Artists On The Block by masha rassam

Contents

Thesis The Issue Why It Matters

7 9 13

Research Political Timeline Art Mouvements Articles

21 31 39 51

Process Brainstorming Encryption Blockchain Platform VR Experience Interviews

183 185 197 249 301 329

AOTB Manifesto Brand Identity Final Execution

357 359 364 375

THESIS PROCESS BOOK Thesis process book

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Thesis process book

Thesis The Issue Why It Matters

7 9 13

Research Political Timeline Art Mouvements Articles

21 31 39 51

Process Brainstorming Encryption Blockchain Platform VR Experience Interviews

183 185 197 249 301 329

AOTB Manifesto Brand Identity Final Execution

357 359 364 375

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stnetnoC

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sisehT eussI ehT srettaM tI yhW

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hcraeseR enilemiT lacitiloP stnemevuoM trA selcitrA

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ssecorP gnimrotsniarB noitpyrcnE mroftalP niahckcolB ecneirepxE RV sweivretnI

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BTOA otsefinaM ytitnedI dnarB noitucexE laniF

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sisehT eussI ehT srettaM tI yhW

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hcraeseR enilemiT lacitiloP stnemevuoM trA selcitrA

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ssecorP gnimrotsniarB noitpyrcnE mroftalP niahckcolB ecneirepxE RV sweivretnI

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BTOA otsefinaM ytitnedI dnarB noitucexE laniF

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Why It Matters The Issue

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What is the transformation of Post Soviet generation in Russia and how to portray this young culture by holding on to its Soviet background and authenticity?

I was born in Russia in the 80s, but have been living outside for the last 15 years. I was always interested in youth culture coming from the West, but I felt I didnâ&#x20AC;&#x2122;t know what was happening in Russia with my generation at the moment. The media has a very negative propaganda due to the political situation with Putin. I wanted to use the opportunity and as my final project at the Graphic Design school to find out where the Russian youth is heading to, what summarizes it and how it is influenced by Soviet heritage. To help me to resolve the issue of my thesis, I needed to find the answers to three questions: What was the influence of Soviet regime on Russian creative youth culture? What are the essential attributes of Soviet and Post-Soviet youth, and how they interconnect? What could be the transformation of young Russian creative culture in the future? Thesis process book

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teivoS tsoP fo noitamrofsnart eht si tahW yartrop ot woh dna aissuR ni noitareneg teivoS sti ot no gnidloh yb erutluc gnuoy siht ?yticitnehtua dna dnuorgkcab

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Why It Matters

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teivoS tsoP fo noitamrofsnart eht si tahW yartrop ot woh dna aissuR ni noitareneg teivoS sti ot no gnidloh yb erutluc gnuoy siht ?yticitnehtua dna dnuorgkcab

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Why It Matters

Экзотика России в ее неповторимости

I was born in Russia in the 80s, but have been living outside for the last 15 years. I was always interested in youth culture coming from the West, but I felt I didn’t know what was happening in Russia with my generation at the moment. The media has a very negative propaganda due to the political situation with Putin. I wanted to use the opportunity and as my final project at the Graphic Design school to find out where the Russian youth is heading to, what summarizes it and how it is influenced by Soviet heritage. To help me to resolve the issue of my thesis, I needed to find the answers to three questions: What was the influence of Soviet regime on Russian creative youth culture? What are the essential attributes of Soviet and Post-Soviet youth, and how they interconnect? What could be the transformation of young Russian creative culture in the future? Thesis process book

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Thesis

neeb evah tub ,s08 eht ni aissuR ni nrob saw I syawla saw I .sraey 51 tsal eht rof edistuo gnivil ,tseW eht morf gnimoc erutluc htuoy ni detseretni ni gnineppah saw tahw wonk tâ&#x20AC;&#x2122;ndid I tlef I tub .tnemom eht ta noitareneg ym htiw aissuR eud adnagaporp evitagen yrev a sah aidem ehT ot detnaw I .nituP htiw noitautis lacitilop eht ot eht ta tcejorp lanfi ym sa dna ytinutroppo eht esu naissuR eht erehw tuo dnfi ot loohcs ngiseD cihparG ti woh dna ti sezirammus tahw ,ot gnidaeh si htuoy ot em pleh oT .egatireh teivoS yb decneuflni si eht dnfi ot dedeen I ,siseht ym fo eussi eht evloser :snoitseuq eerht ot srewsna no emiger teivoS fo ecneuflni eht saw tahW ?erutluc htuoy evitaerc naissuR dna teivoS fo setubirtta laitnesse eht era tahW ?tcennocretni yeht woh dna ,htuoy teivoS-tsoP naissuR gnuoy fo noitamrofsnart eht eb dluoc tahW ?erutuf eht ni erutluc evitaerc 0018

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desopmoc retsoP cilobmys naissuR fo stnemele

Экзотика России в ее неповторимости

desopmoc I ,hcraeser eht detrats I erofeB setubirtta dna slobmys fo retsop a .erutluc naissuR ni fo erawa saw I taht delenap etercnoc a si akvoyhchsurhK snaissuR .gnidliub tnemtrapa kcirb ro tnemanro nedloG .”skcolB ehT“ meht llac noitaroced tnemtrapA .hcruhC eht ni lortnoC .VT langis oN .llaw eht no sgar htiw .aissuR ni ytirohtua eht yb noitamrofni fo .metsys lacitilop naissuR .akhsoyrtaM trap saw ohw hcivelaM yb ”ssorC kcalB“ etsat daB .edrauG-tnavA naissuR fo dna gafl teivoS .akhsubaB .hcstiK .gnihtolc .noisserppo dna lortnoC .snopaew Thesis process book

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Thesis

Poster composed of Russian symbolic elements

Before I started the research, I composed a poster of symbols and attributes that I was aware of in Russian culture. Khrushchyovka is a concrete paneled or brick apartment building. Russians call them “The Blocks”. Golden ornament in the Church. Apartment decoration with rags on the wall. No signal TV. Control of information by the authority in Russia. Matryoshka. Russian political system. “Black Cross” by Malevich who was part of Russian Avant-Guarde. Bad taste clothing. Kitsch. Babushka. Soviet flag and weapons. Control and oppression. 0020

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Why It Matters

Экзотика России в ее неповторимости

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Poster composed of Russian symbolic elements

ииссоР акитозкЭ итсомиротвопен ее в

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Collected 600 images of Russian political and social transformation from 1900-2018

The Great Wall of Russia

To better understand what shaped Russian youth culture I had to go through the history of Russia for the last century and find the main art movements and events that have happened there and how they influenced creative youth now. I looked for the the connection between Soviet and Post-Soviet underground generation. There was a lot transformations happening in art and other creative fields because of political situation. It was essential to build a timeline for both and see how they interacted. Thesis process book

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006 detcelloC naissuR fo segami laicos dna lacitilop noitamrofsnart 8102-0091 morf

ot dah I erutluc htuoy naissuR depahs tahw dnatsrednu retteb oT eht dnfi dna yrutnec tsal eht rof aissuR fo yrotsih eht hguorht og woh dna ereht deneppah evah taht stneve dna stnemevom tra niam noitcennoc eht eht rof dekool I .won htuoy evitaerc decneuflni yeht saw erehT .noitareneg dnuorgrednu teivoS-tsoP dna teivoS neewteb sdlefi evitaerc rehto dna tra ni gnineppah snoitamrofsnart tol a rof enilemit a dliub ot laitnesse saw tI .noitautis lacitilop fo esuaceb .detcaretni yeht woh ees dna htob 0028

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The Great Wall of Russia

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Political Timeline

The Great Wall of Russia

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II IALOKand IN the cold war, arms race, competitors constant intimidation and propaganda on both sides of the bipolar new world has led it to exhaustion. 1950 Soviet Statesman accepted that Stalinâ&#x20AC;&#x2122;s regime was too cruel and tried to make everyday life of people better. 1947-1987 COLD WAR Was a state of geopolitical tension after World War II between powers in the Eastern Bloc (the Soviet Union and its NEL and powers in the Western satelliteNIstates) Bloc (the United States, its NATO allies and others). Space and arms race were some of the most important aspects. 1950-1960 THAW The period from the early 1950s to the early 1960s when repression and censorship in the Soviet Union were relaxed, and millions of Soviet political prisoners were released from Gulag labor camps due to Nikita Khrushchevâ&#x20AC;&#x2122;s policies of de-Stalinization and peaceful coexistence with other nations. The Thaw became possible after the death of Joseph Stalin in March 1953. NILATS 1960-1980 Brezhnev was too conservative and inefficient. First man in Space_Gagarin 1970-1980 Expand of military and space budgets. many industries, as well as the social sphere were under-developed. The state still kept a tight rein on personal artistic expression. Thesis process book

Political Timeline

1WW / 4191 KHRUSHCHEV ERIPME NAISSUR yraropmeT ot rewop deldnah rorepmE .7191 ht72 yraurbeF no tnemnrevoG ot detpmetta tnemnrevoG yraropmeT ehT saw ti tub ,yrtnuoc eht revo lortnoc niag ehT .ylno sioegruob eht yb detroppus tog ohw skivehsloB yb desu saw noitautis srekrow dna sreidlos gnoma ytiralupop dna snagols tsilupop rieht fo esuaceb .nineL rimidalV redael citamsirahc 7191 NOITULOVER NAISSUR saw cilbuper naissuR .msinummoC elpoep fo snoilliM .detatsaved yletelpmoc eht tA .despalloc yrtsudni ,dellik erew ot ecnahc euqinu a dah aissuR ,emit emas ynaM .msinummoc eht rednu flesti tnevnier sretirw dna ,steop ,stsitra edrag-tnava ot detcennoc yllacigoloedi ylneddus erew erew dna slaicfifo tnemnrevog pot yrev eht .yhcrareih wen eht ni stsop hgih nevig 229 1 ,secneics ,yrtsudni yvaeh depoleved nilatS eht demrofsnart eH .seigolonhcet raelcun otni yrtnuoc larutlucirga deniur dna kaew snoillim ynaM .etats lairtsudni lufrewop eht metsys eht gnizicitirc erew ohw elpoep fo .snosirp ni deid dna deliaj erew ot emoc sah mret eht ,spmac kaluG robal decrof teivoS eritnBREZHNEV e eht tneserper .metsys lanep 0 391 dezivitcelloc dna rewop lairtsudnI .noitatneiro yrtsudni yvaeh erutlucirga tsom si ymra lufrewop taht deveileb nilatS .etats eht rof tnatropmi 2WW / 0491 noillim 52 naht erom tsol yrtnuoc ehT lacigoloedi emaceb seilla remroF .elpoep 8102 retneCtrA

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1914 / WW1 RUSSIAN EMPIRE Emperor handled power to Temporary Government on February 27th 1917. The Temporary Government attempted to gain control over the country, but it was supported by the bourgeois only. The situation was used by Bolsheviks who got popularity among soldiers and workers because of their populist slogans and charismatic leader Vladimir Lenin.

NIKOLAI II

1917 RUSSIAN REVOLUTION Communism. Russian republic was completely devastated. Millions of people were killed, industry collapsed. At the same time, Russia had a unique chance to reinvent itself under the communism. Many avant-garde artists, poets, and writers were suddenly ideologically connected to the very top government officials and were given high posts in the new hierarchy.

LENIN

1922 Stalin developed heavy industry, sciences, nuclear technologies. He transformed the weak and ruined agricultural country into the powerful industrial state. Many millions of people who were criticizing the system were jailed and died in prisons. Gulak camps, the term has come to represent the entire Soviet forced labor penal system.

STALIN

1930 Industrial power and collectivized agriculture heavy industry orientation. Stalin believed that powerful army is most important for the state. 1940 / WW2 The country lost more than 25 million people. Former allies became ideological 0034

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Political Timeline

competitors and the cold war, arms race, constant intimidation and propaganda on both sides of the bipolar new world has led it to exhaustion.

KHRUSHCHEV

1950 Soviet Statesman accepted that Stalinâ&#x20AC;&#x2122;s regime was too cruel and tried to make everyday life of people better. 1947-1987 COLD WAR Was a state of geopolitical tension after World War II between powers in the Eastern Bloc (the Soviet Union and its satellite states) and powers in the Western Bloc (the United States, its NATO allies and others). Space and arms race were some of the most important aspects. 1950-1960 THAW The period from the early 1950s to the early 1960s when repression and censorship in the Soviet Union were relaxed, and millions of Soviet political prisoners were released from Gulag labor camps due to Nikita Khrushchevâ&#x20AC;&#x2122;s policies of de-Stalinization and peaceful coexistence with other nations. The Thaw became possible after the death of Joseph Stalin in March 1953. BREZHNEV 1960-1980 Brezhnev was too conservative and inefficient. First man in Space_Gagarin 1970-1980 Expand of military and space budgets. many industries, as well as the social sphere were under-developed. The state still kept a tight rein on personal artistic expression. Thesis process book

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1914 /C WW1 VEH HSURHK RUSSIAN EMPIRE Emperor handled power to Temporary Government on February 27th 1917. The Temporary Government attempted to gain control over the country, but it was supported by the bourgeois only. The situation was used by Bolsheviks who got popularity among soldiers and workers because of their populist slogans and charismatic leader Vladimir Lenin. 1917 RUSSIAN REVOLUTION Communism. Russian republic was completely devastated. Millions of people were killed, industry collapsed. At the same time, Russia had a unique chance to reinvent itself under the communism. Many avant-garde artists, poets, and writers were suddenly ideologically connected to the very top government officials and were given high posts in the new hierarchy. 1922 Stalin developed heavy industry, sciences, nuclear technologies. He transformed the weak and ruined agricultural country into the powerful industrial state. Many millions of people who were criticizing the system were jailed and died in prisons. Gulak camps, the term has come to represent Soviet forced labor VENHthe ZERentire B penal system. 1930 Industrial power and collectivized agriculture heavy industry orientation. Stalin believed that powerful army is most important for the state. 1940 / WW2 The country lost more than 25 million people. Former allies became ideological 0036 6300

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,ecar smra ,raw dloc eht dNIKOLAI na srotiteIIpmoc no adnagaporp dna noitadimitni tnatsnoc del sah dlrow wen ralopib eht fo sedis htob .noitsuahxe ot ti 0 5 91 sâ&#x20AC;&#x2122;nilatS taht detpecca namsetatS teivoS ekam ot deirt dna leurc oot saw emiger .retteb elpoep fo efil yadyreve 7891-7491 RAW DLOC retfa noisnet lacitilopoeg fo etats a saW eht ni srewop neewteb II raW dlroW sti dna noinU teivoS eht( colB nretsaE nretseW eht ni srewop dna )seLENIN tats etilletas dna seilla OTAN sti ,setatS detinU eht( colB fo emos erew ecar smra dna ecapS .)srehto .stcepsa tnatropmi tsom eht 0691-0591 WAHT eht ot s0591 ylrae eht morf doirep ehT dna noisserper nehw s0691 ylrae erew noinU teivoS eht ni pihsrosnec lacitilop teivoS fo snoillim dna ,dexaler robal galuG morf desaeler erew srenosirp seicilop sâ&#x20AC;&#x2122;vehchsurhK atikiN ot eud spmac lufecaep dna noitazinilatS-ed fo wahT ehT .snoitan rehto htiw ecnetsixeoc hpesoJ fo htaed eht retfa elbissop emaceb .3591 hcraM ni nilatS STALIN 0891-0691 dna evitavresnoc oot saw venhzerB niragaG_ecapS ni nam tsriF .tneicfifeni 0891-0791 .stegdub ecaps dna yratilim fo dnapxE laicos eht sa llew sa ,seirtsudni ynam .depoleved-rednu erew erehps lanosrep no nier thgit a tpek llits etats ehT .noisserpxe citsitra koob ssecorp sisehT

hcraeseR

was V going happen. In order to survive OPORto DN A you had to become a hard-core capitalist and adjust to the new way of thinking directly. Those who managed, survived, those who didn’t – became alcoholics, lost their families, friends and were pushed at the brink of society. You could meet a lot of former academics back then looking through trash cans on the streets. 1996 Things got more or less settled and there was some hope for the new and bright future. 1998 CRISIS Many people lost their jobs, the inflation was several hundred precent, and we had to go through another stage of reinvention. 2000 Vladimir Putin became second elected president in the Russian history. He came up with a name for it: Sovereign Democracy, kind of like we’re doing democracy, but in our own, Russian way. On a general level, there’s a sort of common-sense agreement that people allow the government to do what it wants as long as it allows them to earn money VEHCABROG and have a life.

Political Timeline

4891-2891 YELTSIN evitceffe snaissuR ekam ot deirt vopordnA .deliaf tub srekrow 5 8 91 yrtnuoc eht taht aedi na dah vehcabroG .demrofer eb tsum ot ssecca cilbup eerf - tsontsalG .noitamrofni tnemevom lacitilop a saw akiortsereP tsinummoC eht nihtiw noitamrofer rof eht gnirud noinU teivoS eht fo ytraP fo gninaem laretiL .1991 litnu s0891 gnirrefer ,”gnirutcurtser“ si akiortserep lacitilop teivoS eht fo gnirutcurtser eht ot dne eht desuaC .metsys cPUTIN imonoce dna seicilop s’vehcabroG liahkiM .raw dloC fo detatilicaf akiortserep dna tsonsalg fo evitanretla ni tseretni fo noisolpxe na tsilaicos tub ,s0891 etal eht ni selyts tra eht sa ecrof detimil ni deniamer msilaer .1991 sa etal sa litnu elyts tra etats laicfifo teivoS eht fo llaf eht retfa litnu ton saw tI morf deerf yllanfi erew stsitra taht noinU eht fo dne ehT .pihsrosnec etats ti tub ,aissuR ni emit tseb eht ton saw s08 dlo ehT .gnitseretni yrev yletinfied saw eht fo tsom dna gnispalloc saw metsys fo stnanmer tsal eht gnisol erew elpoep .ygoloedi tsinummoc eht ni htiaf eht yb yawa nekat saw noigiler eht sA detrats ynam ,erofeb sraey stsinummoc .snoitcerid driew tsom eht otni gninrut lagel-imes gnitrats ni egufer dnuof emoS emos ,stces ot denrut emos ,sessenisub dna ticfied suomaf ehT .scihcysp ot tnew wef a rof gniht lamron a emaceb seueuq noitatneiro yna tsol elpoep ynam dna sraey .sevil rieht ni neppah ot gniog s’tahw ot sa 1991 RSSU FO ESPALLOC tnediserp tsrfi eht saw nistlE ton did elpoep ,enasni saw noitaflni ehT tahw wenk eno on ,yenom hguone evah

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1982-1984 Andropov tried to make Russians effective workers but failed.

ANDROPOV

1985 Gorbachev had an idea that the country must be reformed. Glastnost - free public access to information. Perestroika was a political movement for reformation within the Communist Party of the Soviet Union during the 1980s until 1991. Literal meaning of perestroika is “restructuring”, referring to the restructuring of the Soviet political and economic system. Caused the end of Cold war. Mikhail Gorbachev’s policies of glasnost and perestroika facilitated an explosion of interest in alternative art styles in the late 1980s, but socialist realism remained in limited force as the official state art style until as late as 1991. It was not until after the fall of the Soviet Union that artists were finally freed from state censorship. The end of the 80s was not the best time in Russia, but it was definitely very interesting. The old system was collapsing and most of the people were losing the last remnants of faith in the communist ideology. As the religion was taken away by the communists years before, many started turning into the most weird directions. Some found refuge in starting semi-legal businesses, some turned to sects, some went to psychics. The famous deficit and queues became a normal thing for a few years and many people lost any orientation as to what’s going to happen in their lives.

GORBACHEV

1991 COLLAPSE OF USSR Eltsin was the first president The inflation was insane, people did not have enough money, no one knew what 0038

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Political Timeline

was going to happen. In order to survive you had to become a hard-core capitalist and adjust to the new way of thinking directly. Those who managed, survived, those who didn’t – became alcoholics, lost their families, friends and were pushed at the brink of society. You could meet a lot of former academics back then looking through trash cans on the streets.

YELTSIN

1996 Things got more or less settled and there was some hope for the new and bright future. PUTIN

1998 CRISIS Many people lost their jobs, the inflation was several hundred precent, and we had to go through another stage of reinvention. 2000 Vladimir Putin became second elected president in the Russian history. He came up with a name for it: Sovereign Democracy, kind of like we’re doing democracy, but in our own, Russian way. On a general level, there’s a sort of common-sense agreement that people allow the government to do what it wants as long as it allows them to earn money and have a life.

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enilemiT lacitiloP

1982-1984 NISTLEY Andropov tried to make Russians effective workers but failed. 1985 Gorbachev had an idea that the country must be reformed. Glastnost - free public access to information. Perestroika was a political movement for reformation within the Communist Party of the Soviet Union during the 1980s until 1991. Literal meaning of perestroika is “restructuring”, referring to the restructuring of the Soviet political NITUP system. Caused the end and economic of Cold war. Mikhail Gorbachev’s policies of glasnost and perestroika facilitated an explosion of interest in alternative art styles in the late 1980s, but socialist realism remained in limited force as the official state art style until as late as 1991. It was not until after the fall of the Soviet Union that artists were finally freed from state censorship. The end of the 80s was not the best time in Russia, but it was definitely very interesting. The old system was collapsing and most of the people were losing the last remnants of faith in the communist ideology. As the religion was taken away by the communists years before, many started turning into the most weird directions. Some found refuge in starting semi-legal businesses, some turned to sects, some went to psychics. The famous deficit and queues became a normal thing for a few years and many people lost any orientation as to what’s going to happen in their lives.

evivrus ot redro nI .neppANDROPOV ah ot gniog saw tsilatipac eroc-drah a emoceb ot dah uoy gnikniht fo yaw wen eht ot tsujda dna ,devivrus ,deganam ohw esohT .yltcerid ,scilohocla emaceb – t’ndid ohw esoht erew dna sdneirf ,seilimaf rieht tsol dluoc uoY .yteicos fo knirb eht ta dehsup neht kcab scimedaca remrof fo tol a teem .steerts eht no snac hsart hguorht gnikool 6 9 91 ereht dna delttes ssel ro erom tog sgnihT thgirb dna wen eht rof epoh emos saw .erutuf 8 9 91 SISIRC noitaflni eht ,sboj rieht tsol elpoep ynaM ew dna ,tnecerp derdnuh lareves saw -er fo egats rehtona hguorht og ot dah .noitnevni 0002 detcele dnoces emaceb nituP rimidalV eH .yrotsih naissuR eht ni tnediserp ngierevoS :ti rof eman a htiw pu emac gniod er’ew ekil fo dnik ,ycarcomeD .yaw naissuR ,nwo ruo ni tub ,ycarcomed fo tros a s’ereht ,level lareneg a nO elpoep taht tnemeerga esnes-nommoc stnaw ti tahw od ot tnemnrevog eht wolla yenom nrae ot meht swolla ti sa gnol sa GORBACHEV .efil a evah dna

1991 COLLAPSE OF USSR Eltsin was the first president The inflation was insane, people did not have enough money, no one knew what 0040

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a definition ,rehpargoof tohConstructivism: p ,rengised ,tsitArt ra nin aithe ssuR a service .tceof tihthe craRevolution. dna tsicimeTatlin lop ,rewas hpaa rgopyt Soviet painter Kazimir eht foand eruarchitect. gfi tnatropWith mi na saw eH Malevich one polehe vedwas gnip lehof ,edthe ragtwo -tnamost va naissuR important figures rimiza K ,rotnin emthe sihSoviet htiw mavantsitamerpus garde artsumovement the oremun gnof ing ise1920s, d dna ,hand civelaM he sklater row abecame dnagapoan rp important dna syalpsartist id noiin tibihxe the Constructivist. yltaerg krow El siHLissitzky, .noinU teKazimir ivoS eht rof Malevich, Vladimir tsivitcurtsWassily noc dnaKandinsky, suahuaB eh t decneuflni Tatlin, Filonov htiAlexander w detnemirRodchenko, epxe eh dnaPavel ,stnem evom and Marc Larionov, citChagall, silyts dna seuqinhcGoncharova, et noitcudorp Vesnin, etaPopova. nimod oThe t no Russian og dluowavant-garde taht secived reached its creative .ngisedand cihpopular parg yruheight tnec-htin 02 the period between the Russian Revolution of 1917 and 1932. MSIVITCURTSNOC 02 9 1 RUSSIANdFUTURISM na citsitra na saw msivitcurtsnoC Russian detanFuturism igiro tahtwas yhpaosmovement olihp larutcofetihcra Russian rimidpoets alV yband 319artists 1 ni gnwho innigadopted eb aissuR ni the principles aedi eht fof o nFilippo oitcejeMarinetti’s r a saw sihT .niltaT “Futurist saw tManifesto”. nemevom ehInitiated T .tra suby omDavid onotua fo Burlyuk. laicOther os rof members ecitcarp aincluded sa tra foartists ruovaf ni Mikhail Larionov, tae rg a dah Natalia msivitcuGoncharova, rtsnoC .sesoprup Kazimir fMalevich, o stnemevand om Olga tra nrRozanova. edom no tceffe rojam gnicneuflni ,yrutnec ht02 eht ljitS eD dna suahuaB eht sa hcus sdnert SOCIALIST REALISM ,daerpsediw saw ecneuflni stI .stnemevom 1930 ,erutcetihcra nopu stceffe rojam htiw ,ertaehtrealism ,ngisedislaairtstyle sudnof i ,nrealistic gised cihparg Socialist t n e t x e e m o s o t d n a n o i h s a f ,ecnad ,mlfi art that was developed in the Soviet s a w t r A n o i t c u r t s n o C m r e t ehT .It cisisum Union and became a dominant style. rimizaK ybby mrthe et eglorified visired adepiction sa desu tsofrfi characterized rcommunist ednaxelA fovalues, krow eproletariat, ht ebircsedby ot means hcivelaof M t s i t r a t e o p e h T . 7 1 9 1 n i o k n e h c d o R realistic imagery. Showing how it should be o k n e h c d o R d n a y k s v o k a y a M r i m i d a l V and not how the life is. Creative expression evlesmehtSoviet dellacideals.The dna rehtegfirst ot dekrow thatspromoted rimtook idalVplace .”srotin cu1935. rtsnocThe gnisbest itrevda“ exhibition r u o s t e e r t s e h t ‘ n o i t a r a l c e d s ’ y k s v okayaM known Soviet artists were Isaak Brodsky, s t s i t r a , ’ s e t t e l a p r u o s e r a u q s e h t , s ehsurb Alexander Samokhvalov, Boris Ioganson, efil cilbDeyneka, up ni detaAleksandr picitrap sreLaktionov, ngised dna Aleksandr gnikroW tsrand iF ehother T .raW liviC eht gnirud Yuri Neprintsev painters v o b u i L g n i d u l c n i ( s t s i v i t c u r snoC fo puorG from Moscow and LeningradtSchool. , o k n e h c d o R , n i n s e V r e d n a elA ,avas opoP They employed techniques as xvaried stsiroehyperrealism, ht eht dna ,avogrotesque, napetS araand vraV primitivism, poleved dluo w )votartists avrA siproduced roB ,naG ie skelA abstraction. Soviet works Thesis process book

Art Mouvements

that were furiouslyEpatriotic DRAG-TNand AVAantiNAISSUR fascist in the 1940s. “Socialist in 03content 91-0981 and realist in form.” Stalin. enfied ot desu mret allerbmu na si tI Unacceptable tsinredom fart: o evpolitical aw laitneart, uflnreligious i ,egral eht art, erotic,mart, “formalistic” sitaand merp us ,msivitimiart, rp-owhich en tra included .msiruabstraction, tuf dna ,msinexpressionism, oyar ,msivitcurtsnoc and conceptual art. Beginning in 1936, avant-garde artists who were MSIVunable ITIMIRPor -OEN unwilling to adapt to the new policy were 3191 forced out of their positions, and often koomurdered t hcihw tneormsent evomtotrthe a nagulag. issuR a saW either telhpmap egap-13 eht morf eman sti oknehcvehS rdnaskelA yb ,mzivitimirp-oeN STILYAGI oknehcvehS telhpmap eht nI .)3191( 1950- 1960 gnitniap nredom fo elyts wen a sesoporp Stilyagi msibuCwas ,ennaaderogatory zéC fo stneappellation mele sesuf hcihw for members youth naissuRoflaano itidarcounterculture t htiw msirutuF dna from ylbthe atonlate ,sfi1940s tom dnuntil a snothe itneearly vnoc1960s ’tra klof‘ in the Soviet Union. A stilyaga si kobuL( .kobul eht dna nocwas i naissur eht primarily dezidistinguished retcarahc ,tnirby p rasnappy lupop naissuR a clothing—preferably foreign-label, that sevitarran dn a scihparg elp mis yb contrasted seirots swith uoigthe iler communist ,erutaretil mrealities orf devirof ed the ,time, avoraand hcnotheir G ailfascination ataN ).selatwith ralupop dna zagranitsa, modern Western .hcive laM ,llagmusic ahC ,vand onoiraL fashions corresponding to that of the Beat Generation. Today, the M stilyagi SITAMERPUS are regarded as part of Russian historical 3191 social trends which further developed n o d e s u c o f , t n e m e v o m t r a n a during the late Soviet era (notably the si tI ,selcricPeriod) sa hcusand ,smallowed rof cirtem oeg cisab Stagnation “informal” d e t n i a p , s e l g n a t c e r d n a , s e n i l ,seand rauqs views on life, such as hippies, punks s a w t I . s r o l o c f o e g n a r d e t i m l a ni rappers. Their apolitical views, neutralior , a i s s u R n i h c i v e l a M r i m i z a K y b d e d nuof negative attitudes toward Soviet morality, n a o t s r e f e r m s i t a m e r p u s . 3 1 9 1 d n and their open admiration of modern, uora ycamerpAmerican, us eht“ nolifestyles pu desabwere tra tcartsba especially n o n a h t r e h t a r ” g n i l e e f c i t s itra erup fo key characteristics that slowly developed t s i r u t u F t s a L . s t c e j b o f o n o i t c ipe lausiv during the 1950s. The main cause ofd this . 6 1 9 1 n i 0 1 , 0 s g n i t n i a P f o n o i t i bihxE phenomenon was the struggle between y l l a t n e m a d n u f s i m s i t a m e r p u S s ’ h c i v elaM capitalism and communism-led societies. y r a n o i t u l o v e r t s o p e h t o t d e s o The stilyagi were largely repressed untilppo ehTin.m sivitcwhich urtsnolet C fothe snstyle oitisop Stalin’s death 1953, o t n o i t i d d a n i h c i h w , p u o r g s u m erpuS grow into a counterculture. Bones records , r e t s k E a r d n a s k e l A d e d u l c n i h c i v elaM were made from recycled hospital x-ray , a v o s t l a d U a d h z e d a N , a v o n a z o R film to record forbidden western and aglO dna inmusic. uP navI ,avopoP vobuyL ,nuilK navI russian saw ykztissiL lE .ayaksvalsugoB ainesK 8102 retneCtrA

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RUSSIAN AVANT-GARDE 1890-1930 It is an umbrella term used to define the large, influential wave of modernist art neo-primitivism, suprematism, constructivism, rayonism, and futurism. NEO-PRIMITIVISM 1913 Was a Russian art movement which took its name from the 31-page pamphlet Neo-primitivizm, by Aleksandr Shevchenko (1913). In the pamphlet Shevchenko proposes a new style of modern painting which fuses elements of Cézanne, Cubism and Futurism with traditional Russian ‘folk art’ conventions and motifs, notably the russian icon and the lubok. (Lubok is a Russian popular print, characterized by simple graphics and narratives derived from literature, religious stories and popular tales.) Natalia Goncharova, Larionov, Chagall, Malevich. SUPREMATISM 1913 It is an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, around 1913. suprematism refers to an abstract art based upon “the supremacy of pure artistic feeling” rather than on visual depiction of objects. Last Futurist Exhibition of Paintings 0,10 in 1916. Malevich’s Suprematism is fundamentally opposed to the postrevolutionary positions of Constructivism. The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Lyubov Popova, Ivan Puni and Ksenia Boguslavskaya. El Lissitzky was 0042

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a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design. CONSTRUCTIVISM 1920 Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1913 by Vladimir Tatlin. This was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, graphic design, industrial design, theatre, film, dance, fashion and to some extent music. The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917. The poet-artist Vladimir Mayakovsky and Rodchenko worked together and called themselves “advertising constructors”. Vladimir Mayakovsky’s declaration ‘the streets our brushes, the squares our palettes’, artists and designers participated in public life during the Civil War. The First Working Group of Constructivists (including Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, and the theorists Aleksei Gan, Boris Arvatov) would develop koob ssecorp sisehT

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a definition of Constructivism: Art in the service of the Revolution. Tatlin was a Soviet painter and architect. With Kazimir Malevich he was one of the two most important figures in the Soviet avantgarde art movement of the 1920s, and he later became an important artist in the Constructivist. El Lissitzky, Kazimir Malevich, Wassily Kandinsky, Vladimir Tatlin, Alexander Rodchenko, Pavel Filonov and Marc Chagall, Larionov, Goncharova, Vesnin, Popova. The Russian avant-garde reached its creative and popular height in the period between the Russian Revolution of 1917 and 1932. RUSSIAN FUTURISM Russian Futurism was a movement of Russian poets and artists who adopted the principles of Filippo Marinetti’s “Futurist Manifesto”. Initiated by David Burlyuk. Other members included artists Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, and Olga Rozanova. SOCIALIST REALISM 1930 Socialist realism is a style of realistic art that was developed in the Soviet Union and became a dominant style. It is characterized by the glorified depiction of communist values, proletariat, by means of realistic imagery. Showing how it should be and not how the life is. Creative expression that promoted Soviet ideals.The first exhibition took place in 1935. The best known Soviet artists were Isaak Brodsky, Alexander Samokhvalov, Boris Ioganson, Aleksandr Deyneka, Aleksandr Laktionov, Yuri Neprintsev and other painters from Moscow and Leningrad School. They employed techniques as varied as primitivism, hyperrealism, grotesque, and abstraction. Soviet artists produced works Thesis process book

Art Mouvements

that were furiously patriotic and antifascist in the 1940s. “Socialist in content and realist in form.” Stalin. Unacceptable art: political art, religious art, erotic art, and “formalistic” art, which included abstraction, expressionism, and conceptual art. Beginning in 1936, avant-garde artists who were unable or unwilling to adapt to the new policy were forced out of their positions, and often either murdered or sent to the gulag. STILYAGI 1950- 1960 Stilyagi was a derogatory appellation for members of a youth counterculture from the late 1940s until the early 1960s in the Soviet Union. A stilyaga was primarily distinguished by snappy clothing—preferably foreign-label, that contrasted with the communist realities of the time, and their fascination with zagranitsa, modern Western music and fashions corresponding to that of the Beat Generation. Today, the stilyagi are regarded as part of Russian historical social trends which further developed during the late Soviet era (notably the Stagnation Period) and allowed “informal” views on life, such as hippies, punks and rappers. Their apolitical views, neutral or negative attitudes toward Soviet morality, and their open admiration of modern, especially American, lifestyles were key characteristics that slowly developed during the 1950s. The main cause of this phenomenon was the struggle between capitalism and communism-led societies. The stilyagi were largely repressed until Stalin’s death in 1953, which let the style grow into a counterculture. Bones records were made from recycled hospital x-ray film to record forbidden western and russian music.

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RUSSIAN -itnaAVANT-GARDE dna citoirtap ylsuoiruf erew taht 1890-1930 tnetnoc ni tsilaicoS“ .s0491 eht ni tsicsaf .nilatused S ”.mrto ofdefine ni tsilaer dna It is an umbrella term s u o i g i l e r , t r a l a c i t i l o p : t r a e l batpeccanU the large, influential wave of modernist hcihneo-primitivism, w ,tra ”citsilamrsuprematism, of“ dna ,tra citore ,tra art ,msinoisserayonism, rpxe ,noitcand artsfuturism. ba dedulcni constructivism, ,6391 ni gninnigeB .tra lautpecnoc dna ro elbanu erew ohw stsitra edrag-tnava NEO-PRIMITIVISM erew ycilop wen eht ot tpada ot gnilliwnu 1913 netfo dna ,snoitisop rieht fo tuo decrof Was a Russian art movement which took .galug eht ot tnes ro deredrum rehtie its name from the 31-page pamphlet Neo-primitivizm, by Aleksandr Shevchenko IGAYLITS (1913). In the pamphlet Shevchenko 0 6 91 - 0 5 91 proposes a new style of modern painting oitalle ppa yrotaofgoCézanne, red a sawCubism igaylitS which nfuses elements erutlucrewith tnuoctraditional htuoy a foRussian srebmem rof and Futurism s0art’ 691conventions ylrae eht litnand u s0motifs, 491 etanotably l eht morf ‘folk s a w a g a y l i t s A . n o i n U t e i v oS eis ht ni the russian icon and the lubok. (Lubok y p p a n s y b d e h s i u g n i t s i d y l i r a m a Russian popular print, characterized irp taht ,legraphics bal-ngierand of ylnarratives bareferp—gnihtolc by simple fo seitilfrom aer tsliterature, inummoc religious eht htiw d etsartnoc derived stories h t i w n o i t a n i c s a f r i e h t d n a ,emit eht and popular tales.) Natalia Goncharova, d n a c i s u m n r e t s e W n r e d o m , a s tinargaz Larionov, Chagall, Malevich. eht fo taht ot gnidnopserroc snoihsaf igaylits eht ,yadoT .noitareneG taeB SUPREMATISM l a c i r o t 1913 sih naissuR fo trap sa dedrager era depoleved rehtruf hcihw sdnert laicos It is an art movement, focused on eht ylbaton( are teivoS etal eht gnirud basic geometric forms, such as circles, ”lamrofni“ dewolla dna )doireP noitangatS squares, lines, and rectangles, painted dna sknup ,seippih sa hcus ,efil no sweiv in a limited range of colors. It was ro lartuen ,sweiv lacitilopa riehT .sreppar founded by Kazimir Malevich in Russia, ,ytilarom teivoS drawot sedutitta evitagen around 1913. suprematism refers to an ,nredom fo noitarimda nepo rieht dna abstract art based upon “the supremacy erew selytsefil ,naciremA yllaicepse of pure artistic feeling” rather than on depoleved ylwols taht scitsiretcarahc yek visual depiction of objects. Last Futurist siht fo esuac niam ehT .s0591 eht gnirud Exhibition of Paintings 0,10 in 1916. neewteb elggurts eht saw nonemonehp Malevich’s Suprematism is fundamentally .seiteicos del-msinummoc dna msilatipac opposed to the postrevolutionary litnu desserper ylegral erew igaylits ehT positions of Constructivism. The elyts eht tel hcihw ,3591 ni htaed s’nilatS Supremus group, which in addition to sdrocer senoB .erutlucretnuoc a otni worg Malevich included Aleksandra Ekster, yar-x latipsoh delcycer morf edam erew Olga Rozanova, Nadezhda Udaltsova, dna nretsew neddibrof drocer ot mlfi Ivan Kliun, Lyubov Popova, Ivan Puni and .cisum naissur Ksenia Boguslavskaya. El Lissitzky was

a Russian eht ni tartist, rA :msdesigner, ivitcurtsnophotographer, C fo noitinfied a typographer, a saw nipolemicist ltaT .noituloand veRarchitect. eht fo ecivres Herim was izaK anhimportant tiW .tcetihc figure ra dnaofrethe tniap teivoS Russian tsoavant-garde, m owt eht fohelping eno sawdevelop eh hcivelaM suprematism -tnava te with ivoShis ehmentor, t ni serug Kazimir fi tnatropmi Malevich, dna ,sand 029designing 1 eht fo tnnumerous emevom tra edrag exhibition ni tsitdisplays ra tnatroand pmi propaganda na emaceb rworks etal eh for the rimSoviet izaK ,yUnion. kztissiLHis lE work .tsivitgreatly curtsnoC eht influenced rimidathe lV ,yBauhaus ksnidnaKand ylisconstructivist saW ,hcivelaM movements, vonoliF levaPand ,oknhe ehexperimented cdoR rednaxelwith A ,niltaT production ,avorahcntechniques oG ,vonoiraand L ,llastylistic gahC craM dna devices edrag-that tnava would naissgo uR on ehTto.adominate vopoP ,ninseV 20th-century ni thgieh ralugraphic pop dnadesign. evitaerc sti dehcaer noituloveR naissuR eht neewteb doirep eht CONSTRUCTIVISM .2391 dna 7191 fo 1920 SIRUTU F NAISSUR Constructivism was anM artistic and architectural fo tnemphilosophy evom a sawthat msiroriginated utuF naissuR in Russia detpobeginning da ohw stsinitr1913 a dnaby steVladimir op naissuR Tatlin. This s’itwas tenira M rejection oppiliF fof o sthe elpidea icnirp eht of autonomous divaD yb deart. taitiThe nI .”movement otsefinaM twas sirutuF“ in favour stsitraof deart dulas cniaspractice rebmem for rehsocial tO .kuylruB purposes. ,avoraConstructivism hcnoG ailataN had ,vona oigreat raL liahkiM effect.aon vonmodern azoR agart lO movements dna ,hcivelaof M rimizaK the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence MSwas ILAEwidespread, R TSILAICOS with major effects upon architecture, 0391 graphic citdesign, silaer foindustrial elyts a sidesign, msilaertheatre, tsilaicoS film, dance, fashion and to teivoS eht ni depolesome ved saextent w taht tra music. si tI .The elytsterm tnanConstruction imod a emacArt eb dwas na noinU first fo nused oitcipas edadderisive efiirolg eterm ht ybby deKazimir ziretcarahc Malevich work fo snaem to ybdescribe ,tairatelothe rp ,s eulavoftsAlexander inummoc Rodchenko in 1917. The poet-artist eb dluohs ti woh gniwohS .yregami citsilaer Vladimir noisserpMayakovsky xe evitaerC .sand i efilRodchenko eht woh ton dna workedtstogether rfi ehT.sland aedicalled teivoSthemselves detomorp taht “advertising tseb ehTconstructors”. .5391 ni ecalpVladimir koot noitibihxe Mayakovsky’s our ,yksdorB kaadeclaration sI erew stsi‘the tra testreets ivoS nw onk brushes, the squares our palettes’, artists ,nosnagoI siroB ,volavhkomaS rednaxelA and life ,vodesigners noitkaL rdparticipated naskelA ,akein nypublic eD rdna skelA during the First srCivil etniaWar. p rehThe to dn a veWorking stnirpeN iruY Group of .loConstructivists ohcS dargnineL(including dna wocsoLiubov M morf Popova, Alexander Vesnin, sa deirav sa seuqinhcetRodchenko, deyolpme yehT Varvara dna ,euStepanova, qsetorg ,msand ilaerthe repytheorists h ,msivitimirp Aleksei skrow dGan, ecudBoris orp stArvatov) sitra teivwould oS .nodevelop itcartsba

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Vitaly Komar, Alexander Kosolapov, PUORG WOIgor CSOM Novikov, Alexander non fo traMelamid, p saw puoDmitri rG ovoPrigov, zonaiL Leonid stsitrSokov. a fo puorg esrevid A .tra tsimrofnoc dna yltsafdaets thguof ohw steop dna MOSCOW .modeeCONCEPTUALISTS rf evitaerc rof ylgnisimorpmocnu 1970ayakstinviporK anitnelaV ,nibaR racsO n The ihku Moscow meN rimConceptualist, idalV ,.avokretor saM Russian ayidiL dna Conceptualist, .noitmovement ibihxE rezod began lluB nwith i trapthe koot Sots art of Komar and Melamid in the early 1970s, and PUcontinued ORG DRAVas ELaUtrend OB YKin SN Russian ETERS art into the 1980s. It attempted to subvert 0 6 91 socialist aylI hideology tiw puorgusing eht dthe emrstrategies of votaluB kirE of conceptual art ,veilissaV ge lO and ,greappropriation bnietS kidE ,voart. kabaK The central figures were Ilya .voravoviP rotkiV dna ,ykDmitri sveliknPrigov, aY rimid alV Kabakov, Irina Nakhova, Viktor Pivovarov, kcolb eht rof nairotsih hcezC a yb demaN Eric Bulatov, netfo Andrei puorg eMonastyrski ht ,devil yehtand hcihw no Komar woand hs dMelamid. na ssucsid ot s’vokabaK ta tem ot dettimrep ton erew yeht sa krow rieht POST-ART saw puorg sihT .sgnittes ”laicfifo“ ni os od 1970-1980 dednim-ekil fo noitaicossa na fo erom Komar raliand mis h Melamid tiw loohcpioneering s a naht rethe htaruse stsitra of yksmulti-stylistic neterS eht hgu images, orhT .seprefiguring icnednet cithe tsilyts eclecticacombination emaceb votaof luB styles ,puorin G postdraveluoB modernism, detailfifa ylewhich sool ebecame ht fo rebpopular mem tneinnimorp the 1980s. They collaborated .stsilautpecon novarious C wocsoM conceptual projects, ranging from painting and performance to installation, public TRA STOS sculpture, photography, music, and poetry. 0791 Instone such performance, they established oS ,”trA poP teivoS“ sa ot derrefer netfO a corporation, Inc., ni detanigiKomar ro )trA tand silaiMelamid, coS rof tro hs( trA that had tsnias agaitsnopurpose itcaer a “the sa nobuying inU teivand oS eht selling of ehhuman t fo enirsouls.” tcod citehtsea laicfifo eht tsilaicoS desU .”msilaeR tsilaicoS”—etats SOTHEBY’S dnaINsdMOSCOW a rieht ni scitehtsea tsilaeR 1980 deunitnoc dimaleM dna ramoK ,seruhcorb The first slowas bmythe s te1988 ivoS nauction wonk-lleofwmodern gnikaewt and nicontemporary neL rimidalV gnRussian icalper n art etfin o ,Moscow. snoci dna Thedn auction a ,nwo was riehtonly htiwopen stiartto rop foreigners s’nilatS dna who -hctcould ac dnpay a snin agBritish ols teivPounds, oS suomwhich af gningis signified ramoK .sthe hpaeconomic rgotua nwfragility o rieht hof tiwthe sesarhp Soviet teivUnion, oS fo nthe oisrend ev eof uqits inuxenophobia, a dimaleM dna and the senbeginning ibmoc tahtof trA the lauforces tpecno ofC dna poP capitalism tsilaicothat S dncontrol a msiadthe aD art fo smarket. elpicnirpThe eht second ,vofactor taluB cwas irE ,ndiaspora iksurB ah - smany irG ”.m artists silaeR Thesis process book

had already T emigrated, RA TSIMRO beginning FNOCNONasTEIVOS early as the late 1970s and continuing 6891-3591 throughout the 1980s. trA tsimrofnocnoN teivoS mret ehT remrof eht ni decudorp tra teivoS ot srefer THE NEW hpesoARTISTS J fo htaeGROUP d eht retfa noinU teivoS 1980 akiortsereP fo tnevda eht litnu nilatS was founded fo cirbuby r eTimur ht fo eNovikov distuo ,tsand onsbegan alG dna making ot d their esu wild smrepaintings t rehtO .minfluenced silaeR tsilaicoS by dnuGerman orgrednExpressionism, u“ era nonemonPop ehp Art sihtand ot refer Primitivism. eht esu oSergei t fi ,os‘Arfika’ lA ”tra laBugaev, icfifonu“Oleg ro ”tra Kotelnikov. eht ,tra ni ”edrag-tnava naissuR“ mret saw ”edrag-tnava naissuR fo evaw tsriF“ si NEW tra ni ACADEMY doirep siht naht ,s0391-s0191 ni THE n a i ssuR fo evaw dnoceS“ eht dellac 1990 ”edrag-tnava A movement that sought to encourage a return to the classical ideals of ancient MSINOISSERPXE NAISSUR Greece. Dressed as dandies with frock 0 6 91 coats and velvet dresses, the artists non morfout oslclassical a ,rednuomusic f eht vand erevrare Z ylotanA searched wohsorganising olos a evaexhibitions h ton did eHduring .tsimrofnoc brooks, i htaedthat sih ecelebrated rofeb yltrohclassical s litnu aiideals ssuR ni then1990s lams niand detiphysical bihxe saw krow sih dna 6891 of,lbeauty perfection. ih tuohguGeorgy orhT .seGuryanov, irellag dnuVlad orgrednu TimursNovikov, detucesMonroe. rep dna dessarah saw eh reerac Mamyshev sa yllaicepse seitirohtua teivoS eht yb .werg sseccus lanoitanretni sih DIGITAL GLOBALISATION 2000-1018 NOITIBIHXE REZODLLUB EHT First wave of digital globalisation. 4791 The most prevalent tendencies and n o n o i t i b i h x e t r a l a i c fi f o n u n a s trends in Russian contemporary art areaw tI tserof nabart, ru ovideo veyayart, leB e ht ni tol tnacav a installation performances, e d r a g t n a v a d a r g n i n e L na wother ocsoM yb digital art and photography,dand lufecrof sawdriven noitibpostihxe ehT .stsitra text andylphilosophy taht ecprojects. rof ecilopArkady egral aNasonov, yb pu-nekorb conceptual . s n o n n a c r e t a w d n a s r e z o d llub dedulcni Protei Temen, Ilya Kisselman, Pavel d n u o r g r e d n u e e r h t y b d e s i nagro saw tI Pepperstein, Alexander Obrazumov, hkikRumin, raJ iruoAloina Y ,)tsitGlazoun. ra( nibaR racsO stsitra Alexei .reselG rednaxelA dna )ikraJ( tneserp stsitra 03 naht erom erew erehT ,avokretsaM ayidiL tsitra tnednepedni saw noitibihxe ehT .dimaleM dna ramoK eht tsniaga tca lacitilop a sa deraperp naht rehtar ,emiger teivoS evisserppo .tneve citsitra na 8102 retneCtrA

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RUSSIAN SOVIET -itNONCONFORMIST naAVANT-GARDE dna citoirtap ylsART uoiruf erew taht 1890-1930 1953-1986 tnetnoc ni tsilaicoS“ .s0491 eht ni tsicsaf .nilatused S ”.mrto ofdefine nArt i tsilaer dna It The is an term umbrella Soviet Nonconformist term s u o i g i l e r , t r a l a c i t i l o p : t r a e l b atpformer eccanU the refers large, to Soviet influential art produced wave of modernist in the hcihneo-primitivism, w ,Union tra ”ciafter tsilam rsuprematism, ofdeath “ dna of ,trJoseph a citore ,tra art Soviet the sinothe isseadvent rpxe ,nof oitPerestroika cand artsfuturism. ba dedulcni constructivism, Stalin,m until rayonism, , 6 3 9 1 n i g n i n n i g e B . t r a l a u t pecof noc dna and Glasnost, outside of the rubric r o e l b a n u e r e w o h w s t s i t r a e d r a -tnava NEO-PRIMITIVISM Socialist Realism. Other terms usedgto ereto w ythis cilophenomenon p wen eht ot tare pad“underground a ot gnilliwnu 1913 refer ne“unofficial tfo dna ,snoitisAlso, op rieifhttofouse tuothe decrof art” or Was a Russian artart” movement which took . g a l u g e h t o t t n e s r o d e r e d r u m term “Russian avant-garde” in art, therehtie its name from the 31-page pamphlet “First wave of Russian avant-garde” was Neo-primitivizm, by Aleksandr Shevchenko IGart AYLisITS in 1910s-1930s, than this period in (1913). In the pamphlet Shevchenko 0 6 91 - 0 5 91 called thea“Second wave of Russian proposes new style of modern painting avant-garde” nfuses oitalle ppa yrotaofgoCézanne, red a sawCubism igaylitS which elements erutlucrewith tnuoctraditional htuoy a foRussian srebmem rof and Futurism RUSSIAN s0art’ 691conventions yEXPRESSIONISM lrae eht litnand u s0motifs, 491 etanotably l eht morf ‘folk 1960 s a w a g a y l i t s A . n o i n U t e i v oS eis ht ni the russian icon and the lubok. (Lubok y p p a n s y b d e h s i u g n i t s i d y l i r a m irp a Anatoly Russian Zverev popular theprint, founder, characterized also from non taht ,legraphics bHe al-ndid gienot rand of yhave lnarratives bareafesolo rp—show gnihtolc by conformist. simple seitilfrom auntil er tsliterature, ishortly nummobefore c religious eht hthis iw d etsarin tnoc derived infoRussia death stories h t i w n o i t a n i c s a f r i e h t d n a , e m i t eht and 1986popular and histales.) work was Natalia exhibited Goncharova, in small, d n a c i s u m n r e t s e W n r e d o m , a s t i n a r g Larionov, underground Chagall, galleries. Malevich. Throughout his az ht was fo taharassed ht ot gnidn opspersecuted erroc snoihsaf careerehe and igaylitauthorities s eht ,yadoTespecially .noitareneas G taeB SUPREMATISM by the Soviet l a c i r o t s i h n a i s s u R f o t r a p s a d e d r a g er era 1913 his international success grew. depoleved rehtruf hcihw sdnert laicos It is an art movement, focused on eht ylbaton(EXHIBITION are teivoS etal eht gnirud THE BULLDOZER basic geometric forms, such as circles, ”lamrofni“ dewolla dna )doireP noitangatS 1974 squares, lines, and rectangles, painted dna sknup ,seippih sa hcus ,efil no sweiv in It was a limited an unofficial range ofart colors. exhibition It wason ro lartuen ,sweiv lacitilopa riehT .sreppar founded a vacant by lot Kazimir in the Belyayevo Malevich urban in Russia, forest ,ytilarom teivoS drawot sedutitta evitagen around by Moscow 1913. and suprematism Leningrad avant-garde refers to an ,nredom fo noitarimda nepo rieht dna abstract artists. The artexhibition based upon was “the forcefully supremacy erew selytsefil ,naciremA yllaicepse of broken-up pure artistic by afeeling” large police rather force thanthat on depoleved ylwols taht scitsiretcarahc yek visual included depiction bulldozers of objects. and water Lastcannons. Futurist siht fo esuac niam ehT .s0591 eht gnirud Exhibition It was organised of Paintings by three 0,10 underground in 1916. neewteb elggurts eht saw nonemonehp Malevich’s artists Oscar Suprematism Rabin (artist), is fundamentally Youri Jarkikh .seiteicos del-msinummoc dna msilatipac opposed (Jarki) andtoAlexander the postrevolutionary Gleser. litnu desserper ylegral erew igaylits ehT positions There were ofmore Constructivism. than 30 artists The present elyts eht tel hcihw ,3591 ni htaed s’nilatS Supremus independent group, artistwhich LidiyainMasterkova, addition to sdrocer senoB .erutlucretnuoc a otni worg Malevich Komar and included Melamid. Aleksandra The exhibition Ekster, was yar-x latipsoh delcycer morf edam erew Olga prepared Rozanova, as a political Nadezhda act against Udaltsova, the dna nretsew neddibrof drocer ot mlfi Ivan oppressive Kliun, Lyubov Soviet regime, Popova,rather Ivan Puni thanand .cisum naissur Ksenia an artistic Boguslavskaya. event. El Lissitzky was

a MOSCOW Russian eht ni tartist, rGROUP A :msdesigner, ivitcurtsnophotographer, C fo noitinfied a typographer, a sawGroup nipolemicist ltaTwas .noitpart uloand vof eRarchitect. eht fo ecivres Lianozovo non He r i m was i z a K an h important t i W . t c e t i h c figure r a d n a of r tof niaartists p teivoS conformist art. A diverse groupethe Russian t s o avant-garde, m o w t e h t f o helping e n o s a w develop e h h civelaM and poets who fought steadfastly and suprematism -tnava te with ivoShis ehmentor, tcreative ni serug Kazimir fi tnatropmi uncompromisingly for freedom. Malevich, dnRabin, a ,sand 029 designing 1 eht fo tKropivnitskaya nnumerous emevom tra edrag Oscar Valentina exhibition n i t s i t displays r a t n a t r o and p m i propaganda n a emaceNemukhin b rworks etal eh and Lidiya Masterkova., Vladimir for the r i m Soviet i z a K , y Union. k z t i s s i L His l E work . t s i v i t greatly c u r t s n oC eht took part in Bulldozer Exhibition. influenced rimidathe lV ,yBauhaus ksnidnaKand ylisconstructivist saW ,hcivelaM movements, vonoliF levaPand ,oknhe ehexperimented cdoR GROUP rednaxelwith A ,niltaT SRETENSKY BOULEVARD production , a v o r a h c n techniques o G , v o n o i r a and L , l l a stylistic g a h C c r aM dna 1960 devices edrag-that tnava would naissgo uR on ehTto.adominate vopoP ,ninseV Erik Bulatov formed the group with Ilya 20th-century ni thgieh ralugraphic pop dnadesign. evitaerc sti dehcaer Kabakov, Edik Steinberg, Oleg Vassiliev, noituloveR naissuR eht neewteb doirep eht Vladimir Yankilevsky, and Viktor Pivovarov. CONSTRUCTIVISM .2391 dna 7191 fo Named by a Czech historian for the block 1920 on which they lived, the group often M SIRUTU F NAISSUR Constructivism was artistic and met at Kabakov’s to an discuss and show architectural f o t n e m philosophy e v o m a s a w that m s i r originated u t uF naito ssuR their work as they were not permitted in Russia d e t p o beginning d a o h w s t s in i t r 1913 a d n a by s t e Vladimir o p n a i ssuR do so in “official” settings. This group was Tatlin. s’itassociation was tenira M rejection oppof iliFlike-minded fof o sthe elpidea icnirp eht more ofThis an of autonomous divrather aD yb d eart. taitaiThe nschool I .”movement otsewith finaM twas sirutuF“ artists than similar in favour s t s i t r a of d e art d u l as c n i a s practice r e b m e m for r e h social t O . kuylruB stylistic tendencies. Through the Sretensky purposes. , a v o r a Constructivism h c n o G a i l a t a N had , v o n a o i great r a L Boulevard Group, Bulatov became a liahkiM effect .aon vonmodern amember zoR agart lOofmovements dthe na ,loosely hcivelaof M rimizaK prominent affiliated the 20th Conceptualists. century, influencing major Moscow trends such as the Bauhaus and De Stijl movements. MSwas ILAEwidespread, R TSILAICOS SOTS ART Its influence with 1970major effects upon architecture, 0391 graphic citdesign, silaer to foindustrial ely“Soviet ts a sidesign, mPop silaeArt”, rtheatre, tsilSots aicoS Often referred as film, dance, fashion and to some extent teivfor oSSocialist eht ni deArt) poleoriginated ved saw tain ht tra Art (short music. tI .The elytUnion sterm tnanConstruction imoadreaction a emacArt eagainst b dwas na noinU thesiSoviet as first used fo n oitcipas eaesthetic dadderisive efiirolgdoctrine eterm ht ybby dof eKazimir zthe iretcarahc the official Malevich work fstate—”Socialist o snaem to ybdescribe ,tairaRealism”. telothe rp ,s euUsed lavoftsAlexander inummoc Socialist Rodchenko The e b dluoh s tiin wo1917. h gniniw ohSpoet-artist .yregand ami citsilaer Realist aesthetics their ads Vladimir noisserpMayakovsky xeKomar evitaerand C .sand iMelamid efilRodchenko eht wcontinued oh ton dna brochures, workedtstogether and called r fi e h T . s l a e d i t e ivoSthemselves detomorp taht tweaking well-known Soviet symbols “advertising Vladimir tseb ehoften Tconstructors”. .53replacing 91 ni ecalp koot noLenin itibihxe and icons, Vladimir Mayakovsky’s declaration ‘the our ,ykStalin’s sdorB kportraits aasI erewwith stsitheir tra testreets ivoS n w onk and own, and brushes, the squares our palettes’, artists ,nosnafamous goI siroSoviet B ,volaslogans vhkomaand S redcatchnaxelA signing and life ,vodesigners noitwith kaL rtheir dparticipated naskown elA autographs. ,akein nypublic eD rdnKomar a skelA phrases during the Civil War. The First Working s r e t n i a p r e h t o d n a v e s t n i r p e N and Melamid a unique version of SovietiruY Group of Constructivists (including .loConceptual ohcS dargniArt neLthat dnacombines wocsoLiubov M morf Pop and Popova, Alexander Vesnin, Rodchenko, sa deirav sof a sDadaism euqinhceand t deSocialist yolpme yehT the principles Varvara dna ,euStepanova, qGrisha setorg Bruskin, ,msand ilaerthe rEric epytheorists hBulatov, ,msivitimirp Realism.” Aleksei skrow dGan, ecudBoris orp stArvatov) sitra teivwould oS .nodevelop itcartsba

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Aleksandr Semyonov about Russian Avant Guarde of 1920, 2004

nilatS hpesoJ ,nikhcuB rtoiP yb msilaeR tsilaicoS

Vitaly Komar, Alexander Kosolapov, Igor Novikov, Alexander Melamid, Dmitri Prigov, Leonid Sokov.

had already emigrated, beginning as early as the late 1970s and continuing throughout the 1980s.

MOSCOW CONCEPTUALISTS 1970 The Moscow Conceptualist, or Russian Conceptualist, movement began with the Sots art of Komar and Melamid in the early 1970s, and continued as a trend in Russian art into the 1980s. It attempted to subvert socialist ideology using the strategies of conceptual art and appropriation art. The central figures were Dmitri Prigov, Ilya Kabakov, Irina Nakhova, Viktor Pivovarov, Eric Bulatov, Andrei Monastyrski and Komar and Melamid.

THE NEW ARTISTS GROUP 1980 was founded by Timur Novikov and began making their wild paintings influenced by German Expressionism, Pop Art and Primitivism. Sergei ‘Arfika’ Bugaev, Oleg Kotelnikov.

POST-ART 1970-1980 Komar and Melamid pioneering the use of multi-stylistic images, prefiguring the eclectic combination of styles in postmodernism, which became popular in the 1980s. They collaborated on various conceptual projects, ranging from painting and performance to installation, public sculpture, photography, music, and poetry. In one such performance, they established a corporation, Komar and Melamid, Inc., that had as its purpose “the buying and selling of human souls.” SOTHEBY’S IN MOSCOW 1980 The first was the 1988 auction of modern and contemporary Russian art in Moscow. The auction was only open to foreigners who could pay in British Pounds, which signified the economic fragility of the Soviet Union, the end of its xenophobia, and the beginning of the forces of capitalism that control the art market. The second factor was diaspora - many artists Thesis process book

THE NEW ACADEMY 1990 A movement that sought to encourage a return to the classical ideals of ancient Greece. Dressed as dandies with frock coats and velvet dresses, the artists searched out classical music and rare brooks, organising exhibitions during the 1990s that celebrated classical ideals of beauty and physical perfection. Timur Novikov, Georgy Guryanov, Vlad Mamyshev Monroe. DIGITAL GLOBALISATION 2000-1018 First wave of digital globalisation. The most prevalent tendencies and trends in Russian contemporary art are installation art, video art, performances, digital art and photography, and other text and philosophy driven postconceptual projects. Arkady Nasonov, Protei Temen, Ilya Kisselman, Pavel Pepperstein, Alexander Obrazumov, Alexei Rumin, Aloina Glazoun.

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SOVIET -itNONCONFORMIST naAVANT-GARDE dna citoirtap ylsART uoiruf erew taht RUSSIAN 1953-1986 tnetnoc ni tsilaicoS“ .s0491 eht ni tsicsaf 1890-1930 .nilatused S ”.mrto ofdefine nArt i tsilaer dna The term Soviet Nonconformist It is an umbrella term s u o i g i l e r , t r a l a c i t i l o p : t r a e l b atpformer eccanU refers to Soviet art produced in the the large, influential wave of modernist hcihneo-primitivism, w ,Union tra ”ciafter tsilam rsuprematism, ofdeath “ dna of ,trJoseph a citore ,tra Soviet the art sinothe isseadvent rpxe ,nof oitPerestroika cand artsfuturism. ba dedulcni Stalin,m until constructivism, rayonism, , 6 3 9 1 n i g n i n n i g e B . t r a l a u t pecof noc dna and Glasnost, outside of the rubric r o e l b a n u e r e w o h w s t s i t r a e d r a -tnava Socialist Realism. Other terms usedgto NEO-PRIMITIVISM ereto w ythis cilophenomenon p wen eht ot tare pad“underground a ot gnilliwnu refer 1913 ne“unofficial tfo dna ,snoitisAlso, op rieifhttofouse tuothe decrof art” or Was a Russian artart” movement which took . g a l u g e h t o t t n e s r o d e r e d r u m term “Russian avant-garde” in art, therehtie its name from the 31-page pamphlet “First wave of Russian avant-garde” was Neo-primitivizm, by Aleksandr Shevchenko IGart AYLisITS in 1910s-1930s, than this period in (1913). In the pamphlet Shevchenko 0 6 91 - 0 5 91 called thea“Second wave of Russian proposes new style of modern painting avant-garde” nfuses oitalle ppa yrotaofgoCézanne, red a sawCubism igaylitS which elements erutlucrewith tnuoctraditional htuoy a foRussian srebmem rof and Futurism RUSSIAN s0art’ 691conventions yEXPRESSIONISM lrae eht litnand u s0motifs, 491 etanotably l eht morf ‘folk 1960 s a w a g a y l i t s A . n o i n U t e i v oS eis ht ni the russian icon and the lubok. (Lubok y p p a n s y b d e h s i u g n i t s i d y l i r a m irp a Anatoly Russian Zverev popular theprint, founder, characterized also from non taht ,legraphics bHe al-ndid gienot rand of yhave lnarratives bareafesolo rp—show gnihtolc by conformist. simple seitilfrom auntil er tsliterature, ishortly nummobefore c religious eht hthis iw d etsarin tnoc derived infoRussia death stories h t i w n o i t a n i c s a f r i e h t d n a , e m i t eht and 1986popular and histales.) work was Natalia exhibited Goncharova, in small, d n a c i s u m n r e t s e W n r e d o m , a s t i n a r g Larionov, underground Chagall, galleries. Malevich. Throughout his az ht was fo taharassed ht ot gnidn opspersecuted erroc snoihsaf careerehe and igaylitauthorities s eht ,yadoTespecially .noitareneas G taeB by the Soviet SUPREMATISM l a c i r o t s i h n a i s s u R f o t r a p s a d e d r a g er era his international success grew. 1913 depoleved rehtruf hcihw sdnert laicos It is an art movement, focused on eht ylbaton(EXHIBITION are teivoS etal eht gnirud THE BULLDOZER basic geometric forms, such as circles, ”lamrofni“ dewolla dna )doireP noitangatS 1974 squares, lines, and rectangles, painted dna sknup ,seippih sa hcus ,efil no sweiv in It was a limited an unofficial range ofart colors. exhibition It wason ro lartuen ,sweiv lacitilopa riehT .sreppar founded a vacant by lot Kazimir in the Belyayevo Malevich urban in Russia, forest ,ytilarom teivoS drawot sedutitta evitagen around by Moscow 1913. and suprematism Leningrad avant-garde refers to an ,nredom fo noitarimda nepo rieht dna abstract artists. The artexhibition based upon was “the forcefully supremacy erew selytsefil ,naciremA yllaicepse of broken-up pure artistic by afeeling” large police rather force thanthat on depoleved ylwols taht scitsiretcarahc yek visual included depiction bulldozers of objects. and water Lastcannons. Futurist siht fo esuac niam ehT .s0591 eht gnirud Exhibition It was organised of Paintings by three 0,10 underground in 1916. neewteb elggurts eht saw nonemonehp Malevich’s artists Oscar Suprematism Rabin (artist), is fundamentally Youri Jarkikh .seiteicos del-msinummoc dna msilatipac opposed (Jarki) andtoAlexander the postrevolutionary Gleser. litnu desserper ylegral erew igaylits ehT positions There were ofmore Constructivism. than 30 artists The present elyts eht tel hcihw ,3591 ni htaed s’nilatS Supremus independent group, artistwhich LidiyainMasterkova, addition to sdrocer senoB .erutlucretnuoc a otni worg Malevich Komar and included Melamid. Aleksandra The exhibition Ekster, was yar-x latipsoh delcycer morf edam erew Olga prepared Rozanova, as a political Nadezhda act against Udaltsova, the dna nretsew neddibrof drocer ot mlfi Ivan oppressive Kliun, Lyubov Soviet regime, Popova,rather Ivan Puni thanand .cisum naissur Ksenia an artistic Boguslavskaya. event. El Lissitzky was

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Art Mouvements

Aleksandr Semyonov about Russian Avant Guarde of 1920, 2004

Thesis process book

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Joseph Stalin by Piotr Buchkin, Socialist Realism

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koob ssecorp sisehT

Oppression by authority

hcraeseR

Art Mouvements

Aleksandr Semyonov about Russian Avant Guarde of 1920, 2004

tsniagA sroirraW ylenoL < > emigeR nairatirohtuA na instead rieht dof ahexposing stsilautpand ecnoexplaining c ,yllautcAit..srotca AN:,y Itais s sfunny ’tel( sthat krowthe ten absorption egnahcxe rof enni nwo Barthesian-Deleuzian snaeporuE nretsaEslang gnitcis enintertwined noc )tra liam withriaeh historical t htiw dnanalysis a rehto hof caa e situation neewteb htob that ”,niais tru absolutely c nori“ ehttransparent etipseD .srein epterms nacirof emA its ideological pu saw n implications, oitacinummonamely c lanretthe ni rieht successful noitalipinclusion moc siht of ,reSoviet vewoHartists .gninnuinto r dna an international erew skrowtra context. taht noIisfind serpitmcrazy i eht sto evig speak .of yllaKomar gelli en and izagMelamid’s am eht otnart i din elgterms gums of seAnti-Oedipus citcarp lautpeor cnschizoanalysis. oc fo gnitoorpuBut na hcuS for the skroTupitsyns, wten eht dSoviet na smrwords oftalp consist aidem morf solely ot noitof neideology. tni na slaeItve was r meahpure t denproduct iatsus taht of.ssuperstructure, noisserpxe citsiwhich tra eseishtreducible ezilanoitu totitsni the nset ehw of,symbols 9891 raethat y ehTone :voshould kinhsuyshuffle lK siroB and subvert. saw trSuddenly, A hsalF fo in noher isreaccount, v naissuR eht this yro empire tsih ni of tnesigns momistsinterrupted al eht saw ,d by ehcnual

of thefoTupitsyns. yevrus a dArguably, erutaef trA they hsahollowed lF ,7791 nI out tusignification ohguorhT .stsbecause itra naisthe suRshow ”dengwas ilanon“ oriented ot dtoward eunitnorepresentation c enizagam ehtby ,s0foreign 891 eht journalists. teivoAs S ffor o no Kabakov nemoneh and p eh Andrei t no troper Monastyrsky, hguowho rht yldid niam not ,trtake a tsim part rofninocnoN it, laterroin tctheir iV staown pxe performances naissuR fo msithey citirc eht reflected ni surveillance derehtaG .nytechnologies stipuT atiragrand aM dna community ardnaxelA ,vorganizing okinhsuylKby sirthemself.. oB ,noitasrevnoc AS: As was latquite nehSrightly yerdnAnoted dna aby vonehzovoN Alexandra, esoFlash ht fo e Art cnauthors egreme e overestimated ht terpretnier ideology. ot sknaIn htthe tub2000s, fo etipsEkaterina ni ton sec Degot neirepxe suggested .metsys laanother citilop te category ivoS eht for fo ySoviet titnedi eht Nonconformist yradnegart: el e“communist ht retfA :latnehS yerdnA conceptualism,” rebmetpeS no dthus leh ,ninaugurating oitibihxe ”rezaodlluB“ completely eht radifferent en tserof approach.5 nabru eht ni ,4791 ,51 Distancing teivoS ,woherself csoM nfrom i noita the tS cultural orteM oveayleB context, ”stsitrDegot a laicfitook fonu“ raeppa othe t nageb THE BULLDOZER EXHIBITION WAS AN UNOFFICIAL into account specificity .aidemof ngthe ierof ni ART EXHIBITION ON A VACANT LOT IN THE Soviet,neconomy. amredieL iruY BELYAYEVO URBAN FOREST BY MOSCOW Whateother ht fo rebmem a methodologies evitcelloc ’smight tsitra AND LENINGRAD AVANT-GARDE ARTISTS ON you l a c find i d e M relevant n o i t c e psnI SEPTEMBER 15, 1974. THE EXHIBITION WAS for a contemporary ,scituenemreH FORCEFULLY BROKEN-UP BY A LARGE POLICE reading trA hsaof lFthose debircsed FORCE THAT INCLUDED BULLDOZERS AND WATER experiences? noinu elcarim a“ sa BK: dnaWhat ’erutlu I find c gib‘ htiw CANNONS, HENCE THE NAME. interesting woh tuB .’is tsthe eW eht‘ realeevents ht neew— teb the no“Bulldozer” isivid cilobmexhibition, ys eht nehw revision dna of ststhe itranotion neewtof ebthe spih “romantic.” snoitaler evah fornexample. oitacilbupBut A .even detsixsuch e tseaWsupposed eht dna tsaE Grays ”lacibegins tirc-tsohis p“ e famous ht ni de1979 gnahcessay senizagam political na ni tdefeat on dnaofenthe izag state am laisno presented isseforp a ni “Moscow Romantic Conceptualism”6 by ?ega in their yllactexts ilobmas ys an ,AYartistic -A ekil ltriumph anruoj nof ur-the tsitra claimingathat si erthis ehTterm :avonisehinappropriate zovoN ardnaxelA empire tsal eof htsigns. saw siht oS .tsitra na dezimitigel to various fo tsitrartistic a teivoS practices eht tuobthat a htyhe m ralupop BK: The a “Bulldozer” tnemucod dexhibition luoc eno ne marks hw tna em split om “THEIR goes on sato w ddescribe. lrow WAS esohBut, w ,sin 07my dna view, s0691 eht TASK in akthe iortsways ereP Boris retfA Grays .s’namand redie the L eTupitsyns kil noitcaer his understanding poP gniees of retthe fa nromantic wodedispu denrut ONE, connect roF .dart ereand disntheory. ocer saw Grays aideprivileges m fo elor siht AN corresponded eOPTIMISTIC nizagam nvery giero well f a nwith i snothe itcucharacter dorper tra CREATE totality, wo developing csoM fo seKabakov’s vitatneserpidea er ,eof cnthe atsni TO of those evaworks. h dluow When taht we tuBanalyze .emit tsart rfi eht rof total morfinstallation, sweiv gnirefand fid dis ahalso ydaclose erla mto sinthe oitcA SOMETHING theory gtoday, nidlohwe htiw see lufit rein wodialectical p yrev a deriuqer NEW, Collective ytivitca laiActions rotide dnGroup a ecnaintshis lacembrace iteroeht eht OURS relation -traIS todconceptualism. eTO zilarBUILD tnec ,yaUP doFor T .no instance, itamrofni fo of the romantic. .trA hsThe alF Tupitsyns ekil enizagshare am trathe na fo in ehis mobook ceb eAnywhere vah steltuor o aNot idem atsAll sam (London: detaler ALREADY arbitrariness morF“ yof assigns se s’nythat stipis uTatatstake iragrain M the :NA WHAT Verso, taht 2013), suHAS oirucPeter si tI .d Osborne rager sihstates t ni ssthat elhtrow BEEN artotof seKomar finam aand ekilMelamid, sdaer ”trwho avoStook ot trpart A stoin S romanticism esoht eBROKEN.” kil ,s0 was 791the ehtfirst fo sconceptual tsitra lautpeart, cnoc the “Bulldozer” ereh enizagashow. m ehtI omean, s — nwe oitacan rgetsee ni rof because no yitevclaimed rus 7791 primacy s’trA hsto alF language, ni dedulcni parallels etalucibetween tra ot strthe os fo artistic enubirmethods t a sa desof u si to linguistic detneserontology. p era ,tra ”Philosophy edrag-tnavin a“art teivoS Bulldozer htiw serartists ahs nyand stiputhe T htheoretical cihw ,noitiso views p siht begins nwonwith knu dthe na Jena tnednRomantics epedni yletand elpmoc sa Thesis process book

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Joseph Stalin by Piotr Buchkin, Socialist Realism

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SAW KSAT RIEHT“ ,ENO CITSIMITPO NA ETAERC OT ,WEN GNIHTEMOS PU DLIUB OT SI SRUO YDAERLA SAH TAHW ”.NEKORB NEEB

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Article from Flash Art International December 2017

tsniagA sroirraW ylenoL < > emigeR nairatirohtuA na instead of exposing and explaining it. AN: It is funny that the absorption of Barthesian-Deleuzian slang is intertwined with a historical analysis of a situation that is absolutely transparent in terms of its ideological implications, namely the successful inclusion of Soviet artists into an international context. I find it crazy to speak of Komar and Melamid’s art in terms of Anti-Oedipus or schizoanalysis. But for the Tupitsyns, Soviet words consist solely of ideology. It was a pure product of superstructure, which is reducible to the set of symbols that one should shuffle and subvert. Suddenly, in her account, this empire of signs is interrupted by

of the Tupitsyns. Arguably, they hollowed out signification because the show was oriented toward representation by foreign journalists. As for Kabakov and Andrei Monastyrsky, who did not take part in it, later in their own performances they reflected surveillance technologies and community organizing by themself.. AS: As was quite rightly noted by Alexandra, Flash Art authors overestimated ideology. In the 2000s, Ekaterina Degot suggested another category for Soviet Nonconformist art: “communist conceptualism,” thus inaugurating a completely different approach.5 Distancing herself from the cultural context, Degot took THE BULLDOZER EXHIBITION WAS AN UNOFFICIAL into account the specificity of the ART EXHIBITION ON A VACANT LOT IN THE Soviet economy. BELYAYEVO URBAN FOREST BY MOSCOW What other methodologies might AND LENINGRAD AVANT-GARDE ARTISTS ON you find relevant SEPTEMBER 15, 1974. THE EXHIBITION WAS for a contemporary FORCEFULLY BROKEN-UP BY A LARGE POLICE reading of those FORCE THAT INCLUDED BULLDOZERS AND WATER experiences? BK: What I find CANNONS, HENCE THE NAME. interesting is the real events — the “Bulldozer” exhibition, revision of the notion of the “romantic.” for example. But even such a supposed Grays begins his famous 1979 essay political defeat of the state is presented “Moscow Romantic Conceptualism”6 by in their texts as an artistic triumph of the claiming that this term is inappropriate empire of signs. to various artistic practices that he BK: The “Bulldozer” exhibition marks a split goes on to describe. But, in my view, in the ways Boris Grays and the Tupitsyns his understanding of the romantic connect art and theory. Grays privileges corresponded very well with the character totality, developing Kabakov’s idea of the of those works. When we analyze art total installation, and is also close to the theory today, we see it in dialectical Collective Actions Group in his embrace relation to conceptualism. For instance, of the romantic. The Tupitsyns share the in his book Anywhere or Not at All (London: arbitrariness of signs that is at stake in the Verso, 2013), Peter Osborne states that art of Komar and Melamid, who took part in romanticism was the first conceptual art, the “Bulldozer” show. I mean, we can see because it claimed primacy to language, parallels between the artistic methods of to linguistic ontology. Philosophy in art Bulldozer artists and the theoretical views begins with the Jena Romantics and Thesis process book

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Joseph Stalin by Piotr Buchkin, Socialist Realism

vonoymeS rdnaskelA tnavA naissuR tuoba 4002 ,0291 fo edrauG

< Lonely Warriors Against an Authoritarian Regime > In 1977, Flash Art featured a survey of “nonaligned” Russian artists. Throughout the 1980s, the magazine continued to report on the phenomenon of Soviet Nonconformist art, mainly through the criticism of Russian expats Victor and Margarita Tupitsyn. Gathered in conversation, Boris Klyushnikov, Alexandra Novozhenova and Andrey Shental reinterpret the emergence of those experiences not in spite of but thanks to the identity of the Soviet political system. Andrey Shental: After the legendary “Bulldozer” exhibition, held on September 15, 1974, in the urban forest near the Belyaevo Metro Station in Moscow, Soviet “unofficial artists” began to appear in foreign media. Yuri Leiderman, a member of the artists’ collective Inspection Medical Hermeneutics, described Flash Art as “a miracle union with ‘big culture’ and ‘the West’. But how have relationships between artists and magazines changed in the “post-critical” age? Alexandra Novozhenova: There is a popular myth about the Soviet artist of the 1960s and 70s, whose world was turned upsidedown after seeing Pop art reproductions in a foreign magazine for the first time. But that would have required a very powerful withholding of information. Today, centralized artrelated mass media outlets have become worthless in this regard. It is curious that conceptual artists of the 1970s, like those included in Flash Art’s 1977 survey on Soviet “avant-garde” art, are presented as completely independent and unknown actors. Actually, conceptualists had their own inner exchange networks (let’s say, mail art) connecting Eastern Europeans both between each other and with their American peers. Despite the “iron curtain,” their internal communication was up and running. However, this compilation

gives the impression that artworks were smuggled into the magazine illegally. Such an uprooting of conceptual practices from media platforms and the networks that sustained them reveals an intention to institutionalize these artistic expressions. Boris Klyushnikov: The year 1989, when the Russian version of Flash Art was launched, was the last moment in history when the symbolic division between the East and the West existed. A publication in a professional magazine and not in an artist-run journal like A-YA, symbolically legitimized an artist. So this was the last moment when one could document a reaction like Leiderman’s. After Perestroika this role of media was reconsidered. For instance, representatives of Moscow Actionism already had differing views from the theoretical stance and editorial activity of an art magazine like Flash Art. AN: Margarita Tupitsyn’s essay “From Sots Art to Sovart” reads like a manifesto for integration — so the magazine here is used as a tribune of sorts to articulate this position, which Tupitsyn shares with her fellow artists. Ilya Kabakov and Erik Bulatov in their interview,4 published in the same issue, use the pronoun “we,” acting as representatives for the whole Soviet artistic community. They discuss the inferiority of the Soviet subject, who is traumatized by utopias, and feel obliged to overcome it. Today, one could see that integration with the West was understood in terms of overcoming an inferiority complex. AS: And the medium of that integration was post-structuralist discourse. After emigrating to America or Western Europe, critics started importing Soviet art in exchange for exports of new language. It seems that Victor and Margarita Tupitsyn tried to cover up the difference with the pompousness of their style, which today sounds rather archaic,

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Article from Flash Art International December 2017

> skivehsloB dna skintaeB < instead of exposing and explaining it. AN: It is funny that the absorption of Barthesian-Deleuzian slang is intertwined with a historical analysis of a situation that is absolutely transparent in terms of its ideological implications, namely the successful inclusion of Soviet artists into an international context. I find it crazy to speak of Komar and Melamid’s art in terms of Anti-Oedipus or schizoanalysis. But for the Tupitsyns, Soviet words consist solely of ideology. It was a pure product of superstructure, which is reducible to the set of symbols that one should shuffle and subvert. Suddenly, in her account, this empire of signs is interrupted by

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Joseph Stalin by Piotr Buchkin, Socialist Realism

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noisserppO ytirohtua yb

vonoymem S ordrfna es lckietrlA tnavA naissu trRA thusoablaF 4002 ,02l9a1nofoitaendrreatunGI 7102 rebmeceD

< Lonely Warriors Against an Authoritarian Regime > dewolloh yeht ,ylbaugrA .snystipuT eht fo .ti gninialpxe dna gnisopxe fo daetsni saw wohs eht esuaceb noitacfiingis tuo fo noitprosba eht taht ynnuf si tI :NA ngierof yb noitatneserper drawot detneiro deniwtretni si gnals naizueleD-naisehtraB ierdnA dna vokabaK rof sA .stsilanruoj noitautis a fo sisylana lacirotsih a htiw ni trap ekat ton did ohw ,yksrytsanoM fo smret ni tnerapsnart yletulosba si taht yeht secnamrofrep nwo rieht ni retal ,ti eht yleman ,snoitacilpmi lacigoloedi sti dna seigolonhcet ecnallievrus detcefler otni stsitra teivoS fo noisulcni lufsseccus ..flesmeht yb gnizinagro ytinummoc ot yzarc ti dnfi I .txetnoc lanoitanretni na yb deton ylthgir etiuq saw sA :SA smret ni tra s’dimaleM dna ramoK fo kaeps detamitserevo srohtua trA hsalF ,ardnaxelA tuB .sisylanaozihcs ro supideO-itnA fo togeD aniretakE ,s0002 eht nI .ygoloedi tsisnoc sdrow teivoS ,snystipuT eht rof teivoS rof yrogetac rehtona detseggus tcudorp erup a saw tI .ygoloedi fo ylelos tsinummoc“ :tra tsimrofnocnoN ot elbicuder si hcihw ,erutcurtsrepus fo a gnitaruguani suht ”,msilautpecnoc eflfuhs dluohs eno taht slobmys fo tes eht 5.hcaorppa tnereffid yletelpmoc ,tnuocca reh ni ,ylnedduS .trevbus dna larutluc eht morf flesreh gnicnatsiD yb detpurretni si sngis fo eripme siht koot togeD ,txetnoc eht tnuocca otni LAICIFFONU NA SAW NOITIBIHXE REZODLLUB EHT eht fo yticfiiceps EHT NI TOL TNACAV A NO NOITIBIHXE TRA .ymonoce teivoS WOCSOM YB TSEROF NABRU OVEYAYLEB rehto tahW thgim seigolodohtem NO STSITRA EDRAG-TNAVA DARGNINEL DNA tnaveler dnfi uoy SAW NOITIBIHXE EHT .4791 ,51 REBMETPES yraropmetnoc a rof ECILOP EGRAL A YB PU-NEKORB YLLUFECROF esoht fo gnidaer ?secneirepxe RETAW DNA SREZODLLUB DEDULCNI TAHT ECROF dnfi I tahW :KB .EMAN EHT ECNEH ,SNONNAC eht si gnitseretni ”.citnamor“ eht fo noiton eht fo noisiver ,noitibihxe ”rezodlluB“ eht — stneve laer yasse 9791 suomaf sih snigeb syarG desoppus a hcus neve tuB .elpmaxe rof yb 6”msilautpecnoC citnamoR wocsoM“ detneserp si etats eht fo taefed lacitilop etairporppani si mret siht taht gnimialc eht fo hpmuirt citsitra na sa stxet rieht ni eh taht secitcarp citsitra suoirav ot .sngis fo eripme ,weiv ym ni ,tuB .ebircsed ot no seog tilps a skram noitibihxe ”rezodlluB“ ehT :KB citnamor eht fo gnidnatsrednu sih snystipuT eht dna syarG siroB syaw eht ni retcarahc eht htiw llew yrev dednopserroc segelivirp syarG .yroeht dna tra tcennoc tra ezylana ew nehW .skrow esoht fo eht fo aedi s’vokabaK gnipoleved ,ytilatot lacitcelaid ni ti ees ew ,yadot yroeht eht ot esolc osla si dna ,noitallatsni latot ,ecnatsni roF .msilautpecnoc ot noitaler ecarbme sih ni puorG snoitcA evitcelloC :nodnoL( llA ta toN ro erehwynA koob sih ni eht erahs snystipuT ehT .citnamor eht fo taht setats enrobsO reteP ,)3102 ,osreV eht ni ekats ta si taht sngis fo ssenirartibra ,tra lautpecnoc tsrfi eht saw msicitnamor ni trap koot ohw ,dimaleM dna ramoK fo tra ,egaugnal ot ycamirp demialc ti esuaceb ees nac ew ,naem I .wohs ”rezodlluB“ eht tra ni yhposolihP .ygolotno citsiugnil ot fo sdohtem citsitra eht neewteb slellarap dna scitnamoR aneJ eht htiw snigeb sweiv laciteroeht eht dna stsitra rezodlluB 0056

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> skivehsloB dna skintaeB < rof moor on si ereht aidem gib nI .serugfi euqitirc tsitfel ro sisylana decnaun erom a aidem dnA .noitidnoc tsilaicoS-tsop eht fo eht ot eud adnega na hcus etomorp nac .snoitca eseht fo stceffe lariv lufrewop stsitra eseht taht si em srehtob tahW :SA -etal f o lacipyt noitisoppo ecudorper taht ekil ,aistnegilletni larebil teivoS roirraw ylenol eht :trA hsalF ni debircsed .emiger nairatirohtua eht sesoppo ohw lacitilop morf nwonk llew si ti ,tcaf nI dezirogetac si emiger s’nituP taht ecneics erom kool ot seirt ylno tI .dirbyh sa ot sknaht dna ;eb nac ti naht nairatirohtua raeb ot trats nac metsys eht stsitra eseht dluow stsilanruoj woh siht dna — hteet sti .ti tciped ot ekil nac ew ,are tenretni eht ni ,yadoT :KB ngierof dna lanretni fo kaeps regnol on stxet dna segami suoirav esehT .sadnega weiv fo tniop eht morf dettamrofer era roF .seirotsih reggib ,sevitarran regral fo segami gnirahs dna gnitsoper ,ecnatsni srood gninrub eht fo tnorf ni yksnelvaP fo ,yadnoM fo thgin eht no[ aknaybuL eht fo dehcrot yksnelvaP ,5102 ,9 rebmevoN eht fo sretrauqdaeh eht ot ecnartne eht ot rosseccus eht ,ecivres ytiruces BSF seitinummoc krowten lanretni ,]BGK eht segami esehT .yltnereffid ti ot detcaer retal ylno dna ,snoitautis-orcim ni tsixe eht ni meht ot dehcatta yratnemmoc si .esoprup lacitilop taht ro siht fo ecivres ”,msinituP fo tra“ eht f o gnikaepS :SA :muesum lanoitcfi s’veaylihZ ynesrA llacer I ta ”,stcejbO eht ot shtaP weN :.R.I.M“ .4102 ni ,siraP ni ,noitadnuoF tsidaK eht s’nituP sa emoc ot dlrow eht detciped tI saw eno llaw eht nO .krewtsnuktmaseG edrag-tnava fo ygolonorhc a ees ot elba .toiR yssuP ot snoitcA evitcelloC morf :tra labolg eht htiw strifl veaylihZ krow siht nI naissuR a ma I“ :snoitatcepxe s’dlrow tra noitutitsni naisiraP a ta ecnediser ni tsitra smees eh ”,nituP tuoba tra ekam I dna

a sa erutseg sih daer dluoc enO .yas ot ,snoitisoppo esoht fo ”noitalbus“ laitnetop ,tsitra na semoceb flesmih nituP nierehw .tnuocca s’syorG ni nilatS ekil em stseretni tahw tuB .esruoc fO :NA secudorp eh taht si tra s’veaylihZ ni eH .serutcurts ekil-emarf evisulcni-lla setagujbus ohw tsitra gnitanimod a si fo snoitatsefinam tnacfiingis tsom eht ,tra lacitilop no esruocsid aidem ssam tra dna senilemit eritne setairporppa nwo sih sdda dna sesnodcudorperirotsih ,ygetarts siht ezicitirc dluoc enO .erutangis ecnedupmi eht hguone ylegnarts tub eht ot smialc sih ni ainamolagem dna si esruocsid fo noitairporppa nairatilatot citsitra yrev eht setutitsnoc tahw yllautca ot drah si tI .ecitcarp sih f o htgnerts siht etairporppa dluoc eno woh enigami ot yaw a sdnfi eh tub ,esruocsid aidem sesrever ecitcarp sih esnes a ni oS .os od naissuR ot enod egamad evitcuder eht stcartxe veaylihZ :aidem ssam yb tra ,aidem eht yb defiilpmis ydaerla ,msivitca setacol dna txetnoc citaidem sti morf krowemarf lacirotsih regral a nihtiw ti fo tcejbo lautca eht semoceb flesti taht detairporppa na si tcejbo tra sih :tra sih ton seod eH :KB .evitarranatem aidem eht ni noitisop s’aissuR ezicitirc ylerem stnemmoc rehtar tub ,txetnoc lanoitanretni cirotehr ehT .debircsed si tra syaw eht no dna noitazicirotsih tra yraropmetnoc f o ).cte ,aidem wen ,ytivitamrofrep( smret sti otni demusbus eb dluoc meht fo lla — daer rehtar dluohs enO .snoitautis tnereffid ,noitutitsni na sa tra fo euqitirc sa ti yraropmetnoc a emoceb nac nituP hcihw ni tcejorp eht ekil dekool ti ,s09’ eht nI .tsitra .iroirp a lacitirc saw tra yraropmetnoc fo ,yralubacov tra eht taht swohs veaylihZ tuB tcejbus si ,txetnoc muesum eht ni tsael ta tsinituP citsirutuf a — adnega lacitilop a ot ...esac siht ni ,aissuR

Thesis process book

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< Lonely Warriors Against an Authoritarian Regime > their confrontation with the Kantian project of judgment and the history of taste. At the same time, Art & Language or Joseph Kosuth could be described as romantic. This concept, long neglected by Grays himself, is a fitting description. For instance, Jorg Heiser in his exhibition “Romantic Conceptualism” (Kunsthalle Nurnberg and BAWAG Foundation, Vienna, 2007) tried to reinscribe romanticism into the general narrative of Western conceptual art. AN: I find it productive to consider conceptualism not as something opposed to Soviet reality, but as its dialectical outcome. The text that introduces the 1977 Flash Art survey says that none of those artists opposed the system, but nevertheless they existed within “semiofficial” or “nonofficial” territory. Notably, the first case in this selection is amember of Dvizhenie group, Francisco Infante- Arana, who was successfully integrated into the Soviet exhibition system. For instance, research institutes and world expositions provided the group with platforms for official exposure. In the same introduction, it is also stated that artists’ means of subsistence had nothing to do with their real interests. Flowever, post-Soviet experience has shown us that the same alienation is at work in the capitalist art system. So I am interested in keeping track of how artists lived within a condition of “really existing socialism.” How did platforms such as the “philosophical laboratory” of Collective Actions emerge? How come these phenomenological experiments took place? Is it related somehow to the Era of Stagnation during the rule of Brezhnev? This art originated not in spite of but thanks to the Soviet system. It seems many writers of my generation share this perspective. BK: The laboratory-like

withdrawal from the everyday was possible thanks to an imaginary West that was envisioned as an escape from Soviet life. Being situated within global capitalism, today we see that the differences between East and West were fictional. AS: Curiously, there is a version in which the “Bulldozer” exhibition was itself fictional and was staged for Western journalists. Today we could read it as the first media performance; so a genealogy of 2010s Actionism (Pussy Riot, Petr Pavlensky, Katrin Nenasheva, etc.) might come from there and not from the ’90s. The classic Moscow Actionism of Oleg Kulik and Anatoly Osmolovsky was designed for local press and TV, while contemporary street performance is oriented toward international media to somehow tease the “sovereignty” of Russian power. AN: It would be enough to see what Western universities or media demand from Russian art. They are captivated by such bright episodes as the political persecution of the intelligentsia, comparing Kirill Serebrennikov, the theater director arrested last August over accusations of embezzling government funds, with Vsevolod Meyerhold, who was arrested, tortured and executed during the Great Purge of 1940. The cases of Pavlensky or Pussy Riot define the main agenda. Recently, I was asked to give a lecture within the framework of the celebration of the centenary of the Russian revolution, and the title was already set: “Art Under Putin.” The rest of artistic production does not fit into this category; this is an enormous reduction of meaning when it comes to the Russian and post-Soviet situation. Especially starting from the so-called “Cold War II,” the Western perspective on Russian art has become polarized: the “good” Actionists and the “monstrous” authority

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> skivehsloB dna skintaeB < figures. In big media there is no room for a more nuanced analysis or leftist critique of the post-Socialist condition. And media can promote such an agenda due to the powerful viral effects of these actions. AS: What bothers me is that these artists reproduce opposition typical o f lateSoviet liberal intelligentsia, like that described in Flash Art: the lonely warrior who opposes the authoritarian regime. In fact, it is well known from political science that Putin’s regime is categorized as hybrid. It only tries to look more authoritarian than it can be; and thanks to these artists the system can start to bear its teeth — and this how journalists would like to depict it. BK: Today, in the internet era, we can no longer speak of internal and foreign agendas. These various images and texts are reformatted from the point of view of larger narratives, bigger histories. For instance, reposting and sharing images of Pavlensky in front of the burning doors of the Lubyanka [on the night of Monday, November 9, 2015, Pavlensky torched the entrance to the headquarters of the FSB security service, the successor to the KGB], internal network communities reacted to it differently. These images exist in micro-situations, and only later is commentary attached to them in the service of this or that political purpose. AS: Speaking o f the “art of Putinism,” I recall Arseny Zhilyaev’s fictional museum: “M.I.R.: New Paths to the Objects,” at the Kadist Foundation, in Paris, in 2014. It depicted the world to come as Putin’s Gesamtkunstwerk. On the wall one was able to see a chronology of avant-garde art: from Collective Actions to Pussy Riot. In this work Zhilyaev flirts with the global art world’s expectations: “I am a Russian artist in residence at a Parisian institution and I make art about Putin,” he seems Thesis process book

to say. One could read his gesture as a potential “sublation” of those oppositions, wherein Putin himself becomes an artist, like Stalin in Groys’s account. AN: Of course. But what interests me in Zhilyaev’s art is that he produces all-inclusive frame-like structures. He is a dominating artist who subjugates the most significant manifestations of mass media discourse on political art, appropriates entire timelines and art historireproducdonses and adds his own signature. One could criticize this strategy, but strangely enough the impudence and megalomania in his claims to the totalitarian appropriation of discourse is actually what constitutes the very artistic strength o f his practice. It is hard to imagine how one could appropriate this media discourse, but he finds a way to do so. So in a sense his practice reverses the reductive damage done to Russian art by mass media: Zhilyaev extracts activism, already simplified by the media, from its mediatic context and locates it within a larger historical framework that itself becomes the actual object of his art: his art object is an appropriated media metanarrative. BK: He does not merely criticize Russia’s position in the international context, but rather comments on the ways art is described. The rhetoric o f contemporary art historicization and its terms (performativity, new media, etc.) — all of them could be subsumed into different situations. One should rather read it as critique of art as an institution, in which Putin can become a contemporary artist. In the ’90s, it looked like the project of contemporary art was critical a priori. But Zhilyaev shows that the art vocabulary, at least in the museum context, is subject to a political agenda — a futuristic Putinist Russia, in this case...

