Kinetic art: the leningrad experience, the 1920s-1990s

The predecessors of projects similar to August Lanin's in the Leningrad art of the 1920s are the model of the Light Monument of the Revolution by Grigory Gidoni and his light theatre project -- a kind of a temple of a new art of light and color proclaimed by the artist (On G. Gidoni's art and the history of the Light Monument see O. Kolganova's research [69; 70]). Today, “Gidoni is considered one of the pioneers of kinetic art and light music in our country” [2]. August Lanin mentions Gidoni on the first pages of his dissertation in connection with the possibilities that a synthesis of arts can offer to form a new psychological climate of the urban environment. The bibliography of his work includes a book by Gidoni, the “New Art of Light and Color” (1930). One of the first (and one of the most complex in all respects) synthetic projects by Lanin, the color and music pavilion complex “Life” (1968), which is not linked to the Light Monument thematically, has certain formal parallels to it (in more detail, although not analyzed fully, on the “Life” complex see [67; 71, p. 45, 441]).

The topic of comparing Lanin's color and music projects with those of Gidoni has not been raised in publications analyzing Lanin's work. Neither has a more general topic related to the connection of Lanin's projects to the avant-garde art (With the only exception of D. Lanin who wrote about the 1920s avant-garde -- above all, the suprematism of Malevich and Filonov's formula-paintings -- as the main sources of inspiration for Lanin's paintings, in his monography album devoted to the artist's paintings (2008) [72]). These topics could be considered from a kinetic perspective, taking into the account all issues of this approach.

The theme of space is one of the most important for both Russian avant-garde and Soviet kinetic art. From 1972 to 1974, August Lanin worked on a space assignment of the Moscow Institute of Biomedical Problems (IMBP). In collaboration with neurophysiologists and psychologists of the Institute who were researching the problem of sensory deprivation of cosmonauts, Lanin worked on projects of an artificial environment with an active emotional impact, based on his functional synthesis method (for more detail about Lanin's “space” project see [73; 58, p. 47; 67; 35, p. 45]). The program was closed and classified but the artist continued with the topic of space modelling by creating a series of graphic works of color music objects intended for outer space to be placed on the surface of the Moon and planets. Among Lanin's contemporaries, F. Infante's series of works titled the “Architecture of Autonomous Artificial Systems in the Outer Space” (1971) has some parallels with the space projects of Lanin. Both continue futuristic projects of the Russian avant-garde, although they are not merely tributes to the avant-garde. Behind Infante's projects is his fascination by the infinity of the space, a “metaphysical sense” (see above). Behind Lanin's, it can be presumed, is his constant interest in the problem of time in all its aspects, which in the turn of 1970s-1980s attracted him to the astrophysicist N. Kozyrev's Theory of Time. The author of this article believes that concepts of Kozyrev's theory were reflected in Lanin's paintings, and possibly in his latest synthetic project, the “Forum of Cultures” (alternatively, the “Architectural Images of Cultures” or the “Post-Apocalypse”), on which the artist was working throughout almost the entire 1990s.

At that time, Russian art was not up to kineticism -- artists and general public were more concerned about socio-political problems. Maybe that is why the “Forum of Cultures” has remained the most underappreciated Lanin's project. The “Forum” was an ensemble of color music pavilions, each being an original architecture formula of a culture (England, Germany, Greece, China, Russia etc. -- a total of 14 buildings). Lanin called his project an “architecture fantasy”, an “utopia”, although it wasn't exclusively a “paper architecture”. From the functional viewpoint, the “Forum of Cultures” was designed as a venue for congresses, exhibitions, festivals and other business and entertainment events. According to Lanin's plan, it was supposed to be located at the Smolenka river mouth, on the shore of the Gulf of Finland, solving the problem of creating a monumental sea facade of the city conceived at the turn of the 1950s-1960s. From the philosophical point of view, “The Forum” is the “Post-Apocalypse”. In Lanin's words, “the Apocalypse is the end of the world, and the Post-Apocalypse is a material and spiritual revival” [74, p. 10]. Judging by Lanin's conceptual projects, the ensemble was envisioned as a grand architectural and natural “temple” uniting all humanity, all civilizations and natural elements. In this project, created at the turning point between two eras, one can see an allusion to A. N. Scriabin's idea of the “Mysterium” unifying all art forms, in the performance of which all mankind will take part, beginning its transformation and the onset of a new space era. Lanin's “Post-Apocalypse” is the result of his many years of work in the field of art synthesis. At the same time, the project can be understood as the result of then-almost hundred years' history of interpretation and continuation of Scriabin's synthetic ideas in Russia -- as a kind of an “architectural tribute” to Alexander Nikolaevich Scriabin.

