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"E-E"

The "Eighties' Leningrad" Style


"E - E" - that is the
complete liberty of style
for a new representation of
the spiritual, of harmony.
My art is
"E - E"
(E-E) Evgeni Kozlov
(E-E) Евгений Козлов
art 1980 -1990

paintings / живопись
photographs / фотографии
collages / коллажи
artist´s books / альбомы
posters / плакаты
album covers / обложки пластинок
catalogues / каталоги


стр. 1 / page 1 / Seite 1 >>
стр. 2 / page 2 / Seite 2 >>
стр. 3 / page 3 / Seite 3
русские тексты
articles / English texts
Artikel / deutsche Texte
All articles © Hannelore Fobo, unless otherwise mentioned.


Alexander Titov and Viktor Sologub The first Pop Mekahnika performance – 'PM 12˚, Leningrad University, 19 November 1984 Photo: (E-E) Evgenij Kozlov Art: Hannelore Fobo

Alexander Titov and Viktor Sologub
The first Pop Mekahnika performance – 'PM 12˚, Leningrad University, 19 November 1984
Photo: (E-E) Evgenij Kozlov
Art: Hannelore Fobo

In the 1980s, bassist Alexander Titov was at the epicentre of the Soviet rock scene: he has played with Boris Grebenshikov's band "Aquarium" since 1983, was bassist with "KINO" from 1984 to 1986, but also performed with Sergey Kuryokhin's "Pop Mekhanika".
In the interview with Hannelore Fobo, Alexander Titov talks about those
magical years and why he thinks that Kirill Serebrennikov's movie "Leto" does not represent this period.



(E-E) Evgenij Kozlov standing in front of the Southern segment of Palace Bridge raised open.

Первая выставка на Дворцовом мосту
The First Exhibition on Palace Bridge

On the night from the 22nd to the 23rd of July 1990, one of the most spectacular exhibitions of Soviet / Russian art took place on Palace Bridge, close to St. Petersburg's emblematic buildings – the Hermitage, The Admiralty Building, Peter and Paul Fortress, and the Kunstkamera. It displayed works from (E-E) Evgenij Kozlov's collection “2x3m”, five of Kozlov's own works from the cycle "New Classicals", as well as a number of other works by Kozlov’s artist friends.

(E-E) Evgenij Kozlov Poster for the Second TEII Exhibtion with artists' signatures on the reverse. 1983

(E-E) Evgenij Kozlov
Poster for the Second TEII Exhibtion with artists' signatures on the reverse. 1983

2-я общая выставка ТЭИИ
5–20 April 1983, Palace of the Youth, Leningrad – Ленинградский дворец молодёжи (ЛДМ)

(E-E) Evgenij Kozlov SIT VENIA VERBO. Традиции ХХ века / SIT VENIA VERBO. Traditions of the Twentieth Century. 1983

(E-E) Evgenij Kozlov
SIT VENIA VERBO. Традиции ХХ века / SIT VENIA VERBO. Traditions of the Twentieth Century. 1983

4-я общая выставка ТЭИИ – "The Festival Exhibition" / “Фестивальная”
27 March–20 April 1984, Palace of the Youth, Leningrad – Ленинградский дворец молодёжи (ЛДМ)

"Facets of Portraiture", exhibition vie.w In the centre (E-E) Evgenij Kozlov Noli me tangere. 1982

"Facets of Portraiture", exhibition vie.w
In the centre

(E-E) Evgenij Kozlov
Noli me tangere. 1982

5-я общая выставка ТЭИИ – "Facets of Portraiture. Tradition and Modernity." / “Грани портрета. Традиции и современность”
17 September–8 October 1984, The Kirov Palace of Culture, Leningrad – ДК им. С.М. Кирова, Ленинград

(E-E) Evgenij Kozlov VOX HUMANA (Автопортрет / Self-Portrait). 1983

(E-E) Evgenij Kozlov
VOX HUMANA (Автопортрет / Self-Portrait). 1983

6-я общая выставка ТЭИИ
19 March–12 April, 1985, Palace of the Youth, Leningrad – Ленинградский дворец молодёжи (ЛДМ)

(E-E) Evgenij Kozlov Untitled. 1985/1986

(E-E) Evgenij Kozlov
Untitled. 1985/1986

8-я общая выставка ТЭИИ
15–19 May 1986, Palace of the Youth, Leningrad – Ленинградский дворец молодёжи (ЛДМ)

“THE RAW, THE COOKED, THE PACKAGED” exhibition logo,  based on (E-E) Evgenij Kozlov's painting "Timur on Horseback”, 1985

“THE RAW, THE COOKED, THE PACKAGED” exhibition logo,
based on (E-E) Evgenij Kozlov's painting "Timur on Horseback”, 1985

