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In summer , Garage invited me to take part in the program Archive Summer, where I studied the archive of the research and exhibition project Open Systems. Vita came with me and for a couple of weeks we worked together. We never stopped discussing the research, and although I am writing this text alone it is essentially co-authored by Vita. Petersburg as well as on materials from the Open Systems project. The gallery is located in a three-bedroom communal apartment in Egorova Street in St.

The gallery space grew over time. The third room in the apartment is not part of the gallery. Egorka opened at the end of , when Anya and Nastya moved into the rooms they bought Anya and rented Nastya. At the time, third room was occupied by an elderly neighbour, Vladimir Aleksandrovich.

The first project and the only one in was a group exhibition of Anya, Nastya, and their friend Pavla Markova. The last exhibition at Egorka at the time of writing was Support Group for Those Perturbed by Eros October 27—November 23, , the most representative show in terms of artist numbers and geography.

It focused on the states of infatuation and anxiety. Ethos here refers to practice, lived ethical principles, ethics-in-action, a worldview that takes shape in action, the everyday permeated by theory, art, and values, the connection of small and hardly visible that has difficulty gaining a voice, that which is most important.

This was the special aspect hard to catch and requiring great sensitivity , the constitutive trait that I searched for through work, conversations, observations, and discussions at Egorka. It is easy to see that they are not addressed to a third-party reader but to the organizers of the gallery themselves. The boundaries between private life and work are blurred and communication practices are stitched together to become hybrid forms: friendship-as-work and work-as-friendship.

Apart from the tension between the private and the public, art practice and curating, Anya and Nastya are interested in the tension between the individual and the collective, and Egorka has become a space where this tension becomes tangible, a space of potential conflict and the search for balance.

Because it is called Egorka [a male name], because of the way it sounds, the gallery, which is feminine [in Russian], has turned into some sort of a queer subject in my mind. Conversations that take place here turn into exhibitions, into friendships that also become exhibitions of a sort. The subjectivity of Egorka is formed through language and through media social media posts, announcements, avatars, and memes.

Egorka talks to us from the web pages, thus becoming increasingly recognizable. This principle became most apparent during the preparation and showing of the group exhibition Support Group for Those Perturbed by Eros, when Anya and Nastya announced a closed call, inviting artists they knew to take part in an exploration of infatuation and anxiety.

Nastya: Originally it was meant to be an exhibition of no more than ten artists from the feminist support group. So, in the end we had many more participants. Curatorial StrategiesHere we look at what is usually referred to as curatorial strategies. The closed call, as opposed to an open call, is one of them. It always destabilizes you, creates this turbulence in the background.

Marina: Does Egorka have a particular political stance? Anya: I believe it does. We as people have political principles. Hmm… Well, first, we are feminists… I am very into… Marxist and anarchist theories and the people who put them into practice… the questions that are discussed in those circles.

Nastya: We also show works by people who do not consider themselves artists and whose main occupation is elsewhere, they simply make art works. Their status is of no importance. Affective StrategiesWhat I call affective strategies are not intuitive but conscious efforts to preserve and grow emotions that are valuable to those living them.

They are an example of strategies of self-care and care for one another. This is hardly possible in a more professional context, where emotions and affects are seen as unwanted obstacles to work and are seldom considered. Nastya: The birth of an exhibition, working on the idea, writing the text makes us happier. When we had solo shows, sometimes no one at all would come for the opening, and that felt very hurtful. Nastya: I enjoy the process of organizing the display, when we finally get together and decide what will hang where and how it will go together.

Everything is very organic. Feminist Ethics as a Key to Understanding EgorkaThe transfer of the feminist practices of mutual support—such as support groups—into the exhibition format as in the case of the exhibition on anxiety and love is far from accidental.

Indeed, it formalizes the principles of feminist ethics and politics discussed above. I have been unable to find a single aspect of Egorka activities that were not feminist. Garage Archive CollectionEgorka knows how to protect its boundaries. Instead, it is the making of a separate world where a different kind of action is possible. It is precisely this effort, this difficulty that makes the gallery project so important and well thought-through, but also stubborn and persistent in asserting its difference.

It is also important because the private, the political, and the creative are merged into one in their space, practices, and relationships. During my work in Moscow for Archive Summer I came up with the image of grass—a quiet but persistent growth that softly conquers its territory—which explains everything important that I sensed in Egorka.

It seems to have been a gift from my intuitive search. Anya: I guess we created the gallery searching for our comfort zone in the world of contemporary art… and maybe we continued by partially getting out of our comfort zone. Nastya: Yes, this boundary has somehow shifted. Pyotr, who was a physicist by education, went on to study at the Moscow Institute of Contemporary Art and Rodchenko Art School—two of the key educational institutions that formed the landscape of emerging art—and briefly attended the Open Studios school at Moscow Museum of Modern Art.

She also completed a program at the Moscow Institute of Contemporary Art. By the end of the s, having studied in various institutions and maintaining the connections from their previous circles, they had a very good idea of art education in Moscow. Their curating activities began long before Brown Stripe. Ekaterina curated her first exhibition in a show of student works in the small town of Podolsk.

Such spaces are not among the legitimized or legitimizing through their prestige, history, recognition, benefits offered institutions in contemporary art. These strange enclaves and strange unions such as between the young artists and the exhibition space in Podolsk create hybrid, flexible forms of interaction between many actors precisely because they are unnoticed by Big Brother.

In the s, such spaces, inherited from the Soviet administrative system, were discursively and functionally left outside the newly developing institutional system of contemporary art; beyond the hierarchies and inner boundaries of the art world. Nobody needs them, explains Ekaterina, so they have turned into spaces of great freedom. The boundaries in question include those between classical and contemporary art; visual and audio mediums, movements and schools.

Their versatile education informed the great variety of styles, genres, and exhibition formats in their practice. Brown Stripe showed painting, graphic art, photographic works, video art, object and sound art, and installations that took over the entire space. It organized screenings of animation, concerts, performances, and poetry readings. The solution—the overcoming of boundaries—consists, in this case, in the simultaneous presence in multiple zones and their non-contradictory merging within their own biography, the exhibition space or the apartment gallery.

The first exhibition at Brown Stripe was a group show in Ekaterina: The first exhibition was a real hodgepodge. And then we thought that a room that size is not great for group projects and started offering our friends who might like the idea to have a solo exhibition at our place. Pyotr: But the first exhibition was an improvized group show. Garage Archive CollectionAbove I have already outlined the questions that proved to be central for Brown Stripe and that Ekaterina and Pyotr keep returning to in the interview: the idea of the gallery grew out of a desire to overcome the boundaries between various artistic communities and the potential and specificity of the space itself the room, the apartment, the district, the city.

Pyotr: It was a curious thing how a rather large community formed there. The group of people that had existed before the Rodchenko School expanded when I went to Rodchenko and communicated somewhere. Then other people joined in from different circles… and later because two or three circles came together—but did not clash—within one space, a certain conversation emerged.

Thus, the space becomes the key to understanding the initiative, regardless of the scale. The space becomes the axis around which meanings, connections, and references are formed; the space becomes enveloped in myth and connected to history; being located in a space can be interpreted both as violence and as fate.

Regarding scalability in the description of spaces, whatever scale we choose, the space is poeticized and mythologized in descriptions by primarily Pyotr and Ekaterina, who explain its significance thus The room the gallery itself , its small dimensions, a single window and the view from it. The apartment is located in the middle of a standard multi-story building;3. Moscow itself. The RoomPyotr: It was used as a kind of studio, so it was filled with stuff: an easel; paintings; a table; other things.