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< Lonely Warriors Against an Authoritarian Regime > their confrontation with theisKantian figures. In big media there no room for project of judgment and the historycritique of a more nuanced analysis or leftist taste. At the same time, Art & Language of the post-Socialist condition. And media or Joseph Kosuth be described as can promote suchcould an agenda due to the romantic. Thiseffects concept, powerful viral of long theseneglected actions. by a is fitting AS:Grays Whathimself, bothers is me that description. these artists For instance, Jorg Heiser in his reproduce opposition typical o exhibition f late“Romantic Conceptualism” (Kunsthalle Soviet liberal intelligentsia, like that Nurnberg BAWAG Vienna, describedand in Flash Art: Foundation, the lonely warrior 2007) tried to the reinscribe romanticism who opposes authoritarian regime. into theitgeneral narrative of Western In fact, is well known from political conceptual art. science that Putin’s regime is categorized AN: I find itItproductive tolook consider as hybrid. only tries to more conceptualism notitascan something opposed authoritarian than be; and thanks to to Soviet reality, but as its dialectical these artists the system can start to bear outcome. The text that introduces the its teeth — and this how journalists would 1977 Artit.survey says that none like toFlash depict of artists opposed BK:those Today, in the internetthe era,system, we can but nevertheless they existed no longer speak of internal andwithin foreign “semiofficial” or various “nonofficial” territory. agendas. These images and texts Notably, the firstfrom casethe in this selection are reformatted point of view is amember of Dvizhenie group, Francisco of larger narratives, bigger histories. For InfanteArana, who was successfully instance, reposting and sharing images integrated into Soviet of Pavlensky in the front of theexhibition burning doors system. For instance, research of the Lubyanka [on the night ofinstitutes Monday, and world expositions providedtorched the group November 9, 2015, Pavlensky with platforms exposure. the entrance tofor theofficial headquarters of In the the same introduction, it is also stated FSB security service, the successor to that artists’ meansnetwork of subsistence had the KGB], internal communities nothing with their real interests. reacted to to do it differently. These images Flowever, post-Soviet experience exist in micro-situations, and onlyhas later shown us that the same alienation at is commentary attached to them inisthe work in the capitalist system. So I service of this or that art political purpose. am track of how AS: interested Speaking oinf keeping the “art of Putinism,” artists lived within a condition of I recall Arseny Zhilyaev’s fictional“really museum: existing socialism.” platforms “M.I.R.: New Paths toHow the did Objects,” at such as theFoundation, “philosophical laboratory” the Kadist in Paris, in 2014. of Collectivethe Actions How come It depicted world emerge? to come as Putin’s these phenomenological experiments Gesamtkunstwerk. On the wall one wastook place? it related somehow to the Era of able to Is see a chronology of avant-garde Stagnation during the rule oftoBrezhnev? art: from Collective Actions Pussy Riot. This artwork originated notflirts in spite but In this Zhilyaev with of the global thanks to the Soviet system. It seems art world’s expectations: “I am a Russian many writers of myatgeneration artist in residence a Parisianshare institution this BK: The laboratory-like and perspective. I make art about Putin,” he seems

withdrawal everyday was as a to say. One from couldthe read his gesture possible to anof imaginary West potentialthanks “sublation” those oppositions, that was envisioned as an escape wherein Putin himself becomes an artist, from Sovietinlife. Being situated within like Stalin Groys’s account. global we see that AN: Of capitalism, course. Buttoday what interests methe differences East West were in Zhilyaev’sbetween art is that he and produces fictional. AS: frame-like Curiously, structures. there is a version all-inclusive He in which the “Bulldozer” exhibition was is a dominating artist who subjugates itself fictional and was staged for Western the most significant manifestations of journalists. we could read it art, as the mass mediaToday discourse on political first media performance; so a and genealogy appropriates entire timelines art of 2010s Actionism (Pussy Riot, historireproducdonses and addsPetr his own Pavlensky, Katrin Nenasheva, etc.)strategy, might signature. One could criticize this come from there and not the ’90s. but strangely enough thefrom impudence The Moscow and classic megalomania in Actionism his claims of to Oleg the Kulik and Anatoly Osmolovsky was totalitarian appropriation of discourse is designed for local press and while actually what constitutes theTV, very artistic contemporary performance strength o f hisstreet practice. It is hard is to oriented toward mediathis to imagine how oneinternational could appropriate somehow tease the “sovereignty” of media discourse, but he finds a way to Russian AN: Ithis would be enough do so. Sopower. in a sense practice reverses to what Western or thesee reductive damageuniversities done to Russian media demand from Russian art. They art by mass media: Zhilyaev extracts are captivated by such bright episodes as the activism, already simplified by the media, political persecution of the intelligentsia, from its mediatic context and locates comparing Kirill Serebrennikov, the it within a larger historical framework theater director arrested last August that itself becomes the actual object over of accusations ofobject embezzling government his art: his art is an appropriated funds, with Vsevolod Meyerhold, media metanarrative. BK: He doeswho notwas arrested, tortured and executed merely criticize Russia’s positionduring in the the Great Purge of 1940. cases of international context, butThe rather comments Pavlensky or Pussy Riot define the main on the ways art is described. The rhetoric agenda. Recently,art I was asked to give o f contemporary historicization and a the framework of the etc.) itslecture terms within (performativity, new media, celebration of could the centenary of theinto Russian — all of them be subsumed revolution, and the title was already set: different situations. One should rather read “Art Putin.” rest of artistic it as Under critique of artThe as an institution, production does not fit intoathis category; in which Putin can become contemporary this is an enormous reduction of meaning artist. In the ’90s, it looked like the project when it comes to the Russian and of contemporary art was critical a postpriori. Soviet situation. Especially from But Zhilyaev shows that thestarting art vocabulary, the so-called Warcontext, II,” the Western at least in the“Cold museum is subject perspective Russian has become to a politicalon agenda — art a futuristic Putinist polarized: the “good” Actionists and the Russia, in this case... “monstrous” authority

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Oppression by authority

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Review from The New Republic, By Vassily Aksyonov, 1997

> skivehsloB dna skintaeB < rfigures. of moor In onbig si emedia reht aithere dem gisibno nI room .serugfor fi toa say. sa erOne utsecould g sih dread aer dhis luogesture c enO .yas as aot euaqimore tirc tsnuanced itfel ro sianalysis sylana deorcnleftist aun ercritique om a ,snpotential oitisoppo“sublation” esoht fo ”nof oitthose albus“oppositions, laitnetop aidof em the dnpost-Socialist A .noitidnoc tscondition. ilaicoS-tsoAnd p ehmedia t fo ,twherein sitra na Putin semohimself ceb flesbecomes mih nituP an nieartist, rehw can eht opromote t eud adsuch nega an na agenda hcus etodue morto p nthe ac like Stalin in .tnGroys’s uocca saccount. ’syorG ni nilatS ekil powerful .snoitcaviral eseheffects t fo stcof effthese e larivactions. lufrewop AN:eOf m scourse. tseretnBut i tahwhat w tuBinterests .esruoc fme O :NA sAS: tsitrWhat a esehbothers t taht sime emissrthat ehtothese b tahW artists :SA in Zhilyaev’s secudorpart ehistathat ht sihe traproduces s’veaylihZ ni reproduce -etal f o opposition lacipyt noittypical isoppo oecf ulatedorper all-inclusive eH .serutcu frame-like rts ekil-em structures. arf evisulcHe ni-lla Soviet tahliberal t ekil ,aintelligentsia, istnegilletni lalike rebthat il teivoS is asedominating tagujbus ohartist w tsitwho ra gnsubjugates itanimod a si rdescribed oirraw yleninolFlash eht :tArt: rA hthe salFlonely ni debwarrior ircsed the fomost snoitsignificant atsefinam tmanifestations nacfiingis tsomof eht who .emopposes iger nairathe tiroauthoritarian htua eht sesoregime. ppo ohw mass ,tra media lacitilodiscourse p no esruoon csipolitical d aidem art, ssam In fact, lacitit iloisp well morfknown nwonkfrom llew political si ti ,tcaf nI appropriates tra dna seentire nilemittimelines eritne seand tairpart orppa descience zirogetathat c si e Putin’s miger sregime ’nituP tisahcategorized t ecneics nhistorireproducdonses wo sih sdda dna sesnoand dcudadds orperhis irotown sih as hybrid. eromItkoonly ol ottries seirttoyllook no tImore .dirbyh sa ,ygsignature. etarts siht One ezicicould tirc dlu criticize oc enO this .erutstrategy, angis otauthoritarian sknaht dna ;ethan b nacit tcan i nahbe; t na and iratthanks irohtuato butestrangely cnedupmienough eht hguthe oneimpudence ylegnarts tub rathese eb ot artists trats nathe c msystem etsys ecan ht ststart sitra to ese bear ht andehmegalomania t ot smialc sihinnhis i ainclaims amolato gem thedna dluits owteeth stsila— nruand oj wthis oh show iht djournalists na — hteetwould sti stotalitarian i esruocsidappropriation fo noitairporpof padiscourse nairatilatois t like to depict it. .ti tciped ot ekil ciactually tsitra yrewhat v ehtconstitutes setutitsnocthe tahvery w ylla artistic utca BK:nToday, ac ew ,ainrethe teninternet retni ehtera, ni ,ywe adcan oT :KB strength ot draoh fshis i tI .practice. ecitcarp sItihisf hard o htgto nerts no nglonger ierof dspeak na lanrof etn internal i fo kaeand ps reforeign gnol on imagine siht etairhow porpone pa dcould luoc eappropriate no woh enigthis ami stagendas. xet dna sThese egami various suoirav images esehT .sand adntexts ega media ot yaw discourse, a sdnfi ehbut tubhe,efinds sruocasiway d aidto em are wereformatted iv fo tniop efrom ht mothe rf dpoint ettamof rofview er era se do sre so. verSo ecin itcaasense rp sih ehis sne practice s a ni oSreverses .os od rof oFlarger .seironarratives, tsih reggib bigger ,sevitarhistories. ran regralFor fo the nareductive issuR ot edamage nod egam done ad eto vitcRussian uder eht instance, segami gn reposting irahs dnaand gnitsharing soper ,eimages cnatsni art by stcmass artxe vmedia: eaylihZZhilyaev :aidem sextracts sam yb tra srof ooPavlensky d gninrub e inhfront t fo tnof orthe f ni yburning ksnelvadoors P fo ,aactivism, idem eht already yb defiilsimplified pmis ydaeby rla the ,msimedia, vitca ,yof adthe noMLubyanka fo thgin e[on ht nthe o[ anight knayb ofuLMonday, eht fo from setits aco mediatic l dna txecontext tnoc cita and idem locates sti morf November dehcrot y9, ks2015, nelvaPPavlensky ,5102 ,9 rtorched ebmevoN it within kroweamlarger arf lachistorical irotsih regframework ral a nihtiw ti the eht entrance fo sretrauto qdthe aehheadquarters eht ot ecnartof ne the eht that fo tcitself ejbo lbecomes autca ehtthe sem actual oceb fobject lesti taof ht FSB ot security rosseccuservice, s eht ,ecthe ivresuccessor s ytiruces to BSF his detart: airphis orpart pa n object a si tcis ejb an o tappropriated ra sih :tra sih the seitKGB], inumminternal oc krownetwork ten lanrecommunities tni ,]BGK eht media ton smetanarrative. eod eH :KB .eviBK: tarra He nadoes tem anot idem reacted segamto i eit sedifferently. hT .yltnerefThese fid ti oimages t detcaer merely eht ni n criticize oitisop Russia’s s’aissuR position ezicitirc y inlethe rem exist retalin ylmicro-situations, no dna ,snoitautisand -orconly im nilater tsixe stninternational emmoc rehtacontext, r tub ,txebut tnocrather lanoitcomments anretni isecommentary ht ni meht ot attached dehcatta to yrathem tnemin mothe c si cion rotthe ehr ways ehT .dart ebiis rcdescribed. sed si tra syThe aw rhetoric eht no service .esopruof p lthis acitior lopthat tahpolitical t ro siht fpurpose. o ecivres odn f acontemporary noitazicirotsih arttrhistoricization a yraropmetnocand fo AS: ”,m Speaking sinituP fo tfrthe a“ e“art ht f o ofgPutinism,” nikaepS :SA ).cits te terms ,aidem(performativity, wen ,ytivitamronew frep(media, smret etc.) sti :muIerecall sum la Arseny noitcfiZhilyaev’s s’veaylihZfictional ynesrA llmuseum: acer I —oall tni of dethem musbcould us eb d be lusubsumed oc meht fo into lla — “M.I.R.: ta ”,sNew tcejbPaths O eht to ot the shtaObjects,” P weN :.Rat .I.M“ daedifferent r rehtar dsituations. luohs enO One .snoishould tautis trather nereffid read the .410Kadist 2 ni ,siFoundation, raP ni ,noitadinnu Paris, oF tsiin da2014. K eht it as ,critique noitutitsof ni art na sas a tan ra institution, fo euqitirc sa ti It s’n depicted ituP sa ethe mocworld ot dlrto owcome eht das etcPutin’s iped tI yrain ropwhich metnoPutin c a em can ocbecome eb nac niatucontemporary P hcihw ni Gesamtkunstwerk. saw eno llaw eht nOn O .kthe rewwall tsnuone ktmawas seG tceartist. jorp eIn ht the ekil’90s, dekoit ollooked ti ,s09’like eht the nI .tproject sitra e able dragto -tsee navaa fchronology o ygolonorhof c aavant-garde ees ot elba .of irocontemporary irp a lacitirc saart w twas ra yrcritical aropmeatnpriori. oc fo .tart: oiR yfrom ssuPCollective ot snoitcAActions evitcellto oCPussy morf :Riot. tra ,yraBut lubaZhilyaev cov tra eshows ht tahtthat swothe hs vart eayvocabulary, lihZ tuB laIn bothis lg ework ht htiZhilyaev w strifl veflirts aylihwith Z krothe w sglobal iht nI tcat ejbleast us si in ,txthe etnmuseum oc muesucontext, m eht ni is tssubject ael ta nart aisworld’s suR a mexpectations: a I“ :snoitatcep “Ixam e s’a dlRussian row tra tsinto ituaPpolitical citsirutuagenda f a — ad— neagfuturistic a lacitilopPutinist a ot noartist itutitsinniresidence naisiraP aat taaeParisian cnediserinstitution ni tsitra Russia, in this case... ...esac siht ni ,aissuR and smIemake es ehart ”,nabout ituP tuPutin,” oba trahe eka seems m I dna Thesis process book

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< Beatniks and Bolsheviks > In the stream of insults that Nikita Khrushchev brought down upon us in the winter of 1963, the American word “beatnik” constantly popped up. It’s not out of the question that this word attracted the leader’s attention because of its somewhat Russian sound. It would be difficult to imagine the leader of progressive mankind insulting young writers and artists with the word “existentialist.” Much more likely that he would choose “beatnik”; with a

had an uncomfortably Hungarian smell to it. That is how the Boss envisioned the army of beatnik-revisionists. Where did this word come from? Who were these beatniks? In 1963 we, meaning those branded with this label, didn’t understand it very clearly. It’s not inconceivable that Khrushchev knew better who the beatniks were: he had an entire staff of researchers who had access to Western literature. We didn’t have a Vassily Aksyonov’s most recent book is In Search of Melancholy Baby (Random House). This essay was translated “OVERCOMING THAT TERROR IS WHAT from Russian by Bess Powell. FUNDAMENTALLY DISTINGUISHES US clue. Information gleaned from FROM OUR AMERICAN COUNTERPARTS. Soviet magazines was fragmented, THEY WERE FORTUNATE NOT TO HAVE although it was carefully amassed, as was everything Western. In KNOWN SUCH THINGS.” the magazine Foreign Literature little imagination, it could be construed somebody wrote something about James as an abbreviation of bitiy chaynik, or Dean and his movie Rebel Without A Cause, “dented teapot.” I quote myself from The to the effect that he was rebelling against Burn, not out of vanity or impudence, but bourgeois morality. In the same magazine, because I haven’t been able to imagine or maybe it was in In Defense of Peace, the general secretary’s perspective more mention was made of certain coffeehouses clearly since then: The distinguishing in San Francisco where youngsters in denim marks of a wicked beatnik, “pidarast and (the word “jeans” didn’t exist yet) would apstractionist,” were well known to the get together, listen to jazz, read scandalous Boss from descriptions provided by his poetry. Strangely enough, such news officials. The wicked beatnik always wore caused me to look not to the West but to a sweater and glasses, had a little beard, the East, to my own hometown in the not loved noisy “jast music,” and laughed at so distant past. In 1952 a youth commune Stalinists. Thus the wicked beatnik will had come into being in Kazan. Without any get to our culture, too, and will undermine idea that beatniks existed elsewhere, we the very foundations of our culture with went to Komsomol meetings in deliberately his venomous sarcasm. Here he is, the torn sweaters. We met in lairlike apartments, dangerous subversive, the perfidious listened to jazz, read scandalous poetry word spinner who had unlocked the hearts (imitations of the futurists and other of Soviet youth with the skeleton key “slappers in the face of public taste”). of decadence, the leader of the beatnik About 15 years later we learned that we had horde, who had caused clouds to gather been on the brink of arrest. over the Socialist Motherland! They must As the ringleader and the son of famous be given a kick in the teeth before it was “enemies of the people,” I was especially too late, they must be rooted out; there suspect. The Kazan secret police had was already a whiff of smoke in the air that collected evidence; we would have tumbled 0062

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Oppression by authority

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Review from The New Republic, By Vassily Aksyonov, 1997

:sevoorG dna senoB < yrotsih terces driew ehT > cisum yar-X teivos fo nignnonconformity. ahc neeb evah The yammanner cisum nof retseW singand uoy fi struck tub ,s0us 59as 1 eahtstrange ni dlrow eht this 40-yearold fo tuo erew uof oyinfantilism. aissuR ni eHis b ot deneppah manifestation tceffe llu f ni saw pihsand rosnconstantly ec etatS .kcul revelations (extravagant , n i g n i k a e n s d n a , n o i n U eivoS eht ni inebriated) seemed even more tinfantile, esolc sawhen w droche erbegan kcor natociattack remA nhis a ,yas particulariy suStill, oirtseverybody udni wef a liked tuB .ehim, lbissmaybe opmi ot own CIA. rehtonaofdn fi ochildishness, t deganam snhis af cisum even because his a f o r e d a e l e h t , s e t a o C n e h p e tS .yaw gabbing about drugs, his Indian chants. yahe dsedidn’t uT laemake R ehT an deloutstanding lac dnab hsitirB In short, yb yrotsihon teanyone, rces sihtand no dwas eneppah ,dleW impression pots ruot a noby ogthe a sra ey lareYevtushenko. veS .tnedicca overshadowed “giant” h g u o r h t g n i l l o r t s s a w e h , g r u bsrof etehis P .tS ni We were quite surprised to learn thguac msuccess eti egnain rtsPrague, a nehw where tekram aefl a incredible si rO ?of dro cer a taht strailed I‘ ,thguhim oht and I“ .eyhe e sih crowds youngsters dechosen mees tiking dna of ,puthe ti dspring ekcip Iholiday. ’?yar-X na ti was esoofficial hw yugSoviet yehT“ view .stnuof ocethe r ehAmerican ”,htob eb ot The eh kniwas ht I — evamusing. issimsid tThey ib a swere aw ti sort llats beatniks very B .e sleone gnihhand, temosasyushakers b ot emof dethe tnaw of OK,tuon the saw I dof na bourgeois ,nodnoL otsociety, kcab ti and thguas orb I foundations d n a , g i d o t d e t r a t s I o S . t i y b d e t a n i csaf promoters of our cause. On the other hand, ”.yenexpressed ruoj egnartmerely s yrev aa npetit o embourgeois del sah taht they si tthat ahw is, fo e vissdidn’t esbo npromote a won si setaoC protest, they tfihseenough, kam — ”they cisum enodistracted b“ demankcin our cause even e r e w h c i h w , s y a r X d e s u o t ni dehcIn te sPL youngsters from the social struggle. dediat vorleast p dnasome elbatgrains nrut a of notheir elbayalp any event, dnabarto tnappear oc riehtinrothe f esSoviet iugsid press gnittfi a work began a nitime sgnid sih“first detcthaw” elloc sin ’eH .stnetnoc at the ofnfi the 1962— egnartS ehT :oiduA yfirst, aR-X excerpts dellac kofrom ob wen cisuM teivofamous S fo yrotS Ginsberg’s “WE MET IN AIRLIKE APARTMENTS, LISTENED TO eh dn a ,enoBwith eht no poem “Howl,” lehciM sabout ’RPN dfive enioj JAZZ, READ SCANDALOUS POETRY (IMITATIONS a preface t u o b a k l a t o t n i times the length traM PF THE FUTURISTS AND OTHER ”SLAPPERS IN dar eht raeH .ti of theoiexcerpts THE FACE OF PUBLIC TASTE”). AROUND 15 YEARS themselves, oidua eht tthen a noisrev LATER WE LEARNED THAT WE HAD BEEN ON THE excerpts erom dfrom aer dJack na ,knil n o i t a s r e v n o c r Kerouac’s novelieht fo BRINK OF ARREST.” .woleb On the Road. The enob aview tahwturns em oout t ebto ircbe seD :nitraM lmirror ehciM saw out eh twith ahw him, devrebecause sbo pohwe s siwere h otni emac Soviet hung a curious ekil ,dn r tAmerican uc yeht erview, eW .eor kil so skoI orecently l drocer yeht ,yin awfinding naissuout R ehwho t si sexactly a ,dna ,gniod image interested ofuoan ?era sdrocer ht ed amsleeve dna enof ihcGinsberg’s am sih ”dejacket ggeltoob“ learned from an article by the American herie was. The ffo trats dl(excuse uow yehme, t ,oSneoconservative) :setaoC nehpetS gnilaed ekil tripped, ib a sawjust tI .sas enours ihcam nwo conservative was intentionally neht Podhoretz. ,yar-X ralugItnaseems tcer rothat erauthe qs a htiw rocewhen r esehwe T .ywere llautcteenagers a ,sgurd gn hadsd been iniyub ro Norman town ti dnuof ora ward ,Massachusetts, ti no etalp a tup Jack ylbaborp ni ,srenYet rocfor teeus rtshe nowasn’t dlos d(and na thnever guob erew council Kazan. Lowell, ,naem I .d nah yb tuodecided ti tuc dnto a ncreate ep a htiw a raeh dan id indisputable eW .krap eht apostle ni ,syawof yella krad Kerouac’s became) hometown, a monument in Kerouac’s memory... .deover ggarheels etiuqinto si ecthe nerinterrogation efmucric eht netfo head uoy enifo Svetlana eht yalp oAlliluyeva’s t uoy ot rucdaddy co ti did woH rooms pu-kicked dehctathe rcs bucket. a ssorcaBy em ac beginning I fI ?dnuof hadn’t the i ta‘60s, ht eruagain s ton m ’I ,tearticles kram aeby fl avarious ni yar-X of tthe from .dro“Americanists cer a sa ti yalpand ot einternationalists,” m ot rucco dluow Soviet .drocer knew a ekil the skonames ol ti ,si of gnithe ht eht ,lleW wefIalready loh a tog eringleaders: v’yeht ,sgnihAllen t eseGinsberg, ht ees uoy SaneFrancisco no evFerlinghetti, oorg a tog evJack ’yehKerouac, T .elddim eht ni Lawrence yrev s’tiCorso. esuaceTheir b tnianames f yrev n etfo s’ti ;meht Gregory sounded w tah t — ]to MPWesternizing R[ 87 ta syalp tI .wollahs likesapure silver Russian -enoIn ylfact no s’these ti dna writers tuo dnfireally ot gndidn’t iht tsrfi eht ears. tuo to sgnwrite iht esanything eht lla dnatuoall f I to .llego w sa ,dedis have .erEastern eht morfEurope. tnew dnI aremember ,yrevocsid yb over big in yeof htBratislava woh tuobainsu1965 llet urolling oy nactheir tahW the girls oh dna ,their siht oteased d ot wohairdos h tuo derugfi eyes andwtossing ?sawGregory ecitcarpCorso.” siht daerpsediw and sighing, “Oh, ehTdid .osthey ro 64 91 s’that ti ,saGregory w denepwasn’t pah tahW Little know hcum a tub revthe o siAmerican raW dlroW dnoceS into girls. Generally beatniks ivoS ethan ht nius dnby a ,naudecade. geb sah They raw redloc wereteolder ot tcetojbthose us sawSoviet erutluwriters c fo tolwho a noinU were closer ,sgnitnthe iap“front-line ,tra eb ti resoldiers”: htehw ,rosnec a were called — gv, ruBaklanov, bsreteP .tSVinokurov, nI .mlfi ,erutcetihcra Bondare denrut yugAs a far — nas ehItknow, saw tihowever, sa ,dargnineL Pozhenyan. tahT of .mthese ih htiwAmerican yhport rawriters w a dahtook eh dpart na ,pu none nidwar; roceand r a dso, ellawhen c s’tahGinsberg w saw yhwas port raw in g the ,esrevein r n1964, i enohp om arg a ethe kil s’tI :ehtal in Moscow he sought eht etnot irw o su front-line nac uoy hcsoldiers, ihw ecived a company oft e the ohw lpoegang. P .citsHe alpfound otno c um gladly fo sevoorg but ofeour it.isWe

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< Beatniks and Bolsheviks > In the sstream ih ,ssen ofhsinsults idlihc sthat ih foNikita esuaceb neve Khrushchev .stnahc nbrought aidnI sihdown ,sgurdupon tuobus a ginnibbag the g winter nidnatof st1963, uo na ethe kam American t’ndid ehword ,trohs nI “beatnik” constantly saw dna popped ,enoyna up. no nIt’s oisnot serpout mi of .okthe nehquestion sutveY ”tthat naig“this ehtword yb deattracted wodahsrethe vo leader’s sih fattention o nrael otbecause desirprusofeits tiuq somewhat erew eW Russianersound. ehw ,euItgwould arP ni be ssedifficult ccus elbto idercni imagine eh dna the mileader h deliaof rt sprogressive retsgnuoy fo mankind sdworc insulting .yadiyoung loh gniwriters rps eht and fo gn artists ik neswith ohc saw the n word acire“existentialist.” mA eht fo weiv tMuch eivoSmore laicfiflikely o ehT that tros e he rewould w yehTchoose .gnisum “beatnik”; a yrev saw with skinataeb

had an nouncomfortably itagorretni eht Hungarian otni sleeh rsmell evo datoeh it. Thatyis ddhow ad sthe ’aveBoss yulillA envisioned analtevS fthe i smarmy oor of gnbeatnik-revisionists. innigeb eht yB .tekcuWhere b eht ddid ekcithis k t’nword dah come suoirfrom? av yb Who selcitwere ra mothese rf niag beatniks? a ,s06‘ ehIn t fo ”1963 ,stsilawe, noitmeaning anretni dthose na stsbranded inaciremA with “ teithis voS label, didn’t eht understand fo seman ehitt w very enkclearly. ydaerlaIt’s ew not ,greinconceivable bsniG nellA :srthat edaeKhrushchev lgnir ocsicnknew arF naS better ,who cauothe reK beatniks kcaJ ,ittewere: hgnilre he Fe had cnean rwaL entire d staff ednuofosresearchers seman riehTwho .osrhad oC yaccess rogerG to Western naissuR literature. gnizinretsWe eW didn’t ot revlhave is eruap ekil Vassily t’nAksyonov’s did yllaer srmost etirw e recent seht tc book af nIis .sIn rae Search og ot lof la tMelancholy a gnihtyna eBaby tirw o(Random t evah House).I This .eporessay uE nrewas tsaEtranslated ni gib revo “OVERCOMING THAT TERROR IS WHAT from Russian by Bess Powell. rebmemer FUNDAMENTALLY DISTINGUISHES US clue. Information 5691 ni avagleaned lsitarB fofrom slrig eht FROM OUR AMERICAN COUNTERPARTS. Soviet rieht gmagazines nissot dna was seyefragmented, rieht gnillor THEY WERE FORTUNATE NOT TO HAVE although it was carefully sodriamassed, ah desaet as”.was osroeverything C yrogerG ,Western. hO“ ,gnihg Inis dna KNOWN SUCH THINGS.” theyrmagazine ogerG tahForeign t wonk yLiterature eht did elttiL little ehtimagination, fo srekahs sa it ,could dnah ebe noconstrued eht no ,KO fo somebody naciremA wrote eht ysomething llareneG .slabout rig otnJames i t’nsaw assan a dabbreviation na ,yteicos siof oebitiy gruochaynik, b fo snoitor adnuof Dean .edaand ced his a yb movie su naRebel ht redWithout lo erew sAkiCause, ntaeb “dented ,dnah reteapot.” hto eht nI O quote .esuamyself c ruo fofrom sretThe omorp to the effect that he was rebelling against yehT Burn, sioenot gruout ob tof itevanity p a yleor rem impudence, desserpxebut yeht bourgeois ohw sremorality. tirw teivoInS the esosame ht ot rmagazine, esolc erew becauseetIohaven’t morp t’nbeen did yable eht ,sto i timagine aht ,tsetorp or maybe :”sriteiwas dlosin enIn il-Defense tnorf“ ehof t dPeace, ellac erew the dgeneral etcartssecretary’s id neve yehtperspective ,hguone esumore ac ruo mention was ,vomade rukonof iV ,certain vonalkacoffeehouses B ,v eradnoB clearly yna nI .since elgguthen: rts laiThe cos distinguishing eht morf sretsgnuoy in San ,reFrancisco vewoh ,wowhere nk I sayoungsters raf sA .nayin nedenim hzoP marks krow ofriaeh wicked t fo snibeatnik, arg emo“pidarast s tsael ta ,and tneve (the traword p koo“jeans” t sretirwdidn’t nacire exist mA eyet) sehwould t fo enon apstractionist,” ta sserp teiwere voS ewell ht niknown raeppatootthe nageb get together, saw greblisten sniG nto ehjazz, w ,osread dna scandalous ;raw eht ni Boss ,tsrfifrom —26descriptions 91 ni ”waht tsprovided rfi“ eht fobyem his it eht poetry. Strangely eht thguoenough, s eh ,46such 91 ni news wocsoM ni officials. meopThe suowicked maf s’gbeatnik rebsniG always morf stwore precxe caused ,sreme idloto s elook nil-tnot norftoehthe t foWest ton ybut napto moc aesweater ht semitand evfiglasses, tuoba echad aferap little a htiw beard, ”,lwoH“ the East, yldalgtoemy W .town i dnuhometown of eH .gnag inrthe uo fnot o tub loved nehnoisy t ,sev“jast lesme music,” ht stpreand cxelaughed eht fo htat gnel so distant erewpast. ew eIn su1952 aceb a ,myouth ih htiw commune tuo gnuh Stalinists. eht nO levThus on s’cthe auowicked reK kcabeatnik J morf swill tprecxe had come yltcainto xe obeing hw tuoingKazan. nidnfi nWithout i detsereany tni get to a eour b otculture, tuo snrtoo, ut we and iv tewill ivoundermine S ehT .daoR ideatethat kcajbeatniks s’grebsnexisted iG fo eve elsewhere, els ehT .sawe w eh the ,wevery iv nafoundations ciremA na foofeg our amculture i rorrimwith suoiruc went to srKomsomol uo sa tsuj ,dmeetings eppir yllain nodeliberately itnetni saw his venomous elcitra nasarcasm. morf denrHere ael yhe ltneis, cethe r I os ro torn sweaters. ni sreganWe eet met erewinew lairlike nehwapartments, neeb dah dangerous esucxesubversive, ( evitavresnthe oc nperfidious aciremA eht yb listened reveto n djazz, na( tread ’nsaw scandalous eh su rof tepoetry Y .nazaK word .zterspinner ohdoP nwho amrhad oN )eunlocked vitavresnthe ocohearts en ,em (imitations fo eof ltsthe opafuturists elbatupsand idni other na )emaceb of Soviet ,llewoLyouth fo licnwith uoc the nwoskeleton t eht tahtkey smees tI “slappers fo rein nnthe am face ehT .of ytipublic mrofnotaste”). cnon dna nis of ,nwdecadence, otemoh s’ca the uorleader eK kcaof J ,sthe ttebeatnik suhcassaM Abouteg15 nayears rts a slater a su kwe culearned rts dlorathat ey-0we 4 sihad ht horde, who had caused clouds etaerctoogather t dediced been on thesibrink H .msof ilitarrest. nafni fo noitatsefinam over the...Socialist yromem sMotherland! ’cauoreK ni They tnemu must nom a As the yltnringleader atsnoc dnaand tnathe gavason rtxeof ( sfamous noitalever be given a kick in the teeth before it was “enemies ,elitnaof fnithe eropeople,” m neve dIewas meeespecially s )detairbeni too late, they must be rooted out; there suspect. sih kcaThe tta o Kazan t nagesecret b eh npolice ehw yirhad alucitrap was already tnasaealpwhiff nu naofsa smoke emacin nothe isicair ed that sihT collected ebyam ,mevidence; ih dekil ydwe obwould yreve ,have llitS .A tumbled IC nwo zterohdoF .evitavresnocoen eht ot esirprus 0064

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Article from Calvert Journal Text by Steven Hokes 2013

:sevoorG dna senoB < yrotsih terces driew ehT > cisum yar-X teivos fo fI .they drocewere r a ekmade. il skooI lmean, ti ,si gthey niht edo ht vary ,lleW how eloh a hugely. tog ev’ySome eht ,sgwere niht evirtually seht ees uoy in quality, no evoorBut g a that tog edidn’t v’yehTseem .elddto im eht ni unlistenable. yrev s’tin i esome suaceways. b tniafI ymean, rev netalking tfo s’ti to ;meht matter, saw twho aht — ]MPRthese [ 87 tarecords syalp tIwhen .wollahs people bought -enowere ylnoyoung s’ti dn— a tueven o dnfi ottiniest gniht tsrfi eht they the tuo sg ht esehtof llathis dnuforbidden of I .llew ssound, a ,dedis thread ofnimelody, .ereht mAnd orf tit neled w dto naa,ydifferent revocsid yb was so exciting. yeht waoh tuobof a sfreedom, u llet uoy[even nac tahW world, really, world wohmusic dna ,swas] iht od otobviously woh tuo dantierugfi though the not ?saw think, ecitca“Why rp sihtwould daerpthat sediw Soviet. You would ehT .obe s rregarded o 6491 s’tas i ,ssomething aw deneppworth ah tahW mambo hcum aI twas ub reactually vo si raW dlroW d noceS forbidding?” thinking that teivo eht niup dnall a ,nkinds ugeb of saquestions h raw redloc myself. ItSopens ot tcpeople ejbus sathink w eruistldangerous, uc fo tol a noinU about what ,sg nitItnireally ap ,tradoes. eb tiAnd rehtof ehw ,rosnein ca doesn’t it? course, grubsit’s reteobvious: P .tS nI .m lfi ,e‘n’ ruroll, tcetijazz, hcra some— [cases] rock nrut yof ugAmerica, a — nehtthe saw ti sa of ,dathe rgnUK. ineL thedemusic music tahwith T .miother h htiwstuff, yhpoit rt got rawvery a dah eh dna ,pu But strange gnidSoviet rocer aUnion. dellacLatin s’tahrhythms w saw yh— pothe rt raw in the ,esrethe ver tango ni eno— hpowere margforbidden a ekil s’tI :ehtal mambo, eht ethey tirw owere t esuseen nac uas oybeing hcihwoverly ecived a because ohw elpoeifPyou .citslike, alp oencouraging tno cisum fothe sevoorg sensuous, saw esort h tah devresboinpyoung ohs sihpeople. otni emac wrong ofwpassions yehthe t ,yasaxophone w naissuR became eht si saforbidden ,dna ,gniod I mean, t edamAsdn enihcamyourself, sih ”deggthis eltoob“ forrieahwhile. aamusician nilaemade d ekil tyou ib athink saw tabout I .senijust hcam nwo mustghave how sdrocermusic esehTis.yto llapeople, utca ,sgthat urd gthey niyub ro important ni ,srego nroto c tsuch eertslengths no dlosto dnhear a thgit.uob erew would a rme, aehthe didthing eW .kthat’s rap ehreally t ni ,sypoignant awyella kisrad For ksa uof oythese fi tahtpeople saw hcwent ihw ,g ht ynnuf thatde some toniprison dndoing uorA kthis coR— “ ,ythey as —were gnospunished ralucitrap a rof for evseverely ah t’ndidfor relait.edThis ehtwas dna a— ”kco lC eht quite time when ev’I mattered ,haeY“ ,yaso s dmuch luow ythat eht people netfo etiuq ,ti music renrorisk c ehpublic t ni ogcensure, dluow yethey ht dnwould a ”,tahrisk t tog would eno no ”kcolCWe ehtlive dnuinoraAtime kcoRwhen “ etirw dna imprisonment. you uoyanything ot ti evigyou dnawant sdrocimmediately. er rehto rieht fo can .get lpoabundant, ep tuoba sand eirothat’s ts fo sgreat, tol s’erof eht oS Musiceis ton yBut amIywonder, eht dna as ,sdsomebody rocer esehtwho gniyub course. eht dmusic, nuorA how kcoRmuch “ tahwdoes nwon k neve evah makes music dna enow? moh oDoes g d’yit ehmatter T .ekil d edmuch nuos as ”kcitolC matter as ,gnito? htynThis a newas eb eavatime h dluwhen oc ti ditnmattered a no ti tup used .yelaH lliB sand ’tahthat’s t ,haeYfood “ ,ekifor l erthought, ew yeht dfor na immensely, ehtof,eus. seht fo emos ot gninetsiL ”!taerg s’eH all gniredisnoc dab ton yllautca s’ytilauq Thesis process book

gnignahc neeb evah yam cisum nretseW uoy fi tub ,s0591 eht ni dlrow eht fo tuo erew uoy aissuR ni eb ot deneppah tceffe lluf ni saw pihsrosnec etatS .kcul ,ni gnikaens dna ,noinU teivoS eht ni esolc saw drocer kcor naciremA na ,yas suoirtsudni wef a tuB .elbissopmi ot rehtona dnfi ot deganam snaf cisum a fo redael eht ,setaoC nehpetS .yaw yadseuT laeR ehT dellac dnab hsitirB yb yrotsih terces siht no deneppah ,dleW pots ruot a no oga sraey lareveS .tnedicca hguorht gnillorts saw eh ,grubsreteP .tS ni thguac meti egnarts a nehw tekram aefl a si rO ?drocer a taht sI‘ ,thguoht I“ .eye sih demees ti dna ,pu ti dekcip I ’?yar-X na ti esohw yug yehT“ .stnuocer eh ”,htob eb ot eh kniht I — evissimsid tib a saw ti llats tuB .esle gnihtemos yub ot em detnaw saw I dna ,nodnoL ot kcab ti thguorb I dna ,gid ot detrats I oS .ti yb detanicsaf ”.yenruoj egnarts yrev a no em del sah taht si tahw fo evissesbo na won si setaoC tfihsekam — ”cisum enob“ demankcin erew hcihw ,syar-X desu otni dehcte sPL dedivorp dna elbatnrut a no elbayalp dnabartnoc rieht rof esiugsid gnittfi a a ni sgnidnfi sih detcelloc s’eH .stnetnoc egnartS ehT :oiduA yaR-X dellac koob wen eh dna ,enoB eht no cisuM teivoS fo yrotS tuoba klat ot nitraM lehciM s’RPN denioj ,knil oidua eht ta noisrev oidar eht raeH .ti .woleb noitasrevnoc rieht fo erom daer dna enob a tahw em ot ebircseD :nitraM lehciM ekil ,dnuor tuc yeht ereW .ekil skool drocer ?era sdrocer ffo trats dluow yeht ,oS :setaoC nehpetS neht ,yar-X ralugnatcer ro erauqs a htiw ti dnuora ward ,ti no etalp a tup ylbaborp ,naem I .dnah yb tuo ti tuc dna nep a htiw .deggar etiuq si ecnerefmucric eht netfo uoy eno eht yalp ot uoy ot rucco ti did woH pu-dehctarcs a ssorca emac I fI ?dnuof ti taht erus ton m’I ,tekram aefl a ni yar-X .drocer a sa ti yalp ot em ot rucco dluow 8102 retneCtrA

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< Bones and Grooves: The weird secret history < Bsoviet eatniksX-ray and Bolsheviks > of music > Western music may have been changing the world in the 1950s, but if you happened to be in Russia you were out of luck. State censorship was in full effect in the Soviet Union, and sneaking in, say, an American rock record was close to impossible. But a few industrious music fans managed to find another way. Stephen Coates, the leader of a British band called The Real Tuesday Weld, happened on this secret history by accident. Several years ago on a tour stop in St. Petersburg, he was strolling through a flea market when a strange item caught his eye. “I thought, ‘Is that a record? Or is it an X-ray?’ I picked it up, and it seemed to be both,” he recounts. “They guy whose stall it was a bit dismissive — I think he wanted me to buy something else. But I brought it back to London, and I was fascinated by it. So I started to dig, and that has led me on a very strange journey.” Coates is now an obsessive of what is nicknamed “bone music” — makeshift LPs etched into used X-rays, which were playable on a turntable and provided a fitting disguise for their contraband contents. He’s collected his findings in a new book called X-Ray Audio: The Strange Story of Soviet Music on the Bone, and he joined NPR’s Michel Martin to talk about it. Hear the radio version at the audio link, and read more of their conversation below. Michel Martin: Describe to me what a bone record looks like. Were they cut round, like records are? Stephen Coates: So, they would start off with a square or rectangular X-ray, then probably put a plate on it, draw around it with a pen and cut it out by hand. I mean, often the circumference is quite ragged. How did it occur to you to play the one you found? If I came across a scratched-up X-ray in a flea market, I’m not sure that it would occur to me to play it as a record.

Well, the thing is, it looks like a record. If you see these things, they’ve got a hole in the middle. They’ve got a groove on them; it’s often very faint because it’s very shallow. It plays at 78 [RPM] — that was the first thing to find out and it’s only onesided, as well. I found all these things out by discovery, and went from there. What can you tell us about how they figured out how to do this, and how widespread this practice was? What happened was, it’s 1946 or so. The Second World War is over but a much colder war has begun, and in the Soviet Union a lot of culture was subject to a censor, whether it be art, paintings, architecture, film. In St. Petersburg — Leningrad, as it was then — a guy turned up, and he had a war trophy with him. That war trophy was what’s called a recording lathe: It’s like a gramophone in reverse, a device which you can use to write the grooves of music onto plastic. People who came into his shop observed what he was doing, and, as is the Russian way, they “bootlegged” his machine and made their own machines. It was a bit like dealing or buying drugs, actually. These records were bought and sold on street corners, in dark alleyways, in the park. We did hear a funny thing, which was that if you asked for a particular song — say, “Rock Around the Clock” — and the dealer didn’t have it, quite often they would say, “Yeah, I’ve got that,” and they would go in the corner and write “Rock Around the Clock” on one of their other records and give it to you. So there’s lots of stories about people buying these records, and they may not have even known what “Rock Around the Clock” sounded like. They’d go home and put it on and it could have been anything, and they were like, “Yeah, that’s Bill Haley. He’s great!” Listening to some of these, the quality’s actually not bad considering

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Oppression by authority

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Articles

Article from Calvert Journal Text by Steven Hokes 2013

how they were made. I mean, they do vary in quality, hugely. Some were virtually unlistenable. But that didn’t seem to matter, in some ways. I mean, talking to people who bought these records when they were young — even the tiniest thread of melody, of this forbidden sound, was so exciting. And it led to a different world, really, a world of freedom, [even though the music was] not obviously antiSoviet. You would think, “Why would that mambo be regarded as something worth forbidding?” I was actually thinking that myself. It opens up all kinds of questions about what people think is dangerous, doesn’t it? It really does. And of course, in some [cases] it’s obvious: rock ‘n’ roll, jazz, the music of America, the music of the UK. But with other stuff, it got very strange in the Soviet Union. Latin rhythms — the mambo, the tango — were forbidden because they were seen as being overly sensuous, if you like, encouraging the wrong sort of passions in young people. I mean, the saxophone became forbidden for a while. As a musician yourself, this must have made you think about just how important music is to people, that they would go to such lengths to hear it. For me, the thing that’s really poignant is that some of these people went to prison for doing this — they were punished quite severely for it. This was a time when music mattered so much that people would risk public censure, they would risk imprisonment. We live in a time when you can get anything you want immediately. Music is abundant, and that’s great, of course. But I wonder, as somebody who makes music, how much does music matter now? Does it matter as much as it used to? This was a time when it mattered immensely, and that’s food for thought, for all of us.

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< Bones and Grooves: The weird secret history of soviet X-ray music > Western music may have been changing the world in the 1950s, but if you happened to be in Russia you were out of luck. State censorship was in full effect in the Soviet Union, and sneaking in, say, an American rock record was close to impossible. But a few industrious music fans managed to find another way. Stephen Coates, the leader of a British band called The Real Tuesday Weld, happened on this secret history by accident. Several years ago on a tour stop in St. Petersburg, he was strolling through a flea market when a strange item caught his eye. “I thought, ‘Is that a record? Or is it an X-ray?’ I picked it up, and it seemed to be both,” he recounts. “They guy whose stall it was a bit dismissive — I think he wanted me to buy something else. But I brought it back to London, and I was fascinated by it. So I started to dig, and that has led me on a very strange journey.” Coates is now an obsessive of what is nicknamed “bone music” — makeshift LPs etched into used X-rays, which were playable on a turntable and provided a fitting disguise for their contraband contents. He’s collected his findings in a new book called X-Ray Audio: The Strange Story of Soviet Music on the Bone, and he joined NPR’s Michel Martin to talk about it. Hear the radio version at the audio link, and read more of their conversation below. Michel Martin: Describe to me what a bone record looks like. Were they cut round, like records are? Stephen Coates: So, they would start off with a square or rectangular X-ray, then probably put a plate on it, draw around it with a pen and cut it out by hand. I mean, often the circumference is quite ragged. How did it occur to you to play the one you found? If I came across a scratched-up X-ray in a flea market, I’m not sure that it would occur to me to play it as a record.

Well, record. Ifoh yrav the od ything eht ,nis, aeit mlooks I .edalike m eraew yeht w you see yllathese utriv ethings, rew emthey’ve oS .yleggot uh ,aythole ilauq ni in the middle. ot meesThey’ve t’ndid tgot aht atugroove B .elbanon etsilnu them; it’s because ot g nikoften lat ,navery em Ifaint .syaw emos nit’s i ,revery ttam shallow. nehwItsplays drocerates78 eh[RPM] t thguo— b othat hw ewas lpoep the firsttthing and it’s seinit to ehfind t nevout e— gnu oyonly erewoneyeht sided, ,dnuoas s nwell. eddibI rfound of sihtall fothese ,ydolethings m fo dout aerht by discovery, tnereffid aand ot dwent el ti dfrom nA .gthere. niticxe os saw Whatne can ve[you ,motell deeus rf fabout o dlrowhow a ,ythey llaer ,dlrow figured do]sthis, -itna yout lsuohow ivbo to ton aw cand isumhow eht hguoht widespread practice taht dluowthis yhW “ ,kniht was? dluow uoY .teivoS What htrohappened w gnihtemwas, os sait’s de1946 drageor r eso. b oThe bmam Second World but taht g niknihWar t yllaisutover ca sa w Ia”?much gniddibrof colder and snoitwar seuhas q fo begun, sdnik lla puin snthe epoSoviet tI .flesym Union,sauolot ofnaculture reg d si kniwas ht elsubject poep tato hw tuoba a ncensor, i ,esruowhether c fo dnA it.sbe eodart, yllapaintings, er tI ?ti t’nseod architecture, ,zzaj ,llor ’n‘ kfilm. cor :sInuoSt. ivbPetersburg o s’ti ]sesac— [ emos Leningrad, was .KU eht fo as cisit um ehtthen ,acir— emaAguy fo cturned isum eht up, and That egnhe arthad s yreav war tog trophy ti ,ffutswith rehthim. o htiw tuB warehtrophy was what’s t — sm htyh r nitaLcalled .noinUa trecording eivoS eht ni lathe: It’s nedlike dibraofgramophone erew — ognin at reverse, eht ,obmam a device toywrite ylrevowhich gniebyou sa ncan eesuse erew eht ethe suaceb grooves ehtof gnmusic igaruoonto cne ,plastic. ekil uoyPeople fi ,suouwho snes came .elpinto oephis gnshop uoy nobserved i snoissapwhat fo trohe s gwas norw doing, neddand, ibrofas emisacthe eb Russian enohpoxway, as ehthey t ,naem I “bootlegged” their siht ,flesruhis oymachine naicisumand a sAmade .elihw a rof own machines. dealing woh tsuj tuobaIt kwas nihtaubit oy elike dam evah tsum or buying yeht tdrugs, aht ,elpactually. oep ot siThese cisumrecords tnatropmi were bought inw .ti raeand h otsold shtgon nelstreet hcus ocorners, t og dluo dark We si talleyways, nangiop yllin aethe r s’tpark. aht gn ihtdid ehthear ,em raoF funny which was iftyou nosithing, rp ot tn ew elp oepthat eseh fo easked mos taht for a particular dehsinupsong erew— yesay, ht —“Rock siht gAround niod rof the neClock” hw emi— t a and sawthe sihTdealer .ti rof didn’t ylerevhave es etiuq it, quiteeloften poep tthey aht hwould cum osay, s de“Yeah, rettam I’ve cisum got the ksithat,” r dluoand w yethey ht ,erwould usnec go cilbinup kscorner ir dluow and “Rock uowrite y nehw emitAround a ni evilthe eWClock” .tnemnon osone irpmi of their other .yleta idemrecords mi tnawand uoy give gnihit tyto na you. teg nac So there’s fo ,taelots rg sof ’tastories ht dna ,about tnadnupeople ba si cisuM buying ohwthese ydoberecords, mos sa ,and rednthey ow I may tuB .not esruoc have even “Rock cisuknown m seodwhat hcum woh Around ,cisum sthe ekam Clock” They’d ti sa sounded hcum sa rlike. ettam ti seogo D ?home won rand ettam put and deriteton tam ti nitecould hw emhave it a sbeen aw sihanything, T ?ot desu and rof ,they thguowere ht rolike, f doo“Yeah, f s’tahtthat’s dna ,yBill lesHaley. nemmi He’s great!” Listening to some of these, .su fothe lla quality’s actually not bad considering

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fo yrotsiH terceS ehT < kcalB lyniV yar-X teivoS eht > tekraM ?sdrocer gniggeltoob trats elpoep did yhW raW dlroW dnoceS tsoP :setaoC nehpetS neddibrof emaceb cisum fo tnuoma eguh a .aissuR ni dna noinU teivoS eht ssorca ,zzaJ .cisum nretseW saw ,ylsuoivbo ,tsriF raw eht gniruD .no os dna llor dna kcor taht lla ot gninetsil neeb dah snaissuR eht dna snaciremA eht ,stirB ehT .cisum emas eht no neeb lla d’ew – snaissuR ot desopxe erew elpoep gnuoy os maet dna ,smlfi hguorht ylniam ,cisum naciremA neht dnA .ti rof etsat a fo tib a tog yeht semoc niatruC norI ehT !gnab ylneddus .eromyna taht ot netsil t’nac uoY .nwod dna tnatropmi yllaer si siht dna ,osla tuB sgniht rehto ni tnerappa edam neeb t’nsah ,yrots eht tuoba nettirw neeb evah taht sdrocer yaR-X eseht no cisum eht fo tsom naissuR neddibroF .cisum naissuR si suoirav rof neddibrof saw ti dnA .cisum saw sgniht niam eht fo enO .snosaer dah ti edam dah ohw snaicisum eht taht erew erehT .sevlesmeht neddibrof emoceb emoc t’ndid ohw sregnis érgimé naissuR ,tnemevom tsinummoc eht nioj ot kcab – eporuE nretseW ni daorba devil yeht rieht did os dna neddibrof emaceb yeht neeb dah meht fo emoS .seriotreper rtoyP ekil elpoep ,srats eguh yletulosba .”ognaT naissuR fo gniK ehT“ ,oknehchseL ,dessergorp rorret eht sa esruoc fo nehT emoceb ot detrats smhtyhr elohw oslA .obmam ,tortxof ,ognat :neddibrof .cisum yspyg dna cisum klof lanoitidart yrev ,yrev erew selyts klof nabru ehT esraoc erew yeht – galuG eht ni ralupop erew dna efil lanimirc tuoba sgnos ylrevo – yranoitulover-retnuoc sa dedrager gnuoy rof lufpleh ton‘ dna suousnes cisum naissuR fo knuhc driht ehT .’sdnim ot detnaw elpoep taht cisum eht saw .sevlesmeht drocer dna etirw dna ekam a gnieb fo ytilibissop on saw erehT gnidrocer naicisum a ro retirwgnos-regnis eb ot dah uoY .noinU teivoS eht ni flesruoy Thesis process book

fo eno sa yrots siht llet ot dnet elpoeP“ yb metsys eht gnikaerb sretspih naissuR tsuj s’taht ,lleW .cisum nretseW gnitarip si setaoC nehpetS ”.lla ta etarucca ton sih dniheb yrots elbakramer eht gninialpxe naicisum a ,setaoC .tcejorP oiduA yaR-X net rof aissuR ni gnimrofrep neeb s’ohw yadseuT laeR ehT dnab sih htiw sraey tahw ssorca delbmuts oga sraey ruof ,dleW otno tuc csid epyt-lyniv a saw thguoht eh .tekram aefl grubsreteP .tS a ni yarx na dna nodnoL ot kcab ti gnikat retfA ,drocer a ,tcaf ni ,saw ti taht gnihsilbatse terces eht gnirevocnu krow ot tes eh otno tuc sdrocer eseht dniheb yrotsih ehT .syar-X derucorp ylticilli ,etamitni deggeltoob eseht gnidnuorrus evitarran fo semankcin erbacam eht htiw sdrocer hsidnaltuo na esopxe ”sbir” ro ”senob“ gnirud gnivil sreggeltoob naissuR fo elat llet sdrocer ehT .sraey raW dloC ylrae eht elots etats teivoS eht woh fo yrots a ot deirt dna yrotsih dna erutluc s’elpoep dna desititnas ,meht ot kcab ti deef eht fo yrots eht llet yehT .sselluos fo yticanet dna noitanigami ,ytiunegni fo elur nori eht rednu gnivil srevol cisum eht ni ,woh wohs yeht dnA .msinummoc ,msivitimirp lacigolonhcet evitaler fo ecaf ot denimreted erew elpoep yranidro .erutluc nwo rieht fo ytiunitnoc a edivorp sdrocer yar-X s’aissuR fo elcinorhc ehT erutpac dna etanoser ot seunitnoc ,os hcum oS .yadot noitnetta s’elpoep sah tcejorp oiduA yar-X eht taht ,tcaf ni a ,klat DET a ,yratnemucod a denwaps sa na ni trap ekat ,7102 ni ,lliw dna koob ,hzaraG ta noitibihxe decnuonnanu tey trA yraropmetnoC fo muesuM s’wocsoM tib tneicna na rof dab toN .kraP ykroG ni grubsreteP a ni pu dekcip repap mlfi fo a sulp ,dnim ni siht lla htiW .tekram ew ,ytisoiruc raw dloc cissalc fo gnilknirps yrots eht revocnu ot setaoC htiw pu thguac .sbir no cisum fo 8102 retneCtrA

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Bones X-Ray Records, 1950s

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Bones X-Ray Records, 1950s

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Article from the magazine DazedDigital Text by Alice Nicolov August 2016

fo yrotsiH terceS ehT < kcalB lyniV yar-X teivoS eht > tekraM a?smember drocer gof nigthe gelcomposers toob trats eunion, lpoep did yhW so runless aW dlroyou’d W dnbeen oceS officially tsoP :setaapproved oC nehpetS there neddiwas brof no emopportunity aceb cisum to fo record. tnuoma eguh a And how .aissdid uR n iti all dnstart? a noinU teivoS eht ssorca Stephen ,zzaJ .ciCoates: sum nreWell, tseW as saw far,yas lsuwe oivcan bo ,tsriF tell arguy aw eturned ht gniru up D in .noSt. osPetersburg dna llor dna just kcor after tthe ahtwar lla ocarrying t gninetsailrecording neeb dah lathe snaissuR –ae device ht dnayou snacan cirem use A eto htmake ,stirBrecords ehT .cisum with, sort emaof s eahportable t no neebrecord lla d’ew writer. – snaissuR That’s ot what desopseems xe erew toehave lpoepkickstarted gnuoy os maet it. dnPeople a ,smlficopied hguorhthat t ylnmachine iam ,cisuand m namade ciremA theirnown eht dversions nA .ti rofofetitsaand t a fthe o tib technique a tog yeht of X-ray semo recording c niatruCstarted norI ehTto!gspread. nab ylne Inddus terms .erof omSoviet yna tabootleg ht ot netculture sil t’nacgenerally uoY .nwod there dnawere tnatthree ropmiphases: yllaer sithere siht dwas na ,othe sla tuB X-ray sgnihphase, t rehto then ni tnethe rapmuch, pa edamuch m neebigger b t’nsah Magnitizdat ,yrots ehphase, t tuobathe netbootlegging tirw neeb evand ah taht sharing sdroceof r ymusic aR-X evia sehreel-to-reel t no cisum etapes, ht fo tsom and then nacame issuR n cassette eddibroFculture. .cisum The naisX-Ray suR si bit was suoquite irav rosmall f nedd compared ibrof saw with ti dnwhat A .cisum came later. saw sItgstarted niht niam offeas ht fsort o enof Oa .sn little osaer cultdof ahaudiophiles ti edam dahand ohwmusic snaiclovers. isum ehBy t taht the eretime w ereithT ended .sevleround smehtabout neddi1964 brof eitmhad oceb become emoc at’black ndid omarket hw sregthing nis érand giméwas naissuR fairly,twidespread nemevom tsacross inummo the c ebig ht ncities ioj ot k–cSt. ab Petersburg, – eporuMoscow, E nretseW Rostov... ni daorba devil yeht It became rieht diso d owidespread s dna neddithat brof people emacebwere yeht doing itnin eethe b dagarden h mehtshed! fo emoS .seriotreper Canryou toyPtalk ekilaelittle lpoepmore ,sratabout s eguhthe yleémigré tulosba and .”ogtraditional naT naissumusic? R fo gniK ehT“ ,oknehchseL Stephen ,desseCoates: rgorp roWhen rret ehyou’re t sa esliving ruoc fin o the nehT utopia, or edystopia, moceb otof dethe tratsocialist s smhtyhrealist r elohw system, oslAevery .obmbit amof ,toculture rtxof ,ois gnmeant at :nedto dibrof contribute .cisum to ysp the yg values dna cisof um that klosystem. f lanoitidart Songs about yrev ,yfighting rev erewand selyfucking, ts klof nwell abru ehT theyesdidn’t raoc edo rew that, yehso t –the galuauthorities G eht ni ralupop wanted toerget ew d rid naofefthem. il lanim There irc tuwas oba a sgnos huge ylrevosubculture – yranoituof lovnative er-retnRussian uoc sa dmusic edrager that was gnnearly uoy rowiped f lufpleout: h toit n‘had dnano suo voice. usnes Socthe isum X-Ray naissrecords uR fo knwere uhc dariway ht ehpeople T .’sdnim could listen ot detto naw these elposongs. ep tahtSongs cisumlike eht saw “Murka”, .sevle(a smclassic eht droRussian cer dna example etirw dnaofekam blatnyakamusic) gnieb is foaytsong ilibissabout op onasfemale aw erehT criminal gnidrocgang er naimember cisum a rwho o retturned irwgnoinformer s-regnis and eb oended t dah uup oYgetting .noinU shot... teivoS tales eht niofflethe sruoy Thesis process book

underworld! fo eno saThey yrotwere s sihtincredibly llet ot dnepopular t elpoeP“ in the yb m Gulag etsyssystem. eht gnikCamps aerb srwere etspihlike naminiissuR cities tsuwith j s’tatheir ht ,lleown W .ccultures. isum nretWhen seW gpeople nitarip camesout i setof aothem, C nehpthey etS ”wanted .lla ta eto tarsing uccathe ton songs sih dnthat iheb they’d yrots elearned. lbakrame While r eht American gninialpxe music naicconnected isum a ,setRussians aoC .tcejo torPthe oidWestern uA yaR-X world, nettraditional rof aissuR music ni gnim rooted rofrepthem neebin s’ohw their own yadshistory. euT laeR It ewas hT dpre-revolutionary nab sih htiw sraey music tahw sor sormusic ca delmade bmutspost-revolution oga sraey ruof ,but dleW not otto nodo tucwith csidite–pyjust t-lyto nivdo a swith aw tlife. hguoht eh Why .did tekrthe am bootleggers aefl grubsretuse eP .tX-Rays S a ni yto arx na record thednmusic? a nodnoL ot kcab ti gnikat retfA Stephen ,drocerCoates: a ,tcaf n There i ,saware ti ttwo aht greasons, nihsilbatse really. Firstly, terces eX-rays ht gnirthemselves evocnu kroware ot tes eh photographic otno tucfilm. sdroYou cer ecan sehrecord t dniheonto b yrotsih many e plastic hT .syatype r-X dmaterials erucorp ybut lticiX-rays lli ,etamthat itni at that degtime geltojust ob ehappened seht gnidnto uobe rruspretty evitarran good foat seholding mankcinthe erbgroove acam eof htrecorded htiw sdrocer music. hsiThat dnaltwas uo njust a estechnical opxe ”sbirchance. ” ro ”senob“ Thegsecond nirud gnreason ivil sregthey geltoused ob na X-rays issuR was fo elat because llet sdrthey ocer were ehT .sreadily raey raavailable. W dloC ylrThe ae eht Soviet authorities elots etats had teivoissued S eht w an ohorder fo yrothat ts a hospitals ot deirthad dnatoyrget otsirid h dof naX-rays erutlucafter s’elpaoep year because dna dethey sititnwere as ,mhighly eht otflammable. kcab ti deef So you had ehat fsituation o yrots ewhere ht llet yhospitals ehT .sselluos fo yticanet dna noitanigami ,ytiunegni fo elur nori eht rednu gnivil srevol cisum eht ni ,woh wohs yeht dnA .msinummoc ,msivitimirp lacigolonhcet evitaler fo ecaf ot denimreted erew elpoep yranidro .erutluc nwo rieht fo ytiunitnoc a edivorp sdrocer yar-X s’aissuR fo elcinorhc ehT erutpac dna etanoser ot seunitnoc ,os hcum oS .yadot noitnetta s’elpoep sah tcejorp oiduA yar-X eht taht ,tcaf ni a ,klat DET a ,yratnemucod a denwaps sa na ni trap ekat ,7102 ni ,lliw dna koob ,hzaraG ta noitibihxe decnuonnanu tey trA yraropmetnoC fo muesuM s’wocsoM tib tneicna na rof dab toN .kraP ykroG ni grubsreteP a ni pu dekcip repap mlfi fo a sulp ,dnim ni siht lla htiW .tekram ew ,ytisoiruc raw dloc cissalc fo gnilknirps yrots eht revocnu ot setaoC htiw pu thguac .sbir no cisum fo 8102 retneCtrA

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< The Secret History of the Soviet X-ray Vinyl Black Market > “People tend to tell this story as one of Russian hipsters breaking the system by pirating Western music. Well, that’s just not accurate at all.” Stephen Coates is explaining the remarkable story behind his X-Ray Audio Project. Coates, a musician who’s been performing in Russia for ten years with his band The Real Tuesday Weld, four years ago stumbled across what he thought was a vinyl-type disc cut onto an xray in a St. Petersburg flea market. After taking it back to London and establishing that it was, in fact, a record, he set to work uncovering the secret history behind these records cut onto intimate, illicitly procured X-rays. The narrative surrounding these bootlegged records with the macabre nicknames of “bones” or ”ribs” expose an outlandish tale of Russian bootleggers living during the early Cold War years. The records tell a story of how the Soviet state stole people’s culture and history and tried to feed it back to them, santitised and soulless. They tell the story of the ingenuity, imagination and tenacity of music lovers living under the iron rule of communism. And they show how, in the face of relative technological primitivism, ordinary people were determined to provide a continuity of their own culture. The chronicle of Russia’s X-ray records continues to resonate and capture people’s attention today. So much so, in fact, that the X-ray Audio project has spawned a documentary, a TED talk, a book and will, in 2017, take part in an as yet unannounced exhibition at Garazh, Moscow’s Museum of Contemporary Art in Gorky Park. Not bad for an ancient bit of film paper picked up in a Petersburg market. With all this in mind, plus a sprinkling of classic cold war curiosity, we caught up with Coates to uncover the story of music on ribs.

Why did people start bootlegging records? Stephen Coates: Post Second World War a huge amount of music became forbidden across the Soviet Union and in Russia. First, obviously, was Western music. Jazz, rock and roll and so on. During the war Russians had been listening to all that music. The Brits, the Americans and the Russians – we’d all been on the same team so young people were exposed to American music, mainly through films, and they got a bit of a taste for it. And then suddenly bang! The Iron Curtain comes down. You can’t listen to that anymore. But also, and this is really important and hasn’t been made apparent in other things that have been written about the story, most of the music on these X-Ray records is Russian music. Forbidden Russian music. And it was forbidden for various reasons. One of the main things was that the musicians who had made it had become forbidden themselves. There were Russian émigré singers who didn’t come back to join the communist movement, they lived abroad in Western Europe – they became forbidden and so did their repertoires. Some of them had been absolutely huge stars, people like Pyotr Leshchenko, “The King of Russian Tango”. Then of course as the terror progressed, whole rhythms started to become forbidden: tango, foxtrot, mambo. Also traditional folk music and gypsy music. The urban folk styles were very, very popular in the Gulag – they were coarse songs about criminal life and were regarded as counter-revolutionary – overly sensuous and ‘not helpful for young minds’. The third chunk of Russian music was the music that people wanted to make and write and record themselves. There was no possibility of being a singer-songwriter or a musician recording yourself in the Soviet Union. You had to be

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Article from the magazine DazedDigital Text by Alice Nicolov August 2016

a member of the composers union, so unless you’d been officially approved there was no opportunity to record. And how did it all start? Stephen Coates: Well, as far as we can tell a guy turned up in St. Petersburg just after the war carrying a recording lathe – a device you can use to make records with, sort of a portable record writer. That’s what seems to have kickstarted it. People copied that machine and made their own versions of it and the technique of X-ray recording started to spread. In

contribute to the values of that system. Songs about fighting and fucking, well they didn’t do that, so the authorities wanted to get rid of them. There was a huge subculture of native Russian music that was nearly wiped out: it had no voice. So the X-Ray records were a way people could listen to these songs. Songs like “Murka”, (a classic Russian example of blatnyak music) is a song about a female criminal gang member who turned informer and ended up getting shot... tales of the underworld! They were incredibly popular in the Gulag system. “WE LIVE IN A TIME WHEN YOU CAN GET ANYTHING Camps were YOU WANT IMMEDIATELY. MUSIC IS ABUNDANT, like mini-cities AND THAT’S GREAT, OF COURSE. BUT I WONDER, AS with their own cultures. When SOMEBODY WHO MAKES MUSIC, HOW MUCH DOES MUSIC MATTER NOW? DOES IT MATTER AS MUCH AS people came out of them, they IT USED TO? THIS WAS A TIME WHEN IT MATTERED wanted to sing IMMENSELY, AND THAT’S FOOD FOR THOUGHT, FOR the songs that they’d learned. ALL OF US I THINK.“ While American terms of Soviet bootleg culture generally music connected Russians to the Western there were three phases: there was the world, traditional music rooted them in X-ray phase, then the much, much bigger their own history. It was pre-revolutionary Magnitizdat phase, the bootlegging and music or music made post-revolution but sharing of music via reel-to-reel tapes, not to do with it – just to do with life. and then came cassette culture. The X-Ray Why did the bootleggers use X-Rays to bit was quite small compared with what record the music? came later. It started off as sort of a little Stephen Coates: There are two reasons, cult of audiophiles and music lovers. By really. Firstly, X-rays themselves are the time it ended round about 1964 it had photographic film. You can record onto become a black market thing and was many plastic type materials but X-rays that fairly widespread across the big cities – St. at that time just happened to be pretty Petersburg, Moscow, Rostov... good at holding the groove of recorded It became so widespread that people were music. That was just technical chance. doing it in the garden shed! The second reason they used X-rays was Can you talk a little more about the émigré because they were readily available. The and traditional music? Soviet authorities had issued an order that Stephen Coates: When you’re living in the hospitals had to get rid of X-rays after a utopia, or dystopia, of the socialist realist year because they were highly flammable. system, every bit of culture is meant to So you had a situation where hospitals Thesis process book

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< The Secret History of the Soviet X-ray Vinyl Black Market > .metsys taht fo seulav eht ot etubirtnoc ,noinu sresopmoc eht fo rebmem a llew ,gnikcuf dna gnithgfi tuoba sgnoS devorppa yllaicfifo neeb d’uoy sselnu os seitirohtua eht os ,taht od t’ndid yeht .drocer ot ytinutroppo on saw ereht a saw erehT .meht fo dir teg ot detnaw ?trats lla ti did woh dnA cisum naissuR evitan fo erutlucbus eguh nac ew sa raf sa ,lleW :setaoC nehpetS .eciov on dah ti :tuo depiw ylraen saw taht tsuj grubsreteP .tS ni pu denrut yug a llet elpoep yaw a erew sdrocer yaR-X eht oS ehtal gnidrocer a gniyrrac raw eht retfa ekil sgnoS .sgnos eseht ot netsil dluoc sdrocer ekam ot esu nac uoy ecived a – fo elpmaxe naissuR cissalc a( ,”akruM“ .retirw drocer elbatrop a fo tros ,htiw elamef a tuoba gnos a si )cisum kayntalb detratskcik evah ot smees tahw s’tahT remrofni denrut ohw rebmem gnag lanimirc edam dna enihcam taht deipoc elpoeP .ti fo selat ...tohs gnitteg pu dedne dna euqinhcet eht dna ti fo snoisrev nwo rieht ylbidercni erew yehT !dlrowrednu eht nI .daerps ot detrats gnidrocer yar-X fo eht ni ralupop .metsys galuG GNIHTYNA TEG NAC UOY NEHW EMIT A NI EVIL EW“ erew spmaC ,TNADNUBA SI CISUM .YLETAIDEMMI TNAW UOY seitic-inim ekil SA ,REDNOW I TUB .ESRUOC FO ,TAERG S’TAHT DNA nwo rieht htiw nehW .serutluc SEOD HCUM WOH ,CISUM SEKAM OHW YDOBEMOS tuo emac elpoep SA HCUM SA RETTAM TI SEOD ?WON RETTAM CISUM yeht ,meht fo DERETTAM TI NEHW EMIT A SAW SIHT ?OT DESU TI gnis ot detnaw ROF ,THGUOHT ROF DOOF S’TAHT DNA ,YLESNEMMI taht sgnos eht .denrael d’yeht “.KNIHT I SU FO LLA naciremA elihW nretseW eht ot snaissuR detcennoc cisum yllareneg erutluc geltoob teivoS fo smret ni meht detoor cisum lanoitidart ,dlrow eht saw ereht :sesahp eerht erew ereht yranoitulover-erp saw tI .yrotsih nwo rieht reggib hcum ,hcum eht neht ,esahp yar-X tub noitulover-tsop edam cisum ro cisum dna gniggeltoob eht ,esahp tadzitingaM .efil htiw od ot tsuj – ti htiw od ot ton ,sepat leer-ot-leer aiv cisum fo gnirahs ot syaR-X esu sreggeltoob eht did yhW yaR-X ehT .erutluc ettessac emac neht dna ?cisum eht drocer tahw htiw derapmoc llams etiuq saw tib ,snosaer owt era erehT :setaoC nehpetS elttil a fo tros sa ffo detrats tI .retal emac era sevlesmeht syar-X ,yltsriF .yllaer yB .srevol cisum dna selihpoidua fo tluc otno drocer nac uoY .mlfi cihpargotohp dah ti 4691 tuoba dnuor dedne ti emit eht taht syar-X tub slairetam epyt citsalp ynam saw dna gniht tekram kcalb a emoceb ytterp eb ot deneppah tsuj emit taht ta .tS – seitic gib eht ssorca daerpsediw ylriaf dedrocer fo evoorg eht gnidloh ta doog ...votsoR ,wocsoM ,grubsreteP .ecnahc lacinhcet tsuj saw tahT .cisum erew elpoep taht daerpsediw os emaceb tI saw syar-X desu yeht nosaer dnoces ehT !dehs nedrag eht ni ti gniod ehT .elbaliava ylidaer erew yeht esuaceb érgimé eht tuoba erom elttil a klat uoy naC taht redro na deussi dah seitirohtua teivoS ?cisum lanoitidart dna a retfa syar-X fo dir teg ot dah slatipsoh eht ni gnivil er’uoy nehW :setaoC nehpetS .elbammafl ylhgih erew yeht esuaceb raey tsilaer tsilaicos eht fo ,aipotsyd ro ,aipotu slatipsoh erehw noitautis a dah uoy oS ot tnaem si erutluc fo tib yreve ,metsys 0076

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denoihsaf-dlo no deyalp erew yeht nehw d’yeht ,seldeen leets htiw senohpomarg tneisnart a saw ti oS .seceip ot nrot teg tsuj ot ekops I elpoep tsoM .noitcelloc ylevissam neeb d’uoy enigamI .cisum devol ylneddus enoemos dna drocer a gniggid .’eromyna taht ot netsil t’nac uoy‘ ruoy htiw ot decnad tsrfi uoy gnos eht rO taht ot netsil ot detnaw elpoeP ?ot rentrap rieht ot dnuor og ot detnaw yehT .ffuts s’taht ,sdiK .ti yalp dna sesuoh ’sdneirf ot tnaw yehT ?ti t’nsi ,od ot tnaw yeht tahw draeh uoy evah‘ og dna setam rieht htiw tis evah ot tnaw yeht ebyaM ’.looc s’tI ?siht eht – erutlucbus a saw erehT ?ecnad a ylno eht ,erutluc htuoy teivoS suomaf tsom yllaer saw reve ereht erutluc htuoy teivoS gnuoy fo hcnub A .igaylitS eht dellac – ni wocsoM dna grubsreteP .tS ni elpoep ew sseug I ,s05 ylrae dna s0491 etal eht ni desserd yehT .sretspih meht llac dluow hsitirB dna naciremA thguoht yeht yaw eht fo noisrev detrotsid a tub ,desserd sdik a ni despmilg d’yeht gnihtemos ...taht dna gnals naciremA desu yehT .enizagam ot denetsil dna rehtegot tuo gnuh yeht igaylitS ehT .yar-X no sdrocer naciremA kniht I tub ,erutluc citsilyts cfiiceps a erew tsuj elpoep gnuoy gnikaeps yllareneg s’tahW .sdrocer rieht ot netsil ot detnaw gnirud draeh ev’uoy gniht tsegnarts eht s’erehT :setaoC nehpetS ?hcraeser ruoy morf won semit ynam draeh ev’I yrots a s’ti kniht ot gnitrats m’I .elpoep tnereffid nabru gnicnivnoc yrev a ro eurt rehtie niatrec erew ereht yltnerappA .dnegel gninetsil eb d’uoy dna no tup d’uoy sdrocer neht dna revetahw ro dlaregztiF allE ot eciov a dna tuc dluow cisum eht ylneddus d’uoy thguoht uoy os‘ gniyas ni emoc dluow dnA ?’rekcuf ,uoy did zzaj emos ot netsil erew yrots siht fo snoisrev tnereffid eht dedrocer yllautca dah seitirohtua eht taht ...tuo elpoep kaerf ot sdrocer eseht

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Article from Novaya Gazeta, Text by Taniya Rogov, April 2015

eht dna syar-X fo dir teg ot dedeen larutan a saw tI .meht detnaw sreggeltoob kcab eht ot og yllaretil dluow yehT !hctam dna rood eht no pat ,latipsoh eht fo rood rof paws a ,ecalp ekat dluow edart ticilli na .selbuor wef a ro akdov fo elttob a htiw thguac elpoep ot neppah dluow tahW ?sdrocer eht neht retnup a erew uoy fI :setaoC nehpetS a teg thgim uoY .detacsfinoc eb d’yeht .nwod gnisserd a dna tsirw eht no pals no og d’ti redneffo taeper a erew uoy fI erutuf ruoy tceffa thgim ti dna drocer ruoy eht nar uoy relaed a erew uoy fI .stcepsorp erew uoy fi dnA .ecnetnes nosirp a fo ksir ,haeY ?meht gnikam saw ohw ydobemos ohw reggeltoob a tem I .nosirp decaf uoy .s06 eht gnirud nosirp ni sraey owt tneps tol a tneps ohw srehto erew ereht dnA ot tnes tog ohw srehto erew erehT .regnol tnes tog dna no deirrac ,tuo emac ,nosirp suoregnad a yletinfied saw ti oS .kcab .od ot gniht ?gnidneffo peek elpoep did yhW eb dluoc uoy aissuR nI :setaoC nehpetS tnaw dna tsilaedi na dna revol cisum a ot gnitnaw osla elihw cisum erahs ot kcalb eht no ti fo tuo yenom emos ekam .evisulcxe yllautum t’nerew yehT .tekram kniht I sesac ’sreggeltoob ylrae eht ni tuB .cisum eht yb detavitom yllaer erew yeht flesmih dellac ot ekops I syug eht fo enO a dah eh ekil tlef eH .’redart erutluc‘ a doG morf emac dias eh noissim a ,noissim noitavitom siH .erutluc daerps yllautca ot gnikam yojne eh did tuB .taht morf emac edud looc eht gnieb dna ti morf yenom tnatropmi woH .erus roF ?sdrocer gnilles ot secaps eseht dna cisum siht gnivah saw :setaoC nehpetS ?erutlucbus a gniretsof a pu dliub dluow elpoep taht emussa uoY eht tuB ?uoy t’nod ,sdrocer fo noitcelloc sdrocer eseht tuoba rebmemer ot gniht t’ndid yehT .elbasopsid erew yeht taht si syad ylrae eht ni ylralucitrap ,gnol taht tsal 8102 retneCtrA

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needed to get rid of X-rays and the bootleggers wanted them. It was a natural match! They would literally go to the back door of the hospital, tap on the door and an illicit trade would take place, a swap for a bottle of vodka or a few roubles. What would happen to people caught with the records? Stephen Coates: If you were a punter then they’d be confiscated. You might get a slap on the wrist and a dressing down. If you were a repeat offender it’d go on your record and it might affect your future prospects. If you were a dealer you ran the risk of a prison sentence. And if you were somebody who was making them? Yeah, you faced prison. I met a bootlegger who spent two years in prison during the 60s. And there were others who spent a lot longer. There were others who got sent to prison, came out, carried on and got sent back. So it was definitely a dangerous thing to do. Why did people keep offending? Stephen Coates: In Russia you could be a music lover and an idealist and want to share music while also wanting to make some money out of it on the black market. They weren’t mutually exclusive. But in the early bootleggers’ cases I think they were really motivated by the music. One of the guys I spoke to called himself a ‘culture trader’. He felt like he had a mission, a mission he said came from God to actually spread culture. His motivation came from that. But did he enjoy making money from it and being the cool dude selling records? For sure. How important was having this music and these spaces to fostering a subculture? Stephen Coates: You assume that people would build up a collection of records, don’t you? But the thing to remember about these records is that they were disposable. They didn’t last that long, particularly in the early days

when they were played on old-fashioned gramophones with steel needles, they’d get torn to pieces. So it was a transient collection. Most people I spoke to just loved music. Imagine you’d been massively digging a record and someone suddenly ‘you can’t listen to that anymore’. Or the song you first danced to with your partner to? People wanted to listen to that stuff. They wanted to go round to their friends’ houses and play it. Kids, that’s what they want to do, isn’t it? They want to sit with their mates and go ‘have you heard this? It’s cool.’ Maybe they want to have a dance? There was a subculture – the most famous Soviet youth culture, the only Soviet youth culture there ever was really – called the Stilyagi. A bunch of young people in St. Petersburg and Moscow in the late 1940s and early 50s, I guess we would call them hipsters. They dressed in the way they thought American and British kids dressed, but a distorted version of that... something they’d glimpsed in a magazine. They used American slang and they hung out together and listened to American records on X-ray. The Stilyagi were a specific stylistic culture, but I think generally speaking young people just wanted to listen to their records. What’s the strangest thing you’ve heard during your research? Stephen Coates: There’s a story I’ve heard many times now from different people. I’m starting to think it’s either true or a very convincing urban legend. Apparently there were certain records you’d put on and you’d be listening to Ella Fitzgerald or whatever and then suddenly the music would cut and a voice would come in saying ‘so you thought you’d listen to some jazz did you, fucker’? And the different versions of this story were that the authorities had actually recorded these records to freak people out...

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Article from Novaya Gazeta, Text by Taniya Rogov, April 2015

cisuM dnuorgrednU teivoS woH < > akiortsereP dekcoR denoihsaf-dlo no deyalp erew yeht nehw eht dna syar-X fo dir teg ot dedeen d’yeht ,seldeen leets htiw senohpomarg larutan a saw tI .meht detnaw sreggeltoob tneisnart a saw ti oS .seceip ot nrot teg kcab eht ot og yllaretil dluow yehT !hctam tsuj ot ekops I elpoep tsoM .noitcelloc dna rood eht no pat ,latipsoh eht fo rood ylevissam neeb d’uoy enigamI .cisum devol rof paws a ,ecalp ekat dluow edart ticilli na ylneddus enoemos dna drocer a gniggid .selbuor wef a ro akdov fo elttob a .’eromyna taht ot netsil t’nac uoy‘ htiw thguac elpoep ot neppah dluow tahW ruoy htiw ot decnad tsrfi uoy gnos eht rO ?sdrocer eht taht ot netsil ot detnaw elpoeP ?ot rentrap neht retnup a erew uoy fI :setaoC nehpetS rieht ot dnuor og ot detnaw yehT .ffuts a teg thgim uoY .detacsfinoc eb d’yeht s’taht ,sdiK .ti yalp dna sesuoh ’sdneirf .nwod gnisserd a dna tsirw eht no pals ot tnaw yehT ?ti t’nsi ,od ot tnaw yeht tahw no og d’ti redneffo taeper a erew uoy fI draeh uoy evah‘ og dna setam rieht htiw tis erutuf ruoy tceffa thgim ti dna drocer ruoy evah ot tnaw yeht ebyaM ’.looc s’tI ?siht eht nar uoy relaed a erew uoy fI .stcepsorp eht – erutlucbus a saw erehT ?ecnad a erew uoy fi dnA .ecnetnes nosirp a fo ksir ylno eht ,erutluc htuoy teivoS suomaf tsom ,haeY ?meht gnikam saw ohw ydobemos yllaer saw reve ereht erutluc htuoy teivoS ohw reggeltoob a tem I .nosirp decaf uoy gnuoy fo hcnub A .igaylitS eht dellac – .s06 eht gnirud nosirp ni sraey owt tneps ni wocsoM dna grubsreteP .tS ni elpoep tol a tneps ohw srehto erew ereht dnA ew sseug I ,s05 ylrae dna s0491 etal eht ot tnes tog ohw srehto erew erehT .regnol ni desserd yehT .sretspih meht llac dluow tnes tog dna no deirrac ,tuo emac ,nosirp hsitirB dna naciremA thguoht yeht yaw eht suoregnad a yletinfied saw ti oS .kcab fo noisrev detrotsid a tub ,desserd sdik .od ot gniht a ni despmilg d’yeht gnihtemos ...taht ?gnidneffo peek elpoep did yhW dna gnals naciremA desu yehT .enizagam eb dluoc uoy aissuR nI :setaoC nehpetS ot denetsil dna rehtegot tuo gnuh yeht tnaw dna tsilaedi na dna revol cisum a igaylitS ehT .yar-X no sdrocer naciremA ot gnitnaw osla elihw cisum erahs ot kniht I tub ,erutluc citsilyts cfiiceps a erew kcalb eht no ti fo tuo yenom emos ekam tsuj elpoep gnuoy gnikaeps yllareneg .evisulcxe yllautum t’nerew yehT .tekram s’tahW .sdrocer rieh“YOU t ot netFACED sil ot detnPRISON. aw kniIhtMET I sesac ’sreggeltoob ylrae eht ni tuB gnirud draeh ev’uoyAgn i h t t s e g n a r t s e h t . c i s u m eht yb detavitom yllaer erew yeht BOOTLEGGER WHO SPENT s’erehT :setaoC nehpetS ?hcraeser ruoy flesmih dellac ot ekops I syug eht fo enO morf won semit ynaTWO m draeYEARS h ev’I yroIN ts aPRISONa DURING dah eh ekil tlef eH .’redart erutluc‘ a THE 60S THOSE s’ti kniht ot gnitrats m ’I .elp oep tBECAUSE nereffid dOF oG m orf emac dias eh noissim a ,noissim nabru gnicnivnocVINYLS. yrev a ro eu r t r e h t i e n o i t a v itom siH .erutluc daerps yllautca ot SO IT WAS DEFINITELY niatrec erew ereht yltnerappA .dnegel gnikam yojne eh did tuB .taht morf emac A DANGEROUS THINGeTO DO.” gninetsil eb d’uoy dna no tup d’uoy sdrocer dud looc eht gnieb dna ti morf yenom neht dna revetahw ro dlaregztiF allE ot tnatropmi woH .erus roF ?sdrocer gnilles eciov a dna tuc dluow cisum eht ylneddus ot secaps eseht dna cisum siht gnivah saw d’uoy thguoht uoy os‘ gniyas ni emoc dluow :setaoC nehpetS ?erutlucbus a gniretsof dnA ?’rekcuf ,uoy did zzaj emos ot netsil a pu dliub dluow elpoep taht emussa uoY erew yrots siht fo snoisrev tnereffid eht eht tuB ?uoy t’nod ,sdrocer fo noitcelloc dedrocer yllautca dah seitirohtua eht taht sdrocer eseht tuoba rebmemer ot gniht ...tuo elpoep kaerf ot sdrocer eseht t’ndid yehT .elbasopsid erew yeht taht si syad ylrae eht ni ylralucitrap ,gnol taht tsal Thesis process book

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Article from Novaya Gazeta, Text by Taniya Rogov, April 2015

cisuM dnuorgrednU teivoS woH < > akiortsereP dekcoR gnieb morf dennab erew senut rieht dna gnirud cisum kcor teivoS no kcab gnikooL .stneve cilbup dna seuqehtocsid ta deyalp yrrulb a dnfi ew ,akiortserep s’vehcabroG ,erusserp rednu emac snaicisum kcoR ton era taht sgnos tnereffid fo egalloc rieht esu ot neddibrof gnieb semitemos sgnos ehT .erutan yb lacitilop yltcaxe ylkciuq erew meht fo emoS .sllah lasraeher yltnatalb eb ot evah ton did sevlesmeht kcor wef A .ecivres yratilim rof pu dellac gnitaerc fo tca yrev eht esuaceb ,lacitilop ,vonamoR iexelA sa hcus — snaicisum ni tsetorp a saw dnab dnuorgrednu na dna ,eineserksoV dnab eht fo redael desop doirep mrofer akiortserep ehT .flesti morf regnis elamef eht ,avorazugA annahZ kcor dnuorgrednu rof egnellahc gib a .emit liaj laer deviecer — ovarB dnab eht .ti devivrus enoyreve ton dna ,snaicisum eht ni metsys teivoS eht rof lacipyt saw tI dna 5891 ni detrats yldetuper akiortsereP ton secnetnes liaj knil ot s0891 dna s0791 liahkiM nehw ,sraey evfi tuoba rof detsal ssenisub lagelli htiw tub ,ygoloedi htiw fo yraterceS lareneG emaceb vehcabroG fo llA .snoitaloiv tropssap ro secitcarp noinU teivoS eht fo ytraP tsinummoC eht degnahc gnihtyreve ,hguoht ,neddus a .yrtnuoc eht fo redael dna .cisum kcor teivoS rof etihw ot kcalb morf esoht gnirud demossolb cisum kcor teivoS kcor ,tnemtnioppa s’vehcabroG retfa nooS gniredisnoc snairotsih emos htiw ,semit ,noinU teivoS eht ni dezilagel saw cisum eht dniheb srotcaf rojam eht gnoma ti sdnab dnuorgrednu ylsuoiverp elihw gnola — eripmE teivoS eht fo espalloc oidar eht no deyalp eb ot dewolla erew namuh fo kcal ,segatrohs doof htiw dnuorgrednU .swohs VT ni raeppa dna dna pihsrosnec ,smodeerf dna sthgir elbarovaf fo doofl A maertsniam seog erofeb raey a tsuj teY .sredrob desolc dellfi kcor dnuorgrednu tuoba selcitra eht fo redael detnioppa saw vehcabroG kcoR .senizagam dna srepapswen teivoS gniog saw cisum kcor teivoS ,noinU teivoS laicfifo esahcrup ot ecnahc a tog snaf rojam a ,4891 nI .semit tlucfifid hguorht rieht gnirutaef strecnoc rof stekcit ni emit tsrfi eht rof sdnab etirovaf TON DID SEVLESMEHT SGNOS EHT“ fo sngis tsrfi eht fo enO .sevil rieht , L ACITILOP YLTNATALB EB OT EVAH saw akiortserep gnirud segnahc dellac lavitsef evE s’raeY weN a GNITAERC FO TCA YREV EHT ESUACEB hcihw ,)”eerT samtsirhC“( ”akloY“ A SAW DNAB DNUORGREDNU NA bulc erutluc wocsoM a ni dleh saw ”.FLESTI NI TSETORP ygrenE raelcuN votahcruK eht rednu ylwen ehT .etutitsnI hcraeseR rednu ”,yrotarobaL kcoR wocsoM“ demrof ,dehsaelnu saw ti no kcatta tnemnrevog s’wocsoM fo noisivrepus dna ecnadiug eht nitnatsnoK yraterceS lareneG gniwollof eht dna sretrauqdaeh ytraP tsinummoC cisum emos hcihw ni hceeps s’oknenrehC ,eugaeL stsinummoC gnuoY fo sredaeL dna lacigoloedi fo desucca erew sdnab gnirutaef lavitsef kcor elbaknihtnu na dleh .yteicos teivoS eht tsniaga egatobas larom erew taht sdnab evil 01 naht erom ssarb pot eht yb deussi erew stsilkcalB ,revoeroM .reilrae raey a tsuj detsilkcalb ot tnes dna ytraP tsinummoC eht fo yna tuohtiw sgnos rieht demrofrep sdnab stnemtraped htuoy dna larutluc lla noitomorp yna tuohtiw nevE .pihsrosnec ynam dedulcni stsil ehT .ediwyrtnuoc lavitsef siht fo swen ,aidem ssam teivoS ni yehT :sdnab kcor dnuorgrednu teivoS dna wocsoM dnuora ylkciuq yrev daerps ,evil gnimrofrep morf detibihorp erew Thesis process book

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< How Soviet Underground Music Rocked Perestroika > Looking back on Soviet rock music during Gorbachev’s perestroika, we find a blurry collage of different songs that are not exactly political by nature. The songs themselves did not have to be blatantly political, because the very act of creating an underground band was a protest in itself. The perestroika reform period posed a big challenge for underground rock musicians, and not everyone survived it. Perestroika reputedly started in 1985 and lasted for about five years, when Mikhail Gorbachev became General Secretary of the Communist Party of the Soviet Union and leader of the country. Soviet rock music blossomed during those times, with some historians considering it among the major factors behind the collapse of the Soviet Empire — along with food shortages, lack of human rights and freedoms, censorship and closed borders. Yet just a year before Gorbachev was appointed leader of the Soviet Union, Soviet rock music was going through difficult times. In 1984, a major

and their tunes were banned from being played at discotheques and public events. Rock musicians came under pressure, sometimes being forbidden to use their rehearsal halls. Some of them were quickly called up for military service. A few rock musicians — such as Alexei Romanov, leader of the band Voskresenie, and Zhanna Aguzarova, the female singer from the band Bravo — received real jail time. It was typical for the Soviet system in the 1970s and 1980s to link jail sentences not with ideology, but with illegal business practices or passport violations. All of a sudden, though, everything changed from black to white for Soviet rock music. Soon after Gorbachev’s appointment, rock music was legalized in the Soviet Union, while previously underground bands were allowed to be played on the radio and appear in TV shows. Underground goes mainstream A flood of favorable articles about underground rock filled Soviet newspapers and magazines. Rock fans got a chance to purchase official tickets for concerts featuring their favorite bands for the first time in “THE SONGS THEMSELVES DID NOT their lives. One of the first signs of HAVE TO BE BLATANTLY POLITICAL, changes during perestroika was BECAUSE THE VERY ACT OF CREATING a New Year’s Eve festival called “Yolka” (“Christmas Tree”), which AN UNDERGROUND BAND WAS A was held in a Moscow culture club PROTEST IN ITSELF.” under the Kurchatov Nuclear Energy Research Institute. The newly government attack on it was unleashed, formed “Moscow Rock Laboratory,” under following General Secretary Konstantin the guidance and supervision of Moscow’s Chernenko’s speech in which some music Communist Party headquarters and the bands were accused of ideological and Leaders of Young Communists League, moral sabotage against the Soviet society. held an unthinkable rock festival featuring Blacklists were issued by the top brass more than 10 live bands that were of the Communist Party and sent to blacklisted just a year earlier. Moreover, all cultural and youth departments bands performed their songs without any countrywide. The lists included many censorship. Even without any promotion Soviet underground rock bands: They in Soviet mass media, news of this festival were prohibited from performing live, spread very quickly around Moscow and 0082

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Article from Novaya Gazeta, Text by Taniya Rogov, April 2015

500 seats inside the culture club (which looked more like a theater with a stage and red velvet chairs) were overcrowded. Some people even tried to get in using roof windows, basement walkways and fire escape stairs. The enormous interest among media and promoters went to the most popular underground bands: Moscow’s Mashina Vremeni and Brigada S, Leningrad’s Kino, Aquarium, and Alisa, and Sverdlovsk’s Nautilus

Communist officials, college professors, writers, students, housewives and fans of the bands. Sometimes, musicians found themselves in ridiculous situations, having to explain why they were playing rock music and answering similarly asinine questions. However, because the TV show was broadcast live to the millions of viewers, people did get a chance to see how their favorite underground rock bands looked like and what they had to say. The TV audience voted via phone calls, “IN 1984 SOME MUSIC BANDS WERE ACCUSED selecting winners of OF IDEOLOGICAL AND MORAL SABOTAGE each round. The Soviet AGAINST THE SOVIET SOCIETY. BLACKLISTS film “Assa” (1987), directed by Sergei WERE ISSUED BY THE TOP BRASS OF THE and shot COMMUNIST PARTY AND SENT TO ALL CULTURAL Solovyov in the main Soviet AND YOUTH DEPARTMENTS COUNTRYWIDE. THE movie studio Mosfilm, LISTS INCLUDED MANY SOVIET UNDERGROUND became one of the signs of Russian rock ROCK BANDS: THEY WERE PROHIBITED music’s mainstream FROM PERFORMING LIVE, AND THEIR TUNES recognition. Its WERE BANNED FROM BEING PLAYED AT soundtrack was based on various rock tunes DISCOTHEQUES AND PUBLIC EVENTS.” from underground bands; some underground rockers even Pompilius. These bands along with many had cameos in the movie. Its screening others quickly became regular guests of was accompanied by week-long rock late-night TV shows, such as “Vzglyad,” concerts in the same movie theatre where “Musical Ring,” “Program A,” which were the film was shown. For a good example of also launched during perestroika. There perestroika rock, check out the1987 video were only two TV channels in the Soviet “Closing the Circle”, which was made in the Union, which broadcast from Moscow and style of the famous 1985 video “USA for could be watched by about 250 million Africa.” In the video, Soviet pop, rock and Soviet citizens. The TV show “Music heavy metal stars sing together as a group. Ring” was particularly unique because Difficulties adjusting to stardom Going of its plot. A few music groups — mostly from underground to mainstream was not from underground scene — were put an easy process for rock bands during against each other in a kind of “face-toperestroika. Musicians who had become face” competition that included music accustomed to outsiders and the bohemian performances and Q & A sessions with lifestyles suddenly received an opportunity a studio audience. The audiencewas that they could not have even dreamt of made up of all kinds of people, from a few years earlier. The majority of rock Thesis process book