Curated by Ivor Stodolsky and Marita Muukkonen
30 November 2007–6 January 2008, Museum of Contemporary Art KIASMA / Finnish National Gallery, Helsinki


Leningrad zu Beginn der 1980er Jahre: Kirill Serebrennikovs weitgehend schwarz-weiß gedrehter Streifen handelt von den künstlerischen Anfängen des berühmtesten Rocksängers der vormaligen UdSSR Viktor Tsoi, erweitert um eine fiktive Beziehung zu Natalia, der Frau des Musikers Mike Naumenko, der ihn protegiert.
Der Vortrag beleuchtet das Verhältnis von Fakt und Fiktion unter anderem mit Hilfe von Material aus dem Archiv des Künstlers (E-E) Evgenij Kozlov, einem der Protagonisten der Leningrader Szene der 1980er Jahre.
Kino im Schafstall, Schwäbisch Hall, 3. Februar 2019


Kozlov's collage featuring Viktor Tsoy, Yuri Kasparyan, Georgy Guryanov, and Alexander Titov in the company of Marilyn Monroe and many others.
Filmed at "Notes from the Underground", Berlin, Akademie der Künste, 15.3.–6.5.2018. Camera, voice, and editor: Hannelore Fobo


When Vladislav Mamyshev-Monroe started to conquer the Soviet and Russian art world at the end of the 1980s, Evgenij Kozlov's famous studio "Russkoee Polee" (1989-1991) was the creative hub for the art scene in Leningrad / St. Petersburg, and the young artist was a frequent visitor. Kozlov immediately recognized Mamyshev's extraordinary talent and supported him in every possible way.


At Russkoee Polee ("The Russian Field"), (E-E) Evgenij Kozlov arranged numerous photo sessions with Vladislav Mamyshev posing as Marilyn Monroe – actually Mamyshev’s first photo sessions. They took place in front of Kozlov's paintings from the series “New Classicals”, in his bedroom and in the so-called “Lenin’s room”, decorated with Lenin memorabilia.


At the beginning of 1991, when (E-E) Evgenij Kozlov spent several weeks in Germany, he gave Vladislav Mamyshev the keys to his studio “Russkoee Polee”. Vladislav Mamyshev was happy with this generous proposition and invited film director Andrius Venclova to film the video clip "Смерть Монро / The Death of Monroe" in two rooms of the studio.


For the exhibtion "Geopolitika" at the Museum of Ethnography, Leningrad / S. Petersburg, (E-E) Evgenij Kozlov conceived the idea of a "GeoPhotoPolitical WEEapon" which was to be operated by Vladislav Mamshev-Monroe on the day of the opening, February 18, 1991, exactly between 16.30 and 16.45.


Vladislav Mamyshev-Monroe is well-known for his reworked posters of "Members of the Politburo". Official posters of the upper class of the Soviet nomenklatura were printed for a mass public in large editions and sold at bookstores for a nominal price. Whether they were actually bought by the target audience remains a matter for speculation, but in the case of Mamyshev they proved to greatly stimulate his artistic imagination. In 1990, he offered his first embellished Politburo posters with a dedication to "my favourite artist Evgenij Kozlov" – a total of ten posters




Adrius Venclova's video clip with Vladislav Mamyshev-Monroe • Владислав Мамышев-Монро


at the opening of "НОВЫЕ ИДУТ! THE NEW ARE HERE!, Moscow Museum of Modern Art, 2012 (video)


(E-E) Evgenij Kozlov and Vladislav Mamyshev-Monroe at Club Mayak, 1991


Yuris Lesnik's Pirate Television (Пиратское Телевидение), Leningrad, 1991.
Vladislav Mamyshev-Monroe talks about the threat of vaccum bubbles and announces and his joint project with Evgenij Kozlov for the forthcoming exhibition "Geopolitika": the "Geopolitical Weapon".
With transcript of Mamyshev's talk (in Russian)


“Программа «Дискотека, или Музыкальные странички Пиратского телевидения»
A video by (E-E) Evgenij Kozlov •1991/2919
Filmed at the opening of the exhibition “Неоакадемизм / Neoacademism”
The Lenin Museum at the Marble Palace, Leningrad, 6. April, 1991
Post production: Hannelore Fobo. English subtitles: Tatiana Ziulikova
Photo documentation and text by Hannelore Fobo.


