(E-E) Ev.g.e.n.i.j ..K.o.z.l.o.     Berlin                                                  


      (E-E) Evgenij Kozlov: Leningrad 80s • No.115 >>

Davis Center for Russian and Eurasian Studies Special Collection • Harvard University

USA-CCCP. Points of Contact.
(E-E) Evgenij Kozlov – Catherine Mannick
Correspondence 1979 – 1990

Letter G (September 1984) – New Wave

Expectations

Letter G, dated 28 September 84, is an answer to Catherine Mannick’s Letter 23, which Kozlov received on 18 August. In her letter, Mannick sent him her birthday wishes and hinted at her forthcoming visit to the Soviet Union. She had already spoken of it in Letter 22, announcing her trip for the beginning of October with one week in Moscow followed by another week in Leningrad. Kozlov’s answer makes it clear how important her visit was to him. 

    Since the day I found out that you want to come, I carry a Russian-English dictionary with me and try to memorise some English words, but my memory always plays tricks on me – I'm a bad student, I probably will never be able to learn English for conversation, but when I listen to songs I understand some phrases - it's already nice. (Page 2)

Furthermore, he wrote that he took a two-week holiday from work at the beginning of October – “the first holiday in my life”. It was his first holiday for a reason. All his previous jobs had lasted for several months at the most, not long enough to apply for a holiday, but between September 1983 and August 1986, he kept a job for a full three years: he was employed at the Petrodvorets Canteen Combine (Трест столовых г. Петродворца), where he was in charge of designing visual propaganda, that is, sign boards and banners more >>.

Looking forward to his holiday, Kozlov wrote that he very much hoped his reunion with his friend would remove his uncertainty about a common future. But he also simply wanted “to rest, do something only for myself, not for the state” (page 4).

Considering that on average, a letter from Peterhof to Boston took three weeks to arrive at its destination, this makes it highly improbable that Mannick got Letter G before she left to Moscow – unless Kozlov was able to give the letter to some private “courier”. Letter 23a, of which an empty envelope has remained, stamped Moscow 9 October and Petrodvorets 13 October, probably announced further details about Mannick’s Leningrad stay. It took place, in all likelihood, between 12 and 19 October. Judging by the letters that followed, it was a happy meeting, although Kozlov’s uncertainty about a common future was not resolved, which led to some tensions (see introduction).

As in all of his letters, there are also some entertaining topics in Letter G – Kozlov’s birthday party and the forthcoming wedding of his friend Andrey. Last but not least, Kozlov took care in promoting contemporary Russian art:

    […] everything I've seen lately from Western art is dead, except, of course, music. The fine art of Russian culture is alive, but unfortunately there is no possibility to advertise it on a large scale. This [fine art] hugely stimulates work and it seems that, even with these obstacles, soon the centre of world culture will move back to Russia, as it was before. (Page 3)

Although he did not specifically mention his own art group, the New Artists, the sentence “The fine art of Russian culture is alive” implicitly refers to this very group. Firstly, the New Artists consolidated as a group around 1984 with a number of performances and actions, such as “Fashion Show” more >>, but also with a first important group exhibition at Timur Novikov’s squat (“Assa Gallery”) that Kozlov tried to promote later (see below). Secondly, Kozlov emphasised, at the end of his letter, the gap between two generations of Leningrad artists, writing of a group exhibition that included three of his paintings. It was Facets of Portraiture, The Fifth Exhibition of the Society for Experimental Visual Art (TEII), which took place at the Kirov Palace of Culture, Leningrad from 17 September to 8 October 1984 more >>. Two of Kozlov’s paintings were documented with exhibition views, “Noli Me Tangere” (1982) and “Commissars” (1983).

