(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 N (Autumn 1987) – Part 2: ASSA

The word “ASSA” has a double reference – to Timur Novikov’s art squat “ASSA Gallery”, presented in pictures 4 to 9 of Letter N, and to Sergey Solovyev’s film “ASSA” from 1987, which featured Sergei Bugaev in the main role, as well as the rock star Viktor Tsoi from the band KINO. But it started its career as a slogan.

Regarding the origin of “ASSA”, there are at different legends; the following three examples refer to an article from 2017/2019 more >>. Curator Ekaterina Andreeva thinks that New Artist Oleg Kotelnikov created it and that it is “etymologically related to the word ‘assasin’”, while Oleg Kolomeychuk, a.k. Garry or Garik ASSA (see Letter I), claims Oleg Grigoryev‘s authorship. Alexei Ipatovtsev, media manager of the band Aquarium, proposes yet another version:

    Assa Yeh Yeh was most likely taken from Georgie Fame's 1964 hit “Yeh Yeh”. The British band Matt Bianco covered the song in 1985, and it immediately hit the Western charts.…The chorus of the song is “I say yeh yeh“, but Russians clearly hear “Assa yeh yeh”. The New Artists stuck to that version.

The were also attempts to decode ACCA / ASSA as an abbreviation, reading the Cyrillic C either as Russian S or Latin C,whcih led to Ассоциация советских свободных анархистов / Associaciia sovetskikh svobodnykh anarkhistov / The Association of Free Soviet Anarchists (Oleg Kolomeychuk) and the Italian word “accademia” (Oleg Kotelnikov), respectively more >>.

When exactly the slogan “ASSA” became popular can no longer be determined – possibly in 1985, because it appeared on a painted cloth during the Happy New Year Pop Mekhanika performance from December 1985 (see Letter I). At least this seems to be the earliest documentation of the slogan in a painting. This would support Ipatovtsev’s version. Likewise, one of Kozlov’s undated notes from 1985 or 1986 displays ACCA in a play of words mostly written in reversed order, where ACCA, a palindrome, reads the same in both directions.

(E-E) Evgenij Kozlov  Untitled  Ballpen on paper, 20 x 8.3 cm, 1986 or 1985  Using Cyrillic as well as Latin script, Kozlov wrote words and sentences in regular and reversed order, thus elaborating ideas for titles of works, for instance ПоПсоФЗЭтоп = pops of the top = top of the pops Raey wen Uppah A = A happy new year Шик-Шок-Шоу / Shick-Shock-Show  is the title of a painting from 1985 (E-E-185002) more  E-E archival number E-E-186090

(E-E) Evgenij Kozlov

Untitled
Ballpen on paper, 20 x 8.3 cm, 1986 or 1985

Using Cyrillic as well as Latin script, Kozlov wrote words and sentences in regular and reversed order, thus elaborating ideas for titles of works, for instance
ПоПсоФЗЭтоп = pops of the top = top of the pops
Raey wen Uppah A = A happy new year
Шик-Шок-Шоу / Shick-Shock-Show is the title of a painting from 1985 (E-E-185002) more

E-E archival number E-E-186090



The artist also used “ASSA” ironically in his letter from October 1986 (“ужас, кошмар — АССА” / horror, nightmare – ASSA Letter L >>) and then again two months later, in Letter M, as an exclamation of congratulations – (“Здорово, полная АССА!!!” / Great – full ASSA!!!! Letter M >>). Yet his attitude towards the slogan was ambivalent. In his opinion, ASSA lacked grandeur, and 1987, he designed a T-shirt with a portrait of Georgy Guryanov and the slogan АСС-Е СМЕРТЬ / Death to ASSA.

(E-E) Evgenij Kozlov  АСС-Е СМЕРТЬ. (Георгий Гурьянов) / DEATH TO ASSA (Georgy Guryanov) T-shirt, ink on textile, 1987. Black-and-white reproduction  E-E archival number E-E-187019 (E-E) Evgenij Kozlov  Detail of a painted picture with Georgy Gurianov wearing Kozlov's T-shirt АСС-Е СМЕРТЬ / DEATH TO ASSA . E-E archival number E-E-pho-BY16-opc more >>  Left: Kozlov's painting “CCCP (Computer)” from 1987 E-E archival number E-E-187028 more >>
(E-E) Evgenij Kozlov

АСС-Е СМЕРТЬ. (Георгий Гурьянов) / DEATH TO ASSA (Georgy Guryanov)
T-shirt, ink on textile, 1987. Black-and-white reproduction

E-E archival number E-E-187019
(E-E) Evgenij Kozlov

Detail of a painted picture with Georgy Gurianov wearing Kozlov's T-shirt АСС-Е СМЕРТЬ / DEATH TO ASSA .
E-E archival number E-E-pho-BY16-opc more >>

Left: Kozlov's painting “CCCP (Computer)” from 1987
E-E archival number E-E-187028 more >>



Novikov, for his part, introduced the term in his writing from 1985 “Процесс перестройки в творчестве «Новых»” / Perestroika in the work of the New Artists”:

    ASSA. "ASSA to the masses" is “Novye”'s slogan [the “New Artists’” slogan, editor’s note] since 1984. Currently “ASSA” prepares its assault on the mass media of the USSR and other countries. And this assault won't cease until “Novye” decides that the idea is outdated.[1]

Whether the New Artists did use the slogan as early as 1984, as Novikov was claiming, remains a matter for speculation, since retrospective labelling was typical for Novikov. The same goes for the name of Novikov’s gallery – “галерея ‘АССА’”, “ASSA” Gallery. In his catalogue for the Happy New Year exhibition, which he edited some time in 1986 – after the exhibition – Novikov added a list of exhibitions carried out at ASSA Gallery going back to 1983 more >>, but it is unlikely that the name was coined that early. Evgenij Kozlov, a regular visitor to the place since 1981 more >>, if not ealier, called it “Timur’s place”.[2] Only towards the end, before it had to close in the summer of 1987, he referred to it as ASSA Gallery.

What can be said for sure is that by 1986, ASSA had fully established itself – both as a slogan and as a name for Novikov’s gallery, although with regard to the latter, it was often used indiscriminately for the entire period of the gallery’s existence.

ASSA Gallery

In the exhibition catalogue "Новые художники / The New Artists", Ekaterina Andreeva writes

    Novikov succeeded in creating an anarchist movement that operated according to the rules of professional art communities. In 1980, he turned his room in a communal flat on Voinov Street, 24 (present-day Shpalernaya), then in process of resettlement before major renovations, into ASSA Gallery, an exhibition hall and squat for artists and musicians whose windows faced the so-called Big House (local KGB headquarters) and were hence curtained.[3]

As the other tenants left the flat one by one, Novikov gradually extended his activity to most of the other rooms (apparently, an elderly lady stayed through the end). By the time it had to close, in spring or early summer 1987, the venue had become quite prominent. It was there where the first New Artists group show took place in 1984, documented by Kozlov (see letter G). The same year, Kozlov staged his “Fashion Show” photo shoot there (see Letter K). He also used it to drop off his paintings after exhibitions:

    Transporting works to Timur’s place was a rather cumbersome thing to do, and after the exhibition I was not particularly eager to bring them back home, all the less because I already lived in Peterhof at that time. After all, who wants to walk alone at 23:30, carrying some 10-15 paintings, take the tram, then the tube, travel 45 minutes by suburban train, then by bus and finally drag the paintings upstairs to the fifth floor into a two-room flat? (Artchronika, Moscow, 2010)  more >>

Kozlov’s ASSA Gallery vintage prints from Letter N display the artist’s own work (page 7) as well as works by Timur Novikov (page 6), Sergei Bugaev (pages 5, 8 and, most probably, 9) and a large painting by Bugaev, Oleg Kotelnikov and Andrei Krisanov (page 4) – Timur’s flat was a perfect place for creating joint works. Kozlov almost never participated in this type of common activity, nor did he paint his own paintings there, since he needed a private space to carry out his (often highly complex) compositions. But there were occasional exceptions, and he remembers spraying his large graffiti work “Ya-YA” for the 1985 “Happy New Year” exhibition (see Letter I) at Novikov’s place more >>.

Because of its easy-going atmosphere and the large number of works by different artists, ASSA Gallery attracted many international visitors. At different times, pictures for the preselection of the forthcoming Swedish exhibition were taken on its premises, and in July 1987, Björn Lyrvall, vice-consul of the Swedish consulate, sent the Kulturhuset some pictures with works by Evgenij Kozlov he took “in the (now vacated) House on Voinova Street”, that is, at Novikov’s studio more >>.  

Two works by (E-E) Evgenij Kozlov, shot at Timur Novikov's ASSA Gallery for the New Artists Kulturhuset exhibition in 1986 or 1987 Left: Portrait of Timur on Horseback, 1985 To the left is a drawing by Inal Savchnkov Right: Portrait of Guryanov, 1985, with vice-consul Björn Lyrvall from the Swedish Consulate Attached to the painting is work on paper by Sergei Bugaev “Afrika".  Upper part of a page from S. Åkerrén's photo album of Leningrad artists

Two works by (E-E) Evgenij Kozlov, shot at Timur Novikov's ASSA Gallery for the New Artists Kulturhuset exhibition in 1986 or 1987
Left: Portrait of Timur on Horseback, 1985
To the left is a drawing by Inal Savchnkov
Right: Portrait of Guryanov, 1985, with vice-consul Björn Lyrvall from the Swedish Consulate
Attached to the painting is work on paper by Sergei Bugaev “Afrika".

Upper part of a page from S. Åkerrén's photo album of Leningrad artists more >>

A xerox copy of the same pictures inside plastic pockets. The preselection for the Swedish exhibtion displays notes in Swedish by Magnus Dahnberg from the Swedish Consulate. The Russian notes might have been written by Timur Novikov. Title, dimensions and technique are approximate.  Courtesy the City of Stockholm / Kulturhuset archive

A xerox copy of the same pictures inside plastic pockets. The preselection for the Swedish exhibtion displays notes in Swedish by Magnus Dahnberg from the Swedish Consulate. The Russian notes might have been written by Timur Novikov. Title, dimensions and technique are approximate.

