Russian Art Riot Project

1973-06-14 02:32:06

Komar&Melamid. Paradise/Pantheon

Installation-performance Paradise/Pantheon featured images of deities in various historical styles and movements, held at private apartment in Moscow. First postmodern work. “Samisdat”—self published underground artist book named Paradise was made out of black and white photographs of the performance. Installation visited by Nobel laureate Andrei Sakharov, dissident leader and inventor of the hydrogen bomb. Demolished on state order in 1974.

1974-11-01 14:15:17

K&M, Hamburgers Made Out of Newspaper “Pravda,” photographs of performance & objects, 1974.

Pravda Cutlet - Komar and Melamid made minced meat from the main Soviet newspaper. The artists demonstrated their subversive identification with the authorities in a theatrical setting as well, with the performance "Pravda Burgers" (1975), during which they passed the newspaper through a meat-grinder and cooked up the paper patties to represent the Soviet citizen's banal daily fare.

1976-04-17 06:52:02

Gnezdo. FERTILIZATION OF EARTH

THE ACTION TOOK PLACE IN THE VICINITY OF THE KIEV HIGHWAY NEAR THE MOSCOW ROAD (MOSCOW REGION), 1976

1976-06-17 17:46:07

Komar&Melamid, Music Writing 'Passport,' 1976

Musical performance Passport from Codes performed simultaneously in various cities around the world on day of opening of first exhibition in the West, at Ronald Feldman Gallery, New York, where Fluxus member Charlotte Moorman performs Passport on the cello. ;Комар и Меламид исполнили гимн своего сочинения на слова текста паспорта СССР на квартире у Александра Юликова.

1976-11-01 10:41:46

Gnezdo. HELP TO THE SOVIET STATE IN THE STRUGGLE FOR THE HARVEST. 1976

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1977-06-16 17:46:07

Rimma &Valerii Gerlovins USSR-USA

Если в перформансе с рисунком обнаженной фигуры одежда олицетворяла тело, то здесь само тело становится костюмом. Коллективное мышление прирастает к коже человека с самого детства как татуировка государственной печати, от которой многим довольно сложно избавляться, главным образом, из-за ее трудной отчленимости, так сильно и незаметно она внедряется в привычки. Многие русские художники, уехав изРоссии, так и продолжали всю оставшуюся жизнь пародировать советские символы для потехи западных зрителей и на вкус русских нуворишей. Существуют разные противовесы этому явлению; искусство тоже может служить горючим для психологического взлета из коллективного сознания. Но кто из нас может "выпрыгнуть" из собственного тела без потерь?

1977-06-17 02:32:06

Rimma Gerlovina & Valeriy Gerlovin. Zoo-Homo Sapiens

1977 We were seated naked in a cage labelled ‘Homo sapiens, a group of mammals, male and female’ – as a symbol of the encagement of Russian culture by the Soviet regime. On the metaphorical side, it was an archetypal symbol and a mental-psychological experiment. The image of a cage might have social, mental, emotional or physical connotations, or it can incorporates all of these. If we accept the definition of freedom as the conscious awareness of necessity (for many individuals necessity might be associated with the cage to a certain extend), the natural outcome of such perception would be a desire to get rid of such ‘freedom’. On the other hand, in certain situations, self-caging also implies self-imposed isolation and is not only a symbol of limitation, but also a kind of safeguarding that is helpful in the process of formation and reformation of the psyche. This was a prime ‘tool’ in ancient yoga and other ascetic practices of different spiritual traditions.’’ (Rimma Gerlovina & Valeriy Gerlovin)

1977-11-03 14:15:17

Colletive actions. THE SLOGAN, 1977

A piece of red cloth (1 x 10m) was hung between two treetops on a hill. Inscription in white stenciled letters said: “I DO NOT COMPLAIN ABOUT ANYTHING AND I ALMOST LIKE IT HERE, ALTHOUGH I HAVE NEVER BEEN HERE BEFORE AND KNOW NOTHING ABOUT THIS PLACE”. (a quote from A.Monastyrski’s book “Nothing happens”). Moscow region, Leningradskaya railway line, Firsanovka station. 26th January, 1977 A.Monastyrski, V.Miturich-Khlebnikova, N.Alexeev, G.Kizevalter, N.Panitkov, M.K., A.Abramov.

