Saatchi Gallery 16 November – 31 December 2017 Art Riot Post-Soviet Actionism

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1 Art RiotPost-Soviet Actionism

Curated by Marat Guelman Edited by Andrey Kovalev Content

26 Introduction 132 Context

28 Marat Guelman 134 Arseny Sergeyev Introduction You’re Not in Moscow Here

32 Boris Groys, Andrey Kovalev 156 Alisa Lozhkina Russian Actionism: The New Narodniki Permanent Revolution. Contemporary Art and Politics in Ukraine 1987–2017 40 Protagonists 178 Anna Matveeva 42 Oleg Kulik St. Petersburg Votes Atypically 48 Charles Esche Animal Magic Oleg Kulik or how one person 186 Historical Perspective dealt with the collapse of everything 188 Natalia Murray 54 Ekaterina Degot Revolutionary Spectacle: Street Performances Like a Fish in Water: Oleg Kulik in the 1990s in Petrograd in 1917–1920

64 Pussy Riot 196 Andrey Kovalev 70 Helen Pyotrovsky Against All. Toward a History Pussy Riot: From Intervention to Action of Protest Art in Russia

82 Nadezhda Tolokonnikova of Pussy Riot’s 216 Alek D. Epstein prison letters to Slavoj Žižek Art Activism in the Putin Era. The Heirs of Moscow Conceptualism 96 Maria Alyokhina and Sots Art in the 21st Century Riot Days (excerpts)

228 Catalogue Plates 106 Pyotr Pavlensky 112 Sarah Wilson 244 Endnotes Pyotr Pavlensky: Images of conviction, 250 Selected Bibliography bureaucratic convulsion 254 Biographies 124 Ludmila Bredikhina Performance Instead of Politics CV, or the Pavlensky File AK Let’s start with a question about what in Russian art BG That’s not quite so obvious. I think the problem fig. 1 Oleg Kulik I Love Europe, It Does Not lies in the fact that when artists are confronted with the can be defined as Art Riot. The Peredvizhniki (Wanderers) or Love Me Back, 1996 inertia of existing institutions, in the West they start fig. 2 Oleg Kulik I Love Europe, It Does Not perhaps Russian critical realism of the nineteenth century? criticizing them and fighting against them. In Russia, of Love Me Back, 1996 fig. 3 Alexander Brener course, almost no one did that. BG Perhaps. I don’t know whether we need to go back so Boxing Champion, 1995 AK Well, in general, yes. But in a sense there was far, we’ll get to Peter the Great that way. Or even further, nothing to criticize. The first galleries that supported the Christianization of Rus.’ That was a kind of Art Riot, contemporary art in the early nineties were extreme- too — the appearance of the icon. I think that we should ly powerless. It was a long time until the White Cube opened. And there was no Museum of Modern Art, in begin, of course, with the avant-­garde. And I think that which the walls had to distroyed. we should start with the discussion of the relationship BG No, actually there were lots of museums. And they had a lot of contemporary, i.e., Soviet art. But in Russia between art and artistic institutions. In Russia in the early there was no criticism of these institutions, and nobody twentieth century even the radical avant-­garde move- had to fight to join those institutions. In part this was ments were relatively quickly integrated into the art sys- because in the Soviet period artists weren’t particularly interested in being part of these organisations. Instead, tem. Before the revolution, the avant-­garde artworks were beginning from the seventies — Conceptualism — alter- included into all kinds of private collections, and there was native institutions appeared that would perform all the an intensive exhibition activity of the avant-­garde. And functions of the official ones: publication, distribution of 1 materials, exhibitions, performances, and so on. If we look now at the Western ex- then after the revolution the avant-­gardists re- perience, we will see that there are more instances of the emergence of alternative ceived substantial institutional power. If you com- institutions there. Basically, criticism of institutions in recent years has vanished, no one is interested in it anymore. But I think that Russian actionism tried to avoid insti- pare, let’s say, Russian Futurism with the Italian tutional inclusion altogether. I think actionists adopted the impulse, which without one, you can see where the Art Riot came from judgment, I call anti-­intellectualism. Yes? 3 AK Not quite. The radicals who came onto the art scene in and why it went out into the streets. Marinetti the early nineties — Oleg Kulik, Anatoly Osmolovsky, and Alexan-

1 and the Italian Futurists on the whole were not der Brener were rapidly educating themselves and seeking new integrated into art institutions for a long time. languages of intellectualism. BG I did not notice that. I think instead they were trying That’s why they went out onto the street. And to run away from what Solzhenitsyn called ‘educatedism.’ To run I think that the same thing happened in Russia, away from certain tastes, from the judgement by the members of the intelligentsia, responsibility to achieve aesthetic quality. even in a more acute way, during perestroika I think that the actionist artists felt that all post-Soviet­ culture

Russian Actionism: The New Narodniki and after it. was weak and was made up of losers and nerds. That it had only two or three years left to live. And that it would I think that at the time ability of Russian art institutions to assimilate all go under, the whole culture with its hierarchies. People went contemporary art was rather limited, which led to art trying to where they thought new places of power had appeared. News- break out beyond its borders and appeal directly to the mass media. papers, radio and television. They decided to go to the masses. Artists of the perestroika period were looking for allies in the press, 2 They identified with that new force. on television. In the post-perestroika­ period, Russian actionism AK I can tell you about my own experience. In 1991 I went became a landmark, going beyond the borders of institutions and overnight from a quiet academic art historian, specialist in the thereby acquiring a certain social effect and significance. Russian avant-garde,­ to a speedy newspaper critic. The time was AK But there was also the circle of Moscow Conceptualism, going so fast that it was impossible to sit and unhurriedly discuss which was a bureaucratic institution in itself, if we use Benjamin the next chapter in a monograph at the Institute of Art History Buchloh’s2 idea. To a certain extent the Aesthetic of Administra- with people who ceased to understand the language I was speak- tion was developed more deeply in Moscow than, say, in the Art ing. My field was art criticism of the 1910–1920s and I knew how and Language group. The Moscow Conceptualist bureaucracy much pleasure and passion Mikhail Larionov and David Burlyuk

Boris Groys Boris Groys Kovalev Andrey rejected the ’new’ radicals. took in manipulating the mass media. To fill in the picture, I’ll

32 33 add that Italian Futurism in fact did not appear in a gallery or of the Russian Pavilion in Venice. They asked me: ‘Starting from what attendance art magazine but from its manifesto published in the newspaper figures would I consider the exhibition a success?’ I said that this criterion did not Le Figaro. By the way, an interesting detail. Our chief fighter with exist for me. They said, ‘Oh, yes, we forgot, you don’t like people, you despise rotten and prostituted intelligentsia, Alexander Brener, is the them.’ The problem here is that the greater part of the intelligentsia switched to son of a doctor and schoolteacher from Alma-­Ata, thecapital servicing mass taste faster than Brener and Osmolovsky of Kazakhstan. Provincial members of the intelligentsia made up did. Brener and Osmolovsky thought that they would 3 the backbone of Russian culture. come to the masses and awaken them, but in reality BG Marinetti himself had that anti-­intelligentsia and anti-­ the Russian mass media combined Soviet tradition with intellectual syndrome. He was an extremely refined man, hard to marketing, which are fundamentally the same things. It be more so. But it was not about his origins, but his beliefs. A kind is a system for mastering the taste of a great number of of new ‘narodnichestvo’ has appeared, if you like. The narodni- people. At the technological level, manipulation stayed ki wanted to kiss the fruitful Russian soil, in the good sense of the same, the ideology changed, but the manipulation the word, they dreamt that it would bear powerful trees, oaks. system remained the same. There is nothing done can The actionists did the same. But when they moved closer to the do about it. You can scream as much as you want on the massses, they rather quickly discovered, as did the narodniki of square, but that is the voice crying out in the wilderness, 1860s and 1870s, that the masses were not interested in them. which is actually quite pleasant. I think the re-creation­ Then they started crawling into very dark corners, organizing their of the figure Voice Crying Out in the Wilderness is the most institutions with varied success. Anatoly Osmolovsky carried out powerful side of Russian actionism of that period. 4 the institutionalization most consistently. In one form or another AK But that is exactly Alexander Brener calling Boris Yeltsin to come for a box- it was done by all the artists of that circle. ing duel on Lobnoe Mesto in the Red Square. AK All except Alexander Brener, but his persistent and ruth- BG It’s also Kulik’s man-­dog, because one day he realized: ‘The only thing I have less struggle against art institutions in the end turned him into an is my body. And the only thing I can say is to bark.’ It takes us back and perhaps also international city madman. As for Anatoly Osmolovsky, throughout forward to the Christian asceticism of early Orthodoxy — to people who stood on the nineties he tried to carry out an anarchic institutionalization, a pillar amid filth for 30 years, or barked, or said nothing ever. It’s radical asceticism. creating sort of terrorist groups working in the field of art. The last book by Dadaist Hugo Ball is devoted to the fathers of the early Orthodox BG As for Brener, he spat on individual curators and intell­ Church. He was a man of genius and he knew very well that ascetic degradation of ectuals, but what that had to do with struggling against institu- human potential to the absolute minimum can be a reaction to the total control tions remains unclear to me. As for Osmolovsky, his institution not only of the culture of the intelligentsia but to the total control of mass culture. consists of nice guys who don’t throw bombs and discuss innocent People used to come from Alexandria to picnic around the pillar ascetics. They subject matter. looked at them, ate and drank, and went home. As a result the stylites and the cave AK Anatoly dreamt about Russia having its own 1968. In 2005 hermits started moving into monasteries and following codified rules. Even then it I discussed the Moscow radicals with Joseph Kosuth. He stated became clear that it is impossible to avoid the paths of alternative institutionalizing, firmly that if there is no real popular movement, it will all remain because the masses do not react to all those isolated cries. a simulacrum. AK By the way Ball has a book dedicated to criticism of the German intel- BG Well, you know, Andrey, the point is that 1968 itself was ligentsia. One of the main characters of his very scholarly research on Byzantine a simulacrum, since there was no popular movement then either. Christianity is Simeon Stylites. And he won! But there was a phenomenon, the absence of which in Russia seems BG So did contemporary art. There are museums of contemporary art every- to be a mystery still waiting to be scientifically explained, since where, located right next to churches and cathedrals. And in fact they revere all

Russia did not have a student movement. If we look at 1968 and what happened in 1 those stylites — Malevich, Tatlin. Eastern Europe in 1989, when students took over universities and demanded that AK And Duchamp! representatives of the underground become professors. So even though in 1968 2 BG He’s that hermit who was silent for 30 years and then said something. and 1989 the masses were not involved, the students wanted to change not only Cathedrals were built on the relics of saints. Today Suprematist compositions the educational system but the whole society. play the same role as those relics. And they play the same financial role, by the fig. 1 E.T.I. Movement AK Look, there were very well educated young people in the groups Voina and way, because relics were very expensive. Now Suprematist compositions cost A Parody on the Human Chain at the White Pussy Riot. That is the university rebelling. But there were very few heroes. There a lot of money. House, 1991 were no masses. AK Well, there’s not enough Malevich for everyone. Or Kabakov, to mention fig. 2 Mukho ­mory Art Group Shooting Execution, 1979 BG Because there was no mass student movement, the structures were not barely contemporary art. The situation with the rest of Russian art is so complicated fig. 3 Oleg Kulik I am a Beast Now, 1995 restructured. As for the masses beyond ‘educatedism,’ they were formed by mass that acts of glorification are hard to verify by auction results. fig. 4 Oleg Mavromatti Soviet culture. And it just moved from the Soviet system into the new system. I’ll BG It’s not about the prices, which depend on the times and market conditions. ‘Citizen X’ at the Guelman Gallery, tell you an episode from my life. I was giving an interview about my curatorship The problem is that there is a certain foundational act, laying the foundations — and 2000

