to shape the final look, which depends on point of view, number of edges and the object initial form.

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Dopludo — ýòî ãðóïïà, ñîñòîÿùàÿ èç ÷åòûðåõ õóäîæíèêîâ Elay, Petr, Eika è Kid one. Ãðóïïà àêòèâíî çàíèìàåòñÿ èñêóññòâîì è äèçàéíîì. Íàçâàíèå «Do plu do» — ýòî ôîíåòè÷åñêîå íàïèñàíèå ôðàíöóçñêîãî âûðàæåíèÿ «äâà ïëþñ äâà», ÷òî îòðàæàåò èñòîðèþ ôîðìèðîâàíèÿ ãðóïïû, èçíà÷àëüíî ñîñòîÿùåé èç äâóõ «duo»: Elay (Åãîð Áàøàêîâ) è Petr (Ï¸òð Äàâûäò÷åíêî). Ïîçäíåå, â ïðîöåññå ñîâìåñòíîé ðàáîòû õóäîæíèêîâ ïðîèçîøëî èõ çíàêîìñòâî ñ Eika (Êàðèíà Ýéáàòîâà) è Kid one (Ë¸øà Ãàëêèí), äî ýòîãî òàêæå ðàáîòàâøèõ âìåñòå. Â íàñòîÿùèé ìîìåíò Elay, Petr è Eika íàõîäÿòñÿ â Øâåöèè, ãäå çàêàí÷èâàþò øêîëó èçÿùíûõ èñêóññòâ. Kid one ó÷èòñÿ è ðàáîòàåò â Ïåòåðáóðãå. Ïðîåêò êîëëåêòèâà, ïðåäñòàâëåííûé â «Objects3», ìîæíî îïðåäåëèòü êàê êëàññè÷åñêèé ïðèìåð òàê íàçûâàåìîãî «îáúåêòíîãî ãðàôôèòè» — ïðàêòèêè, íà äàííûé ìîìåíò áîëüøå ðàñïðîñòðàíåííîé çà ðóáåæîì, ÷åì â Ðîññèè. Ìîäóëüíàÿ êîíñòðóêöèÿ/îáúåêò, ñîñòîÿùàÿ èç íåñêîëüêèõ, ñêëååííûõ èç êàðòîíà ïðÿìîóãîëüíûõ ýëåìåíòîâ, íà äåëå ïðåäñòàâëÿåò ñîáîé îáúåìíóþ øðèôòîâóþ êîìïîçèöèþ, ÷èòàåìóþ êàê «Hello». Ôèíàëüíûé îáëèê êîìïîçèöèè ìîæåò âàðüèðîâàòüñÿ â çàâèñèìîñòè îò ïîëîæåíèÿ åå ñîñòàâëÿþùèõ. Êàæäûé ñâîé óëè÷íûé ïðîåêò ó÷àñòíèêè ãðóïïû ïîçèöèîíèðóþò êàê ïðîòåñò ïðîòèâ çàêðûòîñòè è «ïðèâèëåãèðîâàííîñòè» ñîâðåìåííî-