“You can increase the number of your products, say, produce ten paintings instead of five, but you cannot increase your talent. It's a gift of God some people recieve to inspire the development of human beings.” – (E-E) Evgenij Kozlov
VISION (China), No 175, pp. 22-37, August 2018


An Article about The New Artists, Leningrad VISION, China
Text & editor Chen Lu
Photo courtesy of (E-E) Evgenij Kozlov & Hannelore Fobo
VISION (China), No 175, pp. 11-21, August 2018



(E-E) Evgenij Kozlov.
ART и СССР • ART and USSR (Lenin Boulevard)
two-sided, mixed media on wood 42.5 x 59.9 x 2 cm, 1988

Three objects on bus stop signs, 1988
Documentation: Hannelore Fobo, 2019

(E-E) Evgenij Kozlov  Five works from the cycle "New Classicals” exhibited on Palace Bridge, Leningrad, 1990

(E-E) Evgenij Kozlov
Five works from the cycle "New Classicals” exhibited on Palace Bridge, Leningrad, 1990

Works on canvas and bus stop signs, 1989/1990
Silk screen prints, 1995-1997
Documentation: Hannelore Fobo, 2019

Cover of “Åquarium”, the first Aquarium release on "Melodiya", January 1987.

Cover of “Åquarium”, the first Aquarium release on "Melodiya", January 1987.

The transition of Soviet bands from "underground” to “overground” during the perestroika period is a complex process. If we focus our attention on the transition from reel-to-reel tapes to vinyl records and analyse the changes, it would be naive to simply rely on officially printed information.

Text and Documentation: Hannelore Fobo, 2019

Two Aquarium magnitizdat albums from the early 1980s, each provided with its respective cover design created with a photographic print.

Two Aquarium magnitizdat albums from the early 1980s, each provided with its respective cover design created with a photographic print.

An interview with Hannelore Fobo, 31 March 2019.

Alexis Ipatovtsev is a journalist and media manager of the band "Aquarium". He has been part of Aquarium's “inner circle” since 1984 and is now taking care of Aquarium's archive.

Part 1: Aquarium's Magnitizdat Records / Part 2: Aquarium's Archive

RED WAVE. 4 UNDERGROUND BANDS FROM THE USSR, produced by Joanna Stingray for Big Time Records, 1986.

RED WAVE. 4 UNDERGROUND BANDS FROM THE USSR, produced by Joanna Stingray for Big Time Records, 1986.

The introduction to Joanna Stingray's autobiography (see below) provides background information about Leningrad‘s subculture, as well as the relation between the USSR and the U.S. in 1986, when Joanna Stingray's released the double album RED WAVE. 4 UNDERGROUND BANDS FROM THE USSR in America. Red Wave was the very first album of Leningrad underground bands Aquarium, Kino, Alisa, Strange Games .
The epilogue looks at how ‘Soviet bloc’ music was reviewed in the West on the examples of Boris Grebenshikov (Aquarium) and Kino. It also discusses how the language barrier between Russian and English affected Russian rock singers. Uploaded 10 June 2019

Joanna Stingray & Madison Stingray ‘Stingray in Wonderland’ • Джоанна Стингрей, Мэдисон Стингрей «Стингрей в стране чудес», ACT, 2019

Joanna Stingray & Madison Stingray ‘Stingray in Wonderland’ • Джоанна Стингрей, Мэдисон Стингрей «Стингрей в стране чудес», ACT, 2019

Chapters 23 and 24 from ‘Stingray in Wonderland’ in English

The 30th of March 2019 saw the book launch of the Russian edition of
Stingray in Wonderland, Joanna Stingray's book of memoirs on her travels from Los Angeles to Leningrad in the 1980s. Focusing on the period from 1984 to 1987, it is the first part of Stingray's autobiography on her ‘Russian’ years, with volume two and three forthcoming. The book was co-authored with Joanna Stingray's daughter Madison and translated into Russian by Alexander Kan, a BBC journalist and one of the most knowledgeable persons on the 1980s Leningrad music scene.

An English edition of Joanna Stingray's memoirs is not yet available. The excerpt from the English manuscript has been published by courtesy of the authors. Uploaded 10 June 2019.

(E-E) Evgenij Kozlov: КИНО Начальник КАМЧАТКИ / KINO Nachalnik Kamchatki The Chief of Kamchatka LP cover, mixed media on cardboard, front, ca. 31 x 31 cm, 1984

(E-E) Evgenij Kozlov: КИНО Начальник КАМЧАТКИ / KINO Nachalnik Kamchatki
The Chief of Kamchatka
LP cover, mixed media on cardboard, front, ca. 31 x 31 cm, 1984

This article (Chapter 1) is an extended version of a text first published 12 June 2019. The text was completely revised after the release of Nachalnik Kamchatki by the Mosocw label AnTrop in 2021, which used E-E Kozlov original cover design. For chapters 2-5, see Article no. 109 below.


Uploaded 22 April 2022.

