Inspired by pain. Magic. And curiosity – Interview with Igor Vaganov

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[interview by: Valentine Wiggin]

We invite you to read a fascinating interview with Igor Vaganov, a Russian rock journalist, visual artist, cultural studies expert, producer, organizer, and participant of a number of media and art projects in Russia and abroad [via Wikipedia]. We talk about the underground movement in Communist Russia, music, art, cats. And burning museums. Enjoy!

Who is Igor Vaganov?

Are you wondering if I was involved in the assassination of Kennedy in the year dot? )))

I find this question difficult to answer for a long time. The reason is that identifying yourself is always a very complicated task. Is it actually worth it? When you are interested in and doing a great many things, it’s interesting to encompass them, to touch them with your hands, to create them, which is essential… because the time you have been given is very short indeed. And you understand it. This is why you try to capture these brief moments of time in certain artifacts which are a sort of your personal diary. Sometimes it works. And different people see you differently through these actions. Who am I? A man sometimes alive, sometimes dead. Sometimes considering himself to be inexistent.

If I give you a standard answer, I’m a visual artist, a journalist working on cultural issues for over 20 years, and an organizer of an enormous number of crazy projects involving all kinds of people here and abroad – exhibitions, music and film festivals, events, actions, provocations, etc.

Referring to the Wikipedia biography – what did it feel like – setting the Rostov Museum of Fine Arts on fire?

Ahaha, well, it was a sort of childish inner deconstructivist protest, apparently, almost an illustration to The Rebel by Camus, I guess. I was born and spent my early years just opposite the museum – it’s the main museum in the city, we were often walking past it, and my mom, who always was the dearest and closest friend of mine, used to point at the people whose pictures were hanging in there as examples to be followed. The classical collection is really good there, in fact, yet social realism has been sort of weighing me down since I was I kid. I disliked such examples as a child. Besides, my mother had a habit of taking me to the outdoor concerts of Wagner’s music in the city park. Perhaps it could drive me completely insane. It was much later that I discovered Mishima and The Temple of the Golden Pavilion. At that point, I realized that setting the museum on fire was a sign… What is it like? It’s great. When it’s burning. And bad. When it’s rapidly quenched. ))

 I’m interested about the times when you grew up. What was it like to be a teenager in Communist Russia?

If you ignore Hollywood spy movies shot during the Cold War, teenagers’ life doesn’t seem to differ much in any country, essentially. Conflicts with the system, confrontation with adults, limited freedom of expression, love, hate, and hormones are the things to be faced everywhere. I don’t want to dramatize the events of those years, because it’s still the best time of any life, discovering a lot of things for the very first time. The differences are merely territorial, ideological, or religious. But you’re probably interested in the local features. Rock music was unofficially prohibited here, as you know. On the other hand, we always had access to it.

I guess it was at that time when I first realized that information ruled the world. It generates our subsequent interest in certain personalities, artifacts, or events, it’s exactly the world that moves you and shapes your vision, your position, and your views. In those times, our sources were a few magazines from Poland, DDR, and Czechoslovakia, the black market with the vinyl discs which was always driven away by the militia, the “enemy radio voices” from the United States and England which used to broadcast rock music, several Communist-capitalist newspapers which wrote about concerts sometimes, for instance, the Rolling Stones in Paris or London, political books criticizing Western ‘decadent culture’ (one could learn a lot about that kind of culture from them), similar political TV programs, some friends who came from the other Socialist countries and brought, for example, Bravo, the German magazine or Radio Warszawa broadcasting concerts by Czesław Niemen, whom I still adore, and who was great… It all depended on adults you had contacts with also. For instance, our English teacher allowed us to listen to black market discs with western rock music during the lessons (in her opinion, it helped us learn English better… imagine the music of Led Zeppelin in the entire school during lessons, it was like a revolution!), and our schoolteachers knew perfectly well that I played in an underground rock band, and regretted that I was more interested in that music than the objects to be studied. At school, I was allowed to have long hair and wear jeans, because I always took part in the city contests on behalf of my school: I recited poems about Lenin, and won those contests for three consecutive years, by the way. Can you imagine me, long-haired and reciting poems about Lenin, rock music still sounding in my head?! )) In fact, I wasn’t any sort of loyal Komsomol member or activist; I just won awards for reciting poems, collected waste paper for recycling, and took an active part in some creative contests… My schoolteachers had quite a loyal attitude towards this kind of lifestyle; on the contrary it was rather troublesome at the institute, and I had very serious problems… Everything depends on the people you’re with. It has always been that way. Nerds never depend on any ideologies or political systems. They’re just nerds, and that’s it. I’ve known very decent people who used to be parts of the System, and smooth operators in the counterculture. As to those times… you find whatever is close to you regardless of time, and live in it. The rest of the stuff just passes by unnoticed. However, different people have different memories of that time. Perhaps I was just lucky to be myself.