ãî èñêóññòâà, öèðêóëèðóþùåãî â óçêîì êðóãó «äâèãàòåëåé» àðò-ðûíêà — êîëëåêöèîíåðîâ, ãàëåðèñòîâ, õóäîæíèêîâ, êðèòèêîâ è ïð. Â äðóãèõ ñâîèõ ïðîåêòàõ õóäîæíèêè ÷àñòî îáðàùàþòñÿ ê òåìàì ìèñòèöèçìà, âîëøåáíûõ ñêàçîê, ìèôîëîãè÷åñêîãî ñèìâîëèçìà, è ò.ï. Êðîìå òîãî, âíèìàíèå êîëëåêòèâà çàíèìàþò ðàçëè÷íûå ïðàêòèêè èñïîëüçîâàíèÿ ìèíèìàëèñòñêèõ ïðèåìîâ â äèçàéíå, à òàê æå ñîöèàëüíûå è ïñèõîëîãè÷åñêèå àñïåêòû ñîâðåìåííîãî èñêóññòâà. Ñâîþ çàäà÷ó àâòîðû âèäÿò â ñîâìåùåíèè èñêóññòâà è äèçàéíà, êðèòè÷åñêè îòíîñÿñü ê ðàçâåäåíèþ ýòèõ ïîíÿòèé. Â õóäîæåñòâåííûõ ðàáîòàõ «Do Plu Do» îòñóòñòâóåò ÷ðåçìåðíàÿ, «èçëèøíÿÿ» êîíöåïòóàëèçàöèÿ — èõ àáñòðàêòíîå ñîäåðæàíèå â áîëüøèíñòâå ñëó÷àåâ ñêîðåå ïðåäïîëàãàåò ýñòåòèêó, ÷åì ñìûñëû. Ïîýòîìó, ïðè ìàòåðèàëèçàöèè ñâîèõ èäåé îíè âñåãäà ñòðåìÿòñÿ äîñòè÷ü èõ ìàêñèìàëüíîé ïîíÿòíîñòè äëÿ âñåõ. Ïðèñòóïàÿ ê ðàáîòå íàä î÷åðåäíûì ïðîåêòîì, àâòîðû ïðåæäå âñåãî ñòàðàþòñÿ èçáàâèòü ñåáÿ îò âñåõ «íàäóìàííûõ» ïðåäñòàâëåíèé îòíîñèòåëüíî òîãî, ÷òî îíè ñîáèðàþòñÿ äåëàòü; îò óñòîé÷èâîãî ìûñëåííîãî êîíöåïòà, âñåãäà âîçíèêàþùåãî â ãîëîâå â ðåçóëüòàòå ïðèâûêàíèÿ ê ÷åìóëèáî (íàïðèìåð, ê ñòèëþ, îïðåäåëåííîìó ñðåäñòâó âûðàæåíèÿ, è ò.ä.).

“HELLO” 3D FONT ON S.PETERSBURG STREET BY DOPLUDO GROUP

Dopludo group is made up of four artists: Elay, Petr, Eika and Kid one. The group is actively engaged in arts and design. The name "Do plu do" comes from the phonetic transcription of the French phrase "two plus two", which reflects the story of the formation of the group that originally consisted of two "duo's": Elay (Egor Bashmakov) and Petr (Petr Davydchenko). Later during the course of their work they met with Eika (Karina Eibatova) and Kid one (Aleksey Galkin), who before that also had worked together. At the present moment Elay, Petr and Eika are in Sweden, where they graduating from a fine arts colledge. Kid one is studying and working in St. Petersburg. The group's project, represented in "Objects3", can be defined as a classical example of so called "object graffiti" — a practice which is more spread abroad then in Russia. Modular construction\object, which consists of several rectangular elements made of cardboard, is in fact volume font composition which reads "Hello". Final looks of the composition can be varied depending on the component position. The group members position every project as a protest against non-inclusive and privileged modern art, circulating among small clique of art market-makers — collectors, gallery owners, critics and such. The artists devote their other projects to such themes as mysticism, fairy tales, mythological symbolism and so on. Also the group pays attention to different practices of minimalist design techniques as well as to social and psychological aspects of modern art. The authors define their goal as merging art and design and are critical of splitting these phenomena. Artistic works of "Do plu Do" are free of excessive conceptualization — their abstract content in most cases points to esthetics, not meaning. That's why artists try to make their work comprehensible for everybody. When they are to implement a new project, the authors try to free themselves from far-fetched preconceptions about their new work, to get rid of firm mental concepts, which always arise as a result of habituation to something (for example to a certain style or means of expression).