1978-04-14 06:52:02

Gnezdo. RUN FOR JERUSALEM

The action took place in the yard near Mikhail Odnoralov atelier, I Zachatievsky pereulok, Moscow The length of the running - 1 meter of 41 centimeter - has been calculated by the division of the distance from Moscow up to Jerusalem (2 790 km) for the year of the race (1978)

1978-07-07 08:34:25

Gnezdo (The Nest) Group The Demonstration, Art to the masses, Moscow, Documentation of the action, 1978

For the streamer France Kline composition “Accent Grove” was used (rotated on 90 dergees) The action took place on the cross of Dmitry Ulianov and Vavilov Streets, Moscow

1978-11-29 10:41:46

GNEZDO. IRON CURTAIN 1976

In their objects Gnezdo began to develop the method of literal materialization of verbal and ideological patterns with the “iron curtain”, an expression that emerged in Fulton speech of Winston Churchill that launched the “cold war”, being one of these patterns, presenting an exaggerated symbol of the conflict between the socialist and capitalist systems. This generated a series of “functional” objects translating the grave, terrifying categories into the parameters of irony and absurdity. Their “interactivity” – these objects could be touched, knocked, fondled – reduced their initial pathos where the high and the low, the sacred and the farcical changed places and were transferred to the space of absurd conceptualism with a clear sense of tomfoolery.

1979-01-11 00:00:00

IGOR LUTZ - VADIM ZAKHAROV. CELEBRATION OF THE OCTOBER REVOLUTION DAY

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1979-02-15 06:52:02

IGOR LUTZ, VADIM ZAKHAROV. GESTURES OF APPEAL.

DEVELOPMENT OF THE ICONOGRAPHY SOVIET GESTURES 1979

1979-02-15 09:50:33

The Mukhomory. Shooting Execution

September, 1979 The artists declared to viewers gathered at the show that they invited them to be shot. They chose a person among the volunteers who agreed. Then the artists took him deep inside thick bushes, where the viewers could not see anything, made a loud bang imitating the sound of shooting and delivered the killed person, dragging him back by the arms and legs.

1980-02-14 06:52:02

SZ group “VOT!” From the series “Inscriptions”.

1980

1981-04-16 06:52:02

Котляров-Толстый "Италянцы. берегите Папу!

1981 Рим Перформанс состоялся в праздничный день, в мае, незадолго до того как стреляли в Папу Римского. В первый раз у нас плёнку разрядила итальянская полиция ещё по дороге туда. Тогда Лена Щапова позвала журналистов и людей, которые забили площадь – было человек семьсот­восемьсот. Я залез на скульптурную группу, спрятался, потом пришла Людмила Ивановна и начала мои гениталии раскрашивать губной помадой. Сердце нарисовала, всякие супрематические рисунки (правда, за день до этого я все эти образцы ей нарисовал и показал, что надо писать). Потом я вылез и начал кричать: «Итальянцы, берегите Папу!». А эту фразу я выучил на нескольких языках, хотя у меня к языкам склонности нет никакой и таланта нет, я очень бездарный человек, ничего не могу как следует. И вот я кричал, появилась полиция, и я попытался от полиции убежать, нырнул куда­то, смотрю ­ там ещё трое, поплыл в другую сторону. Смотрю, какой­то добродушный человек говорит по­французски: «А давай я тебе помогу, давай!». И я так доверчиво ему руку протянул, а он сжал её, и, в тот же момент я получил удар под коленку, меня свалили.

1982-02-11 06:52:02

Kazimir Passion group, The 28th Party Congress of the Union of Soviet Socialist Republics

The Kitchen, New York, November 7, 1982

1982-02-15 09:50:33

TOTART: Natalia Abalakova & Anatoly Zhigalov. “AVANGARD ALLEY”

FOUNDATION SUBBOTNIK “Avangard Alley” foundation subbotnick took place 1982, October 9 at Kashirskoie shosse 130. Subbotnick was realized by initiative of A. Zhigalov, supervisor, according to his Project “Supervisor work”. A group of Moscow and Leningrad artists participated in this action. SUPERVISOR WORK Since March 1981 until May 1985 A. Zhigalov has been working as a supervisor of cooperative building. This work was declared a work of art. During this work a series of art actions has been realized.