Before the opening we would take everything out and hang the works. I guess it took us an hour or two, depending on the number of works, but it was all done pretty quickly. It was funny, as Katya also has students who came to our apartment. So, the room kept changing. People like Arseny Zhilyaev did there what they would not do in galleries.

Because they had complete freedom. Pyotr: Conceptually I experienced it a as kind of cave, you know. Marina: Were you influenced by that part of the history? Pyotr: Of course. I lived in Altufyevo and the barracks of Lianozovo, where Oskar Rabin and other wonderful people had lived, were just round the corner.

Worth Painting! Altufyevo is the arse of the world. Strangely, at times we had a lot of people at Brown Stripe, I mean really, a lot for an apartment. With the collective Vverkh! We organized the summer exhibition Nemi in Altufyevo. It was in three parts. At Brown Stripe, a performance took place in the gallery, with visitors watching a very distorted broadcast of it in the kitchen and hearing some sounds from behind the door.

Then there was a trip through the Lianozovo Forest, also with Vverkh! I gave a historical tour and there were some objects and performances. Finally, there was a walk under the Moscow Ring Road, where a river crosses it through a sewer and a tunnel… In the denser forest on the other side of the road we built a dugout and made a cosmist altar.

We sacrificed the only copy of the performance video documentation there. Ekaterina: Sasha Sukhareva, made an exhibition with the things she found in the space. Marina: You mean, she used objects from the apartment? Ekaterina: Yes, such as the old Finnish sewing machine, similar to a Singer, with a table and with legs. She used it as a table and placed her photograph on the shelf. She made black-and-white blurry photographs. We showed another photographic series, actually.

Anton Kuryshev photographed everything that Brown Stripe visitors never saw—things from the rooms that are closed during exhibitions because they are filled with stuff and messy. So, he photographed that mess and kind of inverted the space. Pyotr: The name 7th Floor Radio… I grew up in this apartment.

In his autobiography, The Words, Sartre says that he he grew up on the sixth floor, over the rooftops of Montmartre, and theat sixth-floor perspective remained with him throughout his life. At some point in my life, I felt that the view of Altufyevo has burnt into my eyes.

This experience of the space, of the presence in the space, encompasses and merges together the physical the long journey from central Moscow, the walk from the metro the cultural the memory of the Lianozovo group , the infrastructural periphery, marginality , the visual typical box houses , the personal the view burnt into the eyes , and shared elements heterogeneity and number of visitors. This particular experience of space has to do with its sacralization, and in the case of Brown Stripe it might be difficult to say with certainty whether it is playful, subversive or serious.

Discussions of exhibitions often touch upon rituals and the ritualistic foundations of art, its magical and mystical aspects, both in general and in relation to the particular artworks on show at the gallery. The Ethos of Brown Stripe: Sacred FunOne might assume that art understood as a ritual has to look serious and be taken very seriously, but in fact the ethos of Brown Stripe is an ethos of fun, simplicity, drive, and ease: everything seems to happen naturally. The fact that Moscow audiences only come to private views is criticised, yet immediately taken for granted and made into a rule for the organization of exhibitions.

There are, of course, many other important things, such as the incredible discursive density and fury of the Brown Stripe nights: endless debates, critique, the birth of theories—serious or not—active engagement in the conversation, the passion for discussion. But those personal aspects are in each case presented differently.

In the case of Egorka, the institutional context is of less importance in St. Petersburg, of course, it is less pronounced. Their personal is built on different ground, including feminism, activism, and anarchism, whose ethical and political stances the curators appreciate, and to a greater extent based on the practices of active remodeling and living of the everyday: the introduction of the everyday to curatorial strategies and artistic contexts.

Petersburg and their connection to Omsk is very important to them. Perhaps, this points to a general tiredness with markers such as diplomas from contemporary art schools, different as they might be. A huge difference is found in the ways in which apartment gallery curators draw the boundaries between public and private: from real spatial borders to symbolic ones.

The common aspect is that, however the borders are drawn, they are the topos of self-analysis and are explored in the exhibitions. The methodology of this text is based on the intuitive capture and interpretation of what I have heard, as opposed to classification; on the hope for proximity and therefore understanding.

Such embodied research relying on emotion as much as on the rational was made possible by the specificity of the subject itself, and I am grateful to my informants and their living and working spaces. I did interview Pyotr Zhukov and Ekaterina Gavrilova, but the retrospective view from quite a distance is a different thing. It was a different context, of course, a different time.

The only possible solution was to compare what is comparable, for example the texts and the analysis of the interviews, and to speak of the incomparable separately, subverting methodological continuity. In other words, to write different texts within one. The key element that is at the core of my interest in apartment galleries—their ethos—can be grasped through video as well as through text and of course through nostalgic retrospective speech.

We gather every once in a while. Our practices vary. The main idea is to support each other through the discussion and co-production of works and in private matters. The group is formed and semi-private. One can share a bed, sadness, loneliness, ideals, a lunch, property, dreams, but most often with one other person, not many.

And if we share with many, do we need one? Perhaps, if communes created by the calling of the heart were indeed possible, our habits of sharing with one person would be completely redefined. I see it in my mind as vegetation being rapidly covered with the tumours of mould that join everything into one; sparks of commonality that transform bodily structures and volumes and creates intricate and fragile, unstable queer communes.

Oh mould of commonality, come cover our bodies! Meanwhile, I am currently studying self-organized initiatives, and in particular, apartment galleries, and at this stage my most important discovery is that Egorka Gallery is essentially grass—it is grass in terms of ethics. At the time of my research the gallery had already closed.

I had never heard of it before and for me it was a real discovery. In the archive I found just over six hours of videos documenting its activities, and from the first few minutes I knew I wanted to study it and write about it. What was it that excited my interest?

It is both easy and difficult to answer this questions. I saw people in the bedroom, in the kitchen, by the window, talking about art; and somehow I knew that something important was happening there and that I wanted to be there. I was instantly charmed by the space. Their original name, Rossiya, Vverkh!

The upward movement referred to the ideas of Russian Cosmism. The tightness is, so to say, monstrous. Subjective video sketches surpass the bare necessity of a video archive with their fascination. The camera catches an innumerable number of expressive micro-narratives that expose the feelings and hopes, doubts, delights, and fears of those members of the artistic community who get into focus.

Between Spring and Summer was conceived as a part of a cultural festival accompanying a sporting event The Goodwill Games , held in Seattle as a celebration of friendship and peace between former Cold War enemies. In the games were held for the second time—and for the first time in the United States. A museum in Tacoma a city fifty kilometers from Seattle invited curator David Ross, who had been in Moscow before, to prepare an exhibition of contemporary Soviet art.

Ross, director of the Boston Institute of Contemporary Art, invited his deputy, Elisabeth Sussman, to participate in the project, as well as two Russian curators: Margarita Tupitsyn and Joseph Backstein. The exhibition was assembled in Tacoma in the summer of ; after that, it traveled to the East coast, to Boston; and from there to Des Moines, Iowa, in Tupitsyn had lived, studied, and worked in the United States since the mids, and therefore had a good grasp of contemporary US academic discourse; Backstein was a close friend of many artists and lived in Moscow, and therefore better understood the inner dynamics of cultural discussions taking place in Moscow and Saint Petersburg.