“Facets of Portraiture”, Leningrad 1984, exhibition view. Third painting on the left: (E-E) Evgenij Kozlov Noli me tangere, original title Туареги / Tuaregs, 1982

“Facets of Portraiture”, Leningrad 1984, exhibition view.
Third painting on the left:
(E-E) Evgenij Kozlov Noli me tangere, original title Туареги / Tuaregs, 1982 more >>



The artist couldn’t resist a sideswipe at the elder generation of artists who dominated the TEII:

    There are a lot of paintings and a lot of spectators – this is an event in the culture of Leningrad. Artists walk around, feeling so important and proud, especially those who are from the “old guard”. It’s a little funny to look at them. (Page 5)

With their modern artistic features, Kozlov’s paintings indeed stood out from all others. In the following years, he would present his works mainly in the context of the New Artists’ activities. The group quickly attracted new members more >>, and by the end of the nineteen-eighties had established itself as the leading Leningrad underground art group, with full-scale international exhibitions where Kozlov’s paintings could be seen on posters and catalogue covers more >> more >>.




New Wave

Kozlov used five painted black and white photographic prints as background for his text. Accordingly, he wrote the text on five pieces of paper, numbering them one to five, and pasted each to the reverse of a print. Although these pictures are an essential contribution to the letter, they are not mentioned in the text.

All pictures belong to the same series. Four of them show different views of a domed wooden church with a bell tower in a rural settlement, and the fifth shows a wooden cottage. Kozlov didn’t take the pictures himself, and the location of this particular church and village is unknown, although it might be possible to identify it. The church looks rather extravagant – the dome of the main building is reminiscent of a Chinese pagoda, while the bell tower resembles a defence tower crowned with an onion dome. The artist coloured these images with pastel shades, similar to those used by photographic studios for hand-colouring black and white portraits – a retouch technique still en vogue at that time in the Soviet Union more >>.[1]

While the subject matter of these images is rather traditional, Kozlov’s artistic transformation isn’t, especially in the pictures from pages one and five. In the first image, he stuck to the original colours only in places. Therefore, trees are not only green, but also blue, yellow and pink. In addition, he introduced some “strange” elements – white polygons resulting from colouring specific areas contoured by branches and twigs. Standing out against the sky, they remind the viewer of glass shards or wings of huge dragonflies. In picture five, coloured dotted lines zigzagging through the sky dominate the composition. They look like those entangled lines on elaborate pattern sheets from vintage sewing magazines, where a specific pattern has to be transferred with the help of a tracing wheel.

(E-E) Evgenij Kozlov Coloured photograph for Letter G, page 1, 1984  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-184040  Brigitte Hochfelden: Das Buch der Wäsche. Leipzig (around 1900), pattern sheet supplement Wikipedia commons

(E-E) Evgenij Kozlov
Coloured photograph for Letter G, page 1, 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184040


Brigitte Hochfelden: Das Buch der Wäsche. Leipzig (around 1900), pattern sheet supplement
Wikipedia commons External link >>




The same year, Kozlov started creating collages, assembling paper clippings, maps, postcards and other artefacts, but most importantly, his own photographs, which he often coloured (see letter H footnote 4). Among the works from 1984, and probably the best-known collage from that period, is his record sleeve for the album Nachalnik Kamchatki, the third studio album of Leningrad’s legendary band KINO.[2]

 (E-E) Evgenij Kozlov LP Cover KINO, Nachalnik Kamchatki. Photo collage on cardboard, approx. 31 x 31 cm, 1984 Detail of central part

(E-E) Evgenij Kozlov
LP Cover
KINO, Nachalnik Kamchatki. Photo collage on cardboard, approx. 31 x 31 cm, 1984
Detail of central part
more >>



The central part of the album cover displays the four band members, cut out from one of the pictures taken during Kozlov’s photo shoot more >>. The artist coloured the figures and placed them on a landscape with mountains partly covered with (painted) snow. Although the subject matter is quite different from that of Letter G, its transformation follows a similar approach through the use of the pastel shades and zigzagging (dotted) lines. More than anything else, zigzagging lines and a geometric design of volume characterises Kozlov’s refined New Wave style from 1984/1985.[3] The artist didn’t label the style himself, but its elegant, stylish elements, as well as the fashionable attributes in figurative painting allow designating it as his New Wave style.

New Wave music hit the Leningrad scene in the beginning of the nineteen eighties. In 1983, Kozlov noted the names of several international New Wave bands in his diary, among them Depeche Mode, Talking Heads, Devo, and Kraftwerk (Diary IV, p. 4-74 more >>). Their animated dance beat went along with a bright and experimental post-punk attitude to fashion. In Leningrad, the term New Wave was actually used in a broader sense – as a new approach to creativity, which also included a more punkish concept, especially in the case of Oleg Kotelnikov’s painting more >>.