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< How Soviet Underground Music Rocked Perestroika > Looking kcartback dnuoon s sSoviet tI .noitirock ngocmusic er maeduring rtsniam Gorbachev’s morf seperestroika, nut kcor suoiwe ravfind no daeblurry sab saw collage that dnuoofrgdifferent rednu emsongs os ;sdn ab dare nuonot rgrednu exactly political by nature. The songs stI .eivom eht ni soemac dah neve srekcor themselves did tocabesablatantly gnol-keew y b dnot einahave pmoc w gnineercs political, ertaehbecause t eivom ethe masvery ehtact ni sof trecreating cnoc kcor an underground doog a roFband .nwohwas s saawprotest mlfi ehtinerehw itself.tuThe o kcperestroika ehc ,kcor akreform iortsereperiod p fo elposed pmaxe a big hcihchallenge w ,”elcriC for ehtunderground gnisolC“ oedrock iv 7891eht musicians, and 5891 suom af enot ht feveryone o elyts ehsurvived t ni edamit.saw Perestroika reputedly started 1985 and teivoS ,oediv eht nI ”.acirfA roinf A SU“ o ediv lasted g for about five years, when Mikhail nis srats latem yvaeh dna kcor ,pop Gorbachev gnitsujda became seitlucfifGeneral iD .puorSecretary g a sa rehtof egot the Communist oforthe ot dnuorgreParty dnu m f gnSoviet ioG moUnion drats ot androleader ofrpthe f sseco ysacountry. e na ton saw maertsniam Soviet rock music snaicisuM .akiorblossomed tserep gniruduring d sdnathose b kcor times, considering srediswith tuo osome t demhistorians otsucca em oceb dah ohw it among ylnethe ddumajor s selyfactors tsefil nabehind imehobthe eht dna collapse of the Soviet Empire ton dluoc yeht taht ytinutropp— o nalong a deviecer with.rfood human eilraeshortages, sraey wef lack a fo tof ma erd neve evah rights and freedoms, censorship kcor fo ytand irojam ehT closed borders. Yet just a year before Gorbachev was appointed leader of the Soviet Union, Soviet rock music was going through difficult times. In 1984, a major government attack on it was unleashed, following General Secretary Konstantin Chernenko’s speech in which some music bands were accused of ideological and moral sabotage against the Soviet society. Blacklists were issued by the top brass of the Communist Party and sent to all cultural and youth departments countrywide. The lists included many Soviet underground rock bands: They were prohibited from performing live, and their tunes were banned from being played at discotheques and public events. Rock musicians came under pressure, sometimes being forbidden to use their rehearsal halls. Some of them were quickly called up for military service. A few rock musicians — such as Alexei Romanov, leader of the band Voskresenie, and Zhanna Aguzarova, the female singer from

the hband cihw(Bravo bulc e— rutreceived luc eht ereal disnjail i statime. es 005 It was egtypical ats a hfor tiw the retaSoviet eht a esystem kil erominde the kool 1970s .dedw and orc1980s revo erto ewlink )srijail ahcsentences tevlev der not dna with ideology, gnisu ni tebut g otwith deirillegal t nevebusiness elpoep emoS practicessyoraw passport klaw tneviolations. mesab ,swoAll dnof iw foor a sudden, suom though, rone eheverything T .sriats epchanged acse erfi dna from black sretoto mowhite rp dna foraiSoviet dem gnrock omamusic. tseretni Soondafter nuorgGorbachev’s rednu ralupoappointment, p tsom eht otrock tnew music dnwas a inelegalized merV anihinsathe M sSoviet ’wocsoUnion, M :sdnab while,m previously uirauqA ,ounderground niK s’dargninbands eL ,S ad were agirB allowedsto ulitbe uaplayed N s’ksvo on ldrthe evSradio dna ,and asilA dna appear ynaminhTV tiwshows. gnola sUnderground dnab esehT .sgoes uilipmoP mainstream fo stseugAraflood lugerof em favorable aceb ylkcarticles iuq srehto about ”,dunderground aylgzV“ sa hcrock us ,sw filled ohs Soviet VT thgin-etal newspapers erew hcihw and ”,Amagazines. margorP“ ”Rock ,gniR fans lacisgot uM“ a chance erehT to .akpurchase iortserep official gnirud tickets dehcnufor al osla concerts teivoSfeaturing eht ni sletheir nnahfavorite c VT owbands t ylno efor rew the dnfirst a wotime csoMinmtheir orf tslives. acdaOne orb hof cihthe w ,first noinU signsno ofillchanges im 052 tuduring oba ybperestroika dehctaw ebwas dluoc a New Year’s cisuMEve “ wofestival hs VT ehcalled T .sne“Yolka” zitic teivoS (“Christmas esuaceb Tree”), euqinwhich u ylraluwas citra held p sain w a”gniR Moscow yltsomculture — spuclub org cunder isum w the ef A Kurchatov .tolp sti fo Nuclear tuEnergy p erew — Research enecs dInstitute. nuorgredThe nu morf newly -ot-formed ecaf“ fo “Moscow dnik a niRock rehtoLaboratory,” hcae tsniaga undercthe isumguidance dedulcniand tahtsupervision noititepmoof c ”ecaf Moscow’s htiw sCommunist noisses A &Party Q dnaheadquarters secnamrofrep and thesLeaders awecneid ofua Young ehT .eCommunists cneidua oiduts a League,mheld orf ,an elpunthinkable oep fo sdnikrock lla fofestival pu edam featuring ,srossemore forp ethan gello10 c ,slive laicbands fifo tsithat nummoC were fo sblacklisted naf dna sevjust iwesauo year h ,stearlier. neduts ,sretirw Moreover, dnuof sbands naicisuperformed m ,semitem their oS .ssongs dnab eht without gnivah any ,snocensorship. itautis suoluEven cidir nwithout i sevlesany meht promotion kcor g innSoviet iyalp ermass ew yemedia, ht yhw news nialpxof e ot this festival eninisaspread ylralimvery is gnquickly irewsnaaround dna cisum MoscowVTand eht esuaceb ,revewoH .snoitseuq fo snoillim eht ot evil tsacdaorb saw wohs ees ot ecnahc a teg did elpoep ,sreweiv sdnab kcor dnuorgrednu etirovaf rieht woh .yas ot dah yeht tahw dna ekil dekool ,sllac enohp aiv detov ecneidua VT ehT ehT .dnuor hcae fo srenniw gnitceles yb detcerid ,)7891( ”assA“ mlfi teivoS niam eht ni tohs dna voyvoloS iegreS emaceb ,mlfisoM oiduts eivom teivoS s’cisum kcor naissuR fo sngis eht fo eno

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Oppression by authority

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Articles

Review from Moscow Times, 2007

< Five-Year Jail Term Over Exhibition Of “Forbidden Art” > htiw sOn ane5raJune strop ta strecn oc dereffo MOSCOW. asMoscow court ohwhearing ,snaicisthe um k cor ,suhcase T .staof esthe 000,01 began criminal yehtstate fi reilagainst rae sraeAndrei y wef aErofeev, ykcul tlef dah Russian ,elpoephead 001 of rofthe bulTretyakov c erutluc aGallery’s ni yalp dluoc former gniviecer ,srart atsdepartment, kcor muidatsand otni denrut contemporary rieht dedeecformer xe tahtdirector hsac foof smthe us tsav Yuri Samodurov, eht ta ,09Museum 91 tsuguA nI .Public noitanCentre, igami tsedliw Sakharov and riehtpromotes ,ytiralupop s’oniKrights dnab awareness. eht fo thgieh which human ivtaLhas ni dbeen ellik frequently saw iosT ropostponed tkiV namtnorf The,atrial iospast T .subyear; a htifirst, w noin isilsummer loc no-d2008 aeh a ni over the sdeeMr ps tErofeev’s a rac nwohealth sih gndeteriorated, ivird neeb dah because t gnidrecently roccA .ruowing oh reptosethe limavailability 08 ot pu fo andomost elihdefendant’s w peelsa lleflawyers, iosT ,noiwho srev are laicfi fo eht of the also hguorht sevaw cohs tnof es opponents htaed siH.gof nivird representing a knumber nigremeBoth eht smen a llew sa ,been snaf fcharged o snoillim the gKremlin. have gni“inciting rud noinU teivoSfor ehtorganising ni yrtsudniacisum with hatred” nosaer eexhibition ht ,elpoep of yna m roF .akioart” rtserep two-week “forbidden row Sakharov s’dnab ehCentre t ni seilinhtMarch aed cig2007. art sih rof atkthe -5491Orthodox ( stipsnezigroups A yruY ltook ugom cisum htiw Russian offence segnand ahc immediately citsard ot delfiled hcihaw ,)5002 to thenishow llew sa ,swith dneirthe f foRussian elcric dnprosecutor’s a elytsefil rieht complaint teivIfoSconvicted, tsedom riMr ehtErofeev morf eruand trapMr ed a sa office. iosT ,modraface ts siup h oto t rofive irP .years dargnin ineprison. L ni efil Samodurov a nthe i refirst kots court a sa shearing tfihs thgMr in g nikrow said saw After Erofeev fo h“very trib edisappointed” hT .lioc gnilevoand hs padded ohs maets he was ylppthe us“court fo wais l eaht“Soviet ot eurTone. kcorThe akiortserep that erew sdnisabclearly demroon f ythe lwenside ”,dnof am ed dna prosecutor the noinU teThey ivoS haven’t eht ni ereven ehwyseen reve gthe nituorps plaintiffs. kiortserepThe no n i hsacinvestigation ot gniyrt dna works sin’aquestion. whole erehwaojoke n fo tfrom uo em acvery tahtbeginning.” sdnaB .saedi has been the teivSamodurov oS ,segatrosaid hs tathe emcriminal tuoba gnignis erew Mr morf de hcaboasted ted erewthat tahtthe staRussian rcuaerub investigator had morfwanted seussi the rehtSakharov o dna ,noiCentre tpurroc ,ytilaer public flah ddown. noces“He eht said fo sethat hceeifpsthat’s s’vehwhat cabroG closed fo sdnewant, rt cisuthen m roit’s jamhis llAjob .s08 eht fo the people to91 see teivdone,” oS eht said ni deMr tceSamodurov. fler erew s08 91 eht that it’s “So citsuocit’s a mthe orf ,fabrication enecs kcor of dnauocriminal rgrednu essentially spuorThe g ehMarch t fo yna2007 M .latexhibition em malg ofeatured t sdallab case.” nitnirp ,noand itomdrawings. orp fo sepMr yt sErofeev uoirav desu 24gpaintings hto the dnasmallest strihs-T he’d ,snipever no sput ogolon rieht said itrewas emlife, it taand ht fo‘technically lobmys niait mwasn’t ehT .sran inevuos in his melbm e ”elkcisthe -dnart a-rwas emmhidden ah“ eht saw exhibition because otni daewall tarop rocyou ni sdhad rowto aklook iortsthrough erep htiw behind and niraew erto ewsee’. snafAmong cisum dthe na soffending naicisuM .ti agpeephole ...scih parg akioNo. rtse5, rep2002, htiw by strihs-T works were: Explosion Thesis process book

Avdei Ter-Oganyan; teivoS yb neve and ,roIcon op erCaviar, ew snaicisum 1989, gnidrand occaThis ,noiIs tidMy da Body, nI .gni2002, vil fo sboth dradnby ats Alexander na evah o Kosolapov. t dah sneziThe tic lllatter a ,swafeatures l teivoS ot an image snaicisof umChrist kcor d and nuothe rgrewords dnu ;b“This oj laicisfifo MysrBody” otinaj in ,sdthe rauformat g ytirucof esasMcDonald’s a gnikrow erad. ew “Thiseexhibition rew snaiciwasn’t sum eman oSattack .segreon icnoc dna religion,” dah tsaid aht sMr etuErofeev. titsni su“It oira was v niall stnabout eduts censorship sutats tneand dutart S .cin isuRussia; m htiw that od odirectors t gnihton don’t often yrarallow opmesome t htiwworks meht d toedbe ivoshown rp osla because ton saw they tI .ecare ivreafraid s yratilof imcontroversy morf noitcetorp ortsaubacklash.” jda ot snaicHowever, isum dnuhis orgopponents rednu rof ysae vehemently fo elytsedisagree. fil maertsniam a ot sevlesmeht “The exhibition’s .soiduts eivmain om dgoal na VTwas ,snoto itats oidar denigrate taht gniand htem ridicule os oslathose saw gthings niruot that ralugeR aresnsacred aicisumtoythe naMRussian .ot desupeople, teg tonand did yeht possibly... htiw lato edprovoke ot erised social ro enupheavals,” ilpicsid on dah said yehDmitri t taht sTerekhov, elcric laico asdirector teivoS m ofaUnited ertsniam Orthodox eussi naYouth, osla saone w mof silthe ohogroups clA .ekithat l ton did picketed morf methe ht goriginal nitneverexhibition p ,snaicisuand m em which os rof then filed .yteicthe os complaint teivoS fo sthat rebmled emto gnthe imoceb criminal oknecharges. muaN ”ekMr iMTerekhov “ liahkiM ,said elpmthat axe his roF organisation’s devoleb ehdemonstration t fo redael eht ,was )199not 1-5only 591( aeprotest maceb ragainst even ,krthe apoworks, oZ dnab but dnalso uorgaimed rednu “to kraprotect” pooZ .arthe e akSakharov iortserep Centre eht fo rfrom ats kcor a beingydestroyed tilaer wen by ehtOrthodox ot detsujbelievers da ylluf reven who tcamight f eht enot tipsbe edable nevEto.scontain naicisum their kcor rof anger. lanThis oisawas cco a yareference lp ot deunto itnthe oc yJanuary eht taht 2003 revenexhibition yeht ,sgnat idrthe oceSakharov r ekam dnCentre, a strecnoc ‘Caution! ssaReligion’, m dna VT also fo thorganised giltops ehtby otMr ni tog Samodurov. morf evOrthodox om lacigobelievers l a fo daeinvaded tsnI .aidem the centre maertand sniam destroyed ot ecnetsmany ixe dnworks uorgre ofdnu art.hAs cum a result, wohs taoncriminal did okncase emuawas N ,ytstarted irbelec against ezarMr c aSamodurov kiortserep eand ht gnhis iniocurators. j ni tsereMr tni Samodurov taht fo snaiwas cisuconvicted, m gnoma rabut lupnot op sjailed. aw taht “Thisdtime na nowe’d isserlike pedto msee orf dErofeev ereffus get eH .emit a.1small 991 npunishment, i htaed sih otsuch del has cihawfine, ,msior lohaocla tconviction rap koot rewithout ven krapaoprison oZ tahterm,” t egnarsaid ts saMr w tI Terekhov. derapmo“However, c ,maertsnSamodurov iam akiortseshould rep eht ni be,dpunished argnineL fto o ythe tic fullest eht moextent rf sdnaof b rthe ehto ot law, ytirand alupneeds op nedto dube S .aisolated silA dnafrom oniKsociety sa hcus because mahe ertis snaiarepeat m eht hoffender.” tiw noitingMr ocer dna Erofeev remrof said rof ghis at eopponents cirp a htiw represent emac ecnethe idua ‘full cbouquet isum ytfa ofrcnationalist, wef A .sdnafascist, b dnuoand rgrednu Orthodox laitnefundamentalist top gninrae egugroups’, h was srand etomorp thatgn “thousands” ieb erew hciof hwpetitions... ,sdnab kcor suomaf ni 8102 retneCtrA

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< How Soviet Underground Music Rocked Perestroika > musicians were poor, even by Soviet standards of living. In addition, according to Soviet laws, all citizens had to have an official job; underground rock musicians were working as security guards, janitors and concierges. Some musicians were students in various institutes that had nothing to do with music. Student status also provided them with temporary protection from military service. It was not easy for underground musicians to adjust themselves to a mainstream lifestyle of radio stations, TV and movie studios. Regular touring was also something that they did not get used to. Many musicians had no discipline or desire to deal with mainstream Soviet social circles that they did not like. Alcoholism was also an issue for some musicians, preventing them from becoming members of Soviet society. For example, Mikhail “Mike” Naumenko (1955-1991), the leader of the beloved underground band Zoopark, never became a rock star of the perestroika era. Zoopark never fully adjusted to the new reality for rock musicians. Even despite the fact that they continued to play occasional concerts and make recordings, they never got into the spotlight of TV and mass media. Instead of a logical move from underground existence to mainstream celebrity, Naumenko did not show much interest in joining the perestroika craze that was popular among musicians of that time. He suffered from depression and alcoholism, which led to his death in 1991. It was strange that Zoopark never took part in the perestroika mainstream, compared to other bands from the city of Leningrad, such as Kino and Alisa. Sudden popularity and recognition with the mainstream audience came with a price tag for former underground bands. A few crafty music promoters saw huge earning potential in famous rock bands, which were being

offered concerts at sports arenas with 10,000 seats. Thus, rock musicians,who had felt lucky a few years earlier if they could play in a culture club for 100 people, turned into stadium rock stars, receiving vast sums of cash that exceeded their wildest imagination. In August 1990, at the height of the band Kino’s popularity, their frontman Viktor Tsoi was killed in Latvia, in a head-on collision with a bus. Tsoi had been driving his own car at speeds of up to 80 miles per hour. According to the official version, Tsoi fell asleep while driving.His death sent shockwaves through millions of fans, as well as the emerging music industry in the Soviet Union during perestroika. For many people, the reason for his tragic death lies in the band’s work with music mogul Yury Aizenspits (19452005), which led to drastic changes in their lifestyle and circle of friends, as well as a departure from their modest Soviet life in Leningrad. Prior to his stardom, Tsoi was working night shifts as a stoker in a steam shop shoveling coil. The birth of perestroika rock True to the law of “supply and demand,” newly formed bands were sprouting everywhere in the Soviet Union and trying to cash in on perestroika’s ideas. Bands that came out of nowhere were singing about meat shortages, Soviet bureaucrats that were detached from reality, corruption, and other issues from Gorbachev’s speeches of the second half of the 1980s. All major music trends of the 1980s were reflected in the Soviet underground rock scene, from acoustic ballads to glam metal. Many of the groups used various types of promotion, printing their logos on pins, T-shirts and other souvenirs. The main symbol of that time was the “hammer-and-sickle” emblem with perestroika words incorporated into it. Musicians and music fans were wearing T-shirts with perestroika graphics...

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ArtCenter 2018

Oppression by authority

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Articles

Review from Moscow Times, 2007

< Five-Year Jail Term Over Exhibition Of “Forbidden Art” > MOSCOW. On 5 June a Moscow court began hearing the criminal case of the Russian state against Andrei Erofeev, former head of the Tretyakov Gallery’s contemporary art department, and Yuri Samodurov, former director of the Sakharov Museum and Public Centre, which promotes human rights awareness. The trial has been frequently postponed over the past year; first, in summer 2008 because Mr Erofeev’s health deteriorated, and most recently owing to the availability of the defendant’s lawyers, who are also representing a number of opponents of the Kremlin. Both men have been charged with “inciting hatred” for organising a two-week exhibition of “forbidden art” at the Sakharov Centre in March 2007. Russian Orthodox groups took offence to the show and immediately filed a complaint with the Russian prosecutor’s office. If convicted, Mr Erofeev and Mr Samodurov face up to five years in prison. After the first court hearing Mr Erofeev said he was “very disappointed” and added that the court is a “Soviet one. The prosecutor is clearly on the side of the plaintiffs. They haven’t even seen the works in question. The whole investigation has been a joke from the very beginning.” Mr Samodurov said the criminal investigator had boasted that the Russian public wanted the Sakharov Centre closed down. “He said that if that’s what the people want, then it’s his job to see that it’s done,” said Mr Samodurov. “So essentially it’s the fabrication of a criminal case.” The March 2007 exhibition featured 24 paintings and drawings. Mr Erofeev said it was the smallest he’d ever put on in his life, and ‘technically it wasn’t an exhibition because the art was hidden behind a wall and you had to look through a peephole to see’. Among the offending works were: Explosion No. 5, 2002, by Thesis process book

Avdei Ter-Oganyan; and Icon Caviar, 1989, and This Is My Body, 2002, both by Alexander Kosolapov. The latter features an image of Christ and the words “This is My Body” in the format of a McDonald’s ad. “This exhibition wasn’t an attack on religion,” said Mr Erofeev. “It was all about censorship and art in Russia; that directors don’t often allow some works to be shown because they are afraid of controversy or a backlash.” However, his opponents vehemently disagree. “The exhibition’s main goal was to denigrate and ridicule those things that are sacred to the Russian people, and possibly... to provoke social upheavals,” said Dmitri Terekhov, a director of United Orthodox Youth, one of the groups that picketed the original exhibition and which then filed the complaint that led to the criminal charges. Mr Terekhov said that his organisation’s demonstration was not only a protest against the works, but also aimed “to protect” the Sakharov Centre from being destroyed by Orthodox believers who might not be able to contain their anger. This was a reference to the January 2003 exhibition at the Sakharov Centre, ‘Caution! Religion’, also organised by Mr Samodurov. Orthodox believers invaded the centre and destroyed many works of art. As a result, a criminal case was started against Mr Samodurov and his curators. Mr Samodurov was convicted, but not jailed. “This time we’d like to see Erofeev get a small punishment, such as a fine, or a conviction without a prison term,” said Mr Terekhov. “However, Samodurov should be punished to the fullest extent of the law, and needs to be isolated from society because he is a repeat offender.” Mr Erofeev said his opponents represent the ‘full bouquet of nationalist, fascist, and Orthodox fundamentalist groups’, and that “thousands” of petitions... 8102 retneCtrA

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Review from Moscow Times, 2007

< Five-Year rJail evOTerm mreTOver liaJ raeY-eviF < Exhibition > ”trAOfne “Forbidden ddibroF“ fOArt” no> itibihxE ,raivOn aC 5 noJune cI dnaa Moscow ;naynagO -reT iedvA MOSCOW. court yb hto b ,2002the ,ydcriminal oB yM sIcase sihTof dnthe a ,9891 began hearing serutastate ef retagainst tal ehT .Andrei vopalosErofeev, oK rednaxelA Russian si sihhead T“ sdrof owthe ehTretyakov t dna tsirhGallery’s C fo egami na former .contemporary da s’dlanoDcMart a fdepartment, o tamrof eht and ni ”ydoB yM no kcattaformer na t’nsdirector aw noitibof ihthe xe sihT“ Yuri Samodurov, tuoba lla Museum saw tI“ .vand eefoPublic rE rM dCentre, ias ”,noigiler Sakharov srotcepromotes rid taht ;aihuman ssuR nirights tra dnawareness. a pihsrosnec which nwo hs ehas b otbeen skrow emos wopostponed lla netfo t’nod The trial frequently srepast vortnyear; oc fo first, diarfa ra yeht e2008 suaceb over ythe inesummer stnenMr oppErofeev’s o sih ,revhealth ewoH ”deteriorated, .hsalkcab a ro because .eerto gathe sid availability yltnemehev and most recently owing ot saw laolawyers, g niam s’who noitiare bihxalso e ehT“ of the defendant’s taht sgnihat number esoht eluofciopponents dir dna etarof gined representing dna ,elpBoth oep n aisshave uR ehbeen t ot dcharged ercas era the Kremlin. men ”,s“inciting lavaehpuhatred” laicos e koorganising vorp ot ...ylabissop with for detinU foexhibition rotcerid aof ,vo hkereT irtim D dias two-week “forbidden art” tahSakharov t spuorg Centre eht fo ein noMarch ,htuoY2007. xodohtrO at the hcihw dOrthodox na noitibigroups hxe lanitook giro eoffence ht detekcip Russian ehshow t ot dand el taimmediately ht tnialpmocfiled eht daelfi neht to the sih taht diawith s vothe hkeRussian reT rM .sprosecutor’s egrahc lanimirc complaint ylno toIfn convicted, saw noitartMr sno med s’nand oitaMr sinagro office. Erofeev d emia osla tface ub ,sup kroto w efive ht tyears sniagaintsprison. etorp a Samodurov orffirst ertncourt eC vohearing rahkaS eMr ht Erofeev ”tcetorpsaid ot“ After m the srev eilebdisappointed” xodohtrO yb dand eyoradded tsed gnieb he was “very riehcourt t niatn ot elba eone. b toThe n thgim ohw that the isoac “Soviet yraunaJ ehis t oclearly t ecneron efethe r a sside aw sof ihthe T .regna prosecutor ,ertneCThey vorahaven’t hkaS eheven t ta nseen oitibih xe 3002 plaintiffs. the rM yinb question. desinagroThe oslawhole ,’noiginvestigation ileR !noituaC‘ works edavnai joke srevefrom ileb the xodo htrObeginning.” .vorudomaS hasdbeen very o skrow ynasaid m dethe yorcriminal tsed dna ertnec eht Mr fSamodurov detrats saw had esacboasted lanimircthat a ,tlu serRussian a sA .tra investigator the rM .srowanted taruc sih dnSakharov a vorudom aS rM tsniaga public the Centre .deliadown. j ton tu“He b ,dsaid etcivthat noc sifathat’s w voruwhat domaS closed teg vewant, eforE e es oit’s t ekhis il d’job ew to emsee it sihT“ the people then ro done,” ,enfi a ssaid a hcMr us ,Samodurov. tnemhsinup “So llams a thatait’s rM dias ”,m retthe nosfabrication irp a tuohtiof w anocriminal itcivnoc essentially it’s dluoThe hs vMarch orudom aS ,rexhibition evewoH“ .featured vohkereT case.” 2007 eht fo tneand txe drawings. tselluf ehtMr ot Erofeev dehsinup eb 24 paintings yteic s mothe rf dsmallest etalosi ebhe’d ot sever deenput dnaon,wal said itowas rM ”and .red‘technically neffo taeperitawasn’t si eh ean suaceb in his life, eht tnesebecause rper stnethe nopart powas sih dhidden ias veeforE exhibition dnaa,twall sicsand af ,tsyou ilanhad oitantofolook teuq uob lluf‘ behind through dna ,’sto pusee’. org tsAmong ilatnemthe adnoffending uf xodohtrO a peephole ..snoititepNo. fo ”5, sd2002, nasuoby ht“ taht works were: .Explosion 0088

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Avdei tTer-Oganyan; ruoc wocsoM and a enIcon uJ 5 Caviar, nO .WOCSOM 1989,ehand t foThis esacIslaMy nimBody, irc eh2002, t gniraboth eh naby geb Alexander ,veefKosolapov. orE ierdnA tThe snialatter ga etafeatures ts naissuR an image Christ isrof s’yreof llaG vokaand yterTthe ehwords t fo da“This eh rem My Body”dnina the ,tneformat mtrapeof d taraMcDonald’s yraropmetnad. oc “Thiseexhibition on ht fo rotcewasn’t rid reman rofattack ,vorudo maS iruY religion,” Erofeev. ,ertnsaid eC cMr ilbu P dna m“It ueswas uM all vorabout ahkaS censorship .ssenerawand a sthart girin naRussia; muh sethat tomodirectors rp hcihw don’t allow deoften noptso p yltnsome euqeworks rf neebtosabe h lshown airt ehT because 8002 rthey emmare us nafraid i ,tsrfi of ;racontroversy ey tsap eht revo or,daebacklash.” taroireted hHowever, tlaeh s’vehis efoopponents rE rM esuaceb vehemently ytilibaliava disagree. eht ot gniwo yltnecer tsom dna “The osexhibition’s la era ohw ,smain reywagoal l s’tnwas adnto efed eht fo denigrate fo stneand nopridicule po fo rethose bmun things a gnitnthat eserper are people, desacred grahc nto eethe b evRussian ah nem h toB .niland merK eht possibly... a gnisto inprovoke agro rof ”social dertahupheavals,” gniticni“ htiw said”Dmitri tra nedTerekhov, dibrof“ foandirector oitibihxeofkeUnited ew-owt Orthodox .7002Youth, hcraMone ni eof rtnthe eC groups vorahkathat S eht ta picketed ecnethe ffo koriginal oot spuexhibition org xodohand trO nwhich aissuR then filed that a dthe elficomplaint yletaidemm i dnled a wto ohthe s eht ot criminal s’rotucharges. cesorp naMr issTerekhov uR eht htisaid w tnithat alpmhis oc organisation’s rM dna vedemonstration eforE rM ,detcivwas noc not fI .eonly cfifo a.protest nosirp nagainst i sraey ethe vfi oworks, t pu ecbut af valso orudaimed omaS “to d iasprotect” veeforE the rM gSakharov niraeh truCentre oc tsrfifrom eht retfA beingdedestroyed by dda dna ”d etOrthodox nioppasidbelievers yrev“ saw eh who might to“ contain ehnot T .enbe o table eivoS a si truotheir c eht taht anger. ahreference ehThis t fo ewas dis e t no ylraelto c sthe i rotJanuary ucesorp 2003 exhibition eht nees nat evethe t’nSakharov evah yehTCentre, .sffitnialp ‘Caution! noitagitsReligion’, evni elohwalso ehTorganised .noitseuq by ni sMr krow Samodurov. ”.gninnigebOrthodox yrev eht believers morf ekoj invaded a neeb sah the centre and lanidestroyed mirc eht dimany as vorworks udomaof S rM art. atcriminal naiAs ssuaRresult, eht tah detsaobcase dah was rotagstarted itsevni against Mr ertnSamodurov eC vorahkaand S ehhis t decurators. tnaw cilbMr up Samodurov was tahw s’tah t fi tconvicted, aht dias eHbut “ .nnot wodjailed. desolc “This eetime s ot we’d boj silike h s’tto i nsee eht ,Erofeev tnaw elpget oep eht a small oS“ punishment, .vorudomaS rsuch M diaas s ”a,efine, nod or s’tiataht conviction lanimirc a without fo noitacairprison baf ehtterm,” s’ti yllsaid aitneMr sse Terekhov. derutaef n“However, oitibihxe 7Samodurov 002 hcraM eshould hT ”.esac be punished veeforE to rMthe .sgnfullest iward extent dna sgof nitthe niap 42 law,noand society tupneeds reve dto ’ehbetsisolated ellams efrom ht saw ti dias because iswatrepeat na the ’nsa i yllacinoffender.” hcet‘ dna ,Mr efil sih ni Erofeev the nedsaid dih shis awopponents tra eht esurepresent aceb noitib ihxe ‘full hgubouquet orht kooof l onationalist, t dah uoy dnfascist, a llaw aand dniheb Orthodox gnidneffundamentalist fo eht gnomA .’egroups’, es ot eloand hpeep a that “thousands” yb ,2002 ,5 .of oNpetitions... noisolpxE :erew skrow koob ssecorp sisehT

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Article from Calvert Journal 22 November, 2017 Text by Howard Amos

:yrellaG ihctaaS eht ta toiR yssuP < tsetorp fo noitacfiidommoc eht sah > ?raf oot enog non-Russians defiitnedi understand reven erew twhat setorthese p suomafni artists awere deviprotesting ecer hcivesagainst. tumaS .)“What detserrdid a ro Pussy dna aRiot nihkdo?” oylA asks elihwGuelman ecnetnesduring dednean psus interview sraey at owthe t tsopening omla devlast res aweek. vokin“They nokoloT created an image of Putin that .is sropposite ab dniheb to themselves. morf degPutin remeisneamman, ow othey wt ehare t nehW women. yssuPutin P tnaeismold, elfithey orp laare bolyoung. g rieht ,Putin nosirp is Putin avgrey, okinnthey okoloare T .gcolourful. ninaem we n a nis o kinoothe t toiR Kremlin, enoynthey a tahare t niin atnprison.” iam llits anihkoylA dna Neither Tolokonnikova lufruolo c a gninnod ybortoAlyokhina iR yssuP nmade ioj nac aneappearance ht yfinosrepat yethe ht ,tother’s caf ni ,tshow. ub ,avOnce alcalab close efriends, relationship vig yehthe T .dn arb suomynbetween ona ylremthe rof two women .dlrowappears eht ruot to dnhave a swecooled. ivretni rThey aluger no longer eht mocollaborate rf deraeppaartistically sid sah hciand vestare umaS rarely dna stseen silanrtogether. uoj ot skaIn epasrecent ylerar ,interview, eye cilbup Tolokonnikova a era erehT .stmentioned setorp ni traap“friend ekat ton seod who ismfucking yna ,toiR ysasfascist”— uP tuoba sahpparently tym fo rebamun reference who ot tfihto s yAlyokhina, eht sa deta reneisg currently era hcihw fo dating a era yprominent eht taht siOrthodox eseht fo eChristian nO .tseW eht activist. Their two London”theatre .puorg“ projects evisehoc respond tokosimilar anih ylA ,daquestions: orba yarof both tsetaare l rieht nI reflections protest dehcnuon al their keewexperiences tsal avokinnof oko loT dna andejail and ht fo traboth p sa nstruggle odnoL nwith i swohow hs etto arapes take out its context :toiPussy R trA ,Riot noitib ihxof ew enRussian s’yrellaG ihctaaS without sah avoitkbecoming innokoloT .nothing msinoitcmore A teivthan oS-tsoP a ,commercialized ecneirepxe ertaecultural ht evisrcommodity. emmi na desived But they were htiw noitdeveloped cnujnoc ni separately ,toiR yssuPand edisnI take ,elbvery irreTdifferent stnafnE sapproaches. eL ynapmoc“You’re ertaeht KU not doing protest retfa( a sypolitical aD toiR w ohs s’ain niorder hkoylAtoebe lihw marginal, doing yb degyou ats sare i )ko ob tnaecpolitical er reh foprotest eltit eht in order era to htobe B .heard,” puorg eTolokonnikova rtaehT toiR ysstold uP reh me.roAlyokhina’s gI reknab deRiot sabDays -nodnis oLaydramatic b derosnops retelling ihctof aaher S ehnew t ynabook, pmocpart ca dmemoir na vonakusT part rehcall to sto erarms. utaef hTo cihawrelentless ,noitibihxbeat, e s’yrellaG Alyokhina ohwand ,kilutwo K geactors lO gnidfrom ulcnthe i sreBelarus mrofrep Free rtoyTheatre P dna ,gtell od athe sa tale dekaofn Pussy sraeppRiot’s a yltsom protests, ,)nosirtheir p hcnarrest erF a nin i y2012, ltnerrutrial c( ykand snelvaP imprisonment. eht ot mThey utorcspeak s sih g(or nilishout) an rof nwonk in ehRussian t ,namleuwith G tathe raMEnglish .erauqStranslation deR fo selbboc appearing morf debehind targimethem ohw on rotarscreen uc s’noiplaying tibihxe footage Russian eht sof yas ,5102 nriot i orpolice genetnand oM oPussy t aissuR Riot opened esprotests. ohw ”stsiThe tra-oshow reh“ y alpsid oon t sFriday aw aedi atethe ht nIslington aht tnatroAssembly pmi eromHall, era swhere eitilanthe osrep audience a rof seirbooed ots naiPutin ssuR land let ocheered t detnawand eH .tra whooped as Alyokhina described pleh dn a ,ecneidumoments a ngierof Thesis process book

of defiance. ihctaaIt S is s’ndue odnto oLgo ta on noitour tibihacross xe wen A the inhthe ehtUK and yb desiIreland ved swo s owcoming t serutaweeks. ef yrellaG Tolokonnikova yssuP fo srhas ebmtried em tnto enrefashion imorp tsoPussy m owt Riot Russia isiR ecas neiareuniversal pxe evisrphenomenon. emmi siht seod tuB .to barely gnirementioned ffus laer ehin t eher lttilone-hour eb noitareInside cracni fo Pussy tseRiot torp immersive tsinimef ,aiproject, ssuR nI which ?srenosirp fo opened fo last segnweek irf ehin t nao series era toiof R yspeciallyssuP puorg erectedek rooms at ohwinethe sohSaatchi T .scitiloGallery. p dna yteicos The lenemy acisyhpisknot sir sthe ecnRussian amrofrestate, p riehtitni trap is Calumnium, liaj neve dnaatnfictional emssaraauthoritarian h ecilop ,ecneloiv regime eht nocrossed neppah with stnua tscircus lufruoltroupe oc rieh(a T .emit judge ot sseisccaascreeching evah ton odmarionette yeht esuacand eb teerts the make-up). yrapolice nidro twear som clown dnA .sm roftalp laIn noone itutitsni room, crassly ro ganfaux ikcohstained-glass s ,gniflfab mewindow ht dnfi sn aissuR shows a mushroom cloud hanging .evisneffover o ylpmis theehcharred T .yrotsremains tnereffidofa Grenfell si ti ,aissTower, uR edistuO the London ni ecaf thousing oiR yssublock P noitthat ucescaught rep lacitilop fire inotJune. ish rieht ni detSomewhat alsnart sahbafflingly, yrtnuoc eit mo surrounded eht ni sutby atsthe ytirleering belec ofaces t nika of gnsome ihtemos of theerworld’s om si krpolitical ow citsitelite: ra rieDonald ht erehw ,tseW Trump, era yVladimir eht dna Putin, ,lanigrUK politician am naht maerNigel tsniam Farage, rof srmedia ats pobaron p dna Robert snaicitiMurdoch, lop yb dereehc UK Foreign s’toiR ysSecretary suP .nilmeBoris rK ehtJohnson ot pu gnand idnats former White chief strategist airaM House dna avo kinno koloT adhSteve zedaN Bannon. I have lait“All nedmy iserlife p SU a tembeen evahtrying anihkto oylA do political and noisiveleart t SU tihmy ni dgoal eraeis ppto a ,make etadidnac people htiw esympathetic tarepooc dnatosdcertain raC fo ecauses,” suoH seires Tolokonnikova .sremrofrep dnsays a seiin relan laginterview ,sertaehtthe gnidael weekend neve sbefore aw toiRthe ysopening suP eugrof a dInside luow emoS Pussy Riot. egaugn al-h“You’re silgnE nnot a otdoing laeppa political ot dengised protest citsilanoinitaorder n a estoinbe ogamarginal, tna ot dnyou a( ecare neidua doingsahpolitical protest eman rie hT .)etiin le order lacitiloto p be naissuR heard.” fi ,tluThe cfifidifferences d si dna hsilbetween gnE ni neAlyokhina eb syawla and Tolokonnikova .na issuR otni etalare snanot rt otjust ,elbsomething issopmi ton that ysshas uP tbecome uoba shtvisible ym fo rthrough ebmun atheir era erehT London satheatre detarenprojects. eg era hcTolokonnikova’s ihw fo ynam ,toiR drive to si etake sehtPussy fo enORiot .tseaway W ehtfrom ot tfits ihs yeht Russian tsuroots J ”.pu(and org“ its evispunk ehocorigins) a era yewas ht taht clearly lacvisible itilop lin anher igironew ehtsingle, fo srebPolice mem eerht State,2released 102 ni laiearlier rt no tuthis p ermonth ew evitahead celloc tra of an pop reyupcoming arp knup aalbum. fo ecnThe amro freptune rieh— t retfa sung accompanies a ovideo :lardin ehEnglish taC ruo— ivaS eht tsirhC s’w csoM ni featuring ,anihkoUS actress ylA ,32 degChloe a nehtSevigny ,avokinninokoloT which,hacpolice officer ivestum aS anbeats iretakechildren’s Y dna ,42 toys. neht taht ni devlovni srehto( 92 neht 8102 retneCtrA

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< Pussy Riot at the Saatchi Gallery: has the commodification of protest gone too far? > A new exhibition at London’s Saatchi Gallery features two shows devised by the two most prominent members of Pussy Riot. But does this immersive experience of incarceration belittle the real suffering of prisoners? In Russia, feminist protest group Pussy Riot are on the fringes of society and politics. Those who take part in their performances risk physical violence, police harassment and even jail time. Their colourful stunts happen on the street because they do not have access to institutional platforms. And most ordinary Russians find them baffling, shocking or simply offensive. Outside Russia, it is a different story. The political persecution Pussy Riot face in their home country has translated into something akin to celebrity status in the West, where their artistic work is more mainstream than marginal, and they are cheered by politicians and pop stars for standing up to the Kremlin. Pussy Riot’s Nadezhda Tolokonnikova and Maria Alyokhina have met a US presidential candidate, appeared in hit US television series House of Cards and cooperate with leading theatres, galleries and performers. Some would argue Pussy Riot was even designed to appeal to an English-language audience (and to antagonise a nationalistic Russian political elite). Their name has always been in English and is difficult, if not impossible, to translate into Russian. There are a number of myths about Pussy Riot, many of which are generated as they shift to the West. One of these is that they are a cohesive “group.” Just three members of the original political art collective were put on trial in 2012 after their performance of a punk prayer in Moscow’s Christ the Saviour Cathedral: Tolokonnikova, then aged 23, Alyokhina, then 24, and Yekaterina Samutsevich, then 29 (others involved in that

infamous protest were never identified or arrested). Samutsevich received a suspended sentence while Alyokhina and Tolokonnikova served almost two years behind bars. When the two women emerged from prison, their global profile meant Pussy Riot took on a new meaning. Tolokonnikova and Alyokhina still maintain that anyone can join Pussy Riot by donning a colourful balaclava, but, in fact, they personify the formerly anonymous brand. They give regular interviews and tour the world. Samutsevich has disappeared from the public eye, rarely speaks to journalists and does not take part in protests. There are a number of myths about Pussy Riot, many of which are generated as they shift to the West. One of these is that they are a cohesive “group.” In their latest foray abroad, Alyokhina and Tolokonnikova last week launched separate shows in London as part of the Saatchi Gallery’s new exhibition, Art Riot: Post-Soviet Actionism. Tolokonnikova has devised an immersive theatre experience, Inside Pussy Riot, in conjunction with UK theatre company Les Enfants Terrible, while Alyokhina’s show Riot Days (after the title of her recent book) is staged by her Pussy Riot Theatre group. Both are sponsored by London-based banker Igor Tsukanov and accompany the Saatchi Gallery’s exhibition, which features other performers including Oleg Kulik, who mostly appears naked as a dog, and Pyotr Pavlensky (currently in a French prison), known for nailing his scrotum to the cobbles of Red Square. Marat Guelman, the exhibition’s curator who emigrated from Russia to Montenegro in 2015, says the idea was to display “hero-artists” whose personalities are more important than the art. He wanted to tell Russian stories for a foreign audience, and help

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Oppression by authority

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Article from Calvert Journal 22 November, 2017 Text by Howard Amos

non-Russians understand what these artists were protesting against. “What did Pussy Riot do?” asks Guelman during an interview at the opening last week. “They created an image of Putin that is opposite to themselves. Putin is a man, they are women. Putin is old, they are young. Putin is grey, they are colourful. Putin is in the Kremlin, they are in prison.” Neither Tolokonnikova or Alyokhina made an appearance at the other’s show. Once close friends, the relationship between the two women appears to have cooled. They no longer collaborate artistically and are rarely seen together. In a recent interview, Tolokonnikova mentioned a “friend who is fucking a fascist”— apparently a reference to Alyokhina, who is currently dating a prominent Orthodox Christian activist. Their two London theatre projects respond to similar questions: both are reflections on their experiences of protest and jail and both struggle with how to take Pussy Riot out of its Russian context without it becoming nothing more than a commercialized cultural commodity. But they were developed separately and take very different approaches. “You’re not doing a political protest in order to be marginal, you are doing a political protest in order to be heard,” Tolokonnikova told me. Alyokhina’s Riot Days is a dramatic retelling of her new book, part memoir part call to arms. To a relentless beat, Alyokhina and two actors from the Belarus Free Theatre tell the tale of Pussy Riot’s protests, their arrest in 2012, trial and imprisonment. They speak (or shout) in Russian with the English translation appearing behind them on a screen playing footage of Russian riot police and Pussy Riot protests. The show opened on Friday at the Islington Assembly Hall, where the audience booed Putin and cheered and whooped as Alyokhina described moments Thesis process book

of defiance. It is due to go on tour across the UK and Ireland in the coming weeks. Tolokonnikova has tried to refashion Pussy Riot as a universal phenomenon. Russia is barely mentioned in her one-hour Inside Pussy Riot immersive project, which opened last week in a series of speciallyerected rooms in the Saatchi Gallery. The enemy is not the Russian state, it is Calumnium, a fictional authoritarian regime crossed with a circus troupe (a judge is a screeching marionette and the police wear clown make-up). In one room, a faux stained-glass window crassly shows a mushroom cloud hanging over the charred remains of Grenfell Tower, the London housing block that caught fire in June. Somewhat bafflingly, it is surrounded by the leering faces of some of the world’s political elite: Donald Trump, Vladimir Putin, UK politician Nigel Farage, media baron Robert Murdoch, UK Foreign Secretary Boris Johnson and former White House chief strategist Steve Bannon. “All my life I have been trying to do political art and my goal is to make people sympathetic to certain causes,” Tolokonnikova says in an interview the weekend before the opening of Inside Pussy Riot. “You’re not doing a political protest in order to be marginal, you are doing a political protest in order to be heard.” The differences between Alyokhina and Tolokonnikova are not just something that has become visible through their London theatre projects. Tolokonnikova’s drive to take Pussy Riot away from its Russian roots (and its punk origins) was clearly visible in her new single, Police State, released earlier this month ahead of an upcoming album. The pop tune — sung in English — accompanies a video featuring US actress Chloe Sevigny in which a police officer beats children’s toys.

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< Pussy Riot at the Saatchi Gallery: has the commodification of protest gone too far? > A new ssorcexhibition a ruot no at ogLondon’s ot eud si Saatchi tI .ecnafied fo Gallery .skeefeatures w gnimotwo c ehshows t ni dnadevised lerI dna by KUthe eht two yssumost P noiprominent hsafer ot de members irt sah avof okPussy innokoloT Riot. si aiBut ssuRdoes .nonthis emoimmersive nehp lasreexperience vinu a sa toiR of incarceration edisnI ruoh-ebelittle no reh nthe i dereal noitsuffering nem ylerab of prisoners? hcihw In ,tcRussia, ejorp evfeminist isremmi protest toiR yssuP group -yllaPussy iceps fRiot o seiare res on a nthe i keefringes w tsal d ofenepo society.yand rellapolitics. G ihctaaS Those eht nwho i smotake or detcere part intitheir ,etatperformances s naissuR eht trisk on sphysical i ymene ehT violence, nairapolice tirohtuharassment a lanoitcfi aand ,mueven inmuljail aC si time.aTheir ( epucolourful ort sucricstunts a htiw happen dessorcon emthe iger street dbecause na ettenthey oiramdognnot ihchave eercsaccess a si egdtouj institutional eno nI .)pplatforms. u-ekam nwAnd olc most raew eordinary cilop eht Russians ylssarc wfind odnithem w ssabaffling, lg-deniatshocking s xuaf a ,m oroor simply revoffensive. o gnignah duolc moorhsum a swohs Outside ,rewRussia, oT llefniteris G afodifferent sniamer story. derrahThe c eht political thgu persecution ac taht kcolPussy b gnisRiot uoh n face odnin oL eht their home si ti ,ycountry lgniflfabhas tahtranslated wemoS .eninto uJ ni erfi something emos fo akin secato f gcelebrity nireel ehtstatus yb dedinnuthe orrus West, where dlanotheir D :etiartistic le lacitiwork lop s’is dlrmore ow eht fo mainstream legiN naicithan tilop marginal, KU ,nituP and rimidthey alV ,are pmurT cheered ,hcoby drpoliticians uM treboR and norapop b aidstars em ,efor garaF standing dna noup snhtooJthe siroKremlin. B yraterPussy ceS ngRiot’s ieroF KU Nadezhda evetS tsigTolokonnikova etarts feihc esu and oH Maria etihW remrof Alyokhina ot gniyrthave neebmet evaahUS presidential I efil ym llA“ .nonnaB candidate, ekam o appeared t si laog yin mhit dnUS television a tra lacitilop od series ”,sHouse esuac nofiaCards trec otand citecooperate htapmys ewith lpoep leading ehttheatres, weivretnigalleries na ni syaand s avperformers. okinnokoloT Someewould disnI fargue o gnine Pussy po ehRiot t erowas feb deven nekeew designed lacitiloto pa appeal gniodto toan n eEnglish-language r’uoY“ .toiR yssuP audience era uo(and y ,lantoigantagonise ram eb ot readnationalistic ro ni tsetorp Russian eb political ot redro n elite). i tsetTheir orp laname citilophas a gniod always anihkoybeen lA nein ewEnglish teb secand nereis ffid difficult, ehT ”.dif raeh not gnimpossible, ihtemos tsujto totranslate n era avok into innoRussian. koloT dna There rare iehtahnumber guorht eof lbmyths isiv emabout oceb sPussy ah taht Riot, s’avmany okinnof okwhich oloT .sare tcejgenerated orp ertaehtas nodnoL they shift sti mto orfthe yaw West. a toiROne yssof uPthese ekat oist evird thatsathey w )sare nigia rocohesive knup sti d “group.” Just na( stoor naissuR threeemembers ciloP ,elgnof is the wenoriginal reh ni epolitical lbisiv ylraelc art d collective aeha htnowere m sihput t reon ilratrial e dein sa2012 eler ,etatS after —their enutperformance pop ehT .muof blaagpunk nimoprayer cpu na fo in Moscow’s oediv a seChrist inapmthe occa Saviour — hsilCathedral: gnE ni gnus Tolokonnikova, ni yngiveSthen eolhaged C sser23, tcaAlyokhina, SU gnirutaef .then syot 24, s’neand rdlihYekaterina c staeb recSamutsevich, fifo ecilop a hcihw then 29 (others involved in that

infamous esehprotest t tahw d were natsnever rednu identified snaissuR-non ordiarrested). d tahW“ .tSamutsevich sniaga gnitsereceived torp erewa stsitra suspended na gnirudsentence namleuGwhile sksa Alyokhina ”?od toiR yand ssuP Tolokonnikova yehT“ .keew tserved sal gninalmost epo ehtwo t ta years weivretni behind etisopbars. po si taht nituP fo egami na detaerc When erthe a yetwo ht ,nwomen am a siemerged nituP .sevfrom lesmeht ot prison, nituP .their gnuoglobal y era ye profile ht ,dlomeant si nituPussy P .nemow Riotehtook t ni son i naitunew P .lumeaning. fruoloc erTolokonnikova a yeht ,yerg si and Alyokhina still ”.nomaintain sirp ni erthat a yehanyone t ,nilmerK can edjoin am aPussy nihkoyRiot lA robyavdonning okinnokoalo colourful T rehtieN balaclava, ecnO .wobut, hs sin ’refact, hto ethey ht tapersonify ecnaraepthe pa na formerly eht neewanonymous teb pihsnoitbrand. aler ehThey t ,sdngive eirf esolc regular yehT .interviews delooc evaand h ot tour sraep the pa world. nemow owt Samutsevich era dna yllahas citsdisappeared itra etaroballfrom oc reg the nol on public ,weivreye, etni trarely necerspeaks a nI .rehto tejournalists got nees yland erar does notdtake neirf“part a de inno protests. itnem avThere okinnoare kola oT number a yltnofermyths appa — about ”tsicsPussy af a gnRiot, ikcufmany si ohw of which yltnerare ruc generated si ohw ,anias hkothey ylA oshift t ecnto erefer the West. naitsiOne rhC xof odthese ohtrOistnthat enimthey orp aare gnaitad cohesive stcejorp “group.” ertaeht nodnoL owt riehT .tsivitca In their eralatest htob foray :snoitabroad, seuq raliAlyokhina mis ot dnopser and tsetTolokonnikova orp fo secneirelast pxeweek rieht launched no snoitcefler separate ot wshows oh htiwineLondon lggurts has topart b dna oflithe aj dna Saatchi txetnoGallery’s c naissuRnew sti fexhibition, o tuo toiR yArt ssuRiot: P ekat Post-Soviet naht eroActionism. m gnihton g Tolokonnikova nimoceb ti tuohas htiw devised .ytid an om immersive moc larutltheatre uc dezilexperience, aicremmoc a Inside dnaPussy yletaraRiot, pes in deconjunction poleved erew with yeht tuB UK theatre er’uoY“company .sehcaorpLes pa tEnfants nereffidTerrible, yrev ekat while eb oAlyokhina’s t redro ni tseshow torp lRiot acitiDays lop a g (after niod ton the tsetitle torpoflaher citilrecent op a gnbook) iod eris a ustaged oy ,laniby gram herdlPussy ot avoRiot kinno Theatre koloT ”,group. draeh eBoth b ot are redro ni sponsored citamarby d aLondon-based si syaD toiR s’a banker nihkoyIgor lA .em Tsukanov riomeand m traccompany ap ,koob wethe n reSaatchi h fo gnilleter Gallery’s ,taeexhibition, b sseltnelerwhich a oT .features smra ot lother lac trap performers suraleB ehtincluding morf srotOleg ca ow Kulik, t dnawho anihkoylA mostly s’toiappears R yssuP naked fo elat as ehta ldog, let erand taehPyotr T eerF Pavlensky dna la(currently irt ,2102 nin i taseFrench rra riehprison), t ,stsetorp known )for tuonailing hs ro( khis aepscrotum s yehT .tto nethe mnosirpmi cobbles noitof alsRed nartSquare. hsilgnEMarat eht htGuelman, iw naissuRthe ni g exhibition’s niyalp neercurator cs a no who mehtemigrated dniheb gnfrom iraeppa Russia yssuto P dMontenegro na ecilop toin ir n2015, aissuRsays fo ethe gatoof idea yadwas irF nto o ddisplay enepo w “hero-artists” ohs ehT .stsewhose torp toiR personalities eht erehw ,lare laHmore ylbmeimportant ssA notgnthan ilsI ethe ht ta art. He dnawanted dereehto c dtell na n Russian ituP deostories ob ecnfor eida ua foreign stnemoaudience, m debircseand d anhelp ihkoylA sa depoohw

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Pussy Riot

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< Pussy Riot at the Saatchi Gallery: has the commodification of protest gone too far? > A new ssorcexhibition a ruot no at ogLondon’s ot eud si Saatchi tI .ecnafied fo infamous esehprotest t tahw d were natsnever rednu identified snaissuR-non Gallery .skeefeatures w gnimotwo c ehshows t ni dnadevised lerI dna by KUthe eht ordiarrested). d tahW“ .tSamutsevich sniaga gnitsereceived torp erewa stsitra two yssumost P noiprominent hsafer ot de members irt sah avof okPussy innokoloT suspended na gnirudsentence namleuGwhile sksa Alyokhina ”?od toiR yand ssuP Riot. si aiBut ssuRdoes .nonthis emoimmersive nehp lasreexperience vinu a sa toiR Tolokonnikova yehT“ .keew tserved sal gninalmost epo ehtwo t ta years weivretni of incarceration edisnI ruoh-ebelittle no reh nthe i dereal noitsuffering nem ylerab behind etisopbars. po si taht nituP fo egami na detaerc of prisoners? hcihw In ,tcRussia, ejorp evfeminist isremmi protest toiR yssuP When erthe a yetwo ht ,nwomen am a siemerged nituP .sevfrom lesmeht ot group -yllaPussy iceps fRiot o seiare res on a nthe i keefringes w tsal d ofenepo prison, nituP .their gnuoglobal y era ye profile ht ,dlomeant si nituPussy P .nemow society.yand rellapolitics. G ihctaaS Those eht nwho i smotake or detcere Riotehtook t ni son i naitunew P .lumeaning. fruoloc erTolokonnikova a yeht ,yerg si part intitheir ,etatperformances s naissuR eht trisk on sphysical i ymene ehT and Alyokhina still ”.nomaintain sirp ni erthat a yehanyone t ,nilmerK violence, nairapolice tirohtuharassment a lanoitcfi aand ,mueven inmuljail aC si can edjoin am aPussy nihkoyRiot lA robyavdonning okinnokoalo colourful T rehtieN time.aTheir ( epucolourful ort sucricstunts a htiw happen dessorcon emthe iger balaclava, ecnO .wobut, hs sin ’refact, hto ethey ht tapersonify ecnaraepthe pa na street dbecause na ettenthey oiramdognnot ihchave eercsaccess a si egdtouj formerly eht neewanonymous teb pihsnoitbrand. aler ehThey t ,sdngive eirf esolc institutional eno nI .)pplatforms. u-ekam nwAnd olc most raew eordinary cilop eht regular yehT .interviews delooc evaand h ot tour sraep the pa world. nemow owt Russians ylssarc wfind odnithem w ssabaffling, lg-deniatshocking s xuaf a ,m oroor Samutsevich era dna yllahas citsdisappeared itra etaroballfrom oc reg the nol on simply revoffensive. o gnignah duolc moorhsum a swohs public ,weivreye, etni trarely necerspeaks a nI .rehto tejournalists got nees yland erar Outside ,rewRussia, oT llefniteris G afodifferent sniamer story. derrahThe c eht does notdtake neirf“part a de inno protests. itnem avThere okinnoare kola oT political thgu persecution acIS taGREY, ht kcolPussy b THEY gnisRiot uohARE n face odnCOLOURFUL. in oL eht number a yltnofermyths appa — about ”tsicsPussy af a gnRiot, ikcufmany si ohw “PUTIN their home si ti ,ycountry lgniflfabhas tahtranslated wemoS .eninto uJ ni erfi of which yltnerare ruc generated si ohw ,anias hkothey ylA oshift t ecnto erefer PUTIN IS INf gTHE KREMLIN, THEY ARE IN PRISON.” something emos fo akin secato celebrity nireel ehtstatus yb dedinnuthe orrus the West. naitsiOne rhC xof odthese ohtrOistnthat enimthey orp aare gnaitad West, where dlanotheir D :etiartistic le lacitiwork lop s’is dlrmore ow eht fo cohesive stcejorp “group.” ertaeht nodnoL owt riehT .tsivitca mainstream legiN naicithan tilop marginal, KU ,nituP and rimidthey alV ,are pmurT In their eralatest htob foray :snoitabroad, seuq raliAlyokhina mis ot dnopser cheered ,hcoby drpoliticians uM treboR and norapop b aidstars em ,efor garaF and tsetTolokonnikova orp fo secneirelast pxeweek rieht launched no snoitcefler standing dna noup snhtooJthe siroKremlin. B yraterPussy ceS ngRiot’s ieroF KU separate ot wshows oh htiwineLondon lggurts has topart b dna oflithe aj dna Nadezhda evetS tsigTolokonnikova etarts feihc esu and oH Maria etihW remrof Saatchi txetnoGallery’s c naissuRnew sti fexhibition, o tuo toiR yArt ssuRiot: P ekat Alyokhina ot gniyrthave neebmet evaahUS presidential I efil ym llA“ .nonnaB Post-Soviet naht eroActionism. m gnihton g Tolokonnikova nimoceb ti tuohas htiw candidate, ekam o appeared t si laog yin mhit dnUS television a tra lacitilop od devised .ytid an om immersive moc larutltheatre uc dezilexperience, aicremmoc a series ”,sHouse esuac nofiaCards trec otand citecooperate htapmys ewith lpoep Inside dnaPussy yletaraRiot, pes in deconjunction poleved erew with yeht tuB leading ehttheatres, weivretnigalleries na ni syaand s avperformers. okinnokoloT UK theatre er’uoY“company .sehcaorpLes pa tEnfants nereffidTerrible, yrev ekat Someewould disnI fargue o gnine Pussy po ehRiot t erowas feb deven nekeew while eb oAlyokhina’s t redro ni tseshow torp lRiot acitiDays lop a g (after niod ton designed lacitiloto pa appeal gniodto toan n eEnglish-language r’uoY“ .toiR yssuP the tsetitle torpoflaher citilrecent op a gnbook) iod eris a ustaged oy ,laniby gram audience era uo(and y ,lantoigantagonise ram eb ot readnationalistic ro ni tsetorp herdlPussy ot avoRiot kinno Theatre koloT ”,group. draeh eBoth b ot are redro ni Russian eb political ot redro n elite). i tsetTheir orp laname citilophas a gniod sponsored citamarby d aLondon-based si syaD toiR s’a banker nihkoyIgor lA .em always anihkoybeen lA nein ewEnglish teb secand nereis ffid difficult, ehT ”.dif raeh Tsukanov riomeand m traccompany ap ,koob wethe n reSaatchi h fo gnilleter not gnimpossible, ihtemos tsujto totranslate n era avok into innoRussian. koloT dna Gallery’s ,taeexhibition, b sseltnelerwhich a oT .features smra ot lother lac trap There rare iehtahnumber guorht eof lbmyths isiv emabout oceb sPussy ah taht performers suraleB ehtincluding morf srotOleg ca ow Kulik, t dnawho anihkoylA Riot, s’avmany okinnof okwhich oloT .sare tcejgenerated orp ertaehtas nodnoL mostly s’toiappears R yssuP naked fo elat as ehta ldog, let erand taehPyotr T eerF they shift sti mto orfthe yaw West. a toiROne yssof uPthese ekat oist evird Pavlensky dna la(currently irt ,2102 nin i taseFrench rra riehprison), t ,stsetorp thatsathey w )sare nigia rocohesive knup sti d “group.” Just na( stoor naissuR known )for tuonailing hs ro( khis aepscrotum s yehT .tto nethe mnosirpmi threeemembers ciloP ,elgnof is the wenoriginal reh ni epolitical lbisiv ylraelc cobbles noitof alsRed nartSquare. hsilgnEMarat eht htGuelman, iw naissuRthe ni art d collective aeha htnowere m sihput t reon ilratrial e dein sa2012 eler ,etatS g exhibition’s niyalp neercurator cs a no who mehtemigrated dniheb gnfrom iraeppa after —their enutperformance pop ehT .muof blaagpunk nimoprayer cpu na fo Russia yssuto P dMontenegro na ecilop toin ir n2015, aissuRsays fo ethe gatoof in Moscow’s oediv a seChrist inapmthe occa Saviour — hsilCathedral: gnE ni gnus idea yadwas irF nto o ddisplay enepo w “hero-artists” ohs ehT .stsewhose torp toiR Tolokonnikova, ni yngiveSthen eolhaged C sser23, tcaAlyokhina, SU gnirutaef personalities eht erehw ,lare laHmore ylbmeimportant ssA notgnthan ilsI ethe ht ta .then syot 24, s’neand rdlihYekaterina c staeb recSamutsevich, fifo ecilop a hcihw art. He dnawanted dereehto c dtell na n Russian ituP deostories ob ecnfor eida ua then 29 (others involved in that foreign stnemoaudience, m debircseand d anhelp ihkoylA sa depoohw 0094

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ARTS+CULTURE 30 July 2015 Text by Claire Marie Healy

appearance. In his later series Horizons (2000), which Rubchinskiy cites more particularly, Novikov revisited the same motifs, demonstrating their connective role in his life’s work. The work has since been noted for its employment of digitally inspired design, representing the limitless potential of computer graphics to come even while working with textiles. His movements celebrated gender fluidity as a given. In a contemporary Russia where homophobic propaganda is being forwarded with unprecedented ferocity, the openly gay relationships and free spirited optimism of the New Artists and New Academy Members seems a long time ago. As curator of last year’s Calvert 22 gallery exhibition Yekaterina Andreyeva told The Moscow Times, “The New Artists lived in a trans-avant-garde world, without division.” The gender fluidity of the collective was one that extended to their artistic statements. In the New Academy years, Novikov co-founded a video art project called the ‘Pirate TV’ network. The main presenter was Novikov’s protégé, the late performance artist Vladislav Mamyshev-Monroe, whose cross-dressing characters and openness about his sexuality made him a hero for many in the gay community. “The 1990s ushered in a whole new era,” recalls Novikov in his brief autobiography text. “I began to feel that it was time to move on, time do something new.” The techno movement was that something new. The New Artists were already key figures in St Petersburg’s nightlife scene. From 1984, they were involved with Pop-Mechanika, the cult multimedia orchestra and artistic happening founded by Sergei Kurekhin. And when Novikov and his collective squatted in derelict buildings during the later perestroika years, they held massive, experimental parties in those Thesis process book

Pussy Riot

traditional, old-world spaces. Novikov invited foreign DJs to these parties, which were among the first mass events not controlled by the state. They still played with Soviet iconography, though, as when Yuri Gagarin’s first flight in space led to a series of themed raves. Bringing techno DJs like WestBam and The New Composers to rapt audiences, Novikov may have tired of the scene pretty quickly – as he wrote, copycat versions of the New Artists dampened his spirits – but his influence is undeniable. The beginnings of novikov x rubchinskiy were on a school trip. With Novikov’s technicolour graphics well suited to the digital world, it might be tempting to think Rubchinskiy encountered the work on an Instagram browse. But the designer’s desire to pay tribute to Novikov’s art has actually been growing since a chance meeting, in the former’s teenage years. As Rubchinskiy revealed to AnOther this week, he met him at an exhibition of Victor Tsoy’s art works on his first school trip to Saint Petersburg in 2000 – just two years before he died. “To me, he is the most interesting person from the 80s Soviet art generation”, he says in the interview, citing Novikov’s work with his favourite Leningrad rock and punk bands. “I have been dreaming about it for a long time and now it can be possible.” Made possible by Novikov’s daughter Maria – “she really liked the idea” – the collection introduces a new generation to the modern idiosyncrasies of the New Academist aesthetic.

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< Pussy Riot at the Saatchi Gallery: has the commodification of protest gone too far? > toiR yssuP

A new ssorcexhibition a ruot no at ogLondon’s ot eud si Saatchi tI .ecnafied fo infamous esehprotest t tahw d were natsnever rednu identified snaissuR-non Gallery .skeefeatures w gnimotwo c ehshows t ni dnadevised lerI dna by KUthe eht ordiarrested). d tahW“ .tSamutsevich sniaga gnitsereceived torp erewa stsitra two yssumost P noiprominent hsafer ot de members irt sah avof okPussy innokoloT suspended na gnirudsentence namleuGwhile sksa Alyokhina ”?od toiR yand ssuP Riot. si aiBut ssuRdoes .nonthis emoimmersive nehp lasreexperience vinu a sa toiR Tolokonnikova yehT“ .keew tserved sal gninalmost epo ehtwo t ta years weivretni of incarceration edisnI ruoh-ebelittle no reh nthe i dereal noitsuffering nem ylerab behind etisopbars. po si taht nituP fo egami na detaerc of prisoners? hcihw In ,tcRussia, ejorp evfeminist isremmi protest toiR yssuP When erthe a yetwo ht ,nwomen am a siemerged nituP .sevfrom lesmeht ot group -yllaPussy iceps fRiot o seiare res on a nthe i keefringes w tsal d ofenepo prison, nituP .their gnuoglobal y era ye profile ht ,dlomeant si nituPussy P .nemow society.yand rellapolitics. G ihctaaS Those eht nwho i smotake or detcere Riotehtook t ni son i naitunew P .lumeaning. fruoloc erTolokonnikova a yeht ,yerg si part intitheir ,etatperformances s naissuR eht trisk on sphysical i ymene ehT and Alyokhina still ”.nomaintain sirp ni erthat a yehanyone t ,nilmerK violence, nairapolice tirohtuharassment a lanoitcfi aand ,mueven inmuljail aC si can edjoin am aPussy nihkoyRiot lA robyavdonning okinnokoalo colourful T rehtieN time.aTheir ( epucolourful ort sucricstunts a htiw happen dessorcon emthe iger balaclava, ecnO .wobut, hs sin ’refact, hto ethey ht tapersonify ecnaraepthe pa na street dbecause na ettenthey oiramdognnot ihchave eercsaccess a si egdtouj formerly eht neewanonymous teb pihsnoitbrand. aler ehThey t ,sdngive eirf esolc institutional eno nI .)pplatforms. u-ekam nwAnd olc most raew eordinary cilop eht regular yehT .interviews delooc evaand h ot tour sraep the pa world. nemow owt Russians ylssarc wfind odnithem w ssabaffling, lg-deniatshocking s xuaf a ,m oroor Samutsevich era dna yllahas citsdisappeared itra etaroballfrom oc reg the nol on simply revoffensive. o gnignah duolc moorhsum a swohs public ,weivreye, etni trarely necerspeaks a nI .rehto tejournalists got nees yland erar Outside ,rewRussia, oT llefniteris G afodifferent sniamer story. derrahThe c eht does notdtake neirf“part a de inno protests. itnem avThere okinnoare kola oT political thgu persecution acIS taGREY, ht kcolPussy b THEY gnisRiot uohARE n face odnCOLOURFUL. in oL eht number a yltnofermyths appa — about ”tsicsPussy af a gnRiot, ikcufmany si ohw “PUTIN their home si ti ,ycountry lgniflfabhas tahtranslated wemoS .eninto uJ ni erfi of which yltnerare ruc generated si ohw ,anias hkothey ylA oshift t ecnto erefer PUTIN IS INf gTHE KREMLIN, THEY ARE IN PRISON.” something emos fo akin secato celebrity nireel ehtstatus yb dedinnuthe orrus the West. naitsiOne rhC xof odthese ohtrOistnthat enimthey orp aare gnaitad West, where dlanotheir D :etiartistic le lacitiwork lop s’is dlrmore ow eht fo cohesive stcejorp “group.” ertaeht nodnoL owt riehT .tsivitca mainstream legiN naicithan tilop marginal, KU ,nituP and rimidthey alV ,are pmurT In their eralatest htob foray :snoitabroad, seuq raliAlyokhina mis ot dnopser cheered ,hcoby drpoliticians uM treboR and norapop b aidstars em ,efor garaF and tsetTolokonnikova orp fo secneirelast pxeweek rieht launched no snoitcefler standing dna noup snhtooJthe siroKremlin. 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ARTS+CULTURE 30 July 2015 Text by Claire Marie Healy

ohW tsitrA lacidaR ehT < > erutluC htuoY naissuR depahS appearance. ot don tneiIn cshis erplater ylraliseries mis a hHorizons tiw ,8991 ni (2000), Rubchinskiy sgniwhich ht lla ro f etsat yad-cites tnesemore rp nwo ruo particularly, era s0Novikov 991 ehTrevisited “ :”s09 ethe hT nsame I aissuR“ motifs, demonstrating si m simedacA-oeNtheir .esoconnective lc a ot gniward rolenoinnehis molife’s nehpwork. gniticThe xe twork som ehas ht ysince ltnerruc been selytnoted s nredfor omits rehemployment to llA .erutluof c ndigitally aissuR ni inspired fo sdesign, liat eht yrepresenting lerem era stnthe emelimitless vom dna potential come ”.sedacof edcomputer rehto hgugraphics orht gnisto sap stemoc even s’erwhile eh ,onworking hcet ot ewith dragtextiles. -tnava-sHis nart morF movements evitaerccelebrated esohw tsitgender ra eht ofluidity t ediug ruoy as.falegiven. sti noinInUatecontemporary ivoS eht detsaRussia ltuo stnerruc where .lohrahomophobic W ydnA htiw propaganda slapnep tra pis opbeing saw eH forwarded tra s’with vokivunprecedented oN fo sraey ylraferocity, e eht elihW the openly dnuorggay rednrelationships u deusrup ylirand assefree cen erew spirited tsitra optimism eht ,s08 yof lrathe e dnNew a s0Artists 7 etal eand ht ni – NewsnAcademy oitibihxe Members no tup dluseems ow sdnaeilong rf sihtime dna ago. curator oft s last ecAs ilop diova o nwoyear’s t latsaCalvert oc eruc22 sbo ni gallery eht foexhibition noitamrof Yekaterina eht fo emitAndreyeva eht yb – sdiar told The seluMoscow r fo noitaTimes, xaler e“The ht dnNew a stsArtists itrA weN lived ot ein lbaa strans-avant-garde aw puorg eht ,edacworld, ed eht ni retal without .daordivision.” ba dna emThe oh tgender a yleerffluidity erom tof ibihxe the collective regnis nwas acirone emAthat eht extended hguorht yllaitinI to elbtheir a ereartistic w stsitrstatements. A weN eht ,yIn arthe gnitNew S annaoJ Academy ni seneyears, cs laruNovikov tluc fo ytco-founded ivitaerc eht pat ot a video .selart cricproject nwo riecalled ht ni sthe a lle‘Pirate w sa tsew eht TV’ network. ,ega C nhoJ dThe na gmain niraHpresenter htieK dedwas ulcni snaF Novikov’s ot gnikil nprotégé, iatrec a gthe niklate at loperformance hraW ydnA htiw artist s’voVladislav kivoN dnaMamyshev-Monroe, segalloc s’vokinletowhose K gelO cross-dressing eht denrucharacters ter lohraW and .sgnopenness itniap cirbaf about him s’llebphis masexuality C dehpargmade otua g nida nehero s yb for ruovaf many a sain llethe w sgay a ,stcommunity. sitrA weN eh“The t ot s1990s nac puos ushered ydnA fin o yahwhole posolihnew P ehera,” T ,korecalls ob sih fo ypoc Novikov inGhis ygroe ,vebrief aguBautobiography ”akirfA“ iegreStext. .lohraW “I began that rumiTtodfeel na ku hcyit imwas oloKtime gelOto,vmove onayruG on, time cirbado f sisomething H nevig koonew.” b a gnThe idlotechno h vokivoN movement .scihpargwas retuthat pmosomething c detapicitnew. na skThe rowtra New Artists dna dewere niatsalready us tsomkey s’vofigures kivoN gin noSt mA Petersburg’s netfo fonightlife aluben ascene. ni seirFrom es elb1984, issecca they sngiwere sed teinvolved s dna sewith cnamPop-Mechanika, rofrep dedrocernu the deccult alp tmultimedia aht scirbaf eorchestra lacs egraland ylraartistic e sih era happening Kurekhin. sdlefi cirtfounded emoeg nby i snSergei oci deu qilppa llams And when ste em nNovikov aht eromand s’erhis ehTcollective .ruoloc kcolb fo squatted elpmis yin lladerelict noitisopbuildings moc esehtduring htiw eye eht the later raw -itnperestroika a niatnoc hcyears, ihw ,rethey vewoheld h ,sngised massive, experimental those ekildlihc ehtparties htaenein bm silobmys Thesis process book

traditional, etal eht old-world slennahc yspaces. iksnihcbNovikov uR ahsoG sA invited rumforeign iT ecartDJs ew to ,nothese itaripsparties, ni rof yrwhich anoisiv were among first mass TBGL ethe ht ,c isum no tcevents apmi snot ’vokivoN controlled ,keew tsby aLthe .lohstate. raW yThey dnA dstill na tplayed nemevom with Soviet tsomiconography, s’tra naissuRthough, fo serutas anwhen gis eht Yuri Gagarin’s eht derfirst etneflight -er rezinalspace bliart lled aitnto eua flni series Bringing techno strihstof aethemed ws eht araves. iv ssen suoicsno c larutluc DJs thlike girbWestBam :yiksnihcband uR aThe hsoNew G fo sComposers trihs-t dna to rapta audiences, dna sepirtsNovikov lacihparmay g ,skhave colb ruoloc tired offthe o srscene ekram pretty eht lla quickly era esir– nuas s ehe lpmis wrote, copycat ,yik snihcbuversions R roF .voof kivthe oN rNew umiTArtists s0891 dampened s’wocsohis M ospirits t deko–olbut ylsuhis oivinfluence erp sah ohw is undeniable. retaks deThe rutpbeginnings ac dna gnitsofacnovikov rof htuoy x rubchinskiy ,yhpargotowere hp sion h na i aschool emirC etrip. ht foWith swerc Novikov’s suited sucof ntechnicolour i tfihs a slanggraphics is noitarowell ballo c eht to thetdigital S ni ,enworld, ecs teit ivomight S-tsobe p tntempting ereffid a to ot think Rubchinskiy eht gnirudencountered ,ereht saw tI the .gruwork bsreton eP an Instagram But dna vokbrowse. ivoN rum iT tthe aht designer’s ,s09 dna s08 desire stoa pay degrtribute eme srto otaNovikov’s roballoc cart itsihas tra sih actually been dew energrowing s’edrag-since tnavaaechance ht fo sredael meeting, teenage noitain xathe ler lformer’s audarg eh t gnirudyears. msimiAs tpo Rubchinskiy eht saw revealed eH .dnoyto ebAnOther dna akiothis rtserweek, eP fo he met atto an tubhim eno n fexhibition o daeheruof gfiVictor dna reTsoy’s dnuof art works school Saint weN on ehthis :stfirst neme vom citrip tsalto con oci owt Petersburg years eht yin b 2000 dewol–lojust f )19two 91-2 891( before stsitrA he died. f“To he o tpme, ecno c risiethe ht dmost na yminteresting edacA weN person from the Soviet generation”, eseh t fo e rtn80s ec eh t tA .mart sim edacA-oeN he says intathe ni h ed interview, ylemitnu sciting ih litnuNovikov’s spuorg owt work evwith itcellhis oc afavourite dedaehrLeningrad aeps vokivrock oN ,2002 and punk ,ec namrbands. ofrep ,t“Irahave lausibeen v ssodreaming rca ytivitaerc about e ithfor itihcan t htaiwlong ,tahtime t cisuand m dnow na no saf be ,mlfi possible.” ,niatruCMade norI epossible ht fo kcaby b gNovikov’s nillup laudarg daughter the fo Maria noitne–tt“she a ehtreally hctacliked ylkciu q dluow idea” – the collection.sintroduces rae dna seyae new nretsew generation the ynam os roto f ed onmodern a gnidividiosyncrasies orp vokivoN htiof W the New naAcademist issuR fo stnaesthetic. errucrednu larutlucbus niamer tra nwo sih seod yhw ,erutluc s’yiksnihcbuR sA ?tisiver ot tnatropmi s’tsitra etal eht ,sthgilhgih etubirt yliree era sngised evisule dna citamelbme :sedoc elyts yraropmetnoc rof desiop ,gnimrasid tub elpmis era scihparg esoht naht reduol skaeps taht noisrevbus a htiw ni htaed sih erofeb sraey wef A .snagols ,yhpargoibotua sih desolc tsitra eht ,2002 8102 retneCtrA

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Marat Guelman about Pussy Riot

< The Radical Artist Who Shaped Russian Youth Culture > As Gosha Rubchinskiy channels the late visionary for inspiration, we trace Timur Novikov’s impact on music, the LGBT movement and Andy Warhol. Last week, the signatures of Russian art’s most influential trailblazer re-entered the cultural consciousness via the sweatshirts and t-shirts of Gosha Rubchinskiy: bright colour blocks, graphical stripes and a simple sunrise are all the markers of 1980s Timur Novikov. For Rubchinskiy, who has previously looked to Moscow’s youth for casting and captured skater crews of the Crimea in his photography, the collaboration signals a shift in focus to a different post-Soviet scene, in St Petersburg. It was there, during the 80s and 90s, that Timur Novikov and his artistic collaborators emerged as leaders of the avant-garde’s renewed optimism during the gradual relaxation of Perestroika and beyond. He was the founder and figurehead of not one but two iconoclastic movements: the New Artists (1982-1991) followed by the New Academy and their concept of Neo-Academism. At the centre of these two groups until his untimely death in 2002, Novikov spearheaded a collective creativity across visual art, performance, film, fashion and music that, with the gradual pulling back of the Iron Curtain, would quickly catch the attention of western eyes and ears. With Novikov providing a node for so many subcultural undercurrents of Russian culture, why does his own art remain important to revisit? As Rubchinskiy’s tribute highlights, the late artist’s emblematic and elusive designs are eerily poised for contemporary style codes: those graphics are simple but disarming, with a subversion that speaks louder than slogans. A few years before his death in 2002, the artist closed his autobiography,

in 1998, with a similarly prescient nod to our own present-day taste for all things “Russia In The 90s”: “The 1990s are drawing to a close. Neo-Academism is currently the most exciting phenomenon in Russian culture. All other modern styles and movements are merely the tails of comets passing through other decades.” From trans-avant-garde to techno, here’s your guide to the artist whose creative currents outlasted the Soviet Union itself. He was pop art penpals with Andy Warhol. While the early years of Novikov’s art were necessarily pursued underground – in the late 70s and early 80s, the artist and his friends would put on exhibitions in obscure coastal towns to avoid police raids – by the time of the formation of the New Artists and the relaxation of rules later in the decade, the group was able to exhibit more freely at home and abroad. Initially through the American singer Joanna Stingray, the New Artists were able to tap the creativity of cultural scenes in the west as well as in their own circles. Fans included Keith Haring and John Cage, with Andy Warhol taking a certain liking to Oleg Kotelnikov’s collages and Novikov’s fabric paintings. Warhol returned the favour by sending autographed Campbell’s soup cans to the New Artists, as well as a copy of his book, The Philosophy of Andy Warhol. Sergei “Afrika” Bugaev, Georgy Guryanov, Oleg Kolomiychuk and Timur Novikov holding a book given His fabric artworks anticipated computer graphics. Among Novikov’s most sustained and accessible series in a nebula of often unrecorded performances and set designs are his early large scale fabrics that placed small appliqued icons in geometric fields of block colour. There’s more than meets the eye with these compositionally simple designs, however, which contain anti-war symbolism beneath the childlike

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Marat Guelman ERUTLUC+STRA about Pussy 5102 Riot yluJ 03 yb txeT ylaeH eiraM erialC

< The Radical Artist Who Shaped Russian Youth Culture > vokivRubchinskiy oN .secaps dchannels lrow-dlo the ,lanlate oitidart As Gosha hcihw ,sfor eitrinspiration, ap eseht ot we sJDtrace ngierTimur of detivni visionary ton simpact tneve son sam tsrfi ethe ht gLGBT noma erew Novikov’s music, deyalp lland its yAndy ehT .eWarhol. tats ehtLast yb dweek, ellortnoc movement nesignatures hw sa ,hguoofhtRussian ,yhpargart’s onocmost i teivoS htiw the a ot del etrailblazer caps ni thg ifl tsrfi s’nithe ragaG iruY influential re-entered onhcconsciousness et gnignirB .sevvia ar dthe emsweatshirts eht fo seires cultural srest-shirts opmoC w N ehT dRubchinskiy: na maBtseWbright ekil sJD and ofeGosha vah yam vokivoNstripes ,secneiand dua atpar ot colour eblocks, graphical eh ssunrise a – ylkcare iuq all yttthe erp markers enecs ehof t fo derit simple stsitrATimur weN e ht fo snoFor isreRubchinskiy, v tacypoc ,etorw 1980s Novikov. neupreviously flni sih tublooked – stiripto s sMoscow’s ih denepmad whoechas vokifor voncasting fo sgniand nnigcaptured eb ehT .elskater bainednu si youth htiW irt lCrimea oohcs ainnhis o erphotography, ew yiksnihcbur x crews of.pthe deticollaboration us llew scihpasignals rg ruoloacishift nhcein t sfocus ’vokivoN the ot agndifferent itpmet epost-Soviet scene, b thgim ti ,dlrow latin igiSt d eht ot to no krow eht It dewas retnthere, uocneduring yiksnihthe cbuR kniht Petersburg. reng90s, ised that eht tTimur uB .esNovikov worb maand rgatsnI na 80ss’and ah tra scollaborators ’vokivoN ot etemerged ubirt yap as ot erised hissartistic ecof nathe hc aavant-garde’s ecnis gniworgrenewed neeb yllautca leaders sA .sraeyduring eganethe et s’gradual remrof erelaxation ht ni ,gniteem optimism ,kePerestroika ew siht rehtand OnAbeyond. ot delaeHe verwas yiksn ihcbuR of the s’yosT roand tciVfigurehead fo noitibihxof en a ta mih tem eh founder not one but iaS ot pirt lomovements: ohcs tsrfi sihthe noNew skrow tra twotn iconoclastic erofeb (1982-1991) sraey owt tsufollowed j – 0002 by ni gthe rubsreteP Artists gnitAcademy seretni tsoand m etheir ht si e h ,em oTof “ .deid eh New concept ,Neo-Academism. ”noitareneg tra teAt ivothe S s0 8 eht m rf nosrep centre ofothese vokivoNuntil gnithis ic ,w eivretni death eht ni sinyas eh twos’groups untimely or dargnspearheaded ineL etiruovaaf scollective ih htiw krow 2002,kc Novikov gnimae rd neevisual b evahart, I“ .sperformance, dnab knup dna creativity across ebfashion nac ti wand on dmusic na emithat, t gnowith l a rothe f ti tuoba film, s’vopulling kivoN yback b elbiof ssthe op eIron daMCurtain, ”.elbissop gradual ht dekilcatch yllaerthe ehsattention “ – airaM of rethguad wouldequickly wen eyes a secand udorears. tni noitcelloc eht – ”aedi western fo seNovikov isarcnyso idi nredom eht ofor t noso itamany reneg With providing a node .citehtsea tsim dacA weN eht subcultural undercurrents ofeRussian culture, why does his own art remain important to revisit? As Rubchinskiy’s tribute highlights, the late artist’s emblematic and elusive designs are eerily poised for contemporary style codes: those graphics are simple but disarming, with a subversion that speaks louder than slogans. A few years before his death in 2002, the artist closed his autobiography,

snoziwith roH saesimilarly ires retalprescient sih nI .ecnnod araeto ppa in 1998, eropresent-day m setic yiksntaste ihcbufor R hall cihthings w ,)0002( our own emaIn s eThe ht d90s”: etisive“The r vok1990s ivoN ,yare lralucitrap “Russia evitcto enano c riehNeo-Academism t gnitartsnomed ,is sfitom drawing close. ecnis sthe ah kmost row eexciting hT .krowphenomenon s’efil sih ni elor currently llatigid fo tnemyo lpm e stimodern rof detostyles n neeb inyRussian culture. All other ssemovements ltimil eht gnare itnemerely serper ,the ngistails ed dof eripsni and emopassing c ot scihthrough parg retuother pmocdecades.” fo laitnetop comets siH .selitxet htiw gto nitechno, krow elihhere’s w neve From trans-avant-garde ytidiufltorethe dneartist g detwhose arbeleccreative stnemevom your guide aisoutlasted suR yrarothe pmeSoviet tnoc aUnion nI .nevitself. ig a sa currents niebpop si aart dnapenpals gaporp with cibohAndy pomoWarhol. h erehw He g was ,ytithe core f detyears nedecof erp nu htiw dart edrawrof While early Novikov’s eerf dna sppursued ihsnoitale r yag ylnepo eht were necessarily underground na slate tsitr70s A weand N ehearly t fo m simithe tpo artist detirips – indthe 80s, emithis gnfriends ol a smewould es sreput bmeon M exhibitions ymedacA weN and 22 trevlcoastal aC s’raetowns y tsal to fo ravoid otarupolice c sA .oga in obscure av–eyby erd nAtime anireof tathe keY formation noitibihxeof yre llag raids the the stsArtists itrA weN ehthe T“ ,srelaxation emiT wocsof oM ehT dlot New and rules ,dlrdecade, ow edrathe g-tngroup ava-snwas art aable ni dto evil later in the fo ymore tidiuflfreely redneat ge hT ”.nand oisivabroad. id tuohtiw exhibit home dnetxe the tahtAmerican eno saw esinger vitcelloc eht Initiallyde through weStingray, N eht nI .sthe tnem etaArtists ts citsitwere ra rieable ht ot Joanna New dedcreativity nuof-oc voofkicultural voN ,srascenes ey ymedinacA to tap the ariwell P‘ ehas t din elltheir ac tcown ejorpcircles. tra oediv a the westetas saw retnKeith eserpHaring and niam ehT .kJohn rowtCage, en ’VT Fans included namrWarhol taking ofrep etal eht ,aégcertain étorp sliking ’vokivto oN withecAndy esohKotelnikov’s w ,eornoM-vcollages ehsymaMand valNovikov’s sidalV tsitra Oleg ssenpaintings. nepo dna Warhol sretcarareturned hc gnisse rd-ssorc fabric the rof by oresending h a mih eautographed dam ytilauxeCampbell’s s sih tuoba favour s0cans 991 eto hTthe “ .ytNew inumArtists, moc yag ht nias yna m soup asewell llacbook, er ”,arThe e wePhilosophy n elohw a nof i dAndy erehsu copy ofshis .txetSergei yhparg“Afrika” oibotuaBugaev, feirb sihGeorgy ni vokivoN Warhol. evom otOleg emitKolomiychuk saw ti taht leand ef oTimur t nageb I“ Guryanov, onhceholding t ehT ”.w n gnigiven htemoHis s odfabric emit ,no Novikov a ebook ehT .wanticipated en gnihtemocomputer s taht sawgraphics. tnemevom artworks tS ni sNovikov’s erugfi yekmost ydaersustained la erew sts itrA weN Among and ,4891 moseries rF .ene filthginofs’often grubsreteP accessible incs a enebula ,akinahceperformances M-poP htiw deand vlovset ni edesigns rew yeht unrecorded cithis sitrearly a dnalarge artsescale hcro afabrics idemitlthat um tplaced luc eht are .niappliqued hkeruK iegicons reS ybindgeometric ednuof gnifields neppah small itcellocThere’s sih dnamore vokivthan oN nmeets ehw dnA of blockevcolour. nirudthese sgnidcompositionally liub tcilered ni dsimple ettauqs the eyegwith dlehowever, h yeht ,srwhich aey akcontain iortsereanti-war p retal eht designs, esoht nbeneath i seitrapthe latnchildlike emirepxe ,evissam symbolism

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,veaGosha guB ”aRubchinskiy kirfA“ iegreS ,vonaNovikov, yruG ygroeG x Timur kuhcyimoloand K gestyling lO Photography gnidloh vokivRubchinskiy, oN rumiT dna Gosha 2016yb nevig koob a 6891 ,lohraW ydnA

“THE 1990S USHERED IN A WHOLE NEW ERA. I BEGAN TO FEEL THAT IT WAS TIME TO MOVE ON, TIME DO SOMETHING NEW. THE TECHNO MOVEMENT WAS THAT SOMETHING NEW”.