Poster announcing the concerts of Avia, Tele U, Akvarium, Bravo and Kino at the Leningrad Palace of Youth, 14/15 March 1986. Courtesy Evgeny Khavtan (Bravo)

Poster announcing the concerts of Avia, Tele U, Akvarium, Bravo and Kino at the Leningrad Palace of Youth, 14/15 March 1986. Courtesy Evgeny Khavtan (Bravo)

A photo documentation of visitors of the concerts on 15.3.1986 (Tele U, Bravo and Kino).

Uploaded 23 July 2019.

Works by (E-E) Evgenij Kozlov and Evgeny Yufit from the late 1980s, Photo: Courtesy © Aboa Vetus & Ars Nova / Jari Niemenen

Works by (E-E) Evgenij Kozlov and Evgeny Yufit from the late 1980s,
Photo: Courtesy © Aboa Vetus & Ars Nova / Jari Niemenen

An exhibition including works by (E-E) Evgenij Kozlov, Timur Novikov and Evgeny Yufit from the late 1980s.
15 November 2019 to 22 March 2020

Uploaded 29 November 2019.

Festival poster Les Allumées.
Nantes/Leningrad Saint-Petersbourg, France, 1991

Festival poster "Les Allumées" Nantes/Leningrad Saint-Petersbourg, France, 1991

For six years, between 1990 and 1995, the city of Nantes, France, organised a series of important cultural festivals called "Les Allumées". Each festival lasted for six days and was dedicated to a large international seaport: Barcelona (1990), Saint Petersburg (1991), Buenos Aires (1992), Naples (1993), Cairo (1994); the last one, Havana (1995) being canceled due to restrictions imposed by Cuba.

Uploaded 12 December 2019.

Nevski Prospekt Underground, 1991 "The Great Le-ye-nin" by (E-E) Evgenij Kozlov Frame from Kozlov‘s video

Nevski Prospekt Underground, 1991
"The Great Le-ye-nin" by (E-E) Evgenij Kozlov
Frame from Kozlov‘s video

The exhibition "Nevski Prospekt Underground" was the visual art section of the Leningrad / Saint Petersburg edition of Les Allumées. It brought together some of the most important independent Leningrad artists and artist groups from the late 1980s, among them the Necrorealists,(E-E) Evgenij Kozlov and his collection "2x3m".

Uploaded 12 December 2019.

The New Artists.  Sverdlov House of Culture, 1988 Works by (E-E) Evgenij Kozlov   © Alexander Savatyugin

The New Artists.
Sverdlov House of Culture, 1988
Works by (E-E) Evgenij Kozlov
© Alexander Savatyugin

The first official Leningrad exhibition of the New Artists was also the first time the group’s name Новые художники (Novye Khudozhniki) was printed on a poster, and the exhibition booklet can be considered as the group’s first official catalogue.

Uploaded 5 February 2020.

New Composers. Sverdlov House of Culture, 1988 (E-E) Evgenij Kozlov

New Composers.
Sverdlov House of Culture, 1988
(E-E) Evgenij Kozlov

The first electronic music festival in the USSR was held in 1988 in Vilnius. Among the other projects there was a side project of the New Composers called Science Fiction Club which later became widely developed and gave impetus to the project of the same name officially working from 1988 to 1992 in the Star Hall, Planetarium.

Uploaded 5 February 2020.

Bluecoat Gallery, Liverpool Perestroika in the Avant-Garde, 1989 Festival poster with a reproduction of  (E-E) Evgenij Kozlov‘‘s painting Star (1987)

Bluecoat Gallery, Liverpool
Perestroika in the Avant-Garde, 1989
Festival poster with a reproduction of
(E-E) Evgenij Kozlov‘s painting
Star (1987)

Public funds were allocated to the first official international New Artists exhibition tour, starting at the Kulturhuset, Stockholm, in August 1988 and ending in Liverpool in February 1989. Bluecoat, Liverpool‘s centre for the contemporary arts, was the fourth venue of this tour. Both the Stockholm and the Liverpool exhibitions became part of larger Leningrad festivals.
Artists at the Bluecoat Gallery: Sergei Bugaev, Oleg Kotelnikov, (E-E) Evgenij Kozlov, Andrei Krisanov, Andrey Kurmayetsev “Mertvyi”, Timur Novikov, Vadim Ovchinnikov, Inal Savchenkov, Ivan Sotnikov

Uploaded 24 April 2020.

(E-E) Evgenij Kozlov,  with Star. 6 Figures (left)  and Star (right) Galaxy Gallery, Peterhof, Leningrad (1987). Photo: Andrey Fitenko

(E-E) Evgenij Kozlov,
with
Star. 6 Figures (left)
and
Star (right)
Galaxy Gallery, Peterhof, Leningrad (1987). Photo: Andrey Fitenko

In 1986, before perestroika became a trend, (E-E) Evgenij Kozlov started to redesign Soviet symbols in a number of sketches – the letters CCCP, the star, the hammer, the sickle, a skyscraper, an airplane, figures, and others. “Rebranding” these symbols, he removed their political charge – their function as a tool for visual propaganda.