I can guess that resisting the system via music was the only way not to get mad back those times. Tell us about that period of your life.

Well, we were doing everything that was unofficially forbidden. We wore idiotic clothes, had idiotic hairstyles, listened to idiotic music, and read idiotic books found and translated in some unexplainable ways. On the other hand, we watched the same Western films where more than half of our citizens saw a different, a sweeter kind of life, and another beautiful world where everyone wished to be. At that point, I didn’t realize that people had to be changed, and in those days, that very music wasn’t merely a consolidation center for the “outlanders” like us – it also had a certain sort of concealed rebellious context generated by the fact of its underground existence itself. Do you remember Lou Reed saying that music can’t change history, but it can change the people who change history? That’s why, when I founded Achtung Baby!, which was a long while after all those underground rock concerts and bands, theatrical performances, and avant-garde poetry events, it was certainly more than a purely informative or musical project, it was primarily an ideological one. Its ideology was in the art and the artifacts it included. Still, people were its essence. But before that… perhaps my major influence wasn’t Russian rock music environment, after all, though I took an active part in it, too, for instance, publishing my own hand-made fan-zine (under the title ‘Rock-Opo’, rock in opposition). I was mostly influenced by Paris in May ’68, and especially the actions of the RAF. The latter was largely discussed by the press in the USSR, because they opposed capitalism. )) I’ve always been in sympathy with the “leftists” and stayed very politicized. But that’s a different story, anyway… I was lucky to have parents who always tried to understand me, my interests, and my hobbies, though they had been brought up in the USSR system. Although they didn’t share all of them – for example, my interest in Charlie Manson in the early ‘70s (I realize that speaking of Manson and the USSR may sound weird, but in fact, I still keep the Soviet newspapers clippings with the articles about him published in those years), but my parents were always on my side.

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As a journalist you have created “milestones” for independent culture in Russia. How did Achtung Baby! come to light?

I merely discovered many artists I was interested in for the Russian (and not only Russian) audience; it was nothing more than that. I still get acquainted with people from different, sometimes quite exotic corners of the world through the social network, and they express their appreciation for the Achtung! project. I admit I find it a bit weird but surprising and pleasant. You must have noticed I like being surprised. And my favorite word is “strange”. )) Talking about Achtung! is a long story to tell – perhaps it would be better to get down to writing a book about it, as I’ve been asked to do that several times already. The reason is that Achtung! was conceived as a multifunctional project, and every person knows its certain aspect close to his or her spirit. That’s why I wonder which aspect has to be spoken about: shall we discuss searching for and discovering interesting artists around the globe, creating a large information database, the radio project, the online project similar to a magazine, certain events, contacts, the internal strategy and its activity organizational scheme, supporting some projects abroad and joint activities, or the music label?.. Undoubtedly, this is the most important and favorite ‘child’ of mine, of all the things I’ve been doing in my life. Apparently its name, “baby”, has turned out to be prophetic – yes, that’s my baby. )) Yet, to speak seriously, I guess I just found myself in the right time in the right place, and did what I had to do. Nothing more than that…