Courtesy the City of Stockholm / Kulturhuset archive more >>



When exactly Lyrvall took those pictures is unknown, but Kozlov’s “ASSA Gallery” views from Letter N must have been taken around the same time, as his pictures partly match those of the Kulturhuset preselection. At any rate, they were not taken earlier than 1986, since the last picture, no. 9, displays the painting “Leningrad-Stockholm”, thus referring to the Swedish project which started in spring 1986. A number of similar “ASSA” vintage prints from the same film are in Kozlov’s archive. Most bear his signature on the reverse and indicate the author of the work documented. Additionally, two pictures are supplied with a note, “Выставка в Галлерее [sic] Т. Новикова” /  Exhibition at T. Novikov’s Gallery and “Выставка в Галлерее [sic] Т. Новикова „АССА“” /  Exhibition at T. Novikov’s “ASSA” Gallery, respectively.

(E-E) Evgenij Kozlov  ASSA Gallery, with Kozlov's ”Portrait of Guryanov” and visitors, 1986/1987  E-E archival number E-E-pho-Y011-opc-f.jpg  Reverse of the print (left) with notes Выставка в Галлерее [sic] Т. Новикова N. 35. ART. E. Козлов /E-E/ Евгений Козлов  Exhibition at T. Novikov’s Gallery. N. 35. ART. E. KOZLOV /E-E/ Evgenij Kozlov  E-E archival number E-E-pho-Y011-opc-f.jpg

(E-E) Evgenij Kozlov

ASSA Gallery, with Kozlov's ”Portrait of Guryanov” and visitors, 1986/1987

E-E archival number E-E-pho-Y011-opc-f.jpg


Reverse of the print (left) with notes
Выставка в Галлерее [sic] Т. Новикова
N. 35. ART. E. Козлов /E-E/
Евгений Козлов

Exhibition at T. Novikov’s Gallery. N. 35. ART. E. KOZLOV /E-E/
Evgenij Kozlov

E-E archival number E-E-pho-Y011-opc-f.jpg

(E-E) Evgenij Kozlov  ASSA Gallery, with paintings by Sergei Bugaev. 1986/1987  E-E archival number E-E-pho-Y036-op Reverse of the print (left) Выставка в Галлерее [sic] Т. Новикова „АССА“. (С. Бугаев) (Искусство в СССР)  Exhibition at T. Novikov’s “ASSA” Gallery. (S.Bugaev) (Art in the USSR)  E-E archival number E-E-pho-Y036-op

(E-E) Evgenij Kozlov

ASSA Gallery, with paintings by Sergei Bugaev. 1986/1987

E-E archival number E-E-pho-Y036-op

Reverse of the print (left)
Выставка в Галлерее [sic] Т. Новикова „АССА“. (С. Бугаев) (Искусство в СССР) 
Exhibition at T. Novikov’s “ASSA” Gallery. (S.Bugaev) (Art in the USSR)

E-E archival number E-E-pho-Y036-op



As there were always paintings on the walls of ASSA Gallery – a permanent exhibition of sorts – it is difficult to say whether Kozlov’s pictures document an exhibition in the proper sense of the word. But there are actually visitors in some of the pictures from Kozlov’s archive, and besides, all works are neatly displayed without intersecting each other. We may therefore assume it was a “real” exhibition, perhaps the closing one of ASSA Gallery.

Kozlov’s work on page 7 is a large portrait of Timur Novikov painted on jute, “Portrait of Timur on Horseback” from 1985. Novikov is standing next to it holding an inflatable dragon, a children’s toy used for a Pop Mekhanika performance at the Palace of Youth (“The Goat Concert or Introduction to Pop Mechanics”, 20 October 1986) more >>. On the left, painted directly on the wall, is a sample of Inal Savchenkov’s figurative graffiti art.

(E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987. Timur Novikov, holding an inflatable dragon, is standing next to (E-E) Evgenij Kozlov's painting "Portrait of Timur on Horseback" from 1985, the logotype for the exhibition "The New from Leningrad", Stockholm, 1988 (see picture to the right). The display of the work is the same as in the picture from Sara Åkerrén's photo album (see above).  Vintage print, 13.6 x 9 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Reverse of page 7  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y071-op
(E-E) Evgenij Kozlov  Портрет Тимура на Коне / Portrait of Timur on Horseback, 1985, approximately 290 x 106 cm, gouache or oil on hessian, 1985 Reproduction of the upper part of the portrait on the catalogue cover of "De Nya från Leningrad"  / The New from Leningrad, Kulturhuset, Stockholm, 27.8. - 25.9. 1988; graphic design: Slow Fox / Johan von Friedrichs, offset print, 31 x 24 cm, 1988

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
Timur Novikov, holding an inflatable dragon, is standing next to (E-E) Evgenij Kozlov's painting "Portrait of Timur on Horseback" from 1985, the logotype for the exhibition "The New from Leningrad", Stockholm, 1988 (see picture to the right).
The display of the work is the same as in the picture from Sara Åkerrén's photo album (see above).

