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Geographic Foci: Moscow
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Front page of Komsomol'skaia pravda in new format
Front page of KP when the format of the printed version changed to adjust to 1990s print media reading habits and financial constraints
Alla Pugacheva — Post-Soviet Diva
The most famous woman in the Soviet Union transformed into a successful post-Soviet star.
Tsvetaeva and Parnok
Article on the affair between poets Marina Tsvetaeva and Sophia Parnok in LGBTQ magazine Риск
Soviet Nostalgia– Old Songs About the Most important
The most popular Soviet nostalgia project of the 1990s- "Starye pesni o glavnom [Old Songs About the Most Important"
"New Russians" at Kommersant
Series of articles from the nascent Kommersant Daily in late 1992-early 1993, assessing and explaining the nature of its target audience, the “New Russians”
Parfenov’s Namedni as memory-work in the 1990s
Namedni [Recently], Parfenov's project about recent history, was one of the most successful shows of the 1990s. Eschewing big narrative arcs, the show highlighted the past as a collection of memory sites– in this case, the origin of the New Russian in 1991.
Konstantin Ernst's "Matador"
A clip from the art show "Matador," created by VID's junior partner, Konstantin Ernst, in 1990, and then remained his project as Ernst rose up and took VID's helm. This particular clip is from the show on Contemporary Art. It has a remarkably joyously elitist feel that is consistent with the "new Russian" ethos of ViD.
A Man Who Keeps Up with the Times
A piece on David Bowie, focusing on the star’s bisexuality, in the glossy color gay magazine Мальчишник
The Black Series from Vagrius
The book series “Contemporary Russian Prose” or the “Black Series,” published by Vagrius, one of post-Soviet Russia’s most successful commercial publishers, made bestsellers out of literary prose.
Kontr Kult Ur'a Music Journal (Samizdat) 1989-1991
Kontr Kult Ur'a was envisioned as an ideological reincarnation of Urlait, which was deemed by the new editorial board as "cult-like" and "radically positioned." The journal also was one of the first samizdat rock zines in Moscow and Leningrad to prominently feature and promote Siberian punk rock, including Egor Letov, Civil Defence, and Yanka.
Lyube "Stop Fooling Around, America!" (Ne Valiai Duraka, Amerika!) music video
Music video for the fourth track on Lyube’s second studio album Who Said We Lived Poorly? (Kto skazal, chto my plokho zhili?), which was released in 1992. Written from the perspective of the Russo-Soviet “common man,” while using folk vernacular, the song explores questions of Alaska’s historical and territorial integrity – lamenting its sale to the United States and demanding its return while celebrating Russia’s national character.
Lyube "Stop Fooling Around, America!" (Ne Valiai Duraka, Amerika!) music video
Music video for the fourth track on Lyube’s second studio album Who Said We Lived Poorly? (Kto skazal, chto my plokho zhili?), which was released in 1992. Written from the perspective of the Russo-Soviet “common man,” while using folk vernacular, the song explores questions of Alaska’s historical and territorial integrity – lamenting its sale to the United States and demanding its return while celebrating Russia’s national character.
Novyi Vzgliad: Violence, Political Irony, and National Pride
Novyi Vzgliad authors write some of the most scandalous and incendiary political commentaries of the 1990s, producing new forms of political irony. Iaroslav Mogutin and Eduard Limonov turn violence into a paradoxical source of identity. The main artifact here–an article by Mogutin–exemplifies this process.
Svetlana Baskova captures the surreal, deeply violent, and grotesque essence of the 1990s and the Chechen wars in her cult trash movie, Zelenyi slonik (The little green elephant, 1999).
An excerpt from Svetlana Baskova’s film Zelenyi slonik (The little green elephant, 1999).
Proekt OGI
A literary club opened by the United Humanitarian Publishers (OGI) in 1998 in the apartment of Dmitrii Ol'shanskii, Proekt OGI represented one of the more successful attempts to reclaim the late-Soviet underground in the new post-Soviet, capitalist world.