As to its beginning… Mmmm, I combed my hair like Nick Cave did during The Birthday Party era, worked as an A&M director for a British- Baltic record company, and was involved in releasing and distributing 4AD and Factory music records here in Russia. We were the first to distribute the records by Joy Division, Dead Can Dance, and other artists previously unknown here. The Baltic countries, especially Lithuania, which I have liked since the Soviet times (to us, it was a sort of the Soviet West) organized the first concerts for Sonic Youth, RIO (Rock in Opposition) movement groups, and Bjork, whom no one knew in those days. I was lucky to have a rare opportunity to be in touch with all of these. Besides, it was where Radio I, the first independent radio station in ex-Soviet, emerged. It was all terribly exciting. We got home from another travel there and decided to create a radio station here. I had already had some previous experience of working at the local state radio, making a program about different sorts of music, weird or not-so-weird ones. That’s why, when our radio finally appeared, I had an urge to overwhelm the unprepared audience by so many unfamiliar sounds simultaneously. Our city is known for its temperament and conservatism, and you could easily get pocked in the eye for such a bold move at that time… But everything turned out well. It was the first and special radio program to be broadcast here. I would just broadcast the music I was interested in. It took place once a week, and lasted for two hours officially, though sometimes, it would take up to four or five hours of the air time. The radio station itself was a rarity then, and probably that was why we – that is, the heavy music broadcast hosted by my friends and my program – were listened to by equally insane people. I had an acquaintance, who was an interpreter, and very often, she left her little daughter with me so that I could keep an eye on her; the kid would stay with me during the programs and sometimes even assisted in hosting them. Just imagine Swans, Sonic Youth, early NIN, Young Gods, or NON commented on by a five-year-old kid at the microphone in the middle of the night! That’s why the word “baby” emerged in the title. As to “Achtung”, it was one of the most popular foreign words heard in Soviet patriotic war films at that time. As I had been working in advertising for several years, I realized that the slogan had to be sharp and short. The idea of combining German and English words in the same phrase wasn’t new; I would say it belongs to Nina Hagen, who was popular here in those days. I liked the way she mixed different languages in her songs. Besides, I was a fan of Leni Riefenstahl even in those times, and I wanted the title to sound somewhat German. That’s how the phrase was coined – two years before the similarly-named U2 album, if that’s what you’d like to ask me about. )) The program itself was entirely based on contrasts – crazy weird music, a little kid nearby on the air, and the subjects we often touched upon (because music often served as a kind of disguise, a sort of external background we used to openly discuss various “inconvenient” city problems, such as suicide, for instance).

After a while, we had an opportunity to make an entire page about that music, and create a TV program; we would even broadcast our program in Amsterdam, Holland for one of the local radio stations there with the help of friendly relations with Staalplaat, the famous local label. When the Internet first appeared in the city (and no one needed it then, because no one understood what it was or how it could be used), we developed our website and tried to put all the information together and continue searching for the artists we would be interested in. Over time, our website exceeded the radio project in abundant information, because it certainly had access to a much greater number of people all over the world. We have never used this activity to gain any money – Achtung! has always been a project out of commerce, it was meant for the soul only. It was financed from our own funds. I don’t know why it became popular in my city; its’ still a mystery to me. As to its popularity abroad, I guess the reason is that we were doing our job in an honest and good way. And we also proved to have a good taste. ))

I’m also looking forward to hearing about your book titled The Wild World of Lydia L. How did you get to know her?

In the ‘80s, I learned about her from a friend of mine, a well-known music journalist here – he mentioned in an interview that he had been at her concert in London, and, as he enjoyed great authority, everyone got interested in the new name. The fact that absolutely no information about her was available only made it all the more interesting. That’s how my long-term persistent research and collecting information about her began and eventually turned into a book. Although Lydia was the center of the narration, I actually intended to do more – describing and documenting the time, her time, the counter-cultural environment, and the artists who surrounded her, most of whom – such as Michael Gira, Jim Thirlwell, Nick Cave, Blixa Bargeld, Richard Kern, Nick Zedd, Sonic Youth, and many more – were quite unknown here at that time. I heard her music much later – I was basically captivated by her artistic personality, her attitude, and non-conformism. I was fortunate to work with several good Western news sources, I interviewed the people who had worked with her at different times; some people were sending me her rare interviews from their archives, and it turned out we had some common acquaintances who helped me get an answer from her. One of her close friends has written to me that, as decades pass, I may know Lydia better than she has ever known herself. )) After all, in fact, we have never met personally – I even suppose it could be unnecessary.

This book is an endless one. It will probably be in the process of being written as long as I live. But that’s alright, because it remains as a sort of a landmark – like a bridge to my youth and my own non-conformism of those days. We have tried to finish and publish it here twice, but we haven’t managed to. I haven’t found any publishing house interested in it. That’s why only its short fragments have been published. Let me tell you a strange thing: when I was preparing those chapters about her for publication, I kept wearing the same clothes, smoking the same cigarettes, and listening to the same music as she did, and even had a similar haircut… You won’t believe it, yet it was somewhat Hitchcock-esque. I have no idea how I came up with that concept – it was probably like trying to “dwell” in another body for a while to feel certain things from within. It was the first and the last experience of this kind, yet it was an incredible experiment. One has to be Lydia Lunch to write about Lydia Lunch. ))

Talking about the spectacular series of your interviews with very well-known figures on our music stage (such bands as Z’EV, Blood Axis, Hybryds, Ordo Equilibrio, and Bad Sector), which one do you find the most memorable? Which one was the most fun?