Some artists went to Tacoma, some to Boston, Backstein was present with his camera in both places, recording everything, but it was the Boston film that turned out to be an unexpectedly expressive piece of moving image. There is no pre-conceived narrative in the film: it develops by itself, over time. Formally, the recording consists of scattered scenes, long shots and close-ups, casual conversations, and random meetings.

Backstein films artist and architect Alexander Brodsky continuously for twenty seconds while the latter fixes some camouflage netting construct onto the stair railings. For a whole minute, he films an American woman applying some putty to the wall. From the same canon is the utopian scene of a communal lunch. The bell rings, calling everyone to the table. Backstein takes the elevator, enters a room in which a dozen people are sitting at a long table, there is a case of beer on the table, people are eating soup from cardboard cups.

Everyone is happy to see Backstein and his camera. The camera finds Brodsky. Very competent soup. Backstein puts the camera on the table; the lens is obstructed by a two-liter bottle of Coca-Cola. It's hard to imagine that this is not on purpose; the frame is extremely symbolic. Off-screen, Backstein hums contentedly at the delicious food. The Americans cast worried glances at the camera and at the Russians. The camera slowly slides past tense people; many of them are uncomfortable under its gaze.

The key episode is a meeting with Ilya Kabakov, already an international star, whose large solo museum exhibitions have been held in Switzerland, Germany, and the USA. Kabakov walks into the exhibition preparations in street clothes and immediately pays attention to the equipment in the hands of Backstein:- It's so small. Yes, with small ones, but Remember, it's exactly the same. The one I saw in Washington is exactly the same.

It's just that the battery is located differently, on the side. Immediately, without pausing, Backstein asks:- Well, do you think this is a good exhibition? Here is the work Children's [by Elena Elagina], in my opinion, it's very expressive. Really good, in my opinion. Quickly changing registers, switching from everyday language to theoretical, Backstein and Kabakov begin to vividly discuss Kabakov's already built installation Sixteen Ropes, a dark room in which ropes hang with pieces of rubbish tied to them and scraps of conversations written on pieces of paper— verbal details of communal life.

You can only see what is happening inside by using flashlights, which will be placed nearby. They will go with flashlights, won't they? The artist and the curator encourage each other, persuading each other in the correctness of decisions that have already been made.

Kabakov explains the meaning of the spatial design of the work:- It is a room which you have to enter, but you cannot enter it because there is a heap of garbage hanging. This is the game. The door is the symbol of entrance.

But you can't enter, because someone already lives there. There is collective life. Come in, but you cannot enter. It's fine. The conversation quickly becomes completely abstract. In what sense? There are two such ambiguous, capacious expressions that can cover almost the entire universe of being.

This is a nonsensical phrase. How can it actually be a success? Well, fuck you. Let's go home. It moves on and is not fixed. There is no specific point. Let's go. There is no truth or meaning anywhere. Like a full, final meaning. Everything is tourism. Kabakov formulates one of the basic principles of postmodernism, the rejection of absolute values and universal principles.

Backstein tries to clarify:- Well, well, if meaning is a procedure of adding meaning to something The camera focuses on his face. He comes to a description of the exhibition:- The same is with this exhibition. It's amazing. But one does not need to look at it, neither at individual objects nor at the general concept; you don't need to look at it at all.

It is a text that operates with its own extra-textual circumstances. There is some of its energy; there is an opportunity to enter the space of the text. But it deliberately contains the idea that nothing will change from sorting them out. But the enumeration itself is a very important activity.

After all, what..? I suddenly remembered that they are waiting for us. Backstein greets friends and colleagues. They make fun of his camera; the camera is still a major character of the film. An employee of the institute asks Backstein if he has permission to film. Some girls are laughing. Backstein runs into Margarita Tupitsyn and her husband, Victor. Margarita mockingly addresses Backstein:- Vertov? Are you Vertov? Backstein triumphs:- I'm just like Dziga Vertov!

I mentioned you in my last article on photomontage,—boasts Margarita. What for? Not you,—Margarita dismissively throws a goodbye, and she and her husband are gone. Backstein gives someone a camera, after which he introduces himself to artist Nam June Paik and begins to discuss something with enthusiasm with him.

Backstein sheepishly asks that they turn off the camera. Later, Russian artists gather in the office. Artist Irina Nakhova praises Margarita Tupitsyn's style. Backstein reports excitedly:- Kabakov is now standing there, talking to Nam June Paik. Would you like to meet Nam June Paik? How did I become sure that he was a woman? I was completely confident it was a broad!

Frankly, I never had any doubts that he was a woman. It seems that a lady made these works. I do not know why. Suddenly, she realises something, takes a bundle of invitations to her upcoming solo exhibition at the Phyllis Kind Gallery in New York out of her bag and hands them out to everyone present.

Ann enters the back room, apparently an employee of the institute. I have only been working here since the Mapplethorpe exhibition, but apparently it is a very good number of people, better than usual. I'm good? Because of what? The rumble of the reception again. At one point, Backstein is noticed by Andrew Solomon, a journalist who came to Moscow in to cover the Sotheby's auction.

He made friends with Soviet artists and wrote a book about his adventures in the Soviet Union, entitled The Irony Tower, which will be published in New York next year, in In the future, Konstantin will be the editor of the Russian edition of the book. In addition to the catalogue of the opening exhibition, which later became an important document for art historians, the museum store sells a catalogue of Kabakov's exhibition Ten Characters at the Ronald Feldman Gallery in New York also shown in London and Zurich , a catalogue of an exhibition of Russian Constructivism at the University Museum in Seattle and the Walker Center for the Arts in Minneapolis; and the memoir of Andrei Sakharov.

The next day, Backstein takes a long shot of the exhibition. In front of the canvas, there is a heating fan directed at it, which is a part of the work. Well, you see, it is printed in all the newspapers. Instead, he points it at the camouflage netting that Brodsky was installing at the very beginning.

They move on. The camera is filming a TV-set showing a movie about Collective Actions. Backstein aims the camera at Andrei Monastyrski's Finger. The camera aims at the label, which has only the name of Andrei Monastyrski. The shot is interrupted. Backstein and Elagina go further.

Visitors with flashlights walk inside the Kabakov's installation. Indeed, Monastyrski subsequently criticised Backstein for the fact that his instructions had not been followed see the dialogue between Monastyrski and Igor Makarevich in the video archive of Igor Makarevich: IMV He looks stylish: he wears a cropped suit, a white shirt with large red polka dots and a baseball cap with the ICA logo. His work at the exhibition is a dedication to the member of Medical Hermeneutics, Sergei Anufriev: an altar with his images in the exhibition hall and a banner hanging on the building of the institute.

Afrika asks where Margarita Tupitsyn has gone, and then pays attention to the Medical Hermeneutics installation, consisting of Christmas trees, around which soft toys in white angel or hospital robes lead a round dance:- I wonder what will happen with the Medhermeneutics installation Little fir-trees? It shows several works by the Medical Hermeneutics group. Traditionally, unofficial artists from Moscow and ones from Saint Petersburg did not understand each other very well. Artists from Saint Petersburg were more fashionable and sensual.

Muscovites were smarter and more conceptual. Artists in Saint Petersburg played in rock bands; Muscovites published books. Muscovites drank, residents of Saint Petersburg used drugs. The members of Medical Hermeneutics, primarily Pavel Pepperstein and Sergei Anufriev, were disciples of Monastyrski and the successors of the Moscow Conceptualist tradition, but became close friends with Afrika; Afrika was a disciple of Timur Novikov but became close friends with Anufriev and Pepperstein.