This brief review makes it possible to draw several conclusions about the “kinetic experience” of Leningrad artists and outline more general problems.

Leningrad kinetic art can be considered from two angles. Firstly, as an attempt to transfer ideas of collectives like the “Dvizhenie” in Moscow to the Leningrad soil In this regard, a remark by the Moscow philosopher S. Zhigalkin in a conversation with the author of this article is noteworthy: “`The Dynamic' broke up after L. Nusberg's arrival and his authoritarian attempt to rebuild the collective according to his idea of a kinetic group” [III].. Secondly, “kineticism without a manifesto” can be seen as a general trend among artists in the 1960s-1970s towards creating synthetic artworks to go beyond the boundaries of traditional arts. That is, Leningrad “kineticism” is a “synthetism”

The art of L. Borisov, considered as part of the Moscow underground and closely associated with the leaders of kineticism, raises a separate question about the relationship between geometric abstraction and kinetic art. Lanin's work, being “literary-centric” in the Leningrad manner, turns out to be more “kinetic” than Borisov's geometry.

Creative practice of the Leningrad artists, who in one way or another came into contact with the kinetic perspective, reveals many parallels with the St Petersburg avant-garde tradition. However, as in the case of Soviet kinetic art in general, each case of continuity and succession calls for an independent study. “We observe not so much a lineage of stu- dents-teachers as virtual astronautics of avant-garde art forms in the art of Petersburg”, E. Andreeva commented in connection with the “Game of the `New Artists'” [75]. This is probably the most accurate definition of the relationship between the St Petersburg avant-garde and Leningrad kinetic art.

The short article format allowed only a few artists to be included in the review. Could the list of names be continued? This is not an idle question related to the definition of kinetic art and its boundaries. Their vagueness today was clearly demonstrated at the aforementioned “Future Lab” exhibition in 2020 and 2021. For example, can the famous “first Russian synthesizer `Utyugon'” created in 1983 by the Leningrad “New artists” T. Novikov and I. Sotnikov from a countertop and old cast iron irons suspended from it on strings, be considered as kinetic art? This “symbol of grand achievement of the Leningrad unofficial culture” [76] was the embodiment of a total game by the “New artists” aimed at a “creative transformation of people and things” (on the game of the “New artists” see [2]). It also continued the tradition of the St Petersburg avant-garde -- such as M. Matyushin's synthetic performances in the memory of E. Guro mentioned earlier. Can the concerts of “Pop-Mechanics”, “a music and semantic collage created by Kuryokhin literally in front of the audience depending on the performance venue, audience and the participants” [77], be included into kinetic art? And, finally, has all contemporary art which uses new technologies turned out to be “kinetic” thanks to its inherent interactivity? Or, just as not any geometricity is a reference to kineticism, so not all movement and transformation is actually kinetic art?