1982-06-10 02:32:06

Группа «Мухомор», «Лекция о вреде нейтронной бомбы»,

1982. Москва. APTART // Предоставлено Сергеем Мироненко 

1982-06-16 02:32:06

Mukhomor (Toadstool) EXPERIMENT! NEUTRON WEAPON DEFENCE PROJECT

March 29, 1982 Moscow, private appartment

1983-02-09 06:52:02

Victory over the Sun”. APTART Gallery, Moscow.

The Soviet attack on a South Korean passenger plane in September 1983 inspired an Aptart exhibition Pobeda nad solncem (Victory over the Sun).

1983-02-09 06:52:02

Bakhchanyan Vagrich. “First Russian Propaganda Art Performance”

(1978), he went to the MOMA wearing scores of communist and absurdist slogans pinned to his clothes. “Bakhchanyan walked around the Museum of Modern Art, New York, dressed as a ‘walking propaganda center,’ covered from head to to with slogans like 'Stalin is Lenin today,’ 'Beware, savage dog,’ and 'Why is there no vodka on the moon?’” From Beyond Memory: Soviet Nonconformist Photography and Photo-related Works of Art, p. 146.

1984-02-09 06:52:02

Igor Chatskin. "Methods of killing by the flag"

1984 года в квартире Леонида Войцехова посвящен деконструкции одного из основополагающих и сакральных элементов советских времен. Непоколебимый символ государства – флаг — подвергается абсурдистскому анализу его предназначения, а именно — возможных способов убийств им.

1985-02-20 06:52:02

Natalia Abalakova & Anatoly Zhigalov " The golden voluntary sunday"

Moscow,1985 TOTART-action

1986-06-05 02:32:06

Dmitri Aleksandrovich Prigov

In 1986 he was briefly put into a psychiatric hospital by KGB after a performance where he was distributing his poetry to bypassers on the street. He was later released after the protests made by other Soviet artists. In 1986, the K.G.B arrested Prigov, who performed a street action with handing poetic texts down to passers-by, and sent him to a psychiatric institution before he was freed after protests by poets such as Bella Akhmadulina.[2]

1988-02-12 06:52:02

Sergei Mironenko. In Presidential Election Campaign

Sergei Mironenko. In Presidential Election Campaign (1988) he showed an accurate, almost full-size election billboard, on which the artist himself is nominated for President. This expressed the feelings of freedom brought about by the election as well as the freedoms of expression allowed by perestroika and glasnost. However, a desk placed before the billboard bore, in place of an uplifting campaign slogan, the words  “What have these swine done to our country?”

1988-12-15 01:18:20

Sergei Mironenko. In Area Hero (1988)

displayed an actual hospital bed for war veterans with the inscription “Area Hero”. The words underlined the irony of the state’s treatment of veterans while turning traditional propaganda on its head.

1989-12-30 01:18:20

Afrika and Sergei Anufriev. “The Birth of the Agent,”

“The Birth of the Agent,” during which Afrika and Sergei Anufriev “deflowered” the body of the woman in Vera Mukhina’s monu￾mental sculpture Worker and Kolkhoz Woman (which was the centerpiece of the Soviet pavil￾ion at the 1937 International Exhibition in Paris) by breaking open the hatch that leads inside her body.

1990-02-08 06:52:02

“E.T.I.” movement. “A parody of the human chain at the White House”

“The Day of  Knowledge” from 1 to 15 September, 199 August, 1991 at the White House people were holding hands so as not to let pass the storming troops. In our performance the participants stood up in a “chain” by putting their hands in the pants oа each other.

1990-02-08 06:52:02

Pirate Television 78 min Vladislav Mamishev-Monroe Russia 1989-

Pirate Television made Vlad Monroe the most famous soviet drug-queen, and the television itself became the first new media project in the history of contemporary time. In another of his most celebrated performances on Pirate TV (Piratskoye televideniye), a spoof television series, which he founded with Novikov, he posited the thesis that Lenin had turned into a mushroom after his death. His deadpan delivery left viewers perplexed about the authenticity of his theory. What was particularly interesting about Mamyshev-Monroe was the way he blurred the boundaries between his public and private life. Even when he wasn’t working, he was still performing. No matter what he said or what he did, he would inevitably become the centre of attention.

1990-02-08 06:52:02

TOTART: Natalia Abalakova & Anatoly Zhigalov. GHOST OF FREEDOM

Performance 1990, November Location: A bunker under the former Stalin monument; Artfestival “Totalitny zona”. Material: Man & woman, pebbles, chalk. Illumination: 2 light projector in both sides of a corridor. Duration: More than an hour. During performance time the artists are walking toward each other from one end of the corridor to the other. (Because of the President Havel’s visit the entrance to this underground space was closed and only a few lucky persons managed to see the performance. This circumstance made the performance esoteric - true “Ghost of Freedom”.)