34 35 it is an ascetic action demonstrating the minimum of human potential. And then it BG Right, it was mad intelligentsia. But if we take the development of post- fig. 1 Pussy Riot Kropotkin Vodka, 2011 is overgrown with church implements. If a person starts out with rational discourse war actionism in Europe, only Pavlensky captured its spirit in some sense. Because fig. 2 Pyotr Pavlensky and publishes articles or something else like that, he will never become a holy martyr all that masochistic self-torture­ and humiliating his own body goes back to early Fixation, 2013 and no one will build churches on his bones, or relics. Marina Abramovic and Viennese actionism. By his actions, Pavlensky categorized AK That’s not quite right, because Brener, Osmolovsky, and Kulik produced the vulnerability of his body. In a sense, his performances could easily fit the big masses of texts, mostly completely crazy. tradition of Western masochism towards one’s own body. It is very similar to postwar BG I agree, but they did not write texts that were compatible with the standard actionism. But in Russia it had never existed in that form. Pavlensky reactivated that requirements of academic publications or the standard requirements of magazine-­ direction in Russia. type publications. AK It should be said here that radical actionism is a consciously self-­immolating AK By the way, Brener, before moving to Moscow was a well-­known journal- strategy, and it can be realized only in a very short timeframe. The Viennese ac- ist in Israel. That’s probably why he was the only one who managed to masterfully tionists did not function for long and the majority of them ended badly. But they blow up his mass-media­ image as well. At any rate, he gave an interview for the had a very weak institutional component. Now Marina Abramovich has lasted super progressive newspaper Segodnia, where I worked, and even though I smoothed so long as an actively functioning actionist because she became part of stable it out as much as possible, the editors rejected it. The texts and manifestos that institutions. On the other hand, such intensive practices are too strongly tied to Osmolovsky published in the name of various groups were specially made to sound the social situation. When the wounds of World War II began healing in Austria, like Marinetti. After all, Simeon Stylites, besides tossing faeces from the pillar at Viennese actionism began losing its relevance. In the early 2000s, radical gestures the public, kept reading wise books. 1 began drowning in the swamp of the so-­called Putin stabilization. But that is the 2 very reason why the strategy of an actionist who sacrifices his body in a public space can- not be derivative or borrowed. BG Oddly enough, it can be. Hurting yourself is an act of authenticating the mo- ment. There is theory that says the originality and non-­reproducible nature of the moment are related to the sense of pain. Pain by itself is not identified from the outside but appears only as a scene, a scene of pain. The inner experience of pain is a marker that is tied directly to the calendar — I was hurt then, at that time, in that place. The impulse that led to this practice is exactly the desire to be contemporary. One of the ways of being con-­ temporary, that is, to internally synchronize your own life time with the flow of historical time, is to feel pain. By the way, Bataille wrote a lot about this in his days. AK But the reality is that the extremists of the 1990s who worked with the problem of pain, like Oleg Mavromati, remained marginalized, that is, they almost did not synchronize with historical time. BG You know, it’s a question of historical time. Duchamp was also a marginal character, until the 1960s Dali was better known. With time public memory changes, it’s a complex process. I sometimes have students, Americans, who are interested in actionism and the most important aspect for them is causing themselves pain. Some of them are interested in Mavromati. But authentic performances that authenticate themselves by the sensation of pain or other unmediated body experiences are now regarded as archaic. To- day performance is understood most frequently as pure staging. There is a very powerful theatricalization of everything, including performance, which now at- tracts attention as a theatrical form. The artist here is more like a stage director.

36 37 Everything is happening in some ideal sphere, that is, in the space between viewer and actor. And here, of course, Pussy Riot hit the spot, because everything they do seems staged, very theatrical, that is, very up to date. AK Let me say that actually those young women wanted to come to the people. They calculated everything and fearlessly threw their bodies into the society. The reaction of the public around them was very important, even though they knew that masses are dangerous. BG Of course Pussy Riot and Pavlensky should be perceived as going to the people. Narodnichestvo was the most powerful movement in terms of involve- ment of the intelligentsia in the late nineteenth century. But as Lenin justly noted, one needs to take another path. The path of going to the people turned out to be unsuccessful. And now, to my dismay, there is a point at which the current culture coincides with Soviet culture — the appeal to the masses and the goal of attractingthe maximum number of people. Big lines for exhibitions, huge numbers of ‘likes,’ and so on. This orientation towards quantitative indicators, which was very characteristic of the Soviet system, has transfererd fully into today’s Russian capitalism. It is very difficult to oppose such a marketing strategy. No going to the masses would help. AK It’s not that simple — in real life these very clever and courageous young women always managed to get away. Not only from the police, but from the crowd that wanted to lynch them for preaching feminism. By the way, there were always movements within Moscow Conceptualism that wanted to be of the people. For example, the Mukhomory [Toadstools] group, which recorded Golden Disk, which became an instant hit. BG I never considered Mukhomory as conceptualists. AK I can tell you that the guys in that group were very well educated and strove to obtain knowledge; they went to the studio of Ilya Kabakov, which as you know was the most important institution of unofficial art in Moscow. There, among other things, as far as I know, they were actively educated. Of course, the Toad- stools were not conceptualists, since they rejected all reflection, just as their peers Jean-­Michel Basquiat and Keith Haring did. The latter, by the way, was educated by Joseph Kosuth around the same time that the Toadstools were listening to Kabakov. With their tendency for splashy and provocative gestures they had the potential to become mass media heroes. But there were no free newspapers and magazines in 1982, much less television. And they had no interest in working with social issues. Although they did one of the first acts of institutional criticism of Conceptualism, which they considered ossified and bureaucratized — they boorishly appropriated an action of the Collective Action group. BG In fact it was Ilya Kabakov, Erik Bulatov, and Dmitri Prigov who worked with mass culture. They did not want to succeed in mass culture, but they studied and analyzed it. We’re talking about a kind of new realism, which is characteristic of all contemporary culture. From Andy Warhol to Jeff Koons and from the conceptual- ism of the 1960–1970s right up to many of today’s analytics of the contemporary trends — mass culture became the sphere of observation for the artist. Here mass culture appears not as the promise of success, but simply as material, the way pines and firs were material for landscape artists.