References

1. Lipov, Anatolii. “Optic Kinetic Art. The Search for New Types of Shaping”. In Estetika. Vchera. Segodnia. Vsegda, exec. ed. Viktor Bychkov, Nadezhda Man'kovskaia, 144-61. Moscow: IF RAS Press, 2006, iss. 2. (In Russian)

2. Man'kovskaia, Nadezhda. “Kinetic Art”. In Leksikon nonklassiki. Khudozhestvenno-esteticheskaia kul'tura XX veka, ed. by Viktor Bychkov, 232-3. Moscow: ROSSPEN Publ., 2003. (Summa culturologiae). (In Russian)

3. Man'kovskaia, Nadezhda. “Op Art”. In Leksikon nonklassiki. Khudozhestvenno-esteticheskaia kul'tura XX veka, ed. by Viktor Bychkov, 237-8. Moscow: ROSSPEN Publ., 2003. (Summa culturologiae). (In Russian)

4. Foster, Hal, Rosalind E. Krauss, Yve-Alain Bois, Benjamin H.-D. Buchloh, and David Joselit. Art Since 1900: Modernism, Antimodernism, Postmodernism. Rus. ed. Transl. by Georgii Abdushelishvili et al., ed. by Andrey Fomenko and Aleksey Shestakov. Moscow: Ad Marginem Publ., 2015. (In Russian)

5. Popper, Frank. Origins and Development of Kinetic Art, transl. from French by Stephe Bann. London: Studio Vista; New Jersey: New York Graphic Society, 1968.

6. Popper, Frank. Art-Action and Participation. New York: New York University Press, 1975.

7. Schoffer, Nicolas. La Ville cybernetique. Paris: Tchou, 1969.

8. Schoffer, Nicolas. Le Nouvel Esprit artistique. Paris: Denoel-Gonthier, 1970.

9. Koleichuk, Viacheslav. Kineticism: album. Moscow: Galart Publ., 1994. (In Russian)

10. Tolstova, Anna. “Stagnation Movement”. Kommersant” Weekend, no. 5 (2020). Accessed April 22, 2021. https://www.kommersant.ru/doc/4260722. (In Russian)

11. Koleichuk, Viacheslav, et al., comp. Dynamic and Kinetic Form in Design: Methodological materials. Moscow: All-Union Research Institute of Technical Aesthetics Press, 1989. (In Russian)

12. Grigoriev, Aleksandr, comp., introd. art. Kineticism in Russia. Kinetic Art. The “Dvizhenie” Collective, 1962-1976: album. Afterword by S. Zhigalkin. 2^nd ed. Moscow: Znak Publ., 2016. (In Russian)

13. Ialova, Anna. “Kinetic Art: Modeling the Future”. In ANO “SKh”, TsVZ Manezh. Laboratoriia Budush- chego. Kineticheskoe iskusstvo v Rossii: katalog vystavki, curator Iuliia Aksenova, 26-33. St Petersburg: PNB Print, SIA, 2021. (In Russian)

14. “Kineticism as a Legacy of the Russian Avant-Garde / Online Discussion”. YouTube Video, 1:44:50. Posted by Tretyakov Gallery, March, 2021. https://www.youtube.com/watchThThaeDAt-bDfE. (In Russian)

15. Henderson, Linda Dalrymple. The Fourth Dimension and Non-Euclidean Geometry in Modern Art. Rev. ed. Cambridge: MIT Press, 2013.

16. Bobrova, Svetlana. “Image of Space in Russian Artistic Avant-Garde”. Del'fis: kul'turno-prosvetitel'skii zhurnal, no. 32/4 (2002). Accessed April 25, 2021. http://www.delphis.ru/journal/article/obraz- kosmosa-v-russkom-khudozhestvennom-avangarde. (In Russian)

17. Makovskii, Sergei. “The `New Art' and the `Fourth Dimension'. About the Collection of the `Union of Youth'”. Apollon, no. 7 (1913): 53-60. (In Russian)