059

060

“SATI STRIPES & EMGO” PLUSH TOYS

“SATI BROWN” PLUSH TOY ON MOSCOW STREET BY FOKER, PLUSHEDELICA GROUP

“MAKE ME HAPPY” & “UFIE” PLUSH TOYS

“SPARKY” PLUSH TOY

061

062

“CUBE” PAINTING ON THE ROOF BY CHES, MOSCOW

064

ZA KADROM

za kadrom — incubus project/spb dopludo group/spb — hudoy/moscow

indeepop group/spb — scheme/moscow tdf tour/spb — va/moscow

065

066

igor p./moscow — dopludo group/spb 183/moscow — foker/moscow

influx crew/moscow — most/moscow 0331c/moscow — pain brakers/moscow

067

3D EXHI BITIONS

074

SKATE OBJECTS

organizators: “non-olimpyc games” shop & “objects” book idea: personal deck design from graffiti and street-art artists web: www.xoxox.ru

participians: sick systems (aske, kola, kiosk), scheme, influx (bigood, volum, nayr), 310 squad (fet, mo, zeaner), ches, mark, pain brakers (16:59, nootk), most (no future forever), igor p., floksy, ag4t, incubus project, foker, scissor, zuk club, zmogk, takloo, sxem, polet. all photos by valera belobeev

075

076

01. Kola (Sick systems) 02. Kiosk (Sick systems) 03. Aske (Sick systems) 04. Bigood (Influx crew) 05. Volum (Influx crew) 06. Ches 07. Zeaner (310 squad) 08. Mo (310 squad) 09. Fet (310 squad) 10. Mark 11. Incubus project

12. Takloo 13. Polet & Sxem 14. Zmogk 15. Most (No future forever) 16. 16:59 (Pain Brakerz) 17. Nootk (Pain Brakerz) 18. Scheme (Style konstruktor) 19. AG4T 20. Floksy (Indeepop) 21. Zuk club & Scissor 22. Igor P.

pasha kovalenko / union skateboard team “frontside blunt” design by kola artist / sick systems

lesha trun’kin / union skateboard team “nollie hill” design by scheme artist / style konstruktor

077

078

pasha kovalenko / union skateboard team “cap flip” design by ches artist

lesha trun’kin / union skateboard team “5.0” design by zeaner artist / 310 squad

grisha pironov / union skateboard team â&#x20AC;&#x153;hard flipâ&#x20AC;? design by nootk artist / pain brakers

079

080

STYKOVKA LUNOHOD MASKS organizator: “lunohod-1” toyshop idea: personal masks design web: www.lunohod-1.ru

mask: mickey designer: fedosya

masks: squirrel & bear designer: masha reva

081

082

mask: puzzle box designer: pavlyukov pavel

designer: lucid dream organization

mask: cmyk designer: prokofiev sergey

designer: polina shutova photo: kazya-bazya

designer: dmitry krasov right photo

083

084

Íà ñåãîäíÿøíèé äåíü â Ìîñêâå ñóùåñòâóåò äîâîëüíî êðóïíîå ñîîáùåñòâî õóäîæíèêîâ, çàíèìàþùèõñÿ èçãîòîâëåíèåì äèçàéíåðñêèõ èãðóøåê. Èõ ðàáîòû ðåãóëÿðíî ýêñïîíèðóþòñÿ íà âûñòàâêàõ ïðîåêòà «Ñòûêîâêà». Î÷åðåäíàÿ âûñòàâêà ïðîåêòà ñîñòîÿëàñü â êîíöå àïðåëÿ 2008 ã. Íà ýòîò ðàç àâòîðû-ó÷àñòíèêè âûñòàâêè ïðåäñòàâèëè âíèìàíèþ ïóáëèêè äèçàéíåðñêèå ìàñêè. Ìàñêè ñóùåñòâóþò ñòîëüêî æå, ñêîëüêî ñóùåñòâóåò ÷åëîâå÷åñòâî. Ñ íåçàïàìÿòíûõ âðåì¸í ëþäè ïðÿòàëè ïîä íèìè ñâîå ëèöî è çàùèùàëè ñåáÿ îò âíåøíèõ ñèë. Ó÷àñòâóþùèå â ïðîåêòå õóäîæíèêè ïðîäîëæèëè ýòó òðàäèöèþ… Äî ýòîãî â ïðîåêòå äåìîíñòðèðîâàëîñü ìíîãî ðàáîò, àêöåíòèðîâàííûõ íà äèçàéíå âûìûøëåííûõ ïåðñîíàæåé. Íà ñåé ðàç ïåðñîíàæàìè ñòàëè ïîñåòèòåëè âûñòàâêè, íàðÿæåííûå â ðàçëè÷íûå ìàñêè/ýêñïîíàòû — òàêîé õîä, ïî ìûñëè îðãàíèçàòîðîâ, äîëæåí áûë ñîîáùàòü âûñòàâêå íåêîòîðóþ äîëþ èíòåðàêòèâíîñòè. Îñíîâíîé çàäà÷åé àâòîðîâ áûëî ðàçðàáîòàòü ìàñêó, íå ñîäåðæàùóþ êàêèõ-ëèáî ìîòèâîâ ñóùåñòâóþùèõ òðàäèöèîííûõ êóëüòóð. There is a large designer-toys producing arts community in Moscow. "Docking" project regularly exhibits its works. The regular exhibition was held in late April 2008. This time designers introduced original masks. Masks exist for as long as mankind exists. Since prehistoric times people concealed their faces and protected themselves for outer forces. Participating artists follow this tradition… Earlier the project displayed numerous works centered on imaginary character design. This time exhibition guests became fictional characters. They wore different masks/exhibition items — this move, according to the organizers, should have made the exhibition somewhat interactive. The main task for the authors was to design masks free of any traditional culture themes.

