THIS MESSAGE (CONTENT) HAS BEEN CREATED AND (OR) DISSEMINATED BY A FOREIGN MASS MEDIA OUTLET FUNCTIONING AS A FOREIGN AGENT AND (OR) A RUSSIAN LEGAL ENTITY FUNCTIONING AS A FOREIGN AGENT.
and (or) a booklet by Darya Apahonchich
I add THIS thirty-one-word message, given to me by the Russian Justice Ministry, to all my social media posts, because now I am not a person, but a “media foreign agent,” which is something like a biased foreign newspaper, radio station or TV channel.
Over the last six months, I have been able to decipher this MESSAGE and the status of “foreign agent,” with which dozens of human rights organizations, media outlets and just plain people (journalists and activists) have to live. Translated from Justice Ministry-speak, it means: “Shut up.”
What is it like? It’s like being force-fed porridge. Only it’s not porridge, but words. And it’s not Mom feeding you, but the Justice Ministry. And you are not you, but (CONTENT) for experiments in state violence.
It’s not just literal garbage. It’s a toxic label that makes it difficult to work, paralyzing you. It’s enough to push everything that HAS BEEN CREATED behind a long verbal fence and distance me and my work from my audience.
I became a foreign agent on the afternoon of December 28, as I was sitting at home with two children after having covid, dazed from the isolation. My son was “hatching” dinosaur larvae. The larvae were beans, and they were hatched mainly in my sock. So, with a sock full of beans, I gave dozens of interviews. In the last six months, there have been more interviews, more beans, AND more agents. I don’t even know what the moral of this story is.
At some point I even wrote a fairy tale for the Justice Ministry. It was quite boring, so I abandoned it. But one of the jokes in it was funny. I asked the Justice Ministry, “How do you know, Justice Ministry, whether you’re dealing with a woman (OR) a newspaper?”
Then I went into a long comparison of women and newspapers. I explained where you could find the imprints and headlines in newspapers and women, where you could find their darkest recesses and traces of proofreading. Newspapers were most often regarded as things to be consumed, I wrote, and alas, so were women. Although it did happen that women were considered individuals, this view was not yet widely DISSEMINATED.
Look, Justice Ministry, this is a front-page story about Yulia Tsvetkova. You can call her BY A FOREIGN word, or you can use a Russian word, but you know, Justice Ministry, it doesn’t make a woman a newspaper.
I counted how many words I still have to illustrate — I don’t think I can come up with that many jokes. But I can’t afford to give up: it would be a shame not to take the piss out of the Russian Federation. Consider this booklet of mine a form of therapy, a remedy for the Russian authorities. I have often been asked why there are so few foreign agents. And why did they pick me? I think this is due to the fact that the state is still lazy. It takes a lot of effort to engage in large-scale crackdowns, but in this case you take five people and have a little fun with them. You expend the energy you would in a local warlet, but the effect is the same as in a MASSive war. Basically, I’m a figure of a little fun. (While I was writing this text, more foreign MEDIA agents were added to the list.)
I have to say that I haven’t conceived a passion for journalism over the last six months. I wonder how it’s possible to be a mass media OUTLET without an education in journalism and journalistic ambitions. The only things I’ve ever talked about on a massive scale are grammatical cases and feminitives.
The idea of “foreign agents” smacks of crass objectification. The authorities see everything — people, non-governmental organizations, media, activists — as rebellious things, as broken robotic slaves. And what do you do with a machine that is malFUNCTIONING? Reduced to a function, but opposed to it, a thing like this is tagged AS A fuck-up and failure that can now be scrapped.
Once every three months I fill out a report for the Justice Ministry. They ask me in the interests of which FOREIGN state did I do what I did? You know, Justice Ministry, everything I do, I do in the hope that one day there will be no states and borders, that there will be only free people and free lands.
It’s a pity that I can’t be labeled a pan-national no-government AGENT. It would suit me better.
I’ve been swimming in the sea of the Russian language my whole life. AND even though I sometimes thought about leaving, I could never imagine that I’d be able to leave Russia in a matter of two days. But the cops who came with guys from the Emergency Situations Ministry to cut out my door open with an angle grinder and search my flat taught me to be decisive. By the way, hello, you guys! Burn in hell!