18. Iarkova, Evgeniia. “Kinetic Tendencies in the Russian Avant-Garde: `Realistic Manifesto' (1920) of Naum Gabo and Antuan Pevzner”. Russkii avangard i granitsy iskusstva: mezhdunarodnaia konferentsiia molodykh uchenykh. Khudozhestvennye praktiki, arkhitektura, dizain, ispolnitel'skie iskusstva i vykhod za ramki zhanrov, 22.04.2020, 119-40. Accessed April 22, 2021. https://www.academia.edu/42869386. (In Russian)

19. Vanechkina, Irina. “On the `Parisian' Score of the `Prometheus'”. In “Prometei”-2000. O sud'be svetomuzyki: na rubezhe vekov: materialy mezhdunarodnoi nauchno-prakticheskoi konferentsii, Kazan', 2-6 oktiabria 2000g., exec. ed. Bulat Galeev, 51-5. Kazan: Fen Publ., 2000. (In Russian)

20. Vanechkina, Irina, and Bulat Galeev. “From Analogy and Synesthesia to Synthesis: An Evolution of `Vision of Music' Concepts”. Muzyka i vremia, no. 4 (2005): 62-6. (In Russian)

21. Galeev, Bulat. “Synesthesia and Music Space”. Sinesteziia. SNII “Prometei”, Kazan'. Accessed April 25, 2021. http://synesthesia.prometheus.kai.ru/yavorsk_r.htm. (In Russian)

22. Zlydneva, Nataliia. “From the Compiler”. In Problemy sinestezii i poetika avangarda: sbornik statei, exec. ed. and comp. Nataliia Zlydneva, 5-8. Moscow: Gosudarstvennyi institut iskusstvoznaniia Publ.,

23. (In Russian)

24. Tolstova, Anna. “A Metaphor Speaks More About Life Than Life About Itself'. Fransisco Infante- Arana About Kinetic Art, Artefacts and Artist's Loneliness”. Kommersant” Weekend, no. 3 (2020): 16. Accessed April 22, 2021. https://www.kommersant.ru/doc/4243536. (In Russian)

25. Aksenova, Iuliia. “The Future Lab: Kinetic Art in Russia”. In Laboratoriia Budushchego. Kineticheskoe iskusstvo v Rossii: katalog vystavki, curator Iuliia Aksenova, 35-9. St Petersburg: PNB Print, SIA, 2021. (In Russian)

26. Obukhova, Sasha. “The `Dvizhenie' Collective: The Avant-Garde Echo. Controversial Story of Kinetic Art in the USSR”. Garage. Accessed April 22, 2021. https://garagemca.org/ru/exhibition/i-the-other- trans-atlantic-kinetic-and-op-art-in-eastern-europe-and-latin-america-1950s-1970s-i/materials/sa- sha-obuhova-kollektiv-dvizhenie-eho-avangarda-protivorechivaya-istoriya-kineticheskogo-iskusst- va-v-sssr. (In Russian)

27. Andreeva, Ekaterina. Angle of Inconsistency. Schools of Non-Conformism. Moscow -- Leningrad, 19461991. Moscow: Iskusstvo-XXI vek Publ., 2012. (In Russian)

28. Dziewanska, Marta, Dieter Roelstraete, and Abigail Winograd, eds. The Other Trans-Atlantic: Kinetic and Op Art in Eastern Europe and Latin America. Warsaw: Museum of Modern Art in Warsaw, 2017.

29. Vanslov, Viktor. “A New Art? No, a Formal Experiment”. Khudozhnik, no. 10 (1966): 15-7. (In Russian)

30. Opengeim, M., L. Petrosian, D. Butkevich, and V Gallai, comp. Travel Time: Exhibition catalogue. Moscow: Galereia Artstory Publ., 2014. (In Russian)

31. “Curators of the Exhibition About the Prometheus SRI: `I Want the Center of Media Art to be in Kazan'”. Inde: Internet-zhurnal o zhizni v gorodakh Respubliki Tatarstan. Accessed April 30, 2021. https:// inde.io/article/5793-kuratory-vystavki-pro-nii-prometey-hochetsya-chtoby-vserossiyskiy-tsentr-me- diaiskusstva-byl-v-kazani. (In Russian)

