https://kirillgluschenko.net Kirill Gluschenko Fri, 15 Mar 2024 11:37:54 +0000 https://kirillgluschenko.net en https://kirillgluschenko.net/Header Fri, 12 Jan 2018 18:21:01 +0000 Kirill Gluschenko https://kirillgluschenko.net/Header Kirill Gluschenko (b. 1983, Kaliningrad) is an artist and designer based in Leipzig,&nbsp;holding an MA in Photography from the Academy of Fine Arts Leipzig (HGB) and formerly serving as art director for magazines such as Esquire and Port.His artistic practice focuses on documentary research, archival projects,&nbsp;and artist books published under Gluschenkoizdat, with works exhibited internationally and awarded prizes including the Innovation Prize and the DAM Architectural Book Award. Explore selected Works, a complete overview of Exhibitions, and press features in Press. Commercial graphic design and editorial projects are gathered under Atelier Nowinka, while Кружок houses information on his ongoing typography and book design workshop. https://kirillgluschenko.net/Hum-Of-Nothingness Tue, 13 Sep 2022 18:43:48 +0000 Kirill Gluschenko https://kirillgluschenko.net/Hum-Of-Nothingness 2022 ‘Just a Hum of Nothingness Between Me and You’:Moscow Branch of Gluschenkoizdat Press №№ 265, 266&nbsp;•&nbsp;Object, Installation&nbsp; <img width="3273" height="1748" width_o="3273" height_o="1748" data-src="https://freight.cargo.site/t/original/i/97b522da10c10c8a557fb69deba1fc1a5454ad02b6ac5377efceec88c265916d/1-4.jpg" data-mid="173112923" border="0" src="https://freight.cargo.site/w/1000/i/97b522da10c10c8a557fb69deba1fc1a5454ad02b6ac5377efceec88c265916d/1-4.jpg" /> <img width="3273" height="1748" width_o="3273" height_o="1748" data-src="https://freight.cargo.site/t/original/i/e1e8d2d203ddff218b63c11467d097e9194a49f2d415485f9cc667b2613c8cbb/1-2.jpg" data-mid="173108005" border="0" src="https://freight.cargo.site/w/1000/i/e1e8d2d203ddff218b63c11467d097e9194a49f2d415485f9cc667b2613c8cbb/1-2.jpg" /> ← Fig. 1–2 → Order № 266 Sign “Just a hum of nothingness between me and you” Acrylic stencil on fiberboard,&nbsp;16300 × 700 mm Bldg. 317, 119, Mira Ave., Moscow <img width="3273" height="1748" width_o="3273" height_o="1748" data-src="https://freight.cargo.site/t/original/i/8a07a22d6f1d72f9752cec4a8c62c3f07105988234621a458d41890ca9441364/007992-1-1.jpg" data-mid="173107324" border="0" src="https://freight.cargo.site/w/1000/i/8a07a22d6f1d72f9752cec4a8c62c3f07105988234621a458d41890ca9441364/007992-1-1.jpg" /> <img width="3273" height="1748" width_o="3273" height_o="1748" data-src="https://freight.cargo.site/t/original/i/cc9e184b895da3c6250e2a8c9c7ea3e0246bc4e754f4a47b31eb0094abffee57/007992-2-1.jpg" data-mid="173107327" border="0" src="https://freight.cargo.site/w/1000/i/cc9e184b895da3c6250e2a8c9c7ea3e0246bc4e754f4a47b31eb0094abffee57/007992-2-1.jpg" /> <img width="3273" height="1748" width_o="3273" height_o="1748" data-src="https://freight.cargo.site/t/original/i/f29767f9728260306cb8e26a2a09a149319443b6cc98f5860054c065a31079eb/007992-1-3.jpg" data-mid="173107325" border="0" src="https://freight.cargo.site/w/1000/i/f29767f9728260306cb8e26a2a09a149319443b6cc98f5860054c065a31079eb/007992-1-3.jpg" /> ← Fig. 1–3 → Order № 265 Gluschenkoizdat Press officeBldg. 317, 119, Mira Ave., Moscow https://kirillgluschenko.net/Venets-Russian-edition Tue, 27 Apr 2021 14:02:58 +0000 Kirill Gluschenko https://kirillgluschenko.net/Venets-Russian-edition 2021 Venets. Welcome to The Ideal (Добро пожаловать в идеальное) Russian Edition № 252 •&nbsp;Exemplary Novel-Newspaper <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/b0bef7fa760d3626f5a6d079012b2e6a0f8ebd7580f83f62ede1454976ab907a/ven-newsp-06cvrLL.jpg" data-mid="173073865" border="0" src="https://freight.cargo.site/w/1000/i/b0bef7fa760d3626f5a6d079012b2e6a0f8ebd7580f83f62ede1454976ab907a/ven-newsp-06cvrLL.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/530515e9f75c38987bdb37f657f0a66d7c4be3b66bb897c21a6d3b59376a55a4/ven-newsp-06-2-3.jpg" data-mid="106606237" border="0" src="https://freight.cargo.site/w/1000/i/530515e9f75c38987bdb37f657f0a66d7c4be3b66bb897c21a6d3b59376a55a4/ven-newsp-06-2-3.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/af6bbe17bc03b012c79649cbbdf962f20eb39f3b7a4f0824628b922598165aad/ven-newsp-06-8-9.jpg" data-mid="173073828" border="0" src="https://freight.cargo.site/w/1000/i/af6bbe17bc03b012c79649cbbdf962f20eb39f3b7a4f0824628b922598165aad/ven-newsp-06-8-9.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/da49fefb2e5a6e1b9fce6dad8afc85cf64a1adbba25b03fc7a8c267e0ac9f85f/ven-newsp-06-10-11.jpg" data-mid="173073850" border="0" src="https://freight.cargo.site/w/1000/i/da49fefb2e5a6e1b9fce6dad8afc85cf64a1adbba25b03fc7a8c267e0ac9f85f/ven-newsp-06-10-11.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/95f4d651a915849847ab59833689a9a7b4c0e9381d25383db152b4c8d28872f6/ven-newsp-06-14-15.jpg" data-mid="173073863" border="0" src="https://freight.cargo.site/w/1000/i/95f4d651a915849847ab59833689a9a7b4c0e9381d25383db152b4c8d28872f6/ven-newsp-06-14-15.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/a09f767d8cb61aabdd24ed6cbc81bf4f3fc4d3973436e96db66354eccac22a82/ven-newsp-06-18-19.jpg" data-mid="106606316" border="0" src="https://freight.cargo.site/w/1000/i/a09f767d8cb61aabdd24ed6cbc81bf4f3fc4d3973436e96db66354eccac22a82/ven-newsp-06-18-19.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/6e75c4a8f691b661ddfd9f25aeb21866e5fd9581ed6c427ec8c7e2f9b852deef/ven-newsp-06-20-21.jpg" data-mid="106606324" border="0" src="https://freight.cargo.site/w/1000/i/6e75c4a8f691b661ddfd9f25aeb21866e5fd9581ed6c427ec8c7e2f9b852deef/ven-newsp-06-20-21.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/97d4984a5e07560207fcf95ce97452ff285fde6e68f9e3860c79379ea601b8b4/ven-newsp-06-22-23.jpg" data-mid="173073868" border="0" src="https://freight.cargo.site/w/1000/i/97d4984a5e07560207fcf95ce97452ff285fde6e68f9e3860c79379ea601b8b4/ven-newsp-06-22-23.jpg" /> <img width="3856" height="2867" width_o="3856" height_o="2867" data-src="https://freight.cargo.site/t/original/i/13af6f2474514eb7cfaf0c27e35ea9ba5446a51fe0cd3228f333b1fa7f55135b/ven-newsp-06-34-35.jpg" data-mid="106606332" border="0" src="https://freight.cargo.site/w/1000/i/13af6f2474514eb7cfaf0c27e35ea9ba5446a51fe0cd3228f333b1fa7f55135b/ven-newsp-06-34-35.jpg" /> ← Fig. 1–9 → Order № 252ISBN 978–5–600–02969–9400 × 578 mm, 36 pages, 144 illustrationsEdition: 1970 copies. ︎ 690 rub. <img width="2124" height="3180" width_o="2124" height_o="3180" data-src="https://freight.cargo.site/t/original/i/880d72ae9bf8e0b1ed99841ba5f95fbd107d970498c01e7599c6aed10ea03e82/_DSC1444lr.jpg" data-mid="174672804" border="0" src="https://freight.cargo.site/w/1000/i/880d72ae9bf8e0b1ed99841ba5f95fbd107d970498c01e7599c6aed10ea03e82/_DSC1444lr.jpg" />Fig. 10 <img width="2124" height="3180" width_o="2124" height_o="3180" data-src="https://freight.cargo.site/t/original/i/57fee23ea4641f2457ce13ab9f02c10a789d6cf11621aa57cc21b0347e02ef1e/_DSC1417LR.jpg" data-mid="174672134" border="0" src="https://freight.cargo.site/w/1000/i/57fee23ea4641f2457ce13ab9f02c10a789d6cf11621aa57cc21b0347e02ef1e/_DSC1417LR.jpg" />Fig. 11 <img width="2124" height="3180" width_o="2124" height_o="3180" data-src="https://freight.cargo.site/t/original/i/9b51c92e3eeff1c588dda19eacba841d9e4e85664605f59ab92611527bf7c130/_DSC1460straightLR2.jpg" data-mid="174672133" border="0" src="https://freight.cargo.site/w/1000/i/9b51c92e3eeff1c588dda19eacba841d9e4e85664605f59ab92611527bf7c130/_DSC1460straightLR2.jpg" />Fig. 12 <img width="2643" height="1766" width_o="2643" height_o="1766" data-src="https://freight.cargo.site/t/original/i/1aa0f6085de6874888912d69dec2b8b4be7d9a3c9e9328faf65832919e3b64ed/_DSC1406cut.jpg" data-mid="174673194" border="0" src="https://freight.cargo.site/w/1000/i/1aa0f6085de6874888912d69dec2b8b4be7d9a3c9e9328faf65832919e3b64ed/_DSC1406cut.jpg" />Fig. 13 <img width="2120" height="1416" width_o="2120" height_o="1416" data-src="https://freight.cargo.site/t/original/i/fc82ccd656a147b6c902bef528d3c08158e3a8c0e9b5134fd93e9582ea1915eb/_DSC1389LR.jpg" data-mid="174673213" border="0" src="https://freight.cargo.site/w/1000/i/fc82ccd656a147b6c902bef528d3c08158e3a8c0e9b5134fd93e9582ea1915eb/_DSC1389LR.jpg" />Fig. 14 <img width="2120" height="1416" width_o="2120" height_o="1416" data-src="https://freight.cargo.site/t/original/i/06d450bff015b826df0bdaab0c0f157dc1599920c62317eb8306293fa32a53b0/_DSC1393LR.jpg" data-mid="174673278" border="0" src="https://freight.cargo.site/w/1000/i/06d450bff015b826df0bdaab0c0f157dc1599920c62317eb8306293fa32a53b0/_DSC1393LR.jpg" />Fig. 15 <img width="2120" height="1416" width_o="2120" height_o="1416" data-src="https://freight.cargo.site/t/original/i/03fae20c1cc717b9ab08ecf151c7338c0a3cb18eea7416041e8b2f19c45f399b/_DSC1435LR.jpg" data-mid="174673241" border="0" src="https://freight.cargo.site/w/1000/i/03fae20c1cc717b9ab08ecf151c7338c0a3cb18eea7416041e8b2f19c45f399b/_DSC1435LR.jpg" />Fig. 16 https://kirillgluschenko.net/Venets-Radioplay-and-Installation Fri, 15 Mar 2024 11:37:54 +0000 Kirill Gluschenko https://kirillgluschenko.net/Venets-Radioplay-and-Installation <img width="1980" height="720" width_o="1980" height_o="720" data-src="https://freight.cargo.site/t/original/i/5b0c064341b40fbb2ef7586cc8ba2ae4e352a92347dfaf2d819f2f4324c0887c/IMG_8541af.jpg" data-mid="218845389" border="0" src="https://freight.cargo.site/w/1000/i/5b0c064341b40fbb2ef7586cc8ba2ae4e352a92347dfaf2d819f2f4324c0887c/IMG_8541af.jpg" /> <img width="1980" height="720" width_o="1980" height_o="720" data-src="https://freight.cargo.site/t/original/i/2b40c9e2b3e712542c3fdf37f7acd665352552a0378433f0c91f271d0581e6bc/IMG_8551af.jpg" data-mid="218845380" border="0" src="https://freight.cargo.site/w/1000/i/2b40c9e2b3e712542c3fdf37f7acd665352552a0378433f0c91f271d0581e6bc/IMG_8551af.jpg" /> <img width="1980" height="720" width_o="1980" height_o="720" data-src="https://freight.cargo.site/t/original/i/0e049db95e24ba220997d55b096bcb169ab3c26d75080e81e24ea438ab0755a3/IMG_8550af.jpg" data-mid="218845379" border="0" src="https://freight.cargo.site/w/1000/i/0e049db95e24ba220997d55b096bcb169ab3c26d75080e81e24ea438ab0755a3/IMG_8550af.jpg" /> ← Fig. 1-3 → Installation overview. ‘Tuning-3’, GES–2, Moscow. 