Arthur Bueno on Thu, 18 Nov 1999 22:28:57 +0100

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>From: "Barbara Borcic" <>
>Date: Mon, 8 Nov 1999 17:38:12 +0000

>>200 m. from the centre square of Novosibirsk city [the middle of Eurasia,
>>Western Siberia, 700 km from Mongolia]. 12 men-artists were hermetically
>>closed in an atom bomb shelter for about 77 hours.
>>No windows. Only electric light. No sounds from outside. No clocks, no
>>watches. No TV, no radio. But a far sound of underground city train line.
>>alcohol, no drugs, no coffee. Only water, tea, condensed milk, sugar,
>>potato, black bread, green peas cans, meat cans. One WC without doors. One
>>wash-hand basin. Smoking in a separate room. Cause of cold almost
>>started to wear prepared for us typical Russian workers quilted jackets
>>Sibirian felt boots. We slept on mattresses on beds of boards.
>>Most of the participants had photo cameras. There was also a Russian
>>machine. EVGENIY [ZHENIA] IVANOV (photographer from Novosibirsk) made
>>permanent photo-documentation of all events. Video-documentation of
>>discussions and performances was also made. And this video-camera was in a
>>fact a dictatorial power centre in this small anarchistic community (a
>>belonged also to someone who decided when to turn off electric light).
>>At the beginning DMITRIY PILIKIN [conceptual artist from St. Petersburg]
>>started to hew out with a hammer in a concrete wall two Russian texts
>>separated by a vertical line: TO THE END OF ART IS LEFT / TO THE BIRTH OF
>>PUSHKIN IS LEFT (today Russia without ideas waits for any idea as for the
>>second Pushkin?s birth). He finished after ca. three days.
>>Some men decided to make photos of situations simulating life in a ?zone"
>>camp for criminals in Russia]. For instance: a knife in someone?s back.
>>KONSTANTIN SKOTNIKOV [KRISPINUS] [a teacher at Drawing, Painting &
>>department of Novosibirsk Architecture & Art Academy, the author of
>>analytical program text for the shelter project, co-author of the project
>>conception] started a series of performances titled: I CAN NOT COME INTO
>>DISCOURSE WITHOUT PAIN. He had two traps for parts of his body (like
>>mousetraps). He put his head into a hole in a wall and next moment we
>>see his mouth caught with a trap. Next his nose was trapped, next his
>>was trapped, next his face was trapped. In another performance his nose
>>penis was trapped.
>>JERZY TRUSZKOWSKI [visual artist & independent culture analyst from Warsaw
>>off-institutional Institut of Critical Art] started to make a huge wall
>>installation. A small black glaze cross (culture) on an old green wainscot
>>(civilization), a big black glaze cross (Malevich) on a
>>red-pink-orange-white dripping painting (high modernism). A big red
>>five-pointed star (communistic) curved with a hammer (there was no chisel)
>>in a brick-wall, a small black turned up side down five-pointed star
>>(anarchistic) in a center of  the red star.
>>SLAVA MIZIN [from Novosibirsk Yuri Kondratyuk Historical & Technical
>>Foundation, co-author of the project conception] and DMITRIY BULNIGYN
>>Novosibirsk Innovation Museum Center, department of the Kondratyuk
>>Foundation] almost all time did performances to video camera lit bit
>>to the ?Performances for Photo" series did by a Polish art group LÃ?DZ
>>KALISKA in 1979-1986. MIZIN, BULNIGYN & OLEG KUREEV [anti-individualistic
>>anarchist from Moscow] declared a necessity of  anonymous & collective
>>Their program was similar to program of a Polish ACTIVITIES group from
>>MARKO KOVACIC (visual artist from Ljubljana) did some delicate
>>in the shelter room: he put painted black or red electric bulb in
>>KONSTANTIN GAIDAI (a student at Novosibirsk Architecture & Art Academy)
>>some photos of his white painted face with pieces of white foam.
>>JOZE BAR?I (visual artist, architect & academic teacher from Ljubljana)
>>documented the shelter room with an automatic photo camera every 5
>>deciding not to document any art event.
>>VALERY KLAMM (architect, Novosibirsk Open Society Institute), an initiator
>>of the project) did an installation of breads and a bag of potato got
>>on a pale. The title was painted red  paint on boards: FOR MR. MAUSE FROM
>>We had finished a last discussion on individualistic and collective art, I
>>had  got the best compliment in my life (that I was a
>>counter-revolutionist), men were doing something, I was sitting at a long
>>table opposite to a corridor, when a sound of opening doors was heard and
>>a corridor I saw three men with TV cameras, journalists and critics coming
>>into the shelter.
>>A day later: a round table discussion artists - critics (from Moscow,
>>Krasnoyarsk & St.Petersburg).
>>Cultural coordinator of the project was Ludmila Ivashina from
>>OSI-Novosibirsk, local coordinators: Barbara Borcic from OSI-Ljubljana &
>>Elzbieta Grygiel from Batory Foundation Warsaw [my very special thanks for
>>help in my busy time between two one-man shows in Collegium Polonicum
>>Slubice & Galeria Promocyjna Warsaw].
>>?Beyond Time Shelter", 28 October - 2 November 1999, Novosibirsk.
>>Jerzy Truszkowski
>>Born 1961, works & lives in Warsaw.
>>Visual artist [performer, painter, photographer, installator, draftsman]
>>culture analyst
>>[many texts published in 1983-1986 in off-off art. magazines ?Tango" &
>>and in 90?s in ?Exit", ?Obieg", ?Magazyn Sztuki / Art. Magazine", ?Gazeta
>>Malarzy i Poetów".
>>Author of  a book ?Critical Art in Poland" vol. 1 & 2. published by the
>>Municipal Gallery Arsenal in Poznan.
>>EXIT quarterly prize winner for 1999 year.
>>Best regards,
>>Barbara Borcic, SCCA-Ljubljana

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