designer: waldez

Ýòà ðóáðèêà ïîñâÿùåíà îáçîðó òåêóùåãî ñîñòîÿíèÿ «îðèãèíàëüíîãî» (äâóõìåðíîãî) óëè÷íîãî èñêóññòâà â Ðîññèè, ñîçäàííîãî íà âñåâîçìîæíûõ óëè÷íûõ ïîâåðõíîñòÿõ ïîñðåäñòâîì ñïðåÿ, êèñòåé, âàëèêîâ, òðàôàðåòîâ, ïîñòåðîâ, ñòèêåðîâ è ïð.

The section main subject is to review contemporary state of the "original" (2-d) street-art in Russia, created on every imaginable street surfaces using spray, brushes, rollers, stencils, posters, stickers and so on.

ORIGINAL STREET ART

088

“1 C” PAINTINGS ON MOSCOW STREETS BY 0331C

“0331C ROBOT” PAINTING BY 0331C 089

090

“TARGET” POSTERS ON MOSCOW STREET BY ARTEK

“INTERNAL” PAINTING SERIES IN THE ABANDONED PLACE, RUSSIA, BY LIMITE

091

092

“ANGEL” STENCIL ON NEW YORK CITY STREET BY MITCH, UNPLATE GROUP/KRASNODAR

“MACHINES” SERIES ON NEW YORK CITY STREET

093

094

“ROBOT’S DETAIL SCHEME” ON S.PETERSBURG STREET BY INCUBUS PROJECT

PERSONAL LOGO ON MOSCOW STREET BY ZUK CLUB

095

096 “STREET BOWLING” PROJECT ON MOSCOW STREET BY ZUK CLUB

097

098

“ALTER EGO”

“CALL” ON MOSCOW STREET BY 310 SQUAD

“FRIED EGGS”

“COMING SOON”

099

100

“INFLUX LETTERS” ON MOSCOW STREET BY INFLUX CREW

101

102

“PB LETTERS” ON KIEV STREET BY NOOTK&16:59, PAIN BRAKERS

CHARACTERS ON MOSCOW STREET BY NOOTK, PAIN BRAKERS

103

104

“KOLA KIO” LETTERS ON MOSCOW STREET BY KOLA&KIOSK, SICK SYSTEMS

“SICKS” LETTERS ON MOSCOW STREET BY SICK SYSTEMS

105

106

UP: ON MARIUPOL STREET BY IK GROUP / DOWN: ON ODESSA STREET BY IK GROUP & KISLOW (ARTIST)

