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<section class="text__review mceNonEditable"><header class="text__review__header mceEditable">
<p class="text__small"><strong>Overview by Ilmira Bolotyan, Maryana Karysheva, Valery Ledenev, Maria Shmatko and Yury Yurkin</strong></p>
</header>
<article class="text__review__content mceEditable">
<p class="text__lead" data-tpl-selection="">The exhibition <a href="/en/exhibition/kholin-and-sapgir-manuscripts">Kholin and Sapgir. Manuscripts</a>, which is currently on show at Garage Museum of Contemporary Art, explores the life and work of two key nonconformist Russian poets&mdash;Igor Kholin and Genrikh Sapgir. Garage Research have prepared an overview.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%BE%D0%B1%D0%B7%D0%BE%D1%80_%D0%BB%D0%B8%D0%BA%D1%83%D1%8E%D1%89%D0%B8%D0%B5.jpg" alt="" width="1549" height="1823" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Виктор Пивоваров. Холин и Сапгир ликующие.<br />[Viktor Pivovarov. Kholin and Sapgir Triumphant]</h2>
<p class="text__small text__muted">Garage Museum of Contemporary Art, 2017</p>
<p>Viktor Pivovarov&rsquo;s book was published in conjunction with the exhibition at Garage and includes reproductions from his earlier album of the same name, as well as excerpts from his own writings and texts by a number of his friends and colleagues (including Viktor Krivulin, Konstantin Kedrov, German Getsevich, and Pavel Pepperstein).</p>
<p>&lsquo;Sapgir&rsquo;s poems on paper are but a score that needs to be vocalized,&rsquo; Konstantin Kedrov writes. Reading Kerdrov&rsquo;s reminiscences of Sapgir &lsquo;breathing&rsquo; the poem <em>Sea in the Sink</em> on a Paris stage, one realises the scope of what a written text cannot convey. Igor Kholin is remembered as a &lsquo;great zen master, who knew that Buddha&rsquo;s true essence reveals itself in a dung hill in the backyard.&rsquo; (Pavel Pepperstein)</p>
<p>According to one of the many anecdotes remembered in the book, Kholin and Sapgir were once paid for their performance with sacks full of Gzhel ceramics, instead of the forty rubles they were promised before going onstage. Passers-by were astonished by the sight of two strange men smashing ceramics, piece by piece, until they destroyed everything they were given.</p>
<p>In his album, Viktor Pivovarov rewrites and mythologizes the lives of the two poets, drawing on photographic and textual documents to artistically rethink their biographies. Pivovarov&rsquo;s Kholin and Sapgir stand, lie, drink, spit on the ground, and create havoc (the image must have been suggested by the Gzhel incident). They also have fun with their girlfriends, read books, and even travel to hell (with Dante himself as a guide), before eventually finding themselves in a garden.</p>
<p>The garden as a metaphor of heaven is a recurrent image in Pivovarov&rsquo;s work. The heaven he has prepared for Kholin and Sapgir is full of houris&mdash;and that is, without any doubt, the best present their best friend could offer them. <em>I. B. </em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%BE%D0%B1%D0%B7%D0%BE%D1%80_%D0%B7%D0%B5%D1%80%D0%BA%D0%B0%D0%BB%D0%BE.jpg" alt="" width="1026" height="1468" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Игорь Холин. Дневники.<br />[Igor Kholin. Diaries]</h2>
<p class="text__small text__muted">Zerkalo Art and Literature Magazine, 41, 2013</p>
<p>&lsquo;He who seeks truth writes to his diary every day,&rsquo; Mikhail Grobman states in the introduction to Igor Kholin&rsquo;s 1966 diaries published in the journal <em>Zerkalo</em>. Along with an account of his daily routines, travels and meetings, Kholin&rsquo;s diaries contain ruthless portraits of people from his circle, brief reviews of books and artworks, and some aphorisms he wanted to remember (&lsquo;Whatever you say of a man will turn out to be true.&rsquo;)</p>
<p>Some evenings and parties are described in more detail, and of several people Kholin has written more than on than others, one notable example being his teacher Evgeny Kropivnitsky. The diary is accompanied by Genrikh Sapgir&rsquo;s poem <em>The Morning of Igor Kholin</em> and an index of names.</p>
<p>A later diary of Igor Kholin, which was written in the early 1990s, is featured in the exhibition <em>Kholin and Sapgir. Manuscripts</em>. <em>M. K.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%BE%D0%B1%D0%B7%D0%BE%D1%80_%D0%B2%D0%B5%D0%BB%D0%B8%D0%BA%D0%B8%D0%B9_%D0%B3%D0%B5%D0%BD%D1%80%D0%B8%D1%85.jpg" alt="" width="811" height="1373" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Великий Генрих. Сапгир и о Сапгире.<br />[The Great Genrikh. Sapgir on Sapgir]</h2>
<p class="text__small text__muted">Russian State University for the Humanities, 2003</p>