I walked around the house, which had been turned into a big lump of things by the search, wondering whether to take this (OR) that. I took almost nothing.
I left the country, taking the children, several books, Russian grammar and fear with me. With this kind of baggage, I’m considered A RUSSIAN national in Foreignlandia, which makes complete sense.
Living in a world where you have only your flesh and bones, but the state claims to see you as a LEGAL entity, is like being on a virtual reality ride. Only everyone has the special glasses, and you don’t.
Hey, newspaper woman, what’s wrong with your face? Are you an ENTITY?
When meeting new people, I take the most time explaining this whole absurd story. It’s a big chunk of time, but I still append these thirty-one words to every post and send reports to the Justice Ministry. Why do I do this? I think it’s my umbilical cord. My country won’t say goodbye to an agent fulfilling the demands of the authorities, and Agent Apahonchich still has a FUNCTIONING hope of returning home.
What matters now is not to ASsume the functions of the state by engaging in self-censorship and thus fueling state paranoia, to remember that waves of rhetoric are the loudest and fastest. They will subside, and we will go on living.
So I’m sitting on the shore of A FOREIGN language, learning it as if I were combing a field of grass, but I remember that my soul also looks uncombed to the foreign eye. I’m growing my garden and taking care of the dinosaur larvae—my harvest is good!
Thanks for walking this way with me. Take care of your own gardens and seas. Warm greetings from your female agentka, whom the sexist Justice Ministry takes for a male AGENT.
I’m fortunate to be friends, acquaintances and colleagues with many, many Russians from the worlds of contemporary art, academia, literature and social activism (and, sometimes, all of them at once). That’s why I’ve been able to see, time and again over the last dreadful year and a half, the plain truth of the bad habits mentioned by New York Times reporter Anton Troianovski, in his dispatch from Moscow yesterday:
Just yesterday, in fact, I was looking at photos of an art exhibition opening in Siberia, posted on Facebook by a real-life acquaintance (and featuring a wonderful cultural historian and curator I’ve know since 1995). The opening looks like a super-spreader event to me, and it looks exactly like most other such events chronicled by many of my Russian friends during the pandemic.
Thanks to VN for these photos. I’m sure my reading of them is not the takeaway he intended, but having lost two Russian friends and several acquaintances to covid, I feel genuinely distressed about Russian society’s “laissez-faire attitude” to public health and the well-being of their fellow citizens. But since I lived in Russia for half of my adult life, its wanton cruelty and suicidal tendencies are all too familiar to me. ||| TRR
September 8, 2018
I don’t care what they call themselves or what names they are called — liberals, intellectuals, anarchists, communists, socialists, plain old good people — but given the utter silencing of the topic of Syria in the provisionally anti-Putin grassroots and political discourse in Russia, it is difficult to see these various democratic and progressive forces as a force per se, and even more so as a force for good and renewal. The full picture of what is happening nowadays includes the bombing of Idlib, and not only the beloved “social agenda” vis-a-vis the unpopular pension reform, if only because the regime has had to find the money for the bombs, missiles and planes in people’s pockets. But everyone keeps their lips sealed, not realizing that cowardice on this occasion is read as cowardice on all occasions among “the common folk” that they are perpetually trying to save.
September 8, 2017
“However, his new position as head of the local police will not bring the main character the peace for whose sake he pursued it. After the opening of an oil refinery, the city is plunged into the chaos of crime. Attempts to deal with the oil company lead to disastrous consequences for his entire family. The tragedy forces the hero to compromise his principles and set out on the path of revenge.”
September 8, 2016
From the annals of Russian pollocracy, which I’ve decided to redub poleaxeocracy.
File this one under “aiding and comforting the enemy.”
Stalin was “quite popular,” too. God only knows how that ended up.
In any case, “being popular” and “good governance” are two entirely different things.
It’s strange how much capital of all kinds has been spent over the past 17 years to convince the Russian people and everyone else this isn’t the case.
So if US researchers really were wasting their time trying to figure out whether Putin is “in fact popular,” this only goes to show . . .
What? That either the researchers have fallen for this stupidity or they think Russians are degenerate morons.