Vintage print, 13.6 x 9 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Reverse of page 7

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

E-E archival number: E-E-pho-Y071-op

(E-E) Evgenij Kozlov

Портрет Тимура на Коне / Portrait of Timur on Horseback, 1985, approximately 290 x 106 cm, gouache or oil on hessian, 1985
Reproduction of the upper part of the portrait on the catalogue cover of "De Nya från Leningrad" / The New from Leningrad, Kulturhuset, Stockholm, 27.8. - 25.9. 1988; graphic design: Slow Fox / Johan von Friedrichs, offset print, 31 x 24 cm, 1988
more >>



“Timur on Horseback”, inspired by a picture from the photo shoot with Novikov, Alakhov, Verichev and their Dutch friend Johan (see Letter J, page 3), was exhibited on stage in Riga, during a Pop Mekhanika concert featuring Westbam on 15 April 1987 more >>. The painting became quite prominent as the logotype of the Swedish exhibition “The New from Leningrad” (see Letter N, Part 1 >>). It was printed on the catalogue cover, posters and invitation cards, although, surprisingly, the painting itself wasn’t displayed at the Kulturhuset and disappeared; many years later, Kozlov learned that it had been sold.

Kozlov’s portrait of Georgy Guryanov from 1985 was also displayed at the ASSA Gallery exhibition, with Sergei Bugaev's work on paper and a poster applied to the lower, unpainted half of the jute material. Like “Timur on Horseback” – its “twin” – it was part of the Kulturhuset preselection, but didn’t make it to Stockholm and disappeared. It reappeared in 2010 as a painting in the collection of Sergei Bugaev and became part of a well-publicised litigation over ownership between four artists, including Kozlov, and Bugaev.[4]

ASSA – the film

To a larger public, the name “ASSA”, however, relates not to Timur Novikov’s place but to Sergey Solovyev’s film “ASSA”, a Mosfilm production shot in Yalta in the winter of 1987. The film features Sergei Bugaev as “Bananan boy” and, to a degree, the Leningrad art and music scene – several of those who gathered at Pop Mekhanika concerts: Boris Grebenshikov of Aquarium wrote some of the music, and Novikov, Guryanov and Krisanov were given minor roles as members of a band entertaining guests in a restaurant; Viktor Tsoi of the band KINO performed in the film’s final scene. Novikov played the keyboard, which, considering that – according to Kozlov – Novikov only played the jaw’s harp, he probably played without a sound. Guryanov and Krisanov, who were regular members of KINO, also performed with Tsoy for the final scene of the film. Besides, two of Joanna Stingray’s T-shirts “Save the World” made it to the final scene, as well. They can be seen on Dmitry Shumilov, Bananan’s friend who is taking Tsoy to the stage, and on bassist Andrey Krisanov.

ACCA / ASSA film poster (1988), displayed at the exhibition Notes from the Underground Art and Alternative Music in Eastern Europe 1968–1994, Muzeum Sztuki in Łódź, Poland, 2016/2017 more >>  This poster was one of several versions promoting the film.  Photo: Hannelore Fobo, 2016 LP ACCA / ASSA In 1987, the record label Melodiya (Мелодия) – a Soviet state monopolist – released the soundtrack of ASSA in a limited edition for Sovexportfilm Souvenir to promote the film abroad. As far a can be judged from the tracklist, the songs, performed by Vesoylye rebyata, Aquarium, Bravo, Soyuz Kompozitorov, and KINO, were all written prior to the film shoot External link >>.  For the Soviet audience, the LP was released with the same cover, but apparently with a different quality of paper. Design: Dmitriy Solovyev  The Sergey Chubraev Collection


ACCA / ASSA film poster (1988), displayed at the exhibition
Notes from the Underground Art and Alternative Music in Eastern Europe 1968–1994, Muzeum Sztuki in Łódź, Poland, 2016/2017 more >>

This poster was one of several versions promoting the film.

Photo: Hannelore Fobo, 2016

LP ACCA / ASSA
In 1987, the record label Melodiya (Мелодия) – a Soviet state monopolist – released the soundtrack of ASSA in a limited edition for Sovexportfilm Souvenir to promote the film abroad. As far a can be judged from the tracklist, the songs, performed by Vesyolye rebyata, Aquarium, Bravo, Soyuz Kompozitorov, and KINO, were all written prior to the film shoot External link >>.

For the Soviet audience, the LP was released with the same cover, but apparently with a different quality of paper.
Design: Dmitriy Solovyev

The Sergey Chubraev Collection




The credit lines also mention Leningrad film-maker Evgeny Kondratev with a fragment of his short film “Nanainana” from 1984, as it was used to illustrate Bananan’s dream. Kondratev was a member of Evgeny Yufit’s Nekrorealist group, and Yufit exhibited with the New Artists, therefore everyone knew each other. In this way, Moscow discovered its eternal rival Leningrad.