Uploaded 4 May 2020.

Vladimir Mayakovsky  Glavpolitprosvet window  The World Stands on a Volcano 1921, 99 x 90 cm, stencil  Wikipedia Public Domain

Vladimir Mayakovsky
Glavpolitprosvet window
The World Stands on a Volcano
1921, 99 x 90 cm, stencil
Wikipedia Public Domain

This text attempts to illustrate some aspects of early Soviet visual propaganda and its most important agent, Vladimir Mayakovsky, before concluding with some remarks about the Leningrad art group New Artists.

Uploaded 5 June 2020.

Timur Novikov and (E-E) Evgenij Kozlov with E. Kozlov's "Portrait of Timur Novikov with Arms Consisting of Bones". Brlin, 1995 Detail from E-E Kozlov's painted photocollage E-E Classic (НЛО - UFO), 2014, no. 3. 21 x 29.6 cm, 2014

Timur Novikov and (E-E) Evgenij Kozlov with E. Kozlov's "Portrait of Timur Novikov with Arms Consisting of Bones".
Brlin, 1995
Detail from E-E Kozlov's painted photocollage
E-E Classic (НЛО - UFO), 2014, no. 3. 21 x 29.6 cm, 2014

Taken together, the works the New Artists created in the 1980s form no unified picture of any native roots, simply because the Russian avant-garde itself offers multiple facets. My intention has been to collect, systemise and interpret some relevant facts that provide a more complex – even fragmented – picture of the New Artists’ creative heritage than Novikov’s unifying descriptions might suggest.

Uploaded 24 September 2020.

Tate Gallery Liverpool, January 1989. Works by Timur Novikov (left), (E-E) Evgenij Kozlov (centre) and Sergei Bugaev (right). Video frame from a BBC documentary.

Tate Gallery Liverpool, January 1989. Works by Timur Novikov (left), (E-E) Evgenij Kozlov (centre) and Sergei Bugaev (right).
Video frame from a BBC documentary.

In January / February 1989, Liverpool saw two parallel New Artists exhibitions: the main exhibition of the New Artists which opened on 21 February at the Bluecoat Gallery with works coming directly from the previous New Artists' show in Copenhagen, and a second exhibition at the Tate Liverpool which, in all likelihood, had no specific title other than “exhibition of banners”.

Uploaded 4 October 2020.

Exhibition of the "Mayakovsky Friends Club” at the NCh-VCh, Leningrad, summer of 1988.  Timur Novikov and Inal Savchenkov.  Paintings by (E-E) Evgenij Kozlov ("Star", centre), Igor Smirnov (Sten) (right, portrait of Mayakovsky) and Oleg Maslov (stencilled posters bottom right)  Picture courtesy Ágnes F. Horváth.

Exhibition of the "Mayakovsky Friends Club” at the NCh-VCh, Leningrad, summer of 1988.
Timur Novikov and Inal Savchenkov.
Paintings by (E-E) Evgenij Kozlov ("Star", centre), Igor Smirnov (Sten) (right, portrait of Mayakovsky) and Oleg Maslov (stencilled posters bottom right)
Picture courtesy Ágnes F. Horváth.

The Mayakovsky Friends Club or Club of Friends of V.V. Mayakovsky (Клуб друзей В.В.Маяковского / Klub druzey V. V. Maiakovskogo) was a somewhat formalised hypostasis of the New Artists and a name the New Artists sometimes used (until 1990) to promote their own exhibitions and parties. Among those activities was a Mayakovsky Friends Club exhibition at the Leningrad NCh-VCh Club, organised on the occasion of Mayakovsky’s 95th birthday.

Uploaded 11 October 2020.



(E-E) Evgenij Kozlov (left) and Oleg Kotelnikov (right) looking at their joint work, a huge painting the artists created in the foyer of of the theatre hall of the "Palace of Culture and Science” for the exhibition with works by Kotelnikov, Kozlov and Veinert.
Photo: Nikolai Veinert, 1988.

In 1988, the management of what is today The Palace of Culture and Science (at the Peterhof campus of St Petersburg University) invited (E-E) Evgenij Kozlov to an exhibition of his works, and Kozlov, on his part, invited Oleg Kotelnikov and Nikolai Veinert participate at the exhibition. On this occasion, Kozlov and Kotelnikov created a huge joint work displaying the lettering LENING-ACCEE–RAD.

Uploaded 17 October 2020.