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Sergei “Afrika” Bugaev, Georgy Guryanov, Oleg Kolomiychuk and Timur Novikov holding a book given by Andy Warhol, 1986

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Timur Novikov’s oil paintings 1998

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Gosha Rubchinskiy x Timur Novikov, Photography and styling Gosha Rubchinskiy, 2016

tahw yiksnihcbuR ahsoG deksa I < > dnert teivoS-tsoP eht fo skniht eh wefl I keew tsaL .lobmys lativ a si erutluc noihsaf — delohnoegip eb ot sekil ydoboN aissuR fo tekcop ynit a ,dargninilaK ot fo elpuoc tsap eht nI .yllaicepse srengised ,ainauhtiL dna dnaloP neewteb ni deltsen yteibonshgiH — sserp noihsaf eht ,sraey 71WF s’yiksnihcbuR ahsoG dnetta ot remrof eht tuoba deklat sah — dedulcni s’71SS no dednapxe flesti wohs ehT .wohs rednu noitacilbup yrevE .tol A .noinU teivoS s’tahw ta espmilg a dedulcni dna ,gniroliat wen siht tuoba seirots enod sah nus eht :sballoc tseggib s’7102 fo eno eb ot gniog eht ro :tsaE eht morf ytivitaerc fo evaw raewstrops hctip-eht-no fo noitcelloc a eb ot emoc s’ti sa ,tnemevom teivoS-tsoP eroM .llabtooF sadida htiw dengised dlrow eht nepo woh tsuj nwohs s’tI .nwonk saw ,hguoht ,tnatropmi .kcartdnuos s’wohs eht WON YRTSUDNI EHT NI GNIKROW ELPOEP TSOM“ s’ahsoG fo hcae sA LLA EREW YEHT OS ,S03 DNA S02 RIEHT NI ERA rieht ,tuo deklaw syob LLA SNAEM TI .AISSUR TEIVOS-TSOP FO TRAP A demoob seciov nwo dna ,AP eht revo TA YRTSUDNI EHT MROF OHW ELPOEP ESOHT decudortni hcae yeht RIEHT MORF NOITARIPSNI EKAT TNEMOM EHT emoh rieht ,sevlesmeht T E IVOS-TSOP EHT REDNOW ON OS ,DOOHDLIHC rieht tahw dna ,nwot FO TNIOP YM MORF .RALUPOP SI CITEHTSEA .era efil ni smaerd esrevid sa erew yehT ”.LARUTAN YREV SI TI WEIV morf tcepxe d’uoy sa -oc TEBCCAP :aissuR revo lla nrob syug serutluc etaicerppa nac elpoep — won si fo evol sih fo ekops veatiT ailoT rednuof ,ebolg eht revo lla morf scitehtsea dna dargninilaK lacol a elihw ,gnidraobetaks .aidem laicos dna tenretni eht ot sknaht gninioj fo smaerd yad eno eh dias yob snainiarkU ,snaigroeG ,snaissuR ,yllarutaN d’uoY .)BGK yad-nredom eht( BSF eht ,RSSU remrof eht fo tser eht morf syug dna sdik morf srewsna esrevid ylralimis teg neddus siht tuoba driew tib a leef lla elpoep gnuoy woh fo lobmys a :erehwyna .teivoS-tsop sgniht lla htiw noissesbo eht retfA .revo dlrow eht emas eht era stnaw ydobon — elbadnatsrednu s’tahT stsilanruoj eht fo hcae evag ahsoG ,wohs yrotsih rieht dna erutluc rieht ,krow rieht I os ,weivretni eno-no-eno a ecnadnetta ni .dnert noihsaf citsilpmis emos ot decuder ot ytinutroppo doog a eb dluow ti thguoht sa boj ruo s’ti ,yad eht fo dne eht ta tuB sa llew sa ,siht no evitcepsrep nwo sih teg no gniog s’tahw tuoba klat ot stsilanruoj erucsbo na“THE hcus es1990S ohc eh yUSHERED hw tuo dnfi otIN A tWHOLE aht yned oNEW t elbissERA. opmi s’ti dna ,ereht tuo .wohs sih rof noitacol morf gnimoc sgniht gnizama emos s’ereht ON, esuaceb sI ’BEGAN tI ?dargninTO ilaKFEEL yhw ,ffTHAT o tsriF IT WAS TIME .syTO ad eMOVE seht colb teivoS dlo eht TIME DO SOMETHING NEW. THE TECHNO I .]shgual[ erofeb ereh neeb reven d’I ,xob a otni ti gnittup — eman a ti gniviG .neeb reven MOVEMENT ev’I erehwemos WAS og ot dTHAT etnaw SOMETHING ot elpoep rof rNEW”. eisae ti sekam — erew ti sa ?ecnerolF retfa txen s’tahW“ :thguoht I gnihtemos evig uoy nehW .ti dnatsrednu tahT ”?siraP ot kcab emoC ?ittiP retfA ,kcab pets a ekat nac uoy ,eman a siht ekil od ot detnaw ew dna ,detcepxe oot saw etaicerppa dna ,erutcip reggib eht ta kool ot dediced eW .detcepxenu gnihtemos nehw emit a tA .si ti tnatropmi woh tsuj emas eht tA .aissuR ni erehwemos ti od neewteb noisnet fo klat tnatsnoc s’ereht gnizama na htiw em ot emac sadida emit rengised naissuR a ,tseW dna tsaE eht sadidA s’ti fi ,mmH“ :dias I .tcejorp llabtoof htuoy fo rewop gnitinu eht gnitarbelec Thesis process book

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Sergei “Afrika” yiksnihcBugaev, buR ahsoG Georgy Guryanov, ,vokivoN rumiT x Oleg gniKolomiychuk lyts dna yhpargotohP and Timur ,yikNovikov snihcbuRholding ahsoG a book given by 6102 Andy Warhol, 1986

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Timur Novikov’s oil paintings 1998

< The Radical Artist Who Shaped Russian Youth Culture > vokivRubchinskiy oN .secaps dchannels lrow-dlo the ,lanlate oitidart in 1998, snoziwith roH saesimilarly ires retalprescient sih nI .ecnnod araeto ppa As Gosha hcihw ,sfor eitrinspiration, ap eseht ot we sJDtrace ngierTimur of detivni our own eropresent-day m setic yiksntaste ihcbufor R hall cihthings w ,)0002( visionary ton simpact tneve son sam tsrfi ethe ht gLGBT noma erew “Russia emaIn s eThe ht d90s”: etisive“The r vok1990s ivoN ,yare lralucitrap Novikov’s music, deyalp lland its yAndy ehT .eWarhol. tats ehtLast yb dweek, ellortnoc drawing evitcto enano c riehNeo-Academism t gnitartsnomed ,is sfitom movement close. nesignatures hw sa ,hguoofhtRussian ,yhpargart’s onocmost i teivoS htiw currently ecnis sthe ah kmost row eexciting hT .krowphenomenon s’efil sih ni elor the a ot del etrailblazer caps ni thg ifl tsrfi s’nithe ragaG iruY inyRussian llatigid fo tnemyo lpm e stimodern rof detostyles n neeb influential re-entered culture. All other onhcconsciousness et gnignirB .sevvia ar dthe emsweatshirts eht fo seires and ssemovements ltimil eht gnare itnemerely serper ,the ngistails ed dof eripsni cultural srest-shirts opmoC w N ehT dRubchinskiy: na maBtseWbright ekil sJD comets emopassing c ot scihthrough parg retuother pmocdecades.” fo laitnetop and ofeGosha vah yam vokivoNstripes ,secneiand dua atpar ot From trans-avant-garde siH .selitxet htiw gto nitechno, krow elihhere’s w neve colour eblocks, graphical eh ssunrise a – ylkcare iuq all yttthe erp markers enecs ehof t fo derit your guide ytidiufltorethe dneartist g detwhose arbeleccreative stnemevom simple stsitrATimur weN e ht fo snoFor isreRubchinskiy, v tacypoc ,etorw currents aisoutlasted suR yrarothe pmeSoviet tnoc aUnion nI .nevitself. ig a sa 1980s Novikov. neupreviously flni sih tublooked – stiripto s sMoscow’s ih denepmad He g niebpop si aart dnapenpals gaporp with cibohAndy pomoWarhol. h erehw whoechas was vokifor voncasting fo sgniand nnigcaptured eb ehT .elskater bainednu si While ,ytithe core f detyears nedecof erp nu htiw dart edrawrof youth early Novikov’s htiW irt lCrimea oohcs ainnhis o erphotography, ew yiksnihcbur x were necessarily eerf dna sppursued ihsnoitale r yag ylnepo eht crews of.pthe underground deticollaboration us llew scihpasignals rg ruoloacishift nhcein t sfocus ’vokivoN – indthe na slate tsitr70s A weand N ehearly t fo m simithe tpo artist detirips the 80s, ot agndifferent itpmet epost-Soviet scene, b thgim ti ,dlrow latin igiSt d eht ot and emithis gnfriends ol a smewould es sreput bmeon M exhibitions ymedacA weN to no krow eht It dewas retnthere, uocneduring yiksnihthe cbuR kniht in obscure 22 trevlcoastal aC s’raetowns y tsal to fo ravoid otarupolice c sA .oga Petersburg. reng90s, ised that eht tTimur uB .esNovikov worb maand rgatsnI na raids av–eyby erd nAtime anireof tathe keY formation noitibihxeof yre llag 80ss’and the the ah tra scollaborators ’vokivoN ot etemerged ubirt yap as ot erised New stsArtists itrA weN ehthe T“ ,srelaxation emiT wocsof oM ehT dlot hissartistic and rules ecof nathe hc aavant-garde’s ecnis gniworgrenewed neeb yllautca later in the ,dlrdecade, ow edrathe g-tngroup ava-snwas art aable ni dto evil leaders sA .sraeyduring eganethe et s’gradual remrof erelaxation ht ni ,gniteem exhibit fo ymore tidiuflfreely redneat ge hT ”.nand oisivabroad. id tuohtiw optimism home ,kePerestroika ew siht rehtand OnAbeyond. ot delaeHe verwas yiksn ihcbuR Initiallyde dnetxe the tahtAmerican eno saw esinger vitcelloc eht of the through s’yosT roand tciVfigurehead fo noitibihxof en a ta mih tem eh Joanna weStingray, N eht nI .sthe tnem etaArtists ts citsitwere ra rieable ht ot founder not one but New iaS ot pirt lomovements: ohcs tsrfi sihthe noNew skrow tra to tap the dedcreativity nuof-oc voofkicultural voN ,srascenes ey ymedinacA twotn iconoclastic erofeb (1982-1991) sraey owt tsufollowed j – 0002 by ni gthe rubsreteP the westetas ariwell P‘ ehas t din elltheir ac tcown ejorpcircles. tra oediv a Artists gnitAcademy seretni tsoand m etheir ht si e h ,em oTof “ .deid eh Fans included saw retnKeith eserpHaring and niam ehT .kJohn rowtCage, en ’VT New concept ,Neo-Academism. ”noitareneg tra teAt ivothe S s0 8 eht m rf nosrep withecAndy namrWarhol taking ofrep etal eht ,aégcertain étorp sliking ’vokivto oN centre ofothese vokivoNuntil gnithis ic ,w eivretni death eht ni sinyas eh Oleg esohKotelnikov’s w ,eornoM-vcollages ehsymaMand valNovikov’s sidalV tsitra twos’groups untimely or dargnspearheaded ineL etiruovaaf scollective ih htiw krow fabric ssenpaintings. nepo dna Warhol sretcarareturned hc gnisse rd-ssorc 2002,kc Novikov the gnimae rd neevisual b evahart, I“ .sperformance, dnab knup dna favour rof by oresending h a mih eautographed dam ytilauxeCampbell’s s sih tuoba creativity across ebfashion nac ti wand on dmusic na emithat, t gnowith l a rothe f ti tuoba soup s0cans 991 eto hTthe “ .ytNew inumArtists, moc yag ht nias yna m film, asewell s’vopulling kivoN yback b elbiof ssthe op eIron daMCurtain, ”.elbissop copy ofshis llacbook, er ”,arThe e wePhilosophy n elohw a nof i dAndy erehsu gradual ht dekilcatch yllaerthe ehsattention “ – airaM of rethguad Warhol. .txetSergei yhparg“Afrika” oibotuaBugaev, feirb sihGeorgy ni vokivoN wouldequickly wen eyes a secand udorears. tni no.iA tcR elE locW eE htN– E ”aLeO diHW e v o m o t e m i t s a w t i t a h t l e e f o tTn“ ageb I“ western Guryanov, Oleg Kolomiychuk and A NI DEREHSU S0991 EHTimur fo seNovikov isarcnyso idi nredom eht ofor t noso itamany reneg Novikov onhceholding t ehT ”.w n gnigiven htemoHis s odfabric emit ,no With providing a node a ebook MdaOcAT wEeM Aanticipated F oO Egraphics. .cite,hNtsOeaEtV siO m N IeThtSAW eThITT.w eH nTgnLiE htE em sTtaN htAsG aw tBneImevom subcultural undercurrents ofeRussian artworks computer NHCET EHT Among .W M EM IT tSE nN i sNovikov’s eGruNgIfiHyTeE kmost ydO aeS rsustained laOeD rew sts itrA weN culture, why does his own artO remain and e lth inof ’often grM ubsreteP important to revisit? As Rubchinskiy’s accessible incs aTenebula .”WEN GNIHTEM O,4S89T1Am Hoseries TrFS.eAnW NfiE MgE VsO ,akinahceperformances M-poP htiw deand vlovset ni edesigns rew yeht tribute highlights, the late artist’s unrecorded cithis sitrearly a dnalarge artsescale hcro afabrics idemitlthat um tplaced luc eht emblematic and elusive designs are eerily are .niappliqued hkeruK iegicons reS ybindgeometric ednuof gnifields neppah poised for contemporary style codes: small itcellocThere’s sih dnamore vokivthan oN nmeets ehw dnA those graphics are simple but disarming, of blockevcolour. nirudthese sgnidcompositionally liub tcilered ni dsimple ettauqs with a subversion that speaks louder than the eyegwith dlehowever, h yeht ,srwhich aey akcontain iortsereanti-war p retal eht slogans. A few years before his death in designs, esoht nbeneath i seitrapthe latnchildlike emirepxe ,evissam 2002, the artist closed his autobiography, symbolism 00104

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Article in StyleJan by Alec Leach 2017

tahw yiksnihcbuR ahsoG deksa I < > dnert teivoS-tsoP eht fo skniht eh wefl I keew tsaL .lobmys lativ a si erutluc noihsaf — delohnoegip eb ot sekil ydoboN aissuR fo tekcop ynit a ,dargninilaK ot fo elpuoc tsap eht nI .yllaicepse srengised ,ainauhtiL dna dnaloP neewteb ni deltsen yteibonshgiH — sserp noihsaf eht ,sraey 71WF s’yiksnihcbuR ahsoG dnetta ot remrof eht tuoba deklat sah — dedulcni s’71SS no dednapxe flesti wohs ehT .wohs rednu noitacilbup yrevE .tol A .noinU teivoS s’tahw ta espmilg a dedulcni dna ,gniroliat wen siht tuoba seirots enod sah nus eht :sballoc tseggib s’7102 fo eno eb ot gniog eht ro :tsaE eht morf ytivitaerc fo evaw raewstrops hctip-eht-no fo noitcelloc a eb ot emoc s’ti sa ,tnemevom teivoS-tsoP eroM .llabtooF sadida htiw dengised dlrow eht nepo woh tsuj nwohs s’tI .nwonk saw ,hguoht ,tnatropmi .kcartdnuos s’wohs eht WON YRTSUDNI EHT NI GNIKROW ELPOEP TSOM“ s’ahsoG fo hcae sA LLA EREW YEHT OS ,S03 DNA S02 RIEHT NI ERA rieht ,tuo deklaw syob LLA SNAEM TI .AISSUR TEIVOS-TSOP FO TRAP A demoob seciov nwo dna ,AP eht revo TA YRTSUDNI EHT MROF OHW ELPOEP ESOHT decudortni hcae yeht RIEHT MORF NOITARIPSNI EKAT TNEMOM EHT emoh rieht ,sevlesmeht T E IVOS-TSOP EHT REDNOW ON OS ,DOOHDLIHC rieht tahw dna ,nwot FO TNIOP YM MORF .RALUPOP SI CITEHTSEA .era efil ni smaerd esrevid sa erew yehT ”.LARUTAN YREV SI TI WEIV morf tcepxe d’uoy sa -oc TEBCCAP :aissuR revo lla nrob syug serutluc etaicerppa nac elpoep — won si fo evol sih fo ekops veatiT ailoT rednuof ,ebolg eht revo lla morf scitehtsea dna dargninilaK lacol a elihw ,gnidraobetaks .aidem laicos dna tenretni eht ot sknaht gninioj fo smaerd yad eno eh dias yob snainiarkU ,snaigroeG ,snaissuR ,yllarutaN d’uoY .)BGK yad-nredom eht( BSF eht ,RSSU remrof eht fo tser eht morf syug dna sdik morf srewsna esrevid ylralimis teg neddus siht tuoba driew tib a leef lla elpoep gnuoy woh fo lobmys a :erehwyna .teivoS-tsop sgniht lla htiw noissesbo eht retfA .revo dlrow eht emas eht era stnaw ydobon — elbadnatsrednu s’tahT stsilanruoj eht fo hcae evag ahsoG ,wohs yrotsih rieht dna erutluc rieht ,krow rieht I os ,weivretni eno-no-eno a ecnadnetta ni .dnert noihsaf citsilpmis emos ot decuder ot ytinutroppo doog a eb dluow ti thguoht sa boj ruo s’ti ,yad eht fo dne eht ta tuB sa llew sa ,siht no evitcepsrep nwo sih teg no gniog s’tahw tuoba klat ot stsilanruoj erucsbo na hcus esohc eh yhw tuo dnfi ot taht yned ot elbissopmi s’ti dna ,ereht tuo .wohs sih rof noitacol morf gnimoc sgniht gnizama emos s’ereht esuaceb s’tI ?dargninilaK yhw ,ffo tsriF .syad eseht colb teivoS dlo eht I .]shgual[ erofeb ereh neeb reven d’I ,xob a otni ti gnittup — eman a ti gniviG .neeb reven ev’I erehwemos og ot detnaw ot elpoep rof reisae ti sekam — erew ti sa ?ecnerolF retfa txen s’tahW“ :thguoht I gnihtemos evig uoy nehW .ti dnatsrednu tahT ”?siraP ot kcab emoC ?ittiP retfA ,kcab pets a ekat nac uoy ,eman a siht ekil od ot detnaw ew dna ,detcepxe oot saw etaicerppa dna ,erutcip reggib eht ta kool ot dediced eW .detcepxenu gnihtemos nehw emit a tA .si ti tnatropmi woh tsuj emas eht tA .aissuR ni erehwemos ti od neewteb noisnet fo klat tnatsnoc s’ereht gnizama na htiw em ot emac sadida emit rengised naissuR a ,tseW dna tsaE eht sadidA s’ti fi ,mmH“ :dias I .tcejorp llabtoof htuoy fo rewop gnitinu eht gnitarbelec Thesis process book

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Timur Novikov’s oil paintings 1998

Nobody likes to be pigeonholed — fashion designers especially. In the past couple of years, the fashion press — Highsnobiety included — has talked about the former Soviet Union. A lot. Every publication under the sun has done stories about this new wave of creativity from the East: or the Post-Soviet movement, as it’s come to be known. It’s shown just how open the world

culture is a vital symbol. Last week I flew to Kaliningrad, a tiny pocket of Russia nestled in between Poland and Lithuania, to attend Gosha Rubchinskiy’s FW17 show. The show itself expanded on SS17’s tailoring, and included a glimpse at what’s going to be one of 2017’s biggest collabs: a collection of on-the-pitch sportswear designed with adidas Football. More important, though, was “MOST PEOPLE WORKING IN THE INDUSTRY NOW the show’s soundtrack. each of Gosha’s ARE IN THEIR 20S AND 30S, SO THEY WERE ALL As boys walked out, their A PART OF POST-SOVIET RUSSIA. IT MEANS ALL own voices boomed over the PA, and THOSE PEOPLE WHO FORM THE INDUSTRY AT they each introduced THE MOMENT TAKE INSPIRATION FROM THEIR their home CHILDHOOD, SO NO WONDER THE POST-SOVIET themselves, town, and what their AESTHETIC IS POPULAR. FROM MY POINT OF dreams in life are. They were as diverse VIEW IT IS VERY NATURAL.” as you’d expect from is now — people can appreciate cultures guys born all over Russia: PACCBET coand aesthetics from all over the globe, founder Tolia Titaev spoke of his love of thanks to the internet and social media. skateboarding, while a local Kaliningrad Naturally, Russians, Georgians, Ukrainians boy said he one day dreams of joining and guys from the rest of the former USSR, the FSB (the modern-day KGB). You’d all feel a bit weird about this sudden get similarly diverse answers from kids obsession with all things post-Soviet. anywhere: a symbol of how young people That’s understandable — nobody wants are the same the world over. After the their work, their culture and their history show, Gosha gave each of the journalists reduced to some simplistic fashion trend. in attendance a one-on-one interview, so I But at the end of the day, it’s our job as thought it would be a good opportunity to journalists to talk about what’s going on get his own perspective on this, as well as out there, and it’s impossible to deny that to find out why he chose such an obscure there’s some amazing things coming from location for his show. the old Soviet bloc these days. First off, why Kaliningrad? It’s because Giving it a name — putting it into a box, I’d never been here before [laughs]. I as it were — makes it easier for people to wanted to go somewhere I’ve never been. understand it. When you give something I thought: “What’s next after Florence? like this a name, you can take a step back, After Pitti? Come back to Paris?” That look at the bigger picture, and appreciate was too expected, and we wanted to do just how important it is. At a time when something unexpected. We decided to there’s constant talk of tension between do it somewhere in Russia. At the same the East and West, a Russian designer time adidas came to me with an amazing celebrating the uniting power of youth football project. I said: “Hmm, if it’s Adidas 00106

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Article in StyleJan by Alec Leach 2017

sI avokloV attoL < > dooG oS kooL etsaT daB gnikaM Football, eht ni sand butsthe ettfootball eragic ncup, o gnilet’s ggardo d sit tnap in thescity ’tI .swhere exelpmthe oc cup tnemwill trapbe.”I a fo started syawllah to search, taht ecaand ps eKaliningrad erferac dna was ytridperfect, fo epyt eht because ,ssenweit n used fo dlrotowbe ypGerman. poh toh aGerman otni slarips brand yruxand ul foRussian noitpecbrand rep evall iantogether. a no gnisucof Theteterritory ivoS-tsoused p eht to ot belong evitan yto lnGermany, o slebal dna it’s in middle sathe h tse W eht of tahEurope. t gnihteIt’s mosperfect. s’tI .noinU What behind the a llawas s’ti ,the su rstory of os d na ,dec neicollection? repxe reven First.eofgnall, irf Iewanted lttil a llato s’tcontinue i ,dnuorgour redngames u elttil withgntailoring the ihton si since yregam i ylast ttirgcollection. fo tros siht tuB This footballthemed neeb syawla s’eadidas hs—avcollaboration, okloV rof levon it wastuan tonirevoh o tinspiration suj syawla ,for egnme. irf eIhtried t no g create some can eht gncharacters irud nevE .dthat nuoyou rgred nu eht fo see ngtoday ierof oint dthe esoshow, pxe sasome w ehsfootball ,semit tfan eivoS characters, football .doirep em it eht roplayers, f gniht ethe rar owner a ,seruof tluc a football eh os ,piclub. hs a nItowas niatto pashow c a sadifferent w rehtaf yM“ kinds saw tiof necustomers, hw nevE .gnuniforms ilevart ylfor tnadifferent tsnoc saw types oflamen.You the,nboys syaw saw rehthad af ym oinU announcing teivoS ]eht[ their out. What’s napadreams J morf sas ehthey tolc ewalked kil ,stne serp gnignirb your ot ddream esu eHfor “ .athe vokGosha loV syabrand? s ”,ynaThe mreG dna rmain ehtordream b yM .ris ento rukeep T aniTenergy fo sepaand toepower div gnirb to ,s0have 8’ ehdreams, t ni minebecause d raew otour enodreams tsrfi eht saw are and usmto weird a edriving vird ot us eno tsrsending fi eht saw om ym elihw

others tsujwere si woinfantile. nk uoy enIt’s oyrinteresting eve sa ,wontothgiR see what Sometimes fo tyoung fi dezispeople revo ehsay. t ni n word ot gniyd when avokyou loV agrow, ttoL ,eyou idomiss oh cinsomething, atiT s’stnemeteV andgn talking iht ehtwith ekil young sreh nipeople dnuorahelps gninnto aws si open yleyour kil tseyes om s’and tahtsee dnAreality. .reh roIt’s f edan am saw interesting gnilyts htiwbalance, gnola ,llsometimes a retfA .sawkids ti escan uaceb be infantile, rof ti nisometimes deklaw sahwhen avokyou loV ,hear wohs eht them, yllayou cisasee b s’ereal hs othings.You S .snosaeshave owt tpeople sap eht from tall world hgover ir yrtthe sudn i eht wearing ni tsilytsGosha. tselooc eht Can you yMsee “ .lothat oc sithe emstreetwear an reh neveis,lluniting eH .won people? ’evoL atYes, toL eI lthink ohW‘ so. a reThings tfa em like demmusic an mom or football ”!noinUand teivfashion oS ]eht[can nI .unite nilepppeople. eZ deL yb It’srogreat. now the f gnisWe op m orf live kaerin b athe noage ,avoof klo V syas internet and hcraM s’eInstagram. ugoV rof toPeople ohs srocan tavosee nnI eht whattaishthappening ralloc epytin -Mour SDcity B a gor nicountry, raew ,eussi you ynitdon’t a sa need llew sto a ,read pohsthe xesnewspaper. a ta thguob ehs You emacan c tI“find .ecayour lkcenown ssochannel rc xodohwhere trO nayou issuR can find retfathe tuBtruth.How ”.ylmodnado r dyou na efeel gnaabout rts yllaer all the moment? elttiattention l ,avokloVon htiRussia w emit at emthe os d neps uoy I don’t fo tremember hgieh eht oattime esir cwhen iroetethere m rehwas tuoba no attention to Russia [laughs]. .mo dnar smeIt’s es hard noihsaf tona forget just look d yiksnabout ihcbuRthis ahscountry, oG htiw g nola ,avokloV at the llewglobe.How sdnuorg a fdo o tryou ap sfeel i ,ailabout asavGthis anmeD post-Soviet teivoS-thing tsop fo that’s become derb–naoinU “RUSSIA HAS ALWAYS BEEN LIKE THAT. LET’S SEE trend sreknow? aeps Indon’t aissuR WHAT HAPPENS WHEN THE NEXT GENERATION know ehtwhat ni esit ir is, eht no IS THE NEW RUSSIA: PEOPLE WHO’VE GROWN UP the post-Soviet ohw yrtsudni dnepIsthinks ro evilit’s rehatie WITH THE INTERNET AND CAN BE PART OF A MORE look. cliche. The press n i e m i t f o y tnelp INTERNATIONAL COMMUNITY. IT’S INTERESTING TO can’tepsay what oruE nretitseW BE LIVING HERE NOW. THAT’S WHY I’M STILL HERE. is soetthey aroptry rocto ni dna put,eituqininthe box. I TRY TO SHOW RUSSIA IN A NEW WAY.” u nw o rieI ht don’t know decn euflnwhat i-teivit oS places like syawla evKaliningrad. ah eW .nwot Iywant m ni rto ackeep esenapaJ is. Maybe .krowthat’s rieht one otni of s0the 9’ ereasons ht fo ecnwhy eirepI xe dreaming and you. see nehW ”.eto snetell s tamore ht ni stories ykcul etto iuq neeb invited nyou i si tto silKaliningrad, yts eht ,wercsoreyou h dncan oyeb tuB Very do aidoptimistic em nretseand W dpositive. na llef noHow inU te ivoyou S eht thetapost-Soviet ht kool a dnlook a eduwith tittayour na foown noiseyes. sessop feel about the ,sredyouth rob naculture issuR etin aethis mreday p otand detrats Do you ni thfeel gir dthe na ,pressure poc ot drthat ah ,to h dbrand er htob si age?wIt’s en finteresting. o egrus a otThat’s desopwhy xe sawe w adid vokloV is -smuch teem-bigger etsat-dnow? ab stnThe emewhole teV ehworld t htiwispets the casting from cities you. erehT“ .e sle edifferent noyreve h tiw gin noRussia, la aidem watching revo n ekatYes, s’tabut ht cwe itehtry tseto a efigure tsat-doog and eWmade .gnilethose ef yrainterviews. noitulover tFor somme, la siit’s ht sthe aw it aout si bit tnuby occbit. a mIathink rgatsit’s nI sinteresting, ’avokloV .noit ihsaf image uoy dof nathe ,wogeneration csoM ni sehof crtoday. am yagPeople -orp dah helped detalexme ip abring s’tI :kaoocrazy l eht fproject o elpmatoxelife tceand frep from in othe ehtdifferent ni tra naicountries ssuR tuobbeing a hcum s dsame enrael invite no sepeople sucof tto ahKaliningrad.Does t eno ,esrevinu teibeing voS-tsinop mood. hear gnikaeIt’s rbdinteresting nuorg—gnotorts repuwhat s sawboys tI .s09’ Moscow htiw ehelp? telpmoDo c ,you modfeel eerfdisconnected dnuofwen ,hserf are answering. main no kcab kooSome l I“ .avwere okloVvery syaserious, s ”,yaw a ni from k cart fashion sadidA nworld... i sneet gnippaws-avilas Thesis process book

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yiksnihcbuR ahsoG ,vokivoN rumiT x gnilyts dna yhpargotohP ,yiksnihcbuR ahsoG 6102

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sI avokloV attoL < > dooG oS kooL etsaT daB gnikaM asking a lla sVolkova ’ti ,su roftoosmake dna ,their decnoutfits, eirepxetoo. reven From.ethere, gnirf eshe lttil created a lla s’ti her ,dnuown orgrlabel, ednu elttil Lotta “It gnSkeletrix. ihton si yre gawas mi ysort ttirgof fostreetwear tros siht tuB inspired neeby b spunk, yawlaNew s’ehsWave, —avoand kloVpostrof levon punktculture,” uo tsuj sysays awlaVolkova. ,egnirf eht no gnirevoh “It got picked eht gnirup udby nea vEfew .dnbuyers, uorgredso nu Ieht fo started Then had first ngieroselling f ot deit. sop xe saI w ehmy s ,se mit show, teivoS and.dIostarted irep emselling it eht roat f gDover niht erStreet ar a ,sMarket erutluc in eLondon—and Rei h os ,pihs a noI met niatp ac Kawakubo. a saw rehtaItf yM“ was process. aimed saw ati very nehwnatural nevE .g nilevart Iynever ltnatsn oc saw at sbecoming yawla sawa rdesigner ehtaf ym or ,noanything inU teivolike S ]eht[ that.” move napaEventually, J morf sehtoVolkova lc ekil ,smade tneserthe p gn ignirb tooParis, design t desuwhere eH“ .ashe voklshifted oV syasfrom ”,yna mreG dtona She airb rstyling. ehtorb y M .rmet enruGosha T aniT Rubchinskiy fo sepatoedion v gn shoot, and like ,s08’ eh t nithe minrest ed raisehistory. w ot eno“It tsfelt rfi eh t saw we both a knew evird oeach t enoother tsrfi forever. eht saw We mom ym were elihw born inlathe syaw evasame h eWyear, .nwot1984, ym niso racwe eshave enapaJ the same references, innaeeb nehW ”.esnes taand ht nimentality, ykcul etiuq way. aidWe emunderstand nretseW dneach a llef other noinUso teiwell.” voS eht A few ,years sredrolater, b naiswhile suR eout taeclubbing, mrep ot deshe trats metwDemna was en fo eGvasalia grus a otand deso pxeapproached saw avokloV by him toT“work ereh .esleon enhis oyrcollection. eve htiw gn“Again, ola aidem straightaway, eW .gnileef ywe ranunderstood oitulover tsothat mlawe sihhave t saw a ulot oyin dncommon.” a ,wocsoMNow ni seVolkova hcram yis agsmack-orp dah dab ehin t nthe i tramidst naissof uRthe tuoserious, ba hcumindustryos denrael shaping gnikaerbbuzz dnuosurrounding rg—gnortsreVetements. pus saw tI .s09’ “I think no kitcaisb one koolofI“the .avofirst kloVtimes syas people ”,yaw a ni haveforeally noisopaid lpxeattention na ekil sato w [post-Soviet ti dna emit eht culture]. gnitThere icxe yhave llaer sbeen aw hcshoots ihw ,noinitaRussia mrofni before, there never ti ,rebut gane et a shas a em rof dbeen na—so dlihmany c a rof Russian wen ospeople la erew working erehT ”.gand niripbeing sni ylinspired laer saw by dewhere tarip fthey o yawcame yb nofrom. ihsafIt’s ot sandifferent oitcudortni style, and visually tuob a de nrael I esuch mit tasrstrong fi ehT“ aesthetic, .noisivelet one ,hsthat artoras uEEuropeans seires eht horguAmericans orht saw nwe oihsaf aren’t know dna used reitluto aGor lua P naemuch J htiwabout. margoItrpcame taht quite sawnatural I“ .avokfor loVus sybecause as ”,senuwe aC grew ed enup iotnA in that and was a nera, i dek an rto eitbe luahonest, G luaP nitae J gnso ihctaw different ni dekaand n esspecial.” le enoemBut os gas niwwith eivreall tnof i ,eert fashion’s os dnamomentary pu dekcuf ofixations, s saw tI .ethere’s ert rehtona theehrisk overexposure s ,7of 1d enrut avokloVand nehthen W ”.nausort f hcum ofyd fad-related uts ot ksribfatigue. isovoN fNot o nwso otwith emohthis reh tfel movement, e hs ereht ecsays nO .sVolkova. nitraM tni“I aSdon’t lartnthink eC ta tra it fsuddenly just o tsom gnbecame idneps ,so enetrendy. cs bulcI e ht othink tni llef people etaercnever dluowreally ehs htalked cihw roabout f ,tuo itstbefore hgin reh asnmuch, inothat way,” ageb sor dnshowed eirf reh ,itno S .sekind htolcofnw o reh Thesis process book

says tsthe uj sistylist, wonk uand oy eshe noydoesn’t reve sa ,consider won thgiR this wave ofdpost-Soviet fo tfi ezisrevo ehtvisuals ni nwoto rd be ot ganiyd trend, avoklanyway, oV attoL but ,eidrather ooh cinaamovement tiT s’stnemeteV based gnihon t eahtnew ekil voice sreh nfrom i dnuaordifferent a gninnaws si perspective. “I’m looking ylekil tsom s’tainterested ht dnA .rehinro f edamat saw things gnilytsdifferently. htiw gnola I’m ,lla interested retfA .saw in ti elooking suaceb at something rof ti ni dthat eklawe w saren’t ah avonecessarily kloV ,wohs eht used she yllatocibeing sab s’econsidered hs oS .snosbeautiful,” aes owt tsa p eht says.t“I’m hgir interested yrtsudni ehin t nshowing i tsilyts tanother selooc eht side ofythings M“ .loowhich c si emI ado n rfind eh nbeautiful, eve ,lleH .won which ’evoLIado ttofind L eloreal hW‘and a reinteresting. tfa em demaI’m n mom not necessarily ”!noinU teivinterested oS ]eht[ nI in .nibad lepptaste eZ deor L yb kitsch, rof geither—it nisop morfiskjust aerbsomething a no ,avoklthat oV sIyas lookhat cradifferently.” M s’eugoV rof toohs srotavonnI eht taht ralloc epyt-MSDB a gniraew ,eussi ynit a sa llew sa ,pohs xes a ta thguob ehs emac tI“ .ecalkcen ssorc xodohtrO naissuR retfa tuB ”.ylmodnar dna egnarts yllaer elttil ,avokloV htiw emit emos dneps uoy fo thgieh eht ot esir ciroetem reh tuoba .modnar smees noihsaf dna yiksnihcbuR ahsoG htiw gnola ,avokloV fo llewsdnuorg a fo trap si ,ailasavG anmeD srekaeps naissuR derb–noinU teivoS-tsop evil rehtie ohw yrtsudni eht ni esir eht no eporuE nretseW ni emit fo ytnelp dneps ro -teivoS ,euqinu nwo rieht etaroprocni dna rieht otni s09’ eht fo ecneirepxe decneuflni ni si tsilyts eht ,werc reh dnoyeb tuB .krow taht kool a dna edutitta na fo noissessop ni thgir dna ,poc ot drah ,toh der htob si -steem-etsat-dab stnemeteV eht htiw pets revo nekat s’taht citehtsea etsat-doog a si tnuocca margatsnI s’avokloV .noihsaf detalexip a s’tI :kool eht fo elpmaxe tcefrep no sesucof taht eno ,esrevinu teivoS-tsop htiw etelpmoc ,modeerf dnuofwen ,hserf kcart sadidA ni sneet gnippaws-avilas eht ni sbuts etteragic no gniggard stnap s’tI .sexelpmoc tnemtrapa fo syawllah taht ecaps eerferac dna ytrid fo epyt eht ,ssenwen fo dlrow yppoh toh a otni slarips yruxul fo noitpecrep evian a no gnisucof teivoS-tsop eht ot evitan ylno slebal dna sah tseW eht taht gnihtemos s’tI .noinU 8102 retneCtrA

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< Lotta Volkova Is Making Bad Taste Look So Good > Right now, as everyone you know is just dying to drown in the oversized fit of Vetements’s Titanic hoodie, Lotta Volkova is swanning around in hers like the thing was made for her. And that’s most likely because it was. After all, along with styling the show, Volkova has walked in it for the past two seasons. So she’s basically the coolest stylist in the industry right now. Hell, even her name is cool. “My mom named me after a ‘Whole Lotta Love’ by Led Zeppelin. In [the] Soviet Union!” says Volkova, on a break from posing for the Innovators shoot for Vogue’s March issue, wearing a BDSM-type collar that she bought at a sex shop, as well as a tiny Russian Orthodox cross necklace. “It came really strange and randomly.” But after you spend some time with Volkova, little about her meteoric rise to the height of fashion seems random. Volkova, along with Gosha Rubchinskiy and Demna Gvasalia, is part of a groundswell of post-Soviet Union–bred Russian speakers on the rise in the industry who either live or spend plenty of time in Western Europe and incorporate their own unique, Sovietinfluenced experience of the ’90s into their work. But beyond her crew, the stylist is in possession of an attitude and a look that is both red hot, hard to cop, and right in step with the Vetements bad-taste-meetsgood-taste aesthetic that’s taken over fashion. Volkova’s Instagram account is a perfect example of the look: It’s a pixelated post-Soviet universe, one that focuses on fresh, newfound freedom, complete with saliva-swapping teens in Adidas track pants dragging on cigarette stubs in the hallways of apartment complexes. It’s the type of dirty and carefree space that spirals into a hot hoppy world of newness, focusing on a naive perception of luxury and labels only native to the post-Soviet Union. It’s something that the West has

never experienced, and so for us, it’s all a little underground, it’s all a little fringe. But this sort of gritty imagery is nothing novel for Volkova—she’s always been hovering on the fringe, always just out of the underground. Even during the Soviet times, she was exposed to foreign cultures, a rare thing for the time period. “My father was a captain on a ship, so he was constantly traveling. Even when it was [the] Soviet Union, my father was always bringing presents, like clothes from Japan and Germany,” says Volkova. “He used to bring videotapes of Tina Turner. My brother was the first one to wear denim in the ’80s, while my mom was the first one to drive a Japanese car in my town. We have always been quite lucky in that sense.” When the Soviet Union fell and Western media started to permeate Russian borders, Volkova was exposed to a surge of new media along with everyone else. “There was this almost revolutionary feeling. We had pro-gay marches in Moscow, and you learned so much about Russian art in the ’90s. It was superstrong—groundbreaking in a way,” says Volkova. “I look back on the time and it was like an explosion of information, which was really exciting for a child—and for me as a teenager, it was really inspiring.” There were also new introductions to fashion by way of pirated television. “The first time I learned about fashion was through the series Eurotrash, that program with Jean Paul Gaultier and Antoine de Caunes,” says Volkova. “I was watching Jean Paul Gaultier naked in a tree, interviewing someone else naked in another tree. It was so fucked up and so much fun.” When Volkova turned 17, she left her hometown of Novosibirsk to study art at Central Saint Martins. Once there she fell into the club scene, spending most of her nights out, for which she would create her own clothes. Soon, her friends began

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Article in StyleJan by Alec Leach 2017

:erutciP reggiB ehT < htiw dnarb noihsaf wocsoM > aissuR rof noisiv labolg a na ailognto oM ,aktatheir hcma K ot gntoo. iog fo askingdVolkova make outfits, srethere, tpocilshe eh mcreated orf gnimher lfi down na nlabel, atsikebzU From ti sa suoi“It tibwas ma ssort A ”.sofrestreetwear daor-ffo dna Lotta Skeletrix. r e h t r u f n e v e s e o g 2 m l i F w a ltuO ,sdnuos inspired by punk, New Wave, and posta n i e d i r a m o r F . d e n n a l p s r o t a e r c sti naht punk culture,” says Volkova. fogot sreppicked arcsykup s gby niwaofew lg ehbuyers, t tsap sso edIecreM “It sstarted gnittesselling laerrusit.dn a tneI lhad upo my eht first ot wshow, ocsoM Then s n i a t n u o m , s e k a l m o r f , a n u a s y r u x ul a fo and I started selling at Dover Street Market y r o t a v r e s b o a r e t e i v o S a o t s e u q s o m in London—and I met Rei Kawakubo. It dna gnitnatural anicsaf process. a s’ti — sIunever sacuaaimed C eht ni was a very a y b d e t i b a h n i d l r o w a h g u o r h t enruoj at becoming a designer or anything ylike . s r e d i s t u o d a l c w a l t u O f o e b i r t c i t s irutuf that.” Eventually, Volkova made the move t i e e s o t t c e p x e u o y d i D . s e Y ? a i s s u R ti sI to Paris, where she shifted from design to stsisnoShe c mlmet fi ehT “ .ton Rubchinskiy yletinfieD ?ya w asiht styling. Gosha on t mthe orf yrest enruisojhistory. a — se“It dosfelt ipe like evfi fo shoot,eh and t n e i c n a s t i o t s 0 0 0 2 e h t f o a i s s u R l a imirc we knew each other forever. We bothnwere e h t d n a e r u t a n h g u o r h t d e y a r t r o p , tsap born in the same year, 1984, so we have enecs thgfi ehT .n atsrmentality, ataT fo sein uqasom the same references, and t secnerefeeach r orteother m wocso sowell.” M eht ni way. Weehunderstand c i t e o p e h t s ’ e r e h t y l l a n fi d n a , e m i t tshe eivoS A few years later, while out clubbing, z y h k r A f o e p a c s d n a l l a c i h p o s o l i h p dna met Demna Gvasalia and was approached niawork lpxe on veahis khscollection. aB ”,susac“Again, uaC eht ni by him.sto recudorp ruowe dnunderstood a ,ykcirt saw noiwe tcud orP“ straightaway, that have d e m l fi e W . t o l a d e p l e h a v e i v o l o S a h s a taN a lot in common.” Now Volkova is smackn a t s r a t a T n i , w o c s o M f o s t c i r t s i d s u o i r a dab in the midst of the serious, industry-v ni ni ,cilbuper shaping buzz surrounding Vetements. “I think it is one of the first times people have really paid attention to [post-Soviet culture]. There have been shoots in Russia before, but there has never been so many Russian people working and being inspired by where they came from. It’s a different style, and visually such a strong aesthetic, one that as Europeans or Americans we aren’t used to or know much about. It came quite natural for us because we grew up in that era, and to be honest, it was so different and special.” But as with all of fashion’s momentary fixations, there’s the risk of overexposure and then a sort of fad-related fatigue. Not so with this movement, says Volkova. “I don’t think it suddenly became so trendy. I just think people never really talked about it before as much, or showed it in that kind of way,” Thesis process book

ertsstylist, naissuand R ,4she 102 doesn’t ni hcnuaconsider l sti ecniS saystethe nworof g spost-Soviet ah wocsoMvisuals waltuOto leb al araew this wave be seanyway, dulcni tah t gn iwolloaf movement lanoitanretni na trend, but rather aelacnew gnirevoice ets elfrom ihw aatpdifferent ekS ekil srats based ron r i e h t g n i w o l l o F . s e h c i l c t e ivoS-tsoat p fo perspective. “I’m interested in looking odnoL dna I’m ijiF interested ,enruobleMinolooking t slevart things,ndifferently. na ekam ot e moaren’t h dennecessarily ruter dnarb eht at something that we s’aito ssu R gniconsidered rolpxe mlfi nbeautiful,” oihsaf suoshe itibma used being g i b a s a w 6 1 0 2 . e p a c s d n a l l a r u t l u citlum says. “I’m interested in showing another yrof tnuthings oc ehtwhich — noiIhdo saffind ni abeautiful, issuR rof raey side t rofind f myreal nonyand sae moceb tsom la sah whicheIhdo interesting. I’m ,etnecessarily alosed fo kointerested ol deripsniin -sbad eitentaste iN ydor nert not c i t e h t s e a s i h t s p a h r e P . h t u o y t e i v o S t kitsch, either—it is just something that sI op erudifferently.” tluc yraropmetnoc yaw eht stcefler look at sesiar osla ti tub ,yrotsih ot gnidnopser si a sekat tahW .snoitseuq ylemit wef a ro secnereffid ruo — su fo dloh remrfi labolg rof erutuf a ereht si dnA ?seitiralimis waltuO lebal naissuR 6102 nI ?erutluc noihsaF oidutsWOHS eht deviecer wocsoM citcelce na fo layartrop rieht rof drawA mliF ywons eht gnitagivan sredistuo fo hcnub ,krow oediv wen riehT .wocsoM fo steerts hcum a si ,2 mliF waltuO deltit ylpmis htuoy fo erutuf no noitatidem redaorb noihsaf fo elor gnitfihs eht dna erutluc erom si ereht taht foorp a osla s’tI .yregami -tsop tsuj naht aissuR yraropmetnoc ot eht s’ti 7102 ni taht kniht eW“ .looc teivoS ynam oS .erutluc naissuR knihter ot emit fo noitulover eht ecnis detfihs evah sgniht dna sraw hguorht tnew yrtnuoc eht :7191 ,stfihs emiger rojam suoremun ,slavaehpu eW .noitargimmi fo sevaw dna snoisserper suoremun fo stib rehtegot tup ot dediced dna — snoitacol dna selyts ,segami ,sare eht wohs ot detnaw eW .pu lla ti xim fo weiv gnissapmocne-lla gnitsartnoc dna waltuO fo seye eht hguorht dlrow eht veakhsaB miskaM nialpxe ”,elpoep waltuO oud eht ,avonamhkarniM arayliD dna yrev eht morF“ .wocsoM waltuO dniheb ton mlfi a ekam ot detnaw ew gninnigeb elohw ruo tuoba tub wocsoM tuoba tsuj saedi dah eW .dlrow nretsaE nrehtroN 8102 retneCtrA

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< Lotta Volkova Is Making Bad Taste Look So Good > Right redisnow, noc tas ’nseveryone eod ehs dyou na ,know tsilytsisejust ht syas dying a eto b drown ot slauin sivthe teivoversized oS-tsop ffit o eof vaw siht Vetements’s tnemevoTitanic m a rehhoodie, tar tub Lotta ,yawyVolkova na ,dnert is swanning tnereffiaround d a morin f ehers ciov like wenthe a nthing o desab was tamade gnikofor ol nher. i detAnd serethat’s tni m’Imost “ .evitlikely cepsrep because gnikool niti was. detseAfter retni all, m’I along .yltnerwith effidstyling sgniht the y show, Volkova has walked in lirassecen t’nera ew taht gniithtfor emos ta theepast So hs ”,ltwo ufituseasons. aeb dered isnshe’s oc gnbasically ieb ot desu thercoolest ehtona gstylist niwohin s nthe i deindustry tseretni right m’I“ .syas now.,lHell, even cool. ufitua eb dher nfi oname d I hcis ihw sgn“My iht fo edis mommnamed ’I .gnitsme ereafter tni dnaa‘Whole laer dnLotta fi od ILove’ hcihw byrLed o etsZeppelin. at dab ni In de[the] tsereSoviet tni yliraUnion!” ssecen ton says I taVolkova, ht gnihteon moasbreak tsuj sfrom i ti—rposing ehtie ,hfor cstik the Innovators shoot for”Vogue’s .yltnerefMarch fid ta kool issue, wearing a BDSM-type collar that she bought at a sex shop, as well as a tiny Russian Orthodox cross necklace. “It came really strange and randomly.” But after you spend some time with Volkova, little about her meteoric rise to the height of fashion seems random. Volkova, along with Gosha Rubchinskiy and Demna Gvasalia, is part of a groundswell of post-Soviet Union–bred Russian speakers on the rise in the industry who either live or spend plenty of time in Western Europe and incorporate their own unique, Sovietinfluenced experience of the ’90s into their work. But beyond her crew, the stylist is in possession of an attitude and a look that is both red hot, hard to cop, and right in step with the Vetements bad-taste-meetsgood-taste aesthetic that’s taken over fashion. Volkova’s Instagram account is a perfect example of the look: It’s a pixelated post-Soviet universe, one that focuses on fresh, newfound freedom, complete with saliva-swapping teens in Adidas track pants dragging on cigarette stubs in the hallways of apartment complexes. It’s the type of dirty and carefree space that spirals into a hot hoppy world of newness, focusing on a naive perception of luxury and labels only native to the post-Soviet Union. It’s something that the West has

never and .ootexperienced, ,stfituo rieht e kamsootfor avus, okloit’s V gall nikasa little ,underground, all lebal nwo reh it’s deta erac little ehs ,efringe. reht morF But rathis ewtesort ertsof fogritty tros simagery aw tI“ .xiis rtenothing lekS attoL novel -tsfor opVolkova—she’s dna ,evaW weNalways ,knup ybeen b deripsni hovering on the.afringe, vokloValways syas ”,just erutlout uc knup of theI underground. os ,sreyub wefEven a ybduring pu dekthe cip tog tI“ Soviet she exposed ,wohs times, tsrfi ym dawas h I ne hT .ti gnto illeforeign s detrats cultures, the tekraM teaerrare tS rething voD tfor a gn illetime s detperiod. rats I dna “My tfather aaship, he I .obukwas awaaK captain ieR temon I dn —noso dno L ni was constantly Even dem ia reven I traveling. .ssecorp la rutanwhen yrev ita was saw [the] ekSoviet il gnihtUnion, yna romy renfather gised awas gnialways moceb ta bringing presents, clothes evom eh t edam avlike oklo V ,yllaufrom tnevEJapan ”.taht and ot nGermany,” gised morfsays detfVolkova. ihs ehs e“He rehwused ,sirato P ot bring videotapes a no yiksnihcbuof R Tina ahsoTurner. G tem eMy hS .brother gnilyts wasekthe il tlfirst ef tI“one .yroto tsiwear h si tsdenim er ehtin dnthe a ,t’80s, oohs while drive erew my htomom b eW was .revethe rof first rehtoone hcato ew enk a ew Japanese car have evah ew osin,4my 891town. ,raeyWe ema s ehtalways ni nrob been a nquite i ,ytilalucky tnemindnthat a ,sesense.” cnerefeWhen r emas eht the”.Soviet Union fell and Western llew os rehto hcae dnatsrednumedia eW .yaw started ehs ,gto nibpermeate bulc tuo eRussian lihw ,retborders, al sraey wef A Volkova dehcaowas rppaexposed saw dnato ailaassurge avG aof nmnew eD tem media with ,niaalong gA“ .no itceeveryone lloc sih noelse. krow“There ot mih yb was evahthis ewalmost taht dorevolutionary otsrednu ew ,feeling. yawathgWe iarts had -kcpro-gay ams si amarches vokloV win oNMoscow, ”.nommoand c niyou tol a learned -yrtsuso dnmuch i ,suoirabout es ehtRussian fo tsdimart ehin t nthe i bad ’90s. .Itstwas nemsuperstrong—groundbreaking eteV gnidnuorrus zzub gnipahs in aeway,” lpoep says semitVolkova. tsrfi eht“Ifolook enoback si ti kon niht I“ the tetime ivoS-and tsopit[ was ot nolike itnean ttaexplosion diap yllaeof r evah information, was aissuR ni stowhich ohs ne eb ereally vah eexciting rehT .]erutluc for teenager, ynaachild—and m os neeb rfor eveme n saas h eare ht tub ,erit ofeb was deripreally sni gninspiring.” ieb dna gnThere ikrow were elpoealso p nanew issuR introductions byacway tnereffid a sto ’tIfashion .morf em yehof t epirated rehw yb television. about ,citehtsea “The gnortfirst s a htime cus yI llearned lausiv dn a ,elyts fashion ew swas nacirthrough emA ro sthe naeseries poruEEurotrash, sa taht eno Jean ethat macprogram tI .tuobawith hcum woPaul nk roGaultier ot desu and t’nera Antoine pu wede rg Caunes,” ew esuacsays eb suVolkova. rof larut“I anwas etiuq watching naked os saJean w ti ,Paul tsenoGaultier h eb ot d na ,arin e taaht ni tree,fointerviewing lla htiw sa tusomeone B ”.laicepelse s dnnaked a tnereinffid another tree. It was so fucked up s’ereht ,snoitaxfi yratnemomand s’noso ihsaf much trofun.” s a neWhen ht dnaVolkova erusopxturned erevo f17, o ksshe ir eht left her sihhometown t htiw os toof N .Novosibirsk eugitaf detato lerstudy -daf fo art at knCentral iht t’nodSaint I“ .aMartins. vokloV syOnce as ,tnthere emevshe om fell kninto iht tthe suj Iclub .ydnscene, ert os espending maceb ylmost nedduof s ti her ernights ofeb ti out, tuobfor a dwhich eklat yshe llaerwould revencreate elpoep her ”,yaown w foclothes. dnik tahSoon, t ni ti her dewfriends ohs ro ,began hcum sa

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Review from Calvert Journal, by Anna Fedorova, 2017

:erutciP reggiB ehT < htiw dnarb noihsaf wocsoM > aissuR rof noisiv labolg a elohwith w ruocars tuob a tudrones. b wocsoConvincing M tuoba tsuj Arkhyz, and saedi dahfrom eW meteorological .dlrow nretsaE nstation rehtroN the scientists d n a a i l o g n o M , a k t a h c m a K o t g niwas og fo to get access to a closed observatory sredifficult.” tpocileh m orf gnim lfi dna naand tsikebzU quite Maksim Bashkaev i sa suoitibma sAstarted ”.sredOutlaw aor-ffo in dna Dilyara tMinrakhmanova rehin truMoscow. f neve seFrom og 2 m liFbeginning waltuO ,sdtheir nuos 2014 the a ni has edirbeen a moeclectic: rF .dennagraphic lp srotaecoats rc sti with naht style fo sreparcsyks gniwolg eht tsap sedecreM

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The include abshoot nwmost org srecent ah wocones soM w altuO le al raew withsthe educreative lcni tahtcrowd gniwolof lofMelbourne lanoitanretni na and fwith o raefishermen lc gnireetsinelthe ihwremote atpekSislands ekil srats of sleFiji,” vart Bashkaev rieht gniwand olloFMinrakhmanova .sehcilc teivoS-tsop recall. dnar“We b ehrealised t ,nodnothat L dnaour ijiFmain ,enrustrength obleM ot is in diversity. grime suoitibmWe a nphotographed a ekam ot emoh denruter musicians s’aissuR gin nithe rolpoutskirts xe mlfi noof ihsaf London the 6102 .to epa csdbackground nal larutluciof tlum THE RUSSIA OUTLAW MOSCOW housing ni aisestates. suR rof A ramonth ey gib alater saw ENVISION IS FAR FROM POST-SOVIET we did Russian saah shoot yrtnuowith c ehta— noihsaf golden rof myinno nys a emake moceup b tsand omla BRUTALIST STEREOTYPES: IT’S VIBRANT, model white derfur ipscoat, ni-seiposing teniN yin dnfront ert eht MULTICULTURAL AND OPEN. of the Louvre. teivo S-tsopDiversity ,etalosedand fo kool sensibility citehtseaare sihkey t spto ahour reP DNA. .htuoy seye-catching gnittes laerruappliqué s dna tneand lupomulticoloured eht ot wocsoM Our goal concepts erutis luctoyrclash aropm etnoc yaand w ehstyles, t stcefler snfur, iatnsit uom ,sekal morfside-by-side ,anuas yruxul a fo toshelp faux comfortably and esiarpeople osla ti expand tub ,yrottheir sih oviews t gnidn opser si yrotavrsweatshirts esbo are-teand ivoS“branded” a ot seuqsrobes om dna rethinkaeverything minimal sekat tahWthat .snosurrounds itseuq ylethem.” mit wef a itaDapper nicsaf aDan’s s’ti — susacu aC eht ni Despite inspiredgn by Harlem knockro sthe ecndaring ereffidoptimism ruo — suwhich fo dlocomes h remrfi yb dbomber etibahnijackets dlrow aquickly hguorhbecame t yenruoj through offs. aTheir works, labolg roin f emost rutufof a eOutlaw’s reht si dn A ?seitthe iralimis .sremblazoned edistuo dalc-on wathe ltuOback fo ebwith irt cprints itsirutuf foundation a hit, waltuOofletheir bal ncreative aissuR 6world 102 nwas I ?erutluc ti eas es the ot tc epxe uoy diDkitten, .seY ?a issuR ti sI not such maneki-neko Mexican name noihoverly saF oipositive. dutsWOHThe S ehbrand t devie cer wthey ocsoM s t s i s n o c m l fi e h T “ . t o n y l e t i n fi e D ?yamong aw siht picked eagle, and an ancient Chinese bird, citcelceinnthe a fovery layarbeginning trop rieht reflects rof drawthe A mliF ehThe t moOutlaw rf yenruvision oj a — edosipe evfi fo struggle others. issincreasingly ywonsand eht alienation gnitagivanthey sredfeel istuoliving fo hcnub eicna stifor ot sthe 000upcoming 2 eht fo aParis issuR fashion lanimirc and intndemand: ,krworking ow oedivinwRussia. en riehT“Russia .wocsois M afo steerts na erutathey n hguwill orhpresent t deyartraop ,tsap paradoxical weekehint d February want hcum aplace si ,2 where mliF wif altyou uO d eltit to ylpbe mis enecollection cs thgfi ehon T .nconstructivism atsrataT fo seufor qsom unitedhtwith capsule oforb uoy the fo eworld, rutuf naccept o noitatdiversity idem reda t seBrowns cnerefer(they ortem wocpicked soM eht ni people, Farfetchehand were love noistrive hsaf fofor elo r gnand itfihsunderstanding eht dna erutluc iteop ehtand s’erBureau eht ylla247), nfi dna ,emthey it teivoS you bycFarfetch and become erom si erehtan taoutcast,” ht foorp athey oslaexplain. s’tI .yregami zyhkrA fo epacsdon naa l la cihpocapsule solihp dna “We-feel just finished working small tsopatpart suj nof ahdisjoined, t aissuR yrbroken aropmeworld, tnoc ot .sniafor lpxthe e velatest akhsaStar B ”,su sacufilm, aC eht ni and collection Wars ehtwe s’tiare 710trying 2 ni tato htmend kniht it, eWput “ .lodifferent oc teivoS recud orp rStill, uo din nathe ,ykcdifficult irt saw nclimate oitcudorP“ styles Rogue One. ynaand m oSdifferent .erutluc people naissuRinto knihatvision er ot eof mit mlfi eW .toindustry, l a deplehOutlaw’s aveivolofounders S ahsataN the ofde the fashion fo current noitulovera, er ehto t eunderstand cnis detfihsthe evaways h sgniht natskeen rataTtonretain i ,wocstheir oM foindependence: stcirtsid suoirav ni ofdlife are ofraMelbourne’s na s w hguorht tncreative ew yrtnuyouth, oc eht :7191 ni ,cilbuper London’s “We produce complex singular pieces grime ,stfihs em iger rscene ojam sand uoreParis mun artists. ,slavaehpu — you’ve got to spend many long hours We torgovercome eWwant .noita immi fo sethe vawRussian dna snoselfisserper and buy a lot of materials to make one inflicted suoremisolation. un fo stibThen rehteagain, got tuwithout p ot dedthe iced or two bomber jackets or coats. But we unique and dna — sntough oitacolRussian dna selyenvironment ts ,segami ,swe are don’t really see ourselves in this vicious wouldn’t we now. I guess ehbe t wwho ohs o t dare etna w eW .pu llafor ti xim circle of production — for now we work us Outlaw fo weisivRussia”. gnissapmocne-lla gnitsartnoc outside seasons and buyers, produce in The dnRussia a waltuOutlaw O fo seyMoscow e eht hgenvisions uorht dlrois w eht batches and only what we really want”. far vefrom akhsapost-Soviet B miskaM nbrutalist ialpxe ”,estereotypes: lpoep waltuO Despite being a Russian brand, the image it’s vibrant, oud emulticultural ht ,avonamhkand arniopen. M aray“We liD dna Outlaw projects is not limited to their own like the with yrevidea eht of mointegration rF“ .wocsoM wadifferent ltuO dniheb country and its visual tropes. “We try to do countries ton mlfiand a ecultures... kam ot detnaw ew gninnigeb Thesis process book

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< The Bigger Picture: Moscow fashionIsbrand with < Lotta Volkova a globalBad vision for Russia > Good > Making Taste Look So in 2017 it’s the time to rethink Russian culture. So many things have shifted since the revolution of 1917: the country went through wars and upheavals, numerous major regime shifts, repressions and waves of immigration. We decided to put together bits of numerous eras, images, styles and locations — and mix it all up. We wanted to show the contrasting allencompassing view of the world through the eyes of Outlaw and Outlaw people,” explain Maksim Bashkaev and Dilyara Minrakhmanova, the duo behind Outlaw Moscow. “From the very beginning we wanted to make a film not just about Moscow but about our whole Northern Eastern world. We had ideas of going to Kamchatka, Mongolia and Uzbekistan and filming from helicopters and off-roaders.” As ambitious as it sounds, Outlaw Film 2 goes even further than its “WE THINK THAT IN 2017 IT’S THE creators planned. From a ride TIME TO RETHINK RUSSIAN CULTURE. in a Mercedes past the glowing skyscrapers of Moscow to the SO MANY THINGS HAVE SHIFTED opulent and surreal settings SINCE THE REVOLUTION OF 1917: of a luxury sauna, from lakes, THE COUNTRY WENT THROUGH WARS mountains and mosques to a AND UPHEAVALS, NUMEROUS MAJOR Soviet-era observatory in the Caucasus — it’s a fascinating REGIME SHIFTS, REPRESSIONS journey through a world inhabited AND WAVES OF IMMIGRATION. WE by a futuristic tribe of OutlawDECIDED TO PUT TOGETHER BITS OF clad outsiders. Is it Russia? Yes. NUMEROUS ERAS, IMAGES, STYLES Did you expect to see it this AND LOCATIONS — AND MIX IT ALL UP.” way? Definitely not. “The film consists of five episodes — a journey from the criminal Russia Outlaw Moscow received the SHOWstudio of the 2000s to its ancient past, portrayed Fashion Film Award for their portrayal of through nature and the mosques of an eclectic bunch of outsiders navigating Tatarstan. The fight scene in the Moscow the snowy streets of Moscow. Their new metro references the Soviet time, and video work, simply titled Outlaw Film 2, finally there’s the poetic and philosophical is a much broader meditation on future landscape of Arkhyz in the Caucasus,” of youth culture and the shifting role of Bashkaev explains. “Production was tricky, fashion imagery. It’s also a proof that and our producer Natasha Solovieva there is more to contemporary Russia helped a lot. We filmed in various districts than just post-Soviet cool. “We think that of Moscow, in Tatarstan republic, in Since its launch in 2014, Russian street wear label Outlaw Moscow has grown an international following that includes stars like Skepta while steering clear of post-Soviet cliches. Following their travels to Melbourne, Fiji and London, the brand returned home to make an ambitious fashion film exploring Russia’s multicultural landscape. 2016 was a big year for Russia in fashion — the country has almost become a synonym for the trendy Nineties-inspired look of desolate, post-Soviet youth. Perhaps this aesthetic reflects the way contemporary culture is responding to history, but it also raises a few timely questions. What takes a firmer hold of us — our differences or similarities? And is there a future for global culture? In 2016 Russian label

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Review from Calvert Journal, by Anna Fedorova, 2017

nagols cilliryC yhw :tuO tI gnillepS < mrofinu knup wen eht si raewteerts > sneet teivoS-tsoP rof Arkhyz, with cars and drones. Convincing the scientists from meteorological station to get access to a closed observatory was quite difficult.” Maksim Bashkaev and Dilyara Minrakhmanova started Outlaw in 2014 in Moscow. From the beginning their style has been eclectic: graphic coats with

a shoot in any point of the world we end up. The most recent ones include a shoot with the creative crowd of Melbourne and with fishermen in the remote islands of Fiji,” Bashkaev and Minrakhmanova recall. “We realised that our main strength is in diversity. We photographed grime musicians in the outskirts of London to the background of THE RUSSIA OUTLAW MOSCOW housing estates. A month later ENVISION IS FAR FROM POST-SOVIET we did a shoot with a Russian BRUTALIST STEREOTYPES: IT’S VIBRANT, model in golden make up and white fur coat, posing in front MULTICULTURAL AND OPEN. of the Louvre. Diversity and sensibility are key to our DNA. eye-catching appliqué and multicoloured Our goal is to clash concepts and styles, faux fur, sit comfortably side-by-side to help people expand their views and minimal sweatshirts and “branded” robes rethink everything that surrounds them.” inspired by Dapper Dan’s Harlem knockDespite the daring optimism which comes offs. Their bomber jackets quickly became through in most of Outlaw’s works, the a hit, emblazoned on the back with prints foundation of their creative world was such as the maneki-neko kitten, Mexican not overly positive. The brand name they eagle, and an ancient Chinese bird, among picked in the very beginning reflects the others. The Outlaw vision is increasingly struggle and alienation they feel living in demand: for the upcoming Paris fashion and working in Russia. “Russia is a week in February they will present a paradoxical place where if you want to be capsule collection on constructivism for united with the world, accept diversity of Farfetch and Browns (they were picked people, strive for love and understanding by Farfetch and Bureau 247), and they you become an outcast,” they explain. just finished working on a small capsule “We feel a part of disjoined, broken world, collection for the latest Star Wars film, and we are trying to mend it, put different Rogue One. Still, in the difficult climate styles and different people into a vision of of the fashion industry, Outlaw’s founders the current era, to understand the ways are keen to retain their independence: of life of Melbourne’s creative youth, “We produce complex singular pieces London’s grime scene and Paris artists. — you’ve got to spend many long hours We want to overcome the Russian selfand buy a lot of materials to make one inflicted isolation. Then again, without the or two bomber jackets or coats. But we unique and tough Russian environment we don’t really see ourselves in this vicious wouldn’t be who we are now. I guess for circle of production — for now we work us Outlaw is Russia”. outside seasons and buyers, produce in The Russia Outlaw Moscow envisions is batches and only what we really want”. far from post-Soviet brutalist stereotypes: Despite being a Russian brand, the image it’s vibrant, multicultural and open. “We Outlaw projects is not limited to their own like the idea of integration with different country and its visual tropes. “We try to do countries and cultures... Thesis process book

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< The Bigger Picture: Moscow fashionIsbrand with < Lotta Volkova a globalBad vision for Russia > Good > Making Taste Look So time to rethink Russian culture. So many things have shifted since the revolution of 1917: the country went through wars and upheavals, numerous major regime shifts, repressions and waves of immigration. We decided to put together bits of numerous eras, images, styles and locations — and mix it all up. We wanted to show the contrasting all-encompassing view of the world through the eyes of Outlaw and Outlaw people,” explain Maksim Bashkaev and Dilyara Minrakhmanova, the duo behind Outlaw Moscow. “From the very beginning we wanted to make a film not just about Moscow but about our whole Northern Eastern world. We had ideas of going to Kamchatka, Mongolia and Uzbekistan and filming from helicopters and off-roaders.” As ambitious as it sounds, Outlaw Film 2 goes even further than its creators planned. “WE THINK THAT IN 2017 IT’S THE From a ride in a Mercedes past TIME TO RETHINK RUSSIAN CULTURE. the glowing skyscrapers of Moscow to the opulent and SO MANY THINGS HAVE SHIFTED surreal settings of a luxury SINCE THE REVOLUTION OF 1917: sauna, from lakes, mountains THE COUNTRY WENT THROUGH WARS and mosques to a Soviet-era AND UPHEAVALS, NUMEROUS MAJOR observatory in the Caucasus — it’s a fascinating journey through REGIME SHIFTS, REPRESSIONS a world inhabited by a futuristic AND WAVES OF IMMIGRATION. WE tribe of Outlaw-clad outsiders. DECIDED TO PUT TOGETHER BITS OF Is it Russia? Yes. Did you expect NUMEROUS ERAS, IMAGES, STYLES to see it this way? Definitely AND LOCATIONS — AND MIX IT ALL UP.” not. “The film consists of five episodes — a journey from the criminal Russia of the 2000s to Moscow received the SHOWstudio Fashion its ancient past, portrayed through nature Film Award for their portrayal of an eclectic and the mosques of Tatarstan. The fight bunch of outsiders navigating the snowy scene in the Moscow metro references the streets of Moscow. Their new video work, Soviet time, and finally there’s the poetic simply titled Outlaw Film 2, is a much and philosophical landscape of Arkhyz broader meditation on future of youth in the Caucasus,” Bashkaev explains. culture and the shifting role of fashion “Production was tricky, and our producer imagery. It’s also a proof that there is more Natasha Solovieva helped a lot. We filmed to contemporary Russia than just postin various districts of Moscow, in Tatarstan Soviet cool. “We think that in 2017 it’s the republic, in Since its launch in 2014, Russian street wear label Outlaw Moscow has grown an international following that includes stars like Skepta while steering clear of post-Soviet cliches. Following their travels to Melbourne, Fiji and London, the brand returned home to make an ambitious fashion film exploring Russia’s multicultural landscape. 2016 was a big year for Russia in fashion — the country has almost become a synonym for the trendy Nineties-inspired look of desolate, post-Soviet youth. Perhaps this aesthetic reflects the way contemporary culture is responding to history, but it also raises a few timely questions. What takes a firmer hold of us — our differences or similarities? And is there a future for global culture? In 2016 Russian label Outlaw

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nagols cilliryC yhw :tuO tI gnillepS < mrofinu knup wen eht si raewteerts > sneet teivoS-tsoP rof ni esool ekorb lleh lla ,sesac htob ni ,tuo detimil etipsed ,llitS .stnemmoc enilno tuohtiw aissuR ni tuo og t’nac uoy ,kcots gniraew nosrep eno tsael ta gniretnuocne kintupS fo hcnual tnecer ehT .sngised rieht laM uD sruelF seL noitcelloc wen s’5891 ni sretsgnuoy fo sdworc eguh detcartta eht dna — grubsreteP tS dna wocsoM htob nehw retal skeew wef a detaeper noitautis noitcelloc tsetal rieht detneserp kohcloV fo srebmem eht fo enO .sdoG oN srazT oN deraeppa yltnecer slaoF dnab eidni hsilgnE erutangis s’kohcloV gniraew egatsno epyh erom neve gnitpmorp tihs-t ”htuoY“ .daorba lebal naissuR eht rof eb thgim citehtsea derahs ’sdnarb ehT naht rehto gnihtyna sa ebircsed ot tlucfifid :”ytsgna“ dna ”teivoS-tsop yllanoitnetni“ elbmeser taht stnirp yzzuf ,emorhconom ,saremac kadoK s09 eht morf serutcip ni sesarhp citpyrc dna snoitpac ymoolg ...ecrof yracs a si ytic ehT“ ekil naissuR ,”ssenitpmE“ ,”secnahC oN“ ,”...semiT dloC fo tnirp A .”daB“ dna ”egaR“ ,”ecnefed yM“ :denoitpac si sesir-hgih nabrubus lacipyt

evah tpircs cilliryC htiw strihstaews nagolS sklawtac eht otno yaw rieht dnuof yltnecer teivoS-tsop s’yadot rof tuB .tsew eht fo yeht htuoy a ot kcabworht a era yeht sneet naeporuE nretsae llams morF .dah reven fO ymrA tsiratilim suoegartuo ot slebal sdnarb noihsaf hgih ot sngised aissuR ,stnemeteV dna yksnihcbuR ahsoG ekil selyts eht dna tpircs cilliryC ni stnirp -ni era are-s09 dna akiortsereP eht fo ylsuoenatlumiS .erofeb reven ekil dnamed snaissuR ynam rof evisluper dna gnicitne eht hguorht devil ohw snainiarkU dna eht dna srengierof eugirtni yeht ,semit rieht htiw noitareneg teivoS-tsop regnuoy ylthgils fi emoselohw eht dna msicitoxe ot gniretac sdnarb eht tuB .egami yhsart ,dne-hgih ylevisulcxe tsomla era setsat eht s’eynaK dna miK ton s’taht enoyna gnivael eht fo tuo gnirpsffo hcragilo ro rethguad .pool noihsaf raewteerts naissuR gnuoy erehw s’tahT ,hceM ,5891 kintupS ,kohcloV ekil sdnarb tsomdoP sa llew sa ,ASS-R ,NATALRAHCEL .ni emoc ,eniarkU morf etacidnyS dna eseht fo lareveS “PART OF THE APPEAL OF SPUTNIK 1984 erofeb detsixe dah s09 dna stnirp cilliryC MIGHT BE COMING FROM MODERN TEENAGERS’ a emaceb aiglatson YEARNING FOR THE YOUTH THEY NEVER HAD, ,dnert degdefl ylluf THE CRAZY, PROBLEMATIC, ADVENTUROUS 90S neve evah dna SEEM EXCITING, EXOTIC AND IMPOSSIBLE NOW.” eht ot detubirtnoc ,yllacol edaM .epyh si ”ssorcA“ drow ehT .”modgniK ruO“ ,trihs-t a )02$( selbur 0031 morf elbaliava tnirp A .ecnef eriw debrab a revo detnirp tekram-ssam tsom naht ytilauq retteb dna ,pu sdnah sih gnidloh nistleY siroB fo .laets etulosba na era yeht — sdnarb evoba tnirp eht ot gnitniop hcum ytterp llams tuo tup slebal ynam ,revoeroM emas ehT .”htuoY eldI“ sdaer taht daeh sih reven sngised emos htiw snoitcelloc eht fo erutcip a revo desu osla si esarhp gnikam ,tuo lles yllautneve yeht dekcotser 3991 ni gninrub esuoH etihW wocsoM s’5891 kintupS nehW .euqinu seceip eht tnirp A .sisirc lanoitutitsnoc eht gnirud trihstaews ”tsniagA eB syawlA lliW I“ deppot ,sanirellab gnicnad fo wor a fo edam esarhp a ,”vitorP uduB adgesV aY“( raelc a – ”1991“ syas taht ngis a htiw naissuR eht fo voteL rogeY yb ralupop a fo tpmetta tsuguA 1991 eht ot ecnerefer dna )anorobO ataksnadhzarG dnab knup erew snoitats VT teivoS nehw ,taté’d puoc dlos trihs-t )tsonuY( ”htuoY“ s’kohcloV Thesis process book

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< Spelling It Out: why Cyrillic slogan streetwear is the new punk uniform for Post-Soviet teens > Slogan sweatshirts with Cyrillic script have recently found their way onto the catwalks of the west. But for today’s post-Soviet teens they are a throwback to a youth they never had. From small eastern European labels to outrageous militarist Army Of Russia designs to high fashion brands like Gosha Rubchinsky and Vetements, prints in Cyrillic script and the styles of the Perestroika and 90s-era are indemand like never before. Simultaneously enticing and repulsive for many Russians and Ukrainians who lived through the times, they intrigue foreigners and the younger post-Soviet generation with their exoticism and the wholesome if slightly trashy image. But the brands catering to the tastes are almost exclusively high-end, leaving anyone that’s not Kim and Kanye’s daughter or oligarch offspring out of the fashion loop. That’s where young Russian streetwear brands like Volchok, Sputnik 1985, Mech, LECHARLATAN, R-SSA, as well as Podmost and Syndicate from Ukraine, come in. Several of these had existed before Cyrillic prints and 90s nostalgia became a fully fledged trend, and have even contributed to the hype. Made locally, available from 1300 rubles ($20) a t-shirt, and better quality than most mass-market brands — they are an absolute steal. Moreover, many labels put out small collections with some designs never restocked they eventually sell out, making the pieces unique. When Sputnik 1985’s “I Will Always Be Against” sweatshirt (“Ya Vsegda Budu Protiv”, a phrase made popular by Yegor Letov of the Russian punk band Grazhdanskata Oborona) and Volchok’s “Youth” (Yunost) t-shirt sold out, in both cases, all hell broke loose in online comments. Still, despite limited stock, you can’t go out in Russia without encountering at least one person wearing their designs. The recent

launch of Sputnik 1985’s new collection Les Fleurs Du Mal attracted huge crowds of youngsters in both Moscow and St Petersburg — and the situation repeated a few weeks later when Volchok presented their latest collection No Tzars No Gods. One of the members of English indie band Foals recently appeared onstage wearing Volchok’s signature “Youth” t-shit prompting even more hype for the Russian label abroad. The brands’ shared aesthetic might be difficult to describe as anything other than “intentionally post-Soviet” and “angsty”: monochrome, fuzzy prints that resemble pictures from the 90s Kodak cameras, gloomy captions and cryptic phrases in Russian like “The city is a scary force... Cold Times...”, “No Chances”, “Emptiness”, “My defence”, “Rage” and “Bad”. A print of typical suburban high-rises is captioned: “Our Kingdom”. The word “Across” is printed over a barbed wire fence. A print of Boris Yeltsin holding his hands up, pretty much pointing to the print above his head that reads “Idle Youth”. The same phrase is also used over a picture of the Moscow White House burning in 1993 during the constitutional crisis. A print of a row of dancing ballerinas, topped with a sign that says “1991” – a clear reference to the 1991 August attempt of a coup d’état, when Soviet TV stations were showing recordings of Swan Lake during the armed confrontation on the streets of Moscow. It seems that very recent history — constantly debated and re-written in Russian media and society — has found a place where it can just exist, mixed with melancholia and existentialism. Volchok’s “Youth” design might not carry melancholia in itself but printed in black and white with the label’s own sombre font has the effect of a souvenir t-shirt from the symbolic funeral of someone’s

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Article from Calvert Journal by Sasha Raspopina 23 JUNE 2016

htuoy s’aissuR :Z noitareneG < tnevnier ot erutuf eht rof hcaer > elyts naeporuE tsaE youth. “Youth is a sad and sacred thing we all share. We’ve all had it and lost it, and that makes it even more valuable”, Vasily Volchok, the founder of the brand, explains. This is somewhat ironic when the audience for such brands are still young. According to Sergei Pakhotin, founder of Sputnik 1985, “the majority of people who wear our ‘Idle Youth’ shirts aren’t even 18. They don’t really know or care about those times. So in general ‘Idle Youth’ is more about worries and troubles of teenagers.” Marina Kolbakova, the managing director of Milnaya Belka and Otdel stores says that the part of the appeal of Sputnik 1984 might be coming from modern teenagers’ yearning for the youth they never had – the crazy, problematic, adventurous 90s seem exciting, exotic and impossible now. There is another reason for the popularity of Cyrillic script — that it is just another manifestation of the never-ending appetite for retro styles. It might assume the form of streetwear or skateboarding apparel but at its heart there is something evocative

it’s remembering those crucial historic events, that’s what our ‘Idle Youth’ prints are about”. He explains his tshirt slogans, such as “pure punk, angry, aggressive, bold”. The inspiration for “I’m worse than you” print tee came from the popular punk phrase, “Straight edge means I’m better than you”, only he thought that in a world where everyone says you should always strive to be better and achieve more, stepping down from the race makes for a bolder provocation. The celebration of Cyrillic script and the 90s could be at odds with one another, as this was the period when foreign imported clothes with logos and slogans in English were the most desirable items in teenage fashion. But the decision was natural for both Volchok and Pakhotin – they both say their native language was always first choice since neither speak English well enough to use it in their work. Moreover, they don’t see the need. For Russians, Cyrillic is both obvious and innovative because it’s never broken out into high fashion unless you count the intentionally trashy “PART OF THE APPEAL OF SPUTNIK 1984 and ironically Russian designs of labels like MIGHT BE COMING FROM MODERN TEENAGERS’ Denis Simachev. For YEARNING FOR THE YOUTH THEY NEVER HAD, foreigners, the letters THE CRAZY, PROBLEMATIC, ADVENTUROUS 90S are mysterious and SEEM EXCITING, EXOTIC AND IMPOSSIBLE NOW.” quirky like Japanese kanji tattoos once about Cyrillic on clothing. The only other were.“ Angst, melancholia and provocation time t-shirts with Russian words on them make for a great recipe for targeting were as big was just before Perestroika, teenagers, even if this was not intentional when English words and Western brands for the designers in question. “I like drama, started very quickly to replace them. But this is my understanding of Russian Pakhotin always notes in interviews that gothic,” says Volchok. When other labels he doesn’t agree that anything he does is are focussing solely on t-shirts or socks, melancholic or nostalgic: “We’ve not seen Volchok encompasses all the elements of any more of those key global events [like a capsule collection including trousers, the fall of USSR and Yeltsin’s resignation]. dresses, coats and accessories — all in Nothing like that happens now, it’s just the minimal and monochrome aesthetics stagnation and greed. So it’s not nostalgia, of the brand... Thesis process book

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htuoy s’aissuR :Z noitareneG < tnevnier ot erutuf eht rof hcaer > elyts naeporuE tsaE detcartta )”esuohrethguals“ rof naissuR( .yrtnuoc eht revo lla morf sretsgnuoy ayniobotokS dna 7UØHC71W hguohT ,dnuos ni tnereffid erom eb t’ndluoc yeht sgniht elbaeciton tsom eht fo eno :edoc sserd cinegotohp yrev a saw derahs ,7UØHC71W rof raewstrops kcalb lla rof stiuskcart egatniv deruoloc-itlum dna sdiarb htiw rehtegot ,ayniobotokS emas eht tA .pu-ekam evar citsilautir gnihtemos tuoba osla saw ti ,emit lausiv wen a rof hcraes eht :repeed stib morf detcurtsnoc egaugnal eht morf tuo dehsfi seceip dna KAEP3CI .yrotsih latigid fo shtped ,ecnis enecs ytrap eht nworgtuo sah ,yregami naipotsyd no gnikat etipsed ,dna .aipotu nwo rieht etaerc ot gnivirts era htiw dessesbo si ydobyreve nehw ,yadoT“ ”,erutuf eht otni thgiarts kool ew ,tsap eht eht ,su roF“ .otsefinam rieht ni etirw yeht wen etaerc ot elggurts eht ni si ytuaeb esion dna smaercS .sgninaem dna slobmys eW .segaugnal lanoitanretni ruo htob era eganam nac ew ,reganam a evah ton od yhw , lebal a evah ton od eW .sevlesruo ot tahw su llet ot ydobemos deen ew od ew,srotcerid htiw krow ton od eW ?od soediv ruo lla ecudorp dna tcerid ,etirw , lyniv esaeler ton od eW .sevlesruo yb riehT ”.enilno elbaliava cisum ekam ew rieht edisgnola ,sohte YID dednimlabolg si ,ecnats TBGL-orp dna tsinimef lacov emoc ot tcepxe dluow uoy tahw yldrah I“ .emit ni tnemom siht ta aissuR fo tuo ot tnaw t’nod I ,dnuora nrut ot tnaw t’nod tsetal rieht no sdrow eht daer ”,kcab og llarevo eht stcefler ti spahrep dna ,hcrem .Z noitareneG s’aissuR fo tnemitnes teivoS-tsop“ dellac-os eht syad esehT lanoitanretni eht no egar eht lla si ”looc elyts s’yiksnihcbuR ahsoG :enecs noihsaf morf gniwollof evisserpmi na sah eripme yllausac nac stnemeteV ,oykoT ot yendyS ,yhpargonoci tsinummoc ot egamoh yap Thesis process book

teivoS dna tpircs cilliryC htiw raewteertS noihsaf eht ni pu gniwolb era slobmys dna yiksnihcbuR ahsoG sknaht dlrow s’aissuR dnfi t’now uoy tuB .stnemeteV ,0002 retfa nrob ,srettesdnert tsegnuoy emityna elkcis dna remmah eht gnitrops rieht gnivlove era sreZ neg eht — noos erutluc latigid eht yb decneuflni ,elyts nwo morf oediv wen ehT .otni nrob erew yeht KAEP3CI oud pop-tnava desab-wocsoM

,DNUORA NRUT OT TNAW T’NOD I“ TBGL ”,KCAB OG OT TNAW T’NOD I OTSEFINAM DNARB ECNATS ,erutuf naipotsyd eht ot thgiarts su sekat na ta evar terces a ,ylesicerp erom ro etis eht ecno saw taht reknub denodnaba .stnemirepxe noitacol ohce teivoS rof dellfi si ecaps dnuorgrednu til ylmid ehT ,mrofinu kcalb-lla ni seidob lufituaeb htiw eht llet slacov dehctip-hgih diufl elihw KAEP3CI ehT .”roirraW iiawaK“ a fo yrots uoy woh yltcaxe desserd era srebmem ot erutuf eht fo sroirraw-onhcet egami ,onomik kcalb a ni aytsaN :desserd eb htiw ,seohs mroftalp dna sgnikcots kcalb ,sdiarb ednolb erutangis elyts-seiteniN .trihs-T lyniv dna hsem etihw a ni kciN dna si oediv eht rof tpecnoc eht hguohtlA nward hcum yrev osla s’ti ,lanoitcfi yleritne dnik eht fo tohspans a si dna ,efil morf si htuoy naissuR fo laed taerg a elyts fo 3102 ni pu-detrats KAEP3CI .yadot otni dnuof aytsaN dna kciN snaicisum nehw wen a rof hcraes eht yb detinu sevlesmeht aytsaN tahW .egaugnal lausiv dna dnuos dna arepo citsirutuf“ sa sebircsed won egnarts oot saw ”tnemirepxe lausiv-oidua wocsoM yna fo krowemarf eht ni neila dna gnimrofrep detrats yehT .emit eht ta enecs nur seitrap esuoh hctiw ,7UØHC71W ta edisgnola ,noos hcihw ,sdneirf rieht yb ayniobotokS thgin rebbag ffo-nips s’ti 8102 retneCtrA

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< Generation Z: Russia’s youth reach for the future to reinvent East European style > Slogan sweatshirts Streetwear with Cyrillic withscript Cyrillic and script Soviet have symbols found recently are blowing their way up in onto thethe fashion catwalks world of the thanks west. But Gosha for today’s Rubchinskiy post-Soviet and Vetements. teens they are Butayou throwback won’t find to aRussia’s youth they youngest never had.trendsetters, From small eastern born after European 2000, sporting labels to the outrageous hammer militarist and sickleArmy anytime Of soon —designs Russia the gentoZers highare fashion evolving brands their ownGosha like style, influenced Rubchinskyby and theVetements, digital culture they were prints in Cyrillic born into. scriptThe andnew thevideo stylesfrom Moscow-based of the Perestroika avant-pop and 90s-era duo are IC3PEAK in-

demand takes us like straight nevertobefore. the dystopian Simultaneously future, or more precisely, enticing and repulsive a secret for many rave at Russians an abandoned and Ukrainians bunker whothat livedwas through once the site for Soviet times, theyecho intrigue location foreigners experiments. and the The dimlypost-Soviet younger lit underground generation space with is filled their with beautiful exoticism and bodies the wholesome in all-black if slightly uniform, while fluid trashy image. high-pitched But the brands vocals catering tell the to story the tastes of a “Kawaii are almost Warrior”. exclusively The IC3PEAK high-end, members leaving anyone are dressed that’s not exactly Kim how and Kanye’s you image techno-warriors daughter or oligarch offspring of the future out ofto the be dressed: fashion loop.Nastya in a black kimono, black stockings That’s where young andRussian platformstreetwear shoes, with Nineties-style brands like Volchok, signature Sputnik blonde 1985, braids, Mech, and Nick in a white LECHARLATAN, R-SSA, mesh asand wellvinyl as Podmost T-shirt. Although and Syndicate the concept from Ukraine, for the come video in. is entirely of Several fictional, these had it’s also existed verybefore muchCyrillic drawn from life, prints andand 90sisnostalgia a snapshot became of theakind fully of style atrend, fledged greatand dealhave of Russian even contributed youth is into to the today. hype.IC3PEAK Made locally, started-up available in 2013 from when rubles 1300 musicians ($20) Nick a t-shirt, and Nastya and better found themselves quality than united most mass-market by the searchbrands for a new — sound they are and anvisual absolute language. steal. Moreover, What Nastya many now describes labels put out small as “futuristic collections opera with and some audio-visual designs neverexperiment” restocked they was eventually too strange and out, sell alienmaking in the framework the pieces of unique. any Moscow When scene at1985’s Sputnik the time. “I Will TheyAlways started Beperforming Against” at W17CHØU7, sweatshirt (“Ya witch Vsegda house Buduparties Protiv”, run a by theirmade phrase friends, popular whichby soon, Yegor alongside Letov of it’s spin-off the Russian gabber punk band night Grazhdanskata Skotoboinya

Oborona)for (Russian and “slaughterhouse”) Volchok’s “Youth”attracted (Yunost) youngsters t-shirt sold out, frominallboth overcases, the country. all hell Though broke loose W17CHØU7 in onlineand comments. Skotoboinya Still, couldn’tlimited despite be more stock, different you can’t in sound, go out in one of the Russia without mostencountering noticeable things at least they one shared was person wearing a very their photogenic designs. The dress recent code: all blackofsportswear launch Sputnik 1985’s for W17CHØU7, new collection multi-coloured Les Fleurs Du Mal vintage attracted tracksuits huge crowds for Skotoboinya, of youngsterstogether in both Moscow with braids andand St ritualistic rave Petersburg — and make-up. the situation At the same repeated time, a few itweeks was also laterabout whensomething Volchok deeper: thetheir presented search latest for collection a new visual No language Tzars No Gods. constructed One of from the members bits and of English piecesindie fished band outFoals from the recently depths of onstage appeared digital history. wearing IC3PEAK Volchok’s has outgrown signature “Youth” the party t-shitscene prompting since, and, despite even more hype taking for the on dystopian Russian label imagery, are striving to create their own utopia. abroad. “Today, The brands’ when shared everybody aesthetic is obsessed might bewith the past,towe difficult describe look straight as anything into the other future,” than they write in their “intentionally post-Soviet” manifesto. and “For “angsty”: us, the beauty is in thefuzzy monochrome, struggle prints tothat create resemble new symbols from pictures and meanings. the 90s Kodak Screams cameras, and noise are bothcaptions gloomy our international and cryptic languages. phrases in We do not have Russian like a“The manager, city is we a scary can manage force... ourselves. Cold Times...”, We do “Nonot Chances”, have a label “Emptiness”, , why do we “My defence”, need somebody “Rage” and to tell “Bad”. us what A print to of do? Wesuburban typical do not work high-rises with directors,we is captioned: write,Kingdom”. “Our direct andThe produce word all “Across” our videos is by ourselves. printed over aWe barbed do not wire release fence.vinyl A print , weBoris of makeYeltsin music holding available his online.” hands Their up, globalminded pretty much pointing DIY ethos, to the alongside print above their vocal his head feminist that reads and pro-LGBT “Idle Youth”. stance, The is same hardly what phrase is also you used would overexpect a picture to come of the out of Russia Moscow WhiteatHouse this moment burninginintime. 1993“I don’t want during the constitutional to turn around,crisis. I don’t A want print to goaback,” of row ofread dancing the words ballerinas, on their topped latest merch, with a sign and that perhaps saysit“1991” reflects– the a clear overall sentimentto reference of the Russia’s 1991 Generation August attempt Z. of a Thesed’état, coup days the when so-called Soviet TV “post-Soviet stations were cool” is all showing recordings the rage on of Swan the international Lake during fashion the armed scene: confrontation Gosha Rubchinskiy’s on the streets style of empire has Moscow. It seems an impressive that very following recent history from Sydney — constantly to Tokyo, debated Vetements and re-written can casually in pay homage Russian media to and communist society iconography, — has found

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“I DON’T WANT TO TURN AROUND, I DON’T WANT TO GO BACK,” LGBT STANCE BRAND MANIFESTO

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Article from Calvert Journal, Text by Anastasiia Fedorova, March 2017

and Cyrillic letters are popping up on Topshop sweaters. The attitude to the trend, however, is more complex in Russia. While the Western consumer sees the whole “poor but cool” eastern European aesthetic as something refreshing and exotic in a world where everything else is already commodified, for the emerging generation in Russia it echoes Cold War stereotypes, and sometimes even feels downright colonial. But there’s also a more obvious reason: “post-Soviet cool” just doesn’t feel very contemporary. Out of the generation that remembers life in the USSR, the youngest are already over 30, and Russia’s Generation Z is clearly ready to move on. To put it simply, can someone born in 1995 really relate to their Soviet heritage? Even if the answer’s a yes, this new generation has a completely different

which alongside bold graphics, is popular among W17CHØU7 attendees. Parties and rave culture are a big inspiration. Designer Turbo Yulia, for instance, created a kind of urban rave uniform that is fluorescent, hi-vis and as practical as safety gear — inspired by the hectic vibe of the city. Outlaw Moscow opt for a global-minded style influenced by hip-hop and new ideas of luxury. “We feel a part of a disjointed, broken world, and we are trying to mend it, put different styles and different people into a vision of the current era, to understand the ways of life of Melbourne’s creative youth, London’s grime scene and Parisian artists. We want to overcome the self-inflicted Russian isolation”. Today the way we perceive and narrate history is changing rapidly, and ideas of belonging to a certain place or culture are becoming more complex than ever. “PARTIES AND RAVE CULTURE ARE A BIG The new generation of Russians working in INSPIRATION. DESIGNER TURBO YULIA, FOR INSTANCE, CREATED A KIND OF URBAN RAVE fashion, design, music and nightlife share a growing UNIFORM THAT IS FLUORESCENT, HI-VIS AND appreciation of their own AS PRACTICAL AS SAFETY GEAR — INSPIRED authentic culture but they are wary of reproducing BY THE HECTIC VIBE OF THE CITY.” it in a straightforward attitude to the past, having grown up in form. The enigmatic fashion project the digital world in modern times. The LBTC1995, for instance, is probably more Russian fashion scene is not immune to post-Internet than post-Soviet: one can the global rise of streetwear and the use spot references to normcore and Nineties of Cyrillic letters on T-shirts — in recent logos, but in the setting of lush Russian years the new generation has appropriated bathhouses and long harsh winters. it as a handy tool for shaping its new Creative collective Russki Attrackcion has identity. Sputnik1985 channels rough recently become well-known in Moscow urban poetry through streetwear. Some for putting on guerrilla nights in dumpling of the label’s designs are nostalgic, some joints and vodka bars. The exploration of perfectly suitable to wear to a rave paired Russian culture comes in many shapes, at with a choker: T-shirts, sweatshirts and times bluntly futuristic, at times retro-rave, sport socks with scorpions, dolphins and but always as an unpredictable volatile smileys, and occasional lime green and mixture. And underneath, there is a globalpale pink among black and white. Volchok, minded ethos... another popular brand, sticks to black Thesis process book

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“I DON’T WANT TO TURN AROUND, I DON’T WANT TO GO BACK,” LGBT STANCE BRAND MANIFESTO

popular by their friends, by Yegorwhich Letovsoon, of thealongside Russian it’s spin-off punk band Grazhdanskata gabber night Skotoboinya Oborona) and (Russian for Volchok’s “Youth” “slaughterhouse”) (Yunost) t-shirt attracted sold youngsters out, in both from cases, allall over hellthe broke country. loose in Thoughcomments. online W17CHØU7 Still, anddespite Skotoboinya limited couldn’t stock, you becan’t morego different out in Russia in sound, without one of the most noticeable encountering at least one things person theywearing shared was adesigns. their very photogenic The recent dress launch code: of all Sputnik black sportswear 1985’s new for collection W17CHØU7, Les Fleurs multi-coloured Du Mal vintage tracksuits attracted huge crowds for Skotoboinya, of youngsters in together both Moscow with braids and St and Petersburg ritualistic — ravethe and make-up. situation At repeated the same a few time, itlater weeks was when also about Volchok something presented deeper: their latest thecollection search forNo a new Tzars visual No language Gods. Oneconstructed of the members fromof bits English and pieces indie band Foals fishedrecently out fromappeared the depths ofwearing onstage digital history. Volchok’s IC3PEAK signature has outgrown “Youth” t-shit the party prompting sceneeven since, more and,hype despite for the Russian taking on label dystopian abroad.imagery, are striving The brands’ to create shared their aesthetic own utopia. might“Today, be when everybody difficult to describe is obsessed as anything with other the past, than we look straight “intentionally post-Soviet” into the future,” and “angsty”: they write in their manifesto. monochrome, fuzzy“For prints us, that the beauty resemble is in the struggle pictures from the to create 90s Kodak new cameras, symbols and meanings. gloomy captions Screams andand cryptic noisephrases are both inour international Russian like “The languages. city is aWe scary do not force... have a manager, Cold Times...”, we “No can Chances”, manage ourselves. “Emptiness”, We do “My defence”, not have“Rage” a labeland , why “Bad”. do we A need print of somebody typical suburban to tell us high-rises what to is do? captioned: We do not work “Our Kingdom”. with directors,we The word “Across” write, direct is

demand takes us like straight nevertobefore. the dystopian Simultaneously future, or more precisely, enticing and repulsive a secret for many rave at Russians an abandoned and Ukrainians bunker whothat livedwas through once the site for Soviet times, theyecho intrigue location foreigners experiments. and the The dimlypost-Soviet younger lit underground generation space with is filled their with beautiful exoticism and bodies the wholesome in all-black if slightly uniform, while fluid trashy image. high-pitched But the brands vocals catering tell the to story the tastes of a “Kawaii are almost Warrior”. exclusively The IC3PEAK high-end, members leaving anyone are dressed that’s not exactly Kim how and Kanye’s you image techno-warriors daughter or oligarch offspring of the future out ofto the be dressed: fashion loop.Nastya in a black kimono, black stockings That’s where young andRussian platformstreetwear shoes, with Nineties-style brands like Volchok, signature Sputnik blonde 1985, braids, Mech, and Nick in a white LECHARLATAN, R-SSA, mesh asand wellvinyl as Podmost T-shirt. Although and Syndicate the concept from Ukraine, for the come video in. Several is entirely of these fictional, had existed it’s also RUOY OT NO GNIDLOH TUOBA S’TI very much before Cyrillic drawn prints from and life, 90s and OSLA TUB ERUTLUC CITNEHTUA NWO is a snapshot nostalgia became of the a fully kind fledged of style EHT NI TRAP LAUQE NA GNIYALP a greatand trend, deal have of Russian even contributed youth is GNIEB FO DAETSNI ,DLROW LABOLG into to the today. hype.IC3PEAK Made locally, started-up available in 2013 from 1300 when rubles musicians ($20) aNick t-shirt, and .TSAP EHT YB YLLOHW DENIFED Nastya and better found quality themselves than most united massby the search market brandsfor —athey neware sound an absolute and visual and produce printed over aallbarbed our videos wire fence. by ourselves. A print language. steal. Moreover, What Nastya many labels now describes put out WeBoris of do not Yeltsin release holding vinyl his , wehands make up, music as “futuristic small collections opera with and some audio-visual designs never available pretty much online.” pointing Their toglobalminded the print above experiment” restocked they was eventually too strange selland out,alien making DIY head his ethos, that alongside reads “Idle theirYouth”. vocal feminist The same in the the pieces framework unique.ofWhen any Moscow Sputnik scene 1985’s and pro-LGBT phrase is also used stance, over is hardly a picture what of the you at Will “I the time. Always They Be Against” started performing sweatshirtat would expect Moscow WhitetoHouse come burning out of Russia in 1993 at W17CHØU7, (“Ya Vsegda Budu witchProtiv”, house parties a phrase runmade this moment during the constitutional in time. “I don’t crisis. want A print to turn 00124

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> teivoS tsoP ,morf semoc ti erehW < detanicsaf sah krow rieht ni hsalc erutluc It’s a similar ,mp23vibe :91 twith a ,19Vetements, 91 ,62 rebmwhose eceD nO htiw ereht pu won si ahsoG .dlrow eht aesthetic tsilaico celebrates S teivoS foallnothings inU ehlow-brow t fo gafl eht tsom eht fo eno sa ecalaP dna emerpuS — nugly ilmechic, rK ehyou t mocould rf derecall wolit.saAt w the scilb same upeR .dlrow eht ni seman raewteerts detevoc time, though, eht fo tnpeople ediserpare ehTimmensely .emit tsal e proud ht rof yzarc dlrow eht tnes yllacisab anmeD of what dna ,d Gosha, engiseDemna r ,vehcaand broG Lotta liahkare iM ,RSSU wef a ylno s’eh elihw dna ,stnemeteV htiw ndoing. aissuRThey’re wen ehlocal t ot reheroes vo srew who op sare ih dtaking ednah ydaerla s’eh ,agaicnelaB ta peed snosaes theirsculture aw RSSU ehT .nistleY siroB ,tnediserp hgih fo eno otni esuoh eht demrofsnart to the aigrglobal oeG ,astage. issuR dMy na friends ,devlossinidMoscow, yllaicfifo si attoL .slebal *evah-tsum* s’noihsaf theerRussians ew seirtnIumeet oc teion voSthe ehtfashion fo tser week eht dna s’ehs tub ,senecs-eht-dniheb erom tib a ccircuit imonoand ce dn Sanzhar, a larutluHighsnobiety’s c ,lacitilop otni nworht ,agaicnelaB dna stnemeteV ta largetni Kazakh fo esim intern, ed ehall t gn share iwolloafsimilar sraey eview. hT .soahc htob rof gnitlusnoc dna gnitsac ,gnilyts People ygro nain,sthe tnuowest cca lhave la yb been ,erewso msdrawn inummoC tub ,sdlefi tnereffid ni krow oirt ehT .sdnarb to this seinew rtnuowave C .msfrom iremu the snoeast c dnbecause, a erutluc fo lla s’taht eno ,noisiv ralimis a erahs yeht like eRussia distuo itself, eht mo it’s rf fsimultaneously fo tuhs neeb dah taht lanoitnevnocnu tuoba ,drah dna ytuaeb ELPOEP EREHW SSERP EHT NI STHGIF EHT LLA“ .slausiv gnirraj TSUJ ERA ”MEHT“ DNA ”SU“ OTNI DEDIVID ERA etarbelec yehT era taht sgniht EREHT ,DNAH REHTO EHT NO TUB .TIHSLLUB deredisnoc yllamron G NUOY FO YTINU LANOITANRETNI TAERG A SI roop ro worb-wol SEMOC TAHT YGRENE TAERG A LEEF I …ELPOEP ,ruf xuaf ekil ,etsat sogol tsiremusnoc ELPOEP DLO .DLROW EHT REVO LLA HTUOY MORF tekram-ssam dna LL’EW TUB ,YENOM ROF SRAW GNIKAM PEEK NAC ehT .raewstrops s09’ ”.DLROW EHT EGNAHC DNA PU WORG sllac sserp noihsaf ”teivoS-tsoP“ eht ti htiw dedoofl si tenretni eht dna ,kool familiar yland neddexotic. us erew We snall oitknow areneg what rof dNew lrow tnatropmi tsom eht saw tI .ti tuoba seirots York, VT Paris ,sehtoand lc ,cLondon isum nrare etseabout, W htiweven dedoifofl dna noihsaf ot deneppah taht gniht we’ve,snever naigroactually eG ,snaisbeen suR g there. nuoY Moscow, .smlfi dna hcum ,hcum s’ti dna ,raey siht raewteerts though, fo tseisr e something ht ni sreepelse. riehtSpend dna snaabit iniarkU emos dna strihs-T LHD wef a naht reggib of -time acoCthere ,s’dlaand noDyou’ll cM defind cneMcDonald’s, irepxe colb eht .gnirettel cilliryC subways ,emitand tsrfichurches eht rof VT(lots M dnof ae churches), ugoV ,aloC -tsoP eht fo flah eno tsuj era srengiseD just like noanywhere illim a sawintathe ht dwest. lrow aBut gnimenus ssentiw a si citehtsea eht ;tnemevom teivoS are completely stnerap rieunreadable, ht eno eht mthe orf subway yawa selim elpoep gnuoy woh fo noitcefler eniuneg stations anmare eD ,grandiose yiksnihcbumonuments and R ahsoG.ni pu werg .tS ,wocsoM fo steerts eht no sserd the churches ni pu werlook g avo almost kloV atlike toL islamic dna ailasavG remrof eht ni sdiK .veiK dna grubsreteP mosques. dnaIt’s aigarocollision eG ,wocof soM east ni ,and soahwest, c taht :tseW eht ni sreep rieht ekil tsuj era RSSU andehit’s t sa unlike w srieanything hT .ylevityou’ll cepsefind r kotin sovidalV yeht ,aidem laicos htiw dessesbo er’yeht Europe eht reortfa America. ega fo eSimilarly, moc ot noGosha itareneand g tsrfi .doog kool ot tnaw yeht dna srekaens evol Vetements sraey 52make tsomlthe a dnsort a ,mof sinstreetwear ummoC fo llaf morf raf era seimonoce teivoS-tsoP ehT that,dwe ednall e nknow oinU and teivolove, S ehtbut retfall a ythe ad eht ot elbur naissuR eht nehw dna ,hguoht ,elbats Russianlalettering itneuflniand tsom obsession eht fo eewith rht er’yeht sdnarb nretseW ,oga sraey wef a dehsarc consumerist s’tahT .yalogos dot nofeel ihsalike f ni relics gnikrofrom w elpoep ynam rof evisnepxe ylevitibihorp emaceb thetearly sew-s’90s, teemwhen -tsae the eht Soviet :ecnedpast icnioc a ton Thesis process book