Solovyev originally intended to call the film “Здравствуй, мальчик Бананан!”/ Hello, Bananan boy, adapting the title from a Soviet pop song from 1983 played by the ASSA restaurant band. According to Solevyev, Bugaev, however, convinced him that only the title “ASSA” would make the film a success External link >>.

The movie, released in Moscow in March 1988 and promoted with a large a large festival called “Арт-рок-парад” / Art Rock Parade, which included concerts, an exhibition, and a fashion show, not only became a success. It became a cult film – partly because the plot, a kind of surreal arthouse anti-mafia love story, was a new genre in Soviet cinematography, partly because of the set, which integrated crazy “ASSA-gallery-type” artefacts, which was also new, but in the main because the last scene promoted Viktor Tsoy’s “Мы ждём перемен” / We are waiting for changes. This KINO song, also called “Хочу перемен” / I want changes, was (first) performed in October 1986 during a KINO concert with Joanna Stingray at the Palace of Youth (see Letter N Part 1). After the release of the film, it immediately became associated with perestroika and later turned into a universal protest song in the Russian speaking world, for instance, in the 2020 Belarusian protests against President Lukashenko.  

ASSA was enthusiastically received by audiences and critics. Multiple discussions in Internet fora show that the film has lost nothing of its attraction and that the perestroika generation nostalgically remembers the liberating impact it had on them.[5]

Section of a page from “Die Sowjetfrau”, the German (GDR) edition of the Soviet magazine “Советская Женщина” / Soviet Woman, presenting the film “ASSA” (1988?). In the picture with Sergei Bugaev, there is a fragment of E-E Kozlov's painting “PCCC-ASU” from 1987.

Section of a page from “Die Sowjetfrau”, the German (GDR) edition of the Soviet magazine “Советская Женщина” / Soviet Woman, presenting the film “ASSA” (1988?). In the picture with Sergei Bugaev, there is a fragment of E-E Kozlov's painting “PCCC-ASU” from 1987.

(E-E) Evgenij Kozlov  PCCC-ASU (USA-CCCP). Oil on canvas, 160 x 196 cm, 1987 (see Letter N Part 1)  E-E archival no: E-E-187051

(E-E) Evgenij Kozlov

PCCC-ASU (USA-CCCP). Oil on canvas, 160 x 196 cm, 1987 (see Letter N Part 1)

E-E archival no: E-E-187051



E-E Kozlov took part in the Art Rock Parade exhibition more >>, but was not involved in the movie itself, although he says that he wouldn’t have minded to spend the winter in Yalta and be paid for it. Oddly enough, an article about “ASSA” that appeared in the monthly Soviet magazine “Soviet Woman” shows Sergei Bugaev standing in front Kozlov’s painting PCCC-ASU (see also Letter N Part 1).[6]

Hannelore Fobo, 10 September 2023.



[1]    Translation taken from Timur Novikov’s website. https://timurnovikov.ru/en/library/knigi-i-stati-timura-petrovicha-novikova/protsess-perestroyki-v-tvorchestve-novykh
Russian text:
АССА. «АССА в массы» – лозунг «Новых» с 1984 года. В настоящий момент «асса» готовится к проникновению в каналы массовой информации СССР и других стран. Этот процесс проникновения не прекратится до снятия «Новыми» лозунга. https://timurnovikov.ru/library/knigi-i-stati-timura-petrovicha-novikova/protsess-perestroyki-v-tvorchestve-novykh

See also Timur Novikov's concluding remarks in his article “The Festival of Arts” from 1986, Letter I >>

[2]  In his 2010 interview for Artchronica, Kozlov insisted “Timur’s studio on Ulitsa Voinova [Voinov-Street] always remained a studio for me. When we made an appointment, it was always in Timur’s studio, not in the ASSA Gallery.” more >>

[3] The New Artists. Editors: Ekaterina Andreyeva, Nelli Podgorskaya,,Moscow Museum of Modern Art and Maier Publishing, Moscow, 20212. Bilingual edition Russian / English, p. 20, translated from the Russian by Thomas Campbell.

[4]     See Hannelore Fobo: Lost Art in Court. English summary of the court proceedings from 2013/2014. more >>

[5]    See Кинопоиск / Kinopoisk, with forty-four blogs External link >>
For a detailed discussion of the film and its promotion see Yulia Lebedeva: ASSA to the Masses, 2008 (in Russian) External link >> 

[6]    The article must have been published in 1988. Unfortunately, in Kozlov’s archive, the original copy of the German edition of the magazine from where the scan was made is no longer available.

(E-E) Evgenij Kozlov  Georgy Guryanov, Igor Verichev (wearing a "Save the World" T-shirt), and (E-E) Evgenij Kozlov Painted vintage print, 1987 Photo: Paquita Escofet Miro  Letter N to Catherine Mannick, autumn 1987. Top page of folded card numbered “2”. Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-BZ62-opc3

(E-E) Evgenij Kozlov

Georgy Guryanov, Igor Verichev (wearing a "Save the World" T-shirt), and (E-E) Evgenij Kozlov
Painted vintage print, 1987
Photo: Paquita Escofet Miro

Letter N to Catherine Mannick, autumn 1987. Top page of folded card numbered “2”.
Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-pho-BZ62-opc3




(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Left page (inside) of folded card numbered “2”.  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Left page (inside) of folded card numbered “2”.