2017–2022 Installation ‘Venets’ Radioplay&nbsp;‘Radio Venets: The Price of The Ideal’№ 267, 270, 271 • Installation, Radioplay In an attempt to explore the concept of the “ideal” and the mechanisms of its production in the USSR, the artist focuses on the “Venets” hotel. Opened in 1970 alongside the adjacent Lenin Memorial, this 23-story hotel became the tallest in the country, a deliberate decision to commemorate Lenin’s centennial in his birthplace, Ulyanovsk. Gluschenko spent nearly three weeks living in the hotel, staying one day on each floor. During this time, he worked in local archives, met with photographers and journalists, interviewed former hotel staff, and studied documents from the party archives. The culmination of this research was a 320-page book in English titled Venets: Welcome to The Ideal. For the Venice exhibition, the artist recreated an exact replica of a three-room luxury suite. With this gesture, he initiated a dialogue with the curators, placing an ordinary room from the Ulyanovsk hotel alongside El Lissitzky’s Dresden Room, Alexander Rodchenko’s Workers’ Club, and Gustav Klutsis’ kiosk, all of which were also featured at the exhibition. Gluschenko approached the reconstruction of this little-known, essentially domestic space with the same meticulousness as his colleagues working with world heritage artifacts. Photographs of the rooms from various angles, architectural floor plans, and precise measurements of the room, as well as preserved objects, were gathered from the archives. In collaboration with the architects from the “Mel” studio, an architectural project was developed. The furniture was crafted by woodworkers from the workshop “Stameska,” ensuring that every object was impeccably made and fully functional. This project was awarded the Marion-Ermer Prize (Leipzig, 2018) and nominated for the Kandinsky Prize (Moscow, 2019). Its accompanying publication received the Deutsche Architekturmuseum Architectural Book Award, the Grand Prix at the Zhar-Kniga Book Design Competition, and an Honorary Mention at Best Book Design from All Over The World at Stiftung Buchkunst. In 2021, the artist reissued the book in Russian in a novel-newspaper format. The Tuning-3 exhibition at GES–2 was awarded Exhibition of the Year at the XI Art Newspaper Russia Prize. <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/c95f123b80bb44888914e65088fc361443cdac056399b3cee794537b674bca10/SWScan00065x.jpg" data-mid="218893047" border="0" src="https://freight.cargo.site/w/1000/i/c95f123b80bb44888914e65088fc361443cdac056399b3cee794537b674bca10/SWScan00065x.jpg" /> Fig. 4. Ulyanovsk, hotel ‘Venets’, 1970. <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/bd9a5b818fc72200f838e88474ded7f3c3217a0aff105d07dfce9bd4419b1dee/000018630001ax.jpg" data-mid="218850242" border="0" src="https://freight.cargo.site/w/1000/i/bd9a5b818fc72200f838e88474ded7f3c3217a0aff105d07dfce9bd4419b1dee/000018630001ax.jpg" /> Fig. 5.&nbsp; Fig. 6. Radio Venets: The Price of The Ideal. 57 min 47 sec In the radio play, fragments from the following books were used: His Name Was Babai by Gennady Demochkin, Leaders of Provincial Scale by Jean Mindubaev, and autobiographies by Gennady Antsiferov, Lev Netsvetaev, and Vladimir Filimonov. Articles from the newspapers Ulyanovskaya Pravda, Ulyanovsky Komsomolets, and the journal Architecture of the USSR were also included, as well as specially recorded interviews with Lyubov Kolesnikova and Lev Netsvetaev. Voice actors: Allina Sineva and Alexander Chernyshev Sound recording engineer: Dmitry Martynov Editor: Kirill Gluschenko <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/c26df2107c8065d88e99a7c36605843cf5b3bc3fa8cf1153129b6937a4a38df7/000018630005x.jpg" data-mid="218850243" border="0" src="https://freight.cargo.site/w/1000/i/c26df2107c8065d88e99a7c36605843cf5b3bc3fa8cf1153129b6937a4a38df7/000018630005x.jpg" /> Fig. 7. <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/b635524450b03f79dd360e42e100efc67b0bf58ec0404ae1e522111cb016ab74/000018640006x.jpg" data-mid="218850245" border="0" src="https://freight.cargo.site/w/1000/i/b635524450b03f79dd360e42e100efc67b0bf58ec0404ae1e522111cb016ab74/000018640006x.jpg" /> Fig. 8. Fig. 9. Venets. Introduction. 9 min 9 sec “...Moscow train arrives in Ulyanovsk early in the morning. These days, the city greets you with bustling streets and squares, crimson leaves in the parks and gardens that have yet to fall, mirrored shop windows, and numerous new buildings. One of the most characteristic features of present-day Ulyanovsk is the tower cranes and scaffolding.” Venets. Welcome to the Ideal. Introduction Voice actor: A. Chernyshov. Text: K. Gluschenko. Photos from the State Archive of Modern History of the Ulyanovsk Region, OGAUK Lenin Memorial, photo agencies of MIA “Russia Today”, TASS photo agency, archives of L. Netsvetaev, M. Kapitonov, and the “Venets” hotel, as well as photographer B. Telnov. <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/3d1128518cc6622f31857a30fea7459f20ac4908058de563c0f6375425d72573/000018640005x.jpg" data-mid="218850196" border="0" src="https://freight.cargo.site/w/1000/i/3d1128518cc6622f31857a30fea7459f20ac4908058de563c0f6375425d72573/000018640005x.jpg" /> Fig. 10. <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/af196d273aafaddf8292b5134f351dda9e88d1273eb3bdf1937dca9a7f2c2f43/000018630010x.jpg" data-mid="218850247" border="0" src="https://freight.cargo.site/w/1000/i/af196d273aafaddf8292b5134f351dda9e88d1273eb3bdf1937dca9a7f2c2f43/000018630010x.jpg" /> Fig. 11. <img width="2400" height="1915" width_o="2400" height_o="1915" data-src="https://freight.cargo.site/t/original/i/edcf486e7433076483650314f0d67322f66852d8eb9b77d4c606f350b7c7e0de/000018640002x.jpg" data-mid="218850254" border="0" src="https://freight.cargo.site/w/1000/i/edcf486e7433076483650314f0d67322f66852d8eb9b77d4c606f350b7c7e0de/000018640002x.jpg" /> Fig. 12.&nbsp; <img width="3708" height="5282" width_o="3708" height_o="5282" data-src="https://freight.cargo.site/t/original/i/5492dabd1e9509fd112e4c5fd3c737d40253abb5eb11707c48b90b11458f8aff/mep-383.jpg" data-mid="218811162" border="0" src="https://freight.cargo.site/w/1000/i/5492dabd1e9509fd112e4c5fd3c737d40253abb5eb11707c48b90b11458f8aff/mep-383.jpg" />Fig. 13. Installation’s furniture specification <img width="1772" height="2658" width_o="1772" height_o="2658" data-src="https://freight.cargo.site/t/original/i/89335f7117b98c51552ce3de522f99f5610f72712c9f5afb2a2904488539a028/2023-radio-venets-poster-01-1.jpg" data-mid="218946197" border="0" src="https://freight.cargo.site/w/1000/i/89335f7117b98c51552ce3de522f99f5610f72712c9f5afb2a2904488539a028/2023-radio-venets-poster-01-1.jpg" />Fig. 14. Poster ‘Radio Venets. Price of the Ideal’ Fig. 5, 7, 8, 10, 11, 12: Photography Vitaliy Selin, model Xenia Dubrovskaya, art direction, set design and styling Kirill Gluschenko https://kirillgluschenko.net/Venets-Welcome-To-The-Ideal Thu, 11 May 2017 12:50:24 +0000 Kirill Gluschenko https://kirillgluschenko.net/Venets-Welcome-To-The-Ideal 2017 Kirill Gluschenko ‘Venets’. Welcome to The Ideal № 150 •&nbsp;Book <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/f9d0e479d28204fdacc35abc7284fc4352f937ecf420c739d9603e12b17a99fb/venets-1.jpg" data-mid="9270486" border="0" src="https://freight.cargo.site/w/1000/i/f9d0e479d28204fdacc35abc7284fc4352f937ecf420c739d9603e12b17a99fb/venets-1.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/53b5e97b470291ff0683d14d6a98772f0cccf50b6d2009827c8aa35462e147a9/venets-3.jpg" data-mid="9270487" border="0" src="https://freight.cargo.site/w/1000/i/53b5e97b470291ff0683d14d6a98772f0cccf50b6d2009827c8aa35462e147a9/venets-3.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/bf382249e6491febc77da1db3dddef44f277a2fa404c5f0b77b7213da42008a3/venets-4.jpg" data-mid="9270488" border="0" src="https://freight.cargo.site/w/1000/i/bf382249e6491febc77da1db3dddef44f277a2fa404c5f0b77b7213da42008a3/venets-4.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/63d7e70d9a35e734be761a9bee835572384a67e01fe21c4b1dfc99e7b2bee012/venets-15.jpg" data-mid="9270489" border="0" src="https://freight.cargo.site/w/1000/i/63d7e70d9a35e734be761a9bee835572384a67e01fe21c4b1dfc99e7b2bee012/venets-15.