All three were sceptical about the contemporary art industry. Although it is not very clear what it heats. And it also warms our hearts with its ridiculous appearance. Afrika continues to speak, approaches the fire extinguisher and picks it up:- I really like to pay attention to the invisible parts of any installation. Backstein asks Irena Kuksenayte, an actress and wife of Afrika, what she thinks about the exhibition. Bloated capitalist squirrels, they look a lot like gluttonous rats.

Ours are red-haired beauties! What can I say. Backstein returns to filming the exhibition. Backstein gives Elagina the camera and enters the frame. Joseph Markovich, say a few words. Ilya Iosifovich [Kabakov], when he saw it, jumped up out of joy. Zvezdochetov is our main genius. The good thing about this work is that you get to sit on an artwork.

That is its main meaning. Backstein goes on to another work by Konstantin Zvezdochetov, an object made of a door, a shelf with a crossbar attached to it, an apple on the shelf, and a rushnyk hanging on the crossbar. Although it seems to me personally that Kostya's works are so good because they are absolutely uninterpretable, but at the same time they seem to be absolutely reliable and objective. That is, the image is visible, but absolutely not observed and not interpreted. The rushnyk belonged to the family of Larisa Zvezdochetova, so when, a few years later, Margarita Tupitsyn announced that the Guggenheim Museum wanted to get this work for its collection, Zvezdochetov refused to sell it, saying that the family heirloom was too precious to give it away.

Backstein gets distracted by the camera lens. Backstein laments that he wanted to hang Maria Serebriakova's work—a series of collages made up of found photographs, scraps, and drawings—back to back, but he was persuaded to give each frame space. He does not talk about the work itself. Finally—an installation by Afrika about Sergei Anufriev:- This is the work of the main artist of our times, Afrika. Seryozhenka should be very pleased. Such a trick-on-a-stick for him.

Backstein is not worried that he has nothing to say about some works at the exhibition that he is curating. The main thing is their presence. The main thing is the pleasure that all participants get from their existence in the culture. Backstein begins to talk about the attitude of Soviet artists in regards to painting, and utters an unexpected tirade:- This is such a strange situation that in contrast to Western art, where the pictorial period and the conceptual period alternate with each other, and during the conceptual period the works stick to some compulsory formal pictorial minimalism.

Elagina shows the works of Sergey Mironenko and Andrey Filippov. Backstein discusses Boston with an institute employee holding fire extinguishers. And now it is night again, Backstein gets into the car in order to go, apparently, to the airport. He films the outgoing road through the rear window for a while. It still gives some idea of the city. The microphone is clogged with road noise and occasional sirens. Backstein complains that the battery is nearly empty. The adventure has come to an end, but the adventure of contemporary Russian art is just beginning.

The two exhibitions constituted a major discovery for Western and Soviet audiences. Works by the Russian and Soviet avant-garde in the exhibitions were almost completely unknown visitors on both sides of the Iron Curtain before that moment. This was the first time such a large number of works by Western modernists has been shown in Moscow. Pontus Hulten was a chief commissioner of the exhibition on the French side, while Jean-Hubert Martin was a curator of painting and sculpture section.

During his visit to Moscow in September he talked to curator Andrey Erofeev on details of organising both of the shows and answered questions of Garage Archive curator Sasha Obukhova on the 3rd Moscow Biennale of Contemporary Art, that he curated in , and the new generation of Russian artists.

Dimitri Sarabianov and Pontus Hulten. Garage Museum of Contemporary Art, Moscow. Igor Palmin archive. Andrei Erofeev: If I am not mistaken, the idea for the exhibition came from Pontus Hulten, [1] and it was initially planned for three cities instead of two. Jean Hubert-Martin: That is absolutely right. He planned to show how, when artists emigrated from one country to another, the French avant-garde found its way in Moscow and then traveled to Berlin. Out of that came the idea for three solo exhibitions by Duchamp, Picabia, and Malevich, all as part of the same opening.

The feedback he received was positive. The Soviet side was ready to start negotiations. Hulten came back to Paris in high spirits: we were getting Gauguin, Matisse, and Picasso from the Shchukin collection! From the s, artworks from the Shchukin collection had been lent as part of the cultural exchange program between France and the USSR.

What we really wanted to see was the Russian avant-garde, of which we knew nothing back then. In I joined Hulten on a trip to Moscow. The spirit was still very positive: the Soviet side wanted to make an exhibition together, however was too soon for them and they asked for it to be a year later and without Berlin. The exhibition was postponed to and was renamed Paris — Moscow, so we had to fill the gap in with something else.

Pontus thought to bring the Costakis collection to Paris, [2] while I, young and enthusiastic, suggested organizing the exhibition Paris — Berlin. We had very little time, but decided to do it. We contacted Werner Spies, [3] and he was put in charge of the German part, while I worked on the French. AE: Who was included in the team of specialists working on the three-part exhibition, the way it was conceived in ?

I was in charge of painting and sculpture. Our team also included Raymond Guidot, [4] who was commissioner for applied arts, graphic design, architecture, and urban planning, and Serge Fauchereau [5] working as an independent expert and overseeing the literature part. JHM: And also Vladimir Baranov-Rossine alongside other artists who immigrated to Paris and then gifted or bequeathed their works to local museums. However, the Russian avant-garde was poorly represented. The chief commissioner for the exhibition appointed on the USSR side was Alexander Khalturin, [6] an official, barely qualified as an art historian.

We knew nothing of his background. He proved to be a savvy and resourceful person, who could solve political questions with Moscow officials. He was rather strict and authoritarian with us, but quite open. We could discuss things with him. Was there any controversy on the USSR side? Khalturin was very active and slippery.

He was always pushing for artists who seemed too academic to us. Before discussing artworks with Khalturin, you needed to see them. How was it organized, were you allowed into the secret depositories? JHM: We had to understand what was kept in Soviet museums in order to know what to request during our negotiations. Discussing names is one thing, specific artworks is another. We were trying to work in two directions at once: from the top through the Ministry of Culture and bottom-up, acquiring as many new contacts among museum colleagues as possible.

We were talking to them, trying to persuade them. We were received very well most of the time. We understood the level of historical competition between Moscow and Leningrad, so Hulten suggested we visit Leningrad first and meet people from the Russian Museum. We shared our ideas and tried to talk them into working with us, yet most of all we were looking to get into their stores and see the works.

Usually we succeeded. AE: So, it turns out you had Russian informants, not authorized to tell you anything, yet acting on their personal initiative? And thanks to them you got into secret depositories of the Tretyakov Gallery and the Russian Museum? This could be interesting to investigate further, as secret sabotage was present in the USSR on absolutely all levels and in every sphere: science, technology, and art were no exceptions.

This was seen as resistance to the system. JHM: There was a circle of people who helped us find the necessary information and choose works with better precision and expertise. For example, Dimitri Sarabianov, [7] who we met regularly. Svetlana Dzhafarova [8] revealed to us works by Malevich that were kept in provincial museums we had never heard of they were not included in the show in the end. As far as I recall she was fired for doing this: Irina Antonova realised that Svetlana was passing on information that conflicted with the official discourse.

There was a Russian researcher working on a book about Tatlin [9] that was published soon after Paris — Moscow. She and her husband were outside the system and helped us a lot. Another person who worked on the exhibition was Vadim Polevoy, [10] who was clearly there to see that the process went well in the political sense. Within the exhibition we wanted to reflect on the image of the Revolution and everything that happened after. In our working group we also had Anatoly Strigalev [11] and Vigdaria Khazanova, [12] who was responsible for the architecture.