In late 1984, the term New Wave appears for the first time in Mannick’s letter in in the context of a photo collage from 1984, Kozlov’s self-portrait:

    That last picture you gave to me is hanging in front of me. I look at it and I smile. It's great that the new wave attracts you, as it does me. (Letter 25, 1984)
(E-E) Evgenij Kozlov Untitled (Self-portrait) Painted photo collage on cardboard, approx. 16 x 23 cm, 1984 more >> Davis Center for Russian and Eurasian Studies Special Collection, Harvard University E-E archival number: E-E-pho-LP12-opc

(E-E) Evgenij Kozlov

Untitled (Self-portrait)
Painted photo collage on cardboard, approx. 16 x 23 cm, 1984 more >>

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-pho-LP12-opc

Reverse of the collage, detail with signature and dedication "для [for ]Katherine Mannick".

Reverse of the collage, detail with signature and dedication "для [for ]Katherine Mannick".



The following year, there are multiple references to New Wave in the correspondence. That year, Kozlov sent his friend a New Wave T-shirt (see Letter L). Mannick answered:

    The “T-shirt” is simply wonderful – I'm going to wear it in a new new-wave discotheque that just opened not far from me. I will think of you when I dance there! (Letter 30, 1985)
(E-E) Evgenij Kozlov  T-shirt "Napravlenie" from the series "B(L)ACK ART", front Mixed media on cotton, 1985  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-185030-f E-E) Evgenij Kozlov  T-shirt "Napravlenie" from the series "B(L)ACK ART", reverse Mixed media on cotton, 1985  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-185030-r

(E-E) Evgenij Kozlov

T-shirt "Napravlenie"
front
Mixed media on cotton, 1985

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-185030-f
(E-E) Evgenij Kozlov

T-shirt "Napravlenie"
reverse
Mixed media on cotton, 1985

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-185030-r



Still the painted postcards from Letter G, with their combination of traditional motifs and New Wave attributes, remain quite unique in Kozlov’s body of work.




Pictures relating to Catherine Mannick’s 1984 Leningrad visit

It was the first time Mannick came to Kozlov’s Peterhof flat, and her colour slides as well as Kozlov’s black and white prints pictures show her in the company of his mother and friends.

 (E-E) Evgenij Kozlov  Kozlov's friend Andrey with Catherine Mannick, Peterhof, October 1984.  On the wall: „Art. 1984" Nr. 42. Портрет Е.Г. / ‘Art. 1984’ / No. 42. Portrait of E.G. Pencil and / or charcoal or wax crayon, approx. 50 x 30 cm, 1984. E-E-184002  Vintage print 1984  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-LP12-opc

(E-E) Evgenij Kozlov

Kozlov's friend Andrey with Catherine Mannick, Peterhof, October 1984.
On the wall: „Art. 1984" Nr. 42. Портрет Е.Г. / ‘Art. 1984’ / No. 42. Portrait of E.G.
Pencil and / or charcoal or wax crayon, approx. 50 x 30 cm, 1984. E-E-184002

Vintage print 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-pho-LP12-opc



Several slides display Kozlov’s art – works on paper from 1984 that are not documented otherwise. They show Kozlov’s interest in fashion. One is a collage for a for the fashion section of  an unedited New Artists illustrated magazine more >>. Three coloured pencil drawings from 1984 with genre scenes evoke the (cabaret and ballroom) spirit of the 1920s, with palm trees setting it in a southern atmosphere.