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< Generation Z: Russia’s youth reach for the future to reinvent East European style > Post Soviet > < Where it comes from, On December 26, 1991, at 19:32pm, the flag of the Union of Soviet Socialist Republics was lowered from the Kremlin for the last time. The president of the USSR, Mikhail Gorbachev, resigned, and handed his powers over to the new Russian president, Boris Yeltsin. The USSR was officially dissolved, and Russia, Georgia and the rest of the Soviet countries were thrown into political, cultural and economic chaos. The years following the demise of Communism were, by all accounts, an orgy of culture and consumerism. Countries that had been shut off from the outside

Oborona) culture clash andinVolchok’s their work “Youth” has fascinated (Yunost) the world. t-shirt soldGosha out, inisboth nowcases, up there all with hell Supreme broke loose andinPalace online as comments. one of the Still, most covetedlimited despite streetwear stock, names you can’t in thegoworld. out in Demna without Russia basically encountering sent the world at least crazyone with Vetements, person wearing their and while designs. he’sThe only recent a few seasonsofdeep launch Sputnik at Balenciaga, 1985’s newhe’s collection already transformed Les Fleurs Duthe Malhouse attracted into one hugeofcrowds high fashion’s of youngsters *must-have* in both Moscow labels. Lotta and St is a bit more behind-the-scenes, Petersburg — and the situationbut repeated she’s integral a few weeks at Vetements later whenand Volchok Balenciaga, presented styling, their latest casting collection and consulting No Tzars No for Gods. both brands. One of the Themembers trio workof inEnglish different indie fields, band but they share Foals recently a similar appeared vision, onstage one that’s wearing all about unconventional Volchok’s signature beauty and “Youth” t-shit hard, “ALL THE FIGHTS IN THE PRESS WHERE PEOPLE jarring visuals. prompting even more ARE DIVIDED INTO “US” AND “THEM” ARE JUST They celebrate hype for the Russian things label abroad. that are BULLSHIT. BUT ON THE OTHER HAND, THERE normally The brands’ considered shared IS A GREAT INTERNATIONAL UNITY OF YOUNG low-brow might aesthetic or poorbe PEOPLE… I FEEL A GREAT ENERGY THAT COMES taste, like difficult tofaux describe fur, consumerist anything other logos FROM YOUTH ALL OVER THE WORLD. OLD PEOPLE as and mass-market “intentionally CAN KEEP MAKING WARS FOR MONEY, BUT WE’LL than ’90s sportswear. The post-Soviet” GROW UP AND CHANGE THE WORLD.” fashion and “angsty”: press calls it the “Post-Soviet” monochrome, fuzzy world for generations were suddenly look, and prints thatthe resemble internetpictures is flooded from with the flooded with Western music, clothes, TV stories 90s Kodak about cameras, it. It was gloomy the most captions important and films. Young Russians, Georgians, thingcryptic and that happened phrases in toRussian fashion like and“The Ukrainians and their peers in the rest of streetwear city is a scary thisforce...Cold year, and it’s Times...”, much, much “No the bloc experienced McDonald’s, Cocabigger than“Emptiness”, Chances”, a few DHL T-shirts “My defence”, and some Cola, Vogue and MTV for the first time, Cyrillic lettering. “Rage” and “Bad”. A print of typical witnessing a world that was a million Designershigh-rises suburban are just one is half captioned: of the Post“Our miles away from the one their parents Soviet movement; Kingdom”. The word the“Across” aesthetic is is printed a grew up in.Gosha Rubchinskiy, Demna genuine over a barbed reflection wire of fence. how A young print people of Boris Gvasalia and Lotta Volkova grew up in dress on Yeltsin holding the streets his hands of Moscow, up, pretty St. much that chaos, in Moscow, Georgia and Petersburg pointing to the andprint Kiev.above Kids inhis the head former that Vladivostok respectively. Theirs was the USSR are reads “Idlejust Youth”. like their The peers same phrase in the West: is first generation to come of age after the they’re also used obsessed over a picture with social of the media, Moscow they fall of Communism, and almost 25 years love sneakers White House burning and they in want 1993to during look good. the to the day after the Soviet Union ended, The Post-Soviet constitutional crisis. economies A print are of afar row from of they’re three of the most influential stable, though, dancing ballerinas, and topped when the with Russian a signruble people working in fashion today. That’s crashed that saysa“1991” few years – aago, clearWestern reference brands not a coincidence: the east-meets-west became to the 1991 prohibitively August attempt expensive of afor coup many 00126

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young people. Russian-speaking kids started mixing up the streetwear pieces they already owned with obscure thrift store finds and stuff they’d uncovered from their parents’ wardrobes, creating that spontaneous mashup of styles that

It’s a similar vibe with Vetements, whose aesthetic celebrates all things low-brow — ugly chic, you could call it. At the same time, though, people are immensely proud of what Gosha, Demna and Lotta are doing. They’re local heroes who are taking their culture to the global stage. “GLOBAL STREETWEAR IS THESE DAYS — My friends in Moscow, IT’S A UNIFORM THAT UNITES YOUTHS ALL the Russians I meet OVER THE WORLD, AND IN MANY WAYS IT’S on the fashion week circuit and Sanzhar, OVERTAKEN MUSIC AS THE NUMBER ONE METHOD OF PERSONAL EXPRESSION FOR YOUNG Highsnobiety’s Kazakh intern, all PEOPLE. WHEN I WAS A TEENAGER, I QUEUED share a similar view. People in the west UP FOR HOURS TO SEE BANDS I LOVED, AND have been so drawn BOUGHT THEIR ALBUMS ON THE DAY THEY to this new wave from RELEASED, AND I TRIED (BADLY) TO COPY THEIR the east because, STYLE. NOW, FOR A LOT OF YOUNG PEOPLE, IT’S like Russia itself, it’s simultaneously THE CLOTHING ITSELF.” familiar and exotic. you see so often in Gosha’s photography. We all know what New York, Paris and “The main idea is the beauty of Russia London are about, even if we’ve never and its new generation” Gosha explained actually been there. Moscow, though, to BoF. He’s using streetwear and is something else. Spend a bit of time photography as a platform to tell the world there and you’ll find McDonald’s, about his homeland, and he’s constantly subways and churches (lots of churches), finding inspiration in the country’s youths. just like anywhere in the west. But His aesthetic looks to the past, bringing menus are completely unreadable, the subway stations are grandiose monuments and the churches IT’S ABOUT HOLDING ON TO YOUR look almost like islamic mosques. OWN AUTHENTIC CULTURE BUT ALSO It’s a collision of east and west, PLAYING AN EQUAL PART IN THE and it’s unlike anything you’ll find GLOBAL WORLD, INSTEAD OF BEING in Europe or America. Similarly, Gosha and Vetements make the DEFINED WHOLLY BY THE PAST. sort of streetwear that we all know back tracksuits, crudely-cut denim, faux and love, but all the Russian lettering furs and mass-market sportswear from and obsession with consumerist logos the early ’90s. A lot of the Russians I’ve feel like relics from the early ’90s, when spent time with in Moscow feel a little the Soviet past and Western capitalist strange when they see westerners dressed future collided. 2016 was the year that the in clothing that would, in present-day Post-Soviet aesthetic went worldwide. A Russia, be viewed as tacky or in poor taste. few years ago, nobody could imagine that Thesis process book

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< Where it comes from, Post Soviet > esohw ,stnemeteV htiw ebiv ralimis a s’tI sdik gnikaeps-naissuR .elpoep gnuoy worb-wol sgniht lla setarbelec citehtsea seceip raewteerts eht pu gnixim detrats emas eht tA .ti llac dluoc uoy ,cihc ylgu — tfirht erucsbo htiw denwo ydaerla yeht duorp ylesnemmi era elpoep ,hguoht ,emit derevocnu d’yeht ffuts dna sdnfi erots era attoL dna anmeD ,ahsoG tahw fo gnitaerc ,sebordraw ’stnerap rieht morf gnikat era ohw seoreh lacol er’yehT .gniod taht selyts fo puhsam suoenatnops taht erutluc rieht .egats labolg eht ot — SYAD ESEHT SI RAEWTEERTS LABOLG“ ,wocsoM ni sdneirf yM LLA SHTUOY SETINU TAHT MROFINU A S’TI teem I snaissuR eht S’TI SYAW YNAM NI DNA ,DLROW EHT REVO keew noihsaf eht no ,rahznaS dna tiucric ENO REBMUN EHT SA CISUM NEKATREVO s’yteibonshgiH G N U O Y R OF NOISSERPXE LANOSREP FO DOHTEM lla ,nretni hkazaK DEUEUQ I ,REGANEET A SAW I NEHW .ELPOEP .weiv ralimis a erahs tsew eht ni elpoeP DNA ,DEVOL I SDNAB EES OT SRUOH ROF PU nward os neeb evah YEHT YAD EHT NO SMUBLA RIEHT THGUOB morf evaw wen siht ot R I E H T YPOC OT )YLDAB( DEIRT I DNA ,DESAELER ,esuaceb tsae eht S’TI ,ELPOEP GNUOY FO TOL A ROF ,WON .ELYTS ,flesti aissuR ekil ylsuoenatlumis s’ti ”.FLESTI GNIHTOLC EHT .citoxe dna railimaf dna siraP ,kroY weN tahw wonk lla eW .yhpargotohp s’ahsoG ni netfo os ees uoy reven ev’ew fi neve ,tuoba era nodnoL aissuR fo ytuaeb eht si aedi niam ehT“ ,hguoht ,wocsoM .ereht neeb yllautca denialpxe ahsoG ”noitareneg wen sti dna emit fo tib a dnepS .esle gnihtemos si dna raewteerts gnisu s’eH .FoB ot ,s’dlanoDcM dnfi ll’uoy dna ereht dlrow eht llet ot mroftalp a sa yhpargotohp ,)sehcruhc fo stol( sehcruhc dna syawbus yltnatsnoc s’eh dna ,dnalemoh sih tuoba tuB .tsew eht ni erehwyna ekil tsuj .shtuoy s’yrtnuoc eht ni noitaripsni gnidnfi eht ,elbadaernu yletelpmoc era sunem gnignirb ,tsap eht ot skool citehtsea siH esoidnarg era snoitats yawbus sehcruhc eht dna stnemunom RUOY OT NO GNIDLOH TUOBA S’TI .seuqsom cimalsi ekil tsomla kool OSLA TUB ERUTLUC CITNEHTUA NWO ,tsew dna tsae fo noisilloc a s’tI EHT NI TRAP LAUQE NA GNIYALP dnfi ll’uoy gnihtyna ekilnu s’ti dna GNIEB FO DAETSNI ,DLROW LABOLG ,ylralimiS .aciremA ro eporuE ni eht ekam stnemeteV dna ahsoG .TSAP EHT YB YLLOHW DENIFED wonk lla ew taht raewteerts fo tros gnirettel naissuR eht lla tub ,evol dna xuaf ,mined tuc-yledurc ,stiuskcart kcab sogol tsiremusnoc htiw noissesbo dna morf raewstrops tekram-ssam dna sruf nehw ,s09’ ylrae eht morf sciler ekil leef ev’I snaissuR eht fo tol A .s09’ ylrae eht tsilatipac nretseW dna tsap teivoS eht elttil a leef wocsoM ni htiw emit tneps eht taht raey eht saw 6102 .dedilloc erutuf desserd srenretsew ees yeht nehw egnarts A .ediwdlrow tnew citehtsea teivoS-tsoP yad-tneserp ni ,dluow taht gnihtolc ni taht enigami dluoc ydobon ,oga sraey wef .etsat roop ni ro ykcat sa deweiv eb ,aissuR 00128

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S’AHSOG — ELPOEP FO NOITARENEG SIHT“ YLLAER A ,S09 EHT MORF ELPOEP ERA — MAET TI EBYAM DNA ,SNAISSUR ROF EMIT DRAH EVAH EW .DLROW SIHT DNATSREDNU SU SPLEH ,FLESMIH AHSOG ROF ”.ELGNA TNEREFFID A SIH FO YROMEM RAELC A SA DNATS S09 EHT EHT .SRAEY EGANEET YLRAE DNA DOOHDLIHC EMOCEB SAH SRAEY ESOHT FO YTIRETSUA MORF AIGLATSON :NOITARIPSNI TSEGGIB SIH ”.ARE DNEM DNA OD-EKAM NREDOM-TSOP A

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< Where it comes from, Post Soviet >

s’ti dna ,tsew dna tsae fo noisilloc a s’tI sdik gnikaeps-naissuR .elpoep gnuoy ro eporuE ni dnfi ll’uoy gnihtyna ekilnu seceip raewteerts eht pu gnixim detrats stnemeteV dna ahsoG ,ylralimiS .aciremA tfirht erucsbo htiw denwo ydaerla yeht lla eGENERATION w taht raewteertsOF fo tPEOPLE ros eht eka— m GOSHA’S derevocnu d’yeht ffuts dna sdnfi erots “THIS g n i r e t t e l n a i s s u R e h t l l a t u b , e v o l d n a w o n k g itaerc ,sebordraw ’stnerap rieht morf TEAM — ARE PEOPLE FROM THE 90S, AnREALLY sogol tsiremusnoc htiw noissesbo dna taht selyts fo puhsam suoenatnops taht HARD nehwTIME ,s09’ yFOR lrae ehRUSSIANS, t morf sciler ekAND il leef MAYBE .yhpaIT rgotohp s’ahsoG ni netfo os ees uoy HELPS WE tsilatUS ipacUNDERSTAND nretseW dna tsap tTHIS eivoS WORLD. eht aissuHAVE R fo ytuaeb eht si aedi niam ehT“ ehDIFFERENT t taht raey eht sANGLE.” aw 6102 .dFOR edillocGOSHA erutuf HIMSELF, denialpxe ahsoG ”noitareneg wen sti dna A A .ediwdlrow tnew citehtsea teivoS-tsoP dna raewteerts gnisu s’eH .FoB ot THE 90S STAND AS A CLEAR MEMORY OF HIS taht enigami dluoc ydobon ,oga sraey wef dlrow eht llet ot mroftalp a sa yhpargotohp CHILDHOOD eht ni srengiseAND d deteEARLY voc tsomTEENAGE eht fo owt YEARS. yltnatsTHE noc s’eh dna ,dnalemoh sih tuoba morf resserdriOF ah re mrof a ebYEARS dluow dlHAS row BECOME .shtuoy s’yrtnuoc eht ni noitaripsni gnidnfi AUSTERITY THOSE sseBIGGEST ndnof a htiwINSPIRATION: naigroeG a dna wNOSTALGIA ocsoM gnFROM ignirb ,tsap eht ot skool citehtsea siH HIS labolg woh tsuj swohs tI .ogol LHD eht rof xuaf ,mined tuc-yledurc ,stiuskcart kcab AmPOST-MODERN rofinu a s’ti — syadMAKE-DO eseht si raewAND teerts MENDmERA.” orf raewstrops tekram-ssam dna sruf ,dlrow eht revo lla shtuoy setinu taht ev’I snaissuR eht fo tol A .s09’ ylrae eht cisum nekatrevo s’ti syaw ynam ni dna elttil a leef wocsoM ni htiw emit tneps lanosrep fo dohtem eno rebmun eht sa desserd srenretsew ees yeht nehw egnarts saw I nehW .elpoep gnuoy rof noisserpxe yad-tneserp ni ,dluow taht gnihtolc ni ees ot sruoh rof pu deueuq I ,reganeet a .etsat roop ni ro ykcat sa deweiv eb ,aissuR no smubla rieht thguob dna ,devol I sdnab esohw ,stnemeteV htiw ebiv ralimis a s’tI )yldab( deirt I dna ,desaeler yeht yad eht worb-wol sgniht lla setarbelec citehtsea gnuoy fo tol a rof ,woN .elyts rieht ypoc ot emas eht tA .ti llac dluoc uoy ,cihc ylgu — tsom — flesti gnihtolc eht s’ti ,elpoep duorp ylesnemmi era elpoep ,hguoht ,emit ytitnedi yeht taht — raewteerts ylnommoc .gniod era attoL dna anmeD ,ahsoG tahw fo ot syad pord no sruoh rof eueuq yehT .htiw rieht gnikat era ohw seoreh lacol er’yehT klat yeht ,raewteerts no yenom rieht dneps erutluc eht revo lla elpoep htiw raewteerts tuoba ,wocsoM ni sdneirf yM .egats labolg eht ot yfitnedi ot raewteerts esu yeht dna ,dlrow keew noihsaf eht no teem I snaissuR eht ,sselredrob ,labolg a fo trap sa sevlesmeht hkazaK s’yteibonshgiH ,rahznaS dna tiucric s’tahT .ytinummoc derewopme-tenretnI .weiv ralimis a erahs lla ,nretni eht lla fo kniht uoy nehw gniht lufrewop a nward os neeb evah tsew eht ni elpoeP gniugalp era taht sevitarran ”meht .sv su“ ,esuaceb tsae eht morf evaw wen siht ot .syad eseht aidem eht ylsuoenatlumis s’ti ,flesti aissuR ekil noihsaf ,delohnoegip eb ot sekil ydoboN weN tahw wonk lla eW .citoxe dna railimaf taht c230 dlot ahsoG .yllaicepse srengised fi neve ,tuoba era nodnoL dna siraP ,kroY detnevni éhcilc a“ si gat teivoS-tsoP eht ,wocsoM .ereht neeb yllautca reven ev’ew I .si hcum ytterp ti dna ”,aidem eht yb tib a dnepS .esle gnihtemos si ,hguoht ,rehtie ti ekil avokloV ro ailasavG tbuod ,s’dlanoDcM dnfi ll’uoy dna ereht emit fo sgniht dnatsrednu ot su pleh slebal tub ,)sehcruhc fo stol( sehcruhc dna syawbus ruo parw su pleh yehT .wen era taht sunem tuB .tsew eht ni erehwyna ekil tsuj yletelpmoc era taht sgniht dnuora sdaeh yawbus eht ,elbadaernu yletelpmoc era ,erofeb nees ev’ew gnihtyna ot tnereffid eht dna stnemunom esoidnarg era snoitats dna erutcip reggib eht ees nac ew os .seuqsom cimalsi ekil tsomla kool sehcruhc 00130

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“THIS GENERATION OF PEOPLE — GOSHA’S TEAM — ARE PEOPLE FROM THE 90S, A REALLY HARD TIME FOR RUSSIANS, AND MAYBE IT HELPS US UNDERSTAND THIS WORLD. WE HAVE A DIFFERENT ANGLE.” FOR GOSHA HIMSELF, THE 90S STAND AS A CLEAR MEMORY OF HIS CHILDHOOD AND EARLY TEENAGE YEARS. THE AUSTERITY OF THOSE YEARS HAS BECOME HIS BIGGEST INSPIRATION: NOSTALGIA FROM A POST-MODERN MAKE-DO AND MEND ERA.”

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Post Soviet Music

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Post Soviet Music

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The Guardian Newspaper, April 2015

:sretsgnaG dna ruomalG ,poP < > aissuR evaR weN s’nistleY siroB Oneenexception o :”stimil fmight fo si gbe nihliterature, ton“ ot ”nelike ddibrof the ni works flesti dof nuViktor of ecaPelevin frus s’dland row Vladimir eht fo htxis Sorokin,tnor, eminnrpart, evogvisual ehT .yart hcr– anlike a fopainters etats a Vinogradov-Dubossarsky, lacitilop yad-ot-yad ehartist t ot ylOleg no detcaer Kulik,rand ieht photographer ot tfel erew tseBoris r eht Mikhailov. dna ,adnega Thesculture a barg“crowd gnieb of artthe nam1990s eht ,se didn’t cived nwo form ni eruany saelclearly p eht narticulated o gniliP .”namovements c uoy sa hcum or,m styles; odeerfhere, :citsa as tnwith af sdthe nuogangsters, s lla siht ,yritoeht was .”severyone eitilibissothemselves, pmi detimilnyou u“ ,tagainst rats hserf a thetiworld, b a tuobut emthere ac lla were ti ,revsome ewoh general ,ecitcarp nI themes. s08First, 91 ehitt ttended aht gnih tot tbe srfiflagrantly ehT .detsiwt apolitical. ecno ,didSurprising, htuoy teivo but S-itrue: tna fothe noitareneg w extraordinarily en siht ni ehcndramatic alb etracsocial nevig cataclysms neeb d’yeht of that .eruperiod saelp e–hthe t noreforms elip ot sand aw ,the epamass csdnal impoverishment bulc dna evar sa ofwthe sihtpopulation fo elpmaxeatdoog A the ebeginning ht fo emosofhthe tiw decade; devlovni asapopular w I .erutluc uprising retniw ehint n Moscow, i ,wocsoM with ni sthe tnestorming ve ecnad tsrfi of ekithe l sthOstankino giN .2991TV fo station gnirps eand ht dthe na 1991 fo bombardment tS ni no tupof ,rio the nhcparliament eT dna ytrabuilding; P niragaG the .war voskinam Chechnya; laS navI ythe b deeconomic daeh ,grub crisis sreteP and yredefault v eht ,oof sd 1998 na ss–ecall cuhad s giblittle a erimpact ew yehT on the sacultural w tnemeproduction vom evar eof ht the ,tnetime. mom txen Second, htuoy there remrowas f ehtan ,loabsolute mosmoK focus yb deton pooc the media. dah taUnlike ht ytrathe P tsunderground inummoC ehtof fo gniw the 1980s, noitasiwhich nagro didn’t retsgnhave ag a saccess a efilreto tfa na the professional voskamlaS .press dednaand bsidso RScreated SU eht retfa itseown seht homemade, dna ,daed de but mueffective, serp ,gnisway sim tof new being e(the rewsamizdat seitrap tsdissident irutuf-oenmovement, elbanoihsaf apartment .seigro gigs, retsgnword-of-mouth ag delleuf-gurdand sa n other rober DIYstendeavours), pmetta tsrfi ein htthe :sse90s nisueverything bwohs ekat rO was sehoned kil eht for yb mass cisummedia. pop ytiIflayou uq gweren’t nikam ta in muthe raVtrendy akilehzmagazines nA dna aya(Ptyuch, kstilteV OM) ailataorN fo on the yerfashionable p llef – soedTV iv hshows silyts n(Dryoma, i degakcap – CafetlOblomov), user a sa dthen na ,”syou recudidn’t dorp“exist. gninnuc ot Lots ofnw musicians onk cisumoffothat ernperiod eg cfiir– rofrom h ylriaf a the crazy ehTart-punk .erehwygroup reve deChimera raeppa ato spthe op sa psycho-bard ”kcortihs“Venya gnirobDrkin erew–senever vitanrreally etla ylno took eht soff ’tI .largely ”nosnah because c naissuthey R“ dndidn’t a )korfit onvog( .the aideinfamous m dna ng“radio ised ,aformat”... menic htiw Whereas yrots emas yaldtonne neirf aofnglam i rehtehacks got degot ximall sathe w gglory. nihtyrevE Russian .ytilaniBritpop. mirc dnaThe eniathird coc ,tendency ruomalg fof o wets culture -eerf tof ned this acetime d ehTwas .aidparochialism. em ssam lacitilopA Here hthe t02main eht fingredient o dne eht twas a aisborrowings suR fo lla-rof from strends aw tahin t ewestern lttil yrevmass dniheculture: b tfel yrutnec like.g“Russian nicnivnocBritpop”, yllautcelthe letn“Russian i dna yllacitsitra Thesis process book

Tarantino”, retnuoc stior dethe tapRussian issid noi“Generation nU teivoS ehX”. t sA Russia,a its toethe yb doors decalpflung er saopen w tnem vomworld, erutluc couldenot itdany Maleviches, hT .offer msino eh tnew ekram -eerf fo edaced Stravinskys .s0991 eht or hgEisensteins. uorht su klatAll lanof ruus, oJ tof revlaC course, also raey-evcan fi ow t otrecall ni dedmoments ivid erew sthat 089were 1 ehT culturally My .etihwworthwhile eno ,kcalb efrom no ,athat issutime. R ni sd oirep own rewofavourites p teivoS foinclude seorht the eht films erew of ereMaxim ht tsriF Pezhemsky the na fo tneand minYufit, apmoc ca performance eht ot tuo deyart alp of:tVladik ra dnuoMonroe rgrednuand fo lPirate avinracTV, yrathe nidartroartxe rockasongs ylI ot ,eofrnN.O.M. eg mlfiand tsilathe erorapping rceN ehtof morf Delfin. most s’vonoBut maM rtoyof P dthe na artefacts skrow tra of s’vthat okabera aK will from like are ebe htwiped yb dew ollofour sawmemory, sihT .kco r ciatoline npyh of cocaine cimonocine the – tsclub onsatoilets lg dna at akManhattan iortserep fo Express ”gnirutc–urwhich tser“ dhas na ”itself ssennalready epo“ fobeen seicilop swept away, ehT .elalong as rof with saw the gnihHotel tyreveRossiya erehw – where once :epitacwas sdna l ranhomed. ul a ekil All pu that dednwill e s0891 remain are kcor ,y osTvague rotkiVmemories naicisum of ekshootouts il ,seoreh sti in nightclubs edrag-tnavand a dnMumiy a ,okneTroll’s muaN 1997 ekiM rsong egnis Run ro ,away! daed eAnd, rew ,of nihcourse, koyruK Boris yegreYeltsin, S naicisum the – tera’s ekramappropriately lanoitanretnidrunken eht no econductor. lbaelas fi – mgidarap a neeb dah erehT .daorba gnivil RSSU eht ni efil larutluc ecno erehW .tfihs gnissapmocne-lla fo snoitidnoc ni del saw yllacigoloedi eht morf noitalosi ,pihsrosnec etelpmoc eht dna ,”dlrow edistuo“ naelcnu sgniht won ,ymonoce tekram a fo ecnesba .gnignahc erew evisserppo siht ,stsoc suoivbo sti lla roF terces fo egnar a dedivorp osla metsys erac-yam-lived a detareneg ti :snopaew uoY .ytitnedi evitcnitsid a ,tirips tnedissid tuohtiw snoillim fo lodi eht emoceb dluoc a etaerc dluoc uoy ;ecno VT no gniog gninaelc ro reliob a gnikots elihw tih hsams tuohtiw tnemirepxe dluoc uoy ;steerts eht akiortsereP .selas rof thguoht a gniraps eht detfil dna pihsrosnec ot dne na thguorb eht ot del ,s0991 eht ni dna ,niatruC norI .tekram detiawa-gnol eht fo noitcudortni ,elttil tnaem dah neht ot pu hcihw ,yenoM eht dnA .gnihtyreve tnaem ylneddus eht erew hsac fo tluc siht fo stseirp hgih sretsgnag eht :s0991 eht fo sreenigne ylneddus aissuR .”snaissuR weN“ eht dna si gnihtyreve“ fo noitisop a morf dehctiws 8102 retneCtrA

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< Pop, Glamour and Gangsters: Boris Yeltsin’s New Rave Russia > As the Soviet Union dissipated its counter culture movement was replaced by a decade of free-market hedonism. The Calvert Journal talk us through the 1990s. The 1980s were divided into two five-year periods in Russia, one black, one white. First there were the throes of Soviet power played out to the accompaniment of an extraordinary carnival of underground art: from the Necrorealist film genre, to Ilya Kabakov’s art works and Pyotr Mamonov’s hypnotic rock. This was followed by the era of perestroika and glasnost – economic policies of “openness” and “restructuring” – where everything was for sale. The 1980s ended up like a lunar landscape: its heroes, like musician Viktor Tsoy, rock singer Mike Naumenko, and avant-garde musician Sergey Kuryokhin, were dead, or – if saleable on the international market – living abroad. There had been a paradigm shift. Where once cultural life in the USSR was led in conditions of all-encompassing censorship, isolation from the ideologically unclean “outside world”, and the complete absence of a market economy, now things were changing. For all its obvious costs, this oppressive system also provided a range of secret weapons: it generated a devil-may-care dissident spirit, a distinctive identity. You could become the idol of millions without going on TV once; you could create a smash hit while stoking a boiler or cleaning the streets; you could experiment without sparing a thought for sales. Perestroika brought an end to censorship and lifted the Iron Curtain, and in the 1990s, led to the introduction of the long-awaited market. Money, which up to then had meant little, suddenly meant everything. And the high priests of this cult of cash were the engineers of the 1990s: the gangsters and the “New Russians”. Russia suddenly switched from a position of “everything is

forbidden” to “nothing is off limits”: one sixth of the world’s surface found itself in a state of anarchy. The government reacted only to the day-to-day political agenda, and the rest were left to their own devices, the mantra being “grab as much as you can”. Piling on the pleasure in theory, this all sounds fantastic: freedom, a fresh start, “unlimited impossibilities”. In practice, however, it all came out a bit twisted. The first thing that the 1980s generation of anti-Soviet youth did, once they’d been given carte blanche in this new landscape, was to pile on the pleasure. A good example of this was rave and club culture. I was involved with some of the first dance events in Moscow, in the winter of 1991 and the spring of 1992. Nights like Gagarin Party and Technoir, put on in St Petersburg, headed by Ivan Salmaksov. They were a big success and so, the very next moment, the rave movement was coopted by Komsomol, the former youth wing of the Communist Party that had an afterlife as a gangster organisation after the USSR disbanded. Salmaksov went missing, presumed dead, and these fashionable neo-futurist parties were reborn as drug-fuelled gangster orgies. Or take showbusiness: the first attempts at making quality pop music by the likes of Natalia Vetlitskaya and Anzhelika Varum – packaged in stylish videos – fell prey to cunning “producers”, and as a result a fairly horrific genre of music known as popsa appeared everywhere. The only alternatives were boring “shitrock” (govnorok) and “Russian chanson”. It’s the same story with cinema, design and media. Everything was mixed together in a friendly stew of glamour, cocaine and criminality. Apolitical mass media.The decadent freefor-all of Russia at the end of the 20th century left behind very little that was artistically and intellectually convincing.

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Post Soviet Music

stcA 23 eht ot netsiL .taeB weN < cinortcelE fo erutuF eht gnipahS > aissuR ni cisuM The Guardian Newspaper, April 2015

TW lebal desab-kroY weN ta desaeler saw One exception might be literature, .5102 ni like sdroceR the aworks of Viktor Pelevin ynA aka( tluC evoL oudand esioVladimir NtluC evoL Sorokin, eht fo tror, aehinepart, ht ta visual si )otoart loZ –nalike vI dpainters na stuK Vinogradov-Dubossarsky, artist eht ni aileraK ni enecs cisum dnOleg uorgrednu Kulik, Boris gniand tnuaphotographer h dna krad rieh T .aisMikhailov. suR fo htron Thesculture crowd of the 1990s naf meht now evah senut ladidn’t tnemirepxe form riehany t dnclearly a ,nodnarticulated oL dna kroYmovements weN ,oykoT ni or destyles; rutaef here, sah gas nihwith toN fthe o llugangsters, F lebal etteitssac waslleveryone themselves, you a morf stnelat cisum gnigragainst eme yek eht the world, .tomH dna but rallithere P aoMwere gnidsome ulcni ,general aissuR revo themes. desaFirst, b-wocitstended oM fo dlto ihcbe niaflagrantly rb eht ,VNVN apolitical. aytaSurprising, K recudorpbut dnatrue: regnthe is ,naicisum extraordinarily dramatic social cataclysms morf noitaripsni sti sekat ,a vosonolihS ofdthat na trperiod a edrag–-tthe navreforms a ,pop esand enathe paJmass s0891 impoverishment of the population yraropmetnoc ni stnemirepxe cat itsirutuf the egabeginning rag ni regnof is the osladecade; si avosoanpopular olihS .cisum uprising in Moscow, with tnapicitrap evitca na dnathe ekstorming ahstnilG dnab of the Ostankino .ymedTV acstation A cisuMand lluBthe deR eht ni bombardment of the parliament tomH aka nillufirahS valsbuilding; inatStomH the war gnin uoChechnya; y laitneuflnthe i tseconomic om eht fo ecrisis no a si and default of 1998 – all had cinortcele nairebiS wen eht little no srimpact ecudorp on sthe ’ehcultural ,ksrayonproduction sarK ni desof aBthe .entime. ecs cisum Second, there was an absolute on ettessac gnalkmmalK eht fo focus rednuo f eht the media. Unlike the underground of ,krad sih rof denwoner ylediw dna lebal the 1980s, which didn’t.shave taeb access detacitsto ihpos the professional press and so ralliP aoM aka vezrevereP rodcreated eFralliP aoM its own ofa si :serhomemade, neg fo sdnikbut lla geffective, nigrem taway tped being (the samizdat dissident movement, ro acinortcele gnikniht-drawrof morf apartment ehT .tragigs, dnuoword-of-mouth s ot onhcet kradand gniother dnuop DIYsendeavours), in the 90s everything krow eh erneg eht sebircsed etivocsuM wasdhoned mass na kradfor ylp eed amedia. ,”ssabIflayou utiriweren’t ps“ sa ni in thefo trendy magazines (Ptyuch, OM) erutuf eht otni yenruoj cire hpsor omta on the fashionable TV shows (Dryoma, .ssenerawa-fles dna snoigiler ,stluc Cafe Oblomov), fo cisum ethen hTinyou maKdidn’t eihkiTexist. / orezovoL Lots of musicians of that period eihkiT dna )orezovoL( avenhcloT–afrom isatsanA the crazy group htiwart-punk tcejorp e vitaroChimera balloc reto h ,ithe nmaK psycho-bard ylekilnu na siVenya )ralliP Drkin aoM( v–enever zreverreally eP rodeF tooknoff fitetnoc i kllargely of naissbecause uR fo htrthey iber ydidn’t raropm the infamous “radio format”... Whereas gnuoy detnelat yrev owt fo sdnah eht as’tonne the aissuRofgnglam irolphacks xe seirgot aid call ino S .sglory. naicisum Russian Britpop. The third tendency eht ,sekal dna srevir ,sllih dna sofyellav culture dna seof nothis rd petime ed ,swas lacoparochialism. v rednet xim sgnos Here the main ingredient was .onaborrowings ip tsilaminim from trends in western mass morf yllanigiro si emohculture: sI ariMemohsI like “Russian tub aisBritpop”, suR fo htuthe os e“Russian ht ni radonsarK Thesis process book

elyts pop-J ot onhcet krad morF Tarantino”, “Generation nrehtroN nor i sthe gnidRussian rocer dle fi ot acinortX”. cele Russia, its doors flung open on sah aissuR fo dnuos wto enthe ehtworld, :stserof could it ,any Maleviches, dnanot krooffer Y weN airenew biS ,w ocsoM nI .stimil Stravinskys or Eisensteins. rof gnikool era srecudorpAllnaof isus, suRof nilreB course, can also recall moments that were dna — seciov wen ,shtnys wen ,staeb wen culturally worthwhile from that time. My eht fo noitcarf a tsuj era woleb stca 23 eht own erafavourites yeht taht include tcaf ehtthe sI .efilms vaw of duMaxim ol ,eguh Pezhemsky and Yufit, the performance labolg s’yadot ni tnaveler neve naisart suR of,tVladik Pirate TV, nelat eMonroe ra mehtand setin u yllae r tathe hWart?dlrow rock songs dnuosof otN.O.M. hcaorpand pa lathe noirapping tnevnocof nu na Delfin.yeBut most of the artefacts ht gnihtemos — noitanimofrethat ted dera na willnbe o swiped naf fo from snoillour im hmemory, tiW .evivlike rus oatline deen of the ,slcocaine atipac nainep oruclub E ni toilets sgig dnat a dManhattan uolcdnuoS Express – which has itself already s’ti ,yrtnuoc nwo rieht ssorca sbeen a llew sa swept along .dnuoraway, grednu llits ewith ra yethe ht tHotel aht evRossiya isserpmi where was desabit-w ocsonce oM fohomed. rednuoAll f ehthat T .onwill hcettuB remainvo are vague memories of shootouts kayliM levaP ,lebal mod gniK ’snhoJ in nightclubs yllanoitanrand etniMumiy suomaTroll’s f si onh1997 cettusong B aka Run away! And, of course, Boris Yeltsin, ahsoG rof skcartdnuos gnisopmoc rof the era’s s’rappropriately engised ehT .sdrunken wohs s’yconductor. ksnihcbuR desaeler tsuj sah eh ,rotaroballoc mretgnol onhcettuB ,tekraM teertS revoD ta lyniv a s’yksnihcbuR htiw rehtegot dlos si hcihw yllausu vokayliM .letoH htuoY ,koob -wocsoM gnitcerid tra emit eerf sih sdneps .tra nwo sih gnikam dna IIN bulc desab vonayuB gelO recudorp desab-wocsoM ytrid dna hguor a ni sesilaiceps LO aka krow etacirtni :dnuos detacitsihpos tey otni sdeef staeb dna selpmas htiw s’latipac eht fo evoorg elbitsiserri eht cisum s’vonayuB .seitrap dnuorgrednu yraropmetnoc fo tirips eht stcefler osla si adeboP PE tnecer sih :wocsoM wocsoM etiruovaf sih fo eno ot detacided ,kraP yrotciV ,s09-dim eht ecnis stops ereht tem sah eh elpoep eht lla ot dna fo ytitnedi ehT.emirC trA .sraey eht revo si emirC trA recudorp desab-wocsoM htob era skcart siH .suoiretsym rehtar gnisol rof tfi ,evitcepsortni dna evisremmi gniyats dna rooflecnad eht no flesruoy dna shtnys ykrum ni depolevne emoh ta kcaB kooL reveN tubed siH .sdrohc onaip

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< Pop, Glamour and Gangsters: Boris Yeltsin’s New Rave Russia > noSoviet itareneUnion G“ naidissipated ssuR eht roits ,”ocounter nitnaraT As.”X the ,dlrowmovement eht ot nepwas o gnreplaced ufl sroodby stia,aissuR culture ,seof hcfree-market ivelaM wen yhedonism. na ti reffo tThe on dluoc decade fo ,Journal su fo llAtalk .snius etsthrough nesiE rothe syk1990s. snivartS Calvert ere1980s w taht swere tnemdivided om llacinto er ostwo la nafive-year c ,esruoc The yM .einmRussia, it taht mone orf black, elihwhtone rowwhite. yllarutluc periods mixthere aM fowere smlfithe ehtthroes edulcnof i sSoviet etiruovpower af nwo First tra ecnout amto rofthe rep accompaniment eht ,tfiuY dna ykof sman ehzeP played -tra eht ,VT etariP dofnaunderground eornoM kidaart: lV fo extraordinary carnival gniNecrorealist ppar eht dnafilm .M.Ogenre, .N fo sto gnIlya os kcor fromfothe are taht fo art stcworks afetra and eht fPyotr o tsom tuB .nfileD Kabakov’s Mamonov’s enil a ekrock. il ,yroThis mem ruofollowed morf depby iwthe eb era lliw hypnotic was ttahnaM taand steliglasnost ot bulc eh ni eniacoc fo ofnaperestroika –teconomic neebofyd“openness” aerla flesti sand ah h“restructuring” cihw – sserpxE policies yissoReverything letoH eht was htiw for gnosale. la ,yaThe wa tpews –a where w taht up llA like .dem h ecnlandscape: o saw ti erehw 1980slliended a olunar tuotoohlike s fomusician seiromemViktor eugaTsoy, v era nrock iamer itssheroes, gnos 7Mike 991 Naumenko, s’llorT yimuM dnavant-garde a sbulcthgin ni singer and ,nistleSergey Y siroB Kuryokhin, ,esruoc fo ,were dnA !dead, yawa nor uR musician cudnoc non eknthe urdinternational yletairporppa s’are e–ht –.ro iftsaleable market living abroad. There had been a paradigm shift. Where once cultural life in the USSR was led in conditions of all-encompassing censorship, isolation from the ideologically unclean “outside world”, and the complete absence of a market economy, now things were changing. For all its obvious costs, this oppressive system also provided a range of secret weapons: it generated a devil-may-care dissident spirit, a distinctive identity. You could become the idol of millions without going on TV once; you could create a smash hit while stoking a boiler or cleaning the streets; you could experiment without sparing a thought for sales. Perestroika brought an end to censorship and lifted the Iron Curtain, and in the 1990s, led to the introduction of the long-awaited market. Money, which up to then had meant little, suddenly meant everything. And the high priests of this cult of cash were the engineers of the 1990s: the gangsters and the “New Russians”. Russia suddenly switched from a position of “everything is

forbidden” ekil ,erto uta“nothing retil eb tis hgoff im limits”: noitpecone xe enO sixth rim ofidthe alVworld’s dna nive surface leP rotkfound iV fo sitself krow in eht s arstate etniapofekanarchy. il – tra laThe usivgovernment ,trap ni ,ro ,nikoroS reacted geonly lO tsto itrthe a ,ykday-to-day srassobuD-political vodargoniV agenda, .voliahand kiMthe sirorest B reh were pargleft otohtop their dna ,kiluK own devices, t’ndid s0the 991mantra eht fo being dworc“grab erutluas c ehT much stnas emyou evocan”. m detPiling alucitron a ythe lraepleasure lc yna mrin of theory, ti ,srthis etsgall nasounds g eht htfantastic: iw sa ,erehfreedom, ;selyts ro a fresh tsnstart, iaga u“unlimited oy ,sevlesm impossibilities”. eht enoyreve saw In practice, lareneg however, emos ereit w all erecame ht tubout ,dlraow biteht twisted. yltnaThe rgaflfirst eb thing ot dedthat net tthe i ,ts1980s riF .semeht generation ehof t :eanti-Soviet urt tub ,gniyouth sirpruSdid, .laconce itilopa they’d smsylcbeen atac given laicoscarte citamblanche ard ylirain nid this roanew rtxe landscape, ssam eht dwas na sto mrpile oferon ehthe t–d pleasure. oirep taht fo A goodtexample a noitalupofopthis ehtwas fo tn rave emhand sirevclub opmi culture. raluIpwas op ainvolved ;edaced with eht fo some gninof nigthe eb eht first dance gnimroevents ts eht h intiMoscow, w ,wocsoin M the ni gn winter isirpu of 1991 eand ht dthe na nspring oitats of VT1992. oniknaNights tsO ehlike t fo Gagarin ;gnidliu Party b tneand mailTechnoir, rap eht foput tneon mdin rab Stmob Petersburg, sisirc cimoheaded noce ehby t ;aIvan ynhcSalmaksov. ehC ni raw eht They tcapwere mi elattbig il dasuccess h lla – 89 and 91 fso, o tlthe uafevery d dna next moment, .emit eht the fo nrave oitcumovement dorp larutluwas c eht no coopted no sucby ofKomsomol, etulosba nathe saw former erehtyouth ,dnoceS wing of fothe dnuCommunist orgrednu ehParty t ekiln that U .ahad idem eht an afterlife ot sseccas ae avgangster ah t’ndid organisation hcihw ,s0891 eht after the detaUSSR erc osdisbanded. dna sserp Salmaksov lanoisseforp eht went fo ymissing, aw ,evitcpresumed effe tub ,edead, dameand mohthese nwo sti fashionable ,tnemevomneo-futurist tnedissid taparties dzimaswere eht( gnieb reborn rehto as dnadrug-fuelled htuom-fo-dgangster row ,sgig orgies. tnemtrapa Or take gnih showbusiness: tyreve s09 ehtthe ni ,)first sruoattempts vaedne YID attmaking ’nerew uquality oy fI .aipop demmusic ssam by rofthe denlikes oh saw of Natalia ro )MO Vetlitskaya ,hcuytP( senand izagAnzhelika am ydnertVarum eht ni – packaged ,amoyrDin( sstylish wohs Vvideos T elban –ofell ihsaprey f eht no to cunning .tsixe“producers”, t’ndid uoy neand ht ,)as vom ao result lbO efaC a fairly mohorrific rf – doirgenre ep tahof t fo music snaicknown isum fo stoL as popsa eht ot aappeared remihC pu everywhere. org knup-traThe yzarc eht onlyyalternatives llaer reven –were nikrDboring ayneV“shitrock” drab-ohcysp (govnorok) tfi t’ndand id ye“Russian ht esuacchanson”. eb ylegral fIt’s fo kthe oot same sastory erehW with ...”tcinema, amrof oidesign dar“ suand omamedia. fni eht Everything .yrolg ewas ht llamixed tog sktogether cah malginfo ae friendly nnot a stew fof o yglamour, cnednet cocaine driht ehTand .pop criminality. tirB naissuR Apolitical .msilmass aihcomedia.The rap saw emdecadent it siht fo efreerutluc for-all sgniw ofoRussia rrob saw attthe neidend ergnofi nthe iam20th eht ereH century:eleft rutlubehind c ssamvery nretlittle sew nthat i sdn was ert morf artistically naisand suRintellectually “ eht ,”poptirBconvincing. naissuR“ ekil

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stcA 23 eht ot netsiL .taeB weN < cinortcelE fo erutuF eht gnipahS > aissuR ni cisuM TW lebal desab-kroY weN ta desaeler saw .5102 ni sdroceR aynA aka( tluC evoL oud esioNtluC evoL eht fo traeh eht ta si )otoloZ navI dna stuK eht ni aileraK ni enecs cisum dnuorgrednu gnitnuah dna krad riehT .aissuR fo htron snaf meht now evah senut latnemirepxe rieht dna ,nodnoL dna kroY weN ,oykoT ni derutaef sah gnihtoN fo lluF lebal ettessac lla morf stnelat cisum gnigreme yek eht .tomH dna ralliP aoM gnidulcni ,aissuR revo desab-wocsoM fo dlihcniarb eht ,VNVN aytaK recudorp dna regnis ,naicisum morf noitaripsni sti sekat ,avosonolihS dna tra edrag-tnava ,pop esenapaJ s0891 yraropmetnoc ni stnemirepxe citsirutuf egarag ni regnis osla si avosonolihS .cisum tnapicitrap evitca na dna ekahstnilG dnab .ymedacA cisuM lluB deR eht ni tomH aka nillufirahS valsinatStomH gnuoy laitneuflni tsom eht fo eno a si cinortcele nairebiS wen eht no srecudorp s’eh ,ksrayonsarK ni desaB .enecs cisum ettessac gnalkmmalK eht fo rednuof eht ,krad sih rof denwoner ylediw dna lebal .staeb detacitsihpos ralliP aoM aka vezrevereP rodeFralliP aoM :serneg fo sdnik lla gnigrem ta tpeda si ro acinortcele gnikniht-drawrof morf ehT .tra dnuos ot onhcet krad gnidnuop skrow eh erneg eht sebircsed etivocsuM dna krad ylpeed a ,”ssab lautirips“ sa ni fo erutuf eht otni yenruoj cirehpsomta .ssenerawa-fles dna snoigiler ,stluc fo cisum ehTinmaK eihkiT / orezovoL eihkiT dna )orezovoL( avenhcloT aisatsanA htiw tcejorp evitaroballoc reh ,inmaK ylekilnu na si )ralliP aoM( vezrevereP rodeF ni klof naissuR fo htriber yraropmetnoc gnuoy detnelat yrev owt fo sdnah eht s’aissuR gnirolpxe seiraid cinoS .snaicisum eht ,sekal dna srevir ,sllih dna syellav dna senord peed ,slacov rednet xim sgnos .onaip tsilaminim morf yllanigiro si emohsI ariMemohsI tub aissuR fo htuos eht ni radonsarK Thesis process book

elyts pop-J ot onhcet krad morF nrehtroN ni sgnidrocer dlefi ot acinortcele on sah aissuR fo dnuos wen eht :stserof dna kroY weN ,airebiS ,wocsoM nI .stimil rof gnikool era srecudorp naissuR nilreB dna — seciov wen ,shtnys wen ,staeb wen eht fo noitcarf a tsuj era woleb stca 23 eht era yeht taht tcaf eht sI .evaw duol ,eguh labolg s’yadot ni tnaveler neve naissuR ,tnelat era meht setinu yllaer tahW ?dlrow dnuos ot hcaorppa lanoitnevnocnu na yeht gnihtemos — noitanimreted dna no snaf fo snoillim htiW .evivrus ot deen ,slatipac naeporuE ni sgig dna duolcdnuoS s’ti ,yrtnuoc nwo rieht ssorca sa llew sa .dnuorgrednu llits era yeht taht evisserpmi desab-wocsoM fo rednuof ehT .onhcettuB vokayliM levaP ,lebal modgniK ’snhoJ yllanoitanretni suomaf si onhcettuB aka ahsoG rof skcartdnuos gnisopmoc rof s’rengised ehT .swohs s’yksnihcbuR desaeler tsuj sah eh ,rotaroballoc mretgnol onhcettuB ,tekraM teertS revoD ta lyniv a s’yksnihcbuR htiw rehtegot dlos si hcihw yllausu vokayliM .letoH htuoY ,koob -wocsoM gnitcerid tra emit eerf sih sdneps .tra nwo sih gnikam dna IIN bulc desab vonayuB gelO recudorp desab-wocsoM ytrid dna hguor a ni sesilaiceps LO aka krow etacirtni :dnuos detacitsihpos tey otni sdeef staeb dna selpmas htiw s’latipac eht fo evoorg elbitsiserri eht cisum s’vonayuB .seitrap dnuorgrednu yraropmetnoc fo tirips eht stcefler osla si adeboP PE tnecer sih :wocsoM wocsoM etiruovaf sih fo eno ot detacided ,kraP yrotciV ,s09-dim eht ecnis stops ereht tem sah eh elpoep eht lla ot dna fo ytitnedi ehT.emirC trA .sraey eht revo si emirC trA recudorp desab-wocsoM htob era skcart siH .suoiretsym rehtar gnisol rof tfi ,evitcepsortni dna evisremmi gniyats dna rooflecnad eht no flesruoy dna shtnys ykrum ni depolevne emoh ta kcaB kooL reveN tubed siH .sdrohc onaip

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< New Beat. Listen to the 32 Acts Shaping the Future Electronic < Pop, Glamour and of Gangsters: Music in Russia New > Rave Russia > Boris Yeltsin’s From dark techno to J-pop style electronica to field recordings in Northern forests: the new sound of Russia has no limits. In Moscow, Siberia, New York and Berlin Russian producers are looking for new beats, new synths, new voices — and the 32 acts below are just a fraction of the huge, loud wave. Is the fact that they are Russian even relevant in today’s global world? What really unites them are talent, an unconventional approach to sound and determination — something they need to survive. With millions of fans on Soundcloud and gigs in European capitals, as well as across their own country, it’s impressive that they are still underground. Buttechno. The founder of Moscow-based Johns’ Kingdom label, Pavel Milyakov aka Buttechno is famous internationally for composing soundtracks for Gosha Rubchinsky’s shows. The designer’s longterm collaborator, he has just released a vinyl at Dover Street Market, Buttechno which is sold together with Rubchinsky’s book, Youth Hotel. Milyakov usually spends his free time art directing Moscowbased club NII and making his own art. Moscow-based producer Oleg Buyanov aka OL specialises in a rough and dirty yet sophisticated sound: intricate work with samples and beats feeds into the irresistible groove of the capital’s underground parties. Buyanov’s music also reflects the spirit of contemporary Moscow: his recent EP Pobeda is dedicated to one of his favourite Moscow spots since the mid-90s, Victory Park, and to all the people he has met there over the years. Art Crime.The identity of Moscow-based producer Art Crime is rather mysterious. His tracks are both immersive and introspective, fit for losing yourself on the dancefloor and staying at home enveloped in murky synths and piano chords. His debut Never Look Back

was released at New York-based label WT Records in 2015. Love CultNoise duo Love Cult (aka Anya Kuts and Ivan Zoloto) is at the heart of the underground music scene in Karelia in the north of Russia. Their dark and haunting experimental tunes have won them fans in Tokyo, New York and London, and their cassette label Full of Nothing has featured the key emerging music talents from all over Russia, including Moa Pillar and Hmot. NVNV, the brainchild of Moscow-based musician, singer and producer Katya Shilonosova, takes its inspiration from 1980s Japanese pop, avant-garde art and futuristic experiments in contemporary music. Shilonosova is also singer in garage band Glintshake and an active participant in the Red Bull Music Academy. HmotStanislav Sharifullin aka Hmot is a one of the most influential young producers on the new Siberian electronic music scene. Based in Krasnoyarsk, he’s the founder of the Klammklang cassette label and widely renowned for his dark, sophisticated beats. Moa PillarFedor Pereverzev aka Moa Pillar is adept at merging all kinds of genres: from forward-thinking electronica or pounding dark techno to sound art. The Muscovite describes the genre he works in as “spiritual bass”, a deeply dark and atmospheric journey into the future of cults, religions and self-awareness. Lovozero / Tikhie KamniThe music of Anastasia Tolchneva (Lovozero) and Tikhie Kamni, her collaborative project with Fedor Pereverzev (Moa Pillar) is an unlikely contemporary rebirth of Russian folk in the hands of two very talented young musicians. Sonic diaries exploring Russia’s valleys and hills, rivers and lakes, the songs mix tender vocals, deep drones and minimalist piano. IshomeMira Ishome is originally from Krasnodar in the south of Russia but

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Article from Calvert Journal Text by Anastasiia Fedorova March 2017

otnI gnivaR sI htuoY naissuR woH < > erutuF weN dloB A na Glived satS in reSiberia hpargotand ohp Moscow. dna rekammlfi hasdalso ninorotechno V atikiNwith rotcmelancholic erid dna naicisum She merges won ehtambient tuoba tcand ejorbass, p a rofand pu her demaet electronica, oitutare itsnfamiliar i onhcetamong tluc s’w ocsoM tcnufed DJ,nsets Berlin crowds. eht tlef I seitDevayin rap onhcaka et ePixelord ht tA“ .71 PixelordAlexey isamrA cihthe w nkey oillepeople ber ,ytedriving icos ehRussian t ot egnellahc onehof ”yadot cismusic um knuforward p eht nion gnthe issim saw tlef I electronic .ninfuturistic oroV atikiN – international scene. He mixes a fo gnidlgarage iub kcirb eggrime uh a nitogether detacoL bass, footwork, and eurt a stake aw 7on 1am rA ,tmusic, nalp sathat g remrof into a unique bass ejorpwell eht ron of tours aedi ein hTChina .elpmand et onthe hcet goestcdown ,ningot oroVhim atik iN nehwon delabels greme tsrfi US and has releases dna kDevayin nup-tsop i devcofounder lovni ylsuoof iverp worldwide. isnalso gniyduts drecord na senlabel ecs ciand sumreleases erocdrah the Hyperboloid ot d ediced ,tracks gnikamunder mlfi yrthe atnname emucod his more abstract euqinArtikler. u s’bulcSuokasBorn eht evreserpand wohbased emos of Gulkstra .htuoy s’North, ytic ehSergey t no tnirpmi in Karelia in the Russian

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< New Beat. Listen to the 32 Acts Shaping the Future of Electronic Music in Russia > From dark techno to J-pop style electronica to field recordings in Northern forests: the new sound of Russia has no limits. In Moscow, Siberia, New York and Berlin Russian producers are looking for new beats, new synths, new voices — and the 32 acts below are just a fraction of the huge, loud wave. Is the fact that they are Russian even relevant in today’s global world? What really unites them are talent, an unconventional approach to sound and determination — something they need to survive. With millions of fans on Soundcloud and gigs in European capitals, as well as across their own country, it’s impressive that they are still underground. Buttechno. The founder of Moscow-based Johns’ Kingdom label, Pavel Milyakov aka Buttechno is famous internationally for composing soundtracks for Gosha Rubchinsky’s shows. The designer’s longterm collaborator, he has just released a vinyl at Dover Street Market, Buttechno which is sold together with Rubchinsky’s book, Youth Hotel. Milyakov usually spends his free time art directing Moscowbased club NII and making his own art. Moscow-based producer Oleg Buyanov aka OL specialises in a rough and dirty yet sophisticated sound: intricate work with samples and beats feeds into the irresistible groove of the capital’s underground parties. Buyanov’s music also reflects the spirit of contemporary Moscow: his recent EP Pobeda is dedicated to one of his favourite Moscow spots since the mid-90s, Victory Park, and to all the people he has met there over the years. Art Crime.The identity of Moscow-based producer Art Crime is rather mysterious. His tracks are both immersive and introspective, fit for losing yourself on the dancefloor and staying at home enveloped in murky synths and piano chords. His debut Never Look Back

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DazedDigital, Text by Anastasia Fedorova, June 2017

otnI gnivaR sI htuoY naissuR woH < > erutuF weN dloB A eht tlef Ithe seitemerging rap onhceof t esomething ht tA“ .71amrA witnessing ihwexceptional noilleber ,ytin eicMoscow os eht ot— egthe nellahc newhcand ”yadcommunity, ot cisum knunew p ehparties, t ni gnisnew sim speople. aw tlef I new .ninoroV asome tikiN – Mostly we were trying to document a fo greflected nidliub kcthe irb eArma guh anights: ni detacoL traits which urtdesign, a saw 7lighting, 1amrA ,tthe nalpspace, sag remrof bits of e set tcejorppeople. eht rof a di ehsort T .elof pman et imprint onhcet interesting Itewas ,ninormoment,” oV atikiN n ehsays. w degreme tsrfi of the unique he dna knaup -tsopbetween ni devlovan ni art ylsufilm oiverp In the video, cross gniyduts dna sscenes enecs cfrom isumthe eroclub cdrah and a documentary, ot dedwith iceda,gmonologue nikammlfi ywhich ratnem ucod are overlaid Nikita euqas inu“contemporary s’bulc eht evreinterpretation serp wohemos describes htu oy s’yjournalism”. tic eht no tnirpmi and exploitation .of gonzo gnellah c ewitty ht tleand f I seover itrapthe onhtop, cet and eht tA“ Atetimes, it’s saw tincredibly lef I hcihwsincere. noillebeThrough r ,yteicosthis eht ot at times eh ”,yaditotalso cisubecomes m knup eevident ht ni gnithat ssim juxtaposition, ylnnot o ,tjust oir eabout tamitnArma i fo dn— ik a sasomething w tI“ .sllacer it’s but no bigger. uoy dnuIt’s oranot elpjust oep about dna uoayclub ot nwonk much revo but eht about ,tsenoh ebRussian oT .rooflrave ecnad eht or allaparty the sniamer yas adaswhole. iht ot pToday, u tcejoritpalso eht flooks o aedi movement t’nod llifrom ts I — em rofwhich eugavhas ylthgils like a postcard a world gnineppArma17 ah saw lshut leh edown ht tahin wd natsrednu vanished. 2014 ehtredevelopment saw ti ebyaM .e it ehbuilding t ta em ot due to the ofmthe did tub dereterritories. tne I hcihwThe dlro2016 w tluda and itst’n surrounding ebyafestival, m ,yawaorganised thgiarts tpby ecc a ot eganam Outline Arma’s smelbNatasha orp eht oAbelle t evitisand nesher eroteam, m emawas ceb I creator ylraluon citrthe ap d na by ,emauthorities. dnuora elpo ep fo shut down day Since htbureaucracy ob ,esac yna and nI .nthe oitaunpredictable reneg gnuoy eht then, amrA .”cisuauthorities m cinortcelhave e ot dbeen eknil the erew actions of“ local rehto m orfthe ylncancellation o ton tnereffof id e ew sArma eitrap reasons for arfew ehtDespite lla morfthe oslobvious a tub woopposition csoM ni sthof gin events. G satS ,”ot neevalues b ev’I eto pothe ruEones ni seiof trap the state-endorsed na elacs–efamily ht tuob a sawholesomeness w tI“ .srebmemer ravedculture and ekifreedom, l saw tnevself-expression e yreve :noitaraand perphedonism evisnetxe vs srauthorities’ ooflecnad laposition reves htiis w hardly lavitseever f-inim a – the .stsitra yb dInstead, etaerc nthe gisepromoters d tes xelpm oc dna articulated. face ehtwindmills :laiceps oof sla saw erehapprovals psomta ehT endless obtaining fo elpuogovernmental c a ni ecno ecorgans, alp kootand seitrap from various ydobyaura reve of tne ve na saand w tidisapproval. dna ,shtnom a general distrust saw tI .roknows f gnirathat perpany dnaparty, gnitap icitnaorsaw Everyone event ”.dcan liw obe g tshut suj ddown ’uoy eat rehany w ymoment, trap fo dnik a club a gnusing irb d’eforce, h ,sisaand b ylkexistence eew a no within amrA nI at times nuormoment a gnihtyrof evefreedom mlfi dnamake aremthe ac SHV thisdbrief ta ,ytraphours elgnisofaraving gnissim t’nssweeter. aw I sA“ .mih morning even saw Idestinations taht tlef I tniop emos Moscow’s major club Thesis process book

a tsuj naht eand romSolyanka si ti htuohave y s’noclosed itan eht roF Monasterio ehthe t turecent oba ecyears, iohc sumainly oicsnofor c a financial tub dnekeew in dna ya t ,osame t gnoltime, eb ot even tnaw in yethe ht dlrow reasons. Atdothe h tifinancial tuoba mlcrisis fi a hcwhich taw – hit worromot wake.e ofrethe eht noin gn2015, ignuoMoscow’s l era sretsgDIY nuospaces, y fo dwolike rc A Russia ,yroand tcafRabitsa, desusid are a foon ecthe apsrise tsavand ehtkeep ni roofl NII ssalggoing. nuS .gAt nicthe nadcentre morf kof aethe rb afilm, gnikat these party rooflecnadineits ht nnostalgic o dworc eVHS ht dhues, na tuoare era documented ekoyoung ms fo Russian gninetsilparty-goers, g eht etipsedoblivious ,gib llits si the ehtto nitomorrow, thguac gnibut ttegtos’time taht titself. aews dna not just nilresame B eb ytime, lisaeit’s dlufar oc sfrom ihT .tjust hgilbeing gninrom At the ehtescapism morf seneand cs eisraalso esehabout t tub ,the nodevernoL ro pure sevideological ar ytic siht ncollision i dna ,woofcsthe oMold fo tand raeh present ti h oy Russian naissuR society. roF .laice“The ps ylfact urt nthat iamer new intuthe emiso tsapopular p dnekee w a tsuMoscow’s j naht erom si Arma was among eht tproves uoba ethat ciohcthere suoicissn c a tub — youth only aowhole na yadot ,otwhich gnolewants b ot tnsomething aw yeht dlrow newdgeneration erutluc hfrom tuoywhat naissthe uR hstate guohcould tlA .woprovide rromot different nretsiseW eht ot wen dna hserto f skolder ool llits or what considered important kcasays b gnitStas ad yrG. ot“This sih nwgeneration o sti sah ti ,eye people,” evar spriority 09 nwoand sti dentirely na ,seda ced wef a has another different ahsoG ,nAnd oitce llocfact tsethat tal siArma h nI .nteam oisolpxe worldview. the dnuonot rgrework dnu e t otni de ppat yiksand nihchad buR could inhRussia anymore s’tthe aht country dna ,ycaonly gel eproves var gruthat bsrethere teP tS to leave ehtenough fo enO .space grebecfor i ehalternative t fo pit eht tsuj is not yet nirculture”. agaG 1991 eht saw stnemom latovip youth ,oreh ecaof psthe teivnew oS egenerations, ht retfa demathe n ,ytraP “Russians gnicwho nad are srevnow ar dyounger nasuoht than eerht22, dahare hcihw ones tekcor dncareless a setilletaradicals”, s tcileredNikita eht tsadds... gnoma absolutely s’woideas csoMabout ni shtnreality ilp no are detnfor uonow... m senigne “Their ,neht ecniS .retneC noitibihxE aissuR -llA evahfar sreremoved cudorp dfrom na thg in ,actual sbulc fsituation. o snezod quite the niajudge mer llitthem, s sevaI rthink tub — enog dnatoneeb I don’t it happens .ygnew renegeneration. gnuoy eerfOverall, wen ehtI’m fo lhappy obmys a every evathey r ,noare dnomore L ro nopen ilreB eto kilthe secworld alp ni elihW that ,ycaeveryone gel larutlubefore c fo tnthem. emeleAs dethe tpecpower ca na si than gnuoy ehtare fo ndominated iamod eht by llitsthe si tsame i aissuR ni structures eht nwho’d i eveilebeen b ohw senosince eht dthe na ,late traeh ta people there rere dnaw thgin fowith doothe hrehauthorities torb labolg 90s, sthe confrontation .sredrob dn— a sthe citileternal op dnoyconflict eb seil h is unavoidable ofcihw ,ygrand ene sons, laicepnothing s siht ernew”. utpac ot gnikeeS fathers dnacould G satsay S rethat hpartoday gotohp dna rekammlfi Some Moscow’s ninorisoVnot atiwhat kiN roittcused erid dtonabe, naand icisum rave scene won ehof t tu oba tceis jorthe p asign rof pof u dits emaet the closure Arma17 ,noitutBut itsnithe onhtruth cet tlis, ucall s’wthe ocsgreat oM tcnufed decline. 8102 retneCtrA

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< How Russian Youth Is Raving Into A Bold New Future > For the nation’s youth it is more than just a weekend but a conscious choice about the world they want to belong to, today and tomorrow – watch a film about it here. A crowd of youngsters are lounging on the floor in the vast space of a disused factory, taking a break from dancing. Sunglasses are out and the crowd on the dancefloor is still big, despite the glistening of smoke and sweat that’s getting caught in the morning light. This could easily be Berlin or London, but these are scenes from the heart of Moscow, and in this city raves remain truly special. For Russian youth it is more than just a weekend pastime — but a conscious choice about the world they want to belong to, today and tomorrow. Although Russian youth culture still looks fresh and new to the Western eye, it has its own history dating back a few decades, and its own 90s rave explosion. In his latest collection, Gosha Rubchinskiy tapped into the underground St Petersburg rave legacy, and that’s just the tip of the iceberg. One of the pivotal moments was the 1991 Gagarin Party, named after the Soviet space hero, which had three thousand ravers dancing amongst the derelict satellites and rocket engines mounted on plinths in Moscow’s All- Russia Exhibition Center. Since then, dozens of clubs, night and producers have been and gone — but raves still remain a symbol of the new free young energy. While in places like Berlin or London, rave is an accepted element of cultural legacy, in Russia it is still the domain of the young at heart, and the ones who believe in the global brotherhood of night wanderers which lies beyond politics and borders. Seeking to capture this special energy, filmmaker and photographer Stas G and musician and director Nikita Voronin teamed up for a project about the now defunct Moscow’s cult techno institution,

Arma17. “At the techno parties I felt the challenge to the society, rebellion which I felt was missing in the punk music today” – Nikita Voronin. Located in a huge brick building of a former gas plant, Arma17 was a true techno temple. The idea for the project first emerged when Nikita Voronin, previously involved in post-punk and hardcore music scenes and studying documentary filmmaking, decided to somehow preserve the club’s unique imprint on the city’s youth. “At the techno parties I felt the challenge to the society, rebellion which I felt was missing in the punk music today,” he recalls. “It was a kind of intimate riot, only known to you and people around you on the dancefloor. To be honest, the overall idea of the project up to this day remains slightly vague for me — I still don’t understand what the hell was happening to me at the time. Maybe it was the adult world which I entered but didn’t manage to accept straight away, maybe I became more sensitive to the problems of people around me, and particularly the young generation. In any case, both were linked to electronic music”. “Arma parties were different not only from other nights in Moscow but also from all the parties in Europe I’ve been to”, Stas G remembers. “It was about the scale and extensive preparation: every event was like a mini-festival with several dancefloors and complex set design created by artists. The atmosphere was also special: the parties took place once in a couple of months, and it was an event everybody was anticipating and preparing for. It was a kind of party where you’d just go wild.” In Arma on a weekly basis, he’d bring a VHS camera and film everything around him. “As I wasn’t missing a single party, at some point I felt that I was

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Post Soviet Music

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Articles

DazedDigital, Text by Anastasia Fedorova, June 2017

weN eht si yiksnaviL rdeK < dnuorgrednU s’aissuR fo ecaF > enecS cinortcelE witnessing the emerging of something new and exceptional in Moscow — the new community, new parties, new people. Mostly we were trying to document some traits which reflected the Arma nights: bits of set design, lighting, the space, interesting people. It was sort of an imprint of the unique moment,” he says.

vs freedom, self-expression and hedonism – the authorities’ position is hardly ever articulated. Instead, the promoters face endless windmills of obtaining approvals from various governmental organs, and a general aura of distrust and disapproval. Everyone knows that any party, event or club can be shut down at any moment, at times using force, and existence within this brief “AT THE TECHNO PARTIES I FELT THE moment of freedom make the CHALLENGE TO THE SOCIETY, REBELLION morning hours of raving even sweeter. WHICH I FELT WAS MISSING IN THE PUNK Moscow’s major club MUSIC TODAY.. DOZENS OF CLUBS, NIGHT destinations Monasterio AND PRODUCERS HAVE BEEN GONE, BUT and Solyanka have closed in RAVE STILL REMAINS A SYMBOL OF THE the recent years, mainly for financial reasons. At the same NEW FREE YOUNG ENERGY IN RUSSIA” time, even in the wake of the financial crisis which hit In the video, a cross between an art film Russia in 2015, Moscow’s DIY spaces, like and a documentary, scenes from the club NII and Rabitsa, are on the rise and keep are overlaid with a monologue which Nikita the party going. At the centre of the film, describes as “contemporary interpretation documented in its nostalgic VHS hues, are and exploitation of gonzo journalism”. the young Russian party-goers, oblivious At times, it’s witty and over the top, and not just to tomorrow, but to time itself. at times incredibly sincere. Through this At the same time, it’s far from just being juxtaposition, it also becomes evident that pure escapism and is also about the everit’s not just about Arma — but something present ideological collision of the old and much bigger. It’s not just about a club new in the Russian society. “The fact that or a party but about the Russian rave Arma was so popular among Moscow’s movement as a whole. Today, it also looks youth only proves that there is a whole like a postcard from a world which has new generation which wants something vanished. Arma17 shut down in 2014 different from what the state could provide due to the redevelopment of the building or what is considered important to older and its surrounding territories. The 2016 people,” says Stas G. “This generation Outline festival, organised by Arma’s has another priority and entirely different creator Natasha Abelle and her team, was worldview. And the fact that Arma team shut down on the day by authorities. Since could not work in Russia anymore and had then, bureaucracy and the unpredictable to leave the country only proves that there actions of local authorities have been the is not yet enough space for alternative reasons for the cancellation of a few Arma youth culture”. events. Despite the obvious opposition of “Russians of the new generations, the the state-endorsed values to the ones of ones who are now younger than 22, are rave culture – family and wholesomeness absolutely careless radicals”, Nikita adds... Thesis process book

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< How Russian Youth Is Raving Into A Bold New Future > desolc evah aknayloS dna oiretsanoM For the it ,is ai laicnation’s nanfi rofyouth ylniam srmore aey tnthan ecer just eht n weekend about eht nbut i neaveconscious ,emit emachoice s eht tA .snosthe aer world they tih hwant cihw to sisbelong irc laicnto, antoday fi eht fand o ekaw tomorrow – watch a film about it2here. ekil ,secaps YID s’wocsoM ,510 ni aissuR A crowd peek dofnayoungsters esir eht noare eralounging ,astibaR on dnathe IIN floor the ,mlin fi e ht fvast o ertspace nec ehof t taA disused .gniog ytfactory, rap eht taking era ,seaubreak h SHVfrom cigladancing. tson sti nSunglasses i detnemucod aresuout and the crowd oivilbo ,sreog-ytraon p nthe aissdancefloor uR gnuoy eht is still oft smoke .flbig, esti despite emit ot tthe ub ,glistening worromot o tsuj ton andgsweat nieb tsthat’s uj morgetting f raf s’ticaught ,emit ein mathe s eht tA morning This -reve ehlight. t tuob a oscould la si deasily na msbe ipaBerlin cse erup or London, but these are scenes the dna dlo eht fo noisilloc lacigoloefrom di tne serp heart city tahtof tcMoscow, af ehT“ .yand teicoins this naiss uR raves eht ni wen remain s’wtruly ocsospecial. M gnomaFor ralRussian upop osyouth saw ait mrA is more than just a weekend pastime elohw a si ereht taht sevorp ylno htuoy — but choice gnihatconscious emos stnaw hcihwabout noitarthe eneg wen world totsbelong today edivorthey p dluwant oc eta eht tahto, wm orf tnand ereffid tomorrow. redlo otAlthough tnatropmRussian i deredisyouth noc siculture tahw ro still looks noitafresh renegand sihTnew “ .G to satthe S syWestern as ”,elpoep eye, it has its own history dating tnereffid yleritne dna ytiroirp reback htona sah a few madecades, et amrA tand aht tits caown f eht90s dnArave .weivdlrow explosion. his dah dna eIn rom ynlatest a aisscollection, uR ni krow Gosha ton dluoc Rubchinskiy tapped into underground ereht taht sevorp ylno yrthe tnuo c eht evael ot St Petersburg rave evitanretla rof legacy, ecaps hand guonthat’s e tey ton si just the tip of the iceberg. One .”eof rutthe luc htuoy pivotal ehmoments t ,snoitarewas negthe wen1991 eht fGagarin o snaissuR“ Party, hero, eranamed ,22 naafter ht regthe nuoSoviet y won space era ohw seno which had three thousand ravers dancing ...sdda atikiN ,”slacidar sselerac yletulosba amongst the satellites ...won rofderelict era ytila er tuoba and saedrocket i riehT“ engines mounted on plinths in Moscow’s .AllnoitRussia autis laExhibition utca eht mCenter. orf devoSince mer rthen, af etiuq dozens of clubs, night and producers ot sneppah ti kniht I ,meht egduj thave ’nod I been gone yppand ah m ’I ,lla— revbut O .nraves oitarestill negremain wen yreve a symbol ofwthe free dlro ehtnew ot ne po eyoung rom erenergy. a yeht taht While in places like Berlin or rewop eht sA .meht erofeb London, enoyreverave naht is an e accepted mas eht yelement b detaniof mocultural d era selegacy, rutcurts in Russia etal eithtisestill cnisthe eredomain ht neeb of d’othe hw young elpoep atseheart, itirohtand ua ethe ht hones tiw nowho itatnbelieve orfnoc in ehthe t ,s09 global fo tbrotherhood ciflnoc lanretof e enight ht —wanderers elbadiovanu si which lies beyond .”wen gpolitics nihton ,and snosborders. dna srehtaf Seeking special s’wto occapture soM yadthis ot ta ht yas energy, dluoc emoS filmmaker and dna ,eb and ot dphotographer esu ti tahw tonStas si enGec s evar musician and director Nikita Voronin sti fo ngis eht si 71amrA fo erusolc eht teamedtaup ergfor ehat project lla ,si htabout urt ehtthe tuBnow .enilced defunct Moscow’s cult techno institution,

gnihtemos fo gnigreme eht gnissentiw Arma17. “Atwthe eht — ocstechno oM ni laparties noitpecIxfelt e dnthe a wen challenge .elpoep wto enthe ,sesociety, itrap werebellion n ,ytinumwhich moc wen I felt emwas os tnmissing emucodinotthe gnipunk yrt ermusic ew ew today” yltsoM – Nikita Voronin. :sthgin amrA eht detcefler hcihw stiart Located ,ecin apas huge eht ,gbrick nithgibuilding l ,ngisedof teas fo stib former a true tnirpmigas na fplant, o tros Arma17 saw tI .ewas lpoep gnitseretni techno temple. forom theeuproject .syasThe eh idea ”,tnem qinu eht fo firstmemerged when Nikita Voronin, lfi tra na neewteb ssorc a ,oediv eht nI previously involved bulc eht m orf seneincspost-punk ,yratnemuand cod a dna hardcore atikiN hcimusic hw eugscenes olonomand a hstudying tiw dialrevo era documentary noitaterpretnfilmmaking, i yraropmetndecided oc“ sa sto ebircsed somehow preserve the club’s .”msilanruoj oznog fo noiunique tatiolpxe dna imprint dna on ,pothe t ehcity’s t revoyouth. dna yttiw s’ti ,semit tA “At sthe techno iht h guorhTparties .erecniIsfelt ylbthe iderchallenge cni semit ta to the society, rebellion which taht tnedive semoceb osla ti ,nI ofelt itiswas opatxuj missing in the punk music today,” gnihtemos tub — amrA tuoba tsuhe j ton s’ti recalls. bu“It lc awas tuoa bakind tsujof tointimate n s’tI .regriot, gib only hcum knowneto around vayou r naiand ssuRpeople eht tuo ba tubyou ytraon p a ro the overall skodancefloor. ol osla ti ,yaTo dobe T .ehonest, lohw a the sa tn emevom idea of the project up to this day remains sah hcihw dlrow a morf dractsop a ekil slightly don’t 41vague 02 ni nfor wome d tu— hsI 7still 1am rA .dehsinav understand hell gnidliub ewhat ht fo the tnem polwas evedhappening er eht ot eud to me 610at 2 ethe hT time. .seiroMaybe tirret gnitidwas nuothe rrus sti dna adult world which I entered but s’amrA yb desinagro ,lavididn’t tsef eniltuO manage toetaccept saw ,ma reh dnstraight a ellebA away, ahsatamaybe N rotaerc I ebecame cniS .semore itirohtsensitive ua yb yadtoehthe t noproblems nwod tuhs of people elbatcidaround erpnu eme, ht dand na yparticularly carcuaerub ,neht the young generation. eht neeb evah seitiroIn htany ua lacase, col foboth snoitca were amrAlinked wef ato foelectronic noitallecnmusic”. ac eht ro“Arma f snosaer parties fo noitwere isoppdifferent o suoivbnot o ehonly t etipfrom seD other .stneve nights in Moscow but also from fo seno eht ot seulav desrodnall e-ethe tats eht parties ssenein moEurope selohwI’ve dnabeen ylimato”, f – Stas erutluGc evar remembers. msinodeh d“It na was noissabout erpxethe -flesscale ,modand eerf sv extensive reve ylpreparation: drah si noitisevery op ’seevent itirohtwas ua ehlike t– a mini-festival ecaf sretomwith orp eseveral ht ,daedancefloors tsnI .detalucitra and slacomplex vorppa gset nindesign iatbo focreated sllimdnby iw sartists. seldne The d atmosphere na ,snagro lwas atnealso mnrespecial: vog suothe irav morf parties .lavorptook pasidplace dna tonce surtsin id a focouple arua laof reneg a months, and it was an event everybody ro tneve ,ytrap yna taht swonk enoyrevE was anticipating ,tnemom ynaand ta npreparing wod tuhs for. eb nItacwas bulc an kind ofeparty ihtiw cnetswhere ixe dnayou’d ,ecrojust f gnigo su wild.” semit ta In Arma on eht e kaamweekly modeebasis, rf fo tnhe’d emobring m feirab siht VHS camera and film everything .reteews neve gnivar fo sruoaround h gninrom him. “As Iswasn’t a rsingle noitanimissing tsed bulc ojam sparty, ’wocsat oM some point I felt that I was

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weN eht si yiksnaviL rdeK < dnuorgrednU s’aissuR fo ecaF > enecS cinortcelE regnis dna recudorp wocsoM gnisir ehT ,setamilc eretsua tsom s’dlrow eht fo ittenomiS ekiM no PE tubed reh sessucsid ,cisum tsilaminim reh ot htmraw a s’ereht .RM2 lebal s’repinS ekiM dna sredistuo dednim-ralimis fo tnecsinimer cinortcele gninoegrub ot semoc ti nehW ,olaH leruaL ,smailliW epyH gnidulcni eno yllausu t’nsi wocsoM ,senecs cisum tsrfi reh htiW .semirG slegnA trA-erp dna tub ,dnim ot sgnirps taht seitic tsrfi eht fo dennalp swohs lanoitanretni dna naeporuE egnahc ot noissim a no si yiksnaviL rdeK gnisir eht ot ekops ew ,gnirps siht retal rof esohw—regnis dna recudorp ehT.taht larutluc s’wocsoM tuoba liame aiv tsitra ni nrob saw—anirdeK anaY si eman laer cisum evol ot denrael ehs woh ,epacsdnal noitulossid eht fo xurc eht gnirud 0991 naI dna eiwoB divaD naissuR hguorht citsilanoitan sihT .noinU teivoS eht fo .erom dna ,seidorap sitruC ,naicisum knup remrof eht deripsni tfihs loohcS wocsoM eht ta deiduts uoY :PMUHT detalosi s’ytic eht ni ecalos dnuof ohw a eusrup uoy edam tahw ,ameniC weN fo nretseW no gniward elihw enecs cinortcele ?cisum cinortcele ni reerac .secneuflni gnol a cisum deiduts I :yiksnaviL rdeK hcihw fo ,modgniK ’snhoJ evitcelloc YID ega tA .loohcs mlfi ot tnew I erofeb emit wen a tneserper ,rebmem a si anirdeK .dnab knup a ni regnis a saw I ,02 ro 91 stsitra naissuR dnuorgrednu fo draug puorg egduls a ni deyalp I ,taht erofeB elpuoc a smurd eht no tol a ot denetsil I .semit .FFO DESOLC NEEB GNOL SAH AISSUR“ mlfi erofeb neve ,cisum fo CISUM ELIHW NOINU TEIVOS EHT DAH EW erutaretil deiduts I .loohcs .ytisrevinu ta sraey evfi rof ECALP GNIKAT EREW SNOITULOVER depleh dnuorgkcab sihT D E S SAP TAHT FO ENON ;EREHWYREVE cisum dnatsrednu ot em REVEN TSOMLA CISUM .SU OT HGUORHT morf ti hcaorppa ot dna .evitcepsrep tnereffid a .SESAC DETALOSI NI TPECXE ,DETARTENEP depleh noitacude yraretiL EVAH OT NIGEB TI DID S09 EHT NI YLNO otni repeed etartenep ot Y T IUNITNOC ON SAW EREHT .EFIL LLUF A emac lla sihT .egaugnal TSOL SAW NOITIDART EHT .EREH CISUM NI fo cisum eht ni rehtegot .yiksnaviL rdeK A NI DEPOLEVED ,NWO STI EMACEB TI DNA emas eht si ,em rof ,cisuM EREHWYNA MORF TCNITSID ,ETATS DESOLC noisserpxe eht—mlfi sa .DLROW EHT NI hcraes eht ,dlrow eht fo si mrof evitarran eht rof dna ytinummoc evisulcni na gnidliub dna ,meht ypucco stnemurtsni tub ,tneserp dliub ot secruoser tenretni gnizilitu gniod m’I ereH .egaugnal tnereffid a s’ti eht spahreP .spihsnoitaler lanoitanretni ot reisae ti dnfi I dna flesym gnihtyreve s’recudorp eht si rettal eht fo elpmaxe tseb eht em rof sniamer llits ]cisum[ sa krow ,nuS yraunaJ PE tubed demialcca-ylediw ecnaraeppa larutan dna tneinevnoc tsom dna ittenomiS ekiM no desaeler saw hcihw nigeb uoy did woH .noisserpxe fo tnirpmi wen s’repinS ekiM ?cisum ruoy gnicudorp no sgnos reh derevocsid yeht retfa ,RM2 werc a ni neeb ev’I ,sraey xis tsap eht roF eno ni gnisopmoc etipseD .duolCdnuoS ym—srotcerid dna snaicisum fo Thesis process book

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< Kedr Livanskiy is the New Face of Russia’s Underground Electronic Scene > The rising Moscow producer and singer discusses her debut EP on Mike Simonetti and Mike Sniper’s label 2MR. When it comes to burgeoning electronic music scenes, Moscow isn’t usually one of the first cities that springs to mind, but Kedr Livanskiy is on a mission to change that.The producer and singer—whose real name is Yana Kedrina—was born in 1990 during the crux of the dissolution of the Soviet Union. This nationalistic shift inspired the former punk musician, who found solace in the city’s isolated electronic scene while drawing on Western influences. DIY collective Johns’ Kingdom, of which Kedrina is a member, represent a new guard of underground Russian artists

of the world’s most austere climates, there’s a warmth to her minimalist music, reminiscent of similar-minded outsiders including Hype Williams, Laurel Halo, and pre-Art Angels Grimes. With her first European and international shows planned for later this spring, we spoke to the rising artist via email about Moscow’s cultural landscape, how she learned to love music through Russian David Bowie and Ian Curtis parodies, and more. THUMP: You studied at the Moscow School of New Cinema, what made you pursue a career in electronic music? Kedr Livanskiy: I studied music a long time before I went to film school. At age 19 or 20, I was a singer in a punk band. Before that, I played in a sludge group on the drums a couple times. I listened to a lot “RUSSIA HAS LONG BEEN CLOSED OFF. of music, even before film WE HAD THE SOVIET UNION WHILE MUSIC school. I studied literature for five years at university. REVOLUTIONS WERE TAKING PLACE This background helped EVERYWHERE; NONE OF THAT PASSED me to understand music THROUGH TO US. MUSIC ALMOST NEVER and to approach it from a different perspective. PENETRATED, EXCEPT IN ISOLATED CASES. Literary education helped ONLY IN THE 90S DID IT BEGIN TO HAVE to penetrate deeper into A FULL LIFE. THERE WAS NO CONTINUITY language. This all came IN MUSIC HERE. THE TRADITION WAS LOST together in the music of Kedr Livanskiy. AND IT BECAME ITS OWN, DEVELOPED IN A for me, is the same CLOSED STATE, DISTINCT FROM ANYWHERE Music, as film—the expression IN THE WORLD. of the world, the search for the narrative form is building an inclusive community and present, but instruments occupy them, and utilizing internet resources to build it’s a different language. Here I’m doing international relationships. Perhaps the everything myself and I find it easier to best example of the latter is the producer’s work as [music] still remains for me the widely-acclaimed debut EP January Sun, most convenient and natural appearance which was released on Mike Simonetti and of expression. How did you begin Mike Sniper’s new imprint producing your music? 2MR, after they discovered her songs on For the past six years, I’ve been in a SoundCloud. Despite composing in one crew of musicians and directors—my 00150

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Post Soviet Music

Review from Calvert Journal, Text by Anastasiia Fedorova, September 2015

circle of friends—Johns’ Kingdom. At some point we all took a great interest in electronic music and started jamming everywhere—in nature, in the country, at \a party, just buying a bunch of booze, bringing whatever instruments we had, and

shoegaze. The EP is a mix of my teenage years watching MTV and what I’ve been listening to in the last year. I think my music will change shape and sounds, but some pop component may remain. How influential is Russian music on the music you make? I listen to a lot of Russian WE HAVE NO MARKET, NO MANUFACTURING music. I grew up on it. As a REALLY, NO EXPERIENCE CREATING child MODtoGaNlot IK of ’SNHOJ“ I listened ELECTRONIC LABELS. IN GENERAL, THERE G N U O Y ETINU Russian facsimilesDof IS NO MUSIC BUSINESS. SO PEOPLE CAME American O and European HW STSITRA TOGETHER IN THE COMMUNITY TO WHOM IT rock music. Whether it was OT DESU EREW The Cure, David Bowie, or WAS INTERESTING, AND SUPPORTED EACH CISUM GNIKAM OTHER. ALL THIS OF COURSE DID NOT BRING Joy Division, there was a Russian counterpart. ANY MONEY. It was largely a shameless parody but very unique jamming for hours. Then we all went into and vibrant. We also had a great punk and our projects and engaged individually. It’s noise scene with anarcho-directivity and not just a label but a community of people real heroic lyrics. Lyrics have always called with common interests and visions. It the listener to live a different life, but also allows you to isolate yourself from the shit. paint poetic images. It all stems from Can you explain the connection between the Russian Revolution. That influence the EP title and song names (“Winds Of is very strong in literature and music. As May,” “January Sun,” “April”). a child I listened to more than punk and At the beginning I had no intention to rock music, later I have loved electronic link all this with the seasons, only later I and more experimental music styles.How realized that it happened naturally. Many did 2MR end up releasing the EP? Adam of the songs were written in the winter, and from 2MR tells me he was listening to a in winter there’s an especially depressed Finnish musician’s EP on SoundCloud that feeling with increased reflection. Winter was recommended to him by a friend. here in Russia is not so much a natural After it finished, my track “Sgoraet” phenomenon, but rather a state of mind, came on randomly and he was “instantly it’s much more affective. January Sun blown away” (his words, not mine). So, walks a line between experimental and he wrote to me and we agreed to put out pop. Which one of those sides do you align the record together. A couple of years yourself with more? ago it was quite parochial and very local. I do not listen to very much pop music. I At first it was necessary to generate the just have a 90s fetish. Then pop sounded environment so that the music becomes cool, mainly because it took a lot from physical, that people go to parties, to have electronic dance music. I listen to a lot of somewhere to listen to music together. electronic producers and old industrial, Gradually things have changed in the last EBM, electro, breakbeat, neo-folk, and four years, in many respects thanks to Thesis process book

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of the world’s most austere climates, there’s a warmth to her minimalist music, reminiscent of similar-minded outsiders including Hype Williams, Laurel Halo, and pre-Art Angels Grimes. With her first European and international shows planned for later this spring, we spoke to the rising artist via email about Moscow’s cultural landscape, how she learned to love music through Russian David Bowie and Ian Curtis parodies, and more. THUMP: You studied at the Moscow School of New Cinema, what made you pursue a career in electronic music? Kedr Livanskiy: I studied music a long time before I went to film school. At age 19 or 20, I was a singer in a punk band. Before that, I played in a sludge group on the drums a couple times. I listened to a lot “RUSSIA HAS LONG BEEN CLOSED OFF. of music, even before film WE HAD THE SOVIET UNION WHILE MUSIC school. I studied literature for five years at university. REVOLUTIONS WERE TAKING PLACE This background helped EVERYWHERE; NONE OF THAT PASSED me to understand music THROUGH TO US. MUSIC ALMOST NEVER and to approach it from a different perspective. PENETRATED, EXCEPT IN ISOLATED CASES. Literary education helped ONLY IN THE 90S DID IT BEGIN TO HAVE to penetrate deeper into A FULL LIFE. THERE WAS NO CONTINUITY language. This all came IN MUSIC HERE. THE TRADITION WAS LOST together in the music of Kedr Livanskiy. AND IT BECAME ITS OWN, DEVELOPED IN A for me, is the same CLOSED STATE, DISTINCT FROM ANYWHERE Music, as film—the expression IN THE WORLD. of the world, the search for the narrative form is building an inclusive community and present, but instruments occupy them, and utilizing internet resources to build it’s a different language. Here I’m doing international relationships. Perhaps the everything myself and I find it easier to best example of the latter is the producer’s work as [music] still remains for me the widely-acclaimed debut EP January Sun, most convenient and natural appearance which was released on Mike Simonetti and of expression. How did you begin Mike Sniper’s new imprint producing your music? 2MR, after they discovered her songs on For the past six years, I’ve been in a crew SoundCloud. Despite composing in one of musicians and directors—my 00152

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DETINU MODGNIK ’SNHOJ“ EREW OHW STSITRA GNUOY CISUM GNIKAM OT DESU RIEHT MORF YLTNEDNEPEDNI ”.STALF NABRUBUS

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The rising Moscow producer and singer discusses her debut EP on Mike Simonetti and Mike Sniper’s label 2MR. When it comes to burgeoning electronic music scenes, Moscow isn’t usually one of the first cities that springs to mind, but Kedr Livanskiy is on a mission to change that.The producer and singer—whose real name is Yana Kedrina—was born in 1990 during the crux of the dissolution “JOHNS’ KINGDOM of the Soviet Union. ThisUNITED nationalistic YOUNG ARTISTS WHO shift inspired the former punkWERE musician, who found in theMUSIC city’s isolated USED TOsolace MAKING electronic scene while FROM drawing THEIR on Western INDEPENDENTLY influences. SUBURBAN FLATS.” DIY collective Johns’ Kingdom, of which Kedrina is a member, represent a new guard of underground Russian artists

of the world’s most austere climates, there’s a warmth to her minimalist music, reminiscent of similar-minded outsiders including Hype Williams, Laurel Halo, and pre-Art Angels Grimes. With her first European and international shows planned for later this spring, we spoke to the rising artist via email about Moscow’s cultural landscape, how she learned to love music through Russian David Bowie and Ian Curtis parodies, and more. THUMP: You studied at the Moscow School of New Cinema, what made you pursue a career in electronic music? Kedr Livanskiy: I studied music a long time before I went to film school. At age 19 or 20, I was a singer in a punk band. Before that, I played in a sludge group on the drums a couple times. I listened to a lot “RUSSIA HAS LONG BEEN CLOSED OFF. of music, even before film WE HAD THE SOVIET UNION WHILE MUSIC school. I studied literature for five years at university. REVOLUTIONS WERE TAKING PLACE This background helped EVERYWHERE; NONE OF THAT PASSED me to understand music THROUGH TO US. MUSIC ALMOST NEVER and to approach it from a different perspective. PENETRATED, EXCEPT IN ISOLATED CASES. Literary education helped ONLY IN THE 90S DID IT BEGIN TO HAVE to penetrate deeper into A FULL LIFE. THERE WAS NO CONTINUITY language. This all came IN MUSIC HERE. THE TRADITION WAS LOST together in the music of Kedr Livanskiy. AND IT BECAME ITS OWN, DEVELOPED IN A for me, is the same CLOSED STATE, DISTINCT FROM ANYWHERE Music, as film—the expression IN THE WORLD. of the world, the search for the narrative form is building an inclusive community and present, but instruments occupy them, and utilizing internet resources to build it’s a different language. Here I’m doing international relationships. Perhaps the everything myself and I find it easier to best example of the latter is the producer’s work as [music] still remains for me the widely-acclaimed debut EP January Sun, most convenient and natural appearance which was released on Mike Simonetti and of expression. How did you begin Mike Sniper’s new imprint producing your music? 2MR, after they discovered her songs on For the past six years, I’ve been in a crew SoundCloud. Despite composing in one of musicians and directors—my 00154

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Articles

The Moscow Times, April 2015

Photographer Masha Demianova, Extracts from the Film “Johns Kingdom”

$76.2 million, with around $28.6 million going to RAO. Successful musicians pay little attention to the amount of royalties they accrue. But for those artists who are already retired or don’t perform their songs themselves, the royalty payments are sometimes their only source of income. Anatoly Semenov, Russia’s presidential commissioner for intellectual property affairs, said the main problem lies in the fact that the state doesn’t want to deal with the problem itself and instead delegates the task to artists-turned-bureaucrats. Reznik believes that only action by the state can improve the copyright situation in Russia. “It is necessary to radically change the situation with the management of authors’ rights in the Russian Federation, taking this function under state control,” the poet wrote in his letter. Reznik’s lawyer Sergei Zhorin said that piracy and the unauthorized use of creative works also undercut artists’ royalties and that harsher penalties must be implemented for those who violate the copyright law. The existing legislation provides penalties of up to 5 million rubles ($96,000) for copyright violations, however infringers generally pay a maximum of 15,000 rubles ($290). It’s particularly difficult to monitor and prosecute copyright violations on the Internet. Under the law, copyright-protected material can only be placed on the Internet with the artists’ permission, providing them with an additional set of royalties. However, due to the lack of control in this area, the problem of copyright infringement on the web remains unsolved. Some hope that a new law, entering into force on May 1, will help improve the situation. This legislation, recently approved by President Vladimir Putin, allows the government to permanently block websites containing pirated books, music, software or video content.

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“JOHNS’ KINGDOM UNITED YOUNG ARTISTS WHO WERE USED TO MAKING MUSIC INDEPENDENTLY FROM THEIR SUBURBAN FLATS.”