Perhaps the one with Tomas of ORE. I was told that he was very reserved and reluctant to contact. Yet, when we finally met and began an interview, we got so carried away by the conversation that, as a result, it turned out to be about 150 printed pages long. It was the longest interview in my life. It has never been published entirely, except for a small fragment edited by Tomas himself.
Instead of his responses, Elliott Sharp unexpectedly sent me a few pages of some charismatic texts I couldn’t understand for a long time – I had no idea what they actually referred to. Still, several years later, some enthusiastic readers from Japan explained to me that those were the fragments of his book: he had been writing it for a long while, and all of them were intrigued by it. As to Massimo Magrini, we were simply walking around Moscow during his first visit to Russia, and, as we were strolling, we had three hours of exciting conversation. Another interesting story is about Juergen of Nový Svět. I remember I felt sick once and, as I was running a temperature, I couldn’t write a reply to him. All I could do at that moment was draw. I just drew a letter to him, scanned it, and sent it. He liked it, and while I was ill, I drew an entire comic book with the plot based on the NS band, its members, and the adventures they had together with their friends from some other bands you certainly know well – it was something like the Yellow Submarine (from The Beatles). We titled it RussoManga and even intended to publish it as a limited edition for friends – to have something to get entertained when we grow old, as Juergen defined it. Unfortunately, this project hasn’t been implemented yet… Each interview is as unique as the artist, the personalities you talk to, their creative works, and world outlook are. Each one of them unwittingly gives you a particle of his or her own self, and discovers some new signs and symbols for you. David Tibet, Douglas Pearce… all of them are amazing people, and surprisingly interesting persons to talk to. The Moon Lay Hidden Beneath a Cloud is still one of my favorite bands. When they just emerged, their name was shrouded in secrecy and anonymity, and no one knew who those people were or where they came from. It took several years to get acquainted with them at last and unveil the mystery for everyone. Interviewing them was unique in its way, too… I’ve always been a big fan of John Peel, who has taught me that all you have to do is start, to ask the first question – if the person you’re talking to is an interesting one, the rest will happen all by itself. That’s why I suppose I’ve just had devil’s own luck to find such interlocutors. ))

Do you like to talk to the world via images? How does inspiration come to you? Are your paintings born from visions?

In fact, I still don’t quite understand why I started drawing, and why I continue doing it. I’ve never liked to emphasize my own life within the framework of something permanent, as I’ve mentioned above. I’ve been just living and doing what I get interested in and really want to. The form of expression it takes may be different, it doesn’t matter what exactly it is. That’s why perhaps I’m not a real artist, just like I haven’t been a real journalist, either. Still, I can probably better reach self-expression through visual means. However, this inconsistency has a certain inner core, as it opens the possibility to see the world, the people from different aspects in a more multi-dimensional way, if you possess certain means of expression. It may be compared to multichannel audio, I guess… You’re right, expressing my attitude towards the world via images is more relevant to me today than using words for it the way I used to do before. Where does it emerge from? It’s a complicated question. I’m not sure I know that myself. Through feelings. Through pain, once again. When it hurts, it’s real. It’s the only feeling that never deceives you. Where does it come from?.. There’s probably an extensive associative array, intuition a.k.a. instinct, some hallucinations at the peaks of emotional swings, or certain chemical reactions going on within. Visions and premonitions – yes, they do shape these feelings – anxiety, pain. Yet it’s still a somewhat mystical process I find hard to explain. Perhaps it’s no use explaining it. Because it’s akin to magic. Yet, as David Tibet has once told me, it’s pointless to talk about magic – one should be silent to feel it.

Could you name the most important values in your life? What keeps you going?

Memory, my memory, of course. I’m always inspired by pain. Magic. And curiosity.