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/248e17749d711146418588ebd1197365e25dc389d0eb0202f477f846c97a6cf7/venets-18.jpg" data-mid="9270490" border="0" src="https://freight.cargo.site/w/1000/i/248e17749d711146418588ebd1197365e25dc389d0eb0202f477f846c97a6cf7/venets-18.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/2bbc09c9c922e03889f39d9148adcbaee87217a16caf0bbf4a54e61ac666233c/venets-49.jpg" data-mid="173117535" border="0" src="https://freight.cargo.site/w/1000/i/2bbc09c9c922e03889f39d9148adcbaee87217a16caf0bbf4a54e61ac666233c/venets-49.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/7c5baef2b0a530ea244591b06ea22a516602cf06a2d08b0b8d7133519c6e3449/venets-41.jpg" data-mid="9270491" border="0" src="https://freight.cargo.site/w/1000/i/7c5baef2b0a530ea244591b06ea22a516602cf06a2d08b0b8d7133519c6e3449/venets-41.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/a3e0a182af32fae63d8ccfb0c3619c76d23c1e9242d8ee14117fce2c2bb24d58/venets-43.jpg" data-mid="173117340" border="0" src="https://freight.cargo.site/w/1000/i/a3e0a182af32fae63d8ccfb0c3619c76d23c1e9242d8ee14117fce2c2bb24d58/venets-43.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/91f79f0eacb99f9270f60f492a9be9290fb98229b9892cf6993da7eec5e98943/venets-55.jpg" data-mid="9270492" border="0" src="https://freight.cargo.site/w/1000/i/91f79f0eacb99f9270f60f492a9be9290fb98229b9892cf6993da7eec5e98943/venets-55.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/0a4071bebe569f1dd80bd001dd49f1818ac94c25352104ab649f3970c0733155/venets-56.jpg" data-mid="9270493" border="0" src="https://freight.cargo.site/w/1000/i/0a4071bebe569f1dd80bd001dd49f1818ac94c25352104ab649f3970c0733155/venets-56.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/b66179d73a3b96dc582c4f910b154576b83b49c22eded63c249e254f0f82e832/venets-57.jpg" data-mid="9270494" border="0" src="https://freight.cargo.site/w/1000/i/b66179d73a3b96dc582c4f910b154576b83b49c22eded63c249e254f0f82e832/venets-57.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/26d9307a37bd389c108097c44cb9f33bbf4df02ec5f52d05daa69aed1694f86d/venets-72.jpg" data-mid="173117604" border="0" src="https://freight.cargo.site/w/1000/i/26d9307a37bd389c108097c44cb9f33bbf4df02ec5f52d05daa69aed1694f86d/venets-72.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/b8bcc6892583c6039a128cc434d3e0ed0567c8e81d31580ab618cad192de060b/venets-73.jpg" data-mid="173117607" border="0" src="https://freight.cargo.site/w/1000/i/b8bcc6892583c6039a128cc434d3e0ed0567c8e81d31580ab618cad192de060b/venets-73.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/95384a73ffffd3c9876b3629e0ed75dde8915a5d35ceed6e351a6a520d782496/venets-75.jpg" data-mid="9270495" border="0" src="https://freight.cargo.site/w/1000/i/95384a73ffffd3c9876b3629e0ed75dde8915a5d35ceed6e351a6a520d782496/venets-75.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/7ff31447d74e3762f9ab60b9a4c653c47d56f5ee217afef416b5a73282c32f58/venets-77.jpg" data-mid="173117612" border="0" src="https://freight.cargo.site/w/1000/i/7ff31447d74e3762f9ab60b9a4c653c47d56f5ee217afef416b5a73282c32f58/venets-77.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/0ed0cc46033f9b4c1bd99596cacfc7da9eb9f8670917142092a5d465ddc97b29/venets-83.jpg" data-mid="9270496" border="0" src="https://freight.cargo.site/w/1000/i/0ed0cc46033f9b4c1bd99596cacfc7da9eb9f8670917142092a5d465ddc97b29/venets-83.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/f74c2a763a9a123db4b03846d3fcd963238a7de05c32a13acfa8060df7897c8b/venets-84.jpg" data-mid="9270497" border="0" src="https://freight.cargo.site/w/1000/i/f74c2a763a9a123db4b03846d3fcd963238a7de05c32a13acfa8060df7897c8b/venets-84.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/43a3855c236c455227acb471fd194f8a93437b53d1302cf7023ad338dfa9b202/venets-89.jpg" data-mid="173117623" border="0" src="https://freight.cargo.site/w/1000/i/43a3855c236c455227acb471fd194f8a93437b53d1302cf7023ad338dfa9b202/venets-89.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/b8957a86739cd625b174ea92cfe7dfb9a06bd5afdfe1f3b51a4781c2d7ff7268/venets-90.jpg" data-mid="9270498" border="0" src="https://freight.cargo.site/w/1000/i/b8957a86739cd625b174ea92cfe7dfb9a06bd5afdfe1f3b51a4781c2d7ff7268/venets-90.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/8a48c4a75caf1b1e79314e25361758395c654f63dbe02c3bba92067dcf4fdf68/venets-92.jpg" data-mid="173117638" border="0" src="https://freight.cargo.site/w/1000/i/8a48c4a75caf1b1e79314e25361758395c654f63dbe02c3bba92067dcf4fdf68/venets-92.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/372e297f49d45baf56c0be123ffe544e51f9bdd6d04721f1b69363719fb82c43/venets-93.jpg" data-mid="9270499" border="0" src="https://freight.cargo.site/w/1000/i/372e297f49d45baf56c0be123ffe544e51f9bdd6d04721f1b69363719fb82c43/venets-93.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/49a082d93e71e2c6dc00962b384f88183996d0380a08c5e403a3919d7b7d8d90/venets-94.jpg" data-mid="9270500" border="0" src="https://freight.cargo.site/w/1000/i/49a082d93e71e2c6dc00962b384f88183996d0380a08c5e403a3919d7b7d8d90/venets-94.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/34e2702e150fbeedec7cfa91ee7cb8d34439a19028aac30dba41c079048564e9/venets-96.jpg" data-mid="9270501" border="0" src="https://freight.cargo.site/w/1000/i/34e2702e150fbeedec7cfa91ee7cb8d34439a19028aac30dba41c079048564e9/venets-96.jpg" /> <img width="2520" height="1666" width_o="2520" height_o="1666" data-src="https://freight.cargo.site/t/original/i/ab4c16b9efe18f3748eb488272716483690bb0ccf36a73eff7e76b6f49d74ad3/venets-101.jpg" data-mid="9270502" border="0" src="https://freight.cargo.site/w/1000/i/ab4c16b9efe18f3748eb488272716483690bb0ccf36a73eff7e76b6f49d74ad3/venets-101.jpg" /> ← Fig. 1–24 → Order No. 150ISBN 9–785990–951914 Softcover, 200 × 260 mm, 320 pages 500 copies.&nbsp;English Gluschenkoizdat Press, 2017 €35&nbsp;Order SOLD OUT Editor: K. Gluschenko Translators: T. Campbell, M. Shipley, K. Sutton Proofreading: M. Gordis Graphic design: K. Gluschenko Author of “The Fugitive”: G. Atanesyan “…The Moscow train pulls into Ulyanovsk early in the morning. These days the city welcomes you with bustling streets and squares, the courtyards and guardians the scarlet shade of leaves that have not yet fallen, the mirrored vitrines of shops, and a myriad of new buildings. If there’s anything particularly characteristic of Ulyanovsk’s new look, it is the construction cranes and scaffolding.” Thus begins an article by special correspondent Ivan Vasiliev in the November 20, 1967, issue of the journal Sovetskie Profsoyuzy (“Soviet Professional Unions”). This issue was published on the eve of the 50th anniversary of the October Revolution, which was widely celebrated across the country. The choice of the city was hardly incidental; over the next three years, the provincial town of Ulyanovsk, taking up the banner of “the Homeland of the Leader of World Revolution Must Live Up to Its Status,” would undergo a total transformation, finishing just in time for April 1970, the 100th anniversary of the birth of Vladimir Lenin. Savvily seizing on the preeminent ideological significance of the region, the enterprising First Secretary Skochilov managed in three years, with the help of the whole Soviet Union, to construct not only the modern Lenin Museum and the twenty-three-story Hotel Venets, but also an airport, a railway station and river port, a pedagogical institute, Palaces of Culture, Schoolchildren and Pioneers, a three-story department store, a library, and several industrial factories, as well as the first residential high-rise in the city. Today, a half-century later, on the 100th Anniversary of the October Revolution, the publishing house Gluschenkoizdat again turns the focus to Ulyanovsk. Known for its interest in the study of everyday life, the publisher has decided to venture a new angle on the subject by exploring the everyday of the “ideal.” The test case for this research was the Venets Hotel. Opened in March 1970, the hotel was a Superior [This means above the required standards — Ed.] B class facility, offering a glimpse into what constituted the ideal aesthetics of everyday life for tourists who wanted to visit the birth place of Vladimir Ilyich. Heading off on assignment, an employee of the publishing house spent almost twenty days in the Venets Hotel. During this time, the correspondent stayed one night in a room on each level, working his way up floor-by-floor from the bottom to the top, until at last, on New Year’s Eve, he reached the recently-opened rooftop bar, Olympus. Its famous silhouette aside, the hotel itself, as it turned out, had retained few of its original features. An architectural album of the Leningrad Design Institute, found amid the archives of the local history museum, proved invaluable in understanding how the original Venets must have looked: elegant and sleekly futuristic, something right off the screen of Space Odyssey 2001 or Solaris, with spacious foyers, restaurant halls and cafés, the Berezka (“Birch Tree”) souvenir shop, an art gallery and of course, the rooms themselves, whose impeccable interiors were filled each