There are no circumstances under which you can objectively determine whether Putin is “in fact popular,” because the question itself is irrelevant.
It’s like asking people whether they think Michael Corleone is “really handsome.”
Michael Corleone’s job is not “being handsome.” It’s running the Corleone mob.
Greg Yudin September 8, 2016 A wonderful story. I have just been sent confirmation of my text yesterday about the Levada Center of a sort that I couldn’t have hoped for.
If you remember, the Justice Ministry has been hassling the Levada Center over a study conducted jointly with the University of Wisconsin, and Wisconsin is somehow supported by the Pentagon, and from this it follows that Pentagon money directly lands in the pocket of the Levadovites, who in return report secrets about Russian public opinion. We won’t bother discussing this paranoia, so let’s move on.
The joint project with Wisconsin most likely refers to the research that Scott Gelbach from Wisconsin did with the Levada Center’s involvement. A colleague sent me an article on this research that has just been published. Actually, the goal of Gelbach, Timothy Frye from Columbia University and their team was to find out “Is Putin’s popularity real?” (as their article is entitled). They needed the Levada Center as a partner for conducting an “experiment” as part of a public opinion poll. In this experiment, they wanted to rule out the “fear factor” on the part of the respondents. (I’ll be writing a separate post about the “experiment.”) As a result of the experiment, it transpired that “Putin is in fact quite popular.” Moreover, they claim that, in reality, Putin’s ratings, per their experiment, may even be somewhat underestimated due to “artificial deflation.”
Once again, read these lines: the authorities want to shut down the Levada Center because of a study that claims that Putin is “in fact” even more popular than people think!
And not just claims, but informs the whole world about it in perfect English. I wonder if the Anti-Maidan movement knows about this?
September 8, 2016
“So begins a yearlong series of plays chronicling Russian leaders.”
Enough already. I’d like to hear a play or program about the history of Portugal or Mali or Ecuador or Malaysia.
BBC Radio 4 and all the other high-tone media outlets in the so-called western world have so-called Russian history and culture coming out of their ears and noses.
This only works to the advantage of the Putinists, because, almost without exception, these various “serious” entertainments and furrowed-brow documentaries and exposés simply reinforce the tired home truths (i.e., lies) about Russia’s history and present that the regime itself is fond of shoving down everyone’s throats. Not to mention the fact that getting so much attention satisfies the vanity of the Russian powers that be.
But really, there is a big, big world out there we’d like to hear about more often. A world without Putin and “Russia.”
September 8, 2015
Over-the-top late-Soviet “ritual” lacquered panels, commissioned by the Museum of the History of Religion and Atheism in Leningrad in the early nineteen-eighties, and brilliantly and flawlessly executed by a group of six “retooled” icon painters from the village of Mstyora, near Suzdal, a place famed for its distinctive school of icon and lacquered box painting.
Although the panels were officially commissioned, they have not been exhibited until now, apparently. Head to the revamped Museum of the History of Religion (nowadays, sans the atheism) in downtown Petersburg to check them out.
Photos by Comrade Koganzon. Translated, where necessary, by the Russian Reader
The Ice Under the Major’s Feet: A Petersburg Man Has Been in Jail for More Than Six Months Because a Policeman Fell Down
Kseniia Sonnaya OVD Info
September 2, 2021
Petersburg artist Ilya Pershin has been in jail for more than six months, accused of kicking a riot police officer in the leg and elbowing him in the chest when he tried to detain him at the January 31 protests. Pershin’s girlfriend, who witnessed the incident, claims that the policeman fell and bruised himself. This is our account of the Pershin case, along with excerpts from his prison diary.
On January 31, 2021, 26-year-old artist Ilya Pershin left work at lunchtime to pick up the house keys from his girlfriend Erzheni. She was going to a rally in support of Alexei Navalny and invited Ilya to go with her. They traveled to St. Isaac’s Square together.
“When we were at the parking lot, there was an attack by the so-called titushky. A young man who was most likely a protester was assaulted. It was just that, at some point, a fight started: two men in their forties began beating the young man. At first, I didn’t even understand what was happening,” says Erzheni.