<p>This collection was published in the year of Genrikh Sapgir&rsquo;s seventy-fifth anniversary and includes his own writings (some previously unpublished, like the poem <em>Perhaps!</em> or <em>Italian Notes</em> written in prose) as well as a selection of texts about him&mdash;academic analyses, essays and reminiscences by his friends and contemporaries.</p>
<p>In his article &ldquo;Introduction to the Poetics of Genrikh Sapgir: The System of Opposites and the Strategy of Overcoming Them&rdquo;, academic Yury Orlitsky describes the poet&rsquo;s legacy as &lsquo;the golden mean between radical modernism &lt;&hellip;&gt; and postmodernist tendencies that have prevailed in Russian art over the past few years.&rsquo; &lsquo;Sapgir somehow brings the polar opposites together,&rsquo; he continues. &lsquo;On the one hand, he often appeals to the national tradition (&lt;&hellip;&gt; as represented, for example, by Pushkin and Fet), but on the other, he interprets it as a kind of proto avant-garde.&rsquo;</p>
<p>Orlitsky&rsquo;s argument regarding the visual and performative nature of Sapgir&rsquo;s writings is of particular interest in the context of contemporary art. The exhibition at Garage offers ample evidence of the spatial arrangement of typewritten texts creating &lsquo;aesthetic images&rsquo; of poems. Visitors can also hear recordings of Sapgir reading his own poems, which as Orlitsky claims, were written to be read out loud&mdash;pronounced.</p>
<p>Vsevolod Nekrasov discusses the figure of Sapgir in the context of the Soviet culture of the first post-Stalin years, while the memoirs of Valentina Kropivnitskaya and Militrisa Davydova are devoted to the Lianozovo School, to which the poet belonged. <em>V. L.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%BE%D0%B1%D0%B7%D0%BE%D1%80_%D0%B3%D0%B5%D0%BD%D1%80%D0%B8%D1%85_%D1%81%D0%B0%D0%BF%D0%B3%D0%B8%D1%80.jpg" alt="" width="1197" height="1657" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Максим Д. Шраер, Давид Шраер-Петров. Генрих Сапгир &mdash; классик авангарда.<br />[Maxim D. Shrayer, David Shrayer-Petrov. Genrikh Sapgir: An Avant-Garde Classic]</h2>
<p class="text__small text__muted">Dmitry Bulanin Publishing, 2004.</p>
<p>Published in St. Petersburg, Maxim D. Shrayer and David Shrayer-Petrov&rsquo;s <em>Avant-Garde Classic</em> is the first book about the life and work of poet, writer and translator Genrikh Sapgir. The study offers a number of arguments to support the oxymoron in the book&rsquo;s title, some more convincing than other. As Olga Filatova points out, &lsquo;It is interesting that a poet who, according to all formal criteria, is closer to the avant-garde than to classical art, is so attentive to genre markers.&rsquo; &lsquo;Genrikh was not an avant-garde poet in a traditional sense,&rsquo; Viktor Krivulin agrees. Sapgir himself also touches on the subject when he writes about Schnittke. &lsquo;What I find important in Schnittke &lt;&hellip;&gt; is the way he combines tradition with the avant-garde. I have always felt the need to do so.&rsquo;</p>
<p>Analyzing the development of nonconformist literature, the authors trace its roots back to Russian folklore and the futurist writings. Sapgir, they argue, inherited the &lsquo;art as a means to an end&rsquo; approach from his teachers and predecessors, however, in his work it evolved into &lsquo;art as a fracture.&rsquo; As early as in the 1970s, he set himself in opposition to the future Moscow Conceptualists, claiming that they had a different approach to similar subjects. &lsquo;You are explorers, &lt;&hellip;&gt; as for me, I do not care whether the technique I use was discovered a million years ago or just the other day. I&rsquo;ll use it if it helps me express myself.&rsquo;</p>
<p>As Viktor Krivulin remembers, Sapgir &lsquo;did not just read in his performances, but drew his poems from within, turned himself inside out to reveal them&hellip; The energy wave he created when he read was similar to the one that the young Brodsky produced in the autumn of 1960.&rsquo; Another thing the two poets have in common is their mastery of the word&mdash;&lsquo;the sound construct&rsquo; that withstood, in Sapgir&rsquo;s work, all sorts of trials and tribulations brought onto it by the poet&rsquo;s sincerity and taste for the absurd (see chapters <em>The Singer of Psalms</em> and <em>The Disintegration of Verses</em>).</p>
<p>David Shrayer-Petrov&rsquo;s essay &ldquo;The Excitement of Dreams&rdquo;, which takes up the third of the book, is based on Sapgir&rsquo;s diary entries and correspondence and is nothing short of a memoir. Along with an analysis of Sapgir&rsquo;s own life and writings, the book explores the developments in his circle and, more generally, isn the cultural context of the 1980s and 90s, touching on phenomena like the Lianozovo School or the late &lsquo;patriarch&rsquo; period. <em>M. Sh.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%BE%D0%B1%D0%B7%D0%BE%D1%80_%D0%BD%D0%BE%D0%BD%D0%BA%D0%BE%D0%BD%D1%84%D0%BE%D1%80%D0%BC%D0%B8%D1%81%D1%82%D1%8B.jpg" alt="" width="1347" height="1750" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Nonkonformisten, Die zweite russische Avantgarde 1955-1988<br />[Nonconformist Artists. The Second Russian Avant-Garde. 1955&ndash;1988]</h2>