Pyotr Pavlensky Segregation, 2014 38 39 BORIS GROYS AND HELEN PYOTROVSKY NADEZHDA SARAH WILSON 13 Victor Terras ed., ‘Simeon 26 Thanks to Pierre Lascoumes 36 See also D. Rousset, A World 50 Ben Beaumont Thomas, Two 63 N. Sneider, Body Politics. 74 Compare L. Aragon, ‘Les buvards Polotsky,’ Handbook of Russian Literature (CNRS), for his development of Apart, (London, Secker and Warburg, members of Pussy Riot detained 1843 magazine, The Economist, June / du Conseil des ministres,’ La Révolution ­ANDREY KOVALEV ­PUSSY RIOT: TOLOKONNIKOVA & PYOTR PAVLENSKY: (New Haven and London, Yale Foucault’s intuition on Sade (Discipline 1951) (L’Univers concentrationnaire, in Russia for Oleg Sentsov protest, July, 2016. surréaliste, no. 6, March 1, 1926, ­RUSSIAN ACTIONISM: FROM INTERVENTION SLAVOJ ŽIŽEK ­IMAGES OF CONVIC- University Press). p. 418. and Punish, French, 1975, part III) in ‘La Paris, Pavot, 1946: Neugamme and The Guardian, August 8, 2017. Available 64 Ibid. pp. 15–17. 14 I Believe. A Project of Artistic Perpendicularisation de la société. Buchenwald) ed., Le Livre blanc sur les at: (https://www.theguardian.com/ 65 Sneider refers to the explicit 75 Of course I refer to Boris Groys’s THE NEW NARODNIKI TO ACTION THE PRISON LETTERS­ TION, BUREAUCRATIC Optimism, ed. O. Kulik. (Moscow, Soldats, danseurs, carrousels et camps de concentration soviétique, Paris, music/2017/aug/08/pussy-riot-oleg- parallel with Oleg Sentsov (see note Gesamtkunstwerk Stalin (Munich, Carl Winzawod, 2007). (part of the ballets de cour, in Philippe Artières Éditions du Pavois, 1951 and further sentsov-protest-yakutsk ). (Accessed: 44), ‘convicted of terrorism for Hanser, 1988; The Total Art of Stalinism, CONVULSION 1 The Narodniki was a politically 1 H. Arendt. Vita activa, ili Exepts from: N. Tolokonnikova & second Moscow Biennale). ed., Michel Foucault, La Littérature et Gulag publications. 14 July 2017) allegedly helping burn the doors of Princeton, N.J., Princeton University conscious movement of the Russian O deiatel’noi zhizni, Trans. from the S. Žižek. Comradely Greetings: The Prison 15 ‘Under a Tinsel Sun’ curated les arts (Paris: Kimé, 2004), pp. 145– 37 See R. Girard, Violence and the 51 See Le cas Pavlenski, 2016, part a local pro-Russian political party’s Press, 1992). middle class in the 1860s and 1870s, German and English by V.V. Bibikhin, Letters of Nadya and Slavoj. (Verso 1 O. Gerdt, Krestnyj otec akcionizma by Katrin Becker, 2012. 158. Sacred, (French, 1972), Baltimore, two, ‘L’Instruction’: three dialogues, offices after Russia annexed the 76 M. Chehonadskih, What is Pussy some of whom became involved ed. by D.M. Nosov. (St. Petersburg: Books, 2014). Gyunter Brus o samoraspyatii i Pyotre Available at http://www. 27 For Pavlensky’s own lecture on Johns Hopkins University Press (1977) pp. 155–220; peninsula in early 2014.’ Riot’s ‘Idea’?. Radical Philosophy, no. 176, in revolutionary agitation against Aleteiia, 2000). p. 312 ff. [H. Pavlenskom. Lenta.ru, March 31, 2017, biennialfoundation.org/2012/04/ Carcass, September 9, 2013, Bergen, 1992, p. 1; 23: the key precursor to 52 I quote p. 176 in Noah Sneider’s 66 Dmitry Kiselyov, ‘Poor Guy,’ on pp. 2–7 (2012). tsarism. Their ideology was known Arendt. The Human Condition. Intro 1 A line from the popular Soviet Available at: https://www.lenta.ru/ the-choice-for-the-main-project- Norway see https://alchetron.com/ Giorgio Agamben, concise translation (see note 55). the flagship Sunday night broadcast, 77 P. Pavlensky, ‘Convulsion as Narodnichestvo from the Russian by Margaret Canovan (Chicago & children’s writer Sergei Mikhalkov: articles/2016/03/31/brus/. (Accessed: under-a-tinsel-sun-and-the- Pyotr-Pavlensky-318331-W; the 38 M. Foucault, La Prison partout, 53 Oksana Shalygina, Facebook page, where he compared Pavlesnky’s bureaucratique et nouvelle economie народ, narod, ‘people, folk,’ so it is London: The University of Chicago ‘Mums of all kinds are needed, and 14th July 2017). Translated by Antonina inconclusive-analysis-projects-of-iii- point about carnaval is first made (‘Prison everywhere’); Combat, quoted by J. B., Calvert Journal, 2014, actions to ISIS beheadings on line, politique,’ comprising the essays listed sometimes translated as ‘peopleism’ Press, 1958), p. 235.] mums of all kinds are important.’ W. Bouis moscow-international-biennale-for- by J.B. Platt, The body politic: how 8335, May 5, 1971, p. 1, reprinted (English corrected by the author). Ibid. (my translations), Le Cas Pavlenski, 2016, or more commonly ‘populism.’ 2 For a more detailed interpretation 2 Tolokonnikova here is quoting 2 From Lenin’s lecture ‘On the young-art-was-made-from-2500- Pyotr Pavlensky’s performance art in Foucault, Dits et écrits, vol. I, 54 Le Cas Pavlenski, 2016, p. 93 67 Anastasia’ Believa’s questions pp. 221–262. A common slogan among the of Riegl in the spirit of Gilles Deleuze from Mikhail Lermontov’s 1832 poem State,’ Pravda, January 18, 1929, No. 15, applications/ is breaking the mould. The Calvert 1954–1975, ed. F. Ewald & D. Defert, (author’s translation). probe the relationship with 78 Ibid., ‘Le sujet face à l’objet,’ Narodniks was ‘хождение в народ,’ see: J. Rajchman, The Deleuze ‘The Sail,’ a classic many Russians 3 I think of Nijinksy’s political ‘dance 16 S. B. Glasser, Buildings evoking Journal, November 13, 2014. Available (Paris, Gallimard, 1994), p. 1061. 55 K. Jaspers, Strindberg und Van Gogh, Pavlensky’s mother, father, the pp. 260–262. khozhdenie v narod, ‘going to the Connections. (Cambridge, Mass.; can recite from memory. The poem of the war’ on a cross of black and Stalin Era are all the rage in Moscow. at: http://www.calvertjournal.com/ 39 ОМОН — Отряд мобильный versuch einer pathographischen stairwell fire, and Oksana’s ordeal 79 Anon. Protest Artist Pavlensky people.’ Though their movement London: The MIT Press). p. 119 ff. ends: ‘[The sail,] rebellious, courts white cloth in 1919 in St Morit, of Washington Post, December 25, opinion/show/3365/pyotr-pavlensky- особого назначения, Otryad Mobilny analyse unter vergleichender of truth, in Le Cas Pavlenski, 2016, Flles Russia Over Attempted-Rape achieved little in its own time, the 3 M. M. Bakhtin. K filosofii postupka. a storm, / As though in storms it Mayakovksy’s performed revolutionary 2003. Available at https://www. protest-art-living-pain-sculpture. Osobogo Naznacheniya or Special heransiehung von Swedenborg und pp. 103–109; 110–12; 114; 132–33. Allegation, Radio Free Europe/Radio Narodniks were in many ways the Available at: http://www.infoliolib. might find peace!’ Tolokonnikova poetry — and suicide.’ washingtonpost.com/archive/ (Accessed: 14 July 2017) Purpose Mobility Unit) created Hölderlin, (Leipzig, Ernst Bircher 68 H. Perlson, Russia cancels top Liberty, 16 January 2017. Available intellectual and political forebears info/philol/bahtin/postupok2.html. here is quoting from Mikhail 4 J. Jones, Pavlensky is top of the politics/2003/12/25/buildings- 28 September 21 in the courtyard 1988; a riot police force, known Verlag, 1922): the first’pathological’ art prize after dissident artist Pyotr at: https://www.rferl.org/a/russia- of the socialist revolutionaries who (Accessed: 4th September 2017). Lermontov’s 1832 poem ‘The ‘Ten most shocking performance evoking-stalin-era-are-all-the- of the State Hermitage Museum for violence against protesters and analysis. Pavlensky is nominated, Artnet. pavlensky-rape-allegation-flees-russia- went on to greatly influence Russian [M.M. Bakhtin. Toward a Philosophy Sail,’ a classic many Russians can artworks ever,’ The Guardian. November rage-in-moscow/f812ba9c-2c25– was opened the international political arrests. 56 See A. Artaud, Van Gogh. Le suicidé com, February 17, 2016. Available artist/28236176.html (Accessed: 14 July history in the 20th century. of the Act. Trans. and notes by Vadim recite from memory. The poem 11, 2013, Available at https://www. 4c1c-a6a4–37d878fea6c4/?utm_ exhibition ‘Ghosts of identity’ — 40 See Elaine Scarry’s classic, de la societé, (Paris, K éditeur, 1947); at: https://news.artnet.com/ 2017). 2 B. Buchloh, Conceptual Art Liapunov, ed. by Vadim Liapunov ends: ‘[The sail,] rebellious, courts theguardian.com/artanddesign/2013/ term=.1b6e49017fc6. (Accessed: planned within the project the The Body in Pain, the Making and ( Van Gogh, he Man suicided by art-world/russia-rejects-pyotr- 80 S. Žižek, Violence, Six Sideways 1962–1969: From the Aesthetics of and Michael Holquist (Austin, TX: a storm, / As though in storms it nov/11/scrotum-top-10-shocking- 14 July 2017) magazine ‘POLITICAL PROPAGANDA.’ Unmaking of the World, (Oxford: Oxford Society, in Susan Sontag ed., Antonin pavlensky-art-prize-428654. Reflections (London: Profile Books, 2008), Administration to the Critique of University of Texas Press, 1993)], p. 25. might find peace!’ performance-art. (Accessed: 14th July 17 Victims of Yegor Gaidar’s shock http://politpropaganda.com/ University Press, 1985); Bob Flanagan, Artaud. Selected Writings, (New York, (Accessed: 14 July 2017). On the pp.1ff. Institutions, October, No. 55, 1990. 4 I. Kant. Spor fakul’tetov, trans. by 3 An antiquated name for the 2017) therapy reforms, the old, the weak, en/2013/09/24/political-propaganda- supermasochist, PLACE: RE/Search Farrar, Strauss and co, 1976). Artaud Human Rights Foundation’s Vaclav 81 G. Ackermann, Femen. (Paris, p. 105–143. M. Levina, Idem. Collected Works in earliest Slavic polities in the area of 5 M. Eltchaninoff, prefacer of Le cas are the voices honoured in Nobel state-hermitage-museum/ Publications, 1993; Favazza, Armando described the ‘massive unfurling of Havel International Prize for Creative Calmann-Lévy, 2013). 8 volumes, gen. ed. professor contemporary Russia; roughly akin to Pavlenski, La Politique comme art (Paris, prize winner Svetlana Alexievich’s 29 See video of this action at A., Bodies Under Siege, Self-Mutilation­ hatred’ by ‘people with swinish souls’ Dissent scandal, see T. Balmforth, 82 For the KGB museum see www. A.V. Gulyga, vol. 7. (Moscow: Choro, calling England ‘Britannia.’ Louison éditions, 2016), is the author Second Hand Time. The Last of the Soviets, http://graniru.org/Politics/Russia/ and Body Modification in Culture and in the postscript (Evelyn Grossman Russian Protest Artist Stripped russkaya-storona.ru; for terror and the 1994), p. 102. [Immanuel Kant. 4 In an interview for a TV special of several books including Dostoïevski, (Fitzcarraldo Editions, 2016). activism/m.221013.html; note the Psychiatry, (Baltimore and London: ed., Antonin Artaud, Oeuvres, Paris, Of Havel Prize Over Support For ‘tallest building’ joke (Siberia can be ‘Conflict of the Philosophy Faculty celebrating his sixtieth birthday Roman et Philosophie (Paris, PUF, 1998) 18 Pavlensky confirms his tactic: closest precursor action of 1991: John Hopkins University Press, 1987), Gallimard, 2004, p. 1463, author’s Partisans. Radio Free Europe/Radio seen from its basement), see ‘Lubyanka with the Faculty of Law,’ in: Idem. On on October 7, 2012, Putin, asked and Les nouveaux dissidents (Paris, ‘the rule of silence’ since his Anatoly Osmolovsky and friends 1996 etc. translation). Liberty, July 8, 2016 Available at: Building,’ in Wikipedia (its main doors History. Ed., with an Intro. by Lewis about Pussy Riot, said that the court Stock, 2016) and editor of Philosophie encounters with the psychiatric spelling ‘Cock’ (ХУЙ) with their 41 See H. Goscilo, ed., Putin as 57 J. B. Platt, Calvert Journal, 2014. https://www.rferl.org/a/pavlensky- are never used, incidentally…). White Beck. Trans. Lewis White Beck, had ‘slapped them with a deuce,’ Magazine. establishment, Le cas Pavlenski, p. 89. bodies on Red Square (see N. Sneider, celebrity and cultural icon, (Abingdon, 58 See S. Bloch, P. Reddaway, havel-prize/27847886.html. 83 Luther und die avant-garde (Cologne, Robert E. Anchor, Emil L. Fackenheim referring to the women’s two-year 6 I refer to the implicit (if 19 J.-F. Lyotard, Ruth Franken, Body Politics. The Economist (June/ Routledge, 2013) Russia’s Political Hospitals. The Abuse of (Accessed: 14 July 2017) Wienand Verlag, 2017) (bilingual), (Indianapolis, IN: Bobbs-Merrill, 1963).] sentence. He then added, ‘I have ironic) claims of B. Groys ed. Total Metz, (Musée des Beaux-Arts, 1991), July 2016). Available at: https:// 42 Unbeknownst to the artist, his Psychiatry in the Soviet Union, (London, 69 J. Dunn, Will it be a Whopper? contemporary Art in Wittenberg, 5 H. Arendt. Op. cit., p. 246 nothing to do with this. They asked Enlightenment. Conceptual Art in Moscow, pp. 11–36. www.1843magazine.com/features/ actions are always/already haunted Victor Gollancz, 1977); Paul Calloway, Burger King creates menu in tribute Berlin and Kassel; Pavlensky shows in 6 From the viewpoint of art and for it, they got it. 1960–1990 (Berlin: Hatje Cantz, 2008). 20 On November 14, 2012, Reuters body-politics. (Accessed: 8th July by Amelia Jones’ now classic article, Russian/Soviet and Western Psychiatry, to Russian artist who nailed his Wittenberg (Old Prison). politics their [Pussy Riot’s] action is 7 See below, note 67. published its list of the 98 best photos 2017). (Accessed: 14 July 2017) Dis-playing the phallus. Male artists A Contemporary Comparative Study, (NY, scrotum to Red Square, Daily Mail 84 See L. Martines, Fire in the City: a point of no return.’ (P. Pavlensky, MARIA ALEKHINA 8 See Thomas Hobbes’ Leviathan, of the year, including the photograph 30 Prisons were divided into the perform their masculinities. Art Chichester etc., John Wiley and Sons), online, September 1, 2016. Savonarola and the Struggle for the Soul of ‘I became an acting entity as 1651, and E.H. Kantorowicz’s The of Pavlensky with his mouth sutured in ‘red’ (run by prison authorities) History, vol. 17, issue 4, December, 59 Inc, 1993; P. Wanke, Russian/Soviet 70 And see the 1990 work by Ilya Renaissance Florence. (New York, Oxford RIOT DAYS a result of the punitive trial of Pussy King’s Two Bodies. A Study in Medieval support of Pussy Riot. and the ‘black’ (administered by 1994, pp. 546–584. Military Psychiatry, 1904–1945, London and Emila Kabakov of 1990: He lost his University Press, 2006). Riot,’ POLIT.RU, December 5, 2013. Political Theology (Princeton: Princeton 21 Anatoly Marchenko, My Testimony inmates). 43 Klaus Theweleit, Male Fantasies, and New York, Frank Cass, 2005. mind, undressed, ran away naked. Available at http://www.polit.ru/ Excerpts from Maria Alekhina. Riot University Press, 1957). (New York: Pall Mall Press, 1969). 31 See E.M. Thompson, The Holy Fool 1. Women. Floods. Bodies. History. 2. 60 For antipsychiatry see R.D. Laing, 71 See M. Weber, The All unreferenced statements were article/2013/12/05/pavlensky/). Days. (Allen Lane, Penguin Random 9 G. Didi-Huberman ed., Uprisings 22 Harmondsworth, Middlesex, in Russian Culture, (Labham, New York, Psychoanalysing the White Terror, 2 vols., D. Cooper, European stimuli and Bureaucratisation of Politics and made in interview by Pyotr Pavlensky (Accessed: 14th July 2017) House, 2017) (Paris: Jeu de Paume, 2016). Penguin Books, 1971. London, University Press of America, (Minneapolis, University of Minnesota reactions. See G. Deleuze & F. Guattari, the Economy, Essays in Economic in Paris, and translated by Natacha 7 Nadezhda Tolokonnikova of 10 Established in 1876 as the School of 23 See G. Agamben, Homo Sacer, 1987). Press, 1987); 1989. The Anti Oedipus, Capitalism and sociology. ed. Richard Swedberg, Milovzorova, who was present: 5 May Pussy Riot’s prison letters to Slavoj Technical Drawing of Baron Alexander Sovereign Power and Bare Life, (Italian 32 Shakespeare’s King Lear (1608) is 44 www.politpropaganda.com, Schizophrenia, (Minnestota, Universtiy (Princeton, New Jersey, Princeton in the studio of artist Andrey Molodkin; Žižek, The Guardian, November 15, von Stieglitz, it became subsequently 1995), (Stanford, Stanford University well loved in Russia. Michel Foucault’s and Political Propaganda, 2015, of Minnesota Press, 1983) (L’Anti- University Press, 1999), pp. 109–115. 6 May in the appartment of the late 2013, Available at https://www. the Leningrad Vera Mukhina Higher Press, 1998) and below, note 30. term ‘biopower’ first appeared in pp. 186–191(bilingual). Oedipe, Paris, Minuit, 1972). (quote p. 113; Lecture of 1895, Resistant and Communist artist, Boris theguardian.com/music/2013/nov/15/ School of Art and Industry for training 24 D. Volchek, Cultural Diary: On print in The History of Sexuality, vol. 1, 45 KNIPSU (Bergen, Norway) with 61 Quoted in the most extensive Gesammelte Politische Schriften, Taslitzky; 26 July in Pavlensky’s home. pussy-riot-nadezhda-tolokonnikova- in the monumental, decorative and Good Friday. Radio Liberty, May 8, 2013. The Will to Knowledge (French,1976), Museum of Contemporary Art description of Threat, N. Sneider, Body 1921, Tübingen, JCB Mohr, 1988. Thanks to Igor Tsukanov and to Evelyne slavoj-zizek?CMP=twt_gu. (Accessed: industrial arts. 25 See S. Hoffman, The Power (Harmondsworth, Penguin Books, (MOCAK), Krakow, 25 April — 11 May, Politics. 1843 magazine, Economist, June / pp. 320–23, 328–33). Taslitzky for their support; to Andrey 14th July 2017) 11 See L. Gooodrich, A Picture of Vertical and its chilling effect on 1998), p. 140.33 See Anastasia 2014; http://knipsu.no/pavlensky/ July, 2016. 72 See B.H.D. Buchloh, Conceptual Kovalev for our long friendship, to 8 G. Deleuze, Qu’est-ce que l’act Russian Patriotism, Stratfor Worldview, Democracy, Rights in Russia, March Kyiatos’ essay, Penile Servitude and the 46 Le cas Pavlenski, 2016, p. 69. 62 Zh. & R. Medvedev. A Question Art 1962–1969: From the Aesthetic Dr. Peter J.S. Duncan (SSEES) Dr Natalia de création? Conférence donnée dans March 22, 2016. Available at https:// 5, 2012. Available at http://www. Police State, NYU Jordan Rusian Center, 47 Ibid., pp. 85–89; see also Winter of Madness, How a Russian scientist of Administration to the Critique of Murray, Dr. Gavin Parkinson and Denis le cadre des ‘Mardis de la Fondation,’ le worldview.stratfor.com/article/ rightsinrussia.info/archive/blog/ November 20, 2013. Available at on Fire: Ukraine’s Fight for Freedom, was put in a Soviet mental hospital and Institutions. October, vol. 35, Winter, Stolyarov, (Courtauld Institute); to 17 mars 1987. Available at http://www. picture-russian-patriotism, (Accessed: hoffman/power-vertical. (Accessed: (http://jordanrussiacenter.org/news/ (Netflix, 2015). how he got out, (London, Macmillan, 1990, pp. 105–143 (following a polemic Adrien Sina and to Oksana Shalygina youtube.com/watch?v=7DskjRer95s 14th July 2017) and Wikileaks, 133780_ 14 July 2017), after A. Monaghan, penile-servitude-police-state/#. 48 Ibid, p. 69 for Freedom as 1971); (Penguin paperback 1974) just with Kosuth in 1988 — note this delay in for Political Propaganda, her faith and (Accessed: 14th July 2017) Foundations (unification with ROCOR, The Vertikal. Power and Authority in WbQmUWB_ox8. (Accessed: 14 July a birthday present for his daughter. preceded the Aleander Solzenitzhin’s ‘nomination’). support for Pyotr, Alissa and Lilia. 9 Cited in: M. Gessen, Sud kak the Russian Orthodox Church outside Russia. International Affairs, January 12, 2017) 49 Oleg Sentsov is serving a 20-year revelations of the gulag ‘archipelago’ 73 P. Pawlenski. Aktionen, (texts by P. missiia. Khudozhestvennaia, The New Russia, New York and Paris the principal 1988, vol. 1, 2012. Available at http:// 34 G. Agamben, Homo Sacer, prison sentence for terrorism in (1973–4) and human rights protests; Pavlensky, A. Belyeva, I. Danishevsky, Times, August 12, 2013, No. 24 (292). ‘modern-day KGB listening posts’). onlinelibrary.wiley.com/doi/10.1111/ Sovereign Power and Bare Life, 1998. the far-flung Sakha Republic. His culminating in the ‘Helsinki V. Velminski, tr. Maria Rajer), Berlin, Available at https://newtimes.ru/ 12 L. Lorenz, Christ’s Womanly j.1468–2346.2012.01053.x/abstract. 35 quotes R. Antelme, L’Espèce lawyer — as for Pussy Riot and Agreement of 1975. ciconia ciconia, 2016, illustrates many articles/detail/69910 (Accessed: Wounds, Recycled Origins, (New York: (Accessed: 14 July 2017) humaine, Paris, la Cité Universelle, 1947, Pavlensky — is Dmitri Dinze. legal documents with exact translations 14th July 2017) Outer Room Gallery, 2014). pp. 10 ff; (The Human Race, Marlboro, (Kapnin document p. 24; Pyotrol can Vermont, The Marlboro Press, 1993). p. 99). Endnotes