She realized that it was titushky who were beating the young man when the police arrived at the scene of the fight and the instigators showed them their IDs. “The police didn’t even detain them, although they had beaten the young man until he bled,” says Erzheni. After that, according to her, “some kind of commotion began, the law enforcement officers got their act together, and at some point the crowd ran in the direction of St. Isaac’s.” Ilya ran, too. According to Erzheni, he was afraid that he would be beaten. Erzheni followed him at a brisk pace.
“At that moment, a man in uniform in front of me grabbed [Ilya]. [The officer] was kitted out in in full battle armor: helmet, face mask and shields. He grabbed [Ilya] from behind. Ilya was running away from him, and the man was running right behind him — and grabbed him. By inertia Ilya continued moving, taking literally two steps, with the officer in tow. The monument to Nicholas the First, which is under repair, was nearby, and there was a mound of snow. I didn’t see any struggle. I don’t know what happened. Maybe he slipped, maybe he stumbled, but the officer just fell on his left side, while Ilya kept running. That was it,” recalls Erzheni.
According to police investigators, it was at this moment that Pershin kicked Ivan Alexeyev, an officer in the operational platoon of the riot police’s 5th Operational Battalion, in the left leg with his left foot. Alexeyev claims that he was kicked in his popliteal fossa (the space behind the knee joint). The victim also said that when Pershin was trying to escape, he struck him at least two blows in the chest with his elbow.
According to attorney Alexei Kalugin, who works with OVD Info, a medical examination recorded only a bruise on the riot policeman’s left knee joint. Pershin’s defense team say that there is no evidence of such blows in the case — there is not a single witness or video confirming the riot policeman’s testimony. When questioned by a police investigator, the victim himself said about the alleged blows to his chest that “due to the fact that I was wearing a bulletproof vest, I was not caused any injuries or physical pain.”
The video of the investigative experiment shows that the stand-in for Ilya Pershin was able to touch the leg of the injured riot police officer close to the popliteal fossa area only on the fifth attempt. During the other attempts, despite the victim’s prompting, the stand-in struck the posterior region of the man’s left thigh, located much higher than the popliteal fossa. At the same time, it is noticeable that when trying to kick the victim with his left foot, the stand-in loses his balance and repositions his right leg to achieve aa more stable position. “It was thus established that, given a height of 181 cm, it is possible to use the left leg to kick the victim’s left leg, namely in the area of the knee joint from behind,” a police investigator concluded after the experiment.
When the stand-in tried to perform the same actions while in motion, he again failed to strike the victim’s popliteal fossa, kicking his calf instead. “Thus, when moving in this way, given a height of 181 cm, it is possible to use the left leg to kick the victim’s left knee joint, from which it can be concluded that this area of the left leg is reachable given this height,” the investigator again concluded.
At the request of the defense team, the Independent Expertise Center compared the video of the investigative experiment and the protocol and pointed out the inconsistencies: “The protocol of the investigative experiment contains information that does not correspond to the actions in the supplied video.” Pershin’s lawyer Anton Yupanov, who works with OVD Info, says that an independent examination was ordered because “a blow of the stated trajectory and force was not possible at all.”
There is a video recording in the case file in which the silhouettes of Pershin and the alleged victim, Alexeyev, are visible. When viewed in slow motion, “it is clearly visible that there was no impact,” says Yupanov. However, the investigator has cited the same video as proof that Pershin kicked the riot policeman.
When questioned, the victim’s colleagues said that they had also not seen Pershin kicking the officer. “Some of them heard their colleague cry out in pain, and then they helped him. But no one saw the moment when he fell, except for Ilya’s girlfriend, who said that the riot policeman slipped, ” the lawyer says.
In her dispatch on the court hearing in the Pershin case, Zaks.ru correspondent Sofia Sattarova wrote that Alexeyev testified that he himself did not see the moment of the blow, but “only felt pain that caused his leg to ‘give out’ and make him ‘slide off’ the accused.” In court, Alexeev also said that Pershin had “already served a real sentence in full.” He asked for a lenient sentence and said he would have “ended the whole thing peacefully.”