<p class="text__small text__muted">Sammlung Bar-Gera. Wienand, 1996</p>
<p>Igor Kholin and Genrikh Sapgir belonged to the Lianozovo School that formed around the poet and artist Evgeny Kropivnitsky, who ran the literary studio Sapgir attended in the 1940s. Along with literary, the school has left an important artistic legacy, and the catalogue of the 1996 exhibition of works from Bar-Gera Collection at the Russian State Museum and the Tretyakov Gallery offers an introduction to the latter.</p>
<p>The unique collection of works by the artists of the so-called &lsquo;second avant-garde&rsquo; (including Valentina Kropivnitskaya, Evgeny Kropivnitsky, Vladimir Nemukhin, Lydia Masterkova and Oskar Rabin) was successfully sold at an auction in 2016.</p>
<p>The book has two sections. The first one contains interviews with collectors and articles by Karl Eimermacher, Evgeny Barabanov and other scholars. The second section is an illustrated catalogue of the exhibition with artists&rsquo; biographies.<em> Yu. Yu.</em></p>
</article>
</section>
<p>&nbsp;</p>

Overview of publications for the exhibition Kholin and Sapgir. Manuscripts

<section class="text__review mceNonEditable"><header class="text__review__header mceEditable">
<p class="text__small"><strong>The selection was prepared by Valery Ledenev, Anastasia Tishunina, Maria Shmatko and Yuri Yurkin </strong></p>
</header>
<article class="text__review__content mceEditable">
<p class="text__lead" data-tpl-selection="">The Raymond Pettibon exhibition <a href="/en/exhibition/raymond-pettibon-the-cloud-of-misreading">The Cloud of Misreading</a> is on at Garage until August 13. Garage Research has prepared a selection of books on the artist and punk culture, essential for getting a closer insight into his practice.</p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_%D0%B3%D0%B8%D0%B4.jpg" alt="" width="1772" height="2598" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Raymond Pettibon. The Cloud of Misreading. Exhibition guide</h2>
<p class="text__small text__muted">Garage Museum of Contemporary Art, 2017</p>
<p data-tpl-selection="">Garage has prepared an illustrated guide to <em>The Cloud of Misreading</em> that includes texts, found in nearly every single work by the artist, translated to Russian by writer Kirill Medvedev. It is not an easy task to &lsquo;decipher&rsquo; some of the artist&rsquo;s pieces: he is famous not only for his recognizable graphic style, but also for non-linear approach to textual material. Pettibon engages with a variety of sources: from literature to mass media. The artist never makes direct citations, but rather processes texts through his individual perspective, making it a rather complicated task for a viewer to navigate through this sort of intertextuality. &lsquo;Situating the work of Raymond Pettibon historically or theoretically poses almost insurmountable problems, given the infinite variety of references that constitute the iconography and citational textuality of his oeuvre,&rsquo;&mdash;notes Benjamin Buchloh in his essay published in a catalogue for the artist&rsquo;s retrospective <em>A Pen of All Work</em>, held at the New Museum in New York (further mentioned below). All in all, we can recommend checking the guide. <em>V.L.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Enc_of_Punk.jpg" alt="" width="4882" height="4799" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">The Encyclopedia of Punk</h2>
<p class="text__small text__muted">Sterling Publishing, 2010</p>
<p data-tpl-selection="">This extensive encyclopedic title can be recommended to anyone interested in what is &lsquo;punk&rsquo; and why is it of interest. The key block of information in the book comprises biographical entries on heroes of punk scene&mdash;from legendary bands, like &lsquo;The Ramones&rsquo;, &lsquo;Sex Pistols&rsquo; and &lsquo;Black Flag&rsquo; (Pettibon&rsquo;s elder brother was a part of the latter, the artist created album covers for them) to lesser-known music collectives. Biographies are featured alongside articles on musical origins of punk and cultural-historical context on the moment of its birth. A whole spread is devoted to Raymond Pettibon and his contribution to punk cover-art design. In the encyclopedia&rsquo;s supplement you can find timelines, showing the key dates in punk history, mentions of the most important TV-features on punk, top-ten compilations of all kinds ('ten most politically active bands', 'ten best drummers', 'ten shortest songs in the genre') and a ranking of the hundred best and must-listen punk albums. The book includes many illustrations, including reproductions of album covers, portraits, and concert photos, making it a well-deserved tribute to the vivid and provocative subculture. <em>A.T.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Punk_Press.jpg" alt="" width="5291" height="7921" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Punk Press: Rebel Rock in the Underground Press 1968&ndash;1980</h2>