107

108

“BUFF WARS” SERIES ON MOSCOW STREET BY MOST, NO FUTURE FOREVER GROUP

“DIALOG” SERIES

109

110

LORD VEDR IN ACTION ON MOSCOW STREET BY 404 PHOTOGRAPHER

SCISSOR IN ACTION BY 404 PHOTOGRAPHER

ZUK CLUB IN ACTION BY 404 PHOTOGRAPHER

111

112

SCISSOR IN ACTION ON MOSCOW STREET BY 404 PHOTOGRAPHER POSTER: ZACHEM CREW

ZACHEM CREW IN ACTION ON MOSCOW STREET BY 404 PHOTOGRAPHER

113

114

“MOST” TAG AND POSTERS ON MOSCOW STREET BY ZUK CLUB, SCISSOR

photo by Roman Ass, 2007

“VISUAL ARTIFACTS” POSTER ON MOSCOW STREET BY IGOR P.

115

HERE ARE THE LINKS TO PHOTOS THAT WERE NOT COVERED IN THE BOOK HTTP://WWW.OBJECTSBOOK.RU/OBJ3_IMG/ igorp_objcube.jpg dups_lightgraf.jpg bigood_masks.jpg elum_tr_can.jpg trop_sick_2.jpg indeepop_co.jpg homer_buratino.jpg legalart_fun.jpg 0331c_derevo.jpg maria_zebra.jpg 0331c_derevo_2.jpg hud_co2_graffiti.jpg maz_freerobots.jpg most_street.jpg mh_krugi.jpg most_do.jpg renais_golubi.jpg indeepop_w.jpg incubus_robots_2.jpg pb_1659.jpg nek_shrift.jpg pprof_redpeople.jpg sumo_privet_scissor.jpg trew_fonts_vyrezal.jpg sy_geometricforms.jpg volga_drive_kap.jpg az_basketball_2.jpg

sap_object_rostov.jpg az_kusok.jpg 56_izvinimambo.jpg 310s_graf_1.jpg bady_sevas.jpg dopludo_crystalls.jpg mack_klimov.jpg foker_toys.jpg stykovka_gothmask.jpg points_zabugorniy.jpg stykovka_mask_2.jpg artek_targ_0.jpg limite_int_0000.jpg sap_alik_norm.jpg bask_39.jpg sabina_fishs.jpg unplate_stencil.jpg zuk_zebra.jpg scissor_ph.jpg influx_font.jpg sicks_skate.jpg smile_spb_floppy.jpg ik_wall_p.jpg va_korobka.jpg 404_action.jpg scissor_scissors.jpg 310s_graf_2.jpg

183_poezd_krutoy.jpg most_street_2.jpg 0331c_sduetom.jpg incubus_robots.jpg pb_nootk_action_kru.jpg sumo_umetro.jpg sy_geomforms_2.jpg most_odessa_pl.jpg homer_poshlo.jpg trop_sick_001.jpg igorp_objcube_1.jpg az_basketball_3.jpg 310s_rebjata.jpg dopludo_dere_0.jpg stykovka_mask_1.jpg bask_11.jpg unplate_ny_2.jpg zuk_zebrazebra.jpg sicks_let.jpg 404_stas.jpg dopludo_perfcloud.jpg 310s_anim_ob.gif 310squad_anim.gif