night with “moon light” — the colloquial coinage for the special lighting system — opening up to picturesque views of the seemingly boundless Volga, from a height of twenty stories. An ideal cannot exist without a proper enshrinement in print, and so it was that the Venets — and indeed all “All-Union Komsomol Shock-Worker Construction Sites” like it — was covered in detail by the local newspapers. In this book, we republish selected articles from the Komsomolskaya Pravda and Ulyanovskaya Pravda. Here one finds both the young Komsomol members penning with breathless enthusiasm their tales of construction, as well as the unexpectedly critical analysis of the day-to-day bumblings of the organizations, and, of course, a thorough accounting of all the unique features that made the hotel so extraordinary. The tone and approach used when describing such an ordinary event as the construction of a hotel are themselves worth noting as one of the semantic tools in the shaping of the image of the ideal. The found diaries of the Moscow-based journalist Boris Mertz helped provide a human perspective on this history. They served as the basis for the story about the handful of days spent by a journalist in the Venets, on the eve of the grand opening of the Lenin Memorial and the visit of Leonid Brezhnev in April 1970. The confidential documents of the Ulyanovsk department of the CPSU give a glimpse into the inner workings of the “ideal machine.” In these missives, the vibrant image of young Pioneers welcoming the Mongolian writers at the railway station with large bouquets of flowers is spelled out in the terse, rudimentary line: “Prepare 50 Pioneers (25 girls, 25 boys), make sure they are at the track on time. Responsible party: Com. Nikolaeva.” Even the grandiose slogans decorating the rooftops are treated like simple items on a list: “Lenin lives!”, whatever street, Responsible Party: the factory administration, with an indecipherable penciled note beside the line wields an unfathomable administrative power over the fate of even this “sacred political slogan.” &nbsp; Penetrating the horizon of the ideal allows points of entry for the personal histories of participants in the city’s jubilee facelift: young architects undaunted by foul language from the mouth of the ObCom’s first secretary, tirelessly battling with the builders to secure just the right shade of tile, even if that tile is just destined for the façade of a typical house; sharp-tongued journalists, once the “Golden Quills” of the All-Union edition of the Iszvestiya; engineers, announcers, artists, hotel maids, conductors, secretaries, chefs and even children of prominent Party members all openly share their experiences and impressions. Quite frequently, these testimonies help fill in the cracks in the image of the ideal, as if they came from inside the hole of the shattered sphere itself. The retouched newspaper portraits and the monumental images of the official photo chronicle — which, it should be noted, is not without its own artistic flourishes — are answered by a “photography enthusiast,” whose lens seems to tap directly into the breezes off the yawning Volga or the warm glow of the setting sun. Caught in awkward poses, passersby share the backdrop of the bracing silhouette of the twenty-three-floor Venets. These casual snapshots reveal more about what constitutes an “ideal” than the professional surveys of the ITAR-TASS photographers. Offering a similarly candid view is the archive documenting the everyday life of the hotel, which unexpectedly outpaces the creators of this “ideal” standard — the hotel architects with their own photoalbum — on their own field. ... At last, the final floor: the twenty-second. Over these twenty days alone with the nearly-deserted Venets, our correspondent might have turned into a hermit, but has also grown very fond of this “ideal” hotel. At night, he goes up to the big picture window and stares out at the Volga. The river flows, the river runs. And I am no one’s and you are no one’s… https://kirillgluschenko.net/Benign-Duplicates Thu, 14 Mar 2019 16:36:43 +0000 Kirill Gluschenko https://kirillgluschenko.net/Benign-Duplicates 2019 ‘Benign Duplicates’.&nbsp;Diaries (1962)&nbsp;and Photographs (1954–1993)from The Archive of Nikolai Kozakov.Edited by Kirill Gluschenko № 184 • Artist’s Book <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/589902589848e49b12f5803a10e2d5d0237c31c0497f5a7ce1669884e6226b11/benign.jpg" data-mid="37635035" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/589902589848e49b12f5803a10e2d5d0237c31c0497f5a7ce1669884e6226b11/benign.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/4a6b4a43ce8f53132c2baf9090070ee7dc5fe37e83f65b34fa4c5b422723850f/benign-5.jpg" data-mid="37635036" border="0" src="https://freight.cargo.site/w/1000/i/4a6b4a43ce8f53132c2baf9090070ee7dc5fe37e83f65b34fa4c5b422723850f/benign-5.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/1a713236ef8328aa1683640a43ef046832c3ec333dab54636a232517b4baee88/benign-6.jpg" data-mid="37635037" border="0" src="https://freight.cargo.site/w/1000/i/1a713236ef8328aa1683640a43ef046832c3ec333dab54636a232517b4baee88/benign-6.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/98e78fba775a44bcfb73610ccac619b2713d960709ef5a39f49d2c462e4937e5/benign-7.jpg" data-mid="37635038" border="0" src="https://freight.cargo.site/w/1000/i/98e78fba775a44bcfb73610ccac619b2713d960709ef5a39f49d2c462e4937e5/benign-7.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/babf9a414003b81eaa4a8f0942d8fb7dfe1d053300ebd9c7b9286ddc6770351a/benign-10.jpg" data-mid="37635039" border="0" src="https://freight.cargo.site/w/1000/i/babf9a414003b81eaa4a8f0942d8fb7dfe1d053300ebd9c7b9286ddc6770351a/benign-10.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/09beed13e0f1ec09bea22d639fd7182cf698cc5b66df4d8fd26fd3c5c4776cf3/benign-12.jpg" data-mid="37635040" border="0" src="https://freight.cargo.site/w/1000/i/09beed13e0f1ec09bea22d639fd7182cf698cc5b66df4d8fd26fd3c5c4776cf3/benign-12.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/6089cc818bdebb949adb1de10a632aef0e5975e5cf0383f36bc15f2bdda6fc60/benign-14.jpg" data-mid="37635041" border="0" src="https://freight.cargo.site/w/1000/i/6089cc818bdebb949adb1de10a632aef0e5975e5cf0383f36bc15f2bdda6fc60/benign-14.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/a4047e1a71a6d5e215bbb0d1403dd6dc9fd75881292f66cab8228cd4982e800a/benign-21.jpg" data-mid="37635042" border="0" src="https://freight.cargo.site/w/1000/i/a4047e1a71a6d5e215bbb0d1403dd6dc9fd75881292f66cab8228cd4982e800a/benign-21.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/da2cfac0049d38dea56adc8954b618f4f285001756dfa92d12756aea5118285b/benign-44.jpg" data-mid="37635045" border="0" src="https://freight.cargo.site/w/1000/i/da2cfac0049d38dea56adc8954b618f4f285001756dfa92d12756aea5118285b/benign-44.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/de957ec6aba14cbc216f931099ee37afb179220f54716f0a9d5746345e97900e/benign-48.jpg" data-mid="37635046" border="0" src="https://freight.cargo.site/w/1000/i/de957ec6aba14cbc216f931099ee37afb179220f54716f0a9d5746345e97900e/benign-48.jpg" /> <img width="2598" height="1749" width_o="2598" height_o="1749" data-src="https://freight.cargo.site/t/original/i/de35bc1ccbcc372f27e5b1958fa37e61dbdf8372fce85449228cf26031773a1f/benign-50.jpg" data-mid="37635047" border="0" src="https://freight.cargo.site/w/1000/i/de35bc1ccbcc372f27e5b1958fa37e61dbdf8372fce85449228cf26031773a1f/benign-50.jpg" /> ← Fig. 1–11 → Softcover, 200 × 260 mm, 128 pages, first edition of 10 copies. English.Gluschenkoizdat, 2019. In writing down his every step, Kozakov remains unknowable, like outer space — the conquest of which he devotes so much attention to in his notes. Who is he? A man of the ‘60s? An intellectual wretch? Your father’s older brother? Anti-Semite? Loser? Poet? Extraterrestrial? The diary is clearly not intended for anyone else to read: Kozakov writes it for himself and remains hermitically sealed within its text, exposing the reader to the principal and tragic impenetrability of “the Other.” Kozakov’s peculiar relationship with reality has no parallel in today’s world. It is like a message in a bottle that he sent not 50, but 500 years ago. —&nbsp;“A Little Life” by&nbsp;Maria Kuvshinova. <img width="3341" height="2170" width_o="3341" height_o="2170" data-src="https://freight.cargo.site/t/original/i/0f6bdb21c9a40e1bb9c27a932ad47f536d4a874135f22809eef9a46dbc1d6422/eesti4-27-35-leipzig-w.jpg" data-mid="173909797" border="0" src="https://freight.cargo.site/w/1000/i/0f6bdb21c9a40e1bb9c27a932ad47f536d4a874135f22809eef9a46dbc1d6422/eesti4-27-35-leipzig-w.jpg" /> <img width="3341" height="2170" width_o="3341" height_o="2170" data-src="https://freight.cargo.site/t/original/i/62a1508f0d0244d4a4b31dd8727fdb535f07ac5cafe093da24d757b42e1bc76f/eesti4-27-36-leipzig-w.jpg" data-mid="173909799" border="0" src="https://freight.cargo.site/w/1000/i/62a1508f0d0244d4a4b31dd8727fdb535f07ac5cafe093da24d757b42e1bc76f/eesti4-27-36-leipzig-w.jpg" /> Fig. 12–13 Galerie Jochen Hempel, Leipzig. 