1991-04-18 14:15:17

E.T.I. AND OSMOLOVSKY.Silent Parade («Crawling»)

November 10, 1991 The Venue: Mayakovsky Square – in front of the monument. Quantity of participants: 10 people were crawling. The action took place in parallel with protests of various left political parties and organizations (it was not CPRF - the communist party), as far as I remember there as well were anarchists. We crawled from the steps of the entrance of Mayakovskaya subway station to the monument to Mayakovsky. The action was called “Silent Parade” (people called it “Crawling”).

1991-04-18 14:15:17

«E.T.I. - TEXT»

April 18, 1991 (popularly – «ХУЙ», which means “dick”) The venue: Red Square, opposite Lenin’s Mausoleum Quantity of participants: 14 people Formally, the action was coincided with the moral legislative act, which come into force on April 15, 1991. Among other things this law prohibited usage of foul language in public places.  The idea of action (besides its obvious meaning of the protest) was to combine two symbols with opposite statuses: Red Square as the highest hierarchical geographical point on the territory of the USSR, and the most prohibited marginal word. Actually, it is the most effective way of scandal. Most of the scandals are made that way: injection of something marginal, forbidden, repressed to the highest, sacred, official context.

1991-08-23 07:27:40

CHARITY. Konstantin Reunov, Avdey Ter-Oganian

For this very first exhibition at Trekhprudny Lane the artists hired three street pedlars to 'accompany' three reproductions of Rembrandt's etchings - one of them entitled "Charity". As such, an artist would have todevote all their moral and physical strength to exhibit in order to burstforth from the unknown into the forefronts of the social scene. Hence, anylevel of publicity first implied a public ready to purchase individual pieces.However, no art was sold on Trekhprudny Lane; moreover, the Mercyaction was an absolutely clear and pure representation of an artisticgesture detached from the production and distribution of art as an articleof trade.

1991-11-06 14:15:17

E.T.I. and Osmolovsky. Forefinger

January 15, 1991 Participants: "E.T.I." movement and " ZAiBI " (“ZAiBI” is the abbreviation for words “for anonynous and free art”) The venue: opposite the U.S. embassy (on the other side of the Garden Ring road, Moscow) The action was timed to the beginning of the U.S. war against Iraq in the Persian Gulf. January 15, 1991 thirty young men were staying opposite the U.S. embassy and pointed a finger at it. The action organised by E.T.I. movement. The idea – ZAiBI movement. The idea was to reconstruct Iraqi sculpture. After the war with Iran Saddam Hussein raised thirty sculptures of dead Iraqi military officers, pointing a finger at the direction of the enemy. We wanted to put people exactly in the middle of the carriageway of the road. ZAiBI were against it, and, eventually, we put people on the opposite side of the embassy. January 15 ultimatum expired and it was supposed that the U.S. war with Iraq would start. As far as I remember it began on the next day.

1991-12-12 06:36:13

Sergey Kuryokhin. Lenin was a mushroom.

Lenin was a mushroom (Russian: Ленин — гриб) was a highly influential televised hoax by Soviet musician Sergey Kuryokhin and reporter Sergey Sholokhov. It was first broadcast on 17 May 1991 on Leningrad Television.[1] The hoax took the form of an interview on the television program Pyatoe Koleso (The Fifth Wheel). In the interview, Kuryokhin, impersonating a historian, narrated his findings that Vladimir Lenin consumed large quantities of psychedelic mushrooms and eventually became a mushroom himself. Kuryokhin arrived at his conclusion through a long series of logical fallacies and appeals to the authority of various "sources" (such as Carlos Castaneda, the Massachusetts Institute of Technology, and Konstantin Tsiolkovsky), creating the illusion of a reasoned and plausible logical chain. The timing of the hoax played a large role in its success, coming as it did during the Glasnost period when the ebbing of censorship in the Soviet Union led to many revelations about the country's history, often presented in sensational form. Furthermore, Soviet television had, up to that point, been regarded by its audience as conservative in style and content. As a result, a large number of Soviet citizens (one estimate[citation needed] puts the number at 11,250,000 audience members) took the deadpan "interview" at face value, in spite of the absurd claims presented.