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Iskusstvo na PERFORMANCES IN public education and most issues ART IN RUSSIA Foundation, 1981). Proved That Lenin Was a Mushroom. 1 G. V. Derzhavin, Bog, 1784, barrikadah: Majdan glazami 1 A. Matveeva, Mesta sily related to culture. In 1946 it was 14 ‘E.T.I. — TEKST’ (v narode — Slavic Review vol. 70, no. 2. (2011) AND POLITICS PETROGRAD IN 1917– 1 Despite attempts to distinguish Sochineniia Derzhavina, vol. 1. (Moscow, ukrainskih hudozhnikov. Pt. 1, Art neofitsial’nogo iskusstva Leningrada. transformed into the Ministry of 1 ‘Energiya zabluzhdeniya. ‘HUJ’). Personal website of Anatoly pp. 307–33. the concepts of ‘action’ and 1798), pp. 1–6. IN UKRAINE. 1987–2017 Ukraine, February 6, 2014. Available Chast’ 4. Skvota na Ligovka i gruppa 1920 Education. Its first head was Anatoly Kniga o syuzhete’ in V.B. Shklovskij, Osmolovsky. Available at: http:// 29 A. 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Lozhkina. zhurnal, December, 2008, No. 70. (London: Thames and Hudson, 1976). 14 See TsGA (Central State Archive), 3 С. Bishop & B. Groys, Bring the Curatorial Studies, Bard College, 2017). zhalkoj provincial’noj kommercheskoj confession on his back ‘I am not the of income between the super-rich sovremennogo iskusstva Odessy, 2010. Icons on the Barricades: Incredible Available at http://xz.gif.ru/ pp. 79–83. St. Petersburg, f. 1000, op.4, d. 283, noise. Issue 16. (Tate etc., Summer 17 See N. Gur’yanova, Avangard ebotnej!.’ December 13, 2010. son of God.’ After this performance, and the poorest in Russia, the cost of Available at: http://msio.com.ua/ru/ Ukrainian Protest Art, ArtNews, March numbers/70/golynko-timur/. 2 René Fulöp-Miller, The Mind and p. 39. 2009), pp. 30–43. Available at: http:// i ideologiya. Russian Literature, LXVII-III/ Available at: http://plucer.livejournal. hiding from the courts and charges of the Olympics including infrastructure articles/309-memories-of-memories. 31, 2014. Available at: http://www. (Accessed: 4th September 2017) Face of Bolshevism. An Examination of 15 TsGA St. Petersburg, f. 1000, www.tate.org.uk/context-comment/ IV. Special issue: Russian Avant-Garde. com/190952.html (Accessed: Satanism, the artist fled to Bulgaria. was 1.5 trillion rubles, or 9% of the (Accessed: 4th September 2017) artnews.com/2014/03/31/icons- 3 A. Khlobystin, Andrei, Iskusstvo Cultural Life in Soviet Russia, (London: op. 4, d. 219, p. 151. articles/bring-noise (Accessed: April 1 — May 15, 2010. pp. 365–402 4th September 2017) See also: S. 3 H. Foster, Bad New Days: Art, country’s budget. 2 N.A. Usenko, The art of political on-the-barricades-2/ (Accessed: ne (dlia) iskusstva. Sokrovenoe G.P. Putman’s Sons, 1927), p. 133. 16 O. Nemiro, Prazdnichnyi Gorod: 4th September 2017) 18 J. Neuberger, Hooliganism: Crime, Hensgen & A. Monastyrskij, Dialog Criticism, Emergency, (London, New 4 There is more on this action in protest: Ukrainian version. Vіsnik 4th September 2017). iskusstvo Peterburga, Kommentarii, 3 Rachilde was the pen name of Iskusstvo oformleniia prazdnikov. Istoriia 4 M. Foucault, Disciplinary Power Culture, and Power in St. Petersburg, 1900– o lozungah ‘Kollektivnyh dejstvij.’ York, 2015), p. 143. Anna Matveyeva’s essay in this book. Harkіvs’koї derzhavnoї akademії dizajnu і 19 Circling the Square. Maidan & No. 9, 1996. Marguerite Vallette-Eymery (1860– i sovremennost.’ (Leningrad, 1987). and Subjection in ‘Power.’ Ed. Steven 1914. (Berkeley: University of Calif. Available at: http://conceptualism. 4 A. Kovalev, ‘Zhest vremeni i vremia 5 The domestic policy which was mistectv. No. 7, Harkіv, 2014. Cultural Insurgency in Ukraine. (Cicada 4 Karlsson on the Roof — 1953), a French author who was dubbed pp. 139–140. Lukes (Oxford: Blackwell, 1986) Press, 1993); YU.A. Tyutyunova, Russkij letov.ru/Andrei-Monastyrski-Sabine- zhesta,’ in A. Kovalev, ‘Rossiiskii first introduced in the 2000s when 3 A. Solov’ev. Iskusstvo Ukrainy press, New York, 2014). ‘a handsome, thoroughly clever, ‘Mademoiselle Baudelaire’ by Maurice 17 See Yu. Annenkov, Dnevnik moikh 5 P. Virilio & E.R. O’Neil, futurizm i cenzura. Vestnik Moskovskogo Haensgen-dialog.html (Accessed: aktsionizm, 1990–2000.’ (World art Putin aimed at reducing democratic 90-h (Refleksii). Hudozhestvennyj 20 A. Lozhkina. Majdan so vkusom perfectly plump man in his prime’ — is Barres and was one of the most vstrech. Tsikl tragedii. (Leningrad: 1991). Dromoscopy, or The Ecstasy of Universiteta. Vol.10 — Zhurnalistika, no. 2 4th September 2017) muzei, 2007). p. 8. freedoms, the introduction of zhurnal, no. 28–29, Moscow, 1999. sakury: revolyucionnye hokku Igorya a character who features in a series complex literary figures to emerge at p. 104. Enormities. Wide Angle 20, no. 3 (1998) (2001) 32 O. Eșanu, Transition in Post-Soviet­ 5 Op. cit., p. 143. political censorship, and the rejection Available at: http://www.guelman. Guseva, Art Ukraine, January 30, 2014. of children’s books by the Swedish the end of the nineteenth — beginning 18 See Sergei Eisenstein, Selected pp. 11–22. 19 See, for example, G. Mosquera, Art: ‘Collective Actions’ Before and After 6 This is the conclusion of Chantal of an independent judiciary. ru/xz/362/xx28/x28015.htm Available at: http://artukraine.com. author Astrid Lindgren. A cartoon of twentieth centuries. Works, vol. 4, Beyond the Stars: The 6 V.I. Lenin, Imperializm, kak vysshaya Meyer Schapiro, Marxist Aesthetics, 1989 (Duke University: Department Mouffe’s text ‘Towards an Agonistic 6 See L. Kiselev’s Sibirskii separatism (Accessed: 4th September 2017) ua/a/maydan-so-vkusom-sakury- adaptation of the series became 4 James von Geldern, Bolshevik Memoirs of Sergei Eisenstein, ed. Richard stadiya kapitalizma. Poln. sobr. soch., and Abstract Art. Oxford Art Journal, of Art, Art History & Visual Studies, Model of Democracy’ i ego rokovaia sud’ba on the site proza. 4 O. Solovjov. Turbuentnі shlyuzi. revolyucionnye-hokku-igorya- popular in the Soviet Union after Festivals. 1917–1920. (University of Taylor and trans. William Powell vol. 27, p. 387. no. 17, (1994) pp. 76–80. 2009) Available at: https:// 7 Paraesthetics is a term proposed ru. (Іnstitut problem suchasnogo guseva/#.WbRzgtNJZE4 (Accessed: it was first released in the 1970s. California Press, 1993). p. 21. (London: BFI Publishing, 1995). p. 72. 7 V. Tupicyn, Tela nasiliya. 20 A.H. Barr Jr., ‘Is Modern Art dukespace.lib.duke.edu/dspace/ by David Carroll and used by Rita 7 See O. Bakushinskaya, mistectva, Kiїv, 2006). Available at 4th September 2017) Karlsson, together with Cheburashka 5 ‘Teatr i miting’ in Rampa i zhizn,’ 19 See James von Geldern, pp. 1–2. Hudozhestvennyj zhurnal, no. 19–20 Communistic?’ In Art in theory bitstream/handle/10161/1067/D_ Felski. See the article ‘Why Feminism Okkupatiosnnyi rezhim, Eho http://www.mari.kiev.ua/PDF/solovev. 21 Parkomuna. Mіsce. Spіl’nota. are still widely recognized as national 1917, No. 20, pp. 4–5. 20 See TsGA (Central State Archive), (1998). Available at: http:// 1900–2000: An anthology of changing Esanu_Octavian_a_200904. Doesn’t Need an Aesthetic (and Moskvy, June 7, 2011. Available pdf (Accessed: 4th September 2017) Yavishche. PinchukArtCentre, icons. 6 See James Von Geldern, Bolshevik St. Petersburg, f. 1000, op. 79, d. 243, moscowartmagazine.com/issue/46/ ideas, eds. C. Harrison, P. Wood pdf?sequence=1 (Accessed: Why It Can’t Ignore Aesthetics)’ in R. at http://echo.msk.ru/blog/ 5 Onlajn-arhiv proekta ‘Kombinat (Kiїv, 2017). Available at http:// 5 M. Raiskin, Vybora net, Maksimka, Festivals. 1917–1920, p. 23. pp. 4–9; d. 249, pp. 2–8. article/905 (Accessed: 4th September & Blackwell Publishing. (Malden: 4th September 2017) Felski, Doing Time: Feminist Theory and bakusha/782353-echo/?utm_ revolyucij.’ Available at: http://art. pinchukartcentre.org/files/library/ No. 3, 1998. 7 Proletkult [Пролеткульт] — 21 See memoires of N.N. Pyotrov, 2017) Blackwell Publishing, 2014). Term ‘de- 33 A. Monastyrskij, Ibid Postmodern Culture, (New York: NYU source=twitterfeed&utm_ mamchich.info/combinat/history. pinchukartcentre-parcommune- 6 ‘Prediava obshchestvu [Charge abbreviation of Proletarian 50 i 500 (Moscow, 1960), p. 136. 8 Miziano, V. ‘Eto byla Marxization’ used by Thomas Bender 34 ‘Futuristy, “muhomory,’ Pavlenskij Press, 2000). medium=twitter (Accessed: 14th July html (Accessed: 4th September 2017) place-community-phenomenon. Against Society]’ The Prosthesis Culture [Proletarskaia Kul’tura], 22 A. Piotrovskii, ‘Za Sovetskii Teatr!,’ ejforicheskaya svoboda.’ Interview by in T. Bender, Behind the scwnes of i drugie.’ Artguide, October 16, 2014 8 F.p Balunovic, Fredric Jameson: 2017) 6 A. Solov’ev & A. Lozhkina. Point pdf (Accessed: 4th September 2017), group: Igor Mezheritsky, Grigory an experimental organization Zhizn’ Iskusstva, 1920, No. 584–585. Katerina Belenkina. Colta.ru, May 19, Abstract Expressionism. The New York Available at: http://artguide.com/ People are saying ‘this is a new 8 A letter to Kamensky Zero. Novejshaya istoriya ukrainskogo T. Zlobina & N. Kadan, ‘Ukraina — Yushchenko, Alexander Vilkin, 2006. established in the new Soviet state 23 Izvestiia, November 6, 1920. 2014. Available at: https://www. Times (1984). posts/669 (Accessed: 4th September fascism’ and my answer is — not from Velimir Khlebnikov. Citing iskusstva. (TOR10, Kiїv, 2010) R.E.P..’ Hudozhestvennyj zhurnal, Available at http://vgribe.com/ in 1917 in conjunction with the 24 René Fulöp-Miller, The Mind and colta.ru/articles/90s/3231 (Accessed: 21 V. Antonov, Neoficial’noe 2017) yet!. Left East, November 4, 2016. V.V. Kamensky, Put’ entuziasta. (Perm, 7 G. Sklyarenko, Sovremennoe no. 61/62, Moscow, 2006. members/gruppirovka-protez/info- October Revolution, to provide the Face of Bolshevism, p. 133. 4th September 2017) iskusstvo: razvitie, sostoyanie, 35 Holmogorova, O. ‘Zhizn’ byla Available at: http://www.criticatac. 2011). p. 114. iskusstvo Ukrainy. Portrety hudozhnikov. 22 A. Lozhkina. Iskusstvo na prediava-obshchestvu. (Accessed: foundations for the development of 9 N. Sneider, Body Politics. perspektivy. Kontinent, no. 152 (2013) sploshnym artefaktom.’ Interview with ro/lefteast/fredric-jameson-fascism- (Huss, Kiev 2015). barrikadah: Majdan glazami 4th September 2017) proletarian art. The Economist, 2016. Available at: 22 Interview by Andrei Kovalev, Mihail, Roshal.’ Website Moscow not-yet-there/ (Accessed: 14 July 8 Zhurnal ‘Parta.’ No. 1. (Kiev, 1997), ukrainskih hudozhnikov. Pt. 2, Art 7 The Prosthesis group. Akciya 8 See ‘KPSS v rezolutsiiakh https://www.1843magazine.com/ published in 1999 on the site of the Conceptualism. Available at: http:// 2017) Zhurnal ‘Parta.’ No. 2. (Kiev, 1997). Ukraine, February 7, 2014. Available ‘Likvidaciya tamozhennogo i resheniiakh s’ezdov, konferentsii features/body-politics. (Accessed: Soros Center for Contemporary Art. www.conceptualism-moscow. 9 A. Krivencova, SOSka. Mezhdu at: http://artukraine.com.ua/a/ konfiskata.’ 13 may 2006, Dvorcovaya I plenumov,’ TsK. Part 1. 1889–1925. 8th July 2017) The internet variant is not available. org/page?id=564 (Accessed: akciej i instituciej. Hudozhestvennyj iskusstvo-na-barrikadah-maydan- Ploshchad.’ Available at http://vgribe. (Moscow, 1953). p. 420. 10 E. Dyogot,’ ‘Moskovskij 23 M. Ajzenberg, Zayavka na 4th September 2017) zhurnal, no. 67/68, Moscow, 2008. glazami-ukrainskih-hudozhnikov-ch com/members/gruppirovka-protez/ 9 The largest People’s House akcionizm: Samosoznanie bez zhanr: CHto pridet na smenu 36 K. Krasznahorkai, ‘Heightened 10 N. Kadan, Novoe ukrainskoe (Accessed: 4th September 2017) vystavki-i-aktsii-svalka/likvidatsiia- (which included theatre) was opened soznaniya.’ in Kräftmessen. Eine akcionnomu iskusstvu. Lenta.ru, Alert: The Underground Art Scene iskusstvo. Hudozhestvennyj zhurnal, 23 Mistec’kij Barbakan. Trikutnik tamozhennogo-konfiskata-13052006. in St. Petersburg on 12 December Ausstellung ost-östlicher Positionen May 20, 2017. Available at: https:// in the Sights of the Secret Police — no. 67/68, Moscow, 2008. dev’yanosto dva. (Kiїv: Lyuta sprava, (Accessed: 4th September 2017) 1900. It was called ‘Place for public innerhalb der westlichen Wel, Hrsg. von lenta.ru/columns/2017/05/20/aizenberg6/ Surveillance Files as a Resource for 11 R.E.P. Revolutionary Experimental 2015). 8 The Prosthesis group. Anti- entertainment of the Emperor H.G. Oroshakoff. (Ostfildern: Cantz (Accessed: 4th September 2017) Research into Artists’ Activities in the Space, (The Green Box, Berlin, 2015). 24 G. Sklyarenko, N. Macenko, obshchestvenno-politicheskaya Nicholas II.’ Before the 1917 Verlag, 1995) pp. 295–300 24 See A. Kovalev, ‘“Bul’dozernaya Underground of the 1960s and 1970s’ 12 A. Krivencova, SOSka. Mezhdu K. Raj, R. Rublevs’ka & І. Esterkіn. akciya ‘Prodazha golosa.’ 2 December Revolution it was managed by the 11 I. Aristarkhova, ‘Beyond vystavka’ i voprosy formoobrazovaniya in Art beyond Borders: Artistic Exchange akciej i instituciej. Hudozhestvennyj ‘25 rokіv prisutnostі.’ (ArtHuss, Kiїv, 2007. Available at http://vgribe. Department for National Sobriety. Representation and Affiliation: russkogo iskusstva’ in A. Kovalyov, in Communist Europe (1945–1989) eds. zhurnal, no. 67/68, Moscow, 2008. 2017) com/members/gruppirovka-protez/ After the Revolution it was used as Collective Action in Post-Soviet Kniga peremen: Materialy k istorii russkogo J. Bazin, P.D. Glatigny & P. Piotrowski 13 A. Landihova, Zdes’ tebe ne vystavki-i-aktsii-svalka/prodazha- a theatre. It burned down in 1932 Russia’ in Collectivism after Modernism: iskusstva. Vol. 1 (Moscow: Ridero, 2016) (Central European University Press, Evropa kak prigovor. Art Ukraine, golosa-02122007. (Accessed: and was replaced by the Theatre of The Art of Social Imagination after 1945, pp. 315–324 2015) p. 125–139. September 30, 2010. Available 4th September 2017) Lenin’s Komsomol later re-named eds. B. Stimson & G. Sholette (U of 25 O. Holmogorova, Gruppa at: http://artukraine.com.ua/a/ 9 Ibid. into the theatre ‘Baltiiskii Dom.’ Minnesota Press, 2007) pp. 253–269 ‘Gnezdo.’ Dialog iskusstv, no. 3 (2008) quotzdes-tebe-ne-evropaquot-kak- 12 See: K. Zvezdočetov, M. Sumnina pp. 105–109 prigovor/#.WbR7mtOrRE4 (Accessed: & A. Obuhova, ‘Muhomor.: s.n.’ 26 ZH. Deleuze & F. Gvattari, 4th September 2017) (Vologda, 2010) p. 93 Kapitalizm i shizofreniya. Anti-Edip. 14 Ukraїns’ke tіlo. Catalog of Sokr. perevod-referat M.K. Ryklina. exhibition. (Kiїv: Naukovo-doslіdnij (Moscow, 1990) Centr vіzual’noї kul’turi, 2012).