32. Infante, Francisco, and Nonna Goriunova. Retrospective Exhibition in the Moscow Museum of Modern Art Catalogue Album. Moscow: Khudozhnik i kniga Publ., 2006. (In Russian)

33. Romanova, Kristina, and Nail' Farkhatdinov, curators. Prometheus. Demo Version. The Experiment Promises to Become an Art: Exhibition Catalogue. Moscow: Tip. Avgust Borg Publ., 2017. (In Russian)

34. Astahovska, Ieva, ed. Visionary Structures. From Johansons to Johansons. Riga: Latvian Centre for Contemporary Art, 2015.

35. Koleichuk, Anna, and Aleksandr Lavrent'ev. “How I Love Kineticism!”. In Laboratoriia Budushchego. Kineticheskoe iskusstvo v Rossii: katalog vystavki, curator Iuliia Aksenova, 62-85. St Petersburg: PNB Print, SIA, 2021. (In Russian)

36. Prokhorova, Alisa. “Artistic Transformation of the Environment on the Way to a New Man and World”. In Laboratoriia Budushchego. Kineticheskoe iskusstvo v Rossii: katalog vystavki, curator Iuliia Aksenova, 40-5. St Petersburg: PNB Print, SIA, 2021. (In Russian)

37. Grigoriev, Aleksandr. “Peter and Paul Confinement of the 67^th. The First Steps in `Dvizhenie'”. A. Grig- or'ev. Accessed April 22, 2021. https://alegrig.ru/RU/texts/Petropavlovsk_limbo. (In Russian)

38. Starodubtseva, Zinaida. “Soviet Kinetic Art: Cybertheatre, Play Maze and Other Theatre Forms”. Teatr, no. 29 (2017). Accessed April 22, 2021. http://oteatre.info/sovetskij-kinetizm-kiberteatr-igrovoj-labir- int-i-drugie-formy-teatralnosti/. (In Russian)

39. Bobrova, Olga. “Rainbow Under the Rooftop. Student Creative Project Exhibition, 1974”. A. Grigorev. Accessed April 22, 2021. https://alegrig.ru/ RU/texts/RainbowUnderRoof. (In Russian)

40. Bogdan, Veronika. “Academy of Arts. 1920s -- beginning of 1930s”. Tret'iakovskaia galereia, no. 2/39 (2013): 62-77. (In Russian)

41. Rossomakhin, Andrey. “Velimir Khlebnikov's “Zangezi” Supertale: New Textology. Commentary. Reception. Documents. Research. Illustrations”. Artgid. Accessed April 22, 2021. https://artguide.com/ posts/2161. (In Russian)

42. Povelikhina, Alla. “The `Total' Theatre of M. Matyushin”. Museum of Arts of the 20-21st. Accessed April 22, 2021. https://museumart.ru/totalniy-teatr-mikhail-matushin. (In Russian)

43. Prokuratova, Nataliia. “The Theatrical Kinetic Movements of the `Dvizhenie' Collective”. Accessed April 22, 2021. https://alegrig.ru/theatre-2015.pdf. (In Russian)

44. “Manifesto of Russian Kineticists”. RAAN. Accessed April 22, 2021. https://russianartarchive.net/ru/ catalogue/document/D2485. (In Russian)

45. Fadeeva, Tatiana. “I. Zakharov-Ross: From Performance to Ritual”. Sovremennye problemy nau- ki i obrazovaniia, no. 5 (2014). Accessed April 22, 2021. https://science-education.ru/ru/article/ view?id=15214. (In Russian)

46. Borovskii, Aleksandr. “Love for Geometry”. L. Borisov. Accessed April 22, 2021. https://www.lborisov. ru/kritika/kritika-borovskiil. (In Russian)