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

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также интересно узнать, сколько обычно стоит Советское искусство в Америке? И действительно ли оно серьезно кого-либо интересует или это просто мода? У меня сейчас проблема — продавать ли свою живопись или все оставить. Дело в том, что при хороших обстоятельствах, если найти заинтересованных лиц, что можно устроить выставку скажем в Америке или в Европе. Как я тебе уже говорил, я все-еще разрабатываю тему СССР-USA, но, иногда, ухожу и в сторону, включая в живопись Китай, Францию (как в нескольких последних произведениях) и, возможно, так переработаю все самые крупные державы. Именно это сейчас меня интересует особенно! „СПАСЕМ МИР“ — самое модное выражение этого времени и я бы еще добавил „СПАСЕМ ДРУГ ДРУГА“.

Я действительно стал много работать и знаешь почему, как это ни странно, из-за того, что кроме искусства у меня ничего нет (даже тебя рядом), эта позиция обвязывает меня




(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Right page (inside) of folded card numbered “2”.  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Right page (inside) of folded card numbered “2”.

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


Page 2

делать все больше и больше новых вещей. И если я не рисую день, два, три, то начинаю чувствовать себя разбитым и больным. Что это, особенное состояние всех творческих личностей, их удел, муки творчества или только мой серьезный подход к своей работе? Недавно, несколько дней подряд, был такое жуткое состояние, был в квартире один и мне казалось, действительно, было так, что за мной кто-то наблюдает, что кто-то есть еще в других комнатах, слышались шаги и шорохи, и когда я почувствовал, что за спиной у меня кто-то стоит – я решил, что схожу с ума. Трудно было обернуться назад и проверить себя. Может быть в те ночные часы у меня волосы стояли дыбом, как стальные прутья. Как мозг, я знал, что нахожусь один, на как чувство, все больше и больше был уверен в 




(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Left page (outside) of folded card numbered “2”.  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Left page (outside) of folded card numbered “2”.

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

Page 2

своем временном помешательстве. Сейчас все хорошо, но если это повторится, я не знаю что буду делать, буду кричать!

Я рад, что наконец решила и стала серьезно заниматься Русской историей и литературой. Теперь ты сможешь лучше понимать меня и особенно нашу жизнь. Если ты думаешь о будущем, то думай о России! Я сожалею о том, что ты не могла приехать сюда в этом году, хотя и хотела. Если бы я мог, я бы сам приехал к тебе. Скучаю по тебе и часто ты мне очень нужна здесь. Например, этим летом мы бы прекрасно провели свое время оба. Загорав на пляже здесь лучше — народу меньше и солнце ближе, а чем меньше народу тем его (солнце) остается больше для тебя. 

(Густав, Игорь и я) [a reference to the picture from page 2]




 (E-E) Evgenij Kozlov Georgy Guryanov and Igor Verichev Painted vintage print, 1987  Letter N to Catherine Mannick, autumn 1987. Top page of folded card numbered “3”. Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-BZ65-opc3

(E-E) Evgenij Kozlov
Georgy Guryanov and Igor Verichev
Painted vintage print, 1987

Letter N to Catherine Mannick, autumn 1987. Top page of folded card numbered “3”.
Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

E-E archival number: E-E-pho-BZ65-opc3




(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Left page (inside) of folded card numbered “3”.  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Left page (inside) of folded card numbered “3”.

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


Page 3

Съездили бы на международный кинофестиваль в Москву, он проходил этим летом. Я смотрел несколько Американских фильмов оттуда — „ Рэгтайм“, „All that Jazz“ и „Дэнди-крокодил“, Немецкий — „Око за Око“, и Французскую кинокомедию с Депардье и Пьером Ришаром в главных ролях —  „Беглецы“. Сейчас стали чаше появляться Американские фильмы на наших экранах и уже ведутся переговоры а том, чтобы открыть в Москве и Ленинграде специальные кинотеатры, в которых будут идти только Американские фильмы, и тоже самое в Vashington и New York. Ну а после переговоров Рейган — Горбачев, культурный обмен (хотелось бы надеяться) окончательно наладится. (Вообще сейчас поступило хорошее время здесь, происходят различные новые события). Намечается большой обмен между нашими (СССР-USA) музеями и Европой тоже. И как пример – в Москве открылась первая персональная выставка Shagall (в Пушкинском музее),




(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Right page (inside) of folded card numbered “3”.  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Right page (inside) of folded card numbered “3”.

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


Page 3

с момента его эмиграции во Францию. Также открывается новый музей для частных коллекций и многое коллекционеры из Америки дарят туда части своих коллекций, как например Арнолд Хаммер и другие.