246 247 37 Information unconfirmed, 50 Nikolaev, A. ‘Ob artivizme, 61 R. Gerlovina & V. Gerlovin, ‘Zoo — 75 ‘Behtmen i Dzhoker: termidor ALEK D. EPSTEIN 12 A. Kovalev, Rossiskii aktsionizm. 27 Iskusstvo pod bul’dozerom. Siniaia 41 A. Tolstova, Ikona Pussy Riot most likely originated in stories that provincii i politike’ Interview by Lia, Homo Sapiens’ in Re. act. Feminism: telesnosti’ in V. Tupicyn, Kommunal’nyj 1990–2000 (Moscow: World Art kniga, compiled by A. Glezer (London: iz’iata iz interneta. Kommersant, ART ACTIVISM existed among the nonconformist Adashevskaya. Dialog iskusstv, no. 5, A performing archive. Available at: (post)modernizm. (Moscow: Ad Museum, 2007), pp. 32 and 37. Overseas Publications, 1976). September 9, 2013. artists. The retelling is in a purely (2011) Available at: http://di.mmoma. http://www.reactfeminism.org/ Marginem, 1998) IN THE PUTIN ERA 13 Ibid., pp. 360–363. 28 A. D. Epstein, Proekt Victora 42 Doroshenko K., ‘Korrektirovat’ literary book. V. Medvedev, Aksiomy ru/news?mid=2608&id=1070 (Accessed: entry.php?l=lb&id=57&e=&v=&a=&t= 76 Pavlenskij, P. ‘FSB skolotila 14 The stelae was engraved with Bondarenko i Evgenii Mal’tcevoi iskusstvo s ogliadkoi na ch’u-to avangarda. Arest Malevicha. Vol.2 (2005) 4th September 2017) (Accessed: 4th September 2017) vokrug sebya zheleznyj zanaves.’ the names of Marx, Engels, Saint-­ ‘Dukhovnaia bran’: Bor’ba za novuiu dremuchest’ — unylyi put.’ Interview Available at: http://www.topos.ru/ 51 The action was held on the eve 62 Bessonova, M. ‘TOTART.’ Interview by Elena Kostyuchenko 1 Nikolaev, A. ‘Ob artivizme, Simon, Fourier, Jaures, Proudhon, zhiz’ v iskusstve sakral’nykh obrazov by Anna Landikhova. Art Ukraine, June article/3708 (Accessed: 4th September of the 2008 presidential elections in Interview with Anatolij Zhigalov & & Ekaterina Fomina. Novaya gazeta, provincii i politike.’ Interview by Lia, Bakunin, Chernyshevsky, Plekhanov, khristianstva (Moscow: Russia for 22, 2012. 2017) the Russian Federation, in which the Natal’ya Abalakova. Moscow, 1998. December 10, 2015. Available at: Adashevskaya. Dialog iskusstv, no. 5, and others. Everyone & Kolonna Publications, 43 Letter from Leonid Danilov to 38 S. Sasse, KGB, or, the Art of main candidate was Dmitry Medvedev. Available at: http://conceptualism. https://www.novayagazeta.ru/ (2011) Available at: http://di.mmoma. 15 It was used in Fertilizing the 2012). author, February 27, 2013. Performance: Action Art or Actions See A.D. Epstein, Total’naia ‘Voina’: Art- letov.ru/TOTART/Anatoly-Zhigalov- articles/2015/12/10/66735-Pyotr- ru/news?mid=2608&id=1070 Soil and in many performances of 29 One of the paintings seized 44 Performans v Rossii. 1910–2010. Against Art?. ARTMargins Online aktivizm epokhi tandemokratii (Moscow– Marina-Bessonova.html (Accessed: pavlenskiy-171-fsb-skolotila- (Accessed: 4th September 2017) Viyacheslav Mizin and his colleagues by the police depicted President Kartografiia istorii, p. 234. (1999). Available at: http://www. Riga: Umlyaut Network, 2012) 4th September 2017) vokrug-sebya-zheleznyy-zanaves- 2 Alek D. Epstein, Total’naia ‘Voina’: from the in Blue Noses and Oleg Vladimir Putin in women’s underwear. 45 D. Filimonov, Radia i smert. artmargins.com/index.php/8- 52 Osmolovskij, A. ‘Schitayu put’ 63 E. Dyogot,’ ‘Moskovskij 187-dekabr-2015 (Accessed: Art-aktivizm epokhi tandemokratii Kulik. 30 Milena Orlova pointed this Russkii pioneer [Russian Scout], No. 4 archive/449-kgb-or-the-art-of- asketizma absolyutno repressivnym.’ akcionizm: Samosoznanie bez 4th September 2017) (Moscow–Riga: Umlyaut Network, 16 G. Revzin, Tsena koshchunstva. out in her article: ‘Oni zapisalis’ (46), May 2014, pp. 47–50. performance-action-art-or-actions- Interview by Natal’ya Kostrova. soznaniya.’ In Kräftmessen. Eine 77 Pavlenskij, P. ‘Pyotr Pavlenskij: 2012), pp. 16–34. Kommersant — Vlast,’ No. 28 (881), dobrovol’tsami,’ ArtKhronika [Art 46 See A.D. Epstein, Mezhdu against-art. (Accessed: 21st August Colta.ru, December 16, 2015. Ausstellung ost-östlicher Positionen Telo cheloveka gorazdo prochnee, 3 Alek D. Epstein, Arest uchastnits July 19, 2010, pp. 14–16. Chronicle], No. 4, April 2011, pp. 44– podvalami, sudami i emigratsiei: 2017) Available at: http://www.colta.ru/ innerhalb der westlichen Wel. Hrsg. von chem kazhetsya.’ Interview by gruppy Pussy Riot kak katalizator 17 Samodurov Y. ‘Zashchishchat’ 48. art-aktivizm vremeni vseobshchei 39 ‘Action — happening Barricade articles/ostrov90/9597 (Accessed: H.G. Oroshakoff. (Ostfildern: Cantz YUliya Gusarova. Snob, October 12, khudozhestvenno-grazhdanskogo printsipy svetskogo gosudarstva.’ 31 Although Voina’s last action, mobilizatsii. Neprikosnovennyi zapas on Bolshaya Nikitskaya Street.’ 4th September 2017) Verlag, 1995). pp. 295–300 2013. Available at: https://snob.ru/ aktivizma, Neprikosnovennyi zapas, Interview by Dimitri Galkin. The Fucked Prometheus, took place on [NZ: Debates on Politics and Culture], Personal website of Anatoly Osmolovsky. 53 Tolokonnikova, N. ‘Pusssy Riot: 64 A. Kovalev, ibid, p. 213 selected/entry/67704 (Accessed: No. 4 (84), July–August 2012, pp. 104– journal-catalogue Russia 2 (project 31 December 2011, that is, — after No. 6 (104), November–December Available at: http://osmopolis.com/ protiv Putina i Filippa Kirkorova, za 65 Archive of Andrey Kovalev 4th September 2017) 119. head Marat Guelman), No. 1, January Pussy Riot had performed three 2015, pp. 71–94. page128/pages/id_25 (Accessed: Takhrir v Moskve.’ Interview by Vlad 66 Mavromatti O. ‘Interv’yu s 78 ‘Peterburgskij hudozhnik 4 For all the frequent references 2005, pp. 44–47. actions, including Release the 47 D. Mustafin, Legko li byt’ 4th September 2017) Tupikin. OpenSpace.ru, November 11, Olegom Mavromatti.’ Interview by zashil sebe rot v podderzhku in the press stating that Leonid 18 The first of the exhibitions, at Cobblestones, where the activists, molodym. Grani.ru, November 1, 2011. 40 B. Groys, Politika poetiki. (Moscow, 2011. Vadim Klimov. December, 2006. Pussy Riot.’ Ria Novosti, July 23, Nikolaev ‘headed the group’ see, for the Sakharov Center in January 2003, inspired by the overthrow of Egypt’s 48 P. Pavlensky & O. Shalygina, Ad Marginem, 2013). p. 136. 54 Pavlenskij, P. ‘Telo ehto Available at: http://musicnihil. 2012. Available at: https://ria.ru/ example: K. Makarsky, Uchastnik art- was called Caution! Religion. See the ‘eternal president,’ called for ‘making Prizraki identichnosti. Politicheskaia 41 See C. Bishop, Artificial Hells: instrument, oruzhie.’ Interview pustoshit.com/manifest/mavromatti_ society/20120723/707321040.html gruppy ‘Voina’ Leonid Nikolaev pogib wonderful book that examines this repeating Tahrir on the Red Square.’ propaganda [Political Propaganda], Participatory Art and the Politics of by Sergej Medvedev. Svoboda.org, int.html (Accessed: 4th September (Accessed: 4th September 2017) v Podmoskov’e. MK, September 24, exhibition in a broad sociocultural 32 D. Volchek, V georgievskoi No. 2, August 29, 2013, p. 3. Spectatorship. (London; New York: June 16, 2016. Available at: http:// 2017) 79 D. Bavil’skij, Skotomizaciya. Dialogi 2015. context: M. Ryklin, Svastika, zvezda, miasorubke. Radio Svoboda [Radio 49 See Volkova T., Art-aktivizm Verso, 2014) www.svoboda.org/a/28345410. 67 D. Volchek, V Ctrastnuyu s Olegom Kulikom. (Ad Marginem, 5 The culturologist Alexei krest. Proizvedenie iskusstva v epokhu Liberty], May 9, 2015. seichas budet tol’ko rastsvetat.’ 42 See A. Kovalev, Rossiskii html/a/27802409.html (Accessed: pyatnicu. Svoboda.org, May 8, 2013. Pragmatika kul’tury, 2004) p.176 Krizhevsky expressed an alternative upravliaemoi demokratii. (Moscow: 33 Letter from Alexander Interview by Alina Streltsova. Iskusstvo aktsionizm. 1990–2000 (Moscow: World 4th September 2017) Available at: https://www.svoboda. 