Pershin denies any wrongdoing. In reply to a letter from OVD Info, he noted, “I think the ‘victim’ just lost his balance and fell. The individual attacked me from behind. I didn’t see anything.” According to Pershin’s defense lawyer, Pershin regrets that the riot police officer was injured, but does not believe that he was to blame for this.
Detention and Arrest
Pershin was detained on the afternoon of February 17, 2021, at the hotel where he worked as a desk clerk. Yupanov surmises that the detention occurred only two weeks after the protest rally because law enforcement officers examined video footage from the rally and identified Pershin before putting him under surveillance. “I was on another case at the police department in Otradnoye, and there was a photo of Ilya hanging on the stand of those wanted by the police. The accompanying text said that they were looking for this person for assaulting a police officer,” the lawyer adds.
Pershin himself says that none of the people who detained him introduced themself nor did they explain the reason for his arrest. “When they were taking me to the GSU [the Main Investigative Department], they did a good cop-bad cop-style interrogation. Now I smile when I remember it, of course, but at the time I was not laughing. In the vehicle, they told me why I had been detained, politely adding, ‘If you so much as budge, we’ll shoot you in the knee.’ As we approached the GSU, they said, ‘It used to be easier. We would just take you into the countryside and beat the shit out of you.’ I don’t think I need to describe my feelings [at that moment],” Pershin wrote.
In the evening of the same day, February 17, the apartment where Erzheni and Ilya lived was searched. Pershin was not taken to the search, only Erzheni was present. According to the search report (OVD Info has a copy of the report), the two Center “E” officers who carried out the search did not confiscate anything from the apartment. On the morning of the following day, a preventive measures hearing was held at the October District Court in Petersburg. Erzheni, as the owner of the apartment, was ready to vouch formally for Pershin so that he could be placed under house arrest in her apartment, but she was not summoned to the hearing.
On its Telegram channel, the Consolidated Press Service of the Courts of St. Petersburg reported the court hearing as follows: “Pershin was detained on 17.02.2021. A native of Magadan, registered in Salsk, he has no registration in St. Petersburg, and works as an on-duty hotel clerk. He said that he has a child, but the father is not named in the [child’s] birth certificate, because he overslept the registration. He requested house arrest at the home of his current live-in girlfriend, but could only remember the girl’s first name.”
Pershin does in fact have a son, who is only two years old. Yupanov, who was with Pershin at the preventive measures hearing, said that the remark that Pershin had overslept the child’s registration is a fantasy on the part of the press secretary. “He merely said that by agreement with the child’s mother, they decided not to record [Pershin as father] in the birth certificate. But he communicates with the child regularly and has provided for him financially,” the lawyer explained. According to Erzheni, the child’s mother, Pershin’s ex-girlfriend, supports Pershin and even has gone to visit him at the pre-trial detention center.
“From the first day [since his arrest], Ilya has been worried about the child. He has been thinking not about himself, but about the child — how his potential criminal record would affect his future. Although they don’t live together, [Ilya and the child’s mother] maintain very warm personal relations, which is quite rare at the present time,” says Yupanov. In his letter, Ilya also told us about his son. He wrote that he first thing he would like to do after his release is to go play with him “to make up for the moments lost during this time in the baby’s growth.”
At first, Erzheni was quite worried about her boyfriend, “because after all, it was me who was initially going [to the protest rally]. He is an adult and makes his own decisions, but still.” In the spring, when the young woman was questioned as a witness in the case, the investigator, after reading their correspondence on Telegram, pressured her into feeling guilty, she says. “He said all sorts of things about how the whole thing was my fault, almost that I should go to jail. He behaved personally in a way that was ugly. I don’t know, maybe that’s how they’re used to doing things. Work is work, but we must remain human beings. I also worked in a government job for a long time,” says Erzheni. Pershin and Erzheni correspond, and the young woman helps his family to deliver care packages to the the pre-trial detention center.
Eight [sic] months have passed since Pershin’s arrest. “They’re pickling [Ilya]. He is already tired of being jailed in the Crosses,” says Yupanov. When asked how Ilya is enduring the arrest, Erzheni answers that it has been difficult. “It has been happening to him in waves: first there was shock and, well, all the stages of acceptance. He has had mood swings and bouts of depression. For him, as an artist, this has not been an inspiring story,” the young woman claims. Pershin himself said that because of his arrest, his “physical and mental state leaves much to be desired.” When asked how his experience of eight [sic] months in jail had changed him, the artist replied that it was not for him to judge, but he hoped that he had “gleaned only the best things.” Pershin wrote about the outcome he expects: “I hope for an acquittal. But I’m preparing for the worst.”