Da Da Majakowksi exhibition poster and invitation card, Dionysus Gallery, Rotterdam, 25 March – 8 April 1988

Da Da Majakowksi exhibition poster and invitation card, Dionysus Gallery, Rotterdam, 25 March – 8 April 1988

In 1988, the New Artists entered a rather intense period of exhibitions, both at home and abroad. Some of these exhibitions were touring from one place to the next, although with different titles. Thus, Da Da Majakowski (Dionysus Gallery, Rotterdam, 25 March – 8 April 1988; also Da Da Mayakovsky), was the follow-up exhibition to 7 Independent Artists – Live from Leningrad (Young Unknowns Gallery, London, 2-27 February, 1988)

Uploaded 12 November 2020.



(E-E) Evgenij Kozlov
Detail of panel 19 from the
E-E Drafts series, 1980s-1990s.

The article discusses (E-E) Evgenij Kozlov's approach to transforming his resource images in successive stages, a principle which may be defined as an Atlas of Ontology, of being and becoming. The on-going narrative progression of an image is demonstrated for the artist's early collages, but the same principle also applies to Kozlov's large archive of pictures from the 1980s – which have since acquired a secondary function, for the researcher, as an archival database to analyse the “Leningrad 80s”.

Uploaded 15 February 2021.

(E-E) Evgenij Kozlov's Fed-2 camera mounted on an extension plate provided with a handle grip. On top of the handle is a cold shoe for the flash that is connected to the camera via a cable. Photo: Hannelore Fobo

(E-E) Evgenij Kozlov's Fed-2 camera mounted on an extension plate provided with a handle grip. On top of the handle is a cold shoe for the flash that is connected to the camera via a cable.
Photo: Hannelore Fobo

In the 1980s, (E-E) Evgenij Kozlov extensively used the medium of black and white photography in his art, as documented by his large photo archive used for painted photo collages, books, figurative paintings, and more. In this article, I show how some technical features of the Soviet FED-2 camera and the SVEMA and TASMA black and white negative films the artist employed helped me to reconstruct the original filmstrip sequences.

Uploaded 3 May 2021.

(E-E) Evgenij Kozlov with two of his works, The Square near the Station (1981) and Red Pond (1981), at the opening of the Second TEII Exhibition Leningrad, Palace of the Youth, 5 April 1983. Photo: C. Mannick

(E-E) Evgenij Kozlov with two of his works, The Square near the Station (1981) and Red Pond (1981), at the opening of the Second TEII Exhibition
Leningrad, Palace of the Youth, 5 April 1983.
Photo: C. Mannick

The Society for Experimental Visual Art (TEII, 1981-1991) was an association of independent Leningrad artists founded before perestroika and tolerated by the Soviet authorities. It had its second large exhibition in April 1983, which was also (E-E) Evgenj Kozlov's first important participation in a public exhibition. Kozlov's diaries and visual material from the artist's own as well as from other archives provide the researcher with a rare opportunity to follow a complex process of his decision taking – of selecting or rejecting, through various stages, the paintings and works on paper to be exhibited.

Uploaded 18 July 2021.



Invitation card to an theme evening (Тематический вечер) presenting amateur associations – among them the Club of Friends of Mayakovsky – affiliated to the Vodokanal Club, 21 December 1986.

In 1986, Timur Novikov and his friends set up the Club of Friends of V.V. Mayakovsky (Клуб друзей В. В Маяковского / Klub druzei V.V. Mayakovskogo 1986-1990) as an administrative branch of the New Artists  (Новые художники / Novye Khudozhniki, 1982-1989), and from late 1986 to 1989, the same artist names appear in both groups. This raises the question of whether these groups were identical or functionally different with respect to their activities.

Uploaded 17 August 2021.

Дворец культуры имени ленсовета • Lensoviet Palace of Culture, a constructivist building from 1938, architects: E. A. Levinson and V.O. Munts "Lenosviet” is an abbreviation of Ленинградский Совет депутатов трудящихся – Leningrad Council of Workers’ Deputies. Photo: Hans Kumpf, 1981.

Дворец культуры имени ленсовета • Lensoviet Palace of Culture, a constructivist building from 1938, architects: E. A. Levinson and V.O. Munts "Lenosviet” is an abbreviation of Ленинградский Совет депутатов трудящихся – Leningrad Council of Workers’ Deputies.
Photo: Hans Kumpf, 1981.

In the Soviet Union, the anti-elitist idea of clubs offering recreational and educational activities – sport, reading, theatre, art etc. – was part of the concept of adult education. In a larger sense, Houses of culture and clubs were part of a global approach to create a new man, thereby demonstrating the superiority of the communist idea – and to convince the masses of it.

Uploaded 17 August 2021.