80 See A. Kovalev, Rossiiskii view. In his words, ‘cultural figures Logos, 2006). Volodarsky to the author, October [Art], No. 3 (582), July–September Art Museum, 2007), p. 403 55 A. Kovalev, Performans org/a/24978110.html (Accessed: aktsionizm, 1990–2000. (World art did not remain on the sidelines in the 19 Savko A. ‘Protsess sil’no 26, 2012. 2012, pp. 190–198. 43 See M. Gabowitsch. Protest in prodolzhaetsya v sude. Novaya 4th September 2017) muzei, 2007). pp. 172–173. protests of 2011–2012, however the napominal inkvizitsiu.’ Interview 34 See Zakharov S., ‘Menia trizhdy Putin’s Russia. (John Wiley & Sons, gazeta, November 13, 2015. Available 68 G. Brus, O. Muehl, H. Nitsch & 81 Osmolovskij, A. ‘Schitayu put’ protest element did not form a new by Alexei Krizhevsky. Gazeta.ru, vyvodili na rasstrel.’ Interview by 2016). pp. 126–129 at: https://www.novayagazeta.ru/ R. Schwarzkogler, Writings of the Vienna asketizma absolyutno repressivnym.’ cultural stratum and did not give December 21, 2011. Dmitri Volchek. Radio Svoboda [Radio 44 H. Rosenberg, Surrealism in the articles/2015/11/12/66345-performans- Actionists. Ed. M. Green. (Atlas Press, Interview by Natal’ya Kostrova. rise to new cultural heroes.’ Citing: 20 The catalogue of works in this Liberty], October 18, 2014. Streets. The New Yorker, December 28, prodolzhaetsya-v-sude (Accessed: 1999). Colta.ru, December 16, 2015. A. Krizhevsky, Protest bez geroia, series: Khimery Kheidiz, ed. A. Panov 35 See Marchenko D. ‘Litso 1968. p. 52 4th September 2017) 69 M. M. Bahtin, Estetika slovesnogo Available at: http://www.colta.ru/ Gazeta.ru, December 13, 2012. (Moscow, 2009). povelitelia voiny.’ Interview by 45 ‘Meeting with Oleg Kulik.’ 56 A. Yakimovich, Igry v zhertvu tvorchestva. (Ripol Klassik, 1979) articles/ostrov90/9597 (Accessed: 6 See, for example, Loskutov A. 21 The works in this series are Dmitri Volchek. Radio Svoboda [Radio A series of meetings between i zhertvy igry. Hudozhestvennyj zhurnal, pp. 51–53 4th September 2017) ‘Ia postroil kommunizm dlia sebia.’ reproduced in an academic edition Liberty], July 28, 2015. Andrei Kovalev and artists ‘Just art’ no. 19–20 (1998) Available at: http:// 70 ‘Mail-Radek, text no. 5.’ 82 B. Mamonov, Vidimo-nevidimo. Interview by Grigory Kronikh. RIA published in Russian and German: 36 A. D. Epstein, Art-Aktsionizm in the Garage Museum. Available moscowartmagazine.com/issue/46/ Personal website of Anatoly Osmolovsky, Art-Hronika, no. 2 (2003) Available Novosti, June 27, 2013. F. Nietzsche, Tak govoril Zaratustra v Rossii i Ukraine: tochki at: https://www.youtube.com/ article/903 (Accessed: 4th September October 6, 1995. Available at: http:// at: http://www.escapeprogram.ru/ 7 Letter from Tatiana Volkova to (Moscow: The Institute of Philosophy, peresecheniia. Teatr [Theatre], No. 17 watch?v=LTvUVCujphE (Accessed: 2017) osmopolis.ru/mailart/pages/id_79 russian/press/pr9.html (Accessed: the participants of the Mediaudar Russian Academy of Sciences, 2004). (June 2014), pp. 150–159. 4th September 2017) 57 M. M. Bahtin, Tvorchestvo Fransua (Accessed: 4th September 2017) 4th September 2017) Festival, August 25, 2016. 22 Alek D. Epstein, Total’naia ‘Voina’: 37 Z. Troitskaya, Davai sdelaem eto 46 Kulik, O. ‘El’cin byl moim Rable i narodnaya kul’tura srednevekov’ya 71 G. Drews-Sylla, ‘The human dog 83 D. Volchek, Uvazhaemyj, 8 Alek D. Epstein and Art-aktivizm epokhi tandemokratii, za nikh. Chastnyi correspondent [Private konkurentom.’ Interview by Sergej i Renessansa. 2nd edition. (Moscow: Oleg Kulik: Grotesque post-Soviet vstaem!. Svoboda.org, November Nika Maksimyuk, Problemy pp. 147–168. Correspondent], November 5, 2009. Solov’ev. Novye Izvestiya, April 8, 2004. Hudozh. lit., 1990) animalistic performances.’ in Other 15, 2013. Available at: https:// dokumentirovaniia i izucheniia 23 V. Lomasko & A. Nikolaev, 38 He reworked Matisse’s Available at: https://newizv.ru/news/ 58 C. Emerson, Preface to Mikhail K. Animals: Beyond the Human in Russian www.svoboda.org/a/25168201.htm art-aktsionizma v strane Zapretnoe iskusstvo (St. Petersburg: famous painting, commissioned culture/08–04–2004/5795-oleg-kulik Ryklin, ‘Bodies of Terror.’ New Literary Culture and History, eds. Costlow, J. (Accessed: 4th September 2017) vozrozhdaushchegosia Bumkniga, 2011). by Sergei Shchukin and now in the (Accessed: 4th September 2017) History, Vol. 24, no. 1, Culture and & Nelson, A. (Pittsburgh UP, 2010). 84 See E. Barry, Artist Playing samoderzhaviia. Neprikosnovennyi zapas 24 Sunday, 22 January 1905, in St Hermitage in St. Petersburg, in the 47 B. I. Arvatov, Natan Al’tman. Everyday Life (Winter, 1993) pp. 45–49; pp. 234–251 Cat-and-Mouse Faces Russia’s [NZ: Debates on Politics and Culture], Petersburg, Russia, when unarmed context of the ecological disaster (Berlin: Pyotropolis, 1924). p. 26 M. Ryklin, ‘Tela terrora’ in M. Ryklin, 72 Kulik, O. ‘Sobakiada Olega Claws. The New York Times, January No. 6 (92), November–December demonstrators were fired upon in ‘Kazakhstan’s Magnitka.’ See: 48 J. Ranciere, ‘Contemporary Terrologiki (Tartu, 1992) pp. 34–51; B. Kulika.’ Interview by Mariya Kravcova. 21, 2011. Available at: http://www. 2013, pp. 43–69. by the troops as they marched ‘Almatinskii khudozhnik sozdal art- Art and and Politics of Aesthetics.’ Grojs, Mezhdu Stalinym i Dionisom. Artguide, November 23, 2014. Available nytimes.com/2011/01/22/world/ 9 The catalogue ‘Performans towards the Winter Palace to present manifest protiv zavodov v Temirtau,’ in Communities of Sense: Rethinking Sintaksis, no. 25 (1989) pp. 92–97; at: http://artguide.com/posts/695 europe/22voina.html (Accessed: v Rossii. 1910–2010. Kartografiia istorii,’ a petition to Tsar Nicholas II. Portal DixiNews.kz (Kazakhstan), April Aesthetics and Politics, eds Idem. ‘Totalitarizm karnavala’ in (Accessed: 4th September 2017) 4th September 2017) ed. S. Obukhova (Moscow: Garage, 25 Several albums of reproductions 20, 2016. B. Hinderliter, V. Maimon, J. Mansoor Bahtinskij sbornik, Vol. 3 (Moscow, 1997) 73 D.A. Prigov, Manifesty. Weiner 2014). pp. 208–213, 216–217, and of his works have been published, the 39 His works dedicated to the & S. McCormick (Duke University pp. 76–80. Slawistischer Almanach, Vol. 34 (1994) 226–227. most representative is: V. Lozhkin, confrontation of protesters and Press, 2009) 59 V. Tupicyn, Temnyĭ Muzeĭ. p. 340 10 E. Degot, Pochemu ia golosovala ‘Zhizn’ — veselyi karnaval (Moscow: police At Sunset and Battle, made 49 A. Penzin, Psihoanaliz form Hudozhestvennyj zhurnal, no. 88 74 Kovylina, E. ‘The Business of Art: za ‘Voinu,’ Open Space, April 13, 2011. Tioindigo Gallery, 2014). in 2012–2013 under the obvious protesta. Hudozhestvennyj zhurnal, (2012). Available at: http:// A Conversation with Elena Kovylina.’ 11 For example, 1977’s Slogan and 26 See reproductions of all the influence of the protest rallies of no. 53, (2003) Available at: http:// moscowartmagazine.com/issue/9/ Interview by Elena Sorokina. NYFA subsequent events by Collective Actions; works exhibited in the album: ‘angry urbanites.’ xz.gif.ru/numbers/53/formy- article/113 (Accessed: 4th September current, January 25, 2006. Available Helping the Soviet Regime in the Battle Iskusstvo na barrikadakh: Pussy Riot, 40 ‘V Novosibirske poiavilis’ ikony protesta/ (Accessed: 4th September 2017) at: http://current.nyfa.org/ for Harvest and Fertilizing the Soil, ‘Avtobusnaia vystavka’ i protestnyi art- v podderzhku Pussy Riot,’ TopNews.ru, 2017) 60 Kulik, O. ‘Sobakiada Olega post/73238399345/conversations- done in 1977 by Gennady Donskoi, aktivizm,’ ed. A.D. Epstein (Moscow: March 13, 2012. Kulika.’ Interview by Mariya Kravcova. elena-kovylina (Accessed: Mikhail Fedorov-Roshal, and Viktor Victor Bondarenko / Russia for Artguide, November 23, 2014. Available 4th September 2017) Skersis; Execution in 1979 and Red Rag Everyone & Kolonna Publications, at: http://artguide.com/posts/695 two years later by the Mukhomory 2012), pp. 73–111. (Accessed: 4th September 2017) [Toadstools] Group and so on.