(E-E) Evgenij Kozlov Photo collage on paper, signed and dated 1984, presumably created for the New Artists magazine. more >> E-E archival number: E-E-184042 Photo: Catherine Mannick Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University (E-E) Evgenij Kozlov Drawing on paper, 1984 E-E archival number: E-E-184024 Photo: Catherine Mannick Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Photo collage on paper, signed and dated 1984,
presumably created for the New Artists magazine.
more >>

Photo: Catherine Mannick

Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184042
(E-E) Evgenij Kozlov

Drawing on paper, 1984

Photo: Catherine Mannick

Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184024

(E-E) Evgenij Kozlov Drawing on paper, 1984 E-E archival number: E-E-184025 Photo: Catherine Mannick Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University (E-E) Evgenij Kozlov Drawing on paper, 1984 E-E archival number: E-E-184041 Photo: Catherine Mannick Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Drawing on paper, 1984

Photo: Catherine Mannick

Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184025
(E-E) Evgenij Kozlov

Drawing on paper, 1984

Photo: Catherine Mannick

Digitised slide: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184041



The palm trees caught Mannick’s attention. Shortly after Leningrad, she went to Brazil on a business trip and sent her friend a postcard from the beach at Ipanema: 

    After Sao Paulo, I spent several days in Rio de Janeiro where I just rested. As you can see from this postcard, it is one of the most beautiful places on the planet, especially when it's cold at home, and there it’s spring - warm and sunny. You know, when you draw palm trees, maybe you are unconsciously drawing Rio! Yes, I was very lucky.  (Letter 25, 1984)

In Leningrad, a memorable event was “our adventure on the square in front of the Hermitage” (Letter 26, 1985). Mannick, Kozlov, and his friend Andrey persuaded a soldier to lend them his marching drums, a large bass drum and a smaller snare drum, and they pretended to play them with drumsticks. Kozlov called the action “Repetition for the Parade on Palace Square”, an ironic allusion to the forthcoming anniversary of the October Revolution (October Revolution Day).  

 (E-E) Evgenij Kozlov and Catherine Mannick, “Repetition for the Parade on Palace Square”. Vintage print 1984 Photo: Andrey Fitenko, Leningrad, October 1984.   Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-FSx3-op

(E-E) Evgenij Kozlov and Catherine Mannick
“Repetition for the Parade on Palace Square”. Vintage print 1984
Photo: Andrey Fitenko, Leningrad, October 1984.

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-pho-FSx3-op



Most likely on the occasion of this visit, Kozlov gave his friend thirty-two colour slides with works by the New Artists – Alexander Boyko’s reproductions of paintings and collages by Kirill Khazanovich, Oleg Kotelnikov, (E-E) Evgenij Kozlov, Timur Novikov, Ivan Sotnikov. Boyko shot them at Timur Novikov’s squat  (“ASSA Gallery”), where the majority of these works were on display during the first comprehensive New Artists group show in the summer of 1984 more >>. The colours of the photographs are remarkably true, especially of those shot in the courtyard of the building. Boyko used an East-German Orwo film, as Orwo films yielded much better results than Soviet colour reversal films, provided they were not ruined while being processed more >>.

Timur Novikov with his painting La Cité Island (1983)   Orwo colour slide: Alexander Boyko more >>  Scan: Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

Timur Novikov with his painting La Cité Island (1983)

Orwo colour slide: Alexander Boyko more >>

Scan:
Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

In those years, quality colour reproductions were extremely rare more >>, and in this way, Boyko supported Kozlov’s attempt to promote his art group. Today, many of these works are in the collection of the Russian Museum, Saint Petersburg, and in private collections.

It was actually the third time Kozlov gave Mannick slide reproductions of artwork. In 1982 and 1983, respectively, he documented his own works, but the quality of these slides – especially of those from 1983 – is poorer than that of Boyko’s, although they still help to reconstruct Kozlov’s body of works.

Hannelore Fobo, 20 May 2023


[1] I remember having seen a sixth, uncoloured photograph from the same series in Kozlov’s archive but was unable to locate it.  The quality of the paper, so it seems, was rather heavy, like that of postcards, but the reverse was blank, which means that these images weren’t printed commercially.

[2] At that time, KINO albums were released on reel-to-reel tapes as “magnitizdat” albums, since underground bands did not get a contract with the Soviet monopolist Melodiya until 1987. http://www.e-e.eu/Aquarium/index.htm

Kozlov, however, created a full-size design which was first reproduced for a Nachalnik Kamchatki double LP released in 2021.

[3] In 1985, he eventually changed to graffiti art art he called B(L)ack art. See Letter L, 1986..