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Music and Blockchain

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Articles

The Moscow Times, April 2015

mialC oT elggurtS snaicisuM < > aissuR nI seitlayoR $76.2 a ,million, OAR ehtwith htiwaround deretsi$28.6 ger sgmillion nos 683,1 ekam stsitra ,seitlayor ffo gnivil fo daetsnI going yb deto taRAO. erc noSuccessful itazinagro lmusicians atnemnrevpay ognon dna strecnoc gnivig yb yltsom yenom little gniattention tcetorp fotomthe ia eamount ht htiw 3of 99royalties 1 ni stsitra ,3002 nI .stneve etaroproc ta gnimrofrep they saccrue. i OAR eBut hT .sfor thgthose ir ytreartists porp lawho utcelletni yldetroper saw gnitS rats kcor hsitirB are already their ytlayor tretired nenimoorrpdon’t tsomperform dna tseg ral eht morf seitlayor ni yad a 000,2$ gnikam songs gnitnthemselves, eserper ,aissthe uR royalty ni yteicpayments os gnitcelloc ”,ekaT uoY htaerB yrevE“ ,gnos elgnis a are sometimes their naissu R llaonly ylraesource n fo stsoferincome. etni eht sah eH .oga sraey 02 dedrocer eh hcihw Anatoly ngierofSemenov, noillim 2 nRussia’s aht erompresidential dna snaicisum eht no latot ni noillim 02$ revo denrae commissioner s’OAR ehfor t otintellectual gnidroccA property .sredloh thgir .3891 ecnis gnos affairs, problem seitlasaid yor ,the avomain daruM aniraM lies recfiinfothe sserp a rof emitefil a ekat yam ti ,aissuR nI fact fthat state want o sisthe ab e ht nodoesn’t ylhtnom detuto bideal rtsid with era denrae gnitS tnuoma eht nrae ot naicisum the trecproblem noc ,sreitself taeht and yb sinstead troper ddelegates elipmoc-flethe s sthgir ytreporp lautcelletnI .yad eno tsuj ni taskdto na artists-turned-bureaucrats. noisivelet ,stnaruatser ,spohReznik s ,sllah gnitsixe eht yas snaicisum dna stsilaiceps believes tnethat tnoconly dna action ,seinapby mothe c drstate ocer can ,oidar dna gnitcelloc ,gnirotinom rof metsys improvefthe o nocopyright itubirtsid situation tcerid ehTin.sRussia. redivorp yb deretsinimda — seitlayor fo tnemyap “It isgnecessary ’sth ir eht ot seto itlayor radically deirrac nechange ht si sredloh ,GNIROTINOM ROF METSYS GNITSIXE EHT thetusituation B .OAR ewith ht yb tuo ,SEITLAYOR FO TNEMYAP DNA GNITCELLOC theymanagement ofuoc nam woh gnitn ’ SROHTUA NAISSUR EHT YB DERETSINIMDA authors’ insthe gnos nirights atrec a emit Russian demroFederation, frep neeb sah S’OAR EHT ELIHW .EMALB OT SI , )OAR( YTEICOS taking ohwthis gniyfunction fitnedi dna -FLES NO ECNAILER STI ,RAELC ERA SELUR underastate si ti dcontrol,” eyalp sah SEINAPMOC YNAM TAHT SNAEM GNITROPER thenpoet oitnewrote tnoc fin o tniop S T SITRA GNIVIRPED ,SEITLAYOR GNIYAP DIOVA hisdletter. na stsiReznik’s tra neewteb lawyer riehtSergei esu ohZhorin w esoht .EMOCNI DEDEEN-HCUM FO said a ethat divorpiracy p oT“ .and skrow the a unauthorized erih ot deenuse stnaof rucreative atser troworks per lamrof si — )OAR( yteicoS ’srohtuA naissuR eht alsofoundercut erac ekaartists’ t dluowroyalties ohw nosrand ep dthat efiilauq ,raelc era selur s’OAR eht elihW .emalb ot harsher diaspenalties ’’,elbissopmust mi tsbe uj simplemented i ]hcihw[ — siht taht snaem gnitroper-fles no ecnailer sti fornthose oitarewho deF eviolate ht rof rthe eywcopyright al a ,avolrlaw. O airaM ,seitlayor gniyap diova seinapmoc ynam The provides .aiexisting ssuR fo legislation sreiletoH dn a sruetapenalties ruatseR fo .emocni dedeen-hcum fo stsitra gnivirped ofekup amtos5 tsmillion itra ,seirubles tlayor f($96,000) fo gnivil fofor daetsnI derohtua ohw teop naissuR a ,kinzeR aylI copyright however dna violations, strecnoc gn ivig yb yinfringers ltsom yenom tsap eht revo sgnos tih fo sderdnuh generally aemaximum gnidroccpay A stn ve etaroprof oc15,000 ta gnimrubles rofrep 21 tsuj diap sraey rof saw ,yrutnec flah ($290). monitor eht — It’s 310particularly 2 ni ,troper difficult launna sto ’OA R eht ot skrow sih emit hcae )stnec 20.0( skcepok and noprosecute illim 8.401copyright $ detroperviolations ylcilbup ron aeythe tsal .oidar ro noisivelet no demrofrep erew Internet. law, rof etar eUnder gnahcxthe e eg arevcopyright-protected a eht ot gnidrocca OAR eht morf teg I naht seitlayor ehT“ material 8.2 rocan ,seitonly layobe r esplaced oht fo fon lahthe revInternet O .3102 eht htiw dnopserroc t’nod rohtua na sa with ylcilthe bupartists’ ot thgirpermission, eht rof erewproviding ,selbur nthem oillib era yeht ,krow ym fo sseccus laicremmoc with an rofadditional seitlayoR .set sgnof osroyalties. fo srevocHowever, mrofrep ni kinzeR dias ’’,gnitailimuh dna suolucidir duento oillthe im 6lack 59 tof a dcontrol oots noin isithis velearea, t dna the oidar yrtimD retsiniM emirP eht ot rettel nepo na problem fo of esucopyright dedrocerinfringement -erp eht elihwon,sthe elbur laicfifo s’teop eht no dehsilbup ,vedevdeM web hope 3.9remains $( selbuunsolved. r noillim 09Some 3 ni th guorthat b sgnaos .raey tsal etal etisbew new devilaw, ecerentering yletamitlinto u sreforce dloh on sthMay giR .)1, nowill illim sih ot sthgir eht werdhtiw retal kinzeR Thesis process book

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< Musicians Struggle To Claim Royalties In Russia > Instead of living off royalties, artists make money mostly by giving concerts and performing at corporate events. In 2003, British rock star Sting was reportedly making $2,000 a day in royalties from a single song, “Every Breath You Take,” which he recorded 20 years ago. He has earned over $20 million in total on the song since 1983. In Russia, it may take a lifetime for a “JOHNS’ UNITED musician toKINGDOM earn the amount Sting earned YOUNG WHOproperty WERErights in just oneARTISTS day. Intellectual specialists musicians say the existing USED TOand MAKING MUSIC system for monitoring, FROM collecting and INDEPENDENTLY THEIR payment of royalties — administered by

1,386 songs registered with the RAO, a nongovernmental organization created by artists in 1993 with the aim of protecting intellectual property rights. The RAO is the largest and most prominent royalty collecting society in Russia, representing the interests of nearly all Russian musicians and more than 2 million foreign right holders. According to the RAO’s press officer Marina Muradova, royalties are distributed monthly on the basis of self-compiled reports by theaters, concert halls, shops, restaurants, television and radio, record companies, and content providers. The direct distribution of royalties to the rights’ holders is then carried THE EXISTING SYSTEM FOR MONITORING, out by the RAO. But COLLECTING AND PAYMENT OF ROYALTIES, counting how many ADMINISTERED BY THE RUSSIAN AUTHORS’ times a certain song SOCIETY (RAO) , IS TO BLAME. WHILE THE RAO’S has been performed and identifying who RULES ARE CLEAR, ITS RELIANCE ON SELFhas played it is a REPORTING MEANS THAT MANY COMPANIES point of contention AVOID PAYING ROYALTIES, DEPRIVING ARTISTS between artists and those who use their OF MUCH-NEEDED INCOME. works. “To provide a the Russian Authors’ Society (RAO) — is formal report restaurants need to hire a to blame. While the RAO’s rules are clear, qualified person who would take care of its reliance on self-reporting means that this — [which] is just impossible,’’ said many companies avoid paying royalties, Maria Orlova, a lawyer for the Federation depriving artists of much-needed income. of Restaurateurs and Hoteliers of Russia. Ilya Reznik, a Russian poet who authored Instead of living off royalties, artists make hundreds of hit songs over the past money mostly by giving concerts and half century, was for years paid just 12 performing at corporate events According kopecks (0.02 cents) each time his works to the RAO’s annual report, in 2013 — the were performed on television or radio. last year publicly reported $104.8 million “The royalties than I get from the RAO according to the average exchange rate for as an author don’t correspond with the 2013. Over half of those royalties, or 2.8 commercial success of my work, they are billion rubles, were for the right to publicly ridiculous and humiliating,’’ said Reznik in perform covers of songs. Royalties for an open letter to the Prime Minister Dmitry radio and television stood at 956 million Medvedev, published on the poet’s official rubles, while the pre-recorded use of website late last year. songs brought in 390 million rubles ($9.3 Reznik later withdrew the rights to his million). Rights holders ultimately received

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The Moscow Times, April 2015

smelborP ehT < > gnimaertS cisuM htiw $76.2 million, with around $28.6 million going to RAO. Successful musicians pay little attention to the amount of royalties they accrue. But for those artists who are already retired or don’t perform their songs themselves, the royalty payments are sometimes their only source of income. Anatoly Semenov, Russia’s presidential commissioner for intellectual property affairs, said the main problem lies in the fact that the state doesn’t want to deal with the problem itself and instead delegates the task to artists-turned-bureaucrats. Reznik believes that only action by the state can improve the copyright situation in Russia. “It is necessary to radically change the situation with the management of authors’ rights in the Russian Federation, taking this function under state control,” the poet wrote in his letter. Reznik’s lawyer Sergei Zhorin said that piracy and the unauthorized use of creative works also undercut artists’ royalties and that harsher penalties must be implemented for those who violate the copyright law. The existing legislation provides penalties of up to 5 million rubles ($96,000) for copyright violations, however infringers generally pay a maximum of 15,000 rubles ($290). It’s particularly difficult to monitor and prosecute copyright violations on the Internet. Under the law, copyright-protected material can only be placed on the Internet with the artists’ permission, providing them with an additional set of royalties. However, due to the lack of control in this area, the problem of copyright infringement on the web remains unsolved. Some hope that a new law, entering into force on May 1, will help improve the situation. This legislation, recently approved by President Vladimir Putin, allows the government to permanently block websites containing pirated books, music, software or video content.

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s’agaG ydaL ,elpmaxe roF .arodnaP dna detats dna tuo emac ,retraC yorT ,reganam eht rof diap nettog reven sah agaG taht detalumucca sah ehs smaerts fo snoillim tfiwS rolyaT ,5102 enuJ nI .yfitopS no gnitirw rof hsalkcab deviecer ylsuoiroton hcihw ni cisuM elppA ot rettel nepo na esaeler ton dluow ehs taht detats ehs gnimaerts rieht no ”,9891“ ,mubla reh lairt htnom 3 eerf rieht ot eud ecivres dna ,srecudorp ,sretirw hcihw gnirud ycilop deviecrep ynam elihW .diap ton era stsitra fo eno si tfiwS sa ,evom hsfiles a sa siht ehs ,stsitra yraropmetnoc tseihtlaew eht flesreh denialpxe eht tuoba si sihT…em tuoba ton si sihT“ desaeler tsuj sah taht dnab ro tsitra wen sti rof diap eb ton lliw dna elgnis tsrfi rieht .sseccus ohw retirwgnos gnuoy eht tuoba si sihT thguoht dna tuc tsrfi reh ro sih tog tsuj teg dluow taht mrof seitlayor eht taht eht tuoba si sihT .tbed fo tuo meht etavonni ot ylsselerit skrow ohw recudorp saw rettel s’tfiwS elihW ”…etaerc dna elppA gnignahc ni lufsseccus yletamitlu lareneg eht ,ycilop tnemyap s’cisuM secivres eseht taht eb ot smees susnesnoc sesuineg evitaerc eht gnignahc-trohs era stsitra sseltnuoC .cisum eht fo lla dniheb morf tnetnocsid rieht desserpxe ecnis evah ot ebuTuoY dna oveV gninoitseuq ma.i.lliw gnikcirt rof arodnaP gnikcatta dyolF kniP erom ,seussi tnemyap eseht htiW .stsitra eunitnoc ot gniog ylbativeni era stsitra gnimaerts siht ni egnahc a gnidnamed detats kceB sA .ytilibaniatsusnU .metsys .nainitnegrA htiw weivretni na ni gnihtemos s’ti ,elbativeni si gnimaertS“ noitseuq I tuB .ton ro ti ekil ,gnimoc si taht

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< Musicians Struggle To Claim Royalties In Russia > Instead of living off royalties, artists make money mostly by giving concerts and performing at corporate events. In 2003, British rock star Sting was reportedly making $2,000 a day in royalties from a single song, “Every Breath You Take,” which he recorded 20 years ago. He has earned over $20 million in total on the song since 1983. In Russia, it may take a lifetime for a musician to earn the amount Sting earned in just one day. Intellectual property rights specialists and musicians say the existing system for monitoring, collecting and payment of royalties — administered by

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Quantonemusic, May 2016

smelborP ehT < > gnimaertS cisuM htiw s’agaG ydaL ,elpmaxe roF .arodnaP dna ,sDC ot ,sepat ettessac ot ,sdrocer morF detats dna tuo emac ,retraC yorT ,reganam evah noitpmusnoc cisum fo sdohtem eht rof diap nettog reven sah agaG taht .yadot os od ot eunitnoc dna yltsav devlove detalumucca sah ehs smaerts fo snoillim erutuf eht si gnimaerts cisum ,yldetbuodnU tfiwS rolyaT ,5102 enuJ nI .yfitopS no sseltnuoc htiw noitpmusnoc cisum fo gnitirw rof hsalkcab deviecer ylsuoiroton rieht gnireffo yltnerruc seinapmoc tnereffid hcihw ni cisuM elppA ot rettel nepo na tnereffid fo yteirav a ni secivres gnimaerts reh esaeler ton dluow ehs taht detats ehs s’nesleiN ot gnidroccA .srennam ecivres gnimaerts rieht no ”,9891“ ,mubla gnimaerts ,troper cisuM dne-raey 5102 gnirud ycilop lairt htnom 3 eerf rieht ot eud na ot 4102 ecnis delbuod secivres era stsitra dna ,srecudorp ,sretirw hcihw cisuM .smaerts noillib 713 gnidnuotsa a sa siht deviecrep ynam elihW .diap ton rieht ot netsil ot srenetsil swolla gnimaerts tfiwS sa ,evom hsfiles tseihtlaew eht fo eno si ROTINOM OT TLUCIFFID YLRALUCITRAP S’TI ehs ,stsitra yraropmetnoc SNOITALOIV THGIRYPOC ETUCESORP DNA flesreh denialpxe …em tuoba ton si sihT“ ,WAL EHT REDNU .TENRETNI EHT NO wen eht tuoba si sihT NAC LAIRETAM DETCETORP-THGIRYPOC sah taht dnab ro tsitra E H T H TIW TENRETNI EHT NO DECALP EB YLNO tsrfi rieht desaeler tsuj eb ton lliw dna elgnis HTIW MEHT GNIDIVORP ,NOISSIMREP ’STSITRA .sseccus sti rof diap ,REVEWOH .SEITLAYOR FO TES LANOITIDDA NA gnuoy eht tuoba si sihT ,AERA SIHT NI LORTNOC FO KCAL EHT OT EUD tsuj ohw retirwgnos T NEMEGNIRFNI THGIRYPOC FO MELBORP EHT tuc tsrfi reh ro sih tog .DEVLOSNU SNIAMER BEW EHT NO eht taht thguoht dna dluow taht mrof seitlayor eht tuoba si sihT .tbed fo tuo meht teg wen revocsid ,dnamed no sgnos etirovaf etavonni ot ylsselerit skrow ohw recudorp no ,stsilyalp emusnoc dna etaerc ,cisum saw rettel s’tfiwS elihW ”…etaerc dna semoc taht doog eht lla rof ,llitS .no dna elppA gnignahc ni lufsseccus yletamitlu ynam era ereht ,gnimaerts cisum morf lareneg eht ,ycilop tnemyap s’cisuM .esira osla taht smelborp secivres eseht taht eb ot smees susnesnoc ,trap tsom eht roF .tnetnocsiD ’stsitrA sesuineg evitaerc eht gnignahc-trohs era .remusnoc eht rof taerg si gnimaerts cisum stsitra sseltnuoC .cisum eht fo lla dniheb evah srebircsbus ,tsoc on ot elttil roF morf tnetnocsid rieht desserpxe ecnis evah no sgnos fo snoillim ot ssecca etaidemmi ot ebuTuoY dna oveV gninoitseuq ma.i.lliw ,revewoH .mroftalp esu ot ysae ,elpmis a gnikcirt rof arodnaP gnikcatta dyolF kniP nI .resol a eb tsum ereht ,renniw yreve rof erom ,seussi tnemyap eseht htiW .stsitra sa ,tsitra eht ,gnimaerts cisum fo esac eht eunitnoc ot gniog ylbativeni era stsitra ,srexim ,srecudorp ,sretirwgnos eht sa llew gnimaerts siht ni egnahc a gnidnamed stcepsa evitaerc eht ni devlovni srehto dna detats kceB sA .ytilibaniatsusnU .metsys eroM .sresol raelc eht era ,gnos hcae fo .nainitnegrA htiw weivretni na ni diap gnitteg era stsitra ,ton naht netfo gnihtemos s’ti ,elbativeni si gnimaertS“ gnimaerts eht rof ,gnihtyna fi ,elttil yrev noitseuq I tuB .ton ro ti ekil ,gnimoc si taht yfitopS ekil smroftalp no sgnos rieht fo Thesis process book

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< The Problems with Music Streaming > and Pandora. For example, Lady Gaga’s manager, Troy Carter, came out and stated that Gaga has never gotten paid for the millions of streams she has accumulated on Spotify. In June 2015, Taylor Swift notoriously received backlash for writing an open letter to Apple Music in which she stated that she would not release her album, “1989,” on their streaming service due to their free 3 month trial policy during which writers, producers, and artists are not paid. While many perceived this as a selfish move, as Swift is one of the wealthiest IT’S PARTICULARLY DIFFICULT TO MONITOR contemporary artists, she AND PROSECUTE COPYRIGHT VIOLATIONS explained herself “This is not about me… ON THE INTERNET. UNDER THE LAW, This is about the new COPYRIGHT-PROTECTED MATERIAL CAN or band that has ONLY BE PLACED ON THE INTERNET WITH THE artist just released their first ARTISTS’ PERMISSION, PROVIDING THEM WITH single and will not be AN ADDITIONAL SET OF ROYALTIES. HOWEVER, paid for its success. DUE TO THE LACK OF CONTROL IN THIS AREA, This is about the young songwriter who just THE PROBLEM OF COPYRIGHT INFRINGEMENT got his or her first cut ON THE WEB REMAINS UNSOLVED. and thought that the royalties form that would get them out of debt. This is about the favorite songs on demand, discover new producer who works tirelessly to innovate music, create and consume playlists, on and create…” While Swift’s letter was and on. Still, for all the good that comes ultimately successful in changing Apple from music streaming, there are many Music’s payment policy, the general problems that also arise. consensus seems to be that these services Artists’ Discontent. For the most part, are short-changing the creative geniuses music streaming is great for the consumer. behind all of the music. Countless artists For little to no cost, subscribers have have since expressed their discontent from immediate access to millions of songs on will.i.am questioning Vevo and YouTube to a simple, easy to use platform. However, Pink Floyd attacking Pandora for tricking for every winner, there must be a loser. In artists. With these payment issues, more the case of music streaming, the artist, as artists are inevitably going to continue well as the songwriters, producers, mixers, demanding a change in this streaming and others involved in the creative aspects system. Unsustainability. As Beck stated of each song, are the clear losers. More in an interview with Argentinian. often than not, artists are getting paid “Streaming is inevitable, it’s something very little, if anything, for the streaming that is coming, like it or not. But I question of their songs on platforms like Spotify From records, to cassette tapes, to CDs, methods of music consumption have evolved vastly and continue to do so today. Undoubtedly, music streaming is the future of music consumption with countless different companies currently offering their streaming services in a variety of different manners. According to Nielsen’s 2015 year-end Music report, streaming services doubled since 2014 to an astounding 317 billion streams. Music streaming allows listeners to listen to their

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Quantonemusic, May 2016

Clearly, there is no way for artists to work around the system in a profitable way, and it is only a matter of time before they come together to change the system. Role of Metadata in Streaming. As artists, songwriters, producers, and others continue demanding a fair pay out from music streaming services, music metadata is going MUSICIANS LIKE ADELE, THE 1975, to play a highly important JASON ALDEAN, AND MANY OTHERS HAVE role. As Annie Lin thoroughly describes in her article on ALREADY BEGUN PULLING THEIR MUSIC hypebot.com, song licensing FROM DIFFERENT STREAMING SERVICES has a highly complicated AS A MESSAGE OF THEIR DISCONTENT. structure in which song ownership is divided amongst many different groups. Lin writespexelsfor free, or at least for much less. But the photo-medium, “No single comprehensive current way isn’t working, something’s database of song ownership metadata gotta give.”Beck is completely correct. exists, which means that identifying the The current system of music streaming is owner of any single song requires a huntunsustainable. Musicians like Adele, the and-peck search across multiple limited 1975, Jason Aldean, and many others have proprietary databases.” Companies are already begun pulling their music from starting to realize how important it is for different streaming services as a message them to fairly pay artists, otherwise highly profitable artists will continue COMPANIES ARE STARTING TO withholding their music. Sony Music, REALIZE HOW IMPORTANT IT IS for example, is giving their artists FOR THEM TO FAIRLY PAY ARTISTS, access to their streaming data by creating an app in which artists can OTHERWISE HIGHLY PROFITABLE see their daily streaming earnings, ARTISTS WILL CONTINUE as well as the demographic of people listening to their music. Eventually, WITHHOLDING THEIR MUSIC. music companies are going to have to create databases of metadata that of their discontent. Unfortunately, this include all of the participants and owners is also not a very viable solution for the of any given track in order to be able to artists or the fans. When Kanye West accurately pay individuals. This is where limited the release of his most recent companies like Quantone Music will be album, “The Life Of Pablo”, solely to Tidal, extremely helpful, as they are generating the album did not end up charting on databases that contain the elaborate the Billboard charts. This does not mean information that details every track. It is a people were not listening to it, they were time consuming, but very necessary next simply illegally downloading the album step in the music streaming world. from torrent sites or finding other ways of listening that were not profiting West. how I can hang on or stay afloat with this model, because what Spotify pays me isn’t enough for me to pay the musicians I work with, or the people producing or mastering my music. This model doesn’t work, so we have to come up with ways in which people can help us to make music

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< The Problems with Music Streaming > na ,srecuto docassette rp ,sretirw gnos to ,stCDs, sitra sA Fromdrecords, tapes, yapof riamusic f a gniconsumption dnamed eunithave noc srehto methods secivreand s gncontinue imaerts ctoisdo umso motoday. rf tuo evolved ,vastly ylhgih a yalmusic p ot gnstreaming iog si atadis atthe em future cisum Undoubtedly, ylhguconsumption oroht niL einnwith A sAcountless .elor tnatropmi of music ,moc.tcompanies obepyh no ecurrently lcitra rehoffering ni sebirctheir sed different detacilpservices moc ylhginihaavariety sah gnof isndifferent ecil gnos streaming si pAccording ihsrenwo gto noNielsen’s s hcihw ni erutcurts manners. .spyear-end uorg tnere ffid ynreport, am tsgstreaming noma dedivid 2015 Music oNdoubled “ ,muidem -oto2014 hp-sleto xean psetirw niL services since gnos fo e317 saba tad evstreams. isneherpMusic moc elgnis astounding billion snaem hcallows ihw ,stlisteners sixe atadto ate m pihto srenwo streaming listen

of stheir iht hsongs tiw taoon fla platforms yats ro nolike gnaSpotify h nac I woh and Pandora. example, em syapFor yfito pS tahw Lady esuacGaga’s eb ,ledom manager, snaicisuTroy m ehCarter, t yap ocame t em rout of hand guonstated e t’nsi that Gaga ro gnihas cudonever rp elpgotten oep ehpaid t ro ,hfor tiwthe krow I millions she accumulated t’nseoofd streams ledom sih T .chas isum ym gniretsam onniSpotify. 2015, syaw htIn iwJune pu em oc otTaylor evah eSwift w os ,krow notoriously received cisum eka m ot su backlash pleh nac efor lpowriting ep hcihw aneopen ht tuBletter .sselto hcApple um rofMusic tsael in ta which ro ,eerf rof she stated her s’gnihtthat emoshe s ,gnwould ikrow not t’nsrelease i yaw tne rruc album, .tce“1989,” rroc yleon telptheir mocstreaming si kceB”.evservice ig attog due tonitheir si g maerfree ts ci3 sumonth m fo mtrial etsypolicy s tnerrduring uc ehT which ehtwriters, ,eledA eproducers, kil snaicisuand M .eartists lbaniatare susnu not dnapaid. ,naeWhile dlA nomany saJ ,5791 perceived y daerla evathis h sras eha to ynam IT’S PARTICULARLY DIFFICULT TO MONITOR selfish cisum rmove, ieht gnas illuSwift p nugeb AND PROSECUTE COPYRIGHT VIOLATIONS isgone nimaof erthe ts tnwealthiest ereffid morf contemporary ON THE INTERNET. UNDER THE LAW, egassem a sartists, a secivshe res explained herself . t n e t n o c s id rieht fo COPYRIGHT-PROTECTED MATERIAL CAN me… osla sis i snot iht ,about yletanu trofnU ONLY BE PLACED ON THE INTERNET WITH THE “This This noituisloabout s elbathe iv yrnew ev a ton ARTISTS’ PERMISSION, PROVIDING THEM WITH artist eorhtband ro ststhat itra has eht rof first AN ADDITIONAL SET OF ROYALTIES. HOWEVER, just tsereleased W eynaKtheir nehW .snaf single and will not be s i h f o e s a e l e r e h t d e timil DUE TO THE LACK OF CONTROL IN THIS AREA, paid ehT“for ,mits ublsuccess. a tnecer tsom

THE PROBLEM OF COPYRIGHT INFRINGEMENT ON THE WEB REMAINS OT GNITRATS ERA SEINAPMOC S I TI TNATROPMI WOH EZILAER elgnifavorite s yna fo songs renwo on ehtdemand, gniyfitnedi taht their hcraes knew cep-music, dna-tncreate uh a seand riuqer gnos discover ,STSITRA YAP YLRIAF OT MEHT ROF yrateplaylists, irporp deon timand il elpon. itluStill, m ssofor rca consume ELBATIFORP YLHGIH ESIWREHTO gnitgood rats ethat ra secomes inapmfrom oC ”.smusic esabatad all the EUNITNOC LLIW STSITRA rof sthere i ti tnare atromany pmi wproblems oh ezilaer ot streaming, siwre hto ,stsitra yap ylriaf ot meht thatealso arise. .CISUM RIEHT GNIDLOHHTIW eunitDiscontent. noc lliw stsitFor ra ethe lbatmost fiorp part, ylhgih Artists’ rof streaming ,cisuM ynois S .great cisumfor riethe ht gconsumer. nidlohhtiw music t sseto cca sitra subscribers rieht gnivig shave i ,elpmaxe Forolittle nostcost, ni ppa na g nitaerctoybmillions atad gnofimsongs aerts ron ieht immediate access nimaerteasy s yliato d ruse iehtplatform. ees nac sHowever, tsitra hcihw agsimple, fo cihpwinner, argomethere d ehtmust sa llebe w saaloser. ,sgninIn rae for every ,yllacase utneof vEmusic .cisumstreaming, rieht ot gnthe inetartist, sil elpo ep the as evasongwriters, h ot gniog eraproducers, seinapmomixers, c cisum well as the taht ainvolved tadatem in fothe sescreative abatad easpects taerc ot and others renwo dna s tnathe piciclear trap elosers. ht fo lla edulcni ofseach song, are More otthan elbanot, eb oartists t redroare ni kgetting cart nevpaid ig yna fo often erlittle, ehw sifi sanything, ihT .slaudfor ividthe ni ystreaming ap yletarucca very

Thismisubabout la ehtthe ,ladyoung iT ot ylsongwriter elos ,”olbaPwho fO efiL justdgot his her first raob lliBoreh t no gnicut trahand c puthought dne ton did thatethe form rew royalties elpoep na em tthat on sewould od sihget T .strahc ythem llageout lli ylof pmdebt. is ereThis w yeis htabout ,ti ot gthe ninetsil ton producer toniinnovate setis tnewho rrot works morf mtirelessly ubla eht g daolnwod and Swift’s was erewcreate…” taht gninWhile etsil fo syaw letter rehto g nidnfi ro ultimately yaw on si successful ereht ,ylraein lC changing .tseW gnitApple fiorp ton Music’s a ni mpayment etsys eht policy, dnuorathe krogeneral w ot stsitra rof consensus seems fo rettam a ylnotosbe i ti that dna ,these yaw elservices batfiorp are egnshort-changing ahc ot rehtegotthe emcreative oc yeht egeniuses rofeb emit behind .gnimaeall rtSofnithe atamusic. dateM Countless fo eloR .meartists tsys eht

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Article from Properlife Text by Alexis Irvin 2017

etaerC ot gnivlovE no efloW eitaeB < > hceT dna cisuM fo erutuF eht in the also ot rchamber aeb t’ndluand oc ewas itaeB ,teykicking dnA .smubla ,retirwgnos-regnis a si efloW eitaeB around about tuohtideas iw dlro w eht“anti-streaming” otni mubla reh esmusic aeler sah ohw rotavonni dna ,ruenerpertne experiences. tn aw t’ndid I“ .Thus, llew sthe a tnidea enopto molaunch c lacisyher hp a dna cisum gnidlem no egrahc eht dael .third lyniv album, a esaeleRaw r tsuSpace, j dna cias glathe tsoworld’s n og tsufirst j ot mubla euqinu etaerc ot ygolonhcet ehlive s ”,360 yadoAR t roalbum f lyniv stream eht tnevwas nierborn. ot deHere’s tnaw I eht detnevni s’ehS .secneirepxe gninetsil how it worked: Ai record player a rof aed s’eitaeB ot dawas el sihset T .dto ias rof ppA mublA evitcaretnI D3 tsriF s’dlroW play nI .eher nohvinyl p ruoon y rorepeat f ppa lfor ynivone D3week evitcainrethe tni rof tekcaj lacisum a ,thgi8 mubla tubed reh anechoic aedi ehtchamber. denrut ehWhile s noihthe saf yrecord fileporplayed P eurt dna ,erauqS ugatnoM mubla dnoces reh lyrics .ytiflew laer off lautthe riv ,spinning tey rettebturntable rO .ytilaeand r otni 063 evil tsrfi s’dlrow eht yltnecer tsom visuals appeared around otni eno hp ruoy to ls dluothe c uoY“ SIHT TUOBA GNIKNIHT YLLAER NEEB D’I“ room. ti dUsers na ecicould ved eslog enaonline paJ siht reand taehsee t a ointo tni ethe nohroom p ruoand y denrut MAERTS-ITNA EHT DLUOW TAHW :FO AEDI ruexperience oy fo mlap the eht Raw ni ecSpace namrofas rep KOOL DLROW GNIMAERTS S’YADOT ROF stream. eahtlive seb360 ircseAR d ealbum hs woh si ”,dnah DLUOC WOH DNA“ .DIAS EFLOW ”?EKIL collaborative process eThe ht sa w ppa D3 ehT .ecneirepxe between Beatie and a dna ,d nik Bell s’ti nLabs i tsrfi ELBIGNAT TAHT ETAERCER FO DNIK UOY was etarcrucial oprocni ot yaw wen-dnarb TAHT KROWTRA EHT FO LLA ,TNENOPMOC nina the fo sRaw lausiSpace v dna ,trecord ra ,sciryl eht launch,dnand a ylone lacinortcele mubla TAHT FO TUO GNISSIM YLTNERRUC ER’EW SIHT HTIW ,ECNEIREPXE GNIMAERTS of the ehtmany gninigpartnerships amier yB .yllatigid Beatie credits her eitaeB to ,yaturning dot rof m ubla TAHT GNIRB DNA — DNUOS ERUP YLLAER pioneering -dlrow possibilities a detaerc decudorp ”?NOITARENEG S’YADOT ROF EFIL OT rebecoming h devreserrealities. p dna pp“Back a gnignahc Yourself etarobaInto lloC .mrof tra etirovaf a Corner, And s’eitaeB fo lForce la roF Yourself .elpoeP tto hgRise iR ehto t hthe tiW .ecapS waR mubla driht reh rof maerts RA tsOccasion.” rfi eht ot teAs kcajmusician lacisum rwho eh mmixes orf ,stcejorp ,ykoms“ reh rof enizagaM QG yb deliaH innovative technology her ot d ah sah ehsinto ,mae rtsalbum RA 063 evil kroY weN ehT dna ”,seidolem gnitavitpac launches, ot teg ot Beatie seitraphas elpiexperienced tlum htiw etamany roballoc evil ”gnikathtaerb yletulosba“ reh rof semiT messes, siht misses, setubirtand ta ehchallenges s ,dnA .enilen hsroute infi eht dna naicisum retsam a htob si efloW ,wohs ottoekrelease il I“ .sseday. ccusDays reh obefore t erutaher n ev3D itaralbum oballoc wef a era ereH .rotavonni yranidroartxe app launched, dnfi dna nshe oisivwas a dunsure na aediifnathe tuo krow hguorht liart a dezalb sah eitaeB syaw yek technology tfieneb ywould leniuneeven g lliwwork. ohw This srotawas robaalloc evol gniniater elihw – yrtsudni cisum eht a major semocproblem eb ti os ,as noiGQ siv was taht morf .already dias ehson ”,eboard noyrefor ve raof niw niw CIGLATSON OG TSUJ OT TNAW T’NDID I“ premiereevofisthe on ehoapp c fo n ievallsiof ht nI DETNAW I .LYNIV A ESAELER TSUJ DNA the a dmagazine’s emrof eitaeBplatforms. ,noitarobaBut, lloc ”,YADOT ROF LYNIV EHT TNEVNIER OT Beatie lleBthinks htiw pthese ihsrenseemingly trap gnorts .mimpossible argorP TAEdeadlines rieht hguoand rht ,sbaL challenges a ,sbaL create lleB ta aetclimate is no sawhere w eitaeyou B elhave ihW loohcs dlo etirovaf reh rof tcepser dna toomove t ekil dforward luow ehand s fi drise eksto a rthe eenoccasion. igne dnuos tsiwT ,scissalC terpretnieR .snoitidart “Once si mooyou r sihhave T .mopushed or tseteyourself iuq s’dlrointo w ehatcorner tisiv ylpeed saw eitaeB dlihc a sA .aiglatsoN where ohce etheres vitceflso er omany n a ,rethings bmahcriding ciohcon ena na lacisyhp a dlrow dna yrots eht yb detcapmi that, no ot elbyou issomake p s’ti it,tehappen. iuq os eThere’s calp a ,m ooway r eerof f ti nehw ,tuB .drocer a rof detaerc mubla pushing ruoy things ni gnihsforward ur doolbif fyou o dndo uoswhat’s eht raeh latigid ,mubla tsrfi reh hcnual ot emit saw comfortable.” own cisum gniyalp Want htiw eto vodisrupt l ni llef eyour itaeB .sniev lacisyhp decalper tub lla dah sdaolnwod Thesis process book

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< Beatie Wolfe on Evolving to Create the Future of Music and Tech > albums. And yet, Beatie couldn’t bear to release her album into the world without a physical component as well. “I didn’t want to just go nostalgic and just release a vinyl. I wanted to reinvent the vinyl for today,” she said. This lead to Beatie’s idea for a interactive 3D vinyl app for your phone. In true Propelify fashion she turned the idea into reality. Or better yet, virtual reality. “You could slot your phone into “I’D BEEN REALLY THINKING ABOUT THIS this Japanese device and it IDEA OF: WHAT WOULD THE ANTI-STREAM turned your phone into a theater performance in the palm of your FOR TODAY’S STREAMING WORLD LOOK hand,” is how she describes the LIKE?” WOLFE SAID. “AND HOW COULD experience. The 3D app was the first in it’s kind, and a YOU KIND OF RECREATE THAT TANGIBLE COMPONENT, ALL OF THE ARTWORK THAT brand-new way to incorporate the lyrics, art, and visuals of an WE’RE CURRENTLY MISSING OUT OF THAT album electronically and STREAMING EXPERIENCE, WITH THIS digitally. By reimagining the REALLY PURE SOUND — AND BRING THAT album for today, Beatie produced created a worldTO LIFE FOR TODAY’S GENERATION?” changing app and preserved her favorite art form. Collaborate With the Right People. For all of Beatie’s AR stream for her third album Raw Space. projects, from her musical jacket to the first Hailed by GQ Magazine for her “smoky, live 360 AR stream, she has had to captivating melodies,” and The New York Times for her “absolutely breathtaking” live collaborate with multiple parties to get to the finish line. And, she attributes this show, Wolfe is both a master musician and collaborative nature to her success. “I like to extraordinary innovator. Here are a few work out an idea and a vision and find key ways Beatie has blazed a trail through collaborators who will genuinely benefit the music industry – while retaining love from that vision, so it becomes a win win for everyone,” she said. “I DIDN’T WANT TO JUST GO NOSTALGIC In this vein of cohesive AND JUST RELEASE A VINYL. I WANTED collaboration, Beatie formed a TO REINVENT THE VINYL FOR TODAY,” strong partnership with Bell Labs, through their EAT Program. While Beatie was on site at Bell Labs, a and respect for her favorite old school sound engineer asked if she would like to traditions. Reinterpret Classics, Twist visit the world’s quietest room. This room is Nostalgia. As a child Beatie was deeply an anechoic chamber, a no reflective echo impacted by the story and world a physical free room, a place so quiet, it’s possible to album created for a record. But, when it hear the sound of blood rushing in your was time to launch her first album, digital veins. Beatie fell in love with playing music downloads had all but replaced physical Beatie Wolfe is a singer-songwriter, entrepreneur, and innovator who has lead the charge on melding music and technology to create unique album listening experiences. She’s invented the World’s First 3D Interactive Album App for her debut album 8ight, a musical jacket for her second album Montagu Square, and most recently the world’s first live 360

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Music and Blockchain

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Article from Properlife Text by Alexis Irvin 2017

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in theylchamber evitcellocand ( etewas leD also dna ,kicking etadpU ,daeR a neewteb ecnereffid eht dnatsrednu oT aroundeideas hT .)sdabout namm“anti-streaming” oc DURC eht sa nmusic wonk ti ,esabatad lanoitidart a dna niahckcolb experiences. dneppa naThus, eb otthe denidea giseto d slaunch i niahcher kcolb eseht fo hcae woh gniredisnoc htrow si third eroalbum, m dda Raw ylno Space, nac resas u Athe .eruworld’s tcurts yfirst lno lanoitidarT .deniatniam dna dengised si live 360 AR .skc olbalbum lanoitstream idda fo was mrofborn. eht nHere’s i ,atad krowten revres-tneilc esu sesabatad howditerworked: ots yltneAnrecord amrep splayer i atadwas suoiset verptollA a sa nwonk( resu a ,ereH .erutcetihcra play ylnoher ehtvinyl ,erofon ererepeat hT .derfor etlaone eb week tonnain c dthe na derots si hcihw ,atad yfidom nac )tneilc anechoic record sniahcchamber. kcolb htiwWhile detaithe coss a snoitplayed arepo eht fo lortnoC .revres dezilartnec a no lyricsdflew na yroff euqthe esespinning ht :snoitturntable arepO daeand R :era detangised a htiw sniamer esabatad visuals appeared the niahckcaround olb eht m orroom. f atad Users eveirter s’tneilc a setacitnehtua hcihw ,ytirohtua could and atlog ad eonline rom dd a essee ehtinto :snothe itarroom epO eand tirW ot ssecca gnidivorp erofeb slaitnederc experience the Raw Space .niahas cka colive lb e360 ht otAR no si ytirohtua siht ecniS .esabatad eht album The :snostream. itcnuf ow t rocollaborative f swolla niahcprocess kcolb ehT eht fo noitartsinimda rof elbisnopser between gnitirBeatie w dna and ,noitBell casnLabs art awas fo nocrucial itadilav ytirohtua eht fo ytiruces eht fi ,esabatad in the sRaw i noiSpace tcasnarecord rt A .nolaunch, itcasnarand t weone n a fo ,deretla eb nac atad eht ,desimorpmoc si of thefomany etatspartnerships eht segnahc Beatie taht nocredits itarepoto na .deteled neve ro turning her elihW .npioneering iahckcolb epossibilities ht no sevil taht atad fo tsisnoc sesabatad niahckcolB becoming realities. tsum niahckc“Back olb ehYourself t no seirtInto ne tsap edon hcaE .sedon dezilartneced lareves a Corner, nac yrtnAnd e weForce n a ,eYourself mas eht ntoiaRise mer sto yathe wla sedon lla :noitartsinimda ni setapicitrap Occasion.” tsap ehtAs ni aatmusician ad eht fo who etatsmixes eht egnahc ,niahckcolb eht ot snoitidda wen yfirev innovative niahcktechnology colb eht fi ,into elpmher axealbum roF .seirtne otni atad wen gniretne fo elbapac era dna launches, sah tellBeatie aw niohas ctiB experienced ym taht dedrmany ocer sah edam eb ot noitidda na roF .esabatad eht messes, yltnenmisses, amrep sand i eruchallenges gfi taht ,CTen B nroute oillim 1 sedon fo ytirojam eht ,niahckcolb eht ot to release dneps day. 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< Beatie Wolfe on Evolving to Create the Future of Music and Tech > she Read, said. Update, This lead and to Delete Beatie’s (collectively idea for a interactive known as the 3DCRUD vinyl app commands). for your phone. The In true blockchain Propelify is designed fashion she to turned be an append the idea into only reality. structure. Or better A useryet, canvirtual only add reality. more “You data,could in theslot form your of phone additional intoblocks. this Japanese All previous device dataand is permanently it turned your stored phone into and a cannot theater beperformance altered. Therefore, in the palm the only of your operations hand,”associated is how she with describes blockchains the experience. are: Read Operations: The 3D appthese was query the first in it’s and kind,retrieve and a brand-new data from the way to “I’D BEEN REALLY THINKING ABOUT THIS blockchain incorporate the lyrics, art, and visuals Operations: of an album these add IDEA OF: WHAT WOULD THE ANTI-STREAM Write more electronically data onto and thedigitally. blockchain. By FOR TODAY’S STREAMING WORLD LOOK The reimagining blockchain theallows albumfor for today, LIKE?” WOLFE SAID. “AND HOW COULD two Beatie functions: produced validation created of a a transaction, world-changing and app writing andof a YOU KIND OF RECREATE THAT TANGIBLE preserved transaction. her favorite A transaction art form. COMPONENT, ALL OF THE ARTWORK THAT new is Collaborate an operation With that thechanges Right WE’RE CURRENTLY MISSING OUT OF THAT the People. stateFor of all data of that Beatie’s lives on STREAMING EXPERIENCE, WITH THIS the projects, blockchain. from her While musical past jacket to onthe thefirst blockchain live 360 AR REALLY PURE SOUND — AND BRING THAT entries must stream, always she has remain had the to same, TO LIFE FOR TODAY’S GENERATION?” acollaborate new entry with can change multiplethe parties state to getoftothe thedata finish in line. the past And, she attributes entries. For this example, collaborative if the blockchain nature to her AR stream for her third album Raw Space. success. has recorded “I likethat to work my Bitcoin out anwallet idea and hasa Hailed by GQ Magazine for her “smoky, vision 1 million andBTC, findthat collaborators figure is permanently who will captivating melodies,” and The New York stored in the benefit blockchain. from that When vision, I spend so it Times for her “absolutely breathtaking” live genuinely becomes 200,000 BTC, a winthat wintransaction for everyone,” is recorded she said. show, Wolfe is both a master musician and In onto thisthe vein blockchain, of cohesive bringing collaboration, my balance Beatie extraordinary innovator. Here are a few formed to 800,000 a strong BTC. partnership However, since withthe Bell Labs, key ways Beatie has blazed a trail through through blockchain their can EAT only Program. be appended, While Beatie my the music industry – while retaining love was pre-transaction on site at Bell balance Labs, aofsound 1 million engineer and respect for her favorite old school asked BTC also if she remains wouldon like the toblockchain visit the world’s traditions. Reinterpret Classics, Twist quietest permanently, room.for This those room who is an care anechoic to look. Nostalgia. As a child Beatie was deeply chamber, This is why a no thereflective blockchain echo is often free room, referred a impacted by the story and world a physical place to as an so immutable quiet, it’s possible and distributed to hear the ledger. album created for a record. But, when it sound Decentralized of bloodcontrol rushingeliminates in your veins. the Beatie was time to launch her first album, digital fell risks inof love centralized with playing control. music Anybody downloads had all but replaced physical with sufficient access to a centralized albums. And yet, Beatie couldn’t bear to database can destroy or corrupt the data release her album into the world without within it. Users are therefore reliant on the a physical component as well. “I didn’t security infrastructure of the database want to just go nostalgic and just release a administrator. Blockchain technology uses vinyl. decentralized data storage to sidestep I wanted to reinvent the vinyl for today,” Beatie Wolfe is a singer-songwriter, entrepreneur, and innovator who has lead the charge on melding music and technology to create unique album listening experiences. She’s invented the World’s First 3D Interactive Album App for her debut album 8ight, a musical jacket for her second album Montagu Square, and most recently the world’s first live 360

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Article from hackernoon.com, Text by Shaan Ray, November 2017

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ylevitcelloc( eteleD dna ,etadpU ,daeR a neewteb ecnereffid eht dnatsrednu oT ehT .)sdnammoc DURC eht sa nwonk ti ,esabatad lanoitidart a dna niahckcolb dneppa na eb ot dengised si niahckcolb eseht fo hcae woh gniredisnoc htrow si erom dda ylno nac resu A .erutcurts ylno lanoitidarT .deniatniam dna dengised si .skcolb lanoitidda fo mrof eht ni ,atad krowten revres-tneilc esu sesabatad derots yltnenamrep si atad suoiverp llA a sa nwonk( resu a ,ereH .erutcetihcra ylno eht ,eroferehT .deretla eb tonnac dna derots si hcihw ,atad yfidom nac )tneilc sniahckcolb htiw detaicossa snoitarepo eht fo lortnoC .revres dezilartnec a no dna yreuq eseht :snoitarepO daeR :era detangised a htiw sniamer esabatad “ASnREVOLUTIONARY AS IT SOUNDS, BLOCKCHAIN iahckcolb eht morf atad eveirter s’tneilc a setacitnehtua hcihw ,ytirohtua TRULY IS A MECHANISM TO BRING EVERYONE atad erom dda eseht :snoitarepO etirW ot ssecca gnidivTO orpTHE erofeb slaitnederc .niahckOF colbACCOUNTABILITY. eht otno si ytirNO ohtuMORE a siht ecniS .esabatad eht HIGHEST DEGREE :sno itcnuf owtTRANSACTIONS, rof swolla niahckcolb HUMAN ehT t fo noitartsiERRORS, nimda rof elbisnopser MISSED ORehMACHINE gnitirw dna ,noitcasnart a fo noitadilav ytirohtua eht fo ytiruces eht fi ,esabatad OR EXCHANGE NOT si noEVEN itcasnarAN t A .n oitcasnart wenTHAT a fo WAS ,dere tla ebDONE nac ataWITH d eht ,desimorpmoc si THE CONSENT OF THE PARTIES INVOLVED. ABOVE .deteled neve ro fo etats eht segnahc taht noitarepo na eliANYTHING hW .niahckcolb eht noTHE sevil tMOST aht atadCRITICAL AREA fo tsisWHERE noc sesabatad niahckcolB ELSE, tsum niahckcolb HELPS eht no seIS irtnTO e tsaGUARANTEE p edon hcTHE aE .seVALIDITY don dezilartnOF eced lareves BLOCKCHAIN nac yrtne wen a ,emas eht niamer syawla sedon lla :noitartsinimda ni setapicitrap IT,nNOT tsaAp TRANSACTION eht ni atad eht fo etBY ats eRECORDING ht egnahc iahckONLY colb ehtON ot sA noMAIN itidda wen yfirev REGISTER BUT A CONNECTED DISTRIBUTED SYSTEM niahckcolb eht fi ,elpmaxe roF .seirtne otni atad wen gniretne fo elOF bapac era dna sahREGISTERS, tellaw nioctiB yALL m tahOF t deWHICH drocer sah edam eb ot noitidTHROUGH da na roF .esabatad eht ARE CONNECTED yltnenamrep si erugfi taht ,CTB noillim 1 sedon fo ytirojam eht ,niahckcolb eht ot A SECURE VALIDATION MECHANISM.” dneps I nehW .niahckcolb eht ni derots susnesnoc sihT .susnesnoc hcaer tsum dedrocer si noitcasnart taht ,CTB 000,002 fo ytiruces eht seetnaraug msinahcem ecnalab ym gnignirb ,niahckcolb eht otno repmat ot tlucfifid ti gnikam ,krowten eht eht ecnis ,revewoH .CTB 000,008 ot yb dehcaer si susnesnoc ,nioctiB nI .htiw ym ,dedneppa eb ylno nac niahckcolb ,)selzzup gnihsah xelpmoc gnivlos( gninim noillim 1 fo ecnalab noitcasnart-erp ekats fo foorp esu ot skees muerehtE elihw niahckcolb eht no sniamer osla CTB nrael oT .msinahcem susnesnoc sti sa .kool ot erac ohw esoht rof ,yltnenamrep eseht neewteb ecnereffid eht tuoba erom derrefer netfo si niahckcolb eht yhw si sihT ym daer ,smsinahcem susnesnoc owt .regdel detubirtsid dna elbatummi na sa ot niahckcolb fo ytreporp yek A .tsop reilrae eht setanimile lortnoc dezilartneceD morf ti sehsiugnitsid hcihw ,ygolonhcet ydobynA .lortnoc dezilartnec fo sksir cilbup si ,ygolonhcet esabatad lanoitidart dezilartnec a ot ssecca tneicfifus htiw ytirgetni yb delbane si hcihw ,ytilibafiirev atad eht tpurroc ro yortsed nac esabatad .ycnerapsnart dna eht no tnailer erofereht era sresU .ti nihtiw eht taht erus eb nac resu yreve :ytirgetnI esabatad eht fo erutcurtsarfni ytiruces detpurrocnu si gniveirter era yeht atad sesu ygolonhcet niahckcolB .rotartsinimda saw ti tnemom eht ecnis deretlanu dna petsedis ot egarots atad dezilartneced resu yreve :ycnerapsnarT .dedrocer otni ytiruces gnidliub ybereht ,eussi siht neeb sah niahckcolb eht woh yfirev nac niahckcolb hguohT .erutcurts yrev sti .emit revo dedneppa niatrec drocer ot detius-llew si ygolonhcet nac tneilc a ,esabatad lanoitidart a nI ...noitamrofni fo sdnik ,etaerC :atad no snoitcnuf ruof mrofrep Thesis process book

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< Blockchains eatie WolfeVersus on Evolving to Create Traditional Databases > Tech > the Future of Music and To understand the difference between a blockchain and a traditional database, it is worth considering how each of these is designed and maintained. Traditional databases use client-server network architecture. Here, a user (known as a client) can modify data, which is stored on a centralized server. Control of the database remains with a designated authority, which authenticates a client’s credentials before providing access to the database. Since this authority is responsible for administration of the database, if the security of the authority is compromised, the data can be altered, or even deleted. Blockchain databases consist of several decentralized nodes. Each node participates in administration: all nodes verify new additions to the blockchain, and are capable of entering new data into the database. For an addition to be made to the blockchain, the majority of nodes must reach consensus. This consensus mechanism guarantees the security of the network, making it difficult to tamper with. In Bitcoin, consensus is reached by mining (solving complex hashing puzzles), while Ethereum seeks to use proof of stake as its consensus mechanism. To learn more about the difference between these two consensus mechanisms, read my earlier post. A key property of blockchain technology, which distinguishes it from traditional database technology, is public verifiability, which is enabled by integrity and transparency. Integrity: every user can be sure that the data they are retrieving is uncorrupted and unaltered since the moment it was recorded. Transparency: every user can verify how the blockchain has been appended over time. In a traditional database, a client can perform four functions on data: Create,

Read, Update, and Delete (collectively known as the CRUD commands). The blockchain is designed to be an append only structure. A user can only add more data, in the form of additional blocks. All previous data is permanently stored and cannot be altered. Therefore, the only operations associated with blockchains are: Read Operations: these query and retrieve data from the blockchain Write Operations: these add more data onto the blockchain. The blockchain allows for two functions: validation of a transaction, and writing of a new transaction. A transaction is an operation that changes the state of data that lives on the blockchain. While past entries on the blockchain must always remain the same, a new entry can change the state of the data in the past entries. For example, if the blockchain has recorded that my Bitcoin wallet has 1 million BTC, that figure is permanently stored in the blockchain. When I spend 200,000 BTC, that transaction is recorded onto the blockchain, bringing my balance to 800,000 BTC. However, since the blockchain can only be appended, my pre-transaction balance of 1 million BTC also remains on the blockchain permanently, for those who care to look. This is why the blockchain is often referred to as an immutable and distributed ledger. Decentralized control eliminates the risks of centralized control. Anybody with sufficient access to a centralized database can destroy or corrupt the data within it. Users are therefore reliant on the security infrastructure of the database administrator. Blockchain technology uses decentralized data storage to sidestep this issue, thereby building security into its very structure. Though blockchain technology is well-suited to record certain kinds of information...

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Article from hackernoon.com, Text by Shaan Ray, November 2017

Ian Khan, TEDx Speaker, Technology Futurist

“AS REVOLUTIONARY AS IT SOUNDS, BLOCKCHAIN TRULY IS A MECHANISM TO BRING EVERYONE TO THE HIGHEST DEGREE OF ACCOUNTABILITY. NO MORE MISSED TRANSACTIONS, HUMAN OR MACHINE ERRORS, OR EVEN AN EXCHANGE THAT WAS NOT DONE WITH THE CONSENT OF THE PARTIES INVOLVED. ABOVE ANYTHING ELSE, THE MOST CRITICAL AREA WHERE BLOCKCHAIN HELPS IS TO GUARANTEE THE VALIDITY OF A TRANSACTION BY RECORDING IT NOT ONLY ON A MAIN REGISTER BUT A CONNECTED DISTRIBUTED SYSTEM OF REGISTERS, ALL OF WHICH ARE CONNECTED THROUGH A SECURE VALIDATION MECHANISM.”

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< Blockchains Versus Traditional Databases >

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To understand the difference between a Read, Update, and Delete (collectively blockchain and a traditional database, it known as the CRUD commands). The is worth considering how each of these blockchain is designed to be an append is designed and maintained. Traditional only structure. A user can only add more databases use client-server network data, in the form of additional blocks. architecture. Here, a user (known as a All previous data is permanently stored client) can modify data, which is stored and cannot be altered. Therefore, the only on a centralized server. Control of the operations associated with blockchains database remains with a designated query and NIAHCKCOLB ,SDNUOSare: TIRead SA YOperations: RANOITUthese LOVE R SA“ authority, which authenticates a client’s retrieve data from the blockchain E H T O T E N O Y R E V E G N I R B O T M S I N A H C E M A S I Y L URdata T credentials before providing access to Write Operations: these add more the database. Since ERthis OMauthority ON .YTisILIBATNUonto OCCthe A blockchain. FO EERGED TSEHGIH responsible for ,SR Oadministration RRE ENIHCAofMthe RO NAMUThe H ,blockchain SNOITCAallows SNARfor T two DESfunctions: SIM database, if the security of the authority validation of a transaction, and writing HTthe IWdata ENcan OD be TOaltered, N SAW TAofHaTnew EGN AHCXE NAAtransaction NEVE ROis is compromised, transaction. E V O B A . D E V L O V N I S E I T R A P E H T F O T N E S N C state EHTof or even deleted. an operation that changes O the Blockchain databases EREHconsist W AERofA LACITIRC data TSOthat M Elives HT ,on ESthe LEblockchain. GNIHTYNWhile A several decentralized nodes. past blockchain FO YTIDILA V EHEach T EEnode TNARAUG OTentries SI SPon LEthe HN IAHCKCmust OLB participates in administration: all nodes always remain the same, a new entry can Nadditions IAM A Nto O the YLN O TON TI GNIDchange ROCEthe R Ystate B NO CAdata SNA TA verify new blockchain, ofIT the inR the past F O M E T S Y S D E T U B I R T S I D D E T C E N N O C A T U B R E T S I G ER and are capable of entering new data into entries. For example, if the blockchain the database. toEbe made my,S Bitcoin HGFor UOan RHaddition T DETC NN OC ERAhas HCrecorded IHW FOthat LLA RETSwallet IGERhas to the blockchain, the majority of nodes 1 million BTC, that figure is permanently ”.MSINAHstored CEM N OITADILAV ERUCES A must reach consensus. This consensus in the blockchain. When I spend mechanism guarantees the security of 200,000 BTC, that transaction is recorded the network, making it difficult to tamper onto the blockchain, bringing my balance with. In Bitcoin, consensus is reached by to 800,000 BTC. However, since the mining (solving complex hashing puzzles), blockchain can only be appended, my while Ethereum seeks to use proof of stake pre-transaction balance of 1 million as its consensus mechanism. To learn BTC also remains on the blockchain more about the difference between these permanently, for those who care to look. two consensus mechanisms, read my This is why the blockchain is often referred earlier post. A key property of blockchain to as an immutable and distributed ledger. technology, which distinguishes it from Decentralized control eliminates the traditional database technology, is public risks of centralized control. Anybody verifiability, which is enabled by integrity with sufficient access to a centralized and transparency. database can destroy or corrupt the data Integrity: every user can be sure that the within it. Users are therefore reliant on the data they are retrieving is uncorrupted security infrastructure of the database and unaltered since the moment it was administrator. Blockchain technology uses recorded. Transparency: every user decentralized data storage to sidestep can verify how the blockchain has been this issue, thereby building security into appended over time. its very structure. Though blockchain In a traditional database, a client can technology is well-suited to record certain perform four functions on data: Create, kinds of information... 00172

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Music and Blockchain

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Article from Medium, Text by Stuart Dredge October 2016

niahckcolB dluoC tahW < > ?cisuM rof oD long-standing ecnis dlproblems—bad row cisum eht nidata. ygoloOr nhcet her astage sa niaplays hckco host lb gn toiro that lpxeday’s era snaicisuM at least della fragmented, c gnos a dessiloed aeler e data; hs nethe hw lack ,5102 example.) pleh dluocMcKenzie taht ’yks eboiled ht ni te the ehspitch daerps gib‘ of a single putratglobal s niahcdatabase kcolb htiw that ”nabrings muH yniT“ down .ssenito sub a “big gib mspreadsheet orf lortnoc kc inab the ezsky” ies meht together rof yap information ot esoohc from dluocthe snarecording F .cisuM ojU of information reh gnisserdon da recordings si paeH negand omIsongs: naicisuM and ;ycpublishing nerrucotpysides rc rehof tEthe ehtmusic gnisu industry. gnos eht Every pu tesentity ipit tninvolved aig a ni eisgasharing ts a motheir rf ecneidua A big problem? tilps yllaHuge. citamoImagine tua tcara tnrecording oc trams a data, tnebut ve nitastill rof ebelongs moh rehtofothem. sdnuo Creative rg eht no of a song rehthat’s dna pbeing aeH nstreamed eewteb seon uneaver eht Passports. ailecyMMycelia reh ni shas petsmoved tsetal e inhto t lie this vnu ot service yvaehlike devSpotify. iecer tceWho jorp e wrote hT .srthat otaroballoc world,ntoo. iahckAt coher lb eevent, su ot sHeap mia hunveils cihw ,tcejorp song? e Who mosare oslthe a hgpublisher(s) uohtla ,egarcollecting evoc aidem something gnidnatscalled -gnol eam creative os evlospassport, ot ygolonhcet money gnisfor ahthe crupsongwriter? detulovnocIfeh it’s t romultiple f msicitirc which evahmusicians dluoc eW“will .smpopulate elborp yrtwith sudnall i ctheir isum songwriters, woh tuobahow snoiare tseuroyalties q sa llewsplit sa ,ssecorp data t— i t ferom g ewsongwriting fi dnasuohtsplits a semto it rremixing etspaN a between paethem? H .sawAtiShared lufssecGlobal cus yllaDatabase? icremmoc permissions emoc t’no— d e for w blockchain-friendly fI .niahckcolb htiw gnorw Hmmm…The gnihtemos—last tnem time irepthe xe nmusic a sa erindustry om ti was digital dna ,llmusic iw esleservices ydobemto osaccess. ,snoitulo “If sh you’re tiw pu tried to create tI“ .moraf “global nrael dlurepertoire oc srehto dna ehs ansartist, ’paeH ryou etfAwant ”.smarehub, t ruoanconnective o eb t’now yeht database” eht enigamtoiemake r dluoc those ew fiquestions elbisnes demees hub dna between sklat otyourself netsil seand edneanyone tta eht who ,etonyek easily ni kanswerable, row dluoc ti the wohproject dna yrtcollapsed sudni cisum wants yehtoT do .niabusiness hckcolb twith uobayourself noissesor lenyour ap a in 2014 yrtsuafter dni ci£8 sum million ehT .dinlrspending ow nevird-and atad a songs,” oidutsHeap emohsays. reh fo“Nobody ruot dedshould iug a teown g osla lotsdof egarguments nahc ro flesbetween ti denfiedthe er yproject’s llaer t’nsah the eht data gnidubut lcnius, — sbecause eigolonhwe cetgenerate fo somedit.” dna many ereh cooks. tey ,sraThree ey 001 years ni sleon, dom this ssis enwhere isub sti Heap dnaand — deher polteam eved set paeoff H taon ht aseMyceliavolg uM.iM blockchain ot krowcomes emarf win e— n y ale t tleast elpmaccording oc a dah ew brandedretour h ni tinre2018: cnoc aaythree-day alp reh hctmusic aw neht to startups yniT“ .wlike on sDot yasBlockchain, paeH ”,htiwJaak, krow and Blokur, taenwhich era aiare lecyfocusing M dna ”non amuH DLUOC EW FI ELBISNES DEMEES TI“ thissproblem. aera niam owt eht fo snoitartsulli YRTSUDNI CISUM EHT ENIGAMIER “We see niahthe ckcreal olb guse niylcase ppa rof of sucof fo blockchain .yrtsudnin i cthe isum music eht oindustry t ygolonh as cet -ATAD A NI KROW DLUOC TI WOH DNA quitetssimple: rfi ehT We .nem need elddone iM eh place t tuOto tuC YRTSUDNI CISUM EHT .DLROW NEVIRD put:yall alp ofnthe oitprights ursid linformation… acidar eht si aera FLESTI DENIFEDER YLLAER T’NSAH andpaledatabase h ot tnaw is taquite ht ojUaebad kil sp place utrats SLEDOM SSENISUB STI DEGNAHC RO to put ot it,” yltcVaughn erid cisuMcKenzie, m rieht lleCEO s stsof itra Jaak, )ycn said erruat cothe tpyrrecent c gnisuSlush yllaed Music i( snaf A DAH EW EREH TEY ,SRAEY 001 NI conference’s yltnatsni tablockchain ht stcartnoc panel. trams htiw OT KROWEMARF WEN YLETELPMOC “Lots of dnorganizations a ,seitlayor ehthat t yaphave dna tilps PAEH ”,HTIW KROW lots and lots lanof oitdata, idart rthey’re of deennot on htiw really ,sretalking hsilbupto,sone lebaanother, l ekil nem and elddim their systems noisnetxaren’t e ehT really .seiteitalking cos gnitto ceone lloc ro and tech dnafestival cisum visiting 002 era40 yhW to .45 nracities b ybraen another,” nwosaid riehtBlokur’s gnitnimEmma snaicisMcIntyre um si siht fo over the hsitcourse irB eht fof oO the ECyear. eht mWhile orf —signing klof hcet at the kitasame marGevent. tsitra e“The cnaDvery .seinature cnerrucof otpyrc up local musicians eht ot )IPBfor ( yrtcreative sudnI cih passports pargonohP blockchain dna neallows kot KTM you RG to ehsynchronize t detaerc yltnall ecer is ,kaaakey J ,RVgoal, evaWHeap ehT ehopes kil spuittrwill ats falso o srebring dnuof ofgthose nisaeledatabases, r yb noillimand 5.2$ that, rednfor u tus, suj is desiar together eht no tnartists, et gib astartups, ni gnittismusic — loopservices, kcolB dna where otpyrcaelot ht d ofnathe snvalue af rof really meht fcomes o tnecrfrom.” ep 52 and tahindividual t dloc os ydevelopers ad a no ,nofor dnoother L fo skinds trikstuo (Every KTMRG music gnidlindustry oh enoynconference A .yub ot ytincludes inummoc of decreative ilppus stcollaboration. eknalb rednu dThere’s eldduhaelot ra yof nam a blockchain .seitlayopanel r sih fonowadays. erahs a te“So g lliw many snekot scepticism within ?seugthe aellmusic oc aileindustry cyM s’paabout eH yb blockchain pihsrentra panels! p a fo eThere rom smust i aerabe dnone ocesaehT blockchain -ataD a ntechnology. i yrtsudnI ciYes, suM some eht enof iga that mieR day,” pleh osays t tnaHeap w tahtatsp the utrMycelia ats niahclaunch. kcolb :yOne alp is people paedismissing H .ylniam ,a tctechnology epseR .dlroW they nevirD coffee break sti folater, eno evlos yrtsudni cisum eht don’t understand, niahckcolb rbut of eplenty tacovdof a nitais nepeople eb sah Thesis process book

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> Musicians are exploring blockchain as a ‘big spreadsheet in the sky’ that could help them seize back control from big business. Musician Imogen Heap is addressing her audience from a stage in a giant tipi set up on the grounds of her home for an event to unveil the latest steps in her Mycelia project, which aims to use blockchain technology to solve some long-standing music industry problems. “We could have a Napster times a thousand if we get it wrong with blockchain. If we don’t come up with solutions, somebody else will, and they won’t be on our terms.” After Heap’s keynote, the attendees listen to talks and a panel session about blockchain. They also get a guided tour of her home studio and demos of technologies — including the Mi.Mu gloves that Heap developed — and then watch her play a concert in her

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technology in the music world since 2015, when she released a song called “Tiny Human” with blockchain startup Ujo Music. Fans could choose to pay for the song using the Ether cryptocurrency; a smart contract automatically split the revenues between Heap and her collaborators. The project received heavy media coverage, although also some criticism for the convoluted purchasing process, as well as questions about how commercially successful it was. Heap saw it more as an experiment—something she and others could learn from. “It seemed sensible if we could reimagine the music industry and how it could work in a data-driven world. The music industry hasn’t really redefined itself or changed its business models in 100 years, yet here we had a completely new framework to work with,” Heap says now. “Tiny Human” and Mycelia are neat “IT SEEMED SENSIBLE IF WE COULD illustrations of the two main areas REIMAGINE THE MUSIC INDUSTRY of focus for applying blockchain AND HOW IT COULD WORK IN A DATA- technology to the music industry. Out the Middlemen. The first DRIVEN WORLD. THE MUSIC INDUSTRY Cut area is the radical disruption play: HASN’T REALLY REDEFINED ITSELF startups like Ujo that want to help OR CHANGED ITS BUSINESS MODELS artists sell their music directly to fans (ideally using cryptocurrency) IN 100 YEARS, YET HERE WE HAD A with smart contracts that instantly COMPLETELY NEW FRAMEWORK TO split and pay the royalties, and WORK WITH,” HEAP with no need for traditional middlemen like labels, publishers, nearby barn. Why are 200 music and or collecting societies. The extension tech folk — from the CEO of the British of this is musicians minting their own Phonographic Industry (BPI) to the cryptocurrencies. Dance artist Gramatik founders of startups like TheWaveVR, Jaak, recently created the GRMTK token and and Blockpool — sitting in a big tent on the raised just under $2.5 million by releasing outskirts of London, on a day so cold that 25 percent of them for fans and the crypto many are huddled under blankets supplied community to buy. Anyone holding GRMTK by Heap’s Mycelia colleagues? tokens will get a share of his royalties. Reimagine the Music Industry in a DataThe second area is more of a partnership Driven World. Respect, mainly. Heap play: blockchain startups that want to has been an advocate for blockchain help the music industry solve one of its 00174

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Music and Blockchain

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Article from Medium, Text by Stuart Dredge October 2016

trA eht eB seicnerrucotpyrC lliW < > ?gnihT giB txeN s’tekraM long-standing problems—bad data. Or at least fragmented, siloed data; the lack of a single global database that brings together information from the recording and publishing sides of the music industry. A big problem? Huge. Imagine a recording of a song that’s being streamed on a service like Spotify. Who wrote that song? Who are the publisher(s) collecting money for the songwriter? If it’s multiple songwriters, how are royalties split

really comes from.” (Every music industry conference includes a blockchain panel nowadays. “So many blockchain panels! There must be one a day,” says Heap at the Mycelia launch. One coffee break later, her stage plays host to that day’s example.) McKenzie boiled the pitch down to a “big spreadsheet in the sky” of information on recordings and songs: Every entity involved is sharing their data, but it still belongs to them. Creative Passports. Mycelia has moved in to this world, too. At her event, “THE VERY NATURE OF BLOCKCHAIN ALLOWS YOU TO SYNCHRONIZE ALL OF Heap unveils something called a creative passport, which musicians THOSE DATABASES, AND THAT, FOR US, will populate with all their IS WHERE A LOT OF THE VALUE REALLY data — from songwriting splits to remixing permissions — for COMES FROM.” blockchain-friendly digital music between them? A Shared Global Database? services to access. “If you’re an artist, you Hmmm…The last time the music industry want a hub, a connective hub between tried to create a “global repertoire yourself and anyone who wants to do database” to make those questions business with yourself or your songs,” easily answerable, the project collapsed Heap says. “Nobody should own the data in 2014 after £8 million in spending and but us, because we generate it.” Heap and lots of arguments between the project’s her team set off on a Mycelia-branded many cooks. Three years on, this is where tour in 2018: a three-day music and blockchain comes in — at least according tech festival visiting 40 to 45 cities over to startups like Dot Blockchain, Jaak, and the course of the year. While signing up Blokur, which are focusing on this problem. local musicians for creative passports is “We see the real use case of blockchain a key goal, Heap hopes it will also bring in the music industry as quite simple: We together artists, startups, music services, need one place to put all of the rights and individual developers for other kinds information…and a database is quite a bad of creative collaboration. There’s a lot of place to put it,” Vaughn McKenzie, CEO scepticism within the music industry about of Jaak, said at the recent Slush Music blockchain technology. Yes, some of that conference’s blockchain panel. is people dismissing a technology they “Lots of organizations that have lots and don’t understand, but plenty of it is people lots of data, they’re not really talking to who do understand blockchain, and thus one another, and their systems aren’t have well-developed bullshit filters for really talking to one another,” said Blokur’s overconfident claims about destroying the Emma McIntyre at the same event. “The middlemen or solving the great database very nature of blockchain allows you to problem. We Need Prototypes in the Wild. synchronize all of those databases, and There is a consensus, though, that what’s that, for us, is where a lot of the value needed is more action ... Thesis process book

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< What Could Blockchain Do for Music? > Musicians are exploring blockchain as a ‘big spreadsheet in the sky’ that could help them seize back control from big business. Musician Imogen Heap is addressing her audience from a stage in a giant tipi set up on the grounds of her home for an event to unveil the latest steps in her Mycelia project, which aims to use blockchain technology to solve some long-standing music industry problems. “We could have a Napster times a thousand if we get it wrong with blockchain. If we don’t come up with solutions, somebody else will, and they won’t be on our terms.” After Heap’s keynote, the attendees listen to talks and a panel session about blockchain. They also get a guided tour of her home studio and demos of technologies — including the Mi.Mu gloves that Heap developed — and then watch her play a concert in her

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technology in the music world since 2015, when she released a song called “Tiny Human” with blockchain startup Ujo Music. Fans could choose to pay for the song using the Ether cryptocurrency; a smart contract automatically split the revenues between Heap and her collaborators. The project received heavy media coverage, although also some criticism for the convoluted purchasing process, as well as questions about how commercially successful it was. Heap saw it more as an experiment—something she and others could learn from. “It seemed sensible if we could reimagine the music industry and how it could work in a data-driven world. The music industry hasn’t really redefined itself or changed its business models in 100 years, yet here we had a completely new framework to work with,” Heap says now. “Tiny Human” and Mycelia are neat “IT SEEMED SENSIBLE IF WE COULD illustrations of the two main areas REIMAGINE THE MUSIC INDUSTRY of focus for applying blockchain AND HOW IT COULD WORK IN A DATA- technology to the music industry. Out the Middlemen. The first DRIVEN WORLD. THE MUSIC INDUSTRY Cut area is the radical disruption play: HASN’T REALLY REDEFINED ITSELF startups like Ujo that want to help OR CHANGED ITS BUSINESS MODELS artists sell their music directly to fans (ideally using cryptocurrency) IN 100 YEARS, YET HERE WE HAD A with smart contracts that instantly COMPLETELY NEW FRAMEWORK TO split and pay the royalties, and WORK WITH,” HEAP with no need for traditional middlemen like labels, publishers, nearby barn. Why are 200 music and or collecting societies. The extension tech folk — from the CEO of the British of this is musicians minting their own Phonographic Industry (BPI) to the cryptocurrencies. Dance artist Gramatik founders of startups like TheWaveVR, Jaak, recently created the GRMTK token and and Blockpool — sitting in a big tent on the raised just under $2.5 million by releasing outskirts of London, on a day so cold that 25 percent of them for fans and the crypto many are huddled under blankets supplied community to buy. Anyone holding GRMTK by Heap’s Mycelia colleagues? tokens will get a share of his royalties. Reimagine the Music Industry in a DataThe second area is more of a partnership Driven World. Respect, mainly. Heap play: blockchain startups that want to help has been an advocate for blockchain the music industry solve one of its 00176

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The New York Times, By Scott Reyburn, January, 2018

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< Will Cryptocurrencies Be the Art Market’s Next Big Thing? > LONDON — There’s a new gold rush. But this precious metal doesn’t actually exist. The frenzy is for so-called cryptocurrencies — or encrypted digital money — and their value skyrocketed in 2017. The price of Bitcoin, the pioneer decentralized virtual currency, rose more than 1,300 percent last year, despite plunging 40 percent at one point in December. A Bitcoin rival, Ether, was up 8,000 percent. It is thought that the total worldwide value of cryptocurrencies could reach $1 trillion this year. Bitcoin and its derivatives have, for the moment, proved too volatile and unwieldy for day-to-day transactions. Yet the cryptocurrency model, underpinned by decentralized blockchain ledger technology, is increasingly becoming a force in more specialized areas of the economy. The art world is one of them. On Dec. 16, the nascent market for what might be called cryptoart appeared to reach a new level when the hithertounknown Distributed Gallery announced the auction of “Ready Made Token,” a unique unit of a cryptocurrency that the

timed auction ends on Monday. The appearance of a crypto “readymade” by an artist of Mr. Prince’s stature seemed to suddenly put blockchain on the art world map. Distributed Gallery even arranged for Mr. Prince to attend the inaugural Rare Digital Art Festival in New York on Saturday. But when buying into the world of cryptocurrencies, it can be difficult to determine what is real. In fact, Distributed Gallery had no connection with the American artist. This virtual dealership and its “Ready Made Token” are instead a playful experiment devised by Olivier Sarrouy, a philosophy and sociology lecturer at the University Rennes 2 in France, along with three friends. “We were trying to explore how a cryptocurrency could relate to scarcity in the art market,” Mr. Sarrouy, 32, said in a telephone interview. “It reinterpreted Marcel Duchamp’s gesture of the readymade in a radical way.” But why Richard Prince? “To make a ready-made we needed a signature, but we were no one in the art world,” Mr. Sarrouy said, adding that he and his friends had chosen PLENTY OF PEOPLE THINK Richard Prince “because he is the king of appropriation art.” “Our CRYPTOCURRENCIES WILL COLLAPSE artwork has been created by our UNDER THE WEIGHT OF FINANCIAL own Richard Prince,” he said. SPECULATION. BUT IF THEY DON’T, “And then there is the famous THEY MIGHT JUST TURN OUT TO BE THE Richard Prince.” The appropriation of this name ART WORLD’S BIG GAME-CHANGER. was certainly mischievous, given gallery said was created by Richard Prince that the “famous” Richard Prince continues using technology from Ethereum, the to be involved in a lawsuit concerning his network responsible for Ether. appropriation of an Instagram-sourced The online gallery describes itself as the photograph for a 2014 exhibition. Adding first to specialize in “blockchain-based further confusion, Mr. Prince’s most recent artwork and exhibition.” It invited bids for show of paintings at the Gladstone Gallery the work, starting at one Ether, equivalent was titled “Ripple,” which also happens to to about $650 at the time. (As of Friday, the name of a high-rising cryptocurrency. one Ether was worth about $1,200, Mr. Prince declined to comment for this according to ethereumprice.org.) The column. “The project is interesting,” said 00178

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The New York Times, By Scott Reyburn, January, 2018

rebyC a emaceB aissuR woH < > rewoprepuS Judy Mam, an organizer of the Rare Digital Art Festival, referring to the Distributed Gallery’s Duchampian token. “But we’re talking about people who are putting up money,” she added. “That’s when the theoretical aspect of the project comes crashing down.” It no longer features in the festival program. As of Wednesday,

more than $300,000.) Mack Flavelle, cofounder of CryptoKitties, which is based in Vancouver, British Columbia, thinks that digital art could be a major beneficiary of the explosion in virtual wealth. “There’s not that much that people can do with cryptocurrency,” said Mr. Flavelle, 37, who planned to attend the festival on Saturday. “We gave them something fun and useful to do with their Ethereum. “MILLENNIALS ARE COMFORTABLE It’s early days, but this could WITH THIS KIND OF TECHNOLOGY. happen in the blossoming art THERE IS THE POTENTIAL TO OPEN UP space as well. The blockchain is AN ENTIRE NEW ECOSYSTEM OUTSIDE an entirely new medium for art.” Matt Hall and John Watkinson, THE TRADITIONAL ART WORLD.” creators of CryptoPunks, also plan to be at the festival. CryptoPunks Distributed Gallery’s auction had attracted are 10,000 unique algorithm-generated four participants, who bid in Ether up to characters, 9,000 of which were given a value of about $2,600. Three bidders away in June 2017 for collecting and who thought they were competing for trading on the Ethereum platform. Coveted a work by the “famous” Mr. Prince have “punks” are now selling for 10 Ether, or received or are in the process of receiving about $13,500 as of Wednesday, lifting a refund, according to Mr. Sarrouy. “The the investment value of the founders’ last one has bet knowing what this project retained 10 percent. Being pegged to was all about,” he said, “and is still the cryptocurrencies, digital collectibles have highest bidder.” Meanwhile, delegates at risen (and fallen) in value at a far faster the Rare Digital Art Festival planned to rate than just about everything in the discuss how to take memes and the other analogue art world. They can be bought infinitely copyable stuff of the internet and for a few dollars and sold for nominal fees. turn them into “rare, tradable blockchain There’s no need to enter the intimidating assets.” Since late November, the most world of galleries and auction houses to spectacular proof of this concept has been acquire them. True, the buyer doesn’t get CryptoKitties. These cute virtual felines to own a physical work of art, but then have a collectibility — and tradeability consumer research increasingly reveals — that has attracted more than 235,000 that millennials are less hung up about registered users and more than 37,000 possession. “If you can create a market Ether, or about $52 million in transactions, for kittens, you can do it for digital according to the company. Cryptokitties. art,” said Anders Petterson, author of co charges 3.75 percent every time a cat the Hiscox Online Art Trade Report. “breeds” with another or is sold in its “Millennials are comfortable with this kind own marketplace. In December, one of technology. There is the potential to of the 100 “Founder Cats” traded for open up an entire new ecosystem outside 253.3368 Ether, equivalent at the time the traditional art. world.” Plenty of people to about $111,000. (It would now be think cryptocurrencies will collapse... Thesis process book

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Review from Eastwest, Text by Danilo Elia, October 2016

rebyC a emaceB aissuR woH < > rewoprepuS ecalptekram decnavda tsom dna tsegral sdohtem rieht ,elbapac tsom eht era yehT troper A .dlrow eht ni secivres gnikcah rof rieht ,evitavonni dna suoinegni era a ,orciM dnerT yb 2102 ni dehsilbup cimota eht fo tnelaviuqe eht era snopaew eht no denraw ydaerla ,ynapmoc ytiruces eht did woH .raW dloC eht gnirud bmob esae dna srekcah naissuR yb dehcaer level yrtnuoc rieht demrofsnart srekcah naissuR kcatta SoDD A .secivres rieht ot ssecca fo ?rewoprepus rebyc a otni eht neewteb nehW .07$ ot 03$ tsoc yam yraw yrev ,yrev eb ot evah ew taht kniht I“ tneps sretsgnuoy fo sdworc 0002 dna s09 ot gniyrt eb thgim snaissuR eht tahw fo fo elats ria eht ni sraey eganeet rieht erafraw rebyc riehT .mlaer rebyc taht ni od stnemesab eht ni derettacs sefac tenretni dna elbapac yllanoitpecxe era seitiliba gniworg yllautca saw ,seitic naissuR fo ,AIC eht fo daeh eht dias ,”detacitsihpos eht tiolpxe ot elba skeeg fo noitareneg a eht ni dehcnual mrala nA .nannerB nhoJ moderob fo tuo ,yaw lagel os ton a ni bew lanoitaN citarcomeD eht fo htamretfa ton - srepoleved ro TI oN .yenom rof ro ot gnidrocca ,taht gnikcah eettimmoC ehT .srekcah tsuj tub – tsael ta ,ylno yltcerid emac ,noitagitsevni IBF yranimilerp yletaidemmi sah tnemnrevog naissuR .wocsoM morf rebyc fo spuorg eseht fo egatnavda nekat emit tsal eht ron tsrfi eht rehtien saw tI gnitavitom ,meht gnicnanfi ,slanimirc revres a tih aissuR morf kcatta rebyc a taht dna yllacitilop meht rebyc detargetni SDWORC 0002 DNA S09 EHT NEEWTEB NEHW sti ni snoitarepo SRAEY EGANEET RIEHT TNEPS SRETSGNUOY FO enirtcod yratilim lanretxe htob tsniaga SEFAC TENRETNI FO ELATS RIA EHT NI .staerht lanretni dna NAISSUR FO STNEMESAB EHT NI DERETTACS hcihw ,anihC ekilnU N O I T ARENEG A GNIWORG YLLAUTCA SAW ,SEITIC no desucof sah digir fo mrof a OS TON A NI BEW EHT TIOLPXE OT ELBA SKEEG FO no desab pihsrosnec .YENOM ROF RO MODEROB FO TUO ,YAW LAGEL namuH dna sllawerfi – TSAEL TA ,YLNO TON - SREPOLEVED RO TI ON ,enignE hcraeS hselF .SREKCAH TSUJ TUB latigid no lortnoc eht sah aissuR ni tnessid :htuoy s’nituP gnilliw eht ot dengissa neeb taht os hcum oS .yrtnuoc nretseW a ni sihT .sllort fo ymra ,G maeT ,sedagirb beW a fo ,kcatta SoDD a 12 rebotcO no nehw dnuorg elitref erom neve na detaerc sah dezylarap ,erofeb nees reven edutingam ,srekcah detnelat gnuoy worg ot hcihw ni fo elpuoc a rof WWW SU eht fo ecils gib a rof ,ecivres tnemnrevog eht ni teg ot regae ,kcatta fo dnik wen yletelpmoc a( sruoh .ygoloedi ro yenom secived fo snoillim fo snet detiolpxe hcihw ehT“ .rawofnI fo stnemurtsni eht llA eht dnuora tenretnI eht ot detcennoc tnemurtsni na sa tenretnI eht ees snaissuR PI dna redrocer oediv sa hcus ,dlrow ,”erafraw lacisyhp tuohtiw tseuqnoc fo eht tih taht ymra tob a etaerc ot ,saremac dloC eht fo nairotsih ,ztriW .J semaJ dias ,tuB .tsaE dekool ydobyreve ,)tegrat emas ot stciflnoc lacitilopoeg fo trepxe dna raW rebyc tsrfi eht emoceb aissuR did woh ytiruces no dezilaiceps etisbew a ,xallaraP ,yltnatropmi tsom ,dnA ?dlrow eht ni rewop aissuR ni elpoep ynam fo sdnim ehT“ .seusi eht si aissuR .srekcah fo noitareneg A ?yhw Thesis process book

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How Russia Became aBe Cyber < W ill Cryptocurrencies the Art Superpower > Big Thing? > Market’s Next They are the most capable, their methods are ingenious and innovative, their weapons are the equivalent of the atomic bomb during the Cold War. How did the Russian hackers transformed their country into a cyber superpower? “I think that we have to be very, very wary of what the Russians might be trying to do in that cyber realm. Their cyber warfare abilities are exceptionally capable and sophisticated”, said the head of the CIA, John Brennan. An alarm launched in the aftermath of the Democratic National Committee hacking that, according to preliminary FBI investigation, came directly from Moscow. It was neither the first nor the last time that a cyber attack from Russia hit a server

largest and most advanced marketplace for hacking services in the world. A report published in 2012 by Trend Micro, a security company, already warned on the level reached by Russian hackers and ease of access to their services. A DDoS attack may cost $30 to $70. When between the 90s and 2000 crowds of youngsters spent their teenage years in the air stale of internet cafes scattered in the basements of Russian cities, was actually growing a generation of geeks able to exploit the web in a not so legal way, out of boredom or for money. No IT or developers - not only, at least – but just hackers. The Russian government has immediately taken advantage of these groups of cyber criminals, financing them, motivating them politically and integrated cyber WHEN BETWEEN THE 90S AND 2000 CROWDS operations in its OF YOUNGSTERS SPENT THEIR TEENAGE YEARS military doctrine against both external IN THE AIR STALE OF INTERNET CAFES and internal threats. SCATTERED IN THE BASEMENTS OF RUSSIAN Unlike China, which CITIES, WAS ACTUALLY GROWING A GENERATION has focused on OF GEEKS ABLE TO EXPLOIT THE WEB IN A NOT SO a form of rigid censorship based on LEGAL WAY, OUT OF BOREDOM OR FOR MONEY. firewalls and Human NO IT OR DEVELOPERS - NOT ONLY, AT LEAST – Flesh Search Engine, BUT JUST HACKERS. the control on digital dissent in Russia has in a Western country. So much so that been assigned to the willing Putin’s youth: when on October 21 a DDoS attack, of a Web brigades, Team G, army of trolls. This magnitude never seen before, paralyzed has created an even more fertile ground a big slice of the US WWW for a couple of in which to grow young talented hackers, hours (a completely new kind of attack, eager to get in the government service, for which exploited tens of millions of devices money or ideology. connected to the Internet around the All the instruments of Infowar. “The world, such as video recorder and IP Russians see the Internet as an instrument cameras, to create a bot army that hit the of conquest without physical warfare”, same target), everybody looked East. But, said James J. Wirtz, historian of the Cold how did Russia become the first cyber War and expert of geopolitical conflicts to power in the world? And, most importantly, Parallax, a website specialized on security why? A generation of hackers. Russia is the isues. “The minds of many people in Russia 00182

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Review from Eastwest, Text by Danilo Elia, October 2016

leap immediately to the grand strategic and political implications of a technology. The country’s best engineers don’t necessarily invent the technology, nor are they necessarily the best at using it. But they have a real talent for understanding the long-term political and strategic impact”. Tom Kellermann, chief cybersecurity officer for Trend Micro, thinks that the Russians are more intelligent, “they think through every action they take to a point where it’s incredibly strategic. They’re operating at eight to 12 steps ahead on both the offensive and defensive side of the chessboard”. The idea of Russian hackers like chess players is fascinating, but does not explain by itself the level reached by cyber warfare facilities. Russia has a broad concept infowar, a concept that goes beyond just cyber warfare and includes intelligence and counterintelligence, disinformation, electronic and psychological warfare, debilitation of communications and propaganda. In this sense, DDoS attacks, electronic espionage and RT TV programs are the same thing. The doctrine of cyber war. The Doctrine of Information Security of the Russian Federation is a document dating September 2000 and signed by Putin just eight months after his rise to power. A 16 year old document, which explains the Russian approach to internal security: to protect strategically important information, block external threat like activities of foreign political, economic, military, intelligence and to reinforce the moral values of society, traditions of patriotism. An approach that is also found in the 2014 document on Military Doctrine. Two years later, Putin abolished the Federal Agency for Government Communications and Information, FAPSI, and assigned the tasks of cyber warfare to the FSB, the FSO and the GRU, the three branches of the civilian Thesis process book

and military intelligence. The effects didn’t show up too late. In 2007, a DDoS attack took down Estonian government Internet network, in response of the decision to dismantle a monument to the soldiers of the Red Army in Tallin, causing the interruption of essential services and significant damage to the Estonian economy. In 2008, a few weeks before Russian military invasion in South Ossetia, Russian hackers blocked communications in Georgia, as well as several government and the President’s websites. In 2014 the cellphone network and the Internet of Crimea was hit, shortly before the arrival of “little green men”, the Russian soldiers without insignia. And earlier this year an attack on Ukraine’s electricity grid has left 700,000 houses in the dark. Brennan is right when he warns against “digital bear” threat. But the security experts of the western countries had better listen to him.

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< How Russia Became a Cyber Superpower > They are stcthe effemost ehT capable, .ecnegilletheir tni yrmethods atilim dna areSingenious oDD a ,70and 02 ninnovative, I .etal oot ptheir u wohs t’ndid weapons tnemnare revthe og nequivalent ainotsE nwof odthe koo atomic t kcatta bomb during eht fothe esnCold opseWar. r ni ,kHow rowtdid en tthe enretnI Russian eht ot hackers tnemunotransformed m a eltnamstheir id ot country noisiced into gniasucyber ac ,nisuperpower? llaT ni ymrA deR eht fo sreidlos “I thinksthat ecivrwe es lhave aitneto ssebefovery, noitpvery urretwary ni eht of what nainthe otsERussians eht ot egmight amadbe tnatrying cfiingto is dna do inethat rofecyber b skeerealm. w wef Their a ,800cyber 2 nI .ywarfare monoce abilities ,aitessOare htuexceptionally oS ni noisavncapable i yratilimand naissuR sophisticated”, snoitacinummosaid c dethe kcohead lb sreof kcthe ah nCIA, aissuR John tnem Brennan. nrevog lAn arealarm ves salaunched llew sa ,ain igthe roeG ni aftermath 4102ofnIthe .setDemocratic isbew s’tneNational diserP eht dna Committee fo tenretnhacking I eht dnathat, krowaccording ten enohpto llec eht preliminary lavirra ehFBI t ero investigation, feb yltrohs ,ticame h sawdirectly aemirC from sreiMoscow. dlos naissuR eht ,”nem neerg elttil“ fo It was na rneither aey sihtthe reifirst lrae d nor nA the .ainlast gisntime i tuohtiw that tfel asacyber h dirgattack yticirtcfrom ele sRussia ’eniarkhit U nao server kcatta in a Western si nannercountry. B .krad eSo ht nmuch i sesuso ohthat 000,007 when ”raebon laOctober tigid“ tsn21 iagaaDDoS snrawattack, eh nehof w tahgir magnitude eht fonever strepx seen e ytibefore, ruces ehparalyzed t tuB .taerht a.m big ih slice ot neof tsithe l retUS tebWWW dah sefor irtnaucouple oc nretsew of hours (a completely new kind of attack, which exploited tens of millions of devices connected to the Internet around the world, such as video recorder and IP cameras, to create a bot army that hit the same target), everybody looked East. But, how did Russia become the first cyber power in the world? And, most importantly, why? A generation of hackers. Russia is the largest and most advanced marketplace for hacking services in the world. A report published in 2012 by Trend Micro, a security company, already warned on the level reached by Russian hackers and ease of access to their services. A DDoS attack may cost $30 to $70. When between the 90s and 2000 crowds of youngsters spent their teenage years in the air stale of internet cafes scattered in the basements of Russian cities, was actually growing a generation of geeks able to exploit the web in a not so legal way, out of boredom or for money. No IT

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00184

koob ssecorp sisehT

ArtCenter 2018

Process

Thesis process book

Brainstorming Encryption Blockchain Platform VR Experience Interviews

8102 retneCtrA

00185

Research

selcitrA

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morf weiveR ,tsewtsaE ,ailE olinaD yb txeT 6102 rebotcO

00186

koob ssecorp sisehT

ArtCenter 2018

Process

Thesis process book

Brainstorming Encryption Blockchain Platform VR Experience Interviews

8102 retneCtrA

00187

00188

ArtCenter 2018

koob ssecorp sisehT

Brainstorming

ssecorP

Rave Moscow Party, Russian Youth 2018

X Ray Bones Vinyls, Stilyagi culture, 1950s

TREND IN RUSSIA AFTER 1930: Political oppression Secret spread of forbidden culture Private gatherings Decline of artistic technique TREND IN CONTEMPORARY RUSSIA: Globalisation Finding a new voice Digital technology Electronic music 90s inspiration Thesis process book

8102 retneCtrA

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gnimrotsniarB

:0391 RETFA AISSUR NI DNERT noisserppo lacitiloP erutluc neddibrof fo daerps terceS sgnirehtag etavirP euqinhcet citsitra fo enilceD :AISSUR YRAROPMETNOC NI DNERT noitasilabolG eciov wen a gnidniF ygolonhcet latigiD cisum cinortcelE noitaripsni s09 00190

ArtCenter 2018

koob ssecorp sisehT

Brainstorming

ssecorP

X Ray Bones Vinyls, Stilyagi culture, 1950s

neewteb noitcennoC teivoS-tsoP dna teivoS .aissuR morf serutluc

Rave Moscow Party, Russian Youth 2018

sserpxe ot yaw tseb eht yfitnedi ot gniyrt ,hcraeser eht hguorhT ,emiger teivoS fo ohce eht rednu efil sti dna won htuoy naissuR anemonehp teivoS a neewteb noitcennoc gnitseretni na dnuof evah I yaR-X eht no sgnidrocer cisum ”senoB“ ,s05 eht ni deneppah taht htoB .aissuR ni erutluc cinortcele dnuorgrednu na dna ,slatipsoh morf eht no gnirahs cisum ehT .suoilleber htob ,stnemevom dnuorgrednu gnirud yrotsih naissuR ni tneve cilobmys a tneserper sdrocer yaR-X noitubirtsid eht wolla ton did seitirohtua eht nehw ,raW dloC eht erutluc naissuR dnuorgrednu eht nI .RSSU ni dnuos ”suoregnad“ fo erew elpoep esohT .ria hserf fo htaerb a saw ti ,igaylitS dellac yb desopmi seitilaer eht ni naht erom erutluc nretsew a ni detseretni .aissuR ni erutluc citsitra ni emit suoregnad a saw tI .steivoS esoht gnitubirtsid rof sraey 5 naht erom rof nosirp ot tnew elpoeP yllaitnetop fo syaR-X no detnirp erew slyniv eht taht ,aedi ehT .sdrocer desoppus era taht sdnuos - xodarap gnitseretni na swohs ,elpoep kcis niap eht fo segami eht no devargne era ssenippah dna yoj gnirb ot .sgnireffus dna noitcennoc gnorts a sah erutluc dnuorgrednu cinortcele tnerruC .gnignellahc dna noilleber yrev a si taht cisum a stI .tneve taht ot a evah t’nseod evar hguoht nevE .sredistuo eht era sdik gnuoy ehT ot tnereffid yrev si ti ,senoB eht no cisum sa ,ti ni ygoloedi lacitilop .ygrene gnuoy eerf wen eht fo lobmys a sniamer evaR .maertsniam stsitrA .”raw dloc rehtona“ ti llac emos emit eht ta seneppah osla tI rieht etubirtsid ot snaem on era erehT .segnellahc tnereffid ecneirepxe neve ,tseW eht ni nwonk llew ton era yehT .tenretni eht ediseb ,cisum a si evaR .slebal drocer nretsew htiw ngis ot snaem dnfi emos hguoht ytrap tsrfi a saw tI .llew sa aissuR ni tnemevom cisum cilobmys yrev fo enO .nwod llef metsys teivoS eht ecnis s09 eht ni aissuR ni cisum eht retfa deman ,ytraP niragaG 1991 eht saw stnemom latovip eht tsgnoma gnicnad srevar dnasuoht eerht dah hcihw ,oreh ecaps teivoS ni shtnilp no detnuom senigne tekcor dna setilletas tcilered eht osla si aissuR ni erutluc evaR .retneC noitibihxE aissuR-llA s’wocsoM nwod desolc neeb sah lavitsef eniltuO .pihsrosnec ytirohtua eht rednu .cisum tsniaga pihsrosnec cilbup rednu tsrfi eht erew senoB .6102 ni .emyger teivoS fo llaf retfa evirra ot tsrfi eht erutluc evaR Thesis process book

8102 retneCtrA

00191

gnimrotsniarB

Process

Connection between Soviet and Post-Soviet cultures from Russia.

Through the research, trying to identify the best way to express Russian youth now and its life under the echo of Soviet regime, I have found an interesting connection between a Soviet phenomena that happened in the 50s, “Bones” music recordings on the X-Ray from hospitals, and an underground electronic culture in Russia. Both underground movements, both rebellious. The music sharing on the X-Ray records represent a symbolic event in Russian history during the Cold War, when the authorities did not allow the distribution of “dangerous” sound in USSR. In the underground Russian culture called Stilyagi, it was a breath of fresh air. Those people were interested in a western culture more than in the realities imposed by Soviets. It was a dangerous time in artistic culture in Russia. People went to prison for more than 5 years for distributing those records. The idea, that the vinyls were printed on X-Rays of potentially sick people, shows an interesting paradox - sounds that are supposed to bring joy and happiness are engraved on the images of the pain and sufferings. Current electronic underground culture has a strong connection to that event. Its a music that is a very rebellion and challenging. The young kids are the outsiders. Even though rave doesn’t have a political ideology in it, as music on the Bones, it is very different to mainstream. Rave remains a symbol of the new free young energy. It also happenes at the time some call it “another cold war”. Artists experience different challenges. There are no means to distribute their music, beside the internet. They are not well known in the West, even though some find means to sign with western record labels. Rave is a very symbolic music movement in Russia as well. It was a first party music in Russia in the 90s since the Soviet system fell down. One of the pivotal moments was the 1991 Gagarin Party, named after the Soviet space hero, which had three thousand ravers dancing amongst the derelict satellites and rocket engines mounted on plinths in Moscow’s All-Russia Exhibition Center. Rave culture in Russia is also under the authority censorship. Outline festival has been closed down in 2016. Bones were the first under public censorship against music. Rave culture the first to arrive after fall of Soviet regyme. 00192

ArtCenter 2018

koob ssecorp sisehT

Brainstorming

ssecorP

Rave Moscow Party, Russian Youth 2018

X Ray Bones Vinyls, Stilyagi culture, 1950s

Thesis process book

8102 retneCtrA

00193

gnimrotsniarB

,ytraP wocsoM evaR htuoY naissuR 8102

Process

Connection between Soviet and Post-Soviet cultures from Russia.