INDEX

0331C ARTIST: 32, 33, 67, 88, 89 — WWW.FOTOLOG.COM/0331C 16:59 ARTIST: 76, 102 — WWW.MAINSTREAMERS.RU 183 ARTIST: 22—27, 66 — WWW.183ART.RU 21 SHOP: 69 — WWW.21SHOP.RU 310 SQUAD: 56, 57, 75, 78, 98, 99 — ART310.LIVEJOURNAL.COM 3-D OBJECTS: 3—67 404 PHOTOGRAPHER: 3, 110—113 — WWW.PLASSMASS.COM ABANDONED PLACE: 30, 36, 37, 91 — ABANMAG.VISUALARTIFACTS.RU AG4T ARTIST: 76 APL ARTIST: 28, 29 — WWW.FAT315.COM ARTEK ARTIST: 90 — ARTEKAH.LIVEJOURNAL.COM ASKE ARTIST: 75, 105 — WWW.SICKSYSTEMS.RU AZ CREW: 55 BARKOV FEDOR, TRANSLATER: 1, 7—10, 13, 14, 18, 24, 30, 31, 35, 37, 40, 47, 49, 52, 56, 57, 59, 84, 86 BELOBEEV VALERA PHOTOGRAPHER: 11—13, 75—79 WWW.VIVACITY.RU/STYLES/VALERA BIGOOD ARTIST: 18, 19, 73, 75 CARHART CLOTHING: 71 — WWW.CARHARTT-EUROPE.COM CAYETANO FERRER ARTIST: 6 — WWW.CAYETANOFERRER.COM CHES ARTIST: 62, 75, 78 — WWW.CHESDESIGN.RU CODE RED MAGAZINE: 70 — WWW.CODEREDMAG.COM CUBE: 11—13, 35, 62, 120 — WWW.PROKVADRAT.RU DEAD CULTURE: 9, 120 DOPLUDO GROUP: 58, 59, 64, 66 EXHIBITIONS: 73—84 ELTONO ARTIST: 8 — WWW.ELTONO.COM F.AIM MAGAZINE: 117 — WWW.FAIM.RU FAT 315 CREW: 28—30 — WWW.FAT315.COM FEDOSYA ARTIST: 81 — 2UXA.LIVEJOURNAL.COM FET ARTIST: 56, 75, 98, 99 — ART310.LIVEJOURNAL.COM FOKER ARTIST: 60, 61, 66 — WWW.PLUSHEDELICA.COM FRANCE COUNTRY: 9 — EN.WIKIPEDIA.ORG/WIKI/FRANCE GRAFFITI SCHOOL: 68 — WWW.GRAFFITISCHOOL.RU GRISHA PIRONOV, RIDER: 79 HELSINKI CITY: 47 — EN.WIKIPEDIA.ORG/WIKI/HELSINKI HOMER ARTIST: 31 HUDOY ARTIST: 34, 64 IGOR P. ARTIST: 11—15, 66, 76, 115 — WWW.PROKVADRAT.RU/WOW IK GROUP: 106, 107 INCUBUS PROJECT: 41, 64, 75, 94 — WWW.INCUBUSPROJECT.COM INDEEPOP GROUP: 65, 76 — WWW.INDEEPOP.COM INDEX MARKET: 116, 120 — WWW.INDEXMARKET.RU INFLUX CREW: 18, 19, 67, 73, 75, 100, 101 ITALY COUNTRY: 8 — EN.WIKIPEDIA.ORG/WIKI/ITALY KIEV CITY: 31 — EN.WIKIPEDIA.ORG/WIKI/KIEV KIO ARTIST: 75, 104 — WWW.SICKSYSTEMS.RU KISLOW ARTIST: 106, 107 KOLA ARTIST: 75, 77, 104 — WWW.SICKSYSTEMS.RU KOPYTINA KATYA, PHOTOGRAPHER: 48, 49 KRASOV DMITRY ARTIST: 83 — WWW.TRAFORO.RU KOVALENKO PASHA, RIDER: 77, 78 LENIN VLADIMIR: 53 — EN.WIKIPEDIA.ORG/WIKI/LENIN LIGHT ART: 22—27 LIMITE ARTIST: 91 — _ITE.LIVEJOURNAL.COM LORD VEDR ARTIST: 110 LUCID DREAM ARTIST: 82 MADRID CITY: 5 — EN.WIKIPEDIA.ORG/WIKI/MADRID MARIUPOL CITY: 106, 107 — EN.WIKIPEDIA.ORG/WIKI/MARIUPOL MARK ARTIST: 75 MARK JENKINS ARTIST: 6 — WWW.XMARKJENKINSX.COM MASKS: 18, 19, 73, 81—84 MH ARTIST: 35—37 MO ARTIST: 75, 98, 99 — MO-ART.LIVEJOURNAL.COM MONTANA CANS: 63, 85 — WWW.MONTANACANS.DE MOSCOW CITY: 12—27, 32, 33, 38, 39, 42—45, 48, 49, 53—57, 62, 64—67, 77—79, 81—84, 88—90, 95—105, 108—115, 120 — EN.WIKIPEDIA.ORG/WIKI/MOSCOW