AE: Did any of the Soviet specialists come to Paris for the opening? JHM: She got involved at the stage when we decided to organize the second exhibition, Moscow — Paris, and she took over the whole process. AE: The exhibition in Paris was organized by your team, with advice from Moscow art historians and involvement of officials from the Ministry of Culture.

JHM: I would put the officials in first place, as a lot depended on them. In particular on Khalturin. The checklists of works that we were discussing were compiled in alphabetical order and started with Abram Arkhipov. Did you have photographs of works? Did you plan the layout using photographs as well? JHM: We used photographs for the discussions. And the layout was planned room by room. Khalturin demonstrated a decent historical understanding of the subject, both in terms of individual works and the general exhibition framework.

AE: After the exhibition was held in Paris did it move to Moscow with the same artworks? JHM: At first, we planned to ship the exhibition from Paris to Moscow exactly as we installed it initially. All the loans were requested for both exhibitions.

That meant we had to start from scratch. Before restarting work on the exhibition, I decided to play the spy and travel to Moscow. I met with Irina Antonova at the Pushkin Museum. The exhibition was curated solely by Antonova. Most of the work was already done, all that was left was installation.

One of the trickiest situations involved a huge vitrine from the Paris exhibition, that had involved a lot of effort and was devoted to Trotsky. We had to fight for a permission to show it in Paris, and in Moscow it prompted a surreal conflict, with Hulten on one side and Khalturin and the Soviet Ministry of Culture on the other. No one wanted to give in, but the exhibition opened without the vitrine. I also asked Natalie Brunet to get us badges with ice picks to wear.

Trotsky, as we know, was murdered with an ice pick in Mexico. Antonova saw it installed in the main niche of the White Room, the central point of the museum, and was furious. She and Hulten argued. They did not have the original plans, only a couple of photographs. Everyone understood that the reconstruction was very approximate. The Centre Pompidou team made the second version, which was more accurate than the first and was eventually shown in Paris and Moscow. JHM: I arrived at the museum before the works were delivered and before installation began.

I was surprised, as the works were not included in the contract. We were used to complying with documents and checklists signed at the highest level. Also, there were plans for the opening or the day after to hold a fashion show of dresses made of fabrics based on sketches by Popova and Stepanova. What really astonished us were the fictitious reports on the exhibition opening, compiled by the museum. He did come, but a month and a half after the opening.

On both occasions it was part of actions organized by dissident artists. Everyone was telling us crazy things, like the Centre Pompidou was under surveillance and we were surrounded by KGB agents. AE: And that happened thanks to the efficient methods of Pontus Hulten and the pressure he could put on people. You once told me that you had a sense of being on a mission of discovery for this kind of art.

JHM: We were restoring historical truth and that was really moving. Petersburg knew the Parisian avant-garde much better than the Russian, thanks to the Shchukin collection. A question was raised during a recent conference on Shchukin: [19] why did he buy so many incredible and innovative works in France, yet ignore Russian artists? AE: Just like George Costakis, who collected and saved works by the avant-garde, including the second tier, and payed almost no attention to the Soviet nonconformists, whose works he could get for free.

We often had lunch or dinner together. I am sure he complied, but deep down he realized that hiding those works was absurd. She could have shown stronger support for the art. JHM: But she agreed to have the exhibition at the museum. Who knows how things really were for them? Maybe Khalturin was struggling to find a museum director brave enough. Sasha Obukhova: The Moscow — Paris exhibition made a big impression on me.

In particular I remembered Filonov and Miro. We knew nothing about him at the time. SO: He bequeathed all his works to the Russian Museum. JHM: And made a big mistake: there are very few of his works on the market and this affects his reputation. I first realized this when the first Filonov solo show at the Centre Pompidou in or Savitsky collected the second tier s and s avant-garde bought up works by dead artists.

But I wanted to come back to the subject of this interview and ask you: when you were working on your famous exhibition Magiciens de la Terre [23] , you included Russian artists. How did you choose the works? I was in Moscow often and wanted to make an exhibition of nonconformist works. There was an expert board at the Kunsthalle, chaired by Paul Jolles.

I met with all of them. Jolles insisted on a group show of four or five artists, while I wanted to show just Kabakov. I organized the first Kabakov exhibition in Bern in There were two daily papers in Bern and one of them published a review saying something like: what is Martin trying to say, who needs Russian art? The other review showed more interest, which was exactly what I was trying to achieve, to make people wonder why I chose a Moscow artist.

At the time I was also working on Magiciens de la Terre and had a lot of discussions with Kabakov. We exchanged letters. Those letters were delivered by Vladimir Tarasov, [25] who visited Paris for concerts. He told me that Kabakov liked an idea of the project, which meant a lot to me. He was initially included in the list of artists for the exhibition, but I also thought about Eric Bulatov as an important and complex artist, so I decided to invite them both.

SO: Did you see it in his studio? JHM:Yes, and I was amazed: the installation occupied nearly the whole studio, but no one could see it apart from friends. SO: I heard that while Kabakov was preparing for the exhibition in Bern, he was expecting a truck from Switzerland and some of his works turned out to be impossible to remove from the studio. As a member of a diplomatic mission she was much freer to move around the city and her mail was never searched. She took three paintings by Kabakov and they were passed through the window.

One of them was sent to Centre Pompidou, two others to Basel museum, or to Bern and Basel, but definitely to Switzerland. Those were incredible times. And he did it! What was the key? The will of a single official, who happened to be more open than others? Among other things he signed export permits. Some people believe that he was the first to start lifting the Iron Curtain. I am not sure how fair it is to say that, as in many things were much easier to organize.

JHM: In things were certainly much easier. Kabakov first left Russia in late , traveling to Austria under a grant program. Do you know how he got his visa? He applied for a USA visa in Vienna. SO: You played an important part in the lives of Moscow artists, when you curated the 3rd Moscow Biennale in How did it go? Who invited you? We stayed at the Baltschug Kempinski hotel.

I met Joseph and he suggested I curate the biennale. Accept immediately! In my opinion the first two biennales [28] had a strange structure. The main project was created by a team of curators and hardly included any Russian artists. Their works were always part of the parallel program. SO: Russian artists were included in the main exhibition. There were few, but they were present. JHM: In any case I told Joseph from the very beginning that I would only curate this project if I was allowed to include Russian artists in the main exhibition, not separately from other participants.

SO: The generation of artists working in the s was different from that of the early days of perestroika. How did you do your research for the biennale? JHM: I wanted to meet as many artists as possible and discover the new generation. I was disappointed by what I saw. I think Ivan Chuikov was surprised, when I picked his old installation Split Identity — , which he had repeated numerous times. But I liked it and persuaded him to lend that work for the exhibition.

SO: This was one of the best exhibitions in Moscow in recent decades. It was a great pleasure to work on that biennale. SO: It demonstrated a will to make a statement about art, which is a rarity. And my last question: what is your impression of Russian art that you have seen during your current visit to Moscow? Do you see works by Russian artists at international exhibitions? How is Russian art represented in that context?

JHM: I think that Russian art today attracts less interest than before. Also, there is very little information on what is happening in Moscow and St. Fifty years ago we knew much more about art from Russia than we do today. It is not present on the European or American markets, which is sad.