1991-12-12 06:36:13

ЭТИ. «Пародия на живую цепь у Белого Дома».

У Белого Дома в августе 91-го года люди держались за руки, чтоб не пропустить штурмующие войска. В нашем перформансе участники встали в «цепь», засунув руки в трусы друг другу.

1992-05-16 21:45:32

ЭТИ. «Расчистка»

ЭТИ. «Расчистка» 1992 г., Январь Последняя акция группы «ЭТИ» в январе 1992 года. Идея: Г. Гусаров. Расчистка зимой на поляне между Кремлём и Домом Пашкова места для футбольного поля, на котором активисты группы ЭТИ должны были играть в футбол. Активисты были задержаны милицией.

1992-05-16 21:45:32

Oleg Kulik. “Piglet gives presents”

1992 "Animalist Projects". Installations Festival. Regina Gallery, Moscow The action “Piglet gives presents” provoked a big scandal, made a strong shock. Blaming in some circles of Moscow society and among my colleagues. Its action consisted of public killing a pig and giving out instead of catalogues bits of the meat in special bags of the “Regina” gallery for the guests. We wanted to make a human voice heard in the area of art, a human voice as a voice of individuality. For a living voice, keen cry, true pain, groan were heard in the arts ‘s area, for real blood was flooding there. Although the nature of it was quite different. Besides, the action had rather a clear political background of the events of 1991 when everybody was speaking about opening the archives, giving the information to the public at large. That meant that if the authorities are doing something, judging somebody all the informat should be opened and everybody should know everything. Most of us eat pork, keep animals, do some gestures but we should remember that a living being, a true feeling is hidden behind that. And if the society agrees for that we cannot just hide it. So this action was also a metaphor for the social transparency which I liked very much and propagated. It was also important for me to make it a public action because at that day The Supreme Soviet was discussing the problem of the death penalty. And there was no deputy who voted against it. It is rather a strange and astonishing unanimity about killing the people. Even human feelings did not help the deputies to say that it should be abolished , and that it is possible to punish people in a different way. The action with the pig provoked tremendous protest - deputies, priests - discussion tables, protests. We lived in the gallery like in a siege, we had our windows smashed, our music equipment broken. But to tell the truth they didn’t protest against the killing of the pig, they just did not want it to be done in public. “Do all that you want but don’t show it to us, don’t attract our attention, don’t prevent us from seeing the beauty of the life”. I think That is awful. That reminds those petty bourgeois in Russia who closed their eyes, didn’t want to know what is going on, what the authority is making. This kind of attitude lets the authorities to be uncontrolled. There was also an aesthetic dimension in this action, making a sharp gesture which I have been talking about, and political background - I considered it to be important."

1993-02-18 09:50:33

Necesiudik Group. Harakiri Street

(Aleksey Zubarzhuk, Alexander Revizorov. Moscow, 1993) Moscow, Barrikadnaya metro station neighborhood. April, 1994 The artists put black airproof bags on one another’s heads and prevented each other from breathing, closing the openings of the bags around each other’s necks.

1993-05-13 06:52:02

ЗаИби

На президентских выборах 1993 года леваки выдвигают собственного кандидата. Его предвыборная программа сводилась к двум пунктам: «Всем, всего, немедленно и побольше!» и «Пейте пиво!» Программа имела успех. В Москве в музее Маяковского «Новые левые» проводят акцию «Новый Революционный Коммунизм». Зал украшен огромным плакатом, на котором в боевой стойке застыли мускулистые автоматчики, смахивающие на завсегдатаев нью-йоркского гей-клаба «Голубая устрица». У дверей активисты художественной группы ЗАИБИ («За Анонимное и Бесплатное Искусство») раздают журналистам листовки: «Хочешь охуеть? Спроси меня, как!»

1993-05-14 21:45:32

Osmolovsky. Travel to Brobdingneg Land

(Mayakovsky/Osmolovsky). Mayakovsky Square, Moscow Travel to Brobdingneg Land, a reference to the island of the giants in the novel by Jonathan Swift Gulliver's Travels. Osmolovsky climbed on the statue of Mayakovsky in Red Square, Moscow, reciting the words of Isaac Newton: "If I have seen further, it is by standing on the shoulders of giants."