MOST ARTIST: 38, 39, 67, 75, 108, 109, 114 — WWW.FOTOLOG.COM/MONZTERRR NATURE PLACE: 28, 29, 34, 35, 40, 60, 61 NEW YORK CITY: 92, 93 — EN.WIKIPEDIA.ORG/WIKI/NEW_YORK_CITY NO FUTURE FOREVER PROJECT: 38, 39, 67, 75, 108, 109, 114 NOOTK ARTIST: 42, 43, 76, 102, 103 — WWW.MAINSTREAMERS.RU NURIA MORA: 8 — WWW.NURIAMORA.COM ODESSA CITY: 30, 106, 107 — EN.WIKIPEDIA.ORG/WIKI/ODESSA PAIN BRAKERS GROUP: 42, 43, 67, 76, 79, 100, 101 — WWW.MAINSTREAMERS.RU PAINTINGS: 88, 89, 91, 96—109 PAVLYUKOV PAVEL ARTIST: 82 PLUSHEDELIKA GROUP: 60, 61 — WWW.PLUSHEDELICA.COM POLAND COUNTRY: 9 — EN.WIKIPEDIA.ORG/WIKI/POLAND POLET ARTIST: 44, 45, 75 POSTERS: 6, 90, 93, 95, 110—115 — EN.WIKIPEDIA.ORG/WIKI/POSTERS PPROFESSORS GROUP: 46, 47 — PPROFESSORS.LIVEJOURNAL.COM PROKOFIEV SERGEY ARTIST: 83 PSKR CREW: 31 RASTEBINA SVETA PHOTOGRAPHER: 49 RED BULL CO.: 53 — WWW.REDBULL.RU RENAISSANCE GROUP: 40 REVA MASHA ARTIST: 81 ROMAN ASS: 115 RUSSIA COUNTRY: 11—27, 32—34, 38—45, 48—62, 64—67, 77—79, 81—84, 88—91, 94—105, 108—115, 120 — EN.WIKIPEDIA.ORG/WIKI/RUSSIA S. PETERSBURG CITY: 40, 41, 50—52, 58, 59, 64-65, 94 — EN.WIKIPEDIA.ORG/WIKI/SAINT_PETERSBURG SABOTAGE CANS: 68 — WWW.SABOTAGE.SU SCHEME ARTIST: 65, 76, 77 — WWW.STYLEKONSTRUKTOR.COM SCISSOR ARTIST: 76, 110—114 SICK SYSTEMS: 75, 77, 104, 105 — WWW.SICKSYSTEMS.RU SKATEBOARDS: 33, 74—79, 95, 101 SPY ARTIST: 5 STENCILS: 92, 94 — EN.WIKIPEDIA.ORG/WIKI/STENCILS STREET GEOMETRY: 14, 15, 66 STREET PLACE: 3, 5, 6, 8, 9, 11, 14—23, 25, 31—33, 38, 39, 41—45, 47— 62, 64—67, 75—79, 81—84, 88, 90—115, 120 STYKOVKA EXHIBITION: 80—84 — WWW.LUNOHOD-1.RU SUBWAY PLACE: 12, 13, 24, 26, 27 SUMO ARTIST: 48, 49 SXEM ARTIST: 75 SY ARTIST: 50—52 — WWW.SYART.INFO TAKLOO ARTIST: 75 TDF TOUR ARTIST: 65 TROP GROUP: 20, 21 TRUN’KIN LESHA RIDER: 77, 78 TRUTHTAG ARTIST: 9 — WWW.TRUTHTAG.COM TSELUIKO ANDREW EDITOR: 1, 4—6 TSM CREW: 54 UKRAINE COUNTRY: 28—31, 35—37, 106, 107 — EN.WIKIPEDIA.ORG/WIKI/UKRAINE UNION SKATEBOARD TEAM: 74, 77—79 UNPLATE GROUP: 92, 93 — WWW.UNPLATE.COM USA COUNTRY: 6, 92, 93 — EN.WIKIPEDIA.ORG/WIKI/USA WALDEZ ARTIST: 84 VA ARTIST: 65 VISUAL ARTIFACTS PROJECT: 115 — WWW.VISUALARTIFACTS.RU VOLUM ARTIST: 75 XOXOX SKATEBOARD SHOP: 74—79 — WWW.XOXOX.RU YANN LE DLUZ ARTIST: 9 YALTA: 28, 29 ZACHEM CREW: 16, 17, 112, 113 — WWW.ZACHEM.SU ZEANER ARTIST: 57, 75, 78 — ZEANER.LIVEJOURNAL.COM ZMOGK: 75 ZUEV ARTIST: 30 — WWW.FAT315.COM ZUK CLUB: 76, 95—97, 114 — WWW.VISUALARTIFACTS.RU/PICTURES/ZUK