That is probably the reason. SO: In recent years there were no major exhibitions of Russian art abroad. Might this be political? The work of Western museums is dictated by fashion. There are endless extremely boring exhibitions of Chinese art opening in France today, and no one cares about Russia. Curators are usually lazy and have little interest in what is going on around them.

The reasons are, again, market-related. Galleries that work in Russia do not collaborate with their colleagues in the West and do not look to establish the exchange that is so vital. Makarov Nickolay , 6 e-mail: nick petrosoft. Merkoulovitch Leonid e-mail: leomerk gmail. Neishlos Leonid Arye , 5 e-mail: aryeneishlos optonline.

Morachevsky Nikolay , 3, school 38 e-mail: hekarus rol. Berkovitch Michael , B, school 38 e-mail: mberk Berk gmail. Fridlyand Roman , school 38 e-mail: romanf ksl. Egorov Sergey , A, school 38 e-mail: egorov phtf. Petersburg, Ustinova Sergeev Dimitri , A, school 38 e-mail: sergeev.

Lokshina Galya , B, school 38 profession: engineer-physicist, constructor country: Russia address: St. Malyshev Victor , B, school 38 e-mail: vm eltech. Sloushch Anatoly , B, school 38 e-mail: anatolys breezecom. Yakovlev Alexandre , E, school 38 e-mail: alex.

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Lubarov Alexander Sasha , 4 e-mail: alex lubarov. Tereshkevich Alexander , 1 e-mail: alter irisoft. Petersburg, Morskaya nab. Esterkin Alexander , 2 e-mail: esterkin bigfoot. Garnovskaya Maria N. Professor of Medicine country: U. Ginzburg Alexander , 2 e-mail: ginzburg mail. Lifshits Lief Eugene , 2 e-mail: eugenelief hotmail. Romashev Sergey , 2 e-mail: romashev bk. Rybak now Smirnova Marina , 2 e-mail: nasturcia hotmail.

Reinov Tatiana , 3 e-mail: treinov yahoo. Shlyapnikov Sergey , 2 e-mail: Shlyapnikov hotmail. Remizov Sergey , 3 e-mail: rsd iacis. Slaventantor Simon Semen , 2 e-mail: s. Victorov Alexey , 3 e-mail: victorov nonel. Petersburg State University, Chem. Kuznetzova,, St. Khvatov Sergey , 2 e-mail: xbatob techno. Matjushkina Marina , 2 e-mail: marina komitet. Roubashkin Dmitry D.

Tsurinov Andrei , 2 e-mail: tsurinov lifshits. Tolchinskaya Yelena , 4 e-mail: tolchinskaya volpe. Abramov Evgenia , 5 e-mail: evgenia. Ginzburg Elena , 5 e-mail: ginzburg pbworld. Lifshits Mikhail , 5 e-mail: private phone: profession: mathematics position: professor country: russia address: St-Petersburg, Komendantskii , Russia birthday: Mikeshin Mikhail , 5 e-mail: mmikeshi smith. Dvortsova Palace Galina , 5 e-mail: galina. Pokrovskiy Yuriy , 5 e-mail: ypok comset.

Smirnov Andrei , 5 e-mail: asmirnov ford. Bogdanova Olga , 6 e-mail: otcherk gmail. Dergatch Fedor , 6 e-mail: fvd aport Petersburg, pr. KIMa, birthday: Dubovsky Arkady , 6 e-mail: dubovskyark hotmail. Labutin Alexander , 6 e-mail: lai atlant. Nopreenko Roman , 6 e-mail: roman liviz. Smolensky Vadim Dima , 6 e-mail: smolensky usa. Troupansky Irene , 6 e-mail: irka hotmail.

Bourov Alexander , 7 e-mail: alex alexir. Mankovskaya Irina , 7 e-mail: ira gorod-spb. Mednikov Boris , 7 e-mail: bmednikov hotmail. Pliner Vadim , 7 e-mail: vadim. Stolarov Joseph , 7 e-mail: yossi sun Zaitchick Fima e-mail: sajt-e dial. Koenig AG country: schweiz address: Letzigraben str. Alexander Arkady , A, school 38 e-mail: alex kostaprn. Bytchkova Ljuba , A e-mail: bystedt hotbrev. Frolunda , Gothenburg birthday: Dadiomov Alexander , A, school 38 e-mail: alexdad microsoft.

Palchik Alexandr , A, school 38 e-mail: xander brainres. Paykina Galina , A, school 38 e-mail: isgalina mail. Syschikov Jury , A, school 38 e-mail: ys tmcons. Petersburg, Bolsheokhtinski pr. Blokhine Gennady , B e-mail: ppspbtra softhome. Kleiner Dmitry , B, school 38 e-mail: kleiner icbank. Mett Efim , B e-mail: efim. Sherman Mikhail , B, school 38 e-mail: shermanmisha yahoo.

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Kolosov Vadim , V, school 38 e-mail: vkolosov rogers. Smirnov Vladimir , V, school 38 e-mail: perspective vcnet. Zelditch Alexey , V, school 38 e-mail: azelditc apple. Berezny Alexander , 1 e-mail: alex excalib. Fedotov Vladimir , 1 e-mail: csi csa. Nilva Leonid , 1 e-mail: leonid. Rishe Naphtali Anatoli , 1 e-mail: rishen fiu. Solovjeva Elena , 1 e-mail: seb bfa. Mischenko Sergei , 2 e-mail: mischenko peterlink. Usmanov Arkadi , 2 e-mail: usmanov snoopy. Agron Tyomkin Marina , 3 e-mail: marina.

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Vasiliev Andrey , 4 e-mail: wa neva. Petersburg, , Russia birthday: Vorobjov Nicolai , 4 e-mail: nnv maths. Bezzateev Sergey , 5 e-mail: bsv aanet. Bistrov Vasiliy , 6 e-mail: bystrov spb. Kirchik Elena , 6 e-mail: lenal office. Bensman Vera , 7 e-mail: LBensman juno. Kaganskiy Vadim , 7 e-mail: vadim kagansky. Lifshits Alexander , 7 e-mail: alex. Elkin Ben , school 38 e-mail: elk igb. Gaaze Michael , A, school 38 e-mail: micle loniis. Naumova Mashihina Natalia , A, school 38 e-mail: naumova issa.

Reider Evgeny , A, school 38 e-mail: verar barak-online. Varaksin Vladimir , A e-mail: varaksin forein. Novikov Alexei , B, school 38 e-mail: alexei mail. Zapatrin Roman Romanycz , B, school 38 e-mail: gudrs mail. Foundation, Torino position: Ac. Zarkhin Gene , B, school 38 e-mail: geneza comcast. Shilevskaya Feldman Julia , C, school 38 e-mail: mtmak1 aol.

Ovcharenko Maria , D, school 38 e-mail: movcharenko yandex. Tschegrov Nikolaj , G, school 38 e-mail: tschegrv isida. Peterburg post box Bitter Marina Musalewski Marina , 1 e-mail: marina bitterweb. Kivman Gennady , 1 e-mail: gkivman awi-bremerhaven. Spiridonov Alexander , 1 e-mail: aspiridonov yahoo.

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Petersburg, Russia Bogdanova Shepeleva Elena , A, school 38 e-mail: helen. Gersht Vladimir , A, school 38 e-mail: vlad thecars. Khudiakov Andrey , A, school 38 e-mail: haipsy mail. Petersburg Glucharskaya str. Kossov Alexander , A, school 38 e-mail: ak newmail. Liberman Sergey , A, school 38 e-mail: sliberman solidusintegration. Losseva Irina , A, school 38 e-mail: natashka ns Mamiofa Lena now Helen Eventov , A, school 38 e-mail: helen ptc.