1993-06-17 17:46:07

Rigvava Gia. AN OFFICIAL STATEMENT

TV GALLERY: April 1993 Identity: Post-Soviet. "Official Statement", created by the artist in collaboration with TV-gallery for the exhibition 'VII Congress of the ...'. The statement consisted of just one phrase: "Do not believe them, they all lie". Later, at the exhibition "Conversion", representing the second phase of a major project Gelman, Gia changed the role of total skeptic on the role of content with the prophet, soothing his flock with the words "You can count on me". At the same time around the head of the hero shining halo, made him feel the irony of the author about the sincerity of such statements. In these works the artist appealed to the two dominant media image of the social leaders: criticism and comforter

1993-08-10 18:29:54

Gia Rigvava. Kakistokratiya

. Attempts Gia Rigvava "call a spade a spade" is not always met with understanding: one can only guess, . why the authorities banned Gie implement his plan in the autumn of 1993 Russo-Dutch project "Exchange / Exchange", . consisting in, . to place on the roof of a house in the center of Moscow like a giant's largest advertising firms, the word "Kakistokratiya with subsequent deciphering of the dictionary (kakistokratiya - the power of the worst): because it, . that the inscription appeared to them seditious, or because, . that this word sounds too ignoble for Russian goverment

1993-08-12 07:27:40

Nameless Group. 1993 "100th Anniversary of МАО

(Yellow Fiend in the GUМ)". GUM department store, Moscow – 26 декабря 1993

1993-08-20 07:27:40

Gia Rigvava. "You are Powerless, or It's not Too Bad"

He demonstrated to the highly sophisticated public at the Centre of Contemporary Art the practical mechanism of manipulating minds by the mass media. In cooperation with the TV Gallery he organized direct transmission to the monitors installed in the exhibition rooms. The programme imitated the usual run: commercials, news (of art scene, touching on many of those present), and direct reporting of events from the spot. When the initial sceptical attitude of the snobbish public was placated by making them feel important, they were "had" with a wily trick: they had seen in one of the rooms a large double bed which seemed to have little to do with the rest of the show; now in one of the "direct" transmissions they saw on the monitor screens a naked girl lolling on that bed. It didn▓t affect those who happened to be in the room with the bed which was empty as before (the videotape with the girl had been shot in advance), but the rest rushed back to see the real thing, so fudged they were with the fake "documentary" air of reporting.

1993-08-20 07:27:40

Gia Rigvava "You Can Rely on Me"

October, 1993 Single channel video installation by Gia Rigvava, for the exhibition “Conversion”. Central House of Artist and Central Exhibition Hall “Manege”, Moscow In the video Conversion, GIA RIGVAVA dons a nimbus and assures viewers that his conversion is authentic--"You can have faith in me," he repeatedly intones.

1993-10-20 14:15:17

Necesiudik and Osmolovsky "Shame on October 7"

Highs are not able, and the lows do not want Mavromatti, Alexander Brener, Anatolii Osmolovskii and Vasia Shugaley. August, 1993, in front of the White House (the Russian Parliament), during the days of shooting A performance made in August, during the days when Eltsin shtoot down the Parliament and took over the White House (the building of the parliament of Russia). The performance is made in front of the curious crowd, which came to watch the tank's shooting. On the background is the burned White Huse. The tanks are situated on a street perpendivular to the street of teh parliament. (from left to right: Vasia Shugalei, Anatolii Osmolovskii, Alexander Brener, Oleg Mavromatti) This picture is published on the cover of the # 1 of RADEK - a journal of the Competitive Revolutionary Organization NETSEZIUDIK.

1994-06-10 02:32:06

Komar and Melamid. Vanity of Vanities, 

On Lenin’s birthday, artists Komar and Melamid enacted Vanity of Vanities. The performance consisted of fitting a banner onto the tomb of the leader of the revolution with the words “Vanity of Vanities”, and a one-off reading from Ecclesiastes. The performance closely resonated with the troubled spirit of the times, blending into the paranoid din of the other demonstrations and marches taking place in the square.

1994-08-11 07:27:40

Александр Бренер. «Россия во мгле“

1 мая 1994 на вернисаже в Доме художника на Кузнецком мосту члены «Группы без названия» (Бренер, Литвин, Мамонов, Д. Гутов) с криками «Россия во мгле» запалили дымовые шашки, а Бренер спреем начал писать на паркете «Чечня». На них набросились художники МОСХа и выгнали на улицу (акция «Россия во мгле“)

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