120

END

Author, art-director: Igor Ponosov “Objects3” workgroup: Text: Andrey Tseluiko Advertisment, PR: Eugeniy Dolzhanskiy Art-coordinator: Roman Ass Cover: Nikolay Koshelev Photo: Valera Belobeev Translate: Fedor Barkov, Olya Sherbakova, Lena Nepomnyaschikh. Thanks to all artists who submitted material and all partners who submitted money. Please write me: igor.p@objectsbook.ru Official web-site: www.objectsbook.ru

General partner, publisher:

Other partners:

Partnership, advertising: advert@objectsbook.ru Distribution: prodam@objectsbook.ru

“Evolution cannot exist without experiment. Culture that blindly replicates tradition is a dead culture”.

«Objects3» — êíèãà îá óëè÷íîì èñêóññòâå â Ðîññèè è ÑÍÃ. Èçäàíèå òðåòüå: «Òðåõìåðíûå îáúåêòû è îáúåìíîïðîñòðàíñòâåííûå êîìïîçèöèè â óëè÷íîé ñðåäå». Òèðàæ 2000 ýêç. Ì.: IndexMarket, 2008, 120 ñ., èë.

Îôîðìëåíèå ôàñàäîâ, èíòåðüåðîâ â ñòèëå óëè÷íîãî èñêóññòâà è ãðàôôèòè, îðãàíèçàöèÿ è êóðèðîâàíèå òåìàòè÷åñêèõ âûñòàâîê è ìåðîïðèÿòèé: (495) 772–2700 krasivo@objectsbook.ru

ISBN–10: 5–9901107–2–3 ISBN–13: 978–5–99–01107–2–4 Àâòîð: Ïîíîñîâ Èãîðü Ãåííàäüåâè÷ Ãåíåðàëüíûé ïàðòíåð, èçäàòåëü: ÎÎÎ «ÈíäåêñÌàðêåò». Ñïåöèàëèçèðîâàííàÿ ëèòåðàòóðà ïî äèçàéíó, ðåêëàìå, èçîáðàçèòåëüíîìó èñêóññòâó, àðõèòåêòóðå è ôîòîãðàôèè. Àäðåñ: 141400, ã. Õèìêè, óë. Ëåíèíãðàäñêàÿ, 29 Äåëîâîé öåíòð (çäàíèå ÂÍÈÈÑÌÈ), 7-é ýòàæ, îôèñ 706 òåë. (495) 571–6227, 571–9034 Èíòåðíåò-ìàãàçèí: www.indexmarket.ru Âñå ïðàâà íà èçäàíèå çàùèùåíû. Ïåðåïå÷àòêà èç êíèãè èëè âîñïðîèçâåäåíèå åå ÷àñòåé âîçìîæíî òîëüêî ñ ïèñüìåííîãî ðàçðåøåíèÿ àâòîðà.