Poster for the exhibition “Black and White” at the Nch-Vch Club, Leningrad, April 1988. Courtesy Andrey Khlobystin.

Poster for the exhibition “Black and White” at the Nch-Vch Club, Leningrad, April 1988.
Courtesy Andrey Khlobystin.

The NCh-VCh club, located on Kalyaeva, 5 (today Zakharyevskaya street, 5) constitutes a successful example of how Soviet underground artists and musicians used the new possibilities offered by the “Law on amateur associations and interest clubs” from 13 May 1986 to carry out their activities on larger scale.

NCh-VCh, pronounced N- tshe V- tshe, is an acronym for Nizkie Chastoty / Vysokie Chastoty (“Низкие Частоты / Высокие частоты”), or Low Frequency / High Frequency. New artist Oleg Kotelnikov, himself involved in punk-music, made up the name NCh-VCh for a band of rock musicians as an allusion to the rock band AC/DC, where the four letters stand for alternating current/ direct current.

Uploaded 17 August 2021.

Ankündigung der Veranstaltung  Gegen(-)Kollektive  am Soziokulturellen Zentrum die naTo, Leipzig. Foto: Hannelore Fobo, 2021

Ankündigung der Veranstaltung
Gegen(-)Kollektive
am Soziokulturellen Zentrum die naTo, Leipzig. Foto: Hannelore Fobo, 2021

Wahrheit und Schein als Strategie bei Timur Novikov
und als Transfiguration bei (E-E) Evgenij Kozlov.
Vortrag. Symposium Gegen(-)Kollektive • Leipzig, 10. September 2021.

Uploaded 24 September 2021

(E-E) Evgenij Kozlov “Фокс из гуд Модел” / “Fox is Good Model”.  From the New Artists magazine, fashion section.  Photo collage on cardboard , 41 x 29.4 cm, 1984

(E-E) Evgenij Kozlov “Фокс из гуд Модел” / “Fox is Good Model”.
From the New Artists magazine, fashion section. Photo collage on cardboard , 41 x 29.4 cm, 1984

In (E-E) Evgenij Kozlov's collection of his works, there is a collage from 1984 which was to become the cover of an иллюстрированный журнал, an illustrated magazine. The name of the editors, Новые художники, New Artists, stands right at the top, with Art and Fashion (Искусство — мода) next to it. This collage might actually be the first written mention of the New Artists as a group,.

Uploaded 27 October 2021.

Starting a street procession with paintings from the exhibition Без ореола / Bez aureoli • Gallery Kantor Sztuki, Gdansk (1987) From left to right: Two paintings by Bob Koshelokhov, unknown artist, and a work by Oleg Maslov and Alexei Kozin.

Без ореола / Bez aureoli
Gallery Kantor Sztuki, Gdansk (1987)
From left to right: Two paintings by Bob Koshelokhov, unknown artist, and a work by Oleg Maslov and Alexei Kozin.
Still from
Dzicy z Leningradu (The Wild from Leningrad) by Waldemar Będziński and Tadeusz Rzeczycki.

In autumn 1987, Polish galerist Mirosław Zeidler organised an exhibition of Leningrad artists at his gallery Kantor Sztuki, Gdansk. Без ореола / Bez aureoli, or "Without a Halo", was one of the first exhibitions – or perhaps actually the first – of artists related to the New Artists group that took place outside the Soviet Union, albeit in a country from the socialist block.

Uploaded 19 November 2021.

Birgitta Rubin: Uttrycksfulla ryska målare (Expressive Russian painters).  DN. På Stan, (Dagens Nyheter, Downtown) 3-9 December 1988.

Birgitta Rubin: Uttrycksfulla ryska målare (Expressive Russian painters).
DN. På Stan, (Dagens Nyheter, Downtown) 3-9 December 1988.

An exhibition at Pierre Munkeborg Antik & Inredningar, Stockholm December 1988.
Artists: Sergei Bugaev • Georgy Guryanov • Vladislav Gutsevich • Evgeny Yufit • Oleg Kotelnikov • Evgenij Kozlov • Andrei Krisanov • Irena Kuksenaite • Timur Novikov • Vadim Ovchinnikov • Inal Savchenkov • Viktor Tsoy • and Armen Avetisian, Anatolyi Belkin, Gennady Zubkov.

Uploaded 11 December 2021.

New Artists Xerox copy selection of exhibits, 1987, with works by E-E Kozlov. Courtesy Kulturhuset archive

New Artists Xerox copy selection of exhibits, 1987, with works by E-E Kozlov.
Courtesy Kulturhuset archive

Between 27 August and 25 September 1988, after two years of preparation, De Nya från Leningrad / The New from Leningrad, took place at the Kulturhuset, the cultural house of the City of Stockholm. The first major presentation of Leningrad’s New Artists group (1982-1989) outside their country included an additional festival programme with concerts, lectures and film screenings. 