248 249 MARAT GUELMAN is a Montene- CHARLES ESCHE is a curator and ALISA LOZHKINA is based in Kyiv, DR. ANDREI KOVALEV is ARSENI SERGEEV is a Moscow-­based gro based curator and art producer. writer. He is director of the Van Ukraine. She is an art historian, a Moscow-­based art historian and art curator, art critic and artist. He is a lec- Previously he served as a director of Abbemuseum, Eindhoven and co-­ critic and curator. In 2013–2016 Ms. critic, and Professor at the Depart- turer in the National Research Univer- the Perm Museum of Contemporary editorial director of the Afterall Jour- Lozkina served as Deputy Director of ment of Fine Arts at Moscow State sity Higher School of Economics (HSE). Art and run the Guelman Gallery that nal and Books based at Central Saint Mystetskyi Arsenal, a large museum Lomonosov University. Dr. Kova- From 2009 to 2013, he was the direc- pioneered many art projects in Mos- Martins College, London. In addition and exhibition complex in Ukraine In lev has been an art critic for various tor of the School of Contemporary Art cow in back the 1990s, including the to his institutional curating, he has 2010–2016 she was the editor in chief newspapers including Vremya MN ‘ArtPolitika’ in Yekaterinburg and Perm. first ever exhibitions Andy Warhol curated a number of international of the leading Ukrainian contem- (2000–04), Segodnia (1994–97), and In 2000–2003 he was the editor of the and Joseph Beuys in Russia. Among exhibitions including Le Musée Égaré, porary art magazine ART UKRAINE Nezavisimaia gazeta (1991–94), and contemporary art magazine Komod. other landmark projects Mr. Guelman Toulouse (2016); Jakarta Biennale and curated numerous international also has served as the Moscow as- He has curated numerous exhibitions, he curated were ‘Conversion’ (1993), (2015); Sao Paulo Biennale, (2014); U3 exhibitions of Ukrainian contempo- sociated editor for the journal Flash public art and street art projects in ur- ‘History versus Geography’ (1999), Triennale, Modern Galerija, Ljubljana rary art (MOCAK, Krakow, Poland; Art (2002–05). He is the author of ban environments. These include the ‘Russian Poor’ (2008), ‘Icons’ (2010), (2011); Riwaq Biennale, Ramallah Künstlerhaus, Vienna, Austria; Ukrain- numerous articles published in the project Klava — a monument to the ‘Russia Warning’ (2011). He also (2007 & 2009); Istanbul Biennale with ian Institute of Modern Art, Chicago, Russian and Western press, and has computer keyboard on the Embank- produced art festivals such as ‘White Vasif Kortun (2005); and Gwangju Bi- USA; Galeria sztuki Dworcowa, Wro- written or edited many books on ment of the Iset River in Yekaterinburg Nights’ (Perm), ‘Cultural Alliance’ ennale (2002). He teaches at Central claw, Poland etc.). She contributed to Russian art-­related topics, among (2005). During 2004–2007 he organised (Montenegro). Saint Martins College, London and numerous Ukrainian and international them Rossiiskii aktsionizm, 1999–2000 the OUTVIDEO festival on outdoor vid- Jan van Eyck Academy, Maastricht. magazines and catalogues on Ukrain- (WAM, No. 28–29, 2007), Kriticheskie eo screens in 20 cities across Russia. He MILA (LJUDMILA) BREDIKHINA He is on the board of L’Internationale ian contemporary art. dni: 68 vvedenii v sovremennoe isk- received the Innovation Prize in 2008 in is a Moscow-­based curator and art confederation and chair of CASCO, usstvo, 1992–2001 (Modest Kolerov the category of ‘Best Regional Project’ critic. Her interests extend from per- Utrecht. ANNA MATVEEVA was born in and Tri Kvadrata, 2002), Between the for the Long History of Yekaterinburg formance art and theatre to gender St. Petersburg and is now based in Utopias: New Russian Art during and project. Among the most important studies. She regularly contributes to DR. ALEK D. EPSTEIN is a sociolo- Berlin. She has worked for news- after Perestroika (1985–1993) (Gordon recent exhibitions he curated are Tran- the Moscow Art Magazine, Dialogue gist of culture and politics. He divides papers and magazines including and Breach Publishing Group, 1996), sit Zone (PERMM museum, Perm, 2014) of Arts, Theatre (Moscow), Gender his time between Israel, France and Kommersant, Izvestia, TimeOut and Vizit v masterskuiu khudozhnika and Remember Tomorrow (Street Art Studies (Kharkov) and n.paradoxa Russia, taking part in a number of St. Petersburg, Artchronika, Art- (co-­authored with Elena Kurliantse- Museum, St. Petersburg, 2015). (London). Ms. Bredikhina produced academic, educational, and civil guide, and other international and va) (Znanie, 1990). He was the recip- the Zoophrenia project (together rights activism projects. In November national publications. From 2000 to ient of the Innovation Prize (‘Art The- DR. SARAH WILSON is the Profes- with Oleg Kulik, 1994–2007) and 2012 he initiated the creation of the 2008 she was a staff curator at the ory and Criticism,’ 2008). sor of Modern and Contemporary Art contributed as author or editor to Alternative Prize for Russian Activist National Centre for Contemporary History at the Courtauld Institute of various catalogues and books such Art and became the chairperson of Art in St. Petersburg, Russia; from DR. HELEN PETROVSKY is a philos- Art. Her interests extend from post- as Oleg Kulik (Mosсow: Avangard, its jury. Many of his essays (published 2000–2002 curator of the Museum of opher and art critic. She is the head war and Cold War Europe and the USSR 2015); Gender Check: A Reader — Art mostly in NZ: Debates on Politics Non-­Conformist Art, St. Petersburg of the Aesthetics Department at the to contemporary global art. She was and Theory in Eastern Europe (Koln, and Culture journal) and three of his and in 1998–2000 associate editor Institute of Philosophy of the Rus- Head of the Modern and Contempo- 2010); Miphologia media (Moscow: books were dedicated to contempo- of the St. Petersburg contemporary sian Academy of Sciences. Her ma- rary Section at the Courtauld from Novoe Literaturnoe Obozrenie, 2013); rary Russian art-­activism: Total ‘War’: art magazine Maksimka. She has jor fields of interest are contempo- 2005-Spring­ 2008 and has been Head Nihil inhumanum a me alienum puto: Art Activism in the Age of Tandemo- curated and co-­curated numerous rary philosophy, visual studies, North of Diploma programmes during 2014– Oleg Kulik (Bielefeld: Kerber, 2007); cracy (Riga: Umlaut Network, 2012); exhibitions, including Art On Site American literature and culture. 2015. She takes an active role in CCRAC, Femme Art (Moscow, State Tretyakov Art on the Barricades: ‘Pussy Riot’, (2008–2009, St. Petersburg, Kalinin- Among her books are: What Remains the Cambridge-­Courtauld Russian Art Gallery, 2002); and Oleg Kulik: Art the ‘Bus Exhibition’ and the Protest grad, Ekaterinburg, Nizhny Novgorod of Art (Moscow: Institut problem Centre, with the contemporary exhi- Animal (Ikon, 2001). Art Activism (Mosсow: Kolonna Publi- and Moscow); Human Project (2005, sovremennogo iskusstva, 2015; co-­ bition and talks programme of Calvert cations, 2012), and Victor Bondarenko Moscow Biennale of Contempo- authored with Oleg Aronson); Anon- 22 that reaches out to Russia and East- DR. EKATERINA DEGOT is an art and Evgeniya Maltceva’s project rary Art); Davaj! Russian Art Now ymous Communities (Moscow: Fa- ern Europe, and with Pushkin House in historian, writer and curator dividing Spiritual Combat and the Struggle for (2001–2002, Postfuhramt, Berlin and lanster, 2012); Theory of the Image London. She is co-­curator of the first her time between Cologne, Graz and Christian Sacred Images’ New Life in MAK, Vienna). (2010), Beyond Imagination: Contem- Asia Biennial / Fifth Guangzhou Trien- Moscow. She is the Director of the Art (Moscow, Russia for all founda- porary Philosophy and Contempo- nial, Guangzhou, China. She received Steirischer Herbst festival in Graz, tion and the Kolonna publications, DR. NATALIA MURRAY is an art rary Art (NCCA Nizhniĭ Novgorod, the AICA international award for dis- Austria and Professor at the Rodchen- 2012). historian and curator. Before being 2009; co-­authored with Oleg Aron- tinguished art criticism in 2015. Recent ko Moscow School of Photography. awarded a PhD at the Courtauld son); Anti-Photography­ (Moscow: Tri publications include Picasso, Marx and Dr. Degot has been an Artistic DR. BORIS GROYS is a philoso- Institute of Art, Natalia read History kvadrata, 2003, 2015). She compiler, Socialist Realism in France (Liverpool, Director at the Academy of Arts of pher, art critic, and curator whose of Art at the Academy of Fine Arts in editor and co-­translator of Jean-­Luc 2013) and The Visual World of French the World, Cologne and overseen the research centres on modern Russian St. Petersburg. In 2012 she authored Nancy’s Corpus (1999) and Gertrude Theory: Figurations (Yale, 2010) Pluriversale festival. Previously she philosophy, French poststructural- the book The Unsung Hero of the Stein’s selected writings (The Auto- led the art department in Openspace ism, and contemporary media. He Russian Avant-­Garde: The Life and biography of Alice B. Toklas. Picas- DR. SLAVOJ ŽIŽEK is a Slovenian magazine art section and contributed is the full Professor of Russian and Times of Nikolay Punin (Leiden-­ so. Lectures in America, 2001). Since philosopher and psychoanalyst. He to Kommersant newspaper in 1993– Slavic Studies, NYU, New York. Since Boston: Brill Academic, 2012). At 2002 she has been editor-­in-­chief is a senior researcher at the Institute 1999. In 2014 she received the Igor 2013 Dr. Groys has been Professor of present she is teaching courses in of the theoretical journal Sinii Divan. for Sociology and Philosophy at the Zabel Award for Culture and Theory. Philosophy and Art History, European 19–20 century Russian art at the She received the 2011 Andrei Bely University of Ljubljana, Global Distin- Her recent curatorial projects include Graduate School, Saas Fee, Switzer- Courtauld Institute of Art, working as Prize (theory category) and the In- guished Professor of German at New What Did the Artist Mean by That?, land. He has curated several exhibi- head of education at GRAD (Gallery novation Prize (‘Art Theory and Criti- York University, and international di- Moscow Museum of Modern Art, 2014 tions: Reactivation, 9th Shanghai Bi- for Russian Art and Design) and cism,’ 2012). rector of the Birkbeck Institute for the (with Yuri Albert) and Monday Begins ennale, Shanghai, 2012; After History: curating exhibitions of Russian art in Humanities of the University of Lon- on Saturday, First Bergen Assembly, Alexandre Kojève as a Photographer, England and France. She has recently don. He has also been a visiting profes- Bergen, Norway, 2013 (with David BAK, basis voor actuele kunst, Utre- curated a major exhibition entitled sor at more than 10 universities around Riff). She was a co-­editor of Post-­ cht, 2012; and Empty Zones, Russian Revolution: Russian Art. 1917–1932 the world. He works in subjects includ- Post-­Soviet?: Art, Politics & Society in Pavilion, 54th Venice Biennale, Venice, that took place at the Royal Acade- ing continental philosophy, political Russia at the Turn of the Decade (Chi- 2011. Selected publications include: my of Arts in February — April 2017, theory, cultural studies, psychoanal- cago University press, 2013), Moscow Under Suspicion: A Phenomenology and she is currently editing her next ysis, film criticism, Marxism, Hegeli- Conceptualism (Moscow: WAM, 2005, of Media (2012); Introduction to An- book on post-­revolutionary festivals anism and theology. Žižek has pub- with Vadim Zakharov), and author of tiphilosophy (2012); The Communist in Petrograd. lished over 50 books translated into Russian Twentieth Century Art (Mos- Postscript (2010); and Art Power 20 ­languages. cow: Trilistnik, 2000). (2008). Biographies

254 255 Art Riot Post-Soviet Actionism

Saatchi Gallery, London 16 November – 31 December, 2017

Presented by The Tsukanov Family Foundation Curated by Marat Guelman

Catalogue Edited by Andrey Kovalev Translator Nina Bouis Editors Jean-Claude Bouis Natalia Murray Graphic Design ABC Design Studio Dmitry Mordvintsev Svetlana Danilyuk Image Editing Tatyana Borisova Svetlana Danilyuk Darya Goryacheva Olga Zirko

Published by © ABCdesign Studio Publication © ABCdesign Studio 2017 texts © the authors 2017 unless otherwises stated, all works © the artists 2017

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© Tsukanov Family Foundation

ISBN 978-5-4330-0086-5