2019 <img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/1a057e1553ee21141443e9eaa2d42308a64a421ea9d347febd6a48dd26fbe57a/_DSC7588.JPG" data-mid="173909965" border="0" src="https://freight.cargo.site/w/1000/i/1a057e1553ee21141443e9eaa2d42308a64a421ea9d347febd6a48dd26fbe57a/_DSC7588.JPG" /> <img width="2067" height="2953" width_o="2067" height_o="2953" data-src="https://freight.cargo.site/t/original/i/6e2bccd28b8c7fe239a53ef8195c2463c0391d02b1bf6fd489ddca6339c0f1e2/2019-ponb-poster-04-22.jpg" data-mid="173910174" border="0" src="https://freight.cargo.site/w/1000/i/6e2bccd28b8c7fe239a53ef8195c2463c0391d02b1bf6fd489ddca6339c0f1e2/2019-ponb-poster-04-22.jpg" /> Fig. 14-15 Book Launch event. Rotorbooks, Leipzig. 2019 https://kirillgluschenko.net/Our-Days-Are-Rich-And-Bright Thu, 25 May 2017 17:17:48 +0000 Kirill Gluschenko https://kirillgluschenko.net/Our-Days-Are-Rich-And-Bright 2016 Our Days are Rich and Bright (Прекрасен облик наших будней)Gluschenkoizdat, 3a, Polkovaya str.Moscow, Russia • Solo show <img width="2000" height="1597" width_o="2000" height_o="1597" data-src="https://freight.cargo.site/t/original/i/3825d89028cf816ad4663195d6e84ff59a8c5ddc043b6704d58d29fb969034ab/000034700002.jpg" data-mid="9265197" border="0" src="https://freight.cargo.site/w/1000/i/3825d89028cf816ad4663195d6e84ff59a8c5ddc043b6704d58d29fb969034ab/000034700002.jpg" /> Fig. 1 <img width="2000" height="1597" width_o="2000" height_o="1597" data-src="https://freight.cargo.site/t/original/i/c9fa6ef1fed5239de293e1702df00f1f7335320502a2cf3954f81b8d845c4e44/000357150008.jpg" data-mid="9265205" border="0" src="https://freight.cargo.site/w/1000/i/c9fa6ef1fed5239de293e1702df00f1f7335320502a2cf3954f81b8d845c4e44/000357150008.jpg" /> Fig. 2 2021 ‘Kirill Gluschenko’s Installation Project The Beautiful Countenance of Our Everyday Life¹: The Deconstruction of Soviet Utopia&nbsp;in The Individualised Textual Space’ by Jurij Murašov Professor of Slavic Literature&nbsp;and General Literary Studies,&nbsp;University of Konstanz Fragments from the book by&nbsp;Jurij Murašov, ‘Das elektrifizierte Wort’. Das Radio in der sowjetischen&nbsp;Kultur&nbsp;der 1920er und 30er Jahre Wilhelm Fink/Brill •&nbsp;2021 ¹ Jurij Murašov’s translation of the exhibition title ‘Прекрасен облик наших будней’.&nbsp;Since title&nbsp;originally comes from book ‘Unser Tag hat ein gutes gesicht’ by Karl-Heinz Böhle which had a Russian and an English editions, we decided to use those translations: ‘Our Days are Rich and Bright’ and ‘Прекрасен облик наших будней’. The installation “The Beautiful Countenance of Our Everyday Life” presents itself as a project of the Gluschenkoizdat press. This peculiar name for a publishing house, in which the artist’s name is combined with the common abbreviation for Soviet publishers, “izdat” (from “izdatel’stvo”, Engl. “press”), points to the project’s concept: imitating while simultaneously breaking with Soviet forms and techniques of representation. On the one hand, the exhibition, in its entire “visual manifestation” (“vizual’nyj obraz”) and its acoustic presentation, bears witness to the bureaucratic logic of publishing work and the technical, graphic and rhetorical methods of a Soviet state press of the 1950s and 1960s. In order to reproduce the atmosphere of a Soviet company, the installation project was realised not in a museum but in a former factory. The spatial arrangements and the furniture reflect Soviet design of the 1950s; the era is also suggested by the original and remade electro-acoustic devices. The Gluschenkoizdat publication projects on display reproduce the Soviet book but also other typographic products such as postcards and posters or record sleeves. The design applies not only to the fonts, colours, layout and technical production (e.g. the binding) of the printed matter, but also to the code numbers and chiffres indicating the stages of the manufacturing process and the bureaucratic and ideological procedures of control and approval. In this respect, Gluschenko employs the artistic technique of appropriation. On the other hand, the project represents an ironic distancing and the restitution of individual experience vis-à-vis the Soviet conscious with its myth of the “beautiful countenance of our everyday life”. This is achieved via minimal “displacements” (“sdvigi”) and disruptions in the visual and acoustic self-representation of the Soviet utopian culture. Examples of this ploy are the lettering and logo of Gluschenkoizdat. The lettering is taken from the title page of a Soviet book on Old Russian cities for the neon “Gluschenkoizdat” sign on the building’s facade and the individual city book projects inside the exhibition. <img width="3149" height="2451" width_o="3149" height_o="2451" data-src="https://freight.cargo.site/t/original/i/f2d3f47de97ca466a59a00c95eedefde7d643b4efce6a5434ae8ee4c360c62f4/000077560013a.jpg" data-mid="173787366" border="0" src="https://freight.cargo.site/w/1000/i/f2d3f47de97ca466a59a00c95eedefde7d643b4efce6a5434ae8ee4c360c62f4/000077560013a.jpg" /> Fig. 3 The books present events from “business trips” undertaken by the artist (or a colleague he entrusted with the task) exploring the former Soviet cityscapes with their everyday spaces, the housing and factory complexes, streets and parks, which are documented using original Soviet cameras. The formal features of the series of pictures reproduces Soviet photographic design. At the same time, the “beautiful countenance of our everyday life” proves to be a promise without any visible or empirical basis when heavy clouds of smoke hang over the city in a morning haze (fig. 4) or the empty, snow-covered meadows on the banks of a river are bridged by bulky, ugly steel and concrete (fig. 5). The human element is banished from the pictures of these urban scenes or reduced to a mere hint in the form of a lit window in a large black housing block (figs. 6-7). When human figures are featured, they appear marginalised (fig. 8) or as crooked shapes scurrying away from the rays of the winter sun (fig. 9). <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/f16a4fed296a1e39e219e3e20c81dfb0f0a3d4ef264988291aa50edf650c5f00/pskov-4.jpg" data-mid="173892309" border="0" src="https://freight.cargo.site/w/1000/i/f16a4fed296a1e39e219e3e20c81dfb0f0a3d4ef264988291aa50edf650c5f00/pskov-4.jpg" /> <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/4566de5f00c4f81ba660cb0c3010df606b98168c593a4c379acd50dd09fe5651/pskov-10.jpg" data-mid="173892937" border="0" src="https://freight.cargo.site/w/1000/i/4566de5f00c4f81ba660cb0c3010df606b98168c593a4c379acd50dd09fe5651/pskov-10.jpg" /> <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/830d0feb720699be09a1fd91a0e9eaa8592e4f1c59a247d957e36f80987e2881/pskov-14.jpg" data-mid="173892314" border="0" src="https://freight.cargo.site/w/1000/i/830d0feb720699be09a1fd91a0e9eaa8592e4f1c59a247d957e36f80987e2881/pskov-14.jpg" /> <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/e5a44f8d20987f5c167a8af538d744eb82ff7248d27d9fd554213443a912cc9d/pskov-25.jpg" data-mid="173892945" border="0" src="https://freight.cargo.site/w/1000/i/e5a44f8d20987f5c167a8af538d744eb82ff7248d27d9fd554213443a912cc9d/pskov-25.jpg" /> ← Fig. 4–7 → <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/4be584958c045f166317f056f504ade849ba2d1d8c335592ee4934d1071525b6/pskov-23.jpg" data-mid="173893074" border="0" src="https://freight.cargo.site/w/1000/i/4be584958c045f166317f056f504ade849ba2d1d8c335592ee4934d1071525b6/pskov-23.jpg" /> <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/14b5da630747c26f64d8b05ccb147a9b3aadea72286c1d523a63fc4053c7813f/pskov-9.jpg" data-mid="173892367" border="0" src="https://freight.cargo.site/w/1000/i/14b5da630747c26f64d8b05ccb147a9b3aadea72286c1d523a63fc4053c7813f/pskov-9.jpg" /> ←&nbsp;Fig. 8-9&nbsp;→ While the series of photographs show the “beautiful countenance of our everyday life” as spaces devoid of the human element, the accompanying texts focus on personal experience and everyday details. These include small biographical sketches of the artist himself, such as the short text “Baba Masha” in the book on Pskov. Here the narrator remembers visiting his grandmother as a child; a strange acquaintance of Baba Masha’s lived in the neighbourhood in a spooky “giant, black, crooked house”&nbsp;that seemed to him like “a hole frozen in the air”&nbsp;and which he approached “always with fear”&nbsp;when he had to go there to fetch “salt or something”&nbsp;for his grandmother. Behind the high wooden fence, everything was “dirty and confined”; “the bath house, chicken coop, shed, awnings and the house itself huddled into a compact pile”. Even when the boy spent time visiting Baba Masha with his grandmother, he felt uneasy at the way the old women fried black rissoles, washed down with homemade vodka and Baba Masha, pointing to a portrait, “always remembered how beautiful she once was, often crying when she was drunk”. The scene culminates with the boy stealing into the tiny, gloomy bedroom, where he turns on the television, on which “after a few minutes a picture slowly starts to form from thin, running lines”. As in Erik Bulatov’s famous soc art picture of 1982/85 Television (Televidenie), here too it is the Soviet news programme Vremja