(E-E) Evgenij Kozlov "MY HALLOWEEN" Drawing on paper, 1979, top page of folded letter to Catherine Mannick dated 30 October 1979 (Letter A).  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-179020

(E-E) Evgenij Kozlov
Coloured photograph for Letter G, page 1, 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184036

(E-E) Evgenij Kozlov Letter A to Catherine Mannick, page 2, October / November 1979 Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter G to Catherine Mannick, page 1, September 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

Page 1

Дорогая моя Катенька,

Твои письма радовали меня и пришли во-время, большое спасибо за поздравления к дню моего рождения и я читал твои слова с улыбкой, зная секреты твоих пожеланий моему будущему. Well, о дне рождения знало мало моих знакомых и тот, кто был в их числе чествовал связь со мной, конечно, ты, Катя. Я знал, что ты думаешь и хочешь видеть меня, и все могла бы делать для меня в этот день.

Помню, я встретил несколько знакомых художников и проводил свой день в их компании, было весело и интересно, но особенного ничего не происходило, кроме общения и желания обоюдно включаться в игру — когда встречаются гении бывает интересно вести разговор, хотя и устаешь от напряжения что-то сотворить новое, т. е.




(E-E) Evgenij Kozlov "MY HALLOWEEN" Drawing on paper, 1979, top page of folded letter to Catherine Mannick dated 30 October 1979 (Letter A). Davis Center for Russian and Eurasian Studies Special Collection, Harvard University E-E archival number: E-E-179020

(E-E) Evgenij Kozlov
Coloured photograph for Letter G, page 2, 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184037

(E-E) Evgenij Kozlov  Letter A to Catherine Mannick, page 3, October / November 1979  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter G to Catherine Mannick, page 2, September 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

Page 2

настроить их мозги на „волну“ полезную моим поискам. Порой такие вещи легче решать в одностороннем контакте с музыкой, скажем так, как я всегда пишу тебе письма. Do you understand me? С того дня, как я узнал, что ты хочешь приехать, я ношу с собой русско-английский словарь и пытаюсь запоминать какие-то английские слова, но память всегда играет со мной шутки, я плохой ученик, наверное никогда не смогу выучить английский для разговора, но когда слушаю песни понимаю некоторые фразы — это уже приятно. Ты очень хорошо придумала, что решила приехать, я буду радоваться, когда увижу тебя.

В день моего рождения у моих друзей родилась девочка и это был приятный подарок и им и мне, может быть, мы съездим к ним вместе — увидишь маленького нового человека. Еe



(E-E) Evgenij Kozlov "MY HALLOWEEN" Drawing on paper, 1979, top page of folded letter to Catherine Mannick dated 30 October 1979 (Letter A). Davis Center for Russian and Eurasian Studies Special Collection, Harvard University E-E archival number: E-E-179020

(E-E) Evgenij Kozlov
Coloured photograph for Letter G, page 3, 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184038

(E-E) Evgenij Kozlov  Letter A to Catherine Mannick, page 4, October / November 1979  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter G to Catherine Mannick, page 3, September 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

Page 3

зовут Ксения. И я задаю себе вопрос, когда у меня будут дети? Наверное тогда, когда буду уверен, что смогу обеспечивать их жизнь. Сделать бы депо на 500.000 тысяч / для начала / и сразу бы многие вопросы разрешились сами собой. Но лучше не говорить о том, чего никогда не может быть. Или деньги или искусство, одно из двух. Хотя все, что я видел за последнее время из западного искусства — мертвое, кроме, конечно, музыки. Изобразительное искусство русской культуры — живое, только остается жалеть, что нет возможности широко заниматься ею рекламой. Это огромный стимулятор в работе и кажется, даже и имея эти препятствия, что скоро центр мировой культуры вновь переместится в Россию, как это было раньше. Сейчас здесь крепнут силы, создающие гени-




(E-E) Evgenij Kozlov "MY HALLOWEEN" Drawing on paper, 1979, top page of folded letter to Catherine Mannick dated 30 October 1979 (Letter A). Davis Center for Russian and Eurasian Studies Special Collection, Harvard University E-E archival number: E-E-179020

(E-E) Evgenij Kozlov
Coloured photograph for Letter G, page 4, 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184039

 (E-E) Evgenij Kozlov  Letter A to Catherine Mannick, page 5, October / November 1979  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter G to Catherine Mannick, page 4, September 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

Page 4

альные произведения искусства, стоит заниматься их коллекционированием. Уже сейчас я могу насчитаться несколько сотен отличных полотен, а о графике и говорить не приходится — это тысячи листов разных авторов, можно занять любую картинную галерею с успехом. Well, это то, чтo касается дня моего рождения.