47. Borovskii, Aleksandr. “Kulibin of Geometry Art Honored With a Retrospective”. L. Borisov. Accessed April 22, 2021. https://www.lborisov.ru/kritika/kritika-borovskii2. (In Russian)

48. Patsiukov, Vitalii. “A Journey from Petersburg to Moscow”. L. Borisov. Accessed April 22, 2021. https:// www.lborisov.ru/kritika/kritika-pacukov1. (In Russian)

49. Gerasimenko, Pavel. “Without Borders but with Sound On”. ART-khronika. Accessed April 22, 2021. http://artchronika.ru/vystavki/zvuk-review/. (In Russian)

50. Dolinina, Kira. “It Keeps On Turning. Kinetic art exhibition at the St Petersburg Manege”. Kommersant. Sankt-Peterburg, February 19, 2020. Accessed April 28, 2021. https://www.kommersant.ru/ doc/4260024. (In Russian)

51. Afanasiev, Valentin. Sound-Colour Musical Structure: An Elementary 'Theory of Audio-Visual Stimuli. Moscow: Muzyka Publ., 2002. Accessed April 22, 2021. http://afanasieff.ru/book/book_ru.pdf. (In Russian)

52. Aranovskii, Mark. “B. V. Asafyev's Concept”. Accessed April 22, 2021. http://sias.ru/upload/iblock/a3c/ aranovski.pdf. (In Russian)

53. Glebov, Igor. “The Value of Music”. In De Musica: collection of articles, ed. by Igor' Glebov, 5-34. Petrograd: Petrogradskaia gosudarstvennaia akademicheskaia filarmoniia Publ., 1923. (In Russian)

54. Druskin, Mikhail. “Sounding Substance”. Accessed April 22, 2021. https://www.asmir.info/lib/pho- no_druskin.htm. (In Russian)

55. Perts, Vladimir. “Between Sound and Silence”. Dialogue of Arts, no. 1 (2013): 122-4. Accessed April 22,

56. https://di.mmoma.ru/upl/pdf/dis1s2013swww.pdf. (In Russian)

57. Afanasiev, Valentin. “Historical Background”. Accessed April 22, 2021. http://afanasieff.ru/. (In Russian)

58. Morozov, Andrei. “Every Era Has Both Color and Sound”. Daily Talking, July 2, 2010. Accessed April 22, 2021. https://dailytalking.ru/interview/afanasev-valentin-vladimirovich/274/. (In Russian)

59. “Valentin Afanasyev as Artist and Musician”. Accessed April 22, 2021. http://afanasieff.ru/chaconne/. (In Russian)

60. Shnurenko, Igor'. “The Return of the Light: Interview with A. Lanin”. Peterburg na Nevskom, no. 10/21 (1998): 46-7. (In Russian)

61. Lanina, Nataliia. Self-portrait Against the Background of the USSR. St Petersburg: Nestor-istoriia Publ., 2010. (In Russian)

62. Lanin, Avgust. “A Synthesis of Arts and Technology: Possibilities and Perspectives”. Avgust Lanin. Accessed April 24, 2021. https://lanin.spb.ru/main/publications/. (In Russian)

63. Mel'nikov, Lev. “Synthesis of Color and Music”. Dekorativnoe iskusstvo SSSR, no. 11/216 (1975): 28-34. (In Russian)

64. Egoian, A. “Seven Colors of Music”. Za stroitelnye kadry, June 2, 1978. (In Russian)

65. Kagan, Moisei. “August Lanin's Art”. In A. V. Lanin. Vystavka proizvedenii: katalog, comp. by Moisei Kagan, ed. by Lev Mochalov, 3-7. Leningrad: Khudozhnik RSFSR Publ., 1989. (In Russian)