Pain is inside. Magic comes from the outside. The value of both feelings as sources of inspiration is time-tested. Both give relative freedom which is so important. As to curiosity, it’s the wings for this freedom. Besides, when you know so many bizarre, incredible things, sometimes completely contradicting each other by their own nature, they may overlap in a strange way within you, occasionally under the influence of absolutely unpredictable factors, yielding a totally unpredictable outburst. That’s very important – this completely irrational approach to everything. It also involves the sense of freedom.

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You have taken part in several international exhibitions. How has the U.S. public reacted at your art?

Yes, one of them has recently taken place in Schwarzwald, Germany. I find it hard to judge the reaction. The reason is that, in terms of travels, I’m probably a self-contained Tsukamoto-ist. )) I mean, it’s related to one of my favorite filmmakers – Shinya Tsukamoto, the Japanese everyone knows for Tetsuo. He prefers working to traveling and hanging out; to him, time can be used in the most valuable way for reading and creating… Therefore, total isolation and silence are the best ‘trip’ ever. Although it’s certainly interesting to see a different world, and observe the emotional charge you’ve hidden in your work have its impact on different strangers. The reaction is definitely interesting to know. But, as you understand, everything is rather relative. In art, I’ve always preferred understatement, which presumes personal interpretation, individual speculation, not a collective orgy. In general, I always prefer solitude to public gatherings; exceptions are rare here. People are different, and, if our feelings are the same, that’s good. I feel even more inspired when people discover some things you’ve missed or ignored in your own work, or haven’t realized them yet. I’m not quite sure how to explain it, but it often happens that a very complex internal process is going on, and certain elements seem to occur on an intuitive level. And suddenly, someone starts showing you the things you haven’t noticed in your works, or explain some hidden symbols and signs. One of my favorite quotes related to that belongs to Burroughs, “You can’t show anyone anything he hasn’t seen already, on some level – any more than you can tell anyone anything he doesn’t already know. It is the function of the artist to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows”. That’s exactly what I mean.

As to America, unfortunately, I couldn’t go there, because our family cat got sick at that very time. And I didn’t want to leave him alone. My acquaintance from New York, a photographer (of Polish descent, by the way) was there and told me that everything was alright, and she liked it a lot.

Last year, you were invited to the 12th International Kansk Video Festival in Siberia as a jury member and showed a retrospective of your video works there at the same time. To what extent is video an influential medium to you?

Video is merely a continuation of what I draw. As I’ve been drawing in the digital media sphere for a certain period of time, video is a logical part of the process within this chain of events. “Music is animated painting, and painting is frozen music”, as Čiurlionis, the great Lithuanian composer and painter, once said. To me, video plays the part of making the image vivid, though I directly depend on the sound, too, while working at it. It certainly has to be “your” sound (I’m speaking about experimental video art, not music or music videos), “your” visual images. Therefore, both my drawing and my video works are somewhat akin to early Russian constructivism in their essence.

In the ‘70s, while I was painting, I learned from an English magazine, which I still keep, that some machines appeared, and people were trying to draw using them. I had no concept of how on earth it was possible to draw using some sort of machines. I mean, not applying some software algorithms, but drawing as a self-sufficient process. After a long while, when I was no longer painting for a number of reasons and didn’t actually intend to go back to drawing, I got my first computer, and that old article came to my mind. It was that very interest in experimenting that brought me back to life. At those times, I called my works computer painting, because they sort of preserved the painting approach. After a while, I wanted the image to have some internal continuation, development, or movement, instead of staying static. I took a camera and tried to go on experimenting with the form – I explained it to myself as the same drawing while using a camera. Many famous personalities have been involved in making experimental movies and video art before me, that’s why I’m not the one who discovered it. Yet it’s always interesting to discover something for yourself. I’ve always adored cinema. And I guess, the large “archive” of experimental movies I have seen for many years has been helping me a lot. I show my video works very seldom. This is related to the technical aspect of demonstrating them. And the particular reason that, in our country, video art has developed a sort of connection with some politicized and oppositional videos absolutely devoid of any “art” aspect. In fact, I’ve been wondering what is called contemporary art here for a long time. I’ve shown my video works in my native country only once; yet it was long ago and it took place occasionally. Kansk Festival in Siberia is well-known and has deserved respect as one of the last genuinely freedom-loving, free-thinking events free from any political motivation. I was greatly honored by deserving their attention and accepting their offer. We used a vast destroyed area of the local airport for the show, and the incredible sky served as a screen. It had a certain kind of Brian Eno atmosphere – it was incredible… Such shows are true magic.