that appears on the screen, but its reports of successes and optimism about the future remain ineffective and produce merely sleepiness instead of socialist enthusiasm: “The speaker’s droning voice crawled slowly from the speakers. Straining, I stared into the screen and tried to understand his speech while the room gradually sank in a thick, almost tangible murmur. […] Time dragged on slowly, and my eyes began to close all by themselves.” <img width="2830" height="1947" width_o="2830" height_o="1947" data-src="https://freight.cargo.site/t/original/i/735957f37d87f881e6dd8aa0e3494c887096c4b0569396f8c1b125e065bf9af4/pskov-44.jpg" data-mid="174015618" border="0" src="https://freight.cargo.site/w/1000/i/735957f37d87f881e6dd8aa0e3494c887096c4b0569396f8c1b125e065bf9af4/pskov-44.jpg" /> Fig. 10 The private and the individual permeating the dark texts of the city books is ultimately the focus of another, separate project by Gluschenkoizdat: the publication Nikolaj Kozakov, Diary (Dvevnik), 1962. Moscow 2016 (fig. 11). This production is based on a folder of notes found during an ethnographic excursion undertaken by colleagues of the artist. The folder contained diaries meticulously kept by Nikolaj Nikolaevič Kozakov (born in Moscow in 1932, died in 2005 in Zaprudnoe) from the age of fifteen onwards. In 1962, the manuscript was made available to the publishing house, which transcribed it, prepared it for printing and ultimately published it as a book with a run of 1,000 copies. On the publication’s end paper, the publisher expressed “its hope” that these diaries that have been lying in a personal archive for many years and did not have a chance of being published in the times of the Goskomizdat (State Committee of the Council of Ministers of the USSR for Publishing, Printing and the Book Trade—ed.) will find their reader today. Reading these literary-historical documents should help [the reader] understand this “everyday life of ours”. But it should also represent effective inoculation against a nostalgic perception of the photo albums and postcards handed down to us with the smiling faces of factory workers and the splendorous emptiness of grand boulevards before daybreak. ← Fig. 11-12 → <img width="2768" height="1848" width_o="2768" height_o="1848" data-src="https://freight.cargo.site/t/original/i/553039ae2f6f9fe57e748d7758835cf62e25b14448d966b8ac21054f85d52a88/_DSC7005w.jpg" data-mid="173893250" border="0" src="https://freight.cargo.site/w/1000/i/553039ae2f6f9fe57e748d7758835cf62e25b14448d966b8ac21054f85d52a88/_DSC7005w.jpg" /> <img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/d807616a3ba7175e1288b3ba7867a341039212cbd47eeb52a80d90a02c0d5ed1/_DSC6972w.jpg" data-mid="173893317" border="0" src="https://freight.cargo.site/w/1000/i/d807616a3ba7175e1288b3ba7867a341039212cbd47eeb52a80d90a02c0d5ed1/_DSC6972w.jpg" /> On its own rack next the stands for the city books, the historical authenticity of the figure of Nikolaj Kozakov is reinforced by photographic material from his estate. This question of authenticity is as intricate as it is ultimately of secondary importance for the structure and pragmatics of the diary text. For it is this state of limbo between reality and fiction that represents a constitutive element of Gluschenko’s installation operating on the borderline between documentary reproduction and artistic variation and reinvention. The key to Gluschenko’s typographic project The Beautiful Countenance of Our Everyday Life is that Kozakov’s diary is presented as an “audio image” (“radiospektakl’”) in the form of a record that can be played in listening booths. These listening booths form the centrepiece of the entire exhibition, both spatially and conceptually (figs. 13–14). <img width="3165" height="2490" width_o="3165" height_o="2490" data-src="https://freight.cargo.site/t/original/i/06179a0de1a14135b0b755eb186046eb9466eb29dda40efd3beb6f27619a6ee1/000357070001a.jpg" data-mid="173893889" border="0" src="https://freight.cargo.site/w/1000/i/06179a0de1a14135b0b755eb186046eb9466eb29dda40efd3beb6f27619a6ee1/000357070001a.jpg" /> <img width="3145" height="2479" width_o="3145" height_o="2479" data-src="https://freight.cargo.site/t/original/i/3c3871b5b1962ae6fb9e70069b071bfb3990add1b040d6d03cd0445256ff886c/000357070003a.jpg" data-mid="173893936" border="0" src="https://freight.cargo.site/w/1000/i/3c3871b5b1962ae6fb9e70069b071bfb3990add1b040d6d03cd0445256ff886c/000357070003a.jpg" /> ← Fig. 13-14 → This dispersion of the Soviet utopian conscious and acousmatic poetics via the process of Kozakov’s diary entries in a private, intimate and individual space full of idiosyncrasies is presented as an acoustic experience, at once both refined and comical, in the listening booths. For like the appropriation of Soviet design and layout in the city books, Gluschenko has had Kozakov’s diary read out by a professional radio (and TV) announcer in the markedly impersonal style typical of the Soviet culture of public speaking. As in the typographical part of the installation project, here too there is a clear tension between the private and the personal (the diary) and the self-presentation of the Soviet, which now also tries to maintain the “beautiful countenance of our everyday life”. And even more markedly than in the city books, the impersonal style of official public speaking clearly attempts to preserve the utopian promise of the Soviet against Kozakov’s idiosyncratic self- and writing experiences — at the very moment the impersonal speaker’s voice (involuntarily) slips into mimetic mode via Kozakov’s stubborn narration. Just as the affirmation of the self via the writing process subverts the utopian conscious into idiosyncratic experiences, it makes itself heard in the acoustic and acousmatic space of Soviet power. This occurs not via an ideological counter-position, but via the change in tonality and in the way in which language, voice and writing react to each other and the world. <img width="3115" height="2472" width_o="3115" height_o="2472" data-src="https://freight.cargo.site/t/original/i/1c869b0ba8de0c4a5f950f0b1dababe590112aaac5b83f44f0760bd8f89e7b05/000357080001.jpg" data-mid="173893946" border="0" src="https://freight.cargo.site/w/1000/i/1c869b0ba8de0c4a5f950f0b1dababe590112aaac5b83f44f0760bd8f89e7b05/000357080001.jpg" /> <img width="3125" height="2462" width_o="3125" height_o="2462" data-src="https://freight.cargo.site/t/original/i/3b87ad67b8ab6e15ac3e068d1a0ba6a641209710dc40ba4b319d44df2a001b94/000357080003.jpg" data-mid="173893947" border="0" src="https://freight.cargo.site/w/1000/i/3b87ad67b8ab6e15ac3e068d1a0ba6a641209710dc40ba4b319d44df2a001b94/000357080003.jpg" /> ← Fig. 15-16 → If Moscow conceptualism deconstructs and parodies the Soviet utopian conscious and the ideological system via “subversive affirmation”, then Gluschenko rather makes use of the techniques of appropriation, assimilation, reproduction and reduplication. While the conceptualists semiologically subvert the Soviet in their various formations and in various artistic genres, by shifting and reinterpreting Soviet chiffres and codes, Gluschenko — within the boundaries of the semantic — works mediologically, technologically and aisthetically in order to set in motion a contrary dynamic. On the one hand, this shows how the Soviet-utopian is produced by the “beautiful countenance of our everyday life” using specific media constellations, while on other hand it makes clear how, in the very interplay of these media, spaces of individuation and the private can be (re-)opened. In a sense, one could say that Gluschenko’s installation project The Beautiful Countenance of Our Everyday Life deconstructs the Soviet utopian conscious, while at the same time its optimism is appropriated by the restitution of trust in writing’s potential for individuation and reflection. This new trust in writing also distinguishes Gluschenko’s project from Moscow Conceptualism’s artistic treatment of Soviet culture. <img width="3066" height="2514" width_o="3066" height_o="2514" data-src="https://freight.cargo.site/t/original/i/9fff6be4f752a984d29b6240d6b6c7a8c29d279592d4639e34e36eca280bced1/000357070008.jpg" data-mid="173894128" border="0" src="https://freight.cargo.site/w/1000/i/9fff6be4f752a984d29b6240d6b6c7a8c29d279592d4639e34e36eca280bced1/000357070008.jpg" /> <img width="2935" height="2328" width_o="2935" height_o="2328" data-src="https://freight.cargo.site/t/original/i/744b9e4a0fe2d7f22e811320f4f792bde35594274ab446a58132ed0487ac661e/000357090010a.jpg" data-mid="173894266" border="0" src="https://freight.cargo.site/w/1000/i/744b9e4a0fe2d7f22e811320f4f792bde35594274ab446a58132ed0487ac661e/000357090010a.jpg" /> ← Fig. 17-18 → Press release Curated by: Katerina ChuchalinaVenue: Polkovaya Street 3, Moscow, Russia Dates: 29 April — 3 July 2016Opening: 28 April, from 7pm The V–A–C foundation is proud to present the first solo show for Moscow based artist Kirill Glushchenko, entitled Our Days are Rich and Bright. The exhibition is curated by V–A–C’s Head Curator Katerina Chuchalina. Born in Kaliningrad in 1983, Glushchenko’s work sees him as head of a fictional publishing house called ‘Glushchenkoizdat’, of which he is also the sole employee — a reporter of sorts — who spends his time visiting the towns of the former USSR and Socialist bloc, to write and publish books about them. Glushchenko’s art takes the form of a book, therefore, and the artist himself says “I love the intimacy that books imply: books are for you alone and give you the feeling that you are being spoken to directly.” By creating a visual and textual narrative of the towns and villages he visits, the artist retraces the Soviet Union and reconstructs the style of books that were published and mass produced in the late Soviet era to promote new construction, social housing and urban planning in large cities. The artist says that he chooses the places he travels to intuitively and tries to evoke soviet reality during his trips as much as possible, taking regional trains and staying at typical Soviet era hotels, for example. Although the book is the final result, the process itself holds much more meaning. Our Days are Rich and Bright presents a selection of ‘Glushchenkoizdat’ books illustrating the aesthetic legacy of the Soviet era preserved in towns as diverse as Pskov, Dresden, Ulyanovsk, Riga, Pärnu, Tallinn and Tartu. Another work featured in the exhibition is a volume of found diaries belonging to a bus driver named Nikolai Kozakov. Glushchenko has chosen to publish Kozakov’s diary entries from the year 1962 in the form of a 600-page book covering his daily routine, his love life as well as anecdotes from everyday encounters. We learn that Kozakov graduated from the Moscow University with the hope of becoming a teacher, something that never materialised due to a speech impediment. The entries reveal both bleak and heart-warming sides to life in Soviet Union. The diary is brought to life in the form of a sound recording played inside custom-made booths, read by a well-known Soviet presenter whose voice is instantly recognisable. The show also features postcards from the towns the artist has visited and 60s style furniture. A sign with the name of the publishing house ‘Glushchenkoizdat’ will also be placed on top of the building for the duration of the show. For many years in Russia, books were used as a strategic cultural product of the country; a symbol of social status of the owner and of the level of importance of State controlled publishing houses. Book design and the printing industry were reinforced by the State Committee for Publishing in the Soviet Union (Goskomizdat) and multiplied by the library system, collectors and the book trade, producing a clean, pristine product in every respect, reflecting the spirit of the times. Publishing houses once occupied large areas of Moscow but unlike other remnants of Soviet cultural production - libraries, cinemas and museums – the publishing system has almost disappeared, leaving little trace of the names or buildings themselves. Our Days are Rich and Bright will take place at a former Moscow factory in Polkovaya Street, not far from where the publishing houses ‘Prosveshchenie’ [Enlightenment] and ‘Detskaya Kniga’ [Children's Books] were located. Entry to the exhibition is free of charge and the space will be open everyday from midday to 9pm. Public Talks. Stroyizdat Press editor and art director Former employee of Stroyizdat Press, book designer Alexander Grigoriev about the art councils (“khudsovet”), rare Kodak film rolls for freelance photographers and Zhurnalnaya typeface. Ekaterina Astafieva, former Stroyizdat Press chief editor of the editorial board for ‘Urban planning and architecture’. <img width="5333" height="2000" width_o="5333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/abc1f6e6f5bab1549c03297336e08a20a357aaf8c2677294ae219d1ae7964337/2016-ponb-28.jpg" data-mid="206422119" border="0" src="https://freight.cargo.site/w/1000/i/abc1f6e6f5bab1549c03297336e08a20a357aaf8c2677294ae219d1ae7964337/2016-ponb-28.jpg" />Fig. 19 <img width="5333" height="2000" width_o="5333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b6fddc186edaad29b66666bb93301b6845fb4fad14dec7560eff5d264e4b8c3c/2016-ponb-33-4.jpg" data-mid="206422464" border="0" src="https://freight.cargo.site/w/1000/i/b6fddc186edaad29b66666bb93301b6845fb4fad14dec7560eff5d264e4b8c3c/2016-ponb-33-4.jpg" />Fig. 20 <img width="5333" height="2000" width_o="5333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/154f89e6906409a0de2bfbd0934fcb4cda39c1b415124e48383d7ffcc82e405f/2016-ponb-32.jpg" data-mid="206422465" border="0" src="https://freight.cargo.site/w/1000/i/154f89e6906409a0de2bfbd0934fcb4cda39c1b415124e48383d7ffcc82e405f/2016-ponb-32.jpg" />Fig. 21 <img width="3200" height="1201" width_o="3200" height_o="1201" data-src="https://freight.cargo.site/t/original/i/ae69d0cc51403329018fb28b7dcffa711f1f07422a004c45464264b0328cf26e/2016-ponb-27.jpg" data-mid="206422467" border="0" src="https://freight.cargo.site/w/1000/i/ae69d0cc51403329018fb28b7dcffa711f1f07422a004c45464264b0328cf26e/2016-ponb-27.jpg" />Fig. 22 <img width="4266" height="1600" width_o="4266" height_o="1600" data-src="https://freight.cargo.site/t/original/i/78dd622ed33a7be27605cab32f64e7d56bd6623eaf7e2f0675cc146bd4d86902/2016-ponb-34dyakonov.jpg" data-mid="206422468" border="0" src="https://freight.cargo.site/w/1000/i/78dd622ed33a7be27605cab32f64e7d56bd6623eaf7e2f0675cc146bd4d86902/2016-ponb-34dyakonov.jpg" />Fig. 23 <img width="4263" height="1598" width_o="4263" height_o="1598" data-src="https://freight.cargo.site/t/original/i/6c2be2fc9e94c0de8bfa33020c4a4593914b78756a9c1b1686701d31c3593dc3/2016-ponb-36cinema-3.jpg" data-mid="206422471" border="0" src="https://freight.cargo.site/w/1000/i/6c2be2fc9e94c0de8bfa33020c4a4593914b78756a9c1b1686701d31c3593dc3/2016-ponb-36cinema-3.jpg" />Fig. 24 <img width="4263" height="1598" width_o="4263" height_o="1598" data-src="https://freight.cargo.site/t/original/i/e08b47b933e6de9832dbd758c70e566dee38d0410b3c0b7642e399d32adb62b4/2016-ponb-36cinema-2.jpg" data-mid="206422470" border="0" src="https://freight.cargo.site/w/1000/i/e08b47b933e6de9832dbd758c70e566dee38d0410b3c0b7642e399d32adb62b4/2016-ponb-36cinema-2.jpg" />Fig. 25 https://kirillgluschenko.net/Riga-Salaspils-Dzintari Fri, 23 Jun 2017 10:35:23 +0000 Kirill Gluschenko https://kirillgluschenko.net/Riga-Salaspils-Dzintari 2016 Kirill Gluschenko.&nbsp;Riga. Salaspils. Dzintari № 136 • Artist’s Book Order № 136 196 pages, 210 × 260 mm Russian/English Edition of 10 copies Gluschenkoizdat, 2016 <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/acfa7ea604edcc630d6d4af886149e0a5a0fece0fc32b0138931e00361711073/riga-8-copy.jpg" data-mid="9274765" border="0" src="https://freight.cargo.site/w/1000/i/acfa7ea604edcc630d6d4af886149e0a5a0fece0fc32b0138931e00361711073/riga-8-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/dfaa44bdd250a16a26a741429c8b13d3d56e518fd99d4608c88fc3b25deb6847/riga-2-copy.jpg" data-mid="9266500" border="0" src="https://freight.cargo.site/w/1000/i/dfaa44bdd250a16a26a741429c8b13d3d56e518fd99d4608c88fc3b25deb6847/riga-2-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/101e30f99239f0a44faea1a74b52afb939fe8f7ac93f842b541db9be358f7ade/riga-4-copy.jpg" data-mid="9266501" border="0" src="https://freight.cargo.site/w/1000/i/101e30f99239f0a44faea1a74b52afb939fe8f7ac93f842b541db9be358f7ade/riga-4-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/930d1abe7478fe1fd7b4934aa4a3fd3f7b80ad66ac4ef194a1ddab8f88633709/riga-7-copy.jpg" data-mid="9266502" border="0" src="https://freight.cargo.site/w/1000/i/930d1abe7478fe1fd7b4934aa4a3fd3f7b80ad66ac4ef194a1ddab8f88633709/riga-7-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/4813dabf9ebb454d49120a19c782bad37a301dd91e78786fb98cff19dacc1f1e/riga-11-copy.jpg" data-mid="9266503" border="0" src="https://freight.cargo.site/w/1000/i/4813dabf9ebb454d49120a19c782bad37a301dd91e78786fb98cff19dacc1f1e/riga-11-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/04e262affb0c79ed14d754e0f4f4425a8d843b33dc75df104444798c5d8c83a3/riga-14-copy.jpg" data-mid="9266504" border="0" src="https://freight.cargo.site/w/1000/i/04e262affb0c79ed14d754e0f4f4425a8d843b33dc75df104444798c5d8c83a3/riga-14-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/ffd3b951418f39cd617fc67b2df182447af83bf79031c5dc63f837676d4967ff/riga-19-copy.jpg" data-mid="9266505" border="0" src="https://freight.cargo.site/w/1000/i/ffd3b951418f39cd617fc67b2df182447af83bf79031c5dc63f837676d4967ff/riga-19-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/4f0cb7f2fb3282a959286457357cfb090f5dafd7a0f7836ae89c12898bda50ee/riga-20-copy.jpg" data-mid="9266506" border="0" src="https://freight.cargo.site/w/1000/i/4f0cb7f2fb3282a959286457357cfb090f5dafd7a0f7836ae89c12898bda50ee/riga-20-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/90ab94c2a229cf03a0122d0f3a67a1b865d66aeb7bbe50aa12b9cbcceab31aea/riga-24-copy.jpg" data-mid="9266507" border="0" src="https://freight.cargo.site/w/1000/i/90ab94c2a229cf03a0122d0f3a67a1b865d66aeb7bbe50aa12b9cbcceab31aea/riga-24-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/16ccdffc6f4201e4be0c943e2779567930383c3f43d410189f15072fe73270c1/riga-26-copy.jpg" data-mid="9266508" border="0" src="https://freight.cargo.site/w/1000/i/16ccdffc6f4201e4be0c943e2779567930383c3f43d410189f15072fe73270c1/riga-26-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/f69a29c39389d54d43745794221e8a6e44d05afc90d1d7691c8f51ad55444c93/riga-29-copy.jpg" data-mid="9266509" border="0" src="https://freight.cargo.site/w/1000/i/f69a29c39389d54d43745794221e8a6e44d05afc90d1d7691c8f51ad55444c93/riga-29-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/dc7b3a7b5788a3f20cea59d549c4796e67f053cad8441ecfa4030b18dbf705dc/riga-30-copy.jpg" data-mid="9266510" border="0" src="https://freight.cargo.site/w/1000/i/dc7b3a7b5788a3f20cea59d549c4796e67f053cad8441ecfa4030b18dbf705dc/riga-30-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/dbf2aa485c6a5a147031c41efe241aeef419285140b646bdfad4421aae631768/riga-36-copy.jpg" data-mid="9266511" border="0" src="https://freight.cargo.site/w/1000/i/dbf2aa485c6a5a147031c41efe241aeef419285140b646bdfad4421aae631768/riga-36-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/8936b0f836b59d2cabf40b80ca54eab1826dcbdb4f47e0824bb63e809ab7e6ba/riga-41-copy.jpg" data-mid="9266512" border="0" src="https://freight.cargo.site/w/1000/i/8936b0f836b59d2cabf40b80ca54eab1826dcbdb4f47e0824bb63e809ab7e6ba/riga-41-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/9effb4c858a298d7a382cd8e496ad7b6d9f4a8599287b6d46e53dc5d08262411/riga-42-copy.jpg" data-mid="9266513" border="0" src="https://freight.cargo.site/w/1000/i/9effb4c858a298d7a382cd8e496ad7b6d9f4a8599287b6d46e53dc5d08262411/riga-42-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/92428ccb7600446e9028d6f139bf512f58a92c1046c656afad692bc17b650c36/riga-47-copy.jpg" data-mid="9266514" border="0" 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data-src="https://freight.cargo.site/t/original/i/0c4d1c2b14fe58154e9dfad014fd16cd127141d04d45b47ddbf3faf5c19be20c/riga-65-copy.jpg" data-mid="9266517" border="0" src="https://freight.cargo.site/w/1000/i/0c4d1c2b14fe58154e9dfad014fd16cd127141d04d45b47ddbf3faf5c19be20c/riga-65-copy.jpg" /> <img width="2598" height="1640" width_o="2598" height_o="1640" data-src="https://freight.cargo.site/t/original/i/8aeb6ff38891671ce5f781b53473969a5a1a23862b115f975416c4a5fa157aae/riga-67-copy.jpg" data-mid="9266518" border="0" src="https://freight.cargo.site/w/1000/i/8aeb6ff38891671ce5f781b53473969a5a1a23862b115f975416c4a5fa157aae/riga-67-copy.jpg" /> https://kirillgluschenko.net/Dresden Fri, 23 Jun 2017 10:35:21 +0000 Kirill Gluschenko https://kirillgluschenko.net/Dresden 2016 Kirill Gluschenko. ‘Dresden’№ 121 • Artist’s Book <img width="2000" height="1302" width_o="2000" height_o="1302" 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data-src="https://freight.cargo.site/t/original/i/26bb06a93472d72d8707f26f5825393ed80dc12208cf0923dd44610e744c31fd/dresden-72-copy.jpg" data-mid="9303333" border="0" src="https://freight.cargo.site/w/1000/i/26bb06a93472d72d8707f26f5825393ed80dc12208cf0923dd44610e744c31fd/dresden-72-copy.jpg" /> Order № 121 202 × 262 mm, 192 pages Russian, English Edition of 10 copies Gluschenkoizdat, 2016 My single girlfriends live in houses of the old type. And either on the fifth floor or the first, where there are benches. They say they haven’t got the strength to go sit and wait every Tuesday in the neighbourhood housing committee. In actual fact, they simply don’t need a flat in a new building. Their flats are quite special. My single girlfriends take pride in their irregularity, and in this more than anything else. The nameplates on their doors cannot be missed — the inscriptions are handwritten. Beside the nameplate there hangs a notepad, with a pencil hanging next to it on a string: for those who come to visit and don’t catch them in. »Meine alleinstehenden Freundinnen«&nbsp;Helga Schubert. Halle—Leipzig, 1978 https://kirillgluschenko.net/Pskov Sat, 30 Dec 2017 14:16:45 +0000 Kirill Gluschenko https://kirillgluschenko.net/Pskov 2016 Kirill Gluschenko. Pskov№ 120 • Artist’s Book <img width="2530" height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/d2f79a8993f535203e98d1bd3034cac9b29d1829ea0862c62f3b861ce52bf43f/pskov-1.jpg" data-mid="9221326" border="0" src="https://freight.cargo.site/w/1000/i/d2f79a8993f535203e98d1bd3034cac9b29d1829ea0862c62f3b861ce52bf43f/pskov-1.jpg" /> <img width="2530" height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/bfbe480cb536208aca09f801434c93e6215d040e28120dde3b225b9bbb89873c/pskov-2.jpg" data-mid="9221328" border="0" src="https://freight.cargo.site/w/1000/i/bfbe480cb536208aca09f801434c93e6215d040e28120dde3b225b9bbb89873c/pskov-2.jpg" /> <img width="2530" height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/51cc135de3275cde34a0f788235d3cbc1d41aaedc07242d37a24b97d5f9c944f/pskov-12.jpg" data-mid="9221334" border="0" 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height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/4c89c05ac1f8438baf4cba6effdcdf9bf5b179c04cffccb6edd182d620d51d45/pskov-83.jpg" data-mid="9221383" border="0" src="https://freight.cargo.site/w/1000/i/4c89c05ac1f8438baf4cba6effdcdf9bf5b179c04cffccb6edd182d620d51d45/pskov-83.jpg" /> <img width="2530" height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/5d21749250d06bf13f608c1cc5ac3a84621035a5b0a6c26a938353c8ece15338/pskov-84.jpg" data-mid="9221384" border="0" src="https://freight.cargo.site/w/1000/i/5d21749250d06bf13f608c1cc5ac3a84621035a5b0a6c26a938353c8ece15338/pskov-84.jpg" /> <img width="2530" height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/c57c43c8fa32bec5b7c1a68b65171c85ceb0f5e3b739169e7e58dc9816480218/pskov-85.jpg" data-mid="9221385" border="0" src="https://freight.cargo.site/w/1000/i/c57c43c8fa32bec5b7c1a68b65171c85ceb0f5e3b739169e7e58dc9816480218/pskov-85.jpg" /> <img width="2530" height="1647" width_o="2530" height_o="1647" data-src="https://freight.cargo.site/t/original/i/4e3d818041492040ef07700417d6698e01d7bf6e67a2380ec262fd3e5f93ec2b/pskov-87.jpg" data-mid="9221387" border="0" src="https://freight.cargo.site/w/1000/i/4e3d818041492040ef07700417d6698e01d7bf6e67a2380ec262fd3e5f93ec2b/pskov-87.jpg" /> Photography and text by Kirill Gluschenko, 2010–2015Russian, English, French, GermanEdition of 10 copies280 pages210 × 260 mmPublished by Gluschenkoizdat, 2016 Pskov Baba Masha by Kirill Gluschenko Translation from Russian by Ben MacGarr &lt;...&gt;&nbsp;A doorway leads from the kitchen into the bedroom. There is always twilight there, the only light coming in from the kitchen where a&nbsp;lone bulb pulsates intensely in the dusty chandelier. This room is also tiny. In it, there’s a bed with a&nbsp;mountain of hard pillows piled on top of&nbsp;it, covered in semi-transparent white pillowcases. A&nbsp;low little cupboard stands beside it and a small black and white TV is perched on a solid commode on the other end of the room, wrapped in a&nbsp;crumbling plastic cover. When I got tired of sitting in the kitchen with them, I would go to that room, push down the heavy door handle and turn on the TV. It heated up, made long buzzing sounds, and after a&nbsp;few minutes it slowly started to form a picture from thin trembling lines. The evening show Vremya was on. As the newscaster’s tense voice emerged slowly from the speakers, I was attentively focusing my eyes on the screen, trying to figure out what he was saying while the room gradually became cloaked in a thick, almost palpable noise barrier. I could hear broken dialogues coming from the kitchen, the sizzling of the thick pan on the stove, the faint squeaking of the mice behind the wall and the creaking couch below me. I sat there and did not move, hiding and waiting for my grandma to call me. The time passed slowly and my eyes began closing all by themselves. When my grandma and I were leaving the house it was already night. High above, the treetops were darkening against the black sky. The&nbsp;fast and troubled rustling of the leaves mixed with the sound of the broad river flowing below and the lengthy songs of nocturnal insects. We&nbsp;walked home, running into swarms of&nbsp;tiny, almost transparent midges. Once there, I deftly jumped over our fence and opened the heavy gate from the inside. I saw the silhouette of my grandma, standing with her back towards me and looking at the river. The&nbsp;moon was shone brightly, illuminating the waters of the calm wide river. Pskov The Girls by Kirill Gluschenko Translation from Russian by Ben MacGarr “I’d spent the previous night, like every other night that summer, on two soft armchairs put together to form a comfortable and even spacious (for my little eight year old body) sleeping place. Before going to bed, I always watched the Vremya broadcast: as the minute hand neared the ‘9:00’ mark, the alarming music started to play, the map of Russia flew in front of our eyes for some reason, and then the newscasters appeared. I listened to the news about the construction of another thermal power station and the record harvest, glancing from time to time at the screen that was glimmering away in the dark. The troubled voices of the newscasters gradually calmed down, turning into a vague babble. Under the subdued murmur of the news stream about the decline of the Soviet Union, I slowly fell into a sweet slumber.”&nbsp;