,slyniV senoB yaR X ,erutluc igaylitS s0591

ArtCenter 2018

koob ssecorp sisehT

Brainstorming

ssecorP

Sound waves study with Praat App of Kedr Levinsky album “Ariadna”

detpyrcne cisuM < > ygolonhcet nredom hguorht

Thesis process book

8102 retneCtrA

00195

gnimrotsniarB

,ytraP wocsoM evaR htuoY naissuR 8102

00196

Process

Connection between Soviet and Post-Soviet cultures from Russia.

ArtCenter 2018

,slyniV senoB yaR X ,erutluc igaylitS s0591

koob ssecorp sisehT

Sound Studies

Brainstorming

ssecorP

Sound waves study with Praat App of Kedr Levinsky album “Ariadna”

detpyrcne cisuM < > ygolonhcet nredom hguorht

Thesis process book

8102 retneCtrA

00197

gnimrotsniarB

,ytraP wocsoM evaR htuoY naissuR 8102

00198

Process

Connection between Soviet and Post-Soviet cultures from Russia.

ArtCenter 2018

,slyniV senoB yaR X ,erutluc igaylitS s0591

koob ssecorp sisehT

Sound Studies

Encryption

ssecorP

Sound waves study with Praat App of Kedr Levinsky album “Ariadna”

detpyrcne cisuM < > ygolonhcet nredom hguorht

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8102 retneCtrA

00199

gnimrotsniarB

Process

< Music encrypted through modern technology >

otvechai 4.48217687

Frequency (Hz)

5000

00200

Time (s) ArtCenter 2018

koob ssecorp sisehT

8.964

Sound Studies

Encryption

ssecorP

Sound waves study with Praat App of Kedr Levinsky album “Ariadna”

Thesis process book

yduts sevaw dnuoS rednuosotohP htiw naissuR fo noitacilppA cisum s’tsitra

8102 retneCtrA

00201

gnimrotsniarB

Process

seidutS dnuoS

yduts sevaw dnuoS ppA taarP htiw yksniveL rdeK fo ”andairA“ mubla

< Music encrypted through modern technology >

otvechai 4.48217687

Frequency (Hz)

5000

00202

Time (s) ArtCenter 2018

koob ssecorp sisehT

8.964

Sound Studies

Encryption

ssecorP

yduts sevaw dnuoS rednuosotohP htiw naissuR fo noitacilppA cisum sâ&#x20AC;&#x2122;tsitra

Thesis process book

8102 retneCtrA

00203

gnimrotsniarB

Process

Sound waves study with Photosounder Application of Russian artist’s music

yduts sevaw dnuoS ppA taarP htiw yksniveL rdeK fo ”andairA“ mubla

< Music encrypted through modern technology >

00204

ArtCenter 2018

koob ssecorp sisehT

seidutS dnuoS

Sound Studies

Encryption

ssecorP

hguorht ydutS eviLartcepSdliW cisum naissuR fo

Thesis process book

8102 retneCtrA

00205

noitpyrcnE

Process

Sound waves study with Photosounder Application of Russian artist’s music

yduts sevaw dnuoS ppA taarP htiw yksniveL rdeK fo ”andairA“ mubla

< Music encrypted through modern technology >

00206

ArtCenter 2018

koob ssecorp sisehT

seidutS dnuoS

Sound Studies

Encryption

ssecorP

hguorht ydutS eviLartcepSdliW cisum naissuR fo

Thesis process book

8102 retneCtrA

00207

gnimrotsniarB

Process

Sound waves study Study through with Photosounder WildSpectraLive Application of Russian of Russian music artist’s music

yduts sevaw dnuoS ppA taarP htiw yksniveL rdeK fo ”andairA“ mubla

00208

koob ssecorp sisehT

ArtCenter 2018

seidutS dnuoS

Sound Studies

Encryption

ssecorP

Ariadna song by Kedr Livanskiy

Thesis process book

8102 retneCtrA

00209

noitpyrcnE

Process

Sound waves study gnos andairA Study through with Photosounder yiksnaviL rdeK yb WildSpectraLive Application of Russian of Russian music artist’s music

yduts sevaw dnuoS ppA taarP htiw yksniveL rdeK fo ”andairA“ mubla

00210

koob ssecorp sisehT

ArtCenter 2018

seidutS dnuoS

ssecorP

Thesis process book

8102 retneCtrA

00211

Process

00212

ArtCenter 2018

koob ssecorp sisehT

Thesis process book

8102 retneCtrA

00213

00214

ArtCenter 2018

koob ssecorp sisehT

Sound Studies

Encryption

ssecorP

Razrushitelniy Krug, Elektrichestvo and Fire and Water, all by Kedr Livanskiy

Thesis process book

avolS az iahcevtO ,yiksnaviL rdeK yb nwod tneB ,onhcet ttuB yb nuS yraunaJ yksnaviL rdeK yb

8102 retneCtrA

00215

Process

Otvechai za Slova by Kedr Livanskiy, Bent down by Butt techno, January Sun by Kedr Livansky

00216

ArtCenter 2018

koob ssecorp sisehT

Sound Studies

Encryption

ssecorP

Razrushitelniy Krug, Elektrichestvo and Fire and Water, all by Kedr Livanskiy

Replacing latin letters with Cyrillic, that represent the same sound

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8102 retneCtrA

00217

noitpyrcnE

Process

Otvechai za Slova by Kedr Livanskiy, Bent down by Butt techno, January Sun by Kedr Livansky

00218

ArtCenter 2018

,gurK yinletihsurzaR dna ovtsehcirtkelE ,retaW dna eriF yiksnaviL rdeK yb lla

koob ssecorp sisehT

seidutS dnuoS

Typographic Study

Encryption

ssecorP

Replacing latin letters with Cyrillic, that represent the same sound

>ydutS detpyrcnE sciryL gnoS < Зэ Вэрэ -:rянг . d:мaн r:v-cстэппэд s]d :h :r:интo hW srзэ -rrХaлл ]M f- oф ll.HМиррoрс :ht -tn] d:p p:ts хэ n.m gnu-/ :hT дисcoвэрэд a рэфлэcтиoн oф химсэлф Эвэн зэ грэaтэст Стaрс ]k--l :ht n] зэмсэлвэс s:vl:sm:ht rин :v-cзэ s]D sr.tS ts:глaсс t.:rg :Эвэн ht n:vзэ : fгрэaтэст l:sm]h f- n -]tc:fl Дисcoвэр лookинг Стaрс ss.lg gn]kзэмсэлвэс --l :ht n] s:vин l:sзэ m:h t r:v-cs]D sr.tSСoмэтимэс, ts:t.:rg :ht nхэ :v: сaв ss.lg gn Дисcoвэр лookинг глaсс n:v:рэaл :c.lpфacэ s]h t.Aнд r:gnсoмэтимэс, .rts . ,s:m]t:m s dn. :c.f laт .:rхис s]h w .s :h ,Эвэн s:m]t:m-S хис a -стрaнгэр плacэ зэ грэaтэст зэир зэ:ht ts:t.:rg :Стaрс ht n:v:Финд ss.lg g n]k--фacэ l :ht nин ] :cзэ .f rлookинг ]:ht dn]Fглaсс sr.tS Эвэн ts:t.:rg грэaтэст Стaрс Финд зэир фacэ ин зэ лookинг глaсс Хэ фэлл f- :g.m] :ht ht]w :v-l n] ll:f :H ss.lg gn]k--l :ht n] :c.f r]:ht dn]F sr.tS ин лoвэ виз зэ имaгэ oф химсэлф Aнд сuддэнлю, зэ пиcтuрэ sr.дистoртэд tS ts:t.:rg :hЭвэн t n:v:зэ d:грэaтэст tr-ts]d s.w :rutc]Дислиkэ p :ht ,/ln:зэмсэлвэс ddus dn. flин :sm]h вaс Стaрс :k]ls]D sглaсс r.tS tsЭвэн :t.:rg зэ :htгрэaтэст n:v: ss.lgСтaрс gn]k--Дислиkэ l :ht n] s:v l:sm:ht :k]ls]D зэ лookинг зэмсэлвэс b -tлookинг d:tn.w :глaсс h n-sr:Хэ p :hмaдэ t pu :uп d.m ss.lg g k--l :ht тo n] sbэ :vlAнд :sm:ht ин:зэ зэ:H пэрсoн хэn]вaнтэд чaнгэд интo a нэв sr.tSпэрсoнaлитю ts:t.:rg :ht n:v:Эвэн /t]l.nзэ -srгрэaтэст :p w:n . -Стaрс tn] d:gЧaнгэ n.hc dn. зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Чaнгэ /=y -=0 ]= i :=e .=a зэмсэлвэс ин зэ лookинг глaсс Зэ aртист ис ливинг ин зэ

тэстaгрэ зэ Эвэн химсэлф фo нoтиcрэфлэ a вэрэдocдис хэ Вэрэ рсoМирр фo ллaХ зэ oинт стэппэд нaм янг эЗ ссaгл ингkooл зэ ин зэмсэлвэс вэрocДис рсaСт тэстaгрэ зэ Эвэн ссaгл ингkooл зэ ин зэмсэлвэс вэрocДис рсaСт эcaф зэир Финд рсaСт тэстaгрэ зэ Эвэн эcaпл хис тa нгэрaстр a ,мэтимэсoс ндA эcaф лaрэ хис вaс хэ ,мэтимэсoС гэaим зэ виз вэoл ин фэлл Хэ ссaгл ингkooл зэ ин эcaф зэир Финд рсaСт тэстaгрэ зэ Эвэн ссaгл ингkooл зэ ин ингkooл зэ ин зэмсэлвэс эkДисли рсaСт тэстaгрэ зэ Эвэн ртэдoдист сaв рэuтcпи зэ ,ддэнлюuс ндA химсэлф фo ндA э oт нтэдaв хэ нoпэрс зэ пu дэaм Хэ ссaгл ингkooл зэ ин зэмсэлвэс эkДисли рсaСт тэстaгрэ зэ Эвэн ссaгл тэстaгрэ зэ Эвэн ссaгл ингkooл зэ ин зэмсэлвэс нгэaЧ рсaСт тэстaгрэ зэ Эвэн литюaнoпэрс нэв a oинт нгэдaч зэ Эвэн химсэлф фo эсoэч зэ Виз рoмирр зэ ин ливинг ис ртистa эЗ ссaгл ингkooл зэ ин зэмсэлвэс нгэaЧ рсaСт ссaгл ингkooл зэ ин ливэс зэир Ливэ рсaСт тэстaгрэ зэ Эвэн ссaгл ингkooл зэ ин ливэс зэир Ливэ рсaСт тэстaгрэ ингkooл зэ ин эcaф зэир xФи рсaСт тэстaгрэ зэ Эвэн ссaгл ингkooл зэ ин эcaф зэир xФи рсaСт тэстaгрэ зэ Эвэн зэ ин ливэс зэир Ливэ рсaСт тэстaгрэ зэ Эвэн ссaгл ингkooл зэ ин ливэс зэир Ливэ рсaСт тэстaгрэ зэ Эвэн ссaгл The young man steppeд into the Hall of Mirrors Where he дiscovereд a reflechimselф oфEven reфlection a дiscovereд he Where Mirrorsthemselves oф Hall the into steppeд man young heT tionEven of himself the greatest Stars Дiscover in the looking glass Tthem the Дiscover Stars Stars greatest the Even glass looking the in themselves Stars greatest he the Even greatest Дiscover themselves in the looking Дiscover glass Sometimes, saw face Anд sometimes, a stranger at his place Even greatest placehis hisreal at stranger a sometimes, Anд фace real his saw he Sometimes, glassthe looking the inStars selves Finдtheir theirФinд face in the looking glass Even thethe greatest FinдStars their face inthethe Stars greatest the Even glass looking in фace Stars their Фinд greatest Even looking glass He fell inAnдlove withoфthe image of love himself Anд thethepicture was picture the suддenly, himselф image the with in фell He suддenly, glass looking in фace was дistorteд Even the greatest Stars Дislike themselves in the looking glass дistorteд Thesis process book

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Otvechai za Slova by Kedr Livanskiy, Bent down by Butt techno, January Sun by Kedr Livansky

seidutS dnuoS

,gurK yinletihsurzaR dna ovtsehcirtkelE ,retaW dna eriF yiksnaviL rdeK yb lla

< Song Lyrics Encrypted Study> Th: /-ung m.n st:pp:d ]ntth: H.ll -f M]rr-rs Wh:r: h: d]sc-v:r:d . r:fl:ct]-n -f h]ms:lf :v:n th: gr:.t:st St.rs D]sc-v:r th:ms:lv:s ]n th: l--k] ng gl.ss :v:n th: gr:.t:st St.rs D]sc-v:r th:ms:lv:s ]n th: l--k]ng gl.ss S-m:t]m:s, h: s.w h]s r:.l f.c: .nd s-m:t]m:s, . str.ng:r .t h]s pl.c: :v:n th: gr:.t:st St.rs F]nd th:]r f.c: ]n th: l--k]ng gl.ss :v:n th: gr:.t:st St.rs F]nd th:]r f.c: ]n th: l--k]ng gl.ss H: f:ll ]n l-v: w]th th: ]m.g: -f h]ms:lf .nd sudd:nl/, th: p]ctur: w.s d]st-rt:d :v:n th: gr:.t:st St.rs D]sl]k: th:ms:lv:s ]n th: l--k]ng gl.ss :v:n th: gr:.t:st St.rs D]sl]k: th:ms:lv:s ]n th: l--k]ng gl.ss H: m.d: up th: p:rs-n h: w.nt:d t- b: .nd ch.ng:d ]nt- . n:w p:rs-n.l]t/ :v:n th: gr:.t:st St.rs a=. e=:

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Зэ янг мaн стэппэд интo зэ Хaлл oф Миррoрс Вэрэ хэ дисcoвэрэд a рэфлэcтиoн oф химсэлф Эвэн зэ грэaтэст Стaрс Дисcoвэр зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Дисcoвэр зэмсэлвэс ин зэ лookинг глaсс Сoмэтимэс, хэ сaв хис рэaл фacэ Aнд сoмэтимэс, a стрaнгэр aт хис плacэ Эвэн зэ грэaтэст Стaрс Финд зэир фacэ ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Финд зэир фacэ ин зэ лookинг глaсс Хэ фэлл ин лoвэ виз зэ имaгэ oф химсэлф Aнд сuддэнлю, зэ пиcтuрэ вaс дистoртэд Эвэн зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин зэ лookинг глaсс Хэ мaдэ uп зэ пэрсoн хэ вaнтэд тo э Aнд чaнгэд интo a нэв пэрсoнaлитю Эвэн зэ грэaтэст Стaрс Чaнгэ зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Чaнгэ зэмсэлвэс ин зэ лookинг глaсс Зэ aртист ис ливинг ин зэ миррoр Виз зэ эчoэс oф химсэлф Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Фиx зэир фacэ ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Фиx зэир фacэ ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ

The young man steppeд into the Hall oф Mirrors Where he дiscovereд a reфlection oф himselф Even the greatest Stars Дiscover themselves in the looking glass Even the greatest Stars Дiscover themT selves in the looking glass Sometimes, he saw his real фace Anд sometimes, a stranger at his place Even the greatest Stars Фinд their фace in the looking glass Even the greatest Stars Фinд their фace in the looking glass He фell in love with the image oф himselф Anд suддenly, the picture was дistorteд 00220

ArtCenter 2018

koob ssecorp sisehT

Typographic Study

Encryption

ssecorP

Replacing latin letters with Cyrillic, that represent the same sound

Зэ янг мaн стэппэд интo зэ Хaлл oф Миррoрс Вэрэ хэ дисcoвэрэд a рэфлэcтиoн oф химсэлф Эвэн зэ грэaтэст Стaрс Дисcoвэр зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Дисcoвэр зэмсэлвэс ин зэ лookинг глaсс Сoмэтимэс, хэ сaв хис рэaл фacэ Aнд сoмэтимэс, a стрaнгэр aт хис плacэ Эвэн зэ грэaтэст Стaрс Финд зэир фacэ ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Финд зэир фacэ ин зэ лookинг глaсс Хэ фэлл ин лoвэ виз зэ имaгэ oф химсэлф Aнд сuддэнлю, зэ пиcтuрэ вaс дистoртэд Эвэн зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин лookинг глaсс Хэt 8мaдэ uп зэ пэрсoн тo 5r bэ5 4Aнд T 8 5зэ youn 7 m 1n st 5pp 5 4 9nto 5 8 11.01.0 o6M 9rrors W 8хэ 5r 5вaнтэд 8 5 4 9s 3ov 1r5 61.0 5 3t 9on o 6 8 9ms 51.0 6 5v 5n t 8 5 7r 5 1t 5st St 1rs 4 9s 3ov 5r t 8 5ms 51.0v 9n t 8 5 чaнгэд интo a нэв пэрсoнaлитю Эвэн зэ грэaтэст Стaрс 5sЧaнгэ 1.0oo 0 9n 7 71.0 1ssзэ 5v лookинг 5n t 8 5 7r 5 1t 5st St 1rs 4 9s 3ov 5r t 8 5ms 51.0v 5s 9n t 8Чaнгэ 5 1.0oo 0 9n зэмсэлвэс ин глaсс Эвэн зэ грэaтэст Стaрс 7 71.0 1ss Som 5t 9m 5s, 8 5 s 1w 8 9s r 5 11.0 6 1 3 5 1n 4 som 5t 9m 5s, 1 str 1n 7 5r 1t 8 9s зэмсэлвэс ин зэ лookинг глaсс Зэ aртист ис ливинг ин зэ p1.0 1 3 5 5v 5n t 8 5 7r 5 1t 5st St 1rs 6 9n 4 t 8 5 9r 6 1 3 5 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 5v 5n

t 8 5 7r 5 1t 5st St 1rs 6 9n 4 t 8 5 9r 6 1 3 5 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 8 5 6 51.01.0 9n 1.0ov 5 w 9t 8 t 8 5 9m 1 7 5 o 6 8 9ms 51.0 6 1n 4 su 4 4 5n1.0y, t 8 5 p 9 3tur 5 w 1s 4 9stort 5 4 5v 5n t 8 5 7r 5 1t 5st St 1rs 4 9s1.0 9 0 5 t 8 5ms 51.0v 5s 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 5v 5n t 8 5 7r 5 1t 5st St 1rs 4 9s1.0 9 0 5 t 8 5ms 51.0v 5s 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 8 5 m 1 4 5 up t 8 5 p 5rson 8 5 w 1nt 5 4 to 2 5 1n 4 3 8 1n 7 5 4 9nto 1 n 5w p 5rson 11.0 9ty 5v 5n t 8 5 7r 5 1t 5st St 1rs 3 8 1n 7 5 t 8 5ms 51.0v 5s 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 5v 5n t 8 5 7r 5 1t 5st St 1rs 3 8 1n 7 5 t 8 5ms 51.0v 5s 9n t 8 5 1.0oo 0 9n 7 71.0 1ss T 8 5 1rt 9st 9s 1.0 9v 9n 7 9n t 8 5 m 9rror W 9t 8 t 8 5 5 3 8o 5s o 6 8 9ms 51.0 6 5v 5n t 8 5 7r 5 1t 5st St 1rs 1.0 9v 5 t 8 5 9r 1.0 9v 5s 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 5v 5n t 8 5 7r 5 1t 5st St 1rs 1.0 9v 5 t 8 5 9r 1.0 9v 5s 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 5v 5n t 8 5 7r 5 1t 5st St 1rs 6 9x t 8 5 9r 6 1 3 5 9n t 8 5 1.0oo 0 9n 7 71.0 1ss 5v 5n

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев The young man steppeд into the Hall of Mirrors Where he дiscovereд a reflection of himself Even the greatest Stars Дiscover themselves in the looking glass Even the greatest Stars Дiscover калинка themselves in the lookingВ glass Sometimes, he Калинка, калинка, моя! саду saw his real face Anд sometimes, a stranger at his place Even the ягода малинка, малинка моя. Хэй. Ах. greatest Под Stars Finд their face in the looking glass Even the greatest Stars Finд their face in the сосную, зеленою Спать положите looking glass под He fell in love with the image of himself Anд suддenly,вы the picture меня, Ааааааааай! Ай люли, люли, ай, люли, was дistorteд Even the greatest Stars Дislike themselves in the looking glass Thesis process book

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глaсс Эвэн зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин зэ лookинг глaсс Хэ мaдэ uп зэ пэрсoн хэ вaнтэд тo э Aнд чaнгэд интo a нэв пэрсoнaлитю Эвэн зэ грэaтэст Стaрс Чaнгэ зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст ,малинка ягода саду В !моя калинка ,калинка ,алинкаК Стaрс Чaнгэ зэмсэлвэс ин зэ лookинг глaсс Зэ aртист ис ливинг ин зэ миррoр Виз зэ эчoэс oф химсэлф Эвэн зэ Спать зеленою под ,сосную Под .Ах .Хэй .моя малинка грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс ,люли ,айСтaрс ,люли !Ааааааааай ,меня выфacэ положите Эвэн зэ грэaтэст Фиx зэир,люли фacэ ин зэАй лookинг глaсс Эвэн зэ грэaтэст Стaрс Фиx зэир ин зэ лookинг Сосенушка !АхЛивэ Припев выЭвэн положите ,люли глaсс Эвэн зэ грэaтэст Стaрс зэир ливэс ин зэ меня лookинг глaсс зэ грэaтэст СтaрсСпать Ливэ зэир ливэс ин зэ

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Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать -vocsiд eh вы erehменя, W srorАаааааааай! riM фo llaH eht oАй tniлюли, дeppetлюли, s nam ай, gnuo y ehT положите люли, люли, -meht rСпать evocsiД положите sratS tsetaergвы ehменя t nevE Припев фlesmih фАх! o noiСосенушка tcelфer a дere ты зелёная Не шуми ты надо мной Ааааааааай! sevlesmeht revocsiД sratS tsetaerg eht nevE ssalg gnikool ehАй t ni sevles люли, люли, ай, люли, люли, Не шуми ты надо мной ,semitemos дnA ecaф laer sih was eh ,semitemoS ssalg gnikoПрипев ol eht ni ,ай ,люли ,люли Ай !Ааааааааай ,меня вы положите Спать зеленою под ,сосную Под .Ах .Хэй .моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК надо ты шуми Не ,люли ,люликалинка, ,ай ,люли ,люли Ай !Ааааааааай калинка мной надо ты шуми Не зелёная моя! ты Сосенушка !Ах В Припев саду меня вы положите Спать ,люли ,люли Калинка, ягода саду В ! моя калинка , калинка , алинка К ! меня ты же Полюби , люли , люли , й , люли , люли , Ай , меня ты же Полюби , девица душа ,расавица К !Ах Припев мной ягода малинка, малинка моя. Хэй. Ах. Под ,малинка ягода саду В !под моя калинка ,калинка ,алинкаК !Хэй !моя малинкаСпать ,малинка ягода саду В положите !моя калинка ,калинка ,алинкаК !Хэйвы !моя малинка ,малинка сосную, зеленою мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай мной надо ты шуми Не зелёная ягода саду В !моя калинка ,калинка ,алинкаК !Хэй !моя малинка меня, Ааааааааай! Ай люли, люли, ай, люли, !меня ты же Полюби ,люли ,люли ,й ,люли ,люли ,Ай ,меня ты же Полюби ,девица-душа ,расавицаК !Ах Припев Thesis process book

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< Song Lyrics Encrypted Study> По -----венам льется горный ручей, -----, горный Th: /-ungручей, m.n st:pp:d ]ntth: -----H.ll -f-----M]rr-rs Wh:r: h: d]sc-v:r:d . r:-- ---------- --------Ты ----------заблудился -в --------лабиринте Ты заблудился в --------------------лабиринте голых fl:ct]-n -f h]ms:lf :v:n th: gr:.t:st St.rs th:ms:lv:s ]n th: l--k] голых ----------ночей. -По венамD]sc-v:r ----льется ----------- -----, ночей. По венам ------------------горный ручей, льется ng gl.ss горный :v:n th: gr:.t:st-----St.rs-----, D]sc-v:r th:ms:lv:s ]n th: l--k]ng gl.ss ручей, ---------, ----------Ты -заблудился ---------в лабиринте --------Ты заблудился S-m:t]m:s, h: s.wвh]s r:.l f.c: .nd s-m:t]m:s, . str.ng:r .t -h]s pl.c: :v:n -- ----------------, лабиринте голых голых -----, ----ночей, Холодных --------дней ------------ - ----- ---ночей, Холодных th: gr:.t:st St.rs F]nd th:]r f.c: ]n th: l--k]ng gl.ss :v:n th: gr:.t:st Ты ------стоишь -на -----другом ------, берегу, ---- -------- ---- - ----дней ---- ---------. St.rs F]nd th:]r l--k]ng gl.ss---H: f:ll ]n l-v: w]th--th: ]m.g: -f Ты стоишь на f.c: ]n th: Отражаясь ---------в ----глади воды другом берегу, ------Твои ---холодные -------руки ---и песни ----h]ms:lf .nd sudd:nl/, th: gr:.t:st St.rs Отражаясь в глади th: p]ctur: w.s d]st-rt:d :v:n ---------. воды твои -------Давно -не -----. легки. -- ---- --- ----D]sl]k: th:ms:lv:s ]n th:------l--k]ng gl.ss :v:n th: gr:.t:st St.rs D]sl]k: Твои холодные -- ---- --- -----Ариадна руки и песни твои -----------th:ms:lv:s ]n th: l--k]ng gl.ss----. H: m.d: up th: p:rs-n h: ----w.nt:d t------b: Давно не легки . Спасет -----тебя. ---- ------ -----. -- ----Ариадна Её -рука ---так --легка ----.nd ch.ng:d ]nt. n:w p:rs-n.l]t/ :v:n th: gr:.t:st---------St.rs - ----- -------. Спасет тебя . Её По венам льется

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рука так легка Её ----рука --как -----стрела ---- ------- ------- ----a = .рука e = : как i = стрела ] 0=- y=/ Её ----- ------ ------ ---Ариадна. ------Ночью ----снегом ----------станет Ариадна. Ночью ------ ----- -- ----снегом станет этот --------зимний -----. дождь. -Ты ----опять ---------- - ----- -------. этот зимний проснешься -и -------------опять -------. поймешь. дождь. Ты опять ---- ------- ------- ----проснешься и Стая ---------смутных ------голосов ----зовёт ------опять поймешь. ------ ---- -- ---- --- ----Ночью ----снегом -----станет -----этот ---Стая Зэ янг мaнсмутных стэппэд интo зэ Хaлл oф Миррoрс Вэрэ хэ дисcoвэрэд a рэфлэcтиoн oф--химсэлф Эвэн-----зэ грэaтэст ---- --голосов зовёт зимний ---------дождь -Ты ----опять Ночью снегом Стaрс Дисcoвэр зэмсэлвэс ин зэ лookинг---------глaсс Эвэн зэ-и ----грэaтэст-------. Стaрс Дисcoвэр зэмсэлвэс ин зэ лookинг глaсс проснешься опять поймешь. станет этот зимний дождь Сoмэтимэс, хэ сaв хис рэaлТы фacэ Aнд сoмэтимэс, a стрaнгэр aт хис----плacэ Эвэн зэ грэaтэст Стaрс Финд зэир фacэ Стая ---------смутных голосов ------зовёт опять проснешься Ариадна ------ин лookинг глaсс Эвэн зэ грэaтэст Стaрс Финд зэир фacэ ин зэ лookинг глaсс Хэ фэлл ин лoвэ виз зэ имaгэ и зэ опять поймешь. Стая смутных Спасет -----тебя Эвэн ---Её ----рука так ------легка oф химсэлф Aнд сuддэнлю, зэ пиcтuрэ вaс дистoртэд зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин зэ лookинг голосов зовёт Её ----рука --как -----стрела Ариадна

глaсс Эвэн зэ грэaтэст Стaрс Дислиkэ зэмсэлвэс ин зэ лookинг глaсс Хэ мaдэ uп зэ пэрсoн хэ вaнтэд тo э Aнд Спасет тебя Её рука так чaнгэд интo a нэвлегка пэрсoнaлитю Эвэн зэ грэaтэст Стaрс Чaнгэ зэмсэлвэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Её рука как стрела Стaрс Чaнгэ зэмсэлвэс ин зэ лookинг глaсс Зэ aртист ис ливинг ин зэ миррoр Виз зэ эчoэс oф химсэлф Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Ливэ зэир ливэс ин зэ лookинг глaсс The young man steppeд into the Hall oф Mirrors Where he дiscovЭвэн зэ грэaтэст Стaрс Фиx зэир фacэ ин зэ лookинг глaсс Эвэн зэ грэaтэст Стaрс Фиx зэир фacэ ин зэ лookинг ereдЭвэн a reфlection StarsСтaрс Дiscover themглaсс зэ грэaтэст Стaрсoф Ливэ himselф зэир ливэс ин зэEven лookингthe глaссgreatest Эвэн зэ грэaтэст Ливэ зэир ливэс ин зэ

selves in the looking glass Even the greatest Stars Дiscover themselves in the looking glass Sometimes, he saw his real фace Anд sometimes,

Калинка,young калинка,man калинка моя! В саду ягодаthe малинка, малинка Хэй. Ах. Под сосную,heподдiscovereд зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, The steppeд into Hall oф моя. Mirrors Where a reфlection oф himselф Evenай, люли, люли, Спать положите меня Припев themselves Ах! Сосенушка тыinзелёная шуми ты надоglass мной Ааааааааай! люли, ай,Stars люли, люли,Дiscover Не шуми ты themT надо the greatest Starsвы Дiscover the Неlooking Even theАй люли, greatest мной ПрипевinАх!theКрасавица, душа-девица, же ты меня, Ай, люли, люли, ты меня! Калинка, aкалинка, калинка моя! В садуplace ягода selves looking glass Полюби Sometimes, he люли, sawлюли, hisй, real фaceПолюби Anдже sometimes, stranger at his малинка,the малинкаgreatest моя! Хэй! Калинка, калинка моя! малинкаglass моя! Хэй! Калинка, калинкаStars моя! В саду ягодаtheir малинка, Even Stars калинка, Фinд their фaceВ садуinягода theмалинка, looking Even theкалинка, greatest Фinд малинка in моя! the Хэй! looking Калинка, калинка, калинкаHeмоя!фell В садуinягода зелёная надо мнойoфАаааааааай! ай, люли, люли, шуми ты надоwas мной фace glass love withНе шуми theты image himselфАй люли, Anд люли, suддenly, the Неpicture Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! дistorteд 00224

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koob ssecorp sisehT

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ssecorP

Typeface used for Russian Lyrics: Franklin Gothic Front Page News Gotham Book

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Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, Thesis process book

8102 retneCtrA

00225

noitpyrcnE

Process

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Cyrillic letters in the font that doesnt support them

< Song Lyrics Encrypted Study>

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,малинка ягода саду В !моя калинка ,калинка ,алинкаК Спать зеленою под ,сосную Под .Ах .Хэй .моя малинка ,люли ,ай ,люли ,люли Ай !Ааааааааай ,меня вы положите Сосенушка !Ах Припев меня вы положите Спать ,люли Ай !Ааааааааай мной надо ты шуми Не зелёная ты Припев мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли

саду В !моя калинка ,калинка ,алинкаК Под .Ах .Хэй .моя малинка ,малинка ягода вы положите Спать зеленою под ,сосную ,люли ,ай ,люли ,люли Ай !Ааааааааай ,меня 00226

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koob ssecorp sisehT

Typographic Study

Encryption

ssecorP

Typeface used for Russian Lyrics: Franklin Gothic Front Page News Gotham Book

алинкам ,алинк ам аягод дуакалинка с В !моя алинкмоя! ак ,алинкВак ,алинкаК Калинка, калинка, ,меня ягода вы положитемалинка, тьапС зеленоюмалинка под ,сосную одмоя. П .хА Хэй. .эйХ .моя саду вы положите тьапС ,люли ,люли ,йа ,люли ,люли йА !йааааааааА Ах. Под сосную, под зеленою Спать мной доан ты шуми еН яазелён ты аосенушкС !хА рипевП меня положите выеНменя, Ааааааааай! мной доан ты шуми ,люли ,люли ,йа ,люли ,люли йА Ай !йааааааааА люли, люли, люли, Спать ,йА ,меня ты жеай, олюбилюли, П ,адевиц -адуш ,авиц асарК !хА рипевП положите вы меня Припев Ах! Под .Ах .Хэй .моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК ,ай ,люли ,люли Ай !Ааааааааай ,меня вы положите Спать зеленою под ,сосную шуми Не зелёная ты Сосенушка !Ах Припев меня вы положите Спать ,люли ,люли Калинка, калинка саду малинка мной калинка, надо ты шуми Не ,люлимоя! ,люлиВ,ай ,люлиягода ,люли малинка, Ай !Ааааааааай мной надо ты , люли , й , люли , люли , Ай , меня ты же Полюби , девица душа , расавица К моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня,!Ах Припев ,малинка ягода саду В !моя калинка ,калинка ,алинка К положите !меня ты же вы Полюби ,люли Ааааааааай! Ай люли, люли, Спать малинка ,малинка ягода люли, саду В ай, !моялюли, калинка ,калинка ,алинка К !Хэй !мояменя малинка Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Спать зеленою под ,сосную Под .Ах .Хэй .моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК Сосенушка !Ах Припев меня вы положите Спать ,же люлиты ,люли ,ай ,люлиАй, ,люлилюли, Ай !Ааааааааай вы положите Красавица, душа-девица, Полюби меня, люли,,меня й, люли, !Ах Припев мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай мной надо ты шуми Не зелёная ты ,калинка ,алинкаКже !меняты ты же ПолюбиКалинка, ,люли ,люли ,й ,калинка, люли ,люли ,Ай ,калинка меня ты же Полюби -душа ,расавица люли, Полюби меня! моя!,девица В саду ягодаК ,малинка ягода саду В !моя калинка ,калинка ,алинкаК !Хэй !моя малинка ,малинка ягода саду В !моя калинка малинка, малинка Хэй! Калинка, калинка, калинка моя!К !Хэй В саду ,калинка ,алинка К !Хэй !моя! моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинка !моя малинка ,меня вы положите Спать зеленою под ,сосную Под !Ах !моя малинка ,малинка ягода саду В !моя калинка ты шуми Не зелёная ты Сосенушка !Ах Припев меня вы положите Спать ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай ,девица-душа ,расавицаК !Ах Припев мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай мной надо !меня ты же Полюби ,люли ,люли ,й ,люли ,люли ,Ай ,меня ты же Полюби

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, ,малинка Ай ягода саду ай, В люли, !моя люли, калинка алинкаК Ааааааааай! люли, люли, Спать,калинка положите ,вы под ,сосную ПодНе.Ах .Хэй .моя мной малинка меня Спать Припев зеленою Ах! Сосенушка ты зелёная шуми ты надо ,люли Ай !Ааааааааай ,меня вы положите Ааааааааай! ,люли Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев меня вы положите Спать ,люли ,люли ,ай Припев Ах! Красавица, Полюби жеты ты меня, Ай, люли,!Ах мной надо тыдуша-девица, шуми Не зелёная Сосенушка люли, люли,Не люли,,люли Полюби же ты,айменя! Калинка, калинка ты й,шуми ,люли ,люли ,люликалинка, Ай !Ааааааааай моя! В саду,девица ягода малинка, малинка моя! Хэй! Припев Калинка, калинка, Полюби -душа ,расавица К !Ах мной надо Thesis process book

8102 retneCtrA

00227

noitpyrcnE

Process

cihpargopyT ydutS

Cyrillic letters in the font that doesnt support them

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня!

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби 00228

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Typeface used for Russian Lyrics: The Pyte Foundry Elegant Typewriter Scala Euro

Typeface used for Russian Lyrics: Franklin Gothic Front Page News Gotham Book

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, Thesis process book

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cihpargopyT ydutS

desu ecafepyT :sciryL naissuR rof cihtoG nilknarF sweN egaP tnorF kooB mahtoG

Калинка, калинка, калинка моя! В саду ягода малинка, малинка К В !моя калинка ,калинка ,алинка моя. Хэй. .Ах. Подмалинка сосную, под зеленою Спать положите вы саду меня, .Хэй моя ,малинка ягода Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы Спать зеленою под ,сосную Под .Ах меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ай Ай !Ааааааааай вы положите Ааааааааай! люли, люли, ай, люли,,меня люли, Не шуми ты надо мной ,люли ,айже,люли Припев Ах!Спать Красавица,,люли душа-девица, Полюби ты меня,,люли Ай,

!Ах Припев меня вы положите

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми малинка ,малинка саду !моялюли, калинка ,калинка ,алинкаК ты надо мной Ааааааааай! Ай ягода люли, люли, ай,Влюли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли,.моя ,меня вы положите Спать зеленою под ,сосную Под .Ах .Хэй люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, менямоя! вы положите Спать ,люли ,люлимоя! ,ай ,Влюли люли малинка, Ай !Ааааааааай малинка Хэй! Калинка, калинка, калинка саду ,ягода малинка !Ааааааааай мной надо ты шуми Не зелёная ты Сосенушка !Ах Припев !Ах Припев мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы Ааааааааай! Ай люли, ай, люли, Спать положите вы меня Припев Сосенушка К ,люли меня, ,й ,люли ,люли ,Айлюли, ,меня тылюли, же Полюби ,девица -душаАх!,расавица ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица,саду душа-девица, Полюби же ты меня,,Ай, люли, люли,,й, люли, люли, ты меня! калинка, ягода В !моя калинка калинка алинка К Полюби !меняжеты же Калинка, Полюби ,люли калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, саду калинка ,калинка ,алинка К !Хэй !моя малинка малинка моя! В Хэй!!моя Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! малинка Хэй! Калинка,,калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня!

малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК ,меня вы положите Спать зеленою под ,сосную Под .Ах .Хэй .моя Калинка, калинка,Спать калинка В ,саду ягода вы положите ,люли моя! ,люли ,ай люли ,люли Ай малинка, !Ааааааааай малинка моя. Хэй. Ах. Под сосную, под зеленою Спать меня мной надо ты шуми Не зелёная ты Сосенушка !Ах Припев положите вы меня, Ааааааааай! Ай люли, люли, мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай ай, люли, люли, Спать положите вы меня Припев , люли , Ай , меня ты же Полюби , девица душа , расавица К !Ах Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной калинка ,калинка ,алинкалюли, К !меняай, ты люли, же Полюби ,люлиНе,люли ,й ,ты люли Ааааааааай! Ай люли, люли, шуми ,калинка К !Хэй малинка ,малинка ягода садуПолюби В !моя надо мной ,алинка Припев Ах! !моя Красавица, душа-девица, 00230

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Typeface used for Russian Lyrics: The Pyte Foundry Elegant Typewriter Scala Euro

desu ecafepyT :sciryL naissuR rof ralugeR ronokoK ralugeR noitazilasaN sisaO oruE alacS NM magnaS alahniS

Ах. Хэй. моя. малинка малинка, ягода саду В моя! калинка калинка, алинка,К Калинка, калинка, люли, люли, Ай Ааааааааай! меня, вы положите Спать зеленою под сосную, Под калинка моя! В саду ягода зелёная ты Сосенушка Ах! Припев меня вы положите Спать люли, люли, ай, малинка, малинка моя. шуми Не люли, люли, ай, люли, люли, Ай Ааааааааай! мной надо ты шуми Не Ай, меня, ты жеПод Полюби душа-девица, расавица,под К Ах! Припев мной надо ты Хэй. Ах. сосную, алинка, К меня! ты жеположите Полюби люли, люли, й, люли, люли, зеленою Спать вы меня, Ааааааааай! Ай !моя калинка ,калинка ,алинкаК малинка ,малинка ягода саду В Калинка, калинка, калинка В саду под ,сосную Подмоя! .Ах .Хэй .моя ягода малинка, малинка моя. Хэй. Ах. Под ,меня вы положите Спать зеленою сосную, под зеленою Спать положите ,люли ,ай ,люли ,люли Ай !Ааааааааай вы меня, Ааааааааай! Ай люли, люли, меня вы положите Спать ай, люли, люли, Спать положите вы ,люли меня

Припев Ах! Сосенушка ты зелёная Не малинка малинка, ягода саду В моя! калинка калинка, алинка,К меня!ты ты же Полюби люли, люли, й, люли, люли,надо Ай, меня, ты же Полюби душа-девица, расавица,К Ах! Припевмной мной надо ты шуми Не люли, люли, ай, люли, люли, Ай Ааааааааай! мнойАаааааааай! надо ты шуми Не зелёная ты Сосенушка Ах! Припев меня вы положите Спать люли, люли, ай, люли, люли, Ай Ааааааааай! меня, вы положите Спать зеленою под сосную, Под Ах. Хэй. моя. малинка малинка, ягода саду В моя! калинка калинка, алинка,К шуми Припев мной надо ты шуми Не люли, люли, ай, люли, люли, Ай Ааааааааай! мной надо ты шуми Не зелёная ты Сосенушка Ах! Припев меня вы положите Спать люли, люли, ай, люли, люли, Ай Ааааааааай! меня, вы положите Спать зеленою под сосную, Под Ах! моя! малинка малинка, ягода саду В моя! калинка калинка, алинка,К Хэй! моя! малинка малинка, ягода саду В моя! калинка калинка, алинка,К Хэй! моя! малинка малинка, ягода саду В моя! калинка калинка, алинка,К Хэй! моя! меня! ты же Полюби люли, люли, й, люли, люли, Ай, меня, ты же Полюби душа-девица, расавица,К Ах!

По венам льется горный ручей, Ты заблудился лабиринте венам горныйСпатьручей, ,ай ,влюли ,люли голых Ай !ночей. АаааааааайПо, меня льется вы положите зеленою под ,сосную Под .Ах .Хэй .моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК Ты заблудился в лабиринте голых ночей, Холодных дней Припев мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай мной надо ты шуми Не зелёная ты Сосенушка !Ах Припев меня вы положите Спать ,люли ,люли Ты,стоишь другом малинканаягода садуберегу, В !моя калинка ,калинка ,алинкаК !меня ты же Полюби ,люли ,люли ,й ,люли ,люли ,Ай ,меня ты же Полюби ,девица-душа ,расавицаК !Ах !моя малинка Отражаясь в глади,водымалинка ягода саду В !моя калинка ,калинка ,алинкаК !Хэй !моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК !Хэй !моя малинка ай ,люли !Ааааааааай ,меня вы положите Спать зеленою под ,сосную Под !Ах !моя малинка ,малинка ягода саду В !моя калинка ,калинка ,алинкаК !Хэй Твои,холодные руки,и люли песниАй твои мной . надо Ариадна ты шуми Не(3x) ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай мной надо ты шуми Не зелёная ты Сосенушка !Ах Припев меня вы положите Спать ,люли ,люли ДавноПрипев не легки !меня ты же Полюби ,люли ,люли ,й ,люли ,люли ,Ай ,меня ты же Полюби ,девица-душа ,расавицаК !Ах Спасет тебя . Её рука так легка Её рука как стрела (2x) Ариадна. Ночью снегом станет этот зимний дождь. Ты опять проснешься и опять поймешь. Стая смутных голосов зовёт Ночью !моя калинка ,снегом калинка ,Калинка !Хэй станет !моя малинка ,малинка ягода этот саду В !зимний моя калинка ,калинка ,Калинка !дождь меня ты же Полюби Ты,люли опять ,люли ,й ,люли проснешься ,люли ,Ай ,меня ты же Полюби и опять ,-девицадуша ,Красавица поймешь. !Ах Припев мной надо ты шуми Стая Не ,люли ,смутных люли ,ай ,люли ,люли голосов Ай !Ааааааааай мной надо зовёт ты шуми Не зелёная ты Сосенушка !Ах Припев меня вы положите Спать ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай ,меня вы положите Спать зеленою под ,сосную Под .Ах .Хэй .моя малинка ,малинка ягода саду В !моя калинка ,калинка ,Калинка Ариадна (3x) ,люли ,й ,люли ,люли ,Ай ,меня ты же Полюби ,-девицадуша ,Красавица !Ах Припев мной надо ты шуми Не ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай мной надо ты шуми Не зелёная ты Сосенушка !Ах Припев меня вы положите Спать ,люли ,люли ,ай ,люли ,люли Ай !Ааааааааай ,меня вы положите Спать зеленою под ,сосную Под !Ах !моя малинка ,малинка ягода саду В !моя калинка ,калинка ,Калинка !Хэй !моя малинка ,малинка ягода саду В !моя калинка ,калинка ,Калинка !Хэй !моя малинка ,малинка ягода саду В Спасет тебя Её рука так легка !меня ты же Полюби ,люли Её рука как стрела (2x) Thesis process book

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cihpargopyT ydutS

Typeface used for Russian Lyrics: Kokonor Regular Nasalization Regular Oasis Scala Euro Sinhala Sangam MN

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка,

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня!

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня!

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! расавица,К душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! !Хэй Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, !Ааааааааай Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, ,люли люли, й, люли, люли, Полюби же ты меня! 00232

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koob ssecorp sisehT

Typographic Study

Encryption

ssecorP

Typeface used for Russian Lyrics: The Pyte Foundry Elegant Typewriter Scala Euro

Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! По венам льется горный ручей, Ты заблудился в лабиринте голых ночей. По венам льется горный ручей, Ты заблудился в лабиринте голых ночей, Холодных дней Ты стоишь на другом берегу, Отражаясь в глади воды Твои холодные руки и песни твои Давно не легки . Ариадна (3x) Спасет тебя . Её рука так легка Её рука как стрела (2x) Ариадна. Ночью снегом станет этот зимний дождь. Ты опять проснешься и опять поймешь. Стая смутных голосов зовёт Ночью снегом станет этот зимний дождь Ты опять проснешься и опять поймешь. Стая смутных голосов зовёт Ариадна (3x) Спасет тебя Её рука так легка Её рука как стрела (2x) Thesis process book

8102 retneCtrA

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noitpyrcnE

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cihpargopyT ydutS desu ecafepyT :sciryL naissuR rof yrdnuoF etyP ehT retirwepyT tnagelE oruE alacS

Typeface used for Russian Lyrics: Kokonor Regular Nasalization Regular Oasis Scala Euro Sinhala Sangam MN

Калинка, калинка, калинка моя! В саду ягода малинка,,алинка малинка моя. Хэй. Ах. ,калинка К Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ягода саду В !моя калинка ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная .моя малинка Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, ,малинка люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица,Под Полюби же ты меня, Ай, под ,сосную .Ах .Хэй люли, люли, й, люли, люли, Полюби жеСпать ты меня! Калинка, положите зеленою

Ай !Ааааааааай ,меня вы Калинка, калинка, калинка моя! В саду ягода малинка, малинка саду В Ах. !мояПод калинка ,калинка моя. Хэй. сосную, под ,алинкаК Под .Ах .Хэй .моя малинка ,малинка ягода зеленою Спать положите вы меня, положите Спать зеленою под ,сосную Ааааааааай! Ай люли, люли, ай, люли, ,люли ,люли Ай !Ааааааааай ,меня вы люли, Спать положите вы меня меня вы положите Спать ,люли ,люли ,ай Не зелёная ты Сосенушка !Ах Припев Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите!вы Ааааааааай меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли,мной люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Кнадо расавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли,ты люли, Полюби же ты меня! Калинка,шуми калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня!

,ручей горный льется венам оП , ручей горный льется венам о П . ночей лабиринте в заблудился Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай!голых Ай люли, люли, ай, Ты дней Холодных , ночей голых лабиринте в заблудился люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ты ,берегу стоишь Ты Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! Калинка, калинка, калинка моя! В садудругом ягоданамалинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинкав моя! воды глади Отражаясь Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, твои песни и руки холодные Твои люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, ты надо )люли, x3(Не шуми Ариадна .мнойлегкиПрипев не Давно Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, люли, Полюби же ты меня! легка так рука Её . тебя Спасет )x2( стрела как рука Её зовёт голосов смутных Стая .поймешь опять и проснешься опять Ты .дождь зимний этот станет снегом Ночью .Ариадна Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная зовёт Не шуми ты надо голосов мной Ааааааааай! Ай люли,смутных люли, ай, люли, люли,СтаяНе шуми . ты надо мной поймешь Припев Ах! Красавица,опять душа-девица, иПолюби же проснешься ты меня, Ай, люли, люли,опять й, люли, люли,Ты дождь Полюби же ты меня! Калинка,зимний калинка, калинка моя! этот В саду ягода станет малинка, малинка моя! снегом Хэй! Калинка, калинка, Ночью калинка моя! ) x 3 ( Ариадна В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, легка так рука Её тебя Спасет люли, Полюби же ты меня! )x2( стрела как рука Её 00234

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дней Холодных ,ночей голых лабиринте в заблудился Ты

The young man stepped into the Hall of Mirrors Where he discovered a reflection of himself ,берегу другом на стоишь Ты Even the greatest Stars Discover themselves in the looking glass Even the greatest Stars глади в Отражаясь воды Discover themselves in the looking glass твои песни и руки холодные Твои Sometimes, he saw his real face And sometimes, a stranger at his place Ариадна . легки не Давно Even the greatest Stars Find their face in the looking glass Even the greatest Find their Её . тебя Спасет легкаStars так рука face in the looking glass стрела как рука Её He fell in love with the image of himself And suddenly, the picture was distorted опять Ты .дождь зимний этот станет снегом Ночью .Ариадна Even the greatest Stars Dislike themselves in the looking glass Even the greatest Stars Dislike зовёт голосов смутных Стая .поймешь опять и проснешься themselves in the looking glass и проснешься опять Тыinto дождь зимний этот станет снегом Ночью He made up the person he wanted to be And changed a new personality зовёт голосов смутных Стая .поймешь опять Even the greatest Stars Ариадна Change themselves in the looking glass Even the greatest Stars легка так рука Её тебя Спасет Change themselves in the looking glass The artist is living in the mirror стрела как рука Её

Thesis process book

8102 retneCtrA

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noitpyrcnE

Process

Typeface used Scala Euro Lyrics: for Russian Franklin Gothic Kokonor RegularBold Nasalization Regular Oasis Scala Euro Sinhala Sangam MN

cihpargopyT ydutS desu ecafepyT :sciryL naissuR rof yrdnuoF etyP ehT retirwepyT tnagelE oruE alacS

,ручей горный льется венам оП

По венам льется горный ручей, , ручейСпатьгорный льется венам оПАаааааааай! .ночей голых лабиринте в заблудился Калинка, калинка, калинка моя! в В саду ягода малинка, малинка голых моя. Хэй. Ах. Под сосную,По под зеленою положите вы меня, Ай люли, люли, ай, Ты Ты заблудился лабиринте ночей. венам льется горный дней Холодных , ночей голых лабиринте в заблудился ручей, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ты Ты лабиринте голых ночей, днейкалинка, калинка моя! ,берегу стоишь Ты Ах! заблудился Красавица, душа-девица, вПолюби же ты меня, Ай, люли, люли, й, люли, люли,Холодных Полюби же ты меня! Калинка, В садудругом ягоданамалинка, Ты на другом малинкастоишь моя! Хэй! Калинка, калинка, калинкаберегу, моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинкав моя! воды глади Отражаясь Отражаясь в глади воды Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, твои песни и руки холодные Твои Твои холодные руки и песни твои люли, люли,не Спать легки положите вы меня . Ариадна Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, ты надо Давно )люли, x3(Не шуми Ариадна .мнойлегкиПрипев не Давно Ах! Красавица,тебя душа-девица, же ты меня, Ай,легка люли, люли, й, люли, люли, Полюби же ты меня! Спасет . ЕёПолюби рука так легка так рука Её . тебя Спасет Её рука как стрела )x2( стрела как рука Её Ариадна. Ночью снегом станет этот зимний дождь. Ты опять проснешься и опять поймешь. зовёт голосовСтая смутных Стаясмутных .поймешь опять голосов и проснешься опять Тызовёт .дождь зимний этот станет снегом Ночью .Ариадна Ночью снегом станет этот зимний дождь Ты опять проснешься и Копять алинка, калинка, калинка моя! В саду ягода малинка, поймешь. малинка моя. Хэй. Ах. Под сосную, под зеленою Спать положите вы меня, Стая Ааааааааай! Ай люли, люли, ай, смутных люли, люли, Спать положите вы меня Припев Ах! Сосенушка голосов ты зелёная зовёт Не шуми ты надо голосов мной Ааааааааай! Ай люли,смутных люли, зовёт ай, люли, люли,СтаяНе шуми . ты надо мной поймешь Припев Ах! Красавица,опять душа-девица, иПолюби же проснешься ты меня, Ай, люли, люли,опять й, люли, люли,Ты дождь Полюби же ты меня! Калинка,зимний калинка, калинка моя! этот В саду ягода станет малинка, малинка моя! снегом Хэй! Калинка, калинка, Ночью калинка моя! ) x 3 ( Ариадна В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Хэй! Калинка, калинка, калинка моя! В саду ягода малинка, малинка моя! Ах! Под сосную, под зеленою Спать положите вы меня, Ааааааааай! Ай люли, люли, ай, люли, люли, Спать положите вы меня Припев Ах! Сосенушка ты зелёная Не шуми ты надо мной Ааааааааай! Ай люли, люли, ай, люли, люли, Не шуми ты надо мной Припев Ах! Красавица, душа-девица, Полюби же ты меня, Ай, люли, люли, й, люли, Ариадна Спасет тебя Её рука так легка легка так рука Её тебя Спасет люли, Полюби же ты меня! Её рука как стрела

)x2( стрела как рука Её

00236

ArtCenter 2018

koob ssecorp sisehT

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Encryption

ssecorP

Reversed text makes it hard to read the information

fo llaHTyger, eht otnburning ith dg ep Tyger irpbetgsbright nnianm rugbnu,roeygeyhTTregyT n o i t c e fl e r a d e r e v o c s i d e h e r hW riM In the forests of ;ththe ginnight; eht efo stssreorro f eht nI flesmih fo What immortaleyhand e ro dor naeye h latrommi tahW revocsiD sratS tsetaerg eht nevE Could frame ysrsteam thy sfearful fsymmetry? aerfhtdluoC nev?E lg m gnyik oloulfera he tn iyshetve lem sm sevlesmeht revocsiD sratS tsetaerg eht

In what distant seiksdeeps rosssaplegor egdnskies dt tnaihw nI itknoaotlseih dnA ecafire f la?eof iheweansieyes? eh see mrifi tee mhotStnruB Burnt the sr esy thine h t f,o ecalwings p?seirhiptasdare ree gn ad ,s segm emta oh s w nO On what a hahe ertrsaaspire? niitw ecaf rieht dniF sratS tsetaerg eht nevE What the ?erfihand, eht edare zies eseize rad ,dthe nahfire? eht tahW tsetaerg eht nevE ssalg gnikool eht ni ssalg gnikool eht ni ecaf rieht dniF sratS And what tergaam taihew rwhat eedvlu w dnA flesm ih fo shoulder, ht & h& ti,w oloart nhi slletfaehH Could ? t twist r a e h y the h t f sinews o s w e n i of s e thy h t t heart? s i w t detrotsid saw erutcip eht ,ylneddus dnAdluoC ilo sitDn sarg ateSbbegan tste ehhtbeat tn nev And when taekbthy heart rataeehrgy to hEw dnA n e v E s s a l g g n i k o o l e h t n i s e v l e s m e What ?tedread ef daehand? rd tahw&&what ?dnadread h daefeet? rhdt tahW ni sevlesmeht ekilsiD sratS tsetaerg eht ssalg gnikool eht What h ce htntoashrew what m aahmeh t tahW eb ot the dneita nhammer? aw eh p? ehre t the pum echain d eH In what yhatothy stnaiwdbrain? ahw nI ytilafurnace no? srneiparwbewas n eegcnaanhrcudfntA What the psanvil? arg daserwhat h ntaneeh t tahW ard tSttasdread etw ae? rgliv egrasp h vE te Dare its deadly !peshatterrors lnci sservolrersclasp! emt eyhld agendahsC ti eraD

Overlay reversed text of the same song with the normal form

When sraepthe s riestars ht nwthrew od wedown rht sratheir ts ehspears t nehW flesmih fo noitcefler a derevocsid eh erehW srorriM fo llaH eht otni deppets nam gnuoy ehT And water'd setraaee heaven nge atheir ri e wsmdenhtArevocsiD sratS tsetaerg eht nevE sratS t:s rgt erhite nh etvEhstsiw algwith niv ko oel h ehd t n'tears: setvale ssalg he gniksmile ool eh?t e nhis iessevo letsm revs oich siD Did work kerhotto w see? elims eh diD ecalp sih ta regnarts a ,semitemos dnA ecaf laer sih was eh ,semitemoS Did the t Eesdsa oih ehht ndi ieD rie?he te dhe nhiFt who serk ata Sm tmade seb tam ergaeL htenh eLamb v alm gmake gn kow ol thee? e caf rieht dniF sratS tsetaerg eht nevE

ssalg gnikool eht ni ecaf detrotsid saw erutcip eht ,ylneddus dnA flesmih fo egami eht e hrtiewhyoung evo lilM ef feostepped HllaH ehtinto The W srl onrirman otnithe depHall petsofna Mirrors m gnuoWhere y ehT ekilsiD sratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeh kmilishiDfosn raotiStcatesreflection ee tareargdeh fhe lteesdiscovered fl retof vnoehimself cvsEid eh ssalg gnikool eht ni sevlesmeht Even ni sevthe lesm greatest eht revoStars csiD Discover sratS tsetthemselves aerg eht nevin E ytilanosrep wen a otni degnahc dnA eb ot detnaw eh nosrep erthe hetvp u etH olooking cseid Dasmraglass S tseEven taergthe ehtgreatest nevE ssa Stars lg gnDiscover ikool eht sratS tsetaerg eht nevE s themselves salg gnikooin l ethe ht nlooking i sevlesglass meht sratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeht egnah C,semitemoshedn a Sometimes, saw A echis af lreal aer sface ih wAnd as ehsometimes, ,semitemoS a ssalg gnikool eht ni sevlesmeht egnahC stranger ecalp sihat tahis regplace narts rorrim eht ni gnivil si tsitra ehT g Even nikoo the l eh greatest t ni ecafStars rieht Find dniF their sratSface tsetainerthe g eh looking t nevE e glass ht ni Even ecaafreflection rthe iehtgreatest dniFofshimself raStars tS tseFind taergtheir eht nface evE in ssthe alg The young man stepped into the Hall of Mirrors Where he discovered s looking salgEven gnglass ikthe oolgreatest Stars Even the greatest Stars Discover themselves in the looking glass ,He ylnfell eddin uslove dnAwith flesm the ih image fo egam ofi himself eht htiwAnd evolsuddenly, ni llef eH Discover themselves in the looking glass the ehis trpicture oplace tsid sawas w erdistorted utcip eht Sometimes, he saw his real face And sometimes, a stranger atd Even ni sthe evthe legreatest sm greatest eht eStars kils Stars iDFind sra Dislike tStheir tsetthemselves aerg eht nevin E Even the greatest Stars Find their face in the looking glass Even e the kilslooking iD sratSglass tsetaEven erg eh the t ne greatest vE ssalgStars gniko Dislike ol eht face in the looking glass s themselves salgwas gnik ooin l ethe ht nlooking i sevlesglass meht He fell in love with the image of himself And suddenly, the picture distorted d He eEven gmade nahcthe d up ngreatest Athe ebperson ot dStars etnhe aw wanted eh nosrto epbe ehAnd t pu echanged dam eH Even the greatest Stars Dislike themselves in the looking glass Dislike y into tilanaonew sreppersonality wen a otni themselves in the looking glass Even sratpersonality S the tsetgreatest aerg eht Stars nevE He made up the person he wanted to be And changed into a new e Change ht nevEthemselves ssalg gnikoin olthe ehtlooking ni sevleglass smehtEven egnathe hC Even the greatest Stars greatest sratS tseStars taerg Change themselves in the looking glass Even the greatest Stars s Change salg gnthemselves ikool eht ni sinevthe leslooking meht egglass nahC Change themselves in the looking glass The artist is living in the mirror rThe orrim artist eht is niliving gnivilin si the tsitrmirror a ehT

Thesis process book

8102 retneCtrA

00237

noitpyrcnE

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Typeface used Scala Euro Franklin Gothic Bold

По венам льется горный ручей, Ты заблудился в лабиринте голых ночей. По венам льется горный ручей, Ты заблудился в лабиринте голых ночей, Холодных дней Ты стоишь на другом берегу, Отражаясь в глади воды Твои холодные руки и песни твои Давно не легки . Ариадна (3x) Спасет тебя . Её рука так легка Её рука как стрела (2x) Ариадна. Ночью снегом станет этот зимний дождь. Ты опять проснешься и опять поймешь. Стая смутных голосов зовёт Ночью снегом станет этот зимний дождь Ты опять проснешься и опять поймешь. Стая смутных голосов зовёт Ариадна (3x) Спасет тебя Её рука так легка Её рука как стрела (2x)

cihpargopyT ydutS

txet desreveR drah ti sekam eht daer ot noitamrofni

The young man stepped into the Hall of Mirrors Where he discovered a reflection of himself Even the greatest Stars Discover themselves in the looking glass Even the greatest Stars Discover themselves in the looking glass Sometimes, he saw his real face And sometimes, a stranger at his place Even the greatest Stars Find their face in the looking glass Even the greatest Stars Find their face in the looking glass He fell in love with the image of himself And suddenly, the picture was distorted Even the greatest Stars Dislike themselves in the looking glass Even the greatest Stars Dislike themselves in the looking glass He made up the person he wanted to be And changed into a new personality Even the greatest Stars Change themselves in the

Ты заблудился в лабиринте голых ночей, Холодных дней flesmберегу, ih fo noitcefler a derevocsid eh erehW srorriM fo llaH eht otni deppets nam gnuoy ehT Ты стоишь на другом ratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeht revocsiD sratS tsetaerg eht nevE Отражаясь в глади sводы ssalg gnikool eht ni sevlesmeht revocsiD Твои холодные руки и песни твои ecalp sih ta regnarts a ,semitemos dnA ecaf laer sih was eh ,semitemoS Давно не легки . Ариадна rieht dniтак F sratSлегка tsetaerg eht nevE ssalg gnikool eht ni ecaf rieht dniF sratS tsetaerg eht nevE Спасет тебя . Её рука ssalg gnikool eht ni ecaf Её рука как стрела detrotsid saw erutcip eht ,ylneddus dnA flesmih fo egami eht htiw evol ni llef eH Ариадна. Ночью снегом станет этот зимний дождь. Ты опять ekilsiD sratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeht ekilsiD sratS tsetaerg eht nevE проснешься и опять поймешь. Стая смутных голосов зовёт ssalg gnikool eht ni sevlesmeht Ночью снегом станет этот зимний ytilanosrepдождь wen a otnТы i degопять nahc dnAпроснешься eb ot detnaw eh noиsrep eht pu edam eH опять поймешь. Стая смутных голосов зовёт sratS tsetaerg eht nevE Ариадна sratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeht egnahC Спасет тебя Её рука так легка ssalg gnikool eht ni sevlesmeht egnahC rorrim eht ni gnivil si tsitra ehT Её рука как стрела

00238

ArtCenter 2018

koob ssecorp sisehT

Encryption

ssecorP

Typographic Study

Overlay reversed text of the same song with the normal form

По венам льется Tyger Tyger, burning thgгорный irb gbright niручей, nrub ,regyT regyT Ты заблудился в лабиринте По In the forests of ;ththe ginnight; eht foголых stserночей. of eht n I венам льется горный ручей, Ты заблудился в лабиринте голых ночей, Холодных дней What immortaleyhand e ro dor naeye h latrommi tahW Ты стоишь на другом берегу, Could ?frame yrtemm thy ysfearful lufraefsymmetry? yht emarf dluoC Отражаясь в глади воды Твои холодные руки и песни твои

In whatнеdistant seik.sdeeps ro speor e(3x) dskies tnatsid tahw nI Давно легки Ариадна Burnt fire ?of seрука y thine e eтак nieyes? htлегка fo erfi eht tnruB Спасетthe тебя . Её Её рука On whatкак wings ?eстрела ripsdare a e(2x) h he eraaspire? d sgniw tahw nO Ариадна. What the ?erНочью fihand, eht eснегом dare zies eseize rстанет ad ,dthe naэтот hfire? ehзимний t tahWдождь. Ты опять проснешься и опять

поймешь. Стая смутных голосов зовёт Ночью снегом станет этот зимний дождь Ты опять проснешься и опять поймешь. Стая And whatголосов shoulder, tra tahзовёт w &&,rwhat edluoart hs tahw dnA смутных Could ? t twist r a e h y the h t f sinews o s w e n i of s e thy h t theart? siwt dluoC Ариадна (3x) And when t a e b thy o t n heart a g e b began t r a e h y to h t beat nehw dnA Спасет тебя Её рука так легка По венам льется горный ручей, Её рука как стрела (2x) What ?tedread ef daehand? rd tahw&&what ?dnadread h daefeet? rd tahW Ты заблудился в лабиринте голых ночей. По венам льется горный ручей, Ты заблудился в лабиринте голых ночей, Холодных дней ,йечур йынрог ястеьл манев оП What the niahammer? hна c eдругом ht,йtaеh what m mгchain aяhстeеhьtлtм aаhнW Ты стоишь берегу, чуw р? йrыeнthe ро ев оП .йечон хылог етнирибал в яслидулбаз ыТ In what furnace ?вnглади iarbwas yh t thy sawbrain? ecanrйuеfнtдaхhыwнд nоI лоХ ,йечон хылог етнирибал в яслидулбаз ыТ Отражаясь воды What the psanvil? arg da ewhat rd иtaпесни dread hw ?liтвои vgrasp na eht tahW Твои холодные руки ,угереб могурд ан ьшиотс ыТ Давноits неdeadly легки Ариадна ыдов идалг в ьсяажартО Dare !ps.aterrors lc srorrclasp! e(3x) t yldaed sti eraD Спасет тебя . Её рука так легка иовт инсеп и икур еындолох иовТ Её рука как стрела (2x) )x3( андаирА . икгел ен онваД When sraepthe s riestars ht nwthrew od wedown rht sratheir ts ehspears t nehW Ариадна. Ночью снегом станет этот зимний дождь. Ты опять акпроснешься гел кат акур иёЕопять . ябет тесапС And :water'd sraeСтая t rieheaven hсмутных t htiw with neголосов vatheir eh d'tears: rзовёт etaw dnA поймешь. )x2( алертс как акур ёЕ Did he снегом smile ehis eиsяo work tш kэтот rеoнto w s see? ihьeтяliпmодождь sыeТh.ьdдТы iж Dоопять Ночью станет ьтя? по сь созимний р п д йинмпроснешься из тотэ тенаитсопять могенпоймешь. с юьчоН .аСтая ндаирА Did ? e e he h t who e k a m made b m a L the e h Lamb t e d a m make o h w thee? e h d i D смутных голосов зовёт тёвоз восолог хынтумс яатС .ьшемйоп Ариадна яатС .(3x) ьшемйоп ьтяпо и ясьшенсорп ьтяпо ыТ ьджод йинмиз тотэ тенатс могенс юьчоН e The rehyoung W srorrman iM fostepped llaH ehtinto Hall pоeсtsо ofл na Mirrors gn hс T Спасет тебя Её рука так легка тoёtnвithe оdзepв оmг х ыuнoWhere тyуeм fhe lesdiscovered mih fo noitcaereflection fler a dereof vohimself csid eh Её рука как стрела (2x) )x3( андаирА Even ni sevthe lesm greatest eht revoStars csiD Discover sratS tsetthemselves aerg eht nevin E кtaгeеrлgthe кhаtтgreatest а кEур ёaStars Е яnбDiscover апС rthe evolooking csiD sraglass tS ,tй sае eEven e n e v s s l g iе kмт oаoтн lее eсh чур йынрог ястеьgл вt оП s themselves salg gnikooin l ethe ht nlooking i sevle)sx glass m2e(hаt лертс как акур ёЕ ,йечур йынрог ястеьл манев оП .йечон хылог етнирибал в яслидулбаз ыТ a Sometimes, ,semitemoshednsaw A echis af lreal aer sface ih wAnd as ehsometimes, ,semitemoS a йенд хындолоХ лplace stranger ec,aйlpеч sо ihн at taхhis rы eg nоaгrtе s тнирибал в яслидулбаз ыТ уriгeеhрt Find е д оt тnсevы g Even nikoo the l eh greatest t ni ecaf,Stars dб niFмtheir sоrгaу tSрface tseаtн aineь rthe gшeиh looking EТ e glass ht ni Even ecaf rthe iehtgreatest dniF srы aStars tS tи aд erаgл their eгhtвnface vE in sж sthe aаlgртО доtsвeFind ьeс яа s looking salg gnglass ikoo иlовт инсеп и икур еындолох иовТ ,He ylnfell eddin uslove dnAwith fle)sxm the fo egаaиm of eh.tиhк tiгwеAnd e suddenly, nо i lн leвf аeД H 3i(h аimage нд рiАhimself лvoеlн d the etrpicture otsid sawas w erdistorted utcip eht а к г е л к а т а к у р ё Е . я б е т т е с а п С Even ni sevthe lesm greatest eht ekils Stars iD sra Dislike tS tsetthemselves aerg eht nevin E 2v(Eаsлsеaр тgсnк кolаeкhуt р ёЕ e the kilslooking iD sratSglass tsetaEven erg eh the t )nxe greatest lgStars ikаo Dislike ьтяпо и ясьшенсорп ьтяпо ыТ .ьджод й иnзikтoоoin тl эethe нi аsтeс оmгeеhнt с юьчоН .андаирА s themselves sиaнlgмg hтtеnlooking vleмsglass d He egmade naтhёcвd up bperson deоtгnhe aхwыwanted eнhтn eя pа be eтhС And t p.u echanged dеaм mйeоHп оnзAthe вeо сoоt л уoмsсrto ьш an aoж new srоeд ppersonality w enнм ao яатС .ьшемйоп ьтяпо и ясьшенсорп ьтяпо ыyinto Тtilь д йи иtзniтотэ тенатс могенс юьчоН Even sratS the tsetgreatest aerg eht Stars nevE тёвоз восолог хынтумс e Change ht nevEthemselves ssalg gnikoin olthe ehtlooking ni sevleglass smehtEven egnathe hC )x3( андаирА greatest sratS tseStars taerg кiгsin еeлvthe т eаhкt уeр s Change salg gnthemselves ikool ehа tn lк esаlooking m gglass nёaЕ hCябет тесапС rThe orrim artist eht is niliving gnivilin si the tsitrmirror )axe2h(Tалертс как акур ёЕ Thesis process book

8102 retneCtrA

00239

noitpyrcnE

Process

cihpargopyT ydutS

txet desreveR drah ti sekam eht daer ot noitamrofni

The young Hall ,йечуman р йыstepped нрог ястinto еьлthe ман ев оofП he ,йечур йынрог ястеьл манев оП .йечоMirrors н хылоWhere г етнир ибdiscovered ал в яслидaуreflection лбаз ыТ йенд хындолоХ ,йечоofн himself хылог етнирибал в яслидулбаз ыТ Even the ,greatest угереб мStars огурдDiscover ан ьшиотс ыТ themselves inыthe glass довlooking идалг в ьсяаEven жартО the и greatest themselves овт инсStars еп и иDiscover кур еынд олох иовТ in the looking )x3( анglass даирА . икгел ен онваД Sometimes, акгелhe каsaw т акуhis р ёreal Е . яface бет тAnd есапС sometimes, a stranger )x2( алеat ртhis с каplace к акур ёЕ greatest ьтяпо и ясьшенсорп ьтяпо ыТ .ьджод йинмиEven з тотэthe тен атс могStars енс юFind ьчоНtheir .андface аирА тёinвоthe з вlooking осолог glass хынтуEven мс яаthe тС greatest .ьшемйоп яатС .ьшемйоп ьтяпо и ясьшенсорп ьтяпо ыТ ьджStars од йиFind нмизtheir тотэface тенin атсthe моlooking генс юьglass чоН He fell in love with тёвоthe з вimage осологofхhimself ынтумс And suddenly, the picture was distorted )x3( а ндаирА Even the Dislike акgreatest гел кат Stars акур ё Е ябет тесапС ,йечур ы яр сттс еglass ьклак мааEven н themselves inйthe looking )xн2р ( оагле кеувр о ёП Е ,йечур йынрог ястеьл манев оП .йечоthe н хgreatest ылог етнStars ирибDislike ал в ясthemselves лидулбаз ыinТ н хlooking ылог етglass нирибал в яслидулбаз ыТ По венам льется горный ручей, йенд хындолоХ ,йечоthe ,up угеthe реручей, бperson могурдheанwanted ьшиотto сы Т Ты заблудился в лабиринте голых ночей. По венам льется горный He made be довaиnew далгpersonality в ьсяажартО Ты заблудился в лабиринте голых ночей, Холодных дней And changedы into иоthe вт и нсеп и иStars кур еындолох иовТ Ты стоишь на другом берегу, Even greatest )x3( андаирА икгел ен онваД Отражаясь в глади воды Change themselves in .the акгел кат акур ёЕ . ябет тесапС Твои холодные руки и песни твои )x2( алертс как акур ёЕ Давно не легки . Ариадна (3x) The aь reflection ьтяп. оЕёи рука ясьш енyoung солегка рп man ьтяпstepped о ыТ .ьinto джthe одHall йинofмMirrors из тотWhere э тенаhe тсdiscovered могенс ю чоН .анof даhimself ирА Спасет тебя так тёвоз in воthe соlooking лог хыglass нтумEven с яаthe тС greatest .ьшемйStars оп Её рука как стрела (2x)Even the greatest Stars Discover themselves Discover themselves in the looking glass яатС .ь шемйоснегом п ьтяпостанет и ясьшэтот енсоSometimes, рп ьтяпдождь. оhe ыТ ь д ж о д й и н м и з т о т э т е н а т с м о г е н с ю ь ч о Н Ариадна. Ночью зимний Ты опять проснешься и опять saw his real face And sometimes, a stranger at his place тёвthe озgreatest восолоStars г хыFind нтуtheir мс поймешь. Стая смутных голосов Even the greatestзовёт Stars Find their face in the looking glass Even face in )the x3(looking аСтая ндаиglass рА Ночью снегом станет этот зимний дождь Ты опять проснешься и опять поймешь. He fell in love with the image of himselfаAnd was кгеsuddenly, л кат акthe ур picture ёЕ ябе т тdistorted есапС смутных голосов зовёт Even the greatest Stars Dislike themselves in the looking glass Even the greatest Stars Dislike )x2( алертс как акур ёЕ Ариадна (3x) themselves in the looking glass Спасет тебя Её рука так легка He made up the person he wanted to be And changed into a new personality По венам льется горный ручей, Её рука как стрела (2x) Even the greatest Stars Ты заблудился в лабиринте голых ночей. Change По венам льется ручей, themselves in горный the looking glass Even the greatest Stars Ты заблудился в лабиринте голых ночей, Холодных дней Change themselves in the looking glass The artist is living in the mirror Ты стоишь на другом берегу, Отражаясь в глади воды flesmih fo noitcefler a derevocsid eh erehW srorriM fo llaH eht otni deppets nam gnuoy ehT Твои холодные руки и sпесни ratS tseтвои taerg eht nevE ssalg gnikool eht ni sevlesmeht revocsiD sratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeht revocsiD Давно не легки . Ариадна (3x) ecalp sih ta regnarts a ,semitemos dnA ecaf laer sih was eh ,semitemoS Спасет тебя . Её рука так легка rieht dniF sratS tsetaerg eht nevE ssalg gnikool eht ni ecaf rieht dniF sratS tsetaerg eht nevE Её рука как стрела (2x) ssalg gnikool eht ni ecaf Ариадна. Ночью снегом станетdeэтот дождь. trotsidзимний saw erutc ip eht ,ylnТы eddопять us dnA fпроснешься lesmih fo egami и ehопять t htiw evol ni llef eH поймешь. Стая смутных ekilsiD sголосов ratS tsetaeзовёт rg eht nevE ssalg gnikool eht ni sevlesmeht ekilsiD sratS tsetaerg eht nevE ssalg gпоймешь. nikool eht niСтая sevlesmeht Ночью снегом станет этот зимний дождь Ты опять проснешься и опять ytilanosrep wen a otni degnahc dnA eb ot detnaw eh nosrep eht pu edam eH смутных голосов зовёт sratS tsetaerg eht nevE Ариадна (3x) sratS tsetaerg eht nevE ssalg gnikool eht ni sevlesmeht egnahC Спасет тебя Её рука так легка ssalg gnikool eht ni sevlesmeht egnahC rorrim eht ni gnivil si tsitra ehT Её рука как стрела (2x) 00240

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koob ssecorp sisehT

Typographic Study

Encryption

ssecorP

Overlay reversed text of the same song with the normal form

Tyger Tyger, burning thgirb gbright ninrub ,regyT regyT In the forests of ;ththe ginnight; eht fo stserof eht nI What immortaleyhand e ro dor naeye h latrommi tahW Could?frame yrtemm thy ysfearful lufraefsymmetry? yht emarf dluoC In what distant seiksdeeps ro speor edskies tnatsid tahw nI Burnt the fire?of sey thine e enieyes? ht fo erfi eht tnruB On what wings ?eripsdare a eh he eraaspire? d sgniw tahw nO What the ?erfihand, eht edare zies eseize rad ,dthe nahfire? eht tahW And what shoulder, tra tahw &&,rwhat edluoart hs tahw dnA Could ?ttwist raeh ythe ht fsinews o sweniof s ethy ht theart? siwt dluoC And when taebthy ot n heart agebbegan traeh y tohtbeat nehw dnA What ?tedread ef daehand? rd tahw&&what ?dnadread h daefeet? rd tahW What the niahammer? hc eht tahw what ?rethe mmchain ah eht tahW In what furnace ?niarbwas yht thy sawbrain? ecanruf tahw nI What the psanvil? arg daewhat rd tadread hw ?livgrasp na eht tahW Dare its deadly !psaterrors lc srorrclasp! et yldaed sti eraD When sraepthe s riestars ht nwthrew od wedown rht sratheir ts ehspears t nehW And :water'd sraet rieheaven ht htiw with nevatheir eh d'tears: retaw dnA Did he smile ?ehis es o work t kroto ws see? ih elims eh diD Did ?eehe ht who ekammade bmaL the ehLamb t edammake ohw thee? eh diD e The rehyoung W srorrman iM fostepped llaH ehtinto otnithe depHall petsofna Mirrors m gnuoWhere y ehT fhe lesdiscovered mih fo noitcaereflection fler a dereof vohimself csid eh Even ni sevthe lesm greatest eht revoStars csiD Discover sratS tsetthemselves aerg eht nevin E rthe evolooking csiD sraglass tS tseEven taergthe ehtgreatest nevE ssa Stars lg gnDiscover ikool eht s themselves salg gnikooin l ethe ht nlooking i sevlesglass meht a Sometimes, ,semitemoshednsaw A echis af lreal aer sface ih wAnd as ehsometimes, ,semitemoS a stranger ecalp sihat tahis regplace narts g Even nikoo the l eh greatest t ni ecafStars rieht Find dniF their sratSface tsetainerthe g eh looking t nevE e glass ht ni Even ecaf rthe iehtgreatest dniF sraStars tS tseFind taergtheir eht nface evE in ssthe alg s looking salg gnglass ikool ,He ylnfell eddin uslove dnAwith flesm the ih image fo egam ofi himself eht htiwAnd evolsuddenly, ni llef eH d the etrpicture otsid sawas w erdistorted utcip eht Even ni sevthe lesm greatest eht ekils Stars iD sra Dislike tS tsetthemselves aerg eht nevin E e the kilslooking iD sratSglass tsetaEven erg eh the t ne greatest vE ssalgStars gniko Dislike ol eht s themselves salg gnikooin l ethe ht nlooking i sevlesglass meht d He egmade nahc d up nAthe ebperson ot detnhe aw wanted eh nosrto epbe ehAnd t pu echanged dam eH y into tilanaonew sreppersonality wen a otni Even sratS the tsetgreatest aerg eht Stars nevE e Change ht nevEthemselves ssalg gnikoin olthe ehtlooking ni sevleglass smehtEven egnathe hC greatest sratS tseStars taerg s Change salg gnthemselves ikool eht ni sinevthe leslooking meht egglass nahC rThe orrim artist eht is niliving gnivilin si the tsitrmirror a ehT

Thesis process book

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noitpyrcnE

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cihpargopyT ydutS

txet desrever yalrevO htiw gnos emas eht fo mrof lamron eht

young man stepped Tyger The Tyger, burning bright into the Hall of Mirrors Where he discovered a reflection In the forests of the night; of himself What immortal hand or eye Even the greatest Stars Discover Couldthemselves frame thy in fearful symmetry? the looking glass Even the greatest Stars Discover themselves

In what deeps in distant the looking glassor skies he saweyes? his real face And Burnt Sometimes, the fire of thine sometimes, a stranger at his place On what wings dare he aspire? Even the greatest Stars Findfire? their face What the hand, dare seize the

in the looking glass Even the greatest Stars Find their face in the looking glass And what shoulder, & what art of himself He fell in love with the image CouldAnd twist the sinews of thy heart? suddenly, the picture was distorted Even thy the greatest Stars Dislike And when heart began to beat ,й ечур ы р ог ясdread теglass ьл мfeet? аEven нев оП themselves inйthe looking What dread hand? &нwhat ,йечур йынрог ястеьл манев оП .йечоthe н хgreatest ылог етнStars ирибDislike ал в ясthemselves лидулбаз ыinТ йенд хындолоХ ,йечоthe н хlooking ылог етglass нирибал в яслидулбаз ыТ What the hammer? угеthe ребwhat могуthe рдheаchain нwanted ьшиотto сы Т He made ,up person be In what furnace was ы доthy вaиnew дbrain? алгpersonality в ьсяажартО And changed into What the иanvil? оthe вт и нсwhat еп и иdread кур еыgrasp ндолох иовТ Even greatest Stars )x3terrors ( андаирclasp! А икгел ен онваД Change themselves in .the Dare its deadly акгел кат акур ёЕ . ябет тесапС )x2( алертс как акур ёЕ When the stars threw down their spears ьтяпо и ясьшенсорп ьтяпо ыТ .ьджод йинмиз тотэ тенатс могенс юьчоН .андаирА And water'd heaven with their тёвоз восолог хынтумс яатСtears: .ьшемйоп Did he smile his work to see? яатС .ьшемйоп ьтяпо и ясьшенсорп ьтяпо ыТ ьджод йинмиз тотэ тенатс могенс юьчоН Did he who made the make thee? тёвLamb оз восо лог хы нтумс )x3( андаирА The young man stepped into the Hall of Mirrors Where акгел кат акур ёЕ ябет тесапС he discovered a reflection of himself )x2( алертс как акур ёЕ Even the greatest Stars Discover themselves in

the looking glass горный Even the greatest По венам льется ручей, Stars Discover themselves in the looking glass Ты заблудился в лабиринте голых ночей. По венам льется горный ручей, Sometimes, he saw his real face And sometimes, a Ты заблудился в лабиринтеstranger голыхatночей, Холодных дней his place Ты стоишь на другом берегу, Even the greatest Stars Find their face in the looking glass Evenвthe greatest Stars Find their face in the Отражаясь глади воды looking glass Твои холодные руки и песни твои He fell inне love with the image of himself Давно легки . Ариадна (3x) And suddenly, the picture was distorted Спасет тебя . Её рука так легка Even the greatest Stars Dislike themselves in Её рука как стрела (2x) the greatest Stars Dislike the looking glass Even Ариадна. Ночью снегом станет этот зимний themselves in the looking glass дождь. Ты опять проснешься и опять He made upСтая the person he wanted to be And changed поймешь. смутных голосов зовёт a new дождь personality Ночью снегом станет этотinto зимний Ты опять проснешься и опять поймешь. Стая Even the greatest Stars смутных голосов зовёт Change themselves in the looking glass Even the Ариадна (3x) greatest Stars Спасет тебяChange Её рука так легка themselves in the looking glass Её рука как стрелаThe (2x)artist is living in the mirror

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koob ssecorp sisehT

Typographic Study

Encryption

ssecorP

Thesis process book

8102 retneCtrA

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noitpyrcnE

Process

txet desrever yalrevO htiw gnos emas eht fo mrof lamron eht

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ArtCenter 2018

koob ssecorp sisehT

cihpargopyT ydutS

Typographic Study

Encryption

ssecorP

Red acetate sheet blocks any red ink and makes visible whatâ&#x20AC;&#x2122;s in blue

Thesis process book

8102 retneCtrA

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noitpyrcnE

Process

teehs etateca deR kni der yna skcolb elbisiv sekam dna eulb ni sâ&#x20AC;&#x2122;tahw

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ArtCenter 2018

koob ssecorp sisehT

cihpargopyT ydutS

Typographic Study

Encryption

ssecorP

Visual Cryptography technique

mroftalp cisuM enilnO niahckcolB < > ”kcolB eht no stsitrA“

Thesis process book

8102 retneCtrA

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noitpyrcnE

Process

teehs etateca deR kni der yna skcolb elbisiv sekam dna eulb ni sâ&#x20AC;&#x2122;tahw

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ArtCenter 2018

koob ssecorp sisehT

cihpargopyT ydutS

Typographic Study

Encryption

ssecorP

Visual Cryptography technique

mroftalp cisuM enilnO niahckcolB < > ”kcolB eht no stsitrA“

Thesis process book

8102 retneCtrA

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noitpyrcnE

Process

yhtpeaerhgsoteptyartCec laaud sieVR kni der yenuaqisnkhccoeltb elbisiv sekam dna eulb ni sâ&#x20AC;&#x2122;tahw

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koob ssecorp sisehT

cihpargopyT ydutS

ssecorP

Blockchain Platform

Name choices

Attributes

mroftalp cisuM enilnO niahckcolB < > ”kcolB eht no stsitrA“ :SKROW TI WOH fo tnuoma eht no sediced stsitra ehT mroftalp( .noitide detimil a ni seipoc dna ypoc hcae rof edoc euqinu a setaerc .)niahckcolb a ni derots eb lliw edoc taht eht ,desab noitcua si ypoc rep ecirP eht ,yub ot detseretni era elpoep erom .seog ecirp eht rehgih dna noitubirtsid ni spleh mroftalp ehT fo pihsrenwo htiw llew sa ,noitpmusnoc fo eceip a ot elbarapmoc ,noitisopmoc a tra na sa emoceb lliw tI .tra yraropmetnoc .cisum fo yrellag sa dna ,euqinu erom cisum eht ekam oT hcum os tnaem slyniV yhw ot ecnerefer a dah yeht ,elbignat erew yeht ( elpoep ot ,)ecneirepxe cisum ,krowtra revoc eht snoitaroballoc gnirb dluow mroftalp eht eht etaerc ot stsitra RV dna snaicisum fo si ecneirepxe RV .cisum latigid rof emas .drocer latigid a rof revoc nredom a ekil AISSUR OT DETALER STI WOH aedi eht ot sdael etats yb noisserppO ,rewop dna lortnoc fo noitazilartneced fo .ti ssapyb ot yaw evitaerc a gnidnfi dna wen htiw degagne yrev era elpoep gnuoY .htob seidobme niahckcolB .seigolonhcet tra etaerc ot etinu stsitra cisum dna RV eht ot ecneirepxe na evig ot rehtegot ,htuoy naissuR wen etomorp ot dna reweiv .erutuf eht otni drawrof evom ot ydaer :NOITACILPPA lautriv ,oediv lanoitomorp ,mroftalp enilnO erutuf ynapmoC tsaF ,ecneirepxe ytilaer noitativni eht ,otsefinam ,5202 ni enizagam .ynapmoc eht fo gnihcnual eht ot

Thesis process book

:TPECNOC teivoS eht fo emit eht gnirud ,aissuR nII dna nretsew fo noitubirtsid eht ,noinU dna detibihorp saw cisum naissur emos raef ot dah netfo ,sreyub dna srelles ,htob sdrocer senoB .stnemhsinup citamard ot denimreted erew elpoep woh dewohs sseldrager cisum fo erutluc eht daerps a saw meht rof cisuM .secnatsmucric eht sselnu ,syar-X .tra fo mrof elbaulav yrev elbissopmi erew ,meht tuoba wenk uoy tsomla saw tI .slyniv sa ezingocer ot diova ot cisum detpyrcne tsrfi a ekil fo tpecnoc eht ot em dael sihT .ytirohtua flesti ni ygolonhcet ehT .niahckcolb eht yna sa ,stsitra naissuR .dezilartneced si .gnimaerts eerf morf gnireffus era ,rehto mrof tra eht gnitaulaved si gnimaertS dna ,ytidommoc a otni ti gninrut ,cisum erid a evil smubla dna sgnos taerg ynam nehw dna ,sgnos M05 fo dlrow eht ni efil tsuj tsitra eht gnivael ,dlos ro demaerts niahckcolB .tfiorp eht fo erahs llams a dna noitubirtsid eht lortnoc ot pleh dluoc sgnos eht ecniS .pihsrenwo eht kcab niag ot ytinutoppo na sevig ti ,deipoc eb t’nac erehw ,smubla snoitide detimil a etaerc hcaE .niaga tra na sa detaert eb nac cisum eb lliw hcihw yek nwo sti sah noitisopmoc )niahckcolb( regdel detubirtsid ni derots ecived eht morf elbissecca ylno si ti dna dna enohp ruoy aka( yek eht sdloh hcihw eht refsnart ot tnaw uoy fI .)reyalp eht ecived rehtona ot ti dnes ot evah uoy ,gnos ereht dna ,noitcasnart nioctib a ekil ralimis eht ot dedda eb lliw noitcasnart wen a eritne eht weiver ot swolla hcihw - edoc gnol woh dedulcni pihsrenwo eht fo yrotsih hcihw rof dna renwo hcae yb dleh saw ti siht htiW .renwo wen a ot ti dlos eh ecirp pihsrenwo latot eht serusne ti msinahcem gnidda ,reyub eht yb lanigiro gnos a fo eht no elihw cisum fo eceip eht ot eulav ynam woh ediced nac tsitra eht dnah rehto .etubirtsid lliw eh ecirp gnitrats hcihw rof 8102 retneCtrA

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noitpyrcnE

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cihpargopyT ydutS

yhtpeaerhgsoteptyartCec laaud sieVR kni der yenuaqisnkhccoeltb elbisiv sekam dna eulb ni s’tahw

< Blockchain Online Music platform “Artists on the Block” > CONCEPT: IIn Russia, during the time of the Soviet Union, the distribution of western and some russian music was prohibited and both, sellers and buyers, often had to fear dramatic punishments. Bones records showed how people were determined to spread the culture of music regardless the circumstances. Music for them was a very valuable form of art. X-rays, unless you knew about them, were impossible to recognize as vinyls. It was almost like a first encrypted music to avoid authority. This lead me to the concept of the blockchain. The technology in itself is decentralized. Russian artists, as any other, are suffering from free streaming. Streaming is devaluating the art form music, turning it into a commodity, and many great songs and albums live a dire life in the world of 50M songs, and when streamed or sold, leaving the artist just a small share of the profit. Blockchain could help to control the distribution and gain back the ownership. Since the songs can’t be copied, it gives an oppotunity to create a limited editions albums, where music can be treated as an art again. Each composition has its own key which will be stored in distributed ledger (blockchain) and it is only accessible from the device which holds the key (aka your phone and the player). If you want to transfer the song, you have to send it to another device similar like a bitcoin transaction, and there a new transaction will be added to the code - which allows to review the entire history of the ownership included how long it was held by each owner and for which price he sold it to a new owner. With this mechanism it ensures the total ownership of a song original by the buyer, adding value to the piece of music while on the other hand the artist can decide how many for which starting price he will distribute.

HOW IT WORKS: The artists decides on the amount of copies in a limited edition. (platform creates a unique code for each copy and that code will be stored in a blockchain).

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Price per copy is auction based, the more people are interested to buy, the higher the price goes. The platform helps in distribution and consumption, as well with ownership of a composition, comparable to a piece of contemporary art. It will become as an art gallery of music. To make the music more unique, and as a reference to why Vinyls meant so much to people ( they were tangible, they had the cover artwork, music experience), the platform would bring collaborations of musicians and VR artists to create the same for digital music. VR experience is like a modern cover for a digital record. HOW ITS RELATED TO RUSSIA Oppression by state leads to the idea of decentralization of control and power, and finding a creative way to bypass it. Young people are very engaged with new technologies. Blockchain embodies both. VR and music artists unite to create art together to give an experience to the viewer and to promote new Russian youth, ready to move forward into the future. APPLICATION: Online platform, promotional video, virtual reality experience, Fast Company future magazine in 2025, manifesto, the invitation to the launching of the company.

Blockchain Platform

Attributes niocisuM sySnesnoC vtDralugniS ADaD etanoser keelQ seittikotpyrC ystrA

Namecchoices isum gnitsixE niahckcolb tra dna seinapmoc

> erehT tuO s`tahW <

BLOCKS INNOVATIVE ARTFUL UNIQUE DIGITAL TRANSFORMATION 90S RETRO ENCRYPRED RARITY 3D MUSIC DATA OPPOSITION DIGITAL

APPLOUD SOUNDMARKET OFF CHART ARTIST ON THE BLOCK (AOTB) MUSIC BLOCK RARITY ARTMUSICA GROOVE DIGITAL VINYL

Thesis process book

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mroftalP niahckcolB

Process

seciohc emaN

cihpargopyT ydutS setubirttA

< Blockchain Online Music platform “Artists on the Block” > CONCEPT: IIn Russia, during the time of the Soviet Union, the distribution of western and some russian music was prohibited and both, sellers and buyers, often had to fear dramatic punishments. Bones records showed how people were determined to spread the culture of music regardless the circumstances. Music for them was a very valuable form of art. X-rays, unless you knew about them, were impossible to recognize as vinyls. It was almost like a first encrypted music to avoid authority. This lead me to the concept of the blockchain. The technology in itself is decentralized. Russian artists, as any other, are suffering from free streaming. Streaming is devaluating the art form music, turning it into a commodity, and many great songs and albums live a dire life in the world of 50M songs, and when streamed or sold, leaving the artist just a small share of the profit. Blockchain could help to control the distribution and gain back the ownership. Since the songs can’t be copied, it gives an oppotunity to create a limited editions albums, DUwhere OLPPA music can be treated as an art again. Each T E K R A M D NUbe OS composition has its own key which will TRAHC FFO stored in distributed ledger (blockchain) and it is only accessible the KCOLB Efrom HT N O device TSITRA which holds the key (aka your phone )BTand OA( the player). If you want to transfer the K C O L B C I S UM song, you have to send it to another device YTIthere RAR similar like a bitcoin transaction, and a new transaction will be added ACIStoUthe MTRA code - which allows to review the entire EVOORG history of the ownership included how long L Y N I V ATIGID it was held by each owner and forLwhich price he sold it to a new owner. With this mechanism it ensures the total ownership of a song original by the buyer, adding value to the piece of music while on the other hand the artist can decide how many for which starting price he will distribute.

HOW IT WORKS: The artists decides on the amount of SKCOLB copies in a limited edition. (platform E V I T AVO NNI creates a unique code for each copy and that code will be stored in a blockchain). LUFTRA

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EUQINU

Price per copy is auction based, the LAthe TIGID more people are interested to buy, NOITAMROFSNART higher the price goes.