In this article, I discuss what I defined as the project’s second phase, when, in the spring of 1987, the Swedish curatorial team and Leningrad artists and musicians elaborated a plan of action and selected the exhibits.

Uploaded 23 February 2022.

Timur Novikov La Cité Island, 1983. Photo: Alexander Boyko, 1984

Timur Novikov
La Cité Island, 1983.
Photo: Alexander Boyko, 1984

Regarding Alexander Boyko's colour reproductions of artworks, there is an important series shot during the 1984 New Artists exhibition at Timur Novikov’s studio and gallery ASSA. Thirty-two scans of slides with works by Kirill Khazanovich (3), Oleg Kotelnikov (10), Evgenij Kozlov (8), Timur Novikov (9), Ivan Sotnikov (1), and a collaborative work of Oleg Kotelnikov with Ivan Sotnikov came up in 2021, when I was working on Catherine Mannick’s archive of E-E Kozlov’s letters, mail art and other documents.

Uploaded 1 March 2022.


KINO: Nachalnik Kamchatki (The Chief of Kamchatka), edited in 2022 by AnTrop as double LP with (E-E) Evgenij Kozlov’s original cover design from 1884.


In December 2021, the Moscow label АнТроп (AnTrop, Andrey Tropillo) released a double LP with KINO’s Nachalnik Kamchatki recordings from 1984, and for the first time, (E-E) Evgenij Kozlov’s original LP cover design from 1984 was used for a Nachalnik Kamchatki production. (See also Chapter 1, above, published earlier as article no. 82.)
Chapters 2-5 present the history of E-E Kozlov’s
last minute collaboration with Oleg Kovriga and AnTrop, the compilation of his booklet as well as Oleg Kovriga’s account of situation.

Uploaded 22 April 2022.

Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994 Exhibition catalogue 2016, edited by David Crowley and Daniel Muzyczuk

Notes from the Underground. Art and Alternative Music in Eastern Europe 1968–1994.
Exhibition catalogue 2016, edited by David Crowley and Daniel Muzyczuk

Produced for the exhibition at the Muzeum Sztuki, Lodz, the catalague explores the close and often dynamic relationship between visual artists and musicians in Eastern Europe under communist rule.

Uploaded 7 May 2022.

(E-E) Evgenij Kozlov  Portrait with Box for my Diaries Photo: Hannelore Fobo. Digital print,  40 x 30 cm, 2022, Davis Center Collection, Harvard University

(E-E) Evgenij Kozlov
Portrait with Box for my Diaries
Photo: Hannelore Fobo. Digital print,
40 x 30 cm, 2022, Davis Center Collection, Harvard University

Between the ages of twenty-four and twenty-eight, (E-E) Evgenij Kozlov kept a diary, more exactly, four successive diaries, spanning the period from September 1979 to August 1983. In March 2022, these diaries, presented in a custom-made box, went to the Davis Center for Russian and Eurasian Studies Special Collection at Harvard University, as part of a larger donation by Catherine Mannick, in Boston, and (E-E) Evgenij Kozlov and Hannelore Fobo, in Berlin.

Uploaded 19 June 2022.

(E-E) Evgenij Kozlov Painted envelope for a letter sent to Catherine Mannick, approx. 1980 Davis Center Collection

(E-E) Evgenij Kozlov
Painted envelope for a letter sent to Catherine Mannick, approx. 1980.
Davis Center Collection

In 2021 and 2022, the Davis Center for Russian and Eurasian Studies Special Collection at Harvard University received a large donation related to a crucial period of Soviet art – the years prior to perestroika and the perestroika period itself, as experienced by one the protagonists of Leningrad’s thriving art-scene: (E-E) Evgenij Kozlov, a founding member of the New Artists group (1982-1989).

Uploaded 4 July 2022.

(E-E) Evgenij Kozlov ПоПс из ССССР – PoPs from the USSSR Valery Alakhov, Catherine Mannick, and Georgy Guryanov Painted vintage print, 10 x 15 cm, 1986. Davis Center Collection; Harvard University

(E-E) Evgenij Kozlov
ПоПс из ССССР – PoPs from the USSSR Valery Alakhov, Catherine Mannick, and Georgy Guryanov
Painted vintage print, 10 x 15 cm, 1986.
Davis Center Collection; Harvard University

Kozlov's letter gives an example of how the artist combined vusual art and text. The letter is not dated, but it must have been written towards the end of October 1986, since Kozov sent Mannick's his birthday greetings (on Halloween), but also refers to her Leningad visit earlier that month (between the eighth and twelfth of October), stressing the importance of her visit.

Uploaded 4 July 2022.


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