I’m really happy and honored that you’ve joined our Attich Ebulum project. Tell me about the process of creating this cover art. What is your personal attitude towards cats? And what made you agree to participate in our project?

My attitude towards cats has been well illustrated by the story above – the one about my failed travel to America, I guess. I still believe that our family cat, who died from cancer last year, in May, was my guardian angel, and he strongly influenced me. It becomes clear when you spend a few years living in isolation, and the only creature living next to you is a cat. It’s a strange space-like feeling. It’s even greater than space.

Therefore, let me sincerely thank you for the invitation to the project. It was an exciting adventure. I like collaborations between absolutely different people who have different mentalities, world outlooks, and the way of feeling the world around. It always brings something new, and there’s no doubt such projects finally change something about you, too. I liked the idea of the long-awaited and creativity-based alliance with you, and so many different persons from everywhere, and, which was also important, they were ladies. Of course I knew who Sidonia was before joining the project – ‘Demonology in the Middle Ages’ is one of my long-term favorites in my book collection, it’s very exciting. I also saw Tim Burton’s attempts to re-create that imagery. Besides, the topic of cats and the idea of charity and really helping them were what touched upon me.

Regarding my work at the visual part of the project (I made a stop motion video to continue the project), first of all, I must confess that I immediately decided to abandon all the superficial “witchcraft” and Gothic subject matter fashionable nowadays, leaving it to Burton to deal with. That would be too simple. To me, the inner nature of things and the magic that exists around and is a part of this very nature were more important. «Life is not a problem to be solved, but a mystery to be lived» (Julia Cameron. The Artist’s Way. about Thomas Merton). It was all about women’s inner nature, primarily – because the project was female due to its participants, and I’m convinced it has a close borderline with the feline nature. That’s why I drew a woman and the feelings within her, and her inner primordial nature instead of the legendary sorceress. It’s always more beautiful than different literary clichés and myths. But, as you know, even pre-Raphaelites were inspired by her image from the same starting points. Later on, the video merely continued those metamorphoses, enlivened the natural mystical aspect of women and their mystery. Still, it leaves some understatement – it’s a necessary prerequisite of any art, in my opinion, some innuendo, a mystery, and subsequent individual guessing, comprehension, as I’ve mentioned above. That’s it, in a nutshell.

What are your plans for the future?

First and foremost, I’d like to be able to do more interesting projects and meet more interesting people who inspire me. I’d also like to have the possibility to travel more, because it always implies both having new experiences and discovering a new world. It’s time to return after a long pause I had to take some time ago for some inner reconsideration.

It’s very difficult to make any plans in this crazy world. There’s a saying, “When the cannons roar the muses are silent”, but I strongly disagree with this statement. I prefer the Indian attitude towards life, where “every dance of yours should be danced like the last one”. And the fate of the world should enhance this sense of the inner outcome, or outburst… Perhaps that’s why some interesting projects happening lately haven’t been planned; they just sort of drop from the clouds suddenly, unpredictably.

My most important project of the year is a single one at the moment, and I find it important, because I’ve been dreaming about it for a long time. Let me share a secret with you: it’s another joint project with Poland, and it makes me very glad, because my grandmother was of Polish descent – I work with my friends again; it involves Job Karma, a wonderful band I’ve always considered somewhat like “Tarkovsky in music”, and The Magic Carpathians Project famous for their mysterious sound. It’s intended for the upcoming Wroclaw Industrial Festival. This is the first time I’m making these plans public. I consider this festival to be one of the most brilliant cultural events in Europe for a long time. Therefore, I’m sincerely grateful to Maciek for his friendly support, interest in my idea, like-mindedness, and the possibility of making this dream come true. It’ll be an experimental sound and video installation we hope to demonstrate in one of the local galleries within the framework of the festival to come. I hope we’ll succeed, and the guests and the participants of the festival will find it interesting.

Let’s see what happens next… They say taking the long view is an unrewarding strategy. Thanks a lot for the pleasure of communicating with you and answering your interesting questions. Hic est calix sánguinis Mei. Maldoror is dead.

* support: Julia Okkervil

Websites:

Achtung Baby! official website
artproject Svoi and underground film festival Chuzhie!
Wikipedia

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