<p class="text__small text__muted">Harry N. Abrams, Inc., Publishers, 2012</p>
<p data-tpl-selection="">This panoramic title is also devoted to punk culture, born in the 1960s, however, it is not all about the musical component to punk, a large part is devoted to phenomenon of zines&mdash;amateur small-circulation magazines, published by fans of various phenomena in culture. Pettibon himself is known for producing zines, some of them are included in the exhibition at Garage. John Savage, music journalist, author of the opening article for <em>Punk Press</em>, writes on the pleasures of creating zines: &lsquo;What I loved about fanzines was that the opportunity was there to do anything you wanted. There were no constrictions of budget, imagined readership, focus group, CEOs dictating editorial policy. Whatever was on your mind, you could just do it. A magazine of pure graphics with no words? Great! Articles about the situationists? Bring it on!&rsquo; The book features many zine reviews, published from 1968 to 1980. In time, some of them grew into wide-circulation periodicals, yet the majority remained fan-art compilations, made by their authors mainly for the sake of their own pleasure. <em>Punk Press</em> is an excellent study of punk culture&rsquo;s visual component, as well as music journalism in general: apart from zines, it includes many graphic novels, facsimiles of magazine articles on punk, interviews with artists, and concert photos. <em>A.T.</em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Image20170724180344-001.jpg" alt="" width="4209" height="6032" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Raymond Pettibon. Homo Americanus. Collected Works</h2>
<p class="text__small text__muted">David Zwirner Books, 2016</p>
<p data-tpl-selection="">Disregarding the publisher&rsquo;s synopsis, the book <em>Homo Americanus</em> is not just a catalogue for the exhibition of the same name, that took place at Museum der Moderne Salzburg. It is an extensive monograph, prepared by the artist himself. Thirty-two chapters of the book include graphic works of Raymond Pettibon spanning from 1970, all accompanied by the artist&rsquo;s own commentary, taken from an interview with the curator Ulrich Loock. These sudden textual remarks appear as literary support to the visual kaleidoscope, not interrupting, but rather contributing to the overall artistic text of the catalogue. Incorporating text into graphic works, according to Pettibon, allows him to &lsquo;сompress stories into single pictures&rsquo;. The book doesn&rsquo;t seek to present another overview of Pettibon&rsquo;s practice, but create a detailed account on the metamorphoses of leitmotifs in his art, such as trains, surfing, religions, erotics, solitude, baseball, presidents, rock stars, and many others. Not leaving any spare space even inside viewer&rsquo;s imagination, Pettibon&rsquo;s &lsquo;drawings-in-themselves&rsquo; are elevated to the status of witness accounts for the artist&rsquo;s existence, documentation of his life, fears, humor, news, favorite books and songs. Even if in this book we are dealing with the artist&rsquo;s mythology, at least we can recognize the artist inside it. As he himself has confessed &lsquo;to be entirely selfless is an attempt that I think fails&rsquo;. <em>M.S. </em></p>
</article>
</section>
<section class="text__review mceNonEditable"><header class="text__review__header mceEditable"><img src="//cdn-ec-static.garagemca.org/storage/tinymce_asset/compressed_Pen_Of_All_Works.jpg" alt="" width="5873" height="7450" /></header>
<article class="text__review__content mceEditable">
<h2 class="text__nomargin">Raymond Pettibon. A Pen of All Work</h2>
<p class="text__small text__muted">Phaidon, 2017</p>
<p data-tpl-selection="">Another major exhibition of Raymond Pettibon took place last spring in the New Museum in New York. The American show, titled <em>A Pen of All Work</em>&mdash; like the current show in Moscow&mdash;was prepared by Massimiliano Gioni and Gary Carrion-Murayari. Some of the works seen at the New York exhibition can now be found at Garage. The catalogue for <em>A Pen of All Work</em> includes everything a publication of its type needs: articles by critics (such as Benjamin Buchloh), the curator&rsquo;s interview with the artist and, of course, the images. According to the New Museum&rsquo;s director Lisa Phillips, Raymond Pettibon is &lsquo;a good candidate to be one of those one-person museums&rsquo;. In fact, this publication, in a way, is a museum itself&mdash;however, a printed museum,&mdash;that provides a very detailed account on the expressive practice of the artist. <em>Y.Y.</em></p>
</article>
</section>

Books on Raymond Pettibon