Совсем недавно приезжали Американские музыканты такие как Pat Metheny и Billy Joel. Было интересно смотреть Billy в выступлении по TV. Знаешь, у нас есть такая популярная передача с названием „Музыкальный Ринг“. Это маленькая площадка для музыкантов в центре зала, вокруг которой сидят зрители, как в боксе, почти спорт. И после каждой песни зрители начинают „бить“ своими вопросами музыкантов. Обычно музыканты, Советские музыканты, стараются больше играть музыку, чтобы меньше получить ударов-вопросов от слушателей, т. к. вопросы бывают самые острые, но Joel сделал все наоборот. В cамом начале, он



(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Left page (outside) of folded card numbered “3”.  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Left page (outside) of folded card numbered “3”.

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

Page 3

сказал, что предпочитает больше разговаривать чем петь и что песни это деньги – и это было сильным ударом послушателям, к такому обращению у нас не привыкли. Он отлично провел свой музыкальный бой, но самым смешным для меня было то, когда в самом разгаре зрительских вопросов, когда все вошли во вкус и хотели все больше и больше говорить с ним, он вдруг встал и сказал, что его врач и менеджер советуют ему пойти отдохнуть и прекратить этот спектакль. Такого здесь никто не ожидал, этот хитрый удар с его стороны  был О.К., я даже закричал: „Ура!“ И ве оказались в ногдауне, особенно ведущий телепередачи, тем более, что это передачу у нас ведет почему-то женщина. И тут все зрители захлопали, смущенно улыбались своему проигрышу. Америка победила в этом музыкальном бою.

Вчера ходил ночью в

(Густав и Игорь) [a reference to the picture from page 3]




(E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.  On the wall: a painting by Sergei Bugaev, Oleg Kotelnikov and Andrei Krisanov  Vintage print, 9 x 13.6 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Page 4  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y068-op

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
On the wall: a painting by Sergei Bugaev, Oleg Kotelnikov and Andrei Krisanov
Vintage print, 9 x 13.6 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Page 4

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

E-E archival number: E-E-pho-Y068-op
(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Reverse of page 4  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y068-op

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Reverse of page 4

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

E-E archival number: E-E-pho-Y068-op

Page 4

наш Петергофский кинотеатр на Американский фильм „Пролетая над гнездом кукушки“. Ты смотрела этот фильм? Игра фильма происходит в сумасшедшем доме — таких фильмов на Советском экране нет. Зал был полный и с интересом провел три своих свободных часа вместе со всеми зрителями. Потом видел еще один фильм этого [режиссера] Milos Forman „Amadeus“ о Моцарте и Сальери.

Да, забыл рассказать, скоро у нас будет еще одна выставка в Швеции — Stockholm и ведутся переговоры с Францией и Англией. Но меня, откровенно говоря, больше интересует




(E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.  On the wall: a painting by Sergei Bugaev. See exhibition "The New from Leningrad", Stockholm, 1988 more >> Vintage print, 9 x 13.6 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Reverse of page 5  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y068-op

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
On the wall: a painting by Sergei Bugaev. See exhibition "The New from Leningrad", Stockholm, 1988 more >>
Vintage print, 9 x 13.6 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Reverse of page 5

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

E-E archival number: E-E-pho-Y068-op

(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Page 5 Reverse of vintage print, 9 x 13.6 cm, 1987  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y069-op

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Page 5
Reverse of vintage print, 9 x 13.6 cm, 1987

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

E-E archival number: E-E-pho-Y069-op

Page 5

поле для выставочной деятельности в USA — чем-то эта страна мне импонирует больше, возможно, своим размахом и остротой жизни. Что ты мне можешь предложить на этот счет?

И вот, наверное последнее в этом письме. Я пока не знаю как к этому относиться с юридической точки зрения, необходим твой совет и как юриста, и как человека, который живет в другом мире. Первое — в Англии, в Liverpool, вышла пластинка с названием „Insect Culture“ группа Popular Mechanics, 1987 год, записана на студии ARK  (P.O. Box 45, Liverpool L69 2LE),




 (E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987. Left: Timur Novikov's work "Stockholm"; right: not identified. Vintage print, 9 x 13.6 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Reverse of page 6  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y070-op

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
Left: Timur Novikov's work "Stockholm"; right: not identified.
Vintage print, 9 x 13.6 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Reverse of page 6

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

E-E archival number: E-E-pho-Y070-op
  (E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Page 6 Reverse of vintage print, 9 x 13.6 cm, 1987  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y070-op

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Page 6
Reverse of vintage print, 9 x 13.6 cm, 1987

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

E-E archival number: E-E-pho-Y070-op

Page 6

с моей работой на обложке конверта. И второе — в журнале „BLITZ“ July 1987, есть еще одна моя фотография, но без указания авторства, посвященная рекламе этого альбома (четвертый слева на фотографии — это Игорь, ты его помнишь, мы были вместе в ресторане, когда ты была последний раз у меня, в Ленинграде. Он один из тех, кто работал под этой пластинкой). Это фото было снято в интересной обстановке. Мы гуляли по Невскому проспекту, летом, в страшную жару и, конечно, встали в очередь на уличный автомат с газированной водой. И все люди, что стояли в очереди, тоже вошли




(E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.  Timur Novikov, holding an inflatable dragon, is standing next to (E-E) Evgenij Kozlov's painting "Timur on Horseback" from 1985, the logotype for the exhibition "The New from Leningrad", Stockholm, 1988 more >> On the left, painted directly on the wall, is a sample of Inal Savchenkov’s figurative graffiti art.  Vintage print, 13.6 x 9 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Reverse of page 7  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y071-op

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
Timur Novikov, holding an inflatable dragon, is standing next to (E-E) Evgenij Kozlov's painting "Timur on Horseback" from 1985, the logotype for the exhibition "The New from Leningrad", Stockholm, 1988 more >>
On the left, painted directly on the wall, is a sample of Inal Savchenkov’s figurative graffiti art.