66. Mazo, Boris. “August Lanin Excited the Minds of the Sixtiers”. Delovoi Peterburg, November 5, 1997. (In Russian)

67. Voitekunas, Valentina. “August Lanin: Artist, Architect, Theorist”. In Avgust Lanin. Grafika. Skul'ptura: katalog, introd. article by Dmitrii Pilikin and Valentina Voitekunas, 13-9. St Petersburg: Galereia “Al'bom” Publ., 2008. (In Russian)

68. Kagan, Moisei. Morphology of Art: Historical and Theoretical Study of the Internal Structure of the Art World. Leningrad: Iskusstvo Publ., 1972. (In Russian)

69. Voitekunas, Valentina. “August Lanin: On the Problem of Researching the Art”. University Historian: The Almanac, iss. 8 (St Petersburg: St. Petersburg State University, 2011): 180-8. Available at: Avgust Lanin. Accessed April 22, 2021. https://lanin.spb.ru/main/publications/voytekunas2/. (In Russian)

70. Lanin, Avgust. “Architecture of Entertainment Centers and Electronic Synthesis of Arts”. PhD thesis, Leningradskii Ordena trudovogo Krasnogo znameni inzhenerno-stroitel'nyi institute, 1984. (In Russian)

71. Kolganova, Olga. “Gidoni: the Light Monument for the 10^th Anniversary of the October Revolution”. The Museum of Political History of Russia. Accessed April 22, 2021. http://www.polithistory.ru/upload/ iblock/91d/91d60bd16931f30b0d164dbc0580df71.pdf. (In Russian)

72. Kolganova, Olga. “G. Gidoni's First Evening of the Art of Light and Color”. Opera musicologica, no. 4/34 (2017): 72-94. Accessed April 22, 2021. https://cyberleninka.ru/article/n/pervyy-vecher- iskusstva-sveta-i-tsveta-g-gidoni/viewer. (In Russian)

73. Prokhorova, Alisa. “Creative Search of August Lanin”. In Laboratoriia Budushchego. Kineticheskoe iskusstvo v Rossii: katalog vystavki, curator Iuliia Aksenova, 441. St Petersburg: PNB Print, SIA, 2021. (In Russian)

74. Lanin, Danila. August Lanin. Moscow: Belyi gorod Publ., 2008. (Seriia "Mastera zhivopisi"). (In Russian)

75. Lanin, August. “Emotions as the Function of Architecture”. In Arkhitektura: sbornik statei, exec. ed. D. Babushkin, 11-2. Leningrad: LISI Publ., 1974. (LISI. Sbornik nauchnykh trudov, no. 88). (In Russian)

76. Frolov, Vladimir. “The Spiritual Disneyland of August Lanin”. Pod kliuch, no. 4/19 (2002): 10. (In Russian)

77. Andreeva, Ekaterina. “The Game of the `New Artists'”. Iskusstvoznanie, no. 3 (2018): 208-35. Accessed April 22, 2021. https://cyberleninka.ru/article/n/igra-novyh-hudozhnikov. (In Russian)

78. Letov, Sergei. “Memorial Notes About Timur Novikov. Analogue Synthesizer `Utyugon'. `Pop Mechanics' Ideology. A Few Words about Leningrad”. Spetsial'noe radio. Accessed April 22, 2021. https://specialradio.ru/art/id20/. (In Russian)

79. “Following in the Footsteps of Pop Mechanics Festival”. MMOMA. Accessed April 28, 2021. https:// mmoma.ru/exhibitions/ermolaevsky17/po_sledam_popmehaniki_br_k_65letiyu_sergeya_kurhina/. (In Russian)

Sources

1. Mamonova, Irina. “The Letter from A. Grigoryev”. Personal archive. (In Russian)

2. Mamonova, Irina. “Interview with V. Afanasyev”. Personal Archive. (In Russian)

3. Mamonova, Irina. “Interview with S. Zhigalkin“. Personal Archive. (In Russian)

Ðàçìåùåíî íà Allbest.ru