С начала октября я взял себе отпуск с работы, мой первый отпуск в жизни — 15 дней, в е эти дни будет решаться наше будущее, как хочется это сделать быстрее. Убрать все проблемы с моего  пути и быть спокойным. Смогу ли? И нужно ли это делать, ведь я сам всегда говорил, что события необходимы и успокаиваться нельзя, но как я нуждаюсь в твоих действиях для себя, не оставляй себя спокойной и ты.  И хочу отдыхать, что-то делать только для себя, не для государства. В октябре у моего




(E-E) Evgenij Kozlov "MY HALLOWEEN" Drawing on paper, 1979, top page of folded letter to Catherine Mannick dated 30 October 1979 (Letter A). Davis Center for Russian and Eurasian Studies Special Collection, Harvard University E-E archival number: E-E-179020

(E-E) Evgenij Kozlov
Coloured photograph for Letter G, page 5, 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-184040

(E-E) Evgenij Kozlov  Letter A to Catherine Mannick, page 6, October / November 1979  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter G to Catherine Mannick, page 5, September 1984

Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

Page 5

друга юриста будет свадьба, я его очень люблю и буду желать ему много счастья. Уже известно, что свадьба будет на даче несколько километров от Ленинграда — осень — природа — тосты — поздравления, представляешь, как будет здорово.

Забыл сказать, в эти дни у нас идет большая выставка до 8 октября. У меня три интересных картины. Много картин и много зрителей, в культуре Ленинграда это событие. А художники ходят такие важные, гордые, особенно те, которые из „старой гвардии” немного смешно на них смотреть.

Моя дорогая, вот все что смог рассказать тебе.

Приезжай, пожалуйста, скорее, буду рад тебя видеть.

Целую и обнимаю

Женя.

28/ IX / 84 г.




USA-CCCP. Points of Contact.
Part 1: Introduction
Synopsis • Preliminary Remarks
1. From Leningrad to Boston and Back
2. Let’s Talk About Art. New Wave, New Artists, and B(L)ack art
3. Perestroika Emissaries
4. The End of Censorship
5. “It Seems I Need a Manager.” The Impact of Getting Popular
6. Leningrad Artists and Musicians in E-E Kozlov's Pictures
— The River of Forgetfulness, 1988 —
Part 1: Introduction
Letter A (1979) – Halloween
Letter B (1980) – To Be at Peace with Yourself
Letter C (1980) – Harlequin
Letter D (1982) – The Sea and the Countryside
Letter E (1983) – Saigon
Letter F (1983) – Moscow
Letter G (1984) – New Wave
Letter H (1985) – New Composers
Letter I (1986) – Happy New Year at the Leningrad Rock Club
Letter J (1986) – CCCP-USA
Letter K (1986) – The Price of Art
Letter L (1986) – B (L)ack art • PoPs from the USSSR
Letter M (1986) – A Taste for Colours
Letter N (1987) – Part 1: Changes and Challenges
Letter N (1987) – Part 2: ASSA
Letter O (1988) – Joanna Stingray's Wedding
Letter P (1989) – Perestroika Hot News
Letter Q (1989) – Russkoee Polee • The Russian Field
Letter R (1990) – New Classicals
Epilogue: USA-CCCP. Points of Contact (Forthcoming)

see also
(E-E) Evgenij Kozlov, Catherine Mannick, and Hannelore Fobo papers, 1979-2022 (inclusive)
Davis Center for Russian and Eurasian Studies Special Collection Harvard University >>

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Published 22 May 2023
Last updated 12 June 2024