Vintage print, 13.6 x 9 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Reverse of page 7

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

E-E archival number: E-E-pho-Y071-op
(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Page 7 Reverse of vintage print, 9 x 13.6 cm, 1987  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y071-op

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Page 7
Reverse of vintage print, 9 x 13.6 cm, 1987

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

E-E archival number: E-E-pho-Y071-op

Page 7

в мою съемку. Ты их увидишь на фото. Первый мужчина, слева, там, это Курехин. В тексте на конверте написано, что он автор всей музыки — это ошибка, т. к. все тексты и понятные мелодии, за исключением шумов и саксофона — работа Игоря и Валерия („Новые композиторы“, я тебе уже писал, что очень люблю их работу) *  Концерты Популярной Механики (Popular Mechanics), самые популярные, сейчас, в Ленинграде, но если бы они только состояли из шумов Курехина и без шоу,  артистического шоу, художников, то вся его работа была бы совсем скучной. Курехин  – это прежде всего организатор, в этом отношении его творчество делает здесь большие шаги!

* Я хочу, чтобы ты четко поняла, что именно я люблю в этой музыкальной работе. Это прежде всего театральная свободная игра с текстом, свобода в

Around of my painting




(E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987. Two paintings by Sergei Bugaev (?)  Vintage print, 13.6 x 9 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Reverse of page 8  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y072-op

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov's studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
Two paintings by Sergei Bugaev (?)
Vintage print, 13.6 x 9 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Reverse of page 8

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

E-E archival number: E-E-pho-Y072-op
(E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Page 8 Reverse of intage print, 13.6 x 9 cm, 1987  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y072-op

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Page 8
Reverse of intage print, 13.6 x 9 cm, 1987

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

E-E archival number: E-E-pho-Y072-op

Page 8

его подаче слушателю , те повторы слов и звуков, и отдельные мелодии тоже. Но в целом вся работа, вся композиция пластинки была проделана Курехиным. Почему? Как уже тебе писал раньше, он организатор и имеет связи с некоторыми западными студиями грамзаписи. „Новые композиторы“ дали ему свою черновую работу и он сделал по своему вкусу то, что ты сможешь услышать. Уверен, что если бы у „Новых композиторов“ такие же связи, как у Курехина, они бы сделали эту работу в 1 000 000 раз лучше (и сейчас они уже работают отдельно от Курехина). Но то что сделано — это уже сделано, ничего




(E-E) Evgenij Kozlov  “ASSA Gallery”, Timur Novikov’s studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.  O the wall: "Lenignrad-Stockhom", a painting by Sergei Bugaev (?) Vintage print, 13.6 x 9 cm, 1987 Letter N to Catherine Mannick, autumn 1987. Page 9  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y073-op

(E-E) Evgenij Kozlov

“ASSA Gallery”, Timur Novikov’s studio on Voinov Street (present-day Shpalernaya), 1986 or 1987.
O the wall: "Lenignrad-Stockhom", a painting by Sergei Bugaev (?)
Vintage print, 13.6 x 9 cm, 1987
Letter N to Catherine Mannick, autumn 1987. Page 9

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

E-E archival number: E-E-pho-Y073-op
 (E-E) Evgenij Kozlov  Letter N to Catherine Mannick, autumn 1987. Page 9 Reverse of vintage print, 13.6 x 9 cm, 1987  Davis Center for Russian and Eurasian Studies Special Collection, Harvard University  E-E archival number: E-E-pho-Y073-op

(E-E) Evgenij Kozlov

Letter N to Catherine Mannick, autumn 1987. Page 9
Reverse of vintage print, 13.6 x 9 cm, 1987

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

E-E archival number: E-E-pho-Y073-op

Page 9

сейчас не исправишь.

Теперь то, что я бы хотел узнать у тебя относительно юридической стороны моей работы . Если я не подписал контракт со студией „ARK“ до выхода пластинки и с журналом „BLITZ“ — то я не получаю гонорар за свою работу? Или это еще можно исправить? И если можно, то каким образом?

Ну вот, пока и все. Целую и обнимаю,

твой Женя.

P.S. Если подвернется случай сотрудничества с какой-то (интересной!) музыкальной или художественной культурой Америки для меня, то сообщи мне. При случае, поищи для меня 

автоматический фотоаппарат со встроенной вспышкой. Здесь эту вещь нельзя достать нигде.

(картина Тимура,  ты его видишь на фото 7)




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 2: Letters
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>>

Published 18 September 2023
Last updated 20 June 2024