ORTER S09

The platform helps in distribution and DERPYRCNE consumption, as well with ownership of YTIR a composition, comparable to a piece ofAR contemporary art. It will become asUan CIS Mart D3 gallery of music. ATAD

NOITand ISOas PPO To make the music more unique, LAmuch TIGID a reference to why Vinyls meant so to people ( they were tangible, they had the cover artwork, music experience), the platform would bring collaborations of musicians and VR artists to create the same for digital music. VR experience is like a modern cover for a digital record. HOW ITS RELATED TO RUSSIA Oppression by state leads to the idea of decentralization of control and power, and finding a creative way to bypass it. Young people are very engaged with new technologies. Blockchain embodies both. VR and music artists unite to create art together to give an experience to the viewer and to promote new Russian youth, ready to move forward into the future. APPLICATION: Online platform, promotional video, virtual reality experience, Fast Company future magazine in 2025, manifesto, the invitation to the launching of the company.

ssecorP

niocisuM sySnesnoC vtDralugniS ADaD etanoser keelQ seittikotpyrC ystrA

Blockchain Platform

cisum gnitsixE niahckcolb tra dna seinapmoc

> erehT tuO s`tahW <

Thesis process book

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Process

Musicoin ConsenSys SingularDtv DaDA resonate Qleek Cryptokitties Artsy

Existing music and art blockchain companies

< Blockchain Online Music platform < “Artists What`son Out the There Block” > >

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Research of primary and secondary typefaces

Blockchain Platform

Existing VR music visualizers

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Thesis process book

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Musicoin ConsenSys SingularDtv DaDA resonate Qleek Cryptokitties Artsy

RV gnitsixE Existing music sre zila usiv cisum and art blockchain companies

< Blockchain Online Music platform < “Artists What`son Out the There Block” > >

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Blockchain Platform

Research of primary and secondary typefaces

> hcraeseR ogoL dna tnoF <

Thesis process book

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Existing music and art blockchain companies

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koob ssecorp sisehT

Musicoin ConsenSys SingularDtv DaDA resonate Qleek Cryptokitties Artsy

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Blockchain Platform

Research of primary and secondary typefaces

Thesis process book

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Existing music and art blockchain companies

yramirp fo hcraeseR yradnoces dna secafepyt

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Musicoin ConsenSys SingularDtv DaDA resonate Qleek Cryptokitties Artsy

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Blockchain Platform

Typeface research

Artists OA BTOA on theBTBlock

on the Block BArtists TOA

Artists on the Block

BArtists TOAon the Block BTOA

BArtists TOAon theBBlock TOA

Artists on the Block

BTOA

Artists on the Block

Artists on the Block BT OA

Artists BTOAon theBBlock TOA

Artists on the Block

Artists Б ТОАon the БТБлок ОА

БArtists ТОАon the ББлок ТОА

Artists on the Блок

oa bArtists toaon thebtБлок

бArtists тоаon the btБлок oa

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Artists б тоаon theбтBlock оа Thesis process book

оа bArtists toa on theбтБлок 8102 retneCtrA

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аотб

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Typeface research

Artists on the Block

Artists on the Блок

Artists on the Block

Artists on the Блок

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hcraeser ecafepyT

kcolB eht nAOTB o stsitrA AOTB

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kcolB eht no stsitrA

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kcolB eht no stsitrA

AOTB

kcolB eht no stsitrA

kcolB eht noAOTB stsitrA AOTB

kcolB eht no stsitrA AOTB

kcolB eht no stsitrA

колБ eht noАОТБ stsitrA АОТБ

колБ eht no stsitrA

колБ eht noаотб stsit rA aotb

колБ eht no stsitrA

колБ eht no stsit rA

колБ eht no aotb stsitrA аотб

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Blockchain Platform

Logo research

ehT nO stsitrA

kcolb eht

DEIFIR

ra tsit os

RT IFIED

БTOA

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hcraeser ecafepyT

Artists On The

IED RIF

block the

artist so

IFIED RT

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Blockchain Platform

Logo research

Thesis process book

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hcraeser ogoL

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IED RIF

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Blockchain Platform

Pixelated Logo creates patterns as blocks

< What is Unique? >

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Pixelated Logo creates patterns as blocks

Blockchain Platform

hpargollatsyrc yar-X AND fo nrettap

< What is Unique? >

Thesis process book

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ogoL detalexiP snrettap setaerc skcolb sa

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Logo research

Blockchain Platform

hpargollatsyrc yar-X AND fo nrettap

< What is Unique? >

As the blockchain gives possibility to create music files that can not be copied, I thought about what can be unique to represent that? Finger print, tree rings, iris, but also DNA. I have found an interesting fact about DNA`s X-rays. The discovery by scientists happened almost at the same time as Bones Vinyls came out in Russia. X-ray crystallograph pattern of DNA was obtained by Rosalind Franklin and Raymond Gosling in 1952. It is know as the B-form. It was clearer than the other X-ray patterns because water was included in the DNA sample. Both James Watson and Francis Crick were struck by the simplicity and symmetry of this pattern. The distinctive “X” in this X-ray photo is the telltale pattern of a helix. Because the X-ray pattern is so regular, the dimensions of the helix must also be consistent. For example, the diameter of the helix stays exactly the same. Thesis process book

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X-ray crystallograph pattern of DNA

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ogoL detalexiP snrettap setaerc skcolb sa

koob ssecorp sisehT

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Blockchain Platform

Logo research

< What is Unique? >

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X-ray crystallograph pattern of DNA

oghocLradeestearleoxgiP oL snrettap setaerc skcolb sa

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ot ytilibissop sevig niahckcolb eht sA ,deipoc eb ton nac taht selfi cisum etaerc ot euqinu eb nac tahw tuoba thguoht I ,siri ,sgnir eert ,tnirp regniF ?taht tneserper gnitseretni na dnuof evah I .AND osla tub yb yrevocsid ehT .syar-X s`AND tuoba tcaf emas eht ta tsomla deneppah stsitneics .aissuR ni tuo emac slyniV senoB sa emit AND fo nrettap hpargollatsyrc yar-X dna nilknarF dnilasoR yb deniatbo saw eht sa wonk si tI .2591 ni gnilsoG dnomyaR yar-X rehto eht naht reraelc saw tI .mrof-B dedulcni saw retaw esuaceb snrettap nostaW semaJ htoB .elpmas AND eht ni eht yb kcurts erew kcirC sicnarF dna .nrettap siht fo yrtemmys dna yticilpmis si otohp yar-X siht ni ”X“ evitcnitsid ehT eht esuaceB .xileh a fo nrettap elatllet eht snoisnemid eht ,raluger os si nrettap yar-X .tnetsisnoc eb osla tsum xileh eht fo xileh eht fo retemaid eht ,elpmaxe roF .emas eht yltcaxe syats 00278

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Blockchain Platform

Logo research

Thesis process book

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X-ray crystallograph pattern of DNA

ogoL detalexiP snrettap setaerc skcolb sa

> ?euqinU si tahW <

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Blockchain Platform

Logo research

Thesis process book

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hcraeser ogoL

> ?euqinU si tahW <

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Blockchain Platform

Logo Lockups

Artists On The Block

A T

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Thesis process book

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Artists On The Block

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Blockchain Platform

Logo Lockups

Artists On The Block

A T

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Thesis process book

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Process

spukcoL ogoL

БTOA

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O B

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A T

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stsitrA nO ehT kcolB

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Blockchain Platform

Logo BasedLockups on visual cryptography technique I tryed to use the black and white pixel elements in design

Artists On The Block

stsitrA kcolB ehT nO

O Artists B On The Block

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Artists On The Block

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BTOA A

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BTOA Artists

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BTOA

Block

BTOA

BTOA Thesis process book

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Artists On The Block

AOTB

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Blockchain Platform

Logo BasedLockups on visual cryptography technique I tryed to use the black and white pixel elements in design

Website screenshots

Artists On The Block

AO TB AOTB

A T

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Artists

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The

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Artists On The Block Thesis process book

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Process

spukcoL ogoL

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OA BT

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BTOA

stsitrA kcolB ehT nO

kcolB

ArtCenter 2018

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ehT

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Blockchain Platform

Based on visual cryptography technique I tryed to use the black and white pixel elements in design

Website screenshots

>â&#x20AC;&#x160;tnempoleved etisbeWâ&#x20AC;&#x160;<

Thesis process book

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Process

spukcoL ogoL

< Website development > Artists On The Block

Artists On The Block

AOTB

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Blockchain Platform

Based on visual cryptography technique I tryed to use the black and white pixel elements in design

Thesis process book

Website screenshots

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etisbeW stohsneercs

lausiv no desaB yhpargotpyrc ot deyrt I euqinhcet dna kcalb eht esu stnemele lexip etihw ngised ni

< Website development >

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Concrete image is made out of pixels as well.

Thesis process book

Blockchain Platform

yduts etisbeW

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etisbeW stohsneercs

Process

Website study

lausiv no desaB yhpargotpyrc ot deyrt I euqinhcet dna kcalb eht esu stnemele lexip etihw ngised ni

< Website development >

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Blockchain Platform

Concrete image is made out of pixels as well.

Thesis process book

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Process

Website study

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si egami etercnoC slexip fo tuo edam .llew sa

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Blockchain Platform

yduts etisbeW

Thesis process book

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Process

Website study

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si egami etercnoC slexip fo tuo edam .llew sa

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Kedr Livanskiy, Musician, Russia

Blockchain Platform

noitaroballoC naicisum eht fo tsitra eht dna

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Thesis process book

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Process

Website study

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si egami etercnoC slexip fo tuo edam .llew sa

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Kedr Livanskiy, Musician, Russia

VR Experience

Ildar.IonoitaroballoC Visual naArtisr, icisum eht fo Russiatsitra eht dna

>noitaroballoC tsitrA dna naicisuMâ&#x20AC;&#x160;< mroftalp eht no tuo emoc lliw mubla cisuM rehtegot yub uoy taht ecneirepxe RV a htiw eb dluow ecneirepxe RV .drocer eht htiw snaicisum dna stsitra fo noitaroballoc eht wen eht fo noitazilausiv euqinu a gnitaerc nehw ,slyniV rof eb ot desu emaS .mubla hcaE .srevoc lyniV detaerc stsitra suomaf ylthgils a evah dluoc yllaitnetop mubla emas eht ni gniniamer ,snoitcaretni tnereffid .gnileef dna erehpsomta yrev si anirdeK anaY aka yiksnaviL rdeK aissuR morf naicisum dnuorgrednu nwoner puorg modgniK s`nhoJ fo trap si ehs ,yadot dna suoiretsym yrev si cisum reH .stsitra fo morf cisum naissuR yb deripsni ,cinortcele aissuR teivoS-tsoP ni efil dna s09

latigid naissuR gnuoy a si oi.radlI .flesmih sllac eh sa ,tsitra noitazilabolg noitcennoc gnitseretni emos dnuof evah I htiw tserof eht ni seceip sih fo emos morf .anirdeK anaY fo mubla eht

Thesis process book

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Collaboration of the musician and the artist

<â&#x20AC;&#x160;Musician and Artist Collaboration> Music album will come out on the platform with a VR experience that you buy together with the record. VR experience would be the collaboration of artists and musicians creating a unique visualization of the new album. Same used to be for Vinyls, when famous artists created Vinyl covers. Each album potentially could have a slightly different interactions, remaining in the same atmosphere and feeling. Kedr Livanskiy aka Yana Kedrina is very renown underground musician from Russia today, she is part of John`s Kingdom group of artists. Her music is very mysterious and electronic, inspired by Russian music from 90s and life in Post-Soviet Russia

Ildar.io is a young Russian digital globalization artist, as he calls himself. I have found some interesting connection from some of his pieces in the forest with the album of Yana Kedrina.

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koob ssecorp sisehT

VR Experience

Kedr Livanskiy, Musician, Russia

Thesis process book

Ildar.Io Visual Artisr, Russia

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Process

CollaborationoI.radlI of the ,musician rsitrA lausiV and the artistaissuR

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,yiksnaviL rdeK aissuR ,naicisuM

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Thesis process book

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Thesis process book

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Begining of 3D modeling

Thesis process book

rof sehctekS ecneirepxe RV eht

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Process

Sketches for the VR experience

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VR Experience

Begining of 3D modeling

Thesis process book

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Process

Sketches for the VR experience

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fo gninigeB gniledom D3

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Thesis process book

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Thesis process book

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VR Experience

Screenshots of VR testing

Thesis process book

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VR Experience

Screenshots of VR testing

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Process

stohsneercS gnitset RV fo

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Fast Company

lairotide dna revoC toohsotohp

gnihcnual eht dna sisehT ym ebircsed oT ecudorp ot dediced I ,mroftalp eht fo roF .eussi 5202 enizagam ynapmoC tsaF evah I serutcip revoc dna lairotide eht rof aedi ehT .rehpargotohp a detcatnoc RV eht tcejorp ot saw toohsotohp eht sroloc eht htiw yalp dna em no ecneirepxe .sngised ym ni desu Thesis process book

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Process

Cover and editorial photoshoot

stohsneercS gnitset RV fo

To describe my Thesis and the launching of the platform, I decided to produce Fast Company magazine 2025 issue. For the editorial and cover pictures I have contacted a photographer. The idea for the photoshoot was to project the VR experience on me and play with the colors used in my designs. 00328

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Fast Company

Thesis process book

Interviews

Beatie Wolfe is a recording artist, song writer and technophile.

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Process

Cover and editorial photoshoot

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ynapmoC tsaF

koob ssecorp sisehT

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Interviews

Beatie Wolfe is a recording artist, song writer and technophile.

> efloW eitaeB htiw gniteeM < derolpxe sah eitaeB emit tsrfi eht dna ygolonhcet aiv cisum reh gnitomorp D3 htiw dehcnual thgi8 mubla tsrfi reh hcihw ppa ertaehT poT mlaP evitcaretni enohp trams a pota eitaeB detcejorp ro renetsil eht gnittup ylevitceffe ,neercs eitaeB lautriv a fo wor tnorf eht ni reweiv .suoinegni ytterP .trecnoc efloW a ,sbaL lleB ta etis no saw eitaeB elihW ot ekil dluow ehs fi deksa reenigne dnuos moor sihT .moor tseteiuq s’dlrow eht tisiv evitcefler on a ,rebmahc ciohcena na si s’ti ,teiuq os ecalp a ,moor eerf ohce doolb fo dnuos eht raeh ot elbissop evol ni llef eitaeB .sniev ruoy ni gnihsur dna rebmahc eht ni cisum gniyalp htiw tuoba saedi dnuora gnikcik osla saw ,suhT .secneirepxe cisum ”gnimaerts-itna“ waR ,mubla driht reh hcnual ot aedi eht RA 063 evil tsrfi s’dlrow eht sa ,ecapS ti woh s’ereH .nrob saw maerts mubla reh yalp ot tes saw reyalp drocer A :dekrow eht ni keew eno rof taeper no lyniv deyalp drocer eht elihW .rebmahc ciohcena dna elbatnrut gninnips eht ffo wefl sciryl sresU .moor eht dnuora deraeppa slausiv dna moor eht otni ees dna enilno gol dluoc RA 063 evil a sa ecapS waR eht ecneirepxe ssecorp evitaroballoc ehT .maerts mubla laicurc saw sbaL lleB dna eitaeB neewteb eno dna ,hcnual drocer ecapS waR eht ni ot stiderc eitaeB spihsrentrap ynam eht fo seitilibissop gnireenoip reh gninrut .seitilaer gnimoceb ecroF dnA ,renroC a otnI flesruoY kcaB a sA .noisaccO eht ot esiR ot flesruoY ygolonhcet evitavonni sexim ohw naicisum sah eitaeB ,sehcnual mubla reh otni dna ,sessim ,sessem ynam decneirepxe syaD .yad esaeler ot etuor ne segnellahc ehs ,dehcnual ppa mubla D3 reh erofeb neve dluow ygolonhcet eht fi erusnu saw saw QG sa melborp rojam a saw sihT .krow ppa eht fo ereimerp a rof draob no ydaerla ,tuB .smroftalp s’enizagam eht fo lla no Thesis process book

tuoba eitaeB htiw klat ot ecnahc a dah I ,cisum dna ytilaer lautriv fo erutuf eht si ehs gnimaerts fo ega eht ni woh dna .smubla wen reh gnitomorp lacisum reh fo stimil eht gnihsup si ehS fo evol reh ot eurt gniyats dna noisiv yllaitnetop gniwehcse ,gnilletyrots evom dlob a s’tI .sreffo lebal gib evitarcul ni latnemurtsni si syas ehs taht gnidrocer a sa ytirgetni reh gniniatniam rehto htiw krow ot reh gniwolla dna tsitra yas ot modeerf eht gniniatniam ,stsitra gib a tuohtiw snoitaroballoc gniticxe ot sey gnitanicsaf s’tI .stohs eht gnillac lebal gniyalp nageb ehS .yenruoj s’eitaeB raeh ot reh desu ehs sessefnoc dna 8 dega onaip ,reh rof sgnos reh ebircsnart ot rotut onaip ehT .flesreh yalp ot gninrael naht rehtar ylrae na saw cisum yduts ot ton noisiced no nrael ot sreferp ehs syas eitaeB – eno -erp a ni naht rehtar smret nwo reh rewoP tnecer s’eitaeB .yaw debircserp tsrfi eht si tcejorp aitnemeD dna cisuM fo dna egagne ot tpmetta ot dnik sti fo htiw srereffus aitnemed tcennocer wen hguorht seiromem dna snoitome eb ot si mubla gnimocpu s’eitaeB .cisum CFN htiw deddebme sdrac aiv dehcnual sresu enohp trams gnilbane ,ygolonhcet gnos tnatsni etaitini ot sdrac eht nacs ot krowtra gnos eht gniweiv tslihw kcabyalp dna etaidemmi ,elitcat a s’tI .sciryl dna aiv – cisum reh ot noitcudortni etamitni os ti sekam tahw si hcihw – ygolonhcet ehs tcejorp gnitseretni rehtonA .gnitseretni htiw gnitaroballoc si no gnikrow saw gnitaerc rengised elitxet a – nevoWtaeB morf cirbaf nevow detareneg yllatigid gnignis eitaeB fo gnidrocer evil ehT .dnuos fo dnuos tneibma eht htiw emoH eM ekaT ugatnoM 43 ta tafl s’divaD ta ecneidua reh a otni nevow gnieb yltnerruc si erauqS divaD yb nwog a otni detfarc eb ot cirbaf -efiL-latigiD( DLD ta dehcnual dna nosaM t’nsi sihT .yraunaJ ni ecnerefnoc )ngiseD 8102 retneCtrA

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Cover and editorial photoshoot

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< Meeting with Beatie Wolfe > I had a chance to talk with Beatie about the future of virtual reality and music, and how in the age of streaming she is promoting her new albums. She is pushing the limits of her musical vision and staying true to her love of storytelling, eschewing potentially lucrative big label offers. It’s a bold move that she says is instrumental in maintaining her integrity as a recording artist and allowing her to work with other artists, maintaining the freedom to say yes to exciting collaborations without a big label calling the shots. It’s fascinating to hear Beatie’s journey. She began playing piano aged 8 and confesses she used her piano tutor to transcribe her songs for her, rather than learning to play herself. The decision not to study music was an early one – Beatie says she prefers to learn on her own terms rather than in a preprescribed way. Beatie’s recent Power of Music and Dementia project is the first of its kind to attempt to engage and reconnect dementia sufferers with emotions and memories through new music. Beatie’s upcoming album is to be launched via cards embedded with NFC technology, enabling smart phone users to scan the cards to initiate instant song playback whilst viewing the song artwork and lyrics. It’s a tactile, immediate and intimate introduction to her music – via technology – which is what makes it so interesting. Another interesting project she was working on is collaborating with BeatWoven – a textile designer creating digitally generated woven fabric from sound. The live recording of Beatie singing Take Me Home with the ambient sound of her audience at David’s flat at 34 Montagu Square is currently being woven into a fabric to be crafted into a gown by David Mason and launched at DLD (Digital-LifeDesign) conference in January. This isn’t

the first time Beatie has explored promoting her music via technology and her first album 8ight launched with 3D interactive Palm Top Theatre app which projected Beatie atop a smart phone screen, effectively putting the listener or viewer in the front row of a virtual Beatie Wolfe concert. Pretty ingenious. While Beatie was on site at Bell Labs, a sound engineer asked if she would like to visit the world’s quietest room. This room is an anechoic chamber, a no reflective echo free room, a place so quiet, it’s possible to hear the sound of blood rushing in your veins. Beatie fell in love with playing music in the chamber and was also kicking around ideas about “anti-streaming” music experiences. Thus, the idea to launch her third album, Raw Space, as the world’s first live 360 AR album stream was born. Here’s how it worked: A record player was set to play her vinyl on repeat for one week in the anechoic chamber. While the record played lyrics flew off the spinning turntable and visuals appeared around the room. Users could log online and see into the room and experience the Raw Space as a live 360 AR album stream. The collaborative process between Beatie and Bell Labs was crucial in the Raw Space record launch, and one of the many partnerships Beatie credits to turning her pioneering possibilities becoming realities. Back Yourself Into a Corner, And Force Yourself to Rise to the Occasion. As a musician who mixes innovative technology into her album launches, Beatie has experienced many messes, misses, and challenges en route to release day. Days before her 3D album app launched, she was unsure if the technology would even work. This was a major problem as GQ was already on board for a premiere of the app on all of the magazine’s platforms. But,

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Benji BeatieRogers, Wolfe is the a recording founder artist, of DotBlockchainMusic song writer and technophile.

> srejoR ijneB htiw llaC enohP < Beatie niahckcolb fo reenoip eht detcatnoc evah I cisuthinks m latigthese id egaseemingly reva eht taimpossible ht detamitse deadlines weivretni eht nI .srejoR ijneB ,cisum ni noilliand m 04challenges –02 neewtcreate eb sekaamclimate ecivres where you have to move forward and rise to nI“ :etouq etiruovaf sih denoitnem eh a ni srenetsil rieht ot elbaliava sgnos thefooccasion. “Once you have pushed e h t ,seigolonhcet wen tpoda ot ecar eht lla sedulcxe siht dna ,esnes etamitigel yourself many dehsinfi sah yllacirotsih yrtsudni cisum tnetinto noc adecorner tarenewhere g-resutheres dna seso xim eht thingsariding sa hcum sA“ ”.hsimA eht fo daeha tsuj tad onon htthat, iw tenyou retnmake I eht oitthappen. dedaolpu There’s no way of pushing things forward if kniht tub pleh t’nac I ,etouq eht evol I esac eht nI .sisab yliad a no ti ot dehcatta you do what’s comfortable.” Want to disrupt o N “ :dias eH .”.hsimA eht ot riafnu s’taht noillim 9.3 taht setamitse tesbuD ,MDE fo your own has with em rof setaluspacne ygolonhcet wen hcaeindustry dedaolplike u si Beatie tnetnoc xim fo sruoh music? siht rof egnahc evitisop rof laitnetop eht egareCreate va na san niaimpossible tnoc hcihwchallenge, fo hcae ,keand ew then meet it head-on. eht naht erom yrtsudni cisum gnireffus ton era srenwo esohw snoitisopmoc 03 fo n a erolpxe ot tnaw I ,hcus sA .niahckcolB !MDE tsuj s’taht dnA .detasnepmoc gnieb gnignahc-emag siht no sehcuot taht aedi dluoc uoy taht :oiranecs a enigami s’teL taht yaw elbanoitca na ni ygolonhcet noitaerc eht htiw hctarcs morf niaga trats l acisum eht ni lla tfieneb lliw eveileb I eht niatnoc dluow taht esabatad a fo l a citirc eht fo ytirojam ehT .metsysoce ydaerla cisum eht fo lla rof atadatem strepxe yrtsudni cisum yb detic seussi gniog cisum lla sa llew sa ecnetsixe ni yek a tub ,secruos wef a morf mets cilbup ,nepo na eb dluow sihT .drawrof d n a y c n e rapsnart nihtiw sllaf aera melborp detneserper era srotaerc hcihw ni ecaps o t a t a d atem ro ,atad pihsrenwo fo ytiralc ni dna ,sevlesmeht tneserper nac ro/dna eht si esac siht ni atadateM .esicerp eb siht esu ot dehsiw ohw seinapmoc hcihw ohw yfitnedi ot dedeen si taht ofni cisab erew yeht tahw dnfi ylpmis dluoc cisum t a h t cisum eht snwo dna ,demrofrep ,etorw eht taht erusne osla dluow tI .rof gnikool s ti dna atad sihT .yad yreve ot netsil uoy rof diap gnieb erew srenwo dna srotaerc taht erusne ot snaem lativ a era ycarucca .desu gnieb si ti )nehw dna( sa krow rieht krow rieht rof diap teg srenwo dna srotaerc riaF a llac dluow I tahw eb dluow sihT evah nac sgnoS .desu si cisum rieht nehw yna hcihw ni eno ,esabataD cisuM edarT ,srehsilbup ,sremrofrep ,sretirw elpitlum dluow ti nihtiw deniatnoc yrtne/gnos egasu tnereffid neve dna ,sesnecil dna )DVM( ataD elbaiV muminiM evah ot evah From: Masha Rassam mrassam@inside.artcenter.edu nac gnos elgnis A .yrotirret yb sthgir s t h g i r d n a s t s i t r A . k r o w h c a e o t d e h c a t t a Subject: Re: Thanksomuch! s t e s e l p itlum ot tuo yap ot evah semitemos cisuMarch m yn8, a 2018 tahtate09:31 ugra neht dluoc sredloh Date: t n e r e f f i d ta seirtnuoc tnereffid ni elpoep fo To: tsamantha j fleming samjf2@mac.com on did taht esabatad siht fo edistuo Cc: )D Nicholas Butterworth oT .snbeatie@beatiewolfe.com oitazinagro tnereffid hguorht semit VM( a(Nick) taD e lbaiV mBeatieWolfe uminiM econtact@beatiewolfe.com, ht teem lartnec on si ereht!,esrow srettam ekam ti sa ,edar! T riaF eb ton dluow dradnats Hi Beatie and Nick, s k c a rt taht dlrow eht ni erehwyna esabatad ofni sthgir hguone niatnoc ton dluow I also wanted to thank you for your time yesterday! It was very inspiring! was elpiAnd tlum ,tgreat caf ntoi hear ,eratheerartist’s ehT .prospective! pihsrenwo eht retnE .esu riaf a etutitsnoc ot ti nihtiw ek ohiswdone. snoitazinagro dna seinapmoc eIvwould oba be ehhappy t fI .ntoiashow hckyou colmy B sfinal ti dthesis na nonce ioctthe iB VR and thepeplatform ebolg eht dnuora sesabatad elpitlum no detaerc eb ot erew esabatad denoitnem Best regards, a t ad eht fo )ytirojam a ton fi( hcum tub dezilartneced eb dluow ti ,niahckcolB eht f o t uo ro ,tcerrocni ,detnemgarf netfo si dnRassam a( ytitnNovoselova e elgnis on yb denwo dna Masha tuoyap wols yllaicalg ot gnidael — etad a si niahckcolB ehT .)ydobyreve ,erofereht dnuora gnittis yenom fo sloop dna semit gniSent niatfrom nocmyreiPhone gdel dezilartneced evissam sa ,noitautis ehT .ti mialc ot eno on htiw kcOnolMar B s8,is2018, eneGat e7:06 ht AM, morsamantha f snoitcj fleming asnar<samjf2@mac.com> t lla wrote: r of mret etirovaf yM .ssem a si ,sdnats ti eht ni snoitcasnart fo kcolb tsrfi eht .g.e( si tI .ti fo tol a s’ereht dna ”puos eht“ si ti Beatie sk&coNick, lB .kcolb tsetal eht ot )regdel Thank you for the meeting and inspiring chat. Life benefits from these exchanges.

Thesis process book

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I’m sure the thinking will be richer for your presence and insights.

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Benji Rogers, the founder of DotBlockchainMusic

> srejoR ijneB htiw llaC enohP < cisum latigid egareva eht taht detamitse noillim 04–02 neewteb sekam ecivres a ni srenetsil rieht ot elbaliava sgnos fo lla sedulcxe siht dna ,esnes etamitigel tnetnoc detareneg-resu dna sexim eht atad on htiw tenretnI eht ot dedaolpu esac eht nI .sisab yliad a no ti ot dehcatta noillim 9.3 taht setamitse tesbuD ,MDE fo hcae dedaolpu si tnetnoc xim fo sruoh egareva na sniatnoc hcihw fo hcae ,keew ton era srenwo esohw snoitisopmoc 03 fo !MDE tsuj s’taht dnA .detasnepmoc gnieb dluoc uoy taht :oiranecs a enigami s’teL noitaerc eht htiw hctarcs morf niaga trats eht niatnoc dluow taht esabatad a fo ydaerla cisum eht fo lla rof atadatem gniog cisum lla sa llew sa ecnetsixe ni cilbup ,nepo na eb dluow sihT .drawrof detneserper era srotaerc hcihw ni ecaps ni dna ,sevlesmeht tneserper nac ro/dna siht esu ot dehsiw ohw seinapmoc hcihw erew yeht tahw dnfi ylpmis dluoc cisum eht taht erusne osla dluow tI .rof gnikool rof diap gnieb erew srenwo dna srotaerc .desu gnieb si ti )nehw dna( sa krow rieht riaF a llac dluow I tahw eb dluow sihT yna hcihw ni eno ,esabataD cisuM edarT dluow ti nihtiw deniatnoc yrtne/gnos )DVM( ataD elbaiV muminiM evah ot evah sthgir dna stsitrA .krow hcae ot dehcatta cisum yna taht eugra neht dluoc sredloh ton did taht esabatad siht fo edistuo )DVM( ataD elbaiV muminiM eht teem ti sa ,edarT riaF eb ton dluow dradnats ofni sthgir hguone niatnoc ton dluow eht retnE .esu riaf a etutitsnoc ot ti nihtiw evoba eht fI .niahckcolB sti dna nioctiB no detaerc eb ot erew esabatad denoitnem dezilartneced eb dluow ti ,niahckcolB eht dna( ytitne elgnis on yb denwo dna a si niahckcolB ehT .)ydobyreve ,erofereht gniniatnoc regdel dezilartneced evissam kcolB siseneG eht morf snoitcasnart lla eht ni snoitcasnart fo kcolb tsrfi eht .g.e( skcolB .kcolb tsetal eht ot )regdel Thesis process book

niahckcolb fo reenoip eht detcatnoc evah I weivretni eht nI .srejoR ijneB ,cisum ni nI“ :etouq etiruovaf sih denoitnem eh eht ,seigolonhcet wen tpoda ot ecar eht dehsinfi sah yllacirotsih yrtsudni cisum sa hcum sA“ ”.hsimA eht fo daeha tsuj kniht tub pleh t’nac I ,etouq eht evol I oN“ :dias eH .”.hsimA eht ot riafnu s’taht em rof setaluspacne ygolonhcet wen siht rof egnahc evitisop rof laitnetop eht eht naht erom yrtsudni cisum gnireffus na erolpxe ot tnaw I ,hcus sA .niahckcolB gnignahc-emag siht no sehcuot taht aedi taht yaw elbanoitca na ni ygolonhcet lacisum eht ni lla tfieneb lliw eveileb I lacitirc eht fo ytirojam ehT .metsysoce strepxe yrtsudni cisum yb detic seussi yek a tub ,secruos wef a morf mets dna ycnerapsnart nihtiw sllaf aera melborp ot atadatem ro ,atad pihsrenwo fo ytiralc eht si esac siht ni atadateM .esicerp eb ohw yfitnedi ot dedeen si taht ofni cisab taht cisum eht snwo dna ,demrofrep ,etorw sti dna atad sihT .yad yreve ot netsil uoy taht erusne ot snaem lativ a era ycarucca krow rieht rof diap teg srenwo dna srotaerc evah nac sgnoS .desu si cisum rieht nehw ,srehsilbup ,sremrofrep ,sretirw elpitlum egasu tnereffid neve dna ,sesnecil dna nac gnos elgnis A .yrotirret yb sthgir stes elpitlum ot tuo yap ot evah semitemos tnereffid ta seirtnuoc tnereffid ni elpoep fo oT .snoitazinagro tnereffid hguorht semit lartnec on si ereht ,esrow srettam ekam skcart taht dlrow eht ni erehwyna esabatad elpitlum ,tcaf ni ,era erehT .pihsrenwo peek ohw snoitazinagro dna seinapmoc ebolg eht dnuora sesabatad elpitlum atad eht fo )ytirojam a ton fi( hcum tub fo tuo ro ,tcerrocni ,detnemgarf netfo si tuoyap wols yllaicalg ot gnidael — etad dnuora gnittis yenom fo sloop dna semit sa ,noitautis ehT .ti mialc ot eno on htiw rof mret etirovaf yM .ssem a si ,sdnats ti si tI .ti fo tol a s’ereht dna ”puos eht“ si ti 8102 retneCtrA

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< Phone Call with Benji Rojers > I have contacted the pioneer of blockchain in music, Benji Rojers. In the interview he mentioned his favourite quote: “In the race to adopt new technologies, the music industry historically has finished just ahead of the Amish.” “As much as I love the quote, I can’t help but think that’s unfair to the Amish.”. He said: “No new technology encapsulates for me the potential for positive change for this suffering music industry more than the Blockchain. As such, I want to explore an idea that touches on this game-changing technology in an actionable way that I believe will benefit all in the musical ecosystem. The majority of the critical issues cited by music industry experts stem from a few sources, but a key problem area falls within transparency and clarity of ownership data, or metadata to be precise. Metadata in this case is the basic info that is needed to identify who wrote, performed, and owns the music that you listen to every day. This data and its accuracy are a vital means to ensure that creators and owners get paid for their work when their music is used. Songs can have multiple writers, performers, publishers, and licenses, and even different usage rights by territory. A single song can sometimes have to pay out to multiple sets of people in different countries at different times through different organizations. To make matters worse, there is no central database anywhere in the world that tracks ownership. There are, in fact, multiple companies and organizations who keep multiple databases around the globe but much (if not a majority) of the data is often fragmented, incorrect, or out of date — leading to glacially slow payout times and pools of money sitting around with no one to claim it. The situation, as it stands, is a mess. My favorite term for it is “the soup” and there’s a lot of it. It is

estimated that the average digital music service makes between 20–40 million songs available to their listeners in a legitimate sense, and this excludes all of the mixes and user-generated content uploaded to the Internet with no data attached to it on a daily basis. In the case of EDM, Dubset estimates that 3.9 million hours of mix content is uploaded each week, each of which contains an average of 30 compositions whose owners are not being compensated. And that’s just EDM! Let’s imagine a scenario: that you could start again from scratch with the creation of a database that would contain the metadata for all of the music already in existence as well as all music going forward. This would be an open, public space in which creators are represented and/or can represent themselves, and in which companies who wished to use this music could simply find what they were looking for. It would also ensure that the creators and owners were being paid for their work as (and when) it is being used. This would be what I would call a Fair Trade Music Database, one in which any song/entry contained within it would have to have Minimum Viable Data (MVD) attached to each work. Artists and rights holders could then argue that any music outside of this database that did not meet the Minimum Viable Data (MVD) standard would not be Fair Trade, as it would not contain enough rights info within it to constitute a fair use. Enter the Bitcoin and its Blockchain. If the above mentioned database were to be created on the Blockchain, it would be decentralized and owned by no single entity (and therefore, everybody). The Blockchain is a massive decentralized ledger containing all transactions from the Genesis Block (e.g. the first block of transactions in the ledger) to the latest block. Blocks

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Benji Rogers, the founder of DotBlockchainMusic

are generated every ten minutes and are unchangeable. They are anchored in space and time by the entire network that runs the system, and transactions have a monetary value ascribed to them in Bitcoins (or to be more accurate fractions thereof). Each transaction is unique and identified by a unique address or hash, and every transaction is searchable by anyone should they wish to do so. All in all, it would seem that the Blockchain would be a perfect place to hold this massive Fair Trade Global Database of rights. Open to all. Owned by no one and with a permanent record of ownership stamped in place and time across hundreds of thousands of computers running the system. To put it simply, if we could put every song’s MVD into a global decentralized database owned by all who interact with it, then this would start to solve a multitude of the music and content industry’s problems regarding ownership, payments and transparency. In Virtual Reality (VR) and Augmented Reality (AR), I believe that we are about to see the world’s largest deployment of a new format since the CD, DVD or BluRay, and there is as yet no standard or format for this new technology. There is no codec, no “.vr” file standard that all players will adhere, read or write to. They are currently a mashup of other formats as .exe, .wav, .mov, etc — and so there is, at the present time, a singular moment in the cycle of technology to create and adopt a fair trade format and roll it out through VR & AR. There may not be another time in the next 20 or so years to get mass adoption of a new standard, so I propose that one is created. I propose the creation of a new form of codec that I have called .bc (short for “dot BlockChain”). The .bc or “dot Blockchain” codec would be a new standard aimed at VR deployment. Thesis process book

Once created, all music and video content encoded into a .bc codec would be required to contain a Fair Trade Minimum Viable Data (MVD) set that is anchored into the Blockchain ledger in order to be comprehensible to a VR player. In other words, a VR player would simply not be able to play any content that did not have a unique Blockchain address or hash attached to it with permissions expressed therein. Furthermore since Blockchain transactions are immutable and unique you cannot replicate any single instance or file and so any content removed from the codec — e.g. ripped from it — would be unreadable to the player as it would no longer contain the aforementioned MVD along with the rights or rules associated with the source file. Each bc. codec file would contain a play/ usage count to make it work in the real world before requiring a re-sync to the Blockchain to assess any changes in usage rights or ownership. To put it another way, when play is attempted by the player, it assesses the # of plays available to it and allows that number. In order to get more plays, you would need to re-access the genesis transaction and either buy or rent more. (Think having to sync Spotify to the web on a phone). These rules for play as part of the Fair Trade Minimum Viable Data would be set at time of encoding by the artist or rights holder. If ownership or rules change, then a new codec is created from the previous with the representative new metadata being “agreed” to through smart contracts by the owners invalidating the older entry but creating a searchable tree of rights changes in the ledger. I see VR as the Trojan Horse to seed this new format, as eventually all new and existing content will need to be ported to these new players. New VR content as it is created will need to have both old and new music 8102 retneCtrA

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,sregoR ijneB fo rednuof eht cisuMniahckcolBtoD

< Phone Call with Benji Rojers > I thave netno contacted c oediv dnthe a cipioneer sum lla of ,deblockchain taerc ecnO in music,eBenji b dluoRojers. w cedoIn c cthe b. ainterview otni dedocne hemmentioned uminiM edhis arT favourite riaF a niatquote: noc ot“In deriuqer the race deroto hcadopt na si tanew ht tetechnologies, s )DVM( ataD the elbaiV music eb oindustry t redro nhistorically i regdel niahas hckcfinished olB eht otni just rahead ehto nIof.rethe yalAmish.” p RV a o“As t elbmuch isneheas rpmoc I love ebthe tonquote, ylpmisI can’t dluowhelp reyabut lp Rthink V a ,sdrow that’s evahunfair ton did tota the ht tAmish.”. netnoc yHe na said: yalp o“No t elba new technology hsah ro ssencapsulates erdda niahckcfor olBme euqinu a the despotential serpxe sn for oispositive simrep hchange tiw ti otfor dethis hcatta suffering niahcmusic kcolBindustry ecnis eromore mrehthan truF .the niereht Blockchain. euqinu dAs nasuch, elbatuI m want mi eto ra explore snoitcasan nart idea ecthat natstouches ni elgnis on ynathis etagame-changing cilper tonnac uoy technology morf devin oman eractionable tnetnoc ynway a os that dna elfi ro I believe dluow will — tbenefit i morf dall epin pirthe .g.emusical — cedoc eht ecosystem. on dluow tiThe sa rmajority eyalp ehtofotthe elbcritical adaernu eb issues DVMcited denoby itnmusic emeroindustry fa eht niaexperts tnoc regnol stem detfrom aicosasfew a sesources, lur ro sthbut gir eahkey t htiw gnola problem area falls within .etransparency lfi ecruos eht h and tiw clarity /yalpofa ownership niatnoc dludata, ow elor fi cmetadata edoc .cb hto caE be precise. laer ehtMetadata ni krow tiin ekthis am o case t tnuis octhe egasu basiceh info t otthat cnysis-eneeded r a gnirito uqidentify er erofebwho dlrow e wrote, gasu nperformed, i segnahc yand na sowns sessathe ot nmusic iahckcthat olB you ,yaw listen rehto tonaevery ti tupday. oT .This pihsrdata enwoand ro sits thgir accuracy ti ,reyaare lp eahvital t yb dmeans etpmeto ttaensure si yalpthat nehw creators dna ti oand t elbowners aliava syget alppaid fo # for ehttheir sesswork essa when erotheir m tegmusic ot redisroused. nI .reSongs bmun tcan aht shave wolla multiple eht swriters, secca-eperformers, r ot deen dlupublishers, ow uoy ,syalp and tnelicenses, r ro yub reand htieeven dna different noitcasnausage rt siseneg rights eht oby t yfterritory. itopS cnyAs single ot gnivsong ah kncan ihT( .erom sometimes sa yalp rhave of selto ur pay esehout T .)etonomultiple hp a no sets bew of atapeople D elbaiin V different muminiMcountries edarT riaFatehdifferent t fo trap times ehtthrough yb gniddifferent ocne fo eorganizations. mit ta tes eb dlTo uow make selur rmatters o pihsreworse, nwo fI .there redlohissno thgcentral ir ro tsitra database morf deta anywhere erc si cedin octhe weworld n a nethat ht ,eg tracks nahc ownership. wen evitaThere tneserare, per in ehfact, t htiwmultiple suoiverp eht companies trams hguoand rht oorganizations t ”deerga“ gniwho eb akeep tadatem multiple eht gndatabases itadilavni saround renwo ethe ht yglobe b stcartnoc but eemuch rt elba(if hcnot raesa amajority) gnitaercof tuthe b yrdata tne redlo issaoften RV ee fragmented, s I .regdel ehincorrect, t ni segnaor hcout sthof gir fo date ,tam —r o leading f wen sto ihtglacially dees ot e slow sroHpayout najorT eht times tnetnand oc gpools nitsixeofdmoney na wensitting lla yllaaround utneve sa with no one wento esclaim eht otit. deThe tropsituation, eb ot deeas n lliw it stands, detaeris c sai mess. ti sa tnMy etnfavorite oc RV we term N .srfor eyalp it is cis“the um w soup” en dnand a dlothere’s htob eavalot h oof t dit.eeItnislliw

dna that setunthe im average net yrevedigital detare neg era estimated music ni demakes rohcnabetween era yehT20–40 .elbaegmillion nahcnu era service taht kavailable rowten erto itntheir e ehtlisteners yb emit dinna songs a ecaps e v a h s n o i t c a s n a r t d n a , m e t s y s e ht of snur legitimate sense, and this excludes all ni mand eht ouser-generated t debircsa eulavcontent yratenom a the mixes snoitcarftoetthe arucInternet ca eromwith eb ono t rodata ( snioctiB uploaded d n a e u q i n u s i n o i t c a s n a r t h c a E .)focase ereht attached to it on a daily basis. In the , h s a h r o s s e r d d a e u q i n u a y b d e fi i tnedi of EDM, Dubset estimates that 3.9 million lbahcontent craes si is nouploaded itcasnart each yreve dna hoursybofemix ,lla ni leach lA .osofodwhich ot hscontains iw yeht dlan uoaverage hs enoyna week, d l u o w n i a h c k c o l B e h t t a h t m e e dluo w ti of 30 compositions whose ownerssare not rbeing iaF evcompensated. issam siht dlohAnd ot ethat’s calp tjust cefreEDM! p a eb ot nimagine epO .sthagscenario: ir fo esaba taDyou labocould lG edarT Let’s that tnenaagain mrep from a htiwscratch dna enwith o on the yb dcreation enwO .lla start ecalp ni dthat epmwould ats pihcontain srenwothe fo drocer ofdnaadatabase f o s d n a s u o h t f o s d e r d n u h s s o rca emit metadata for all of the music already mewell tsys as ehtallgnmusic innur going sretupmoc in existence.as yreThis ve tuwould p dluobe c ew ,ylpmpublic is ti tup oT forward. anfiopen, d e z i l a r t n e c e d l a b o l g a o t n i D VM s’gnos space in which creators are represented ,and/or ti htiw can tcarrepresent etni ohw llthemselves, a yb denwo eand saba intad edutcompanies itlum a evlowho s ot twished rats dluto owuse sihthis t neht which s’yrtssimply udni tnfind etnowhat c dnathey cisuwere m eht fo music could s t n e m y a p , p i h s r e n w o g n i d r a g e r s m lborp looking for. It would also ensure that ethe . y c n e r a p s n a r t dna creators and owners were being paid for detneas mg uA dwhen) na )RVit( yistibeing laeR laused. utriV nI their work (and uoba ebe ra ewhat w tahI twould eveilecall b I ,a )RFair A( ytilaeR Thistwould t n e m y o l p e d t s e g r a l s ’ d l r o w e htany ees ot Trade Music Database, one in which r o D V D , D C e h t e c n i s t a m r o f w e song/entry contained within it would n a fo radhave nats Minimum on tey sa Viable si erehData t dna(MVD) ,yaRulB havedto erehT .to ygeach olonhwork. cet weArtists n siht rand of tarights mrof ro attached l l a t a h t d r a d n a t s e l fi ” r v . “ o n , c e d o c on si holders could then argue that any music y e h T . o t e t i r w r o d a e r , e r e h d a l l i w s outside of this database that did not reyalp sa stathe mroMinimum f rehto foViable puhsaData m a y(MVD) ltnerruc era meet ta ,si erwould eht osnot dnabe — Fair cte ,Trade, vom. ,vas awit. ,exe. standard e h t n i t n e m o m r a l u g n i s a , e m i t t n e serp eht would not contain enough rights info t p o d a d n a e t a e r c o t y g o l o n h c e t fo ethe lcyc within it to constitute a fair use. Enter hguoand rht tits uo Blockchain. ti llor dna tam of eabove dart riaf a Bitcoin If rthe emit rehdatabase tona eb towere n yam rehcreated T .RA & R V mentioned toebe on s s a m t e g o t s r a e y o s r o 0 2 t x e n e h t n the Blockchain, it would be decentralized i esowned oporp Iby osno ,drsingle adnatsentity wen a(and fo noitpoda and noitaerc eeverybody). ht esoporp IThe .deBlockchain taerc si enoistaaht therefore, dellac decentralized evah I taht cedledger oc fo m rof wen a fo massive containing c b . e h T . ) ” n i a h C k c o l B t o d “ r o trohs( cb. all transactions from the Genesisf Block a e b d l u o w c e d o c ” n i a h c k c o d“ ro (e.g. the first block of transactionslBintothe .tneto mythe olpelatest d RV tblock. a demBlocks ia dradnats wen ledger)

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hguorht tnetnoc fo gnikcart dna noitsegni stluser sihT .smetsys dna skrowten rieht esu lagelli rof seciton nwodekat rewef ni eud“ ekil seciton gniees snaf rewef dna tnetnoc siht snoitcirtser redloh sthgir ot ylno ,yroeht nI ”.deyalp eb tonnac yalp ot elba eb dluow sreyalp ”nekorbliaj“ .tnetnoc dezirohtuanu yeht ,dewolla erehw esuaceB — cilbuP ehT raeh ot tnaw yeht tahw ylno rof yap nac wonk nac yehT .ot tnaw yeht nehw ees ro eb lliw ,llams ro egral ,srotaerc taht si eno on taht dna ylriaf detasnepmoc tnetnoc eroM .niahc eulav eht ni gnisol ton lliw ti sa retsaf elbaliava edam eb lliw nwodwols elpitlum hguorht og ot deen segnellahc noitubirtsid ot eud skcenelttob .sthgir dnuora regdel eht esuaceB — nioctiB & niahckcolB noitacilppa maertsniam a emoceb dluow dnoyeb egasu dlrow laer etaidemmi htiw regdel ehT .yenom fo gnitcasnart eht tsuj fo drocer lufrewop a emoceb dluow ylno dluow eulav stI .lla rof pihsrenwo atad elbanoitca erom eht htiw esaercni esohT ?truh siht seod ohW .sdloh ti taht ,ycnerapsnart fo kcal a morf tfiorp ohw t stnemyap fo nwod gniwols eht ro ycarip .sredloh sthgir o

Thesis process book

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fI .tsacdaorb lliw yeht tahw ot desnecil cedoc cb. eht nopu tsisni sredloh sthgir eht siht neht ,dedulcni DVM edarT riaF sti htiw atad denoitnemerofa eht sevlos yllautca ym tnaw uoy fi ,trohs nI .melborp puos nac uoy neht ,eivom RV wen ruoy rof cisum uoy ro ,ylppus I cedoc eht morf ti esnecil a gnisu eivom ruoy otni ti rohtua ot evah .evorppa I selur esohw cedoc cb. yllaretil era ew ,tnemyolped wen siht htiW hcae esuaceb orez yad morf trats ot elba ,labolg a setaerc otua derohtua cedoc cb. yreve esabatad edarT riaF dezilartneced .dedocne si gnos a emit ,sretirwgnoS ,stsitrA ?pleh ti seod ohW ,slebaL droceR ,snaicisuM ,sremrofreP gnimrofreP( s’ORP ,sreganaM ,srehsilbuP nac yeht esuaceB — )snoitazinagrO sthgiR ni atad egasu dna sthgir kcart dna ngissa elfi a emit hcae elacs labolg a no emit laer dna yltcerid diap teg dna ,dessecca si yeht taht selur eht ot gnidrocca yltnatsni trams etisiuqer dna DVM eht otni rohtua ,sredivorP ecivreS latigiD .)s(tcartnoc ,senuTi/cisuMelppA ,arodnaP ,yfitopS nac stnemyap esuaceB — cte ,uluH ,xiflteN tnatsni yllautriv dna sselmaes ,etarucca eb htiw )skcolb neewteb setunim 01 yltnerruc( egasu dna atad elbissecca ylisae .stcartnoc trams hguorht denimretederp lliw yeht esuaceB — srotaerC tnetnoC RV /wen fo ytirojam eht ot ssecca evah wen eht rof slausiv dna cisum desnecil-erp ot gnivah tuohtiw etaerc yeht taht tnetnoc wols dna lufniap gnitsixe hguorht og ecaf yeht taht esoht ekil slennahc gnisnecil krow dluow yeht taht cedoc ehT .yadot sthgir eht fo lla ti nihtiw sniatnoc htiw yeht ,esac eht ton si siht erehW .elbaliava ot redloh sthgir eht rof ni ti rohtua nac na tseuqer ro reisae tnemyap ekam RV .tsacdaorb rof cedoc cb. derohtua esuaceB — srekam erawdraH & smroftalP -ssorc defiinu elgnis a evah nac yeht sselmaes rof wolla ot dradnats mroftalp 8102 retneCtrA

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< Phone Call with Benji Rojers > licensed to what they will broadcast. If the rights holders insist upon the .bc codec with its Fair Trade MVD included, then this actually solves the aforementioned data soup problem. In short, if you want my music for your new VR movie, then you can license it from the codec I supply, or you have to author it into your movie using a .bc codec whose rules I approve. With this new deployment, we are literally able to start from day zero because each .bc codec authored auto creates a global, decentralized Fair Trade database every time a song is encoded. Who does it help? Artists, Songwriters, Performers, Musicians, Record Labels, Publishers, Managers, PRO’s (Performing Rights Organizations) — Because they can assign and track rights and usage data in real time on a global scale each time a file is accessed, and get paid directly and instantly according to the rules that they author into the MVD and requisite smart contract(s). Digital Service Providers, Spotify, Pandora, AppleMusic/iTunes, Netflix, Hulu, etc — Because payments can be accurate, seamless and virtually instant (currently 10 minutes between blocks) with easily accessible data and usage predetermined through smart contracts. VR Content Creators — Because they will have access to the majority of new/ pre-licensed music and visuals for the new content that they create without having to go through existing painful and slow licensing channels like those that they face today. The codec that they would work with contains within it all of the rights available. Where this is not the case, they can author it in for the rights holder to make payment easier or request an authored .bc codec for broadcast. VR Platforms & Hardware makers — Because they can have a single unified crossplatform standard to allow for seamless

ingestion and tracking of content through their networks and systems. This results in fewer takedown notices for illegal use and fewer fans seeing notices like “due to rights holder restrictions this content cannot be played.” In theory, only “jailbroken” players would be able to play unauthorized content. The Public — Because where allowed, they can pay for only what they want to hear or see when they want to. They can know that creators, large or small, will be compensated fairly and that no one is losing in the value chain. More content will be made available faster as it will not need to go through multiple slowdown bottlenecks due to distribution challenges around rights. Blockchain & Bitcoin — Because the ledger would become a mainstream application with immediate real world usage beyond just the transacting of money. The ledger would become a powerful record of ownership for all. Its value would only increase with the more actionable data that it holds. Who does this hurt? Those who profit from a lack of transparency, piracy or the slowing down of payments t o rights holders.

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koob ssecorp sisehT

ArtCenter 2018

ssecorP

Interviews

Paulina works in Sila Sveta, Russian inteructive studio

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Thesis process book

8102 retneCtrA

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,sregoR ijneB fo rednuof eht cisuMniahckcolBtoD

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koob ssecorp sisehT

ArtCenter 2018

ssecorP

Interviews

Paulina works in Sila Sveta, Russian inteructive studio

> rotaruC aidemitluM ,hkaZ aniluaP < ,yltnereffid uoy ta kool elpoep oD :M yeht nehw tnemnorivne ssenisub eht ni yna ereht erA .naissuR era uoy wonk naissur fo kniht llits elpoep sepytoerets ?elpoep gnuoy repus era elpoep emoS .sdneped ti lleW :P fo tol a era ereht hguohtla ,gnimoclew snoitseuq modnar emos gniksa elpoep kniht llits yeht :yaw etilop repus a ni ton gniknird steerts eht no sraeb evah ew ytilaer ehT .akialalab gniyalp elihw akdov repus era sdik gnuoY naissuR .tnereffid si ygolonhcet / tra lanoitanretni fo suoiruc ton od eht fo tol a hguohtla dna enecs yeht ,sloot esoht ot ssecca tcerid a evah dna stegdag nwo rieht tnevni ot gniyrt era .sevlesmeht etacude ycnerrucotpyrc tuoba kniht uoy od tahW :M ?ygolonhcet niahckcolb dna taerg yap ot deen yletinfied eW :P teb I dna seigolonhcet taht ot noitnetta .hguone noos tol a su esirprus lliw dlefi siht a hcus era snaissuR kniht uoy od yhW :M ?srekcah doog larutan ruo fo esuaceb s’ti kniht I :P doog syawla erew snaissuR ): ): ytisoiruc lacigol gnivlos fo syaw lacigolli gnidnfi ta .smelborp ni sniamer llits kniht uoy od tahW :M teivoS tsoP ni naem I( ytilatnem naissuR ?semit teivoS morf )erutluc htuoy htiw seussi ,ytilatipsoh !noitseuq dooG :P snoitome & sthguoht rieht gnisserpxe .boj emit lluf a ton llits si tsitra dna ..yleerf a gnieb kniht t’nod elpoep fo tsom dna .srats eht ot yaw a uoy teg nac evitaerc

Thesis process book

era erehw sdrow wef a ni em lleT :ahsaM era woh ,od uoy od tahw dna dna morf uoy ?RV ot detcennoc uoy ,hkaZ aniluaP si eman ym ,yeH :aniluaP - atevS aliS htiw rotaruc aidemitluM m’I ,wocsoM ni secfifo htiw oiduts evitcaretni evisremmi no si sucof ruO .CYN dna AL evitcaretni ,sehcnual tcudorp ,secneirepxe won CYN ni desab m’I .cte ,snoitallatsni ,RV ni stcejorp fo tol a od ew ecnis dna RV wen no hcraeser ym gniod syawla m’I .tnempoleved nI ?erutuf eht ni RV ees uoy od erehW :M gnimag sediseb desu eb nac ti saera tahw elpoep sa ,seinapmoc rof gnipytotorp dna .kniht yltsom raew annog lla ew epoh I ,llew - wow hO :P lliw RV os - noos snel tcatnoc laiceps esoht morf - efil ruo ni no lluf detnemelpmi eb ruo ot nwod / troppus lacidem / noitacude .seitivitca yadyreve ni detseretni si htuoy naissuR hcum woH :M ereht erA ?ygolonhcet gnipoleved tsaf siht krow taht sremmargorp naissuR fo tol a ?RV htiw ylesolc ,revewoh ,dlefi ralupop a etiuq si tI :P ees t’nod I .thguat - fles era meht fo tsom taht fo troppus lanoitutitsni eht fo hcum .ygolonhcet krow yltsom uoy od ,ynapmoc ruoy nI :M htiw yltsom ro sremmargorp naissuR htiw ?srengierof ngierof dna naissuR htiw htob krow eW :P eht no sdneped yltsom ti - srepoleved krow ew yltsoM .noitacol sti dna tcejorp .sremmargorp esuoh-ni ruo htiw RV esu stsitra erom dna erom ereht erA :M ?aissuR ni snoitallatsni ro krow ereht ni ytterp era yeht dna - wef a etiuq era ereht ,vobukaY radlI yug yzarc siht si erehT !doog seod ohw ,tsitra - keeg gnizama na gnihsup skrow latnemirepxe yletulosba LAER( gnitaks won si eh - seiradnuob eht elihw etaks eht sedir yug eht - RV ni )ETAKS ahah !! raeg eht gniraew 8102 retneCtrA

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< Paulina Zakh, Multimedia Curator > Masha: Tell me in a few words where are you from and and what do you do, how are you connected to VR? Paulina: Hey, my name is Paulina Zakh, I’m Multimedia curator with Sila Sveta interactive studio with offices in Moscow, LA and NYC. Our focus is on immersive experiences, product launches, interactive installations, etc. I’m based in NYC now and since we do a lot of projects in VR, I’m always doing my research on new VR development. M: Where do you see VR in the future? In what areas it can be used besides gaming and prototyping for companies, as people mostly think. P: Oh wow - well, I hope we all gonna wear those special contact lens soon - so VR will be implemented full on in our life - from education / medical support / down to our everyday activities. M: How much Russian youth is interested in this fast developing technology? Are there a lot of Russian programmers that work closely with VR? P: It is quite a popular field, however, most of them are self - taught. I don’t see much of the institutional support of that technology. M: In your company, do you mostly work with Russian programmers or mostly with foreigners? P: We work both with Russian and foreign developers - it mostly depends on the project and its location. Mostly we work with our in-house programmers. M: Are there more and more artists use VR in there work or installations in Russia? there are quite a few - and they are pretty good! There is this crazy guy Ildar Yakubov, an amazing geek - artist, who does absolutely experimental works pushing the boundaries - he is now skating (REAL SKATE) in VR - the guy rides the skate while wearing the gear !! haha

M: Do people look at you differently, in the business environment when they know you are Russian. Are there any stereotypes people still think of russian young people? P: Well it depends. Some people are super welcoming, although there are a lot of people asking some random questions not in a super polite way: they still think we have bears on the streets drinking vodka while playing balalaika. The reality is different. Russian Young kids are super curious of international art / technology scene and although a lot of the do not have a direct access to those tools, they are trying to invent their own gadgets and educate themselves. M: What do you think about cryptocurrency and blockchain technology? P: We definitely need to pay great attention to that technologies and I bet this field will surprise us a lot soon enough. M: Why do you think Russians are such a good hackers? P: I think it’s because of our natural curiosity :) :) Russians were always good at finding illogical ways of solving logical problems. M: What do you think still remains in Russian mentality (I mean in Post Soviet youth culture) from Soviet times? P: Good question! hospitality, issues with expressing their thoughts & emotions freely.. and artist is still not a full time job. and most of people don’t think being a creative can get you a way to the stars.

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koob ssecorp sisehT

ArtCenter 2018

ssecorP

Interviews

Paulina works in Sila Sveta, Russian inteructive studio

naissuR ,avoylavoK aniretakE < > rotaruC trA yraropmetnoC .dlrow eh tni seinapmoc tseggib tra gnorts a etiuq si ereht aissuR ni woN tnecca eht erehw ,oknehcdoR dellac loohcs erom dna erom os tra oediv dna otohp no si .aidem eseht no sucof stsitra dna setaudarg eht fo eno si sinaK aniloP //:sptth - gnihsinotsa etiuq si tra-oediv reh /2/tsitra/moc.yrellagniwtra erom detcennoc llits si ti ,RV gniredisnoC htiw krow taht slanoisseforp ot gnidnatstuo eno tuB .seicnega-tneve dna stneve seod taht aissuR ni puorg od yeht dNA .ARDNUT si llew sa swohs-tra RV gnidulcni skrow aidem elbidercni .tuo meht kcehc ot evah uoY .secneirepxe eht revo lla suomaf yrev era yeht woN rof skrow elacs-gib etaerc dna dlrow luoeS ni seno ekil smuesum lanoitanretni .moobngised.www//:sptth - oloaP-naS dna -elahw-ym-evitcelloc-ardnut/tra/moc -muesum-d-noisiver-renni /moc.oemiv//:sptth ,/6102-01-80-luoes nwonk tsom eht si ereH .ardnuteraew dna skrow taht wocsoM ni ynapmoc //:ptth - ecneirepxe RV no sezilaiceps a osla era yehT /ur.balevitcaretni.www od yehT .syug trams repus gnuoy fo puorg tnereffid roF .ffats ytra-non dna ytra .cte snoitibihxe ,seitrap ,stneve ?tseW eht ni elbisiv yeht era hcum woH:M edistuo morf dnamed fo tol a evah yeht oD ?kniht uoy aissuR fo koot tI .evoba noitseuq taht derewsna I :K revocsid ot tseW eht rof sraey 7-5 tuoba dlrow eht revo lla levart yeht won tub ,meht ot dnamed hgih ni era dna emit eht lla smuesum rof snoitallatsni aidem etaerc rettam eht si ti kniht I .stneve tnereffid dna erew yeht dna ,dnert ni si RV .gnimit fo sa maertsniam eht dna emit eht daeha oS .oga sraey ti no gnikrow detrats yeht .sreenoip laer eht era yeht uoy od yhW .noihsaf naissuR tuobA :M ahsoG sa hcus srengised kniht os era ailasavG anmeD ,yksnehcbuR Thesis process book

degnahc evah kniht uoy od tahW :ahsaM .stsitra rof aissuR ni sraey 02 tsal eht ni eht si ti ,lla fo tsrfi ,esruoc fO :aytaK taht beW ediW dlroW eht fo ecnaraeppa gnuoy eht rof noitautis eht degnahc eht retne ot elba erew yehT .stsitra naissuR emaceb yeht ,ytinummoc tra lanoitanretni enilno aiv skrow rieht wohs ot elba yeht tnatropmi yrev si tahw !dnA .smroftalp lla ot dna noitacude tra eht ot ssecca tog tra yraropmetnoc eht tuoba secruoser eht .eciov a deviecer stsitra aissuR oS .yadot .od ot pu gnihcac fo tol a dah yeht tuB sraey 03-02 ekil llits si enecs tra naissuR -gnittuc eht htiw nosirapmoc ni dniheb gnuoy fo tol A .enecs tra lanoitanretni egde dir teg on gniyrt yllacitsard detrats stsitra teivoS ro aissuR htiw noitaicossa yna fo rof tfarK rogE stsitra gnidnatstuo - emiger ynegvE ro /moc.tfarkroge//:ptth elpmaxe /tsitra/ten.ystra.www//:sptth vefiutnA redlo ylthgils emos tuB .vefiutna-ynegve tnemmoc ylluflliks aniroK anirI ekil stsitra os ton era taht scitilop naissuR eht no nairatirohtua teivoS eht mrof tnereffid //:sptth - skrow rieht htiw emiger /moc.anirokaniri ekil seigolonhcet wen erom esu yeht oD :M tahW ?erom dna erom RV dna tra latigid tra yraropmetnoc fo stnemevom eht era ?aissuR ni enecs si ohw tsitra eht yllautca si tfarK rogE :K ecneuflni eht gnihcraeser ni detseretni yrev .roivaheb dna dlrow ruo no aidem latigid fo siht fo elpmaxe na evig to tnaw osla I mixaM - tsitra lausiv latigid gnidnatstuo .)/moc.voktsehz.www//:ptth( voktsehZ rof krow seod tub ,ksvonaylU ni sevil eH ti dnA .seinapmoc lanoitanretni yltsom eH .morf si eh erehw rettam t’nseod yllaer fo tsitra latigid a fo elpmaxe taerg eht si lacihpargoeg eht nehw ,yrutnec ts12 eht deretsam sah eH .rettam t’nseod noitacol decnuonna ,nwo sih no slliks noitamina sih eht yb detnaw si eh won dna enilno aiv ti 8102 retneCtrA

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ArtCenter 2018

ssecorP

Interviews

Ekaterina lives and works between Russia and NYC. Writes for different art publications and galleries.

naissuR ,avoylavoK aniretakE < > rotaruC trA yraropmetnoC in demand in .dlthe rowworld? eh tni sWhy einawest pmochas tseggib so much tra gninterest orts a etin iuq Russian si erehtCyrillic aissuRletters? ni woN K: tneI cthink ca ehitt e isrealso hw ,about oknehc this doRmoment dellac loinohcs time. erom The dna world erom oiss so trafed oedup iv d with na otohp no si everything else.aso idethey m esneeded eht no ssomething ucof stsitra really dnadifferent. setaudarBecause g eht fo eGosha no si sRubchinsky inaK aniloP has //:sp been tth -doing gnihsiwhat notsahe etis iuqdoing si tratoday -oedivfor reh about 10 years, /but 2/tsgot itraexposed /moc.yreonly llagnnow. iwtra It is erthe om d trend etcenand nocthe llitsright si ti time ,RV gmoment. niredisnoC he was picked htiby w kthe rowtrendsetters taht slanoissof efthe orp ot West. Russian gnidnatsCyrillic tuo enoalphabet tuB .seicjust negalooks -tneve very alien dna thats stnevwhy e seoitdattracts taht aissthe uR ni puorg youngsters. od yeht dNA It .is ARdone DNUTinsskateboarders’ i llew sa swohs-tra favoriteRcompany V gnidulcn Thrasher’s i skrow aidfont. em eAnd lbideyes, rcni first .tuoofmall ehskateboarding t kcehc ot evahisuaoYhuge .sectrend neirepxe right now eht rand evo street lla suofashion maf yrevinegeneral. ra yeht woN And Gosha rof skisrothe w ebig lacsrepresentative -gib etaerc dnaofdlrow skateboarding luoeS ni senoscene ekil sin muRussia esum land anoithe tanretni street .moobkids. ngised.www//:sptth - oloaP-naS dna M: Do-you elahlitsen w-ym-to evRussian itcelloc-underground ardnut/tra/moc musicians from our -mu generation? esum-d-noisiver-renni /moc.oemiv//:sptth ,/6102-01-80-luoes nwonk tsom eht si ereH .ardnuteraew dna skrow taht wocsoM ni ynapmoc //:ptth - ecneirepxe RV no sezilaiceps a osla era yehT /ur.balevitcaretni.www od yehT .syug trams repus gnuoy fo puorg tnereffid roF .ffats ytra-non dna ytra .cte snoitibihxe ,seitrap ,stneve ?tseW eht ni elbisiv yeht era hcum woH:M edistuo morf dnamed fo tol a evah yeht oD ?kniht uoy aissuR fo koot tI .evoba noitseuq taht derewsna I :K revocsid ot tseW eht rof sraey 7-5 tuoba dlrow eht revo lla levart yeht won tub ,meht ot dnamed hgih ni era dna emit eht lla smuesum rof snoitallatsni aidem etaerc rettam eht si ti kniht I .stneve tnereffid dna erew yeht dna ,dnert ni si RV .gnimit fo sa maertsniam eht dna emit eht daeha oS .oga sraey ti no gnikrow detrats yeht .sreenoip laer eht era yeht uoy od yhW .noihsaf naissuR tuobA :M ahsoG sa hcus srengised kniht os era ailasavG anmeD ,yksnehcbuR Thesis process book

K: d I don’t egnahmyself. c evah kBut nihIt know uoy od lots tahof Wyoung :ahsaM kids.sthat tsitrlisten a rof ato issthese uR ni youngsters sraey 02 tsal eht ni that record eht ssuper i ti ,llasimple fo tsrfitechno ,esruocelectronic fO :aytaK songs tahton betheir W ediMacs iW dlrat oWhome eht foand ecnsing araeppa about worries gnuoy and eht rproblems of noitautof is etoday ht deg so nahc their eht regeneration tne ot elbacan erew resonate yehT .stwith sitrait. naLike issuR Kedr emaLivanskiy ceb yeht -,ythttps://thump.vice.com/ inummoc tra lanoitanretni en_us/article/ae8kag/kedr-livanskiyenilno aiv skrow rieht wohs ot elba russia-interview. yeht tnatropmi yrev si tahw !dnA .smroftalp M:llWould a ot dnyou a nocollect itacudemusic tra ehas t oart? t ssecca tog K:trIathink yraroI pwould metnoifcthe ehtprices tuoba are secruoser eht reasonable .eciov a dand evieIccan er stparticipate sitra aissuRinoS .yadot establishing .od ot pthese u gnihprices. cac fo tArt ol aisda really h yeht tuB everything sraey 03-today, 02 ekiit l llis itsabout si eneits cs tra naissuR uniqueness, -gnittucand eht music htiw noas sirwell. apmoSo c nyour i dniheb idea gnuois y fbrilliant. o tol A .enecs tra lanoitanretni egde M:diAre r teg there on gVR niyrart t ylinstallations lacitsard detthat rats you stsitra haveteseen? ivoS ro aissuR htiw noitaicossa yna fo K: roPlease f tfarK rcheck ogE stTundra sitra gnVR idnworks atstuo- -one emIiger think yneis gvcalled E ro /mBlack oc.tfaSquare rkroge/made /:ptthme elpcry maxe when/Itsexperienced itra/ten.ystra it.w myself. ww//:sptth vefiutnA redlo ylthgils emos tuB .vefiutna-ynegve tnemmoc ylluflliks aniroK anirI ekil stsitra os ton era taht scitilop naissuR eht no nairatirohtua teivoS eht mrof tnereffid //:sptth - skrow rieht htiw emiger /moc.anirokaniri ekil seigolonhcet wen erom esu yeht oD :M tahW ?erom dna erom RV dna tra latigid tra yraropmetnoc fo stnemevom eht era ?aissuR ni enecs si ohw tsitra eht yllautca si tfarK rogE :K ecneuflni eht gnihcraeser ni detseretni yrev .roivaheb dna dlrow ruo no aidem latigid fo siht fo elpmaxe na evig to tnaw osla I mixaM - tsitra lausiv latigid gnidnatstuo .)/moc.voktsehz.www//:ptth( voktsehZ rof krow seod tub ,ksvonaylU ni sevil eH ti dnA .seinapmoc lanoitanretni yltsom eH .morf si eh erehw rettam t’nseod yllaer fo tsitra latigid a fo elpmaxe taerg eht si lacihpargoeg eht nehw ,yrutnec ts12 eht deretsam sah eH .rettam t’nseod noitacol decnuonna ,nwo sih no slliks noitamina sih eht yb detnaw si eh won dna enilno aiv ti 8102 retneCtrA

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< Ekaterina Kovalyova, Russian Contemporary < Paulina Zakh,Art Multimedia Curator >Curator > Masha: What do you think have changed in the last 20 years in Russia for artists. Katya: Of course, first of all, it is the appearance of the World Wide Web that changed the situation for the young Russian artists. They were able to enter the international art community, they became able to show their works via online platforms. And! what is very important they got access to the art education and to all the resources about the contemporary art today. So Russia artists received a voice. But they had a lot of caching up to do. Russian art scene is still like 20-30 years behind in comparison with the cuttingedge international art scene. A lot of young artists started drastically trying no get rid of any association with Russia or Soviet regime - outstanding artists Egor Kraft for example http://egorkraft.com/ or Evgeny Antufiev https://www.artsy.net/artist/ evgeny-antufiev. But some slightly older artists like Irina Korina skillfully comment on the Russian politics that are not so different form the Soviet authoritarian regime with their works - https:// irinakorina.com/ M: Do they use more new technologies like digital art and VR more and more? What are the movements of contemporary art scene in Russia? K: Egor Kraft is actually the artist who is very interested in researching the influence of digital media on our world and behavior. I also want ot give an example of this outstanding digital visual artist - Maxim Zhestkov (http://www.zhestkov.com/). He lives in Ulyanovsk, but does work for mostly international companies. And it really doesn’t matter where he is from. He is the great example of a digital artist of the 21st century, when the geographical location doesn’t matter. He has mastered his animation skills on his own, announced it via online and now he is wanted by the

biggest companies int he world. Now in Russia there is quite a strong art school called Rodchenko, where the accent is on photo and video art so more and more artists focus on these media. Polina Kanis is one of the graduates and her video-art is quite astonishing - https:// artwingallery.com/artist/2/ Considering VR, it is still connected more to professionals that work with event-agencies. But one outstanding group in Russia that does events and art-shows as well is TUNDRA. ANd they do incredible media works including VR experiences. You have to check them out. Now they are very famous all over the world and create big-scale works for international museums like ones in Seoul and San-Paolo - https://www.designboom. com/art/tundra-collective-my-whaleinner-revision-d-museumseoul-08-10-2016/, https://vimeo.com/ wearetundra. Here is the most known company in Moscow that works and specializes on VR experience - http:// www.interactivelab.ru/ They are also a group of young super smart guys. They do arty and non-arty staff. For different events, parties, exhibitions etc. M:How much are they visible in the West? Do they have a lot of demand from outside of Russia you think? K: I answered that question above. It took about 5-7 years for the West to discover them, but now they travel all over the world all the time and are in high demand to create media installations for museums and different events. I think it is the matter of timing. VR is in trend, and they were ahead the time and the mainstream as they started working on it years ago. So they are the real pioneers. M: About Russian fashion. Why do you think designers such as Gosha Rubchensky, Demna Gvasalia are so

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koob ssecorp sisehT

ArtCenter 2018

ssecorP

Interviews

Ekaterina lives and works between Russia and NYC. Writes for different art publications and galleries.

in demand in the world? Why west has so much interest in Russian Cyrillic letters? K: I think it is also about this moment in time. The world is so fed up with everything else so they needed something really different. Because Gosha Rubchinsky has been doing what he is doing today for about 10 years, but got exposed only now. It is the trend and the right time moment. he was picked by the trendsetters of the West. Russian Cyrillic alphabet just looks very alien thats why it attracts the youngsters. It is done in skateboardersâ&#x20AC;&#x2122; favorite company Thrasherâ&#x20AC;&#x2122;s font. And yes, first of all skateboarding is a huge trend right now and street fashion in general. And Gosha is the big representative of skateboarding scene in Russia and the street kids. M: Do you litsen to Russian underground musicians from our generation?

Thesis process book

K: I donâ&#x20AC;&#x2122;t myself. But I know lots of young kids that listen to these youngsters that record super simple techno electronic songs on their iMacs at home and sing about worries and problems of today so their generation can resonate with it. Like Kedr Livanskiy - https://thump.vice.com/ en_us/article/ae8kag/kedr-livanskiyrussia-interview. M: Would you collect music as art? K: I think I would if the prices are reasonable and I can participate in establishing these prices. Art is really everything today, it is about its uniqueness, and music as well. So your idea is brilliant. M: Are there VR art installations that you have seen? K: Please check Tundra VR works - one I think is called Black Square made me cry when I experienced it myself.

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< Ekaterina Kovalyova, Russian Contemporary < Paulina Zakh,Art Multimedia Curator >Curator > Masha: gnuoyWhat fo stodo l wyou onk think I tuB .have flesym changed t’nod I :K in the last sre20 tsgyears nuoy in ese Russia ht ot nfor etsartists. il taht sdik Katya: cinortcOf elecourse, onhcetfirst elpmofisall, repitusisdthe rocer taht appearance gnis dnaofethe mohWorld ta scaWide Mi rieWeb ht nothat sgnos changed os yadthe ot fsituation o smelbofor rp dthe na syoung eirrow tuoba Russian ekiL .ti artists. htiw etaThey nosewere r nacable noitato reenter neg rithe eht international /moc.eciv.pm artuhcommunity, t//:sptth - ythey iksnbecame aviL rdeK able to -yshow iksnavtheir il-rdeworks k/gakvia 8eaonline /elcitra/su_ne platforms. And! what is very .wimportant eivretni-aithey ssur got access ?tratosa the cisart umeducation tcelloc uoand y dluto oW all:M the resources era about secirp the eht contemporary fi dluow I knihtart I :K today. SoniRussia etapicartists itrap nareceived c I dna ealbvoice. anosaer But they yllahad er siatrlot A .sofeccaching irp esehup t gn toihdo. silbatse Russian art scene sti tuois bastill si tilike ,yad 20-30 ot gniyears htyreve behind ruoin y ocomparison S .llew sa ciswith um d the na cutting,sseneuqinu edge international art scene..tA nalot illirof b syoung i aedi artists uoy tstarted aht snodrastically itallatsni trtrying a RV eno rehget t erArid:M of any association with Russia or?nSoviet ees evah regime I eno- -outstanding skrow RV ard artists nuT kcEgor ehc eKraft saelPfor :K example yrc emhttp://egorkraft.com/ edam erauqS kcalB deor llaEvgeny c si kniht Antufiev https://www.artsy.net/artist/ .flesym ti decneirepxe I nehw evgeny-antufiev. But some slightly older artists like Irina Korina skillfully comment on the Russian politics that are not so different form the Soviet authoritarian regime with their works - https:// irinakorina.com/ M: Do they use more new technologies like digital art and VR more and more? What are the movements of contemporary art scene in Russia? K: Egor Kraft is actually the artist who is very interested in researching the influence of digital media on our world and behavior. I also want ot give an example of this outstanding digital visual artist - Maxim Zhestkov (http://www.zhestkov.com/). He lives in Ulyanovsk, but does work for mostly international companies. And it really doesn’t matter where he is from. He is the great example of a digital artist of the 21st century, when the geographical location doesn’t matter. He has mastered his animation skills on his own, announced it via online and now he is wanted by the

biggest sahcompanies tsew yhW ?int dlrhe owworld. eht ni dnamed ni Now ?sretin telRussia cilliryCthere naissisuRquite ni tsaerstrong etni hcart um os school ni tncalled emomRodchenko, siht tuoba owhere sla si tthe i knaccent iht I :K is on photohand tiw p video u defart os so si dmore lrow and ehT more .emit artists gnihtefocus mos don edethese en yemedia. ht os esle gnihtyreve Polina yksnihcKanis buR ais hsone oG eof suthe acegraduates B .tnereffidand yllaer her rofvideo-art yadot gnis iodquite si ehastonishing tahw gniod -nhttps:// eeb sah artwingallery.com/artist/2/ .won ylno desopxe tog tub ,sraey 01 tuoba Considering .tnemom eVR, mit it this girstill ehtconnected dna dnert emore ht si tI to professionals eht fo srettesdthat nertwork eht ywith b dekcip saw eh event-agencies. skool tsuj tebaBut hplaone cillioutstanding ryC naissuR .tseW group in Russia eht stcthat arttadoes ti yhw events staht and neila yrev art-shows ’sredraas obewell taksisnTUNDRA. i enod si tANd I .srethey tsgnu do oy incredible ,sey dnA .tmedia nof s’rworks ehsarhincluding T ynapmoVR c etirovaf experiences. dnert eguhYou a shave i gnidto raocheck betakthem s lla foout. tsrfi Now.lthey areneare g nvery i noihfamous saf teerall ts over dna w the on thgir worldfoand evicreate tatnesebig-scale rper gib eworks ht si ah for soG dnA international eht dna amuseums issuR ni elike necsones gnidin rao Seoul betaks and San-Paolo - https://www.designboom. .sdik teerts com/art/tundra-collective-my-whalednuorgrednu naissuR ot nestil uoy oD :M inner-revision-d-museum?noitareneg ruo morf snaicisum seoul-08-10-2016/, https://vimeo.com/ wearetundra. Here is the most known company in Moscow that works and specializes on VR experience - http:// www.interactivelab.ru/ They are also a group of young super smart guys. They do arty and non-arty staff. For different events, parties, exhibitions etc. M:How much are they visible in the West? Do they have a lot of demand from outside of Russia you think? K: I answered that question above. It took about 5-7 years for the West to discover them, but now they travel all over the world all the time and are in high demand to create media installations for museums and different events. I think it is the matter of timing. VR is in trend, and they were ahead the time and the mainstream as they started working on it years ago. So they are the real pioneers. M: About Russian fashion. Why do you think designers such as Gosha Rubchensky, Demna Gvasalia are so

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ArtCenter 2018

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Interviews

Emmy nominations, seven Webby nominations, and the Grand Prix at Cannes, along with numerous debuts at Tribeca, SXSW, and Sundance

> RV ni rotaerC ,niwriK odnamrA < enoyna taht ,regdel yhtrowtsurt ,regdeL .ti no nur ycnerruc fo sdnasuohT .esu nac .ycnerruc a emoceb dluow elfi uoY mubla eht ,stcartnoc tramS esu dluow uoY muirehtue eht ot yrtne euqinu a si taht ,regdel eht ot dedrocer ,niahckcolb tessa yhtrowtsurt euqinu etaerc dluow ecracs yllatigid edart ro lles dluoc elpoeP .mroftalp ruoy no stessa wonk ot deen t’nod uoy ,rengised a sa tuB .skrow ti woh no sliated lacinhcet eht lla etisbew gnikam rengised ,tenretnI eht nO lss dna ptth woh wonk ot evah t’nseod dluow sgniht yllautnevE .skrow locotorp .wonk neve t’now ew ,niahckcolb no nur dna eruces ,euqinu sti wonk tsuj eW dnatsrednu ot deen t’nod eW .yhtrowtsurt .detcartsba eb lliw tI .sevlesmeht slocotorp ,krowten yhtrowtsurt tsuj si niahckcolB stsixe yticracs latigid erehw ,dezilartneced !emit tsrfi eht rof

Thesis process book

odnamrA htiw noitasrevnoc enohp a dah I .niahckcolb dna cisum ,tra ,RV tuoba ?RV ni soediv cisum yna ereht erA :ahsaM ?ydaerla muidem siht esu snaicisum oD cisum lanoitidart yltsom ,od yehT :odnamrA ,hguoht ,ynam sa toN .063 ni si taht oediv ,eno did 2U .noitatnemirepxe ylrae na s’ti rieht ta noitallatsni na dah 2U .llew sa esuM .emosewa saw taht ,trecnoc ?krow noitpyrcne dluow woH :M niahckcolb tuoba gniht tnatropmi tsoM :A deretnec-ni na setaerc ti yaw eht si setaerc ,msinahcem a ni tnerehnI .erutcurts revo noitazilartneced etaerc ot krowten eht ot ,enoyreve gnizilartnec-ni .emit taerg a si niag laicnanfi hguorht etapicitrap niahckcolb fo yeK .elpoep etavitom ot yaw tenretnI .noitazilartneced dezilartnec-ni naipotu eb ot tnaem ,dezilartnec emaceb slocotorp eht neve ,yletanutrofnu ,krowten ,dezilartnec emaceb rewop eht ,nepo era si niahckcolB .elgoog dna nozama gnoma erutcurts deretnecnU .evitanretla lortnoced .mret gnol a ni dezilartneced erusnu ot tnelaviuqe detaerc tey ton sti ,rV nI a etaerc ot ecnahc a si ereht ,tnerehni fo eb dluow ,noitazilartneced ot erutcurts ew did snossel tahw ,sgniht epyt tenretni ton ,slocotorp nepo dna tenretni morf nrael .yrotsih emas tcaxe taeper dna nwod og ot ?elbatcelloc eb tra RV naC :M ot strats won tsuj eceip tra na sa RV :A thgir stnemirepxe looc era erehT .poleved yletinfied stI .tra otpyrC ni gnineppah won ti ,tra rof taerg si otpyrC .won gnimoc ,gnola emac tenretni nehW.ecracs setaerc elpoeP .ecracs regnol on era sdoog latigid hguorht yticracs tsol eW .daed si tra ,dias ekam otpyrc dna niahckcolB .noitazilatigid .emit tsrfi eht rof ecracs sdoog latigid cisum ,tcejorp ym ni krow ti dluow woH :M ?niahckcolb no revoc RV htiw mubla a emoceb gnos a ro mubla ,eceip hcaE :A ,muirehtE ,niahckcolb eht no drocer a si niahckcolB .drocer euqinu tnenamrep 8102 retneCtrA

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sevil aniretakE neewteb skrow dna .CYN dna aissuR tnereffid rof setirW snoitacilbup tra .seirellag dna

< Ekaterina Kovalyova, Russian < Contemporary Armando Kirwin, Art Creator Curator >in VR > I had a phone conversation with Armando about VR, art, music and blockchain. Masha: Are there any music videos in VR? Do musicians use this medium already? Armando: They do, mostly traditional music video that is in 360. Not as many, though, it’s an early experimentation. U2 did one, Muse as well. U2 had an installation at their concert, that was awesome. M: How would encryption work? A: Most important thing about blockchain is the way it creates an in-centered structure. Inherent in a mechanism, creates the network to create decentralization over time. in-centralizing everyone, to participate through financial gain is a great way to motivate people. Key of blockchain in-centralized decentralization. Internet became centralized, meant to be utopian network, unfortunately, even the protocols are open, the power became centralized, among amazon and google. Blockchain is decontrol alternative. Uncentered structure to unsure decentralized in a long term. In Vr, its not yet created equivalent of inherent, there is a chance to create a structure to decentralization, would be internet type things, what lessons did we learn from internet and open protocols, not to go down and repeat exact same history. M: Can VR art be collectable? A: VR as an art piece just now starts to develop. There are cool experiments right now happening in Crypto art. Its definitely coming now. Crypto is great for art, it creates scarce.When internet came along, digital goods are no longer scarce. People said, art is dead. We lost scarcity through digitalization. Blockchain and crypto make digital goods scarce for the first time. M: How would it work in my project, music album with VR cover on blockchain? A: Each piece, album or a song become a record on the blockchain, Etherium, permanent unique record. Blockchain is a

biggest Ledger, trustworthy companies int ledger, he world. that anyone Now can use. in Russia Thousands there is of quite currency a strong run on artit. school You filecalled wouldRodchenko, become a currency. where the accent is You onwould photouse andSmart video contracts, art so morethe and album more artists is a unique focusentry on these to themedia. eutherium Polina blockchain, Kanisrecorded is one of to thethe graduates ledger, that and her would video-art create is unique quitetrustworthy astonishingasset - https:// artwingallery.com/artist/2/ People could sell or trade digitally scarce Considering assets on your VR,platform. it is still connected more to Butprofessionals as a designer, that youwork don’t with need to know event-agencies. all the technical details But oneon outstanding how it works. group On theinInternet, Russia that designer does making events and website art-shows doesn’t have as to well know is TUNDRA. how httpANd andthey ssl do incredible protocol works. mediaEventually works including things VR would experiences. run on blockchain, You have we won’t to check even them know. out. Now We just they know are very its unique, famoussecure all over and the world trustworthy. and create We don’t big-scale needworks to understand for international protocols themselves. museumsItlike willones be abstracted. in Seoul and Blockchain San-Paolo is just - https://www.designboom. trustworthy network, com/art/tundra-collective-my-whaledecentralized, where digital scarcity exists inner-revision-d-museumfor the first time! seoul-08-10-2016/, https://vimeo.com/ wearetundra. Here is the most known company in Moscow that works and specializes on VR experience - http:// www.interactivelab.ru/ They are also a group of young super smart guys. They do arty and non-arty staff. For different events, parties, exhibitions etc. M:How much are they visible in the West? Do they have a lot of demand from outside of Russia you think? K: I answered that question above. It took about 5-7 years for the West to discover them, but now they travel all over the world all the time and are in high demand to create media installations for museums and different events. I think it is the matter of timing. VR is in trend, and they were ahead the time and the mainstream as they started working on it years ago. So they are the real pioneers. M: About Russian fashion. Why do you think designers such as Gosha Rubchensky, Demna Gvasalia are so

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Emmy nominations, seven Webby nominations, and the Grand Prix at Cannes, along with numerous debuts at Tribeca, SXSW, and Sundance

< Contacted ,yikIldar.io, snaviL rd Virtual eK detReality catnoC < Artist from>Russia aissuR>morf naicisuM eht

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,snoitanimon ymmE ybbeW neves dna ,snoitanimon ta xirP dnarG eht htiw gnola ,sennaC ta stubed suoremun dna ,WSXS ,acebirT ecnadnuS

< Armando Kirwin, Creator in VR > I had a phone conversation with Armando about VR, art, music and blockchain. Masha: Are there any music videos in VR? Do musicians use this medium already? Armando: They do, mostly traditional music video that is in 360. Not as many, though, it’s an early experimentation. U2 did one, Muse as well. U2 had an installation at their concert, that was awesome. M: How would encryption work? A: Most important thing about blockchain is the way it creates an in-centered structure. Inherent in a mechanism, creates the network to create decentralization over time. in-centralizing everyone, to participate through financial gain is a great way to motivate people. Key of blockchain in-centralized decentralization. Internet became centralized, meant to be utopian network, unfortunately, even the protocols are open, the power became centralized, among amazon and google. Blockchain is decontrol alternative. Uncentered structure to unsure decentralized in a long term. In Vr, its not yet created equivalent of inherent, there is a chance to create a structure to decentralization, would be internet type things, what lessons did we learn from internet and open protocols, not to go down and repeat exact same history. M: Can VR art be collectable? A: VR as an art piece just now starts to develop. There are cool experiments right now happening in Crypto art. Its definitely coming now. Crypto is great for art, it creates scarce.When internet came along, digital goods are no longer scarce. People said, art is dead. We lost scarcity through digitalization. Blockchain and crypto make digital goods scarce for the first time. M: How would it work in my project, music album with VR cover on blockchain? A: Each piece, album or a song become a record on the blockchain, Etherium, permanent unique record. Blockchain is a

Ledger, trustworthy ledger, that anyone can use. Thousands of currency run on it. You file would become a currency. You would use Smart contracts, the album is a unique entry to the eutherium blockchain, recorded to the ledger, that would create unique trustworthy asset People could sell or trade digitally scarce assets on your platform. But as a designer, you don’t need to know all the technical details on how it works. On the Internet, designer making website doesn’t have to know how http and ssl protocol works. Eventually things would run on blockchain, we won’t even know. We just know its unique, secure and trustworthy. We don’t need to understand protocols themselves. It will be abstracted. Blockchain is just trustworthy network, decentralized, where digital scarcity exists for the first time!

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,snoitanimon ymmE ybbeW neves dna ,snoitanimon ta xirP dnarG eht htiw gnola ,sennaC ta stubed suoremun dna ,WSXS ,acebirT ecnadnuS

< Contacted Kedr Livanskiy, < the Armando Musician Kirwin, from Creator Russia >in VR > I had a phone conversation with Armando about VR, art, music and blockchain. Masha: Are there any music videos in VR? Do musicians use this medium already? Armando: They do, mostly traditional music video that is in 360. Not as many, though, it’s an early experimentation. U2 did one, Muse as well. U2 had an installation at their concert, that was awesome. M: How would encryption work? A: Most important thing about blockchain is the way it creates an in-centered structure. Inherent in a mechanism, creates the network to create decentralization over time. in-centralizing everyone, to participate through financial gain is a great way to motivate people. Key of blockchain in-centralized decentralization. Internet became centralized, meant to be utopian network, unfortunately, even the protocols are open, the power became centralized, among amazon and google. Blockchain is decontrol alternative. Uncentered structure to unsure decentralized in a long term. In Vr, its not yet created equivalent of inherent, there is a chance to create a structure to decentralization, would be internet type things, what lessons did we learn from internet and open protocols, not to go down and repeat exact same history. M: Can VR art be collectable? A: VR as an art piece just now starts to develop. There are cool experiments right now happening in Crypto art. Its definitely coming now. Crypto is great for art, it creates scarce.When internet came along, digital goods are no longer scarce. People said, art is dead. We lost scarcity through digitalization. Blockchain and crypto make digital goods scarce for the first time. M: How would it work in my project, music album with VR cover on blockchain? A: Each piece, album or a song become a record on the blockchain, Etherium, permanent unique record. Blockchain is a

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Manifesto Interviews Brand Identity Final Execution

< Contacted Ildar.io, Virtual Reality Artist from Russia >

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< Cyontacted tilaeR lauKedr triV ,oLivanskiy, i.radlI detcatnoC < < Armando Kirwin, inoVR the Musician from>Creator Russia aissuR>m rf t>sitrA

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AOTB is a Russian blockchain auction platform, made for the whole world to enjoy. Music is art and should be treated like art. Our brand attributes are transformation, decentralized and encryption. Our purpose is to bring scarcity back to music. We use a Fair Trade Music Database to compensate every artist for his work and creativity. We use modern and emerging technology to be able to step into the future. In the initial sales of the artwork, 90% goes to the artist and 10% goes to AOTB. The artist gets 20% for every additional sale of that same work, with the owner-seller getting 80%. We use blockchain protocol to distribute the music albums and VR experience with secure, decentralized, and transparent transactions. We elevate the experience with Virtual Reality content. Every album comes with its own adventure in VR, which makes rare limited editions so special. A

K C OL Б E H T N O S T S I T R A T

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,mroftalp noitcua niahckcolb naissuR a si BTOA .yojne ot dlrow elohw eht rof edam .tra ekil detaert eb dluohs dna tra si cisuM ,noitamrofsnart era setubirtta dnarb ruO .noitpyrcne dna dezilartneced .cisum ot kcab yticracs gnirb ot si esoprup ruO etasnepmoc ot esabataD cisuM edarT riaF a esu eW .ytivitaerc dna krow sih rof tsitra yreve eb ot ygolonhcet gnigreme dna nredom esu eW .erutuf eht otni pets ot elba eht ot seog %09 ,krowtra eht fo selas laitini eht nI tsitra ehT .BTOA ot seog %01 dna tsitra emas taht fo elas lanoitidda yreve rof %02 steg .%08 gnitteg relles-renwo eht htiw ,krow eht etubirtsid ot locotorp niahckcolb esu eW ,eruces htiw ecneirepxe RV dna smubla cisum .snoitcasnart tnerapsnart dna ,dezilartneced ytilaeR lautriV htiw ecneirepxe eht etavele eW erutnevda nwo sti htiw semoc mubla yrevE .tnetnoc .laiceps os snoitide detimil erar sekam hcihw ,RV ni

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mahtoG si ecafepyT dloB worraN orP

The letters roloare c dnarB hidden behind the ete llap mark, to reveal the idea of encryption

ogoL

0:R 99:G 552:B

552:R 36:G 861:B

1:R 552:G 74:B

452:R 08:G 91:B

K C OL Б E H T N O S T S I T R A T

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The letters roloare c dnarB hidden behind the ete llap mark, to reveal the idea of encryption 452:R 08:G 91:B

0:R 99:G 552:B

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1:R 552:G 74:B

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PRIMARY TYPEFACE Px Grotesk

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SECONDARY TYPEFACE Magda Clean

А Б В ГД Е Ё Ж З И Й К Л М Н О П Р С Т УФХ ЦЧШЩЪЫЬЭЮЯ а б в гд е ё ж з и й к л м н о п р с т уфх ц ъыьэюя Aч ш щ O A

TERTIARY TYPEFACE Gotham Pro Narrow

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era srettel ehT eht dniheb neddih eht laever ot ,kram noitpyrcne fo aedi

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,mroftalp noitcua niahckcolb naissuR a si BTOA .yojne ot dlrO ow elohw eA ht rof edam .tra ekil detaert eb dluohs dna tra si cisuM ,noitamrofsnart era setubirtta dnarb ruO .noitpyrcne dna dezilartneced .cisum ot kcab yticracs g Бnirb ot si eTsoprup ruO etasnepmoc ot esabataD cisuM edarT riaF a esu eW .ytivitaerc dna krow sih rof tsitra yreve eb ot ygolonhcet gnigreme dna nredom esu eW .erutuf eht otni pets ot elba eht ot seog %09 ,krowtra eht fo selas laitini eht nI tsitra ehT .BTOA ot seog %01 dna tsitra emas taht fo elas lanoitidda yreve rof %02 steg .%08 gnitteg relles-renwo eht htiw ,krow eht etubirtsid ot locotorp niahckcolb esu eW ,eruces htiw ecneirepxe RV dna smubla cisum .snoitcasnart tnerapsnart dna ,dezilartneced ytilaeR lautriV htiw ecneirepxe eht etavele eW erutnevda nwo sti htiw semoc mubla yrevE .tnetnoc .laiceps os snoitide detimil erar sekam hcihw ,RV ni O

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roloc dnarB etellap

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452:R 08:G 91:B

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0:R 99:G 552:B

552:R 36:G 861:B

PRIMARY TYPEFACE Px Grotesk

ABCDEFGHIKL MNOPQRSTVXYZ abcdefghiklmn opqrstvxyz

SECONDARY TYPEFACE Magda Clean

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TERTIARY TYPEFACE Gotham Pro Narrow

А Б В ГД Е Ё Ж З И Й К Л М Н О П Р С Т УФХ ЦЧШЩЪЫЬЭЮЯ а б в гд е ё ж з и й к л м н о п р с т уфх ц чшщъыьэюя

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ra srettel ehT Brand ecolor eht dniheb neddih pallete eht laever ot ,kram noitpyrcne fo aedi

Typeface is Gotham Pro Narrow Bold

R:1 G:255 B:47

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R:0 G:99 B:255

R:254 G:80 B:19

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PRIMARY TYPEFACE Px Grotesk

ABCDEFGHIKL MNOPQRSTVXYZ abcdefghiklmn opqrstvxyz

SECONDARY TYPEFACE Magda Clean

ABCDEFGHIKL MNOPQRSTVXYZ abcdefghiklmn opqrstvxyz

TERTIARY TYPEFACE Gotham Pro Narrow

А Б В ГД Е Ё Ж З И Й К Л М Н О П Р С Т УФХ ЦЧШЩЪЫЬЭЮЯ а б в гд е ё ж з и й к л м н о п р с т уфх ц чшщъыьэюя

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ra srettel ehT Brand ecolor eht dniheb neddih pallete eht laever ot ,kram noitpyrcne fo aedi

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R:255 G:63 B:168

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O LKIHGFEDCBA ZYXVTSRQPONM nmlkihgfedcba zyxvtsrqpo Б

R:254 G:80 B:19

A ECAFEPYT YRAMIRP ksetorG xP

LKIHGFEDCBA ZYXVTSRQPONM nmlkihgfedcba zyxvtsrqpo

ECAFEPYT YRADNOCES naelC adgaM

Й И З Ж Ё Е ДГ В Б А ХФУ Т С Р П О Н М Л К ЯЮЭЬЫЪЩШЧЦ йизжёедгвба ц хфу т с р п о н м л к я ю э ь ы ъOщ ш ч A

ECAFEPYT YRAITRET worraN orP mahtoG

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snocI

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ra srettel ehT Brand ecolor Icons eht dniheb neddih pallete eht laever ot ,kram noitpyrcne fo aedi

Typeface yis hpGotham argopyT Pro Narrow Bold

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Design and concept by Masha Rassam Novoselova, Art Center College of Design, Pasadena, Los Angeles Thesis MGx 2018, Paper: Neenah UVâ&#x20AC;&#x160;/â&#x20AC;&#x2020;Ultra II, Radiant white, smooth, 64g/m2 Binding: Jennifer Phiffer phifferbooks.com Thesis process book

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