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Sablina Maya , 3 e-mail: m-dubovik rambler. Plechanov country: Russia address: Moscow region, Podolsk. Mashtakova street 2b. Slutsky Leonid , 3 e-mail: lslutsky live. Kormanovsky Eugene , 4 e-mail: eugene id. Lebedeva Korovitcheva Marina , 4 e-mail: lebedevam mail. Rusnak Alexander , 4 e-mail: rusnak pisem. Nauki birthday: Yakhkind Mikhail , 4 e-mail: Yakhkind aol. Lugovaya Eliseeva Nadejda , 5 e-mail: NLug schsest. Stupishin Alexey G. Dvortsova Sochava Ekaterina , A, school 38 e-mail: kdvortso dsci.

Estates Dr. Karshenboim , A, school 38 e-mail: sgk onti. Kirshner Natalia , A, school 38 e-mail: kirshnern rambler. Hudozhnikov, birthday: Kogan Brilliant Maria , A, school 38 e-mail: mariakogan hotmail. Pushnyak Tatyana , A, school 38 e-mail: hlupin nwcoal. Petersberg, ul. Podvoyskogo Shklovsky Dmitry , A, school 38 e-mail: davshkl yahoo. Spasskaya Tatyana , A, school 38 phone: profession: programmer country: Russia address: St. Peterburg ul. Opochinina Dubitsky Simon , B, started in school 38 e-mail: simon tor.

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Berger Sasha Alexander , V, school 38 e-mail: sashab microsoft. Bobenko Alexander , 1 e-mail: bobenko sfb Bulavski Sergei E. Peresburg Dybenko Koubenski Dmitri , 1 e-mail: dkou paragraph. Lavrova Kate S. Loshak Yura , 1 e-mail: altsoft infopro. Petersburg, Ispitatelej st. Matskevich Alexander , 1 e-mail: amatskevich hotmail. Simuni Michael , 1 e-mail: simuni tor. Averbuh Galkin Michail , 2 e-mail: mgalkinspb mail. Golikova st. Pourgin Evgeny , 2 e-mail: staks telecom. Sverdlova Lovett Victoria , 2 e-mail: viclovett yahoo.

Varlamova Sharova Elena , 2 e-mail dues peipk. Yutanov Nikolai , 2 e-mail: yut infopro. Osetinski Sasha Alexander , 3 e-mail: agroset techunix. Serbarinov Gregory , 3 e-mail: sga vzavenue. Gisin Boris , 4 e-mail: bgisin nycap. Rosenberg Ilia , 4 e-mail: ilia. Balyakhov Dmitry e-mail: dimab softjoys. Peterburg Russia. Bezprozvanny Alexander , G e-mail: polkovnik rbcmail. Aron Mikhail , 1 e-mail: mikearon home.

Krasnikov Sergei , 1 e-mail: redish peterhof. Lissatchenko Dmitri , 1 e-mail: lisa snoopy. Mishkevich Evgeniy e-mail: miev takas. Vygovsky Sergey , 1 e-mail: bcc tepkom. Okrainsky Alexander , 10A e-mail: burevestnik yahoo. Shadrina Natalia , 1 e-mail: natasha. Slutzkin Vladimir , 1 e-mail: slutzkin forsoft.

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Temkin Leonid , 4 e-mail: lenny lamere. Kennebunkport, ME Pavlov Alexander , 5 e-mail: apavl ihq. Petersburg, Nalicnaja ul. Lvin Boris , 6 e-mail: borislvin mail. Provad Eugene , 6 e-mail: eprovad iname. Egorow Eugene , 7 e-mail: eve efo. Peterburg position: industrial automation sales executive country: Russia address: St. Flegontov Alexei , 7 e-mail: legont gmail. Malugin Constantin , 7 e-mail: mka mail. Blank Michael , 8 e-mail: blankm bezeqint. Dratchev Alexei , 8 e-mail: dratchev snoopy.

Petersburg State University position: engineer-researcher country: Russia address: 9 linija , V. Petersburg , Russia. Fomin Nikolai , 8 e-mail: phi96kib studserv. Rochtchinenko Alexandre , 8 e-mail: firma nwcoal. Shishkina Pudovkina Elena , 8 e-mail: pudov! Timokhin Vladimir , 8 e-mail: vlatim infopro.

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Ioffe Len , 3 e-mail: len. Jakovlewa Tankhelson Rita , 3 e-mail: rita jakowlew. Kleyner Andre , 3 e-mail: info andre-kleyner. Lyanda-Geller Yuli , 3 e-mail: yuli purdue. Markov Alexey , 3 e-mail: mao office. Minaev Vladimir B. Minaev pop. Ioffe Institute position: Deputy Director country: Russia address: aptm. Petersburg ,Russia birthday: Nov. Zakharov Sergei , 3 e-mail: zakharov hotmail.

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Michael Zvezdov , 3 e-mail: zvezdoz metec-software. Gvirts Michael , 4 e-mail: gvirts mail. Kleiman Oleg , 4 e-mail: oleg ocs. Simbirtseva Svetlana , 4 e-mail: SSimbirtseva polikom. Voronina Lavrova Julia , 4 e-mail: jlavrova yahoo. Oussevitch Dmitri , 4 e-mail: dao climbing.

Shuster Eugen , 4 e-mail: eshuster fromru. Suvorov Vadim , 4 e-mail: 30 stelary. Zhikharevich Boris , 4 e-mail: forschool1 mail. Genkina Irina , 5 e-mail: genkina bk. Granitskey Dimitri , 5 e-mail: dim. Jakubson Masha , 5 e-mail: jakub63 mail. Klimovitsky Gregory , 5 e-mail: grishe netzero. Prilezhaev Ivan , 5 e-mail: ivanmail af Rauchman Michael , 5 e-mail: mrauchman getcollc.

Rumiantsev Maxim , 5 e-mail: director lubavich. Sapozhnin Zakhar , 5 e-mail: zachary siber. Stemasov Dmitri , 5 e-mail: stemassov yahoo. Stroganova Chumicheva Svetlana , 5 e-mail: svetla21 yandex. Zyryanova Anna , 5 e-mail: annger niimm. Berson Mark , 6 e-mail: markbe cellcom. Ilushin Sergey , 6 e-mail: grey str-tr. Korobkin Anatoly , 6 e-mail: akorobkin gmail.

Kozharskaya Elena , 6 e-mail: kozharik mail. Lotvinov Evgeny , 6 e-mail: LotvinovEM psb-capital. Lotvinova Matveeva Marina , 6 e-mail: lotvinova mail. Osherov Michail Efimovich , 6 e-mail: osherov yandex. Pozin Michael , 6 e-mail: pozin eng. Risin Maleski Anatoly Alan , 6 e-mail: amaleski scient. Shestyan Alex , 6 e-mail: alexshestyan hotmail. Terentjev Reichberg Alexander , 6 e-mail: Reichberg gmx. Varlamov Gersht Stanislav , 6 e-mail: stanvarlamov yahoo. Voronov Alek , 6 e-mail: alilvo yahoo.

Faynblat Michail , 7 e-mail: mfaynblat worldnet. Jak Tcherniak Sofia , 7 e-mail: E. Jak minmet. Box 32, St Lucia, Qld, , Australia. Voronov Chernyak Ida , 7 e-mail: ida. Kogan Eugene , 1 e-mail: eugene kosta. Petersburg, Sofijskaya. Pelts Gregory , 1 e-mail: gpelts bear. Poznyak Tanya , 1 e-mail: tanya simo. Rutter Dimitri , 1 e-mail: dimitrirutter yahoo. Titova Galina , 1 e-mail: titovagalina rambler. Tsarkova now Borovkova Yulia , 1 e-mail: tsark hotmail.

Petersburg,Fontanka emb. Volosov Leonid , 1 e-mail: rheinger yahoo. Archipenko Jakov , 2 e-mail: arkhipenko marvel. Axelrod David Dima , 2 e-mail: daxelrod hotmail. Isyomin Dima , 2 e-mail: david d2. Karzova Gruzdeva Ekaterina , 2 e-mail: alex.

Orlov Kirill , 2 e-mail: kirillrosplanta mail. Pavlova Dubrovskaya Olga , 2 e-mail: ODubrovskaya spb. Plitman now Roshal Alina , 2 e-mail: aroshal sanramon. Ryabova now Pimchenko Natalya , 2 e-mail: djem windoms. Schlachter Eugene , 2 e-mail: eugene. Vasilyev Sergey , 2 country: Russia birthday: Akulova Yuliya , 3 e-mail: yul ucsbuxa. Shifrin Leonid , 3 e-mail: lshifrin atl. Tchernikh Alexey , 3 e-mail: lexa dmt.

Turoverov Vsevolod , 3 e-mail: tdastor mail. Fuhrman now Petrov Mikhail , 4 e-mail: mikhailpetrov mail. Mazo Gary Igor , 4 e-mail: maz. Mezdrogina Aleksandrova Lena , 4 e-mail: school spb. Mironova now Reusova Irina , 4 e-mail: reusov online. Vinokurova now Poletaeva Alla , 4 e-mail: kurazh11 list. Toreza, 23, app.. Rudenko Gleb , 4 e-mail: gleb ocs. Shulman Gregory , 4 e-mail: gshulman chat. Stam Mikhail , 4 e-mail: mstam us. Surkis Anatoly , 4 e-mail: surkis digdes. Tananykhin Dmitry , 4 e-mail: dima.

Obukhovskoy Ob. Tatarenko Taras , 4 e-mail: yan eltex. Berdichevsky Dmitry , 5 e-mail: dab ntr. Bliok Anatoliy , 5 e-mail: chtcha mail. Dergach Nadegda , 5 e-mail: nadinspb yandex. Grigorieva Irina , 5 e-mail: ehidna rdm. Kaplun Alexander , 5 e-mail: alexander. Rusanov Vadim , 5 e-mail: rvadim nwgsm. Shtutin Leonid , 5 e-mail: lshtutin mail. Khamidulin Farid , 6 e-mail: timur69 mail. Kolganov Alexander , 6 e-mail: alexfrompiter mail. Orlov Gennady , 6 e-mail: gOrlov pmnet. Vlasov Yurii , 6 e-mail: vlasov research.

Volovats Dimitry , 6 e-mail: dvolovich hotmail. Zhuchkov Alexandr , 6 e-mail: alexfromoxta mail. Abramova Masha , 7 e-mail: mabramova at list. Petersburg Sophijskaya birthday: Eliashevich Ivan , 7 e-mail: elia emcore. Karpov Evgueni , 7 e-mail: ekarpov ulb. Kislyuk Ilya Eli , 7 e-mail: elikis iec. His parents live: Crospey ave. Kurasov Pavel , 7 e-mail: pak matematik. Melnikova Kaliganova Diana , 7 e-mail: imelniko ulb. Morozov Nikolai , 7 e-mail: fnmornik yahoo. Morozova Gabetz Marina , 7 e-mail: wo.

Rivinson Arina e-mail: shmuel mail. Kaplina Maksimova Darya , 1 e-mail: dmaksimv hotmail. Kapranov Maksim , 1 e-mail: kmr freemail. Maximov Oleg , 1 e-mail: maar cityline. Molchanov Alexey , 1 e-mail: alexmolchanov mail. Tumin Mark , 1 e-mail: mtumin mail.

Krylova Julia , 2 e-mail: tiger1 peterlink. Petersburg State University position: Ph. Nazarov Michael , 2 e-mail: philight neva. Plotnikov Dmitri , 2 e-mail: dmitri plotnix. Smirnov Alexander , 3 e-mail: alexandr smirnov. Mandelshtam Michail , 3 e-mail: michail molgen. Petersburg, Russia address: Bolshoy prospect V. Oblapenko Pavel , 3 e-mail: np infopro.

Petersburg country: Russia address: SPb, Toreza, birthday: Pats Gennady , 3 e-mail: gennadyp microsoft. Savinov Alexei , 3 e-mail: ays aretha. Sochava Sergei , 3 e-mail: sochava yahoo. Tiomkin Victor , 3 e-mail: tem policom. Exarkhopoulo Pavel , 4 e-mail: pexarkh yahoo. Jacobson Mark , 4 e-mail: mvjacobson yahoo. Karasik Leonid , 4 e-mail: karasik cs. Klebanov Simon , 4 e-mail: seklebanov hotmail. Kostritsa Vladimir , 4 e-mail: vladk biopac. Svoyskaya Marina , 4 e-mail: svoyskaya hotmail.

Solomakhin Vladimir , 5 e-mail: solomakhin freemail. Zaytseva Bodrova Mila , 5 e-mail: mila72 juno. Goldberg Melnikova Elena , 5 e-mail: egoldberg sagent. Rabinova Kobzeva Julia , 5 e-mail: vicia-cracca yandex. Petersburg, Shevchenko st. Dubinovsky Mikhail , 6 e-mail: mike-at-msaqua. Lapik Alexey , 6 e-mail: lapik spb. Nikitin Alexander , 6 e-mail: a. Usov Sergej , 6 e-mail: sergej. Diakov Alexei , 7 e-mail: aldi stella. Shchemelinin Anatoly , 7 e-mail: ashchemelinin netscape. Shtsherbo Vladimir , 7 e-mail: scherbo laverna.

Titova Veren Nataliya , 7 e-mail: natveren yahoo. Yavshitc Alexey , 7 e-mail: equ mail. Manuilova Alena phone: country: Russia address: Russia St. Yakhontov Konstantin S. Nikiforov Mikhail , 1 e-mail: altx mail. Rogov Pavel , 1 e-mail: rpa open. RU» position: Director of the St. Demushkin Alexandr , 2 e-mail: alexdem ulm. Fedorov Sergey , 2 e-mail: fsb ou. Fromzel Len , 2 e-mail: lfromzel hotmail.

Kadaner Michael Z. Kadaner at gmail. Kheifets Eugene , 2 e-mail: eugene5 mail. Tikhomirov Dmitry , 2 e-mail: toch remax. Asimov Ludmilla , 3 e-mail: asimov actcom. Gilbo Eugeni , 3 e-mail: cau comset. Paikov Andrei , 3 e-mail: whitch mail. Rounovski Sergei , 3 e-mail: rounovskii aol. Steiner Dmitry , 3 e-mail: blob4u hotmail. Tatarinov Dmitry , 3 e-mail: dimitry iname. Golubev Oleg , 4 e-mail: golubev express-paging. Koukoui Sofia , 4 e-mail: uhi65 tlv. Rudelson Boris , 4 e-mail: rudelson ptc.

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