Ilya Pershin’s Diary, 25 March—10 April 2021
In the pre-trial detention center, Pershin has been keeping a diary, in which he writes about his feelings, everyday life and the people he meets. He gave part of his diary to OVD Info through his lawyer. We have published excerpts from it below. Some parts of the diary have been blurred at Pershin’s request. The original spelling and punctuation have been preserved.
25.03.21 There was a cell toss in the second block of the Crosses on all four floors. After the toss, I was moved from the third wing to the second. My cellmates are older, which means they are quieter. Bliss. Oh, I almost forgot: today is Thursday.
26.03.21 Fri. Remember that I said that my new cellmates were calmer? They’re so tactful… For the first time since my arrest, I had a good night’s sleep.
27.03.31 Sat. It was such a sunny morning today that for a second I forgot where I was. Being in prison heightens the senses. The slightest bad joke can lead to dismaying consequences. During internal inspection you leave the cell dressed to the waist (your pants are rolled up). During a cell inspection, you stand “on the galley” (in the corridor) facing the wall. One of the block wardens examined my tattoos and came to a brilliant conclusion: “Soon the theme of tattoos will change. Domes and stars will be the new thing.” That specifically made me lose my cool. So I said, “First I’ll make a picture of you on my pubis.” I almost wound up in the punishment cell.
28.03.21 Sun. I went out for a walk. […] You go to a walking cell about five by two and a half meters. It’s four walls and a cage with a grid that separates you from the clear sky. And the crimson dawn woke me up.
29.03.21 Mon. I didn’t sleep last night. It wasn’t possible to sleep during the day, because of the “bath.” This is bliss. […] Tomorrow I’m expecting visitors: [my] lawyers and the police investigator. I’ll be going for a stroll. I’m going to bed.
30.03.21 Tue. Today I read the case file. Well, it’s all over but the shouting. We are halfway to a verdict. While I was at the investigative department, they conducted another cell toss. They built something like a mountain of junk out of my things and my bunk. It’s good that letters have arrived.
31.03.21 Wed. Tomorrow is the court hearing on extending my arrest. Just the thought of it makes me sweat. The chances of getting the terms of my arrest changed [to house arrest or release on one’s own recognizance, for example] are zero, and I have to get up at five in the morning, otherwise it’s the punishment cell for me. I got a care package from Erzheni. My pussycat xD
1.04.21 Thur. I was woken up at 5:00. At 6:00 they took me out of the cell and took me down to the first floor. After that, all those who are sent to the courts (and there are hundreds of them from all over the prison) are sorted into “glasses” [holding cells]. A “glass” is a room 5 by 2 m., in which people are stuffed chockablock. The air comes through a small crack in the window. Everyone smokes. And they light up at the same time. It is in such an environment that you wait for your last name to be called to be shipped out.
2.04.21 Fri. The morning is repeated, since the hearing was postponed. Why? It’s not clear. After I arrive from the court, they throw me into a “glass” again. In a few hours you go for an inspection. After the inspection, you go to another “glass.” In the “glass” you wait hopefully for your section to be called. The waiting is accompanied by noise and “exhaust” from cigarettes. You have to wait hours for your section to be called.
3.04.21 Sat. — 4.04.21 Sun. After such travels, it takes you at least two days to recover! So, apart from sleeping and eating, nothing happened to me.
5.04.21 Mon. Around lunchtime, I was summoned for a telephone call for the first time during my stay. I had written and submitted the application about 15 days ago. It’s always like this here. Some [inmates] are taken out of their cells every day without applications or permissions, while others have to wait two weeks.
10.04.21 Sat. All of the past five days I carried out “orders” for my cellmates and prisoners from other cells. N. told me a “flat-out fucked” level story. When he was on the outside, he witnessed an accident in which two GAZelles burned to a crisp after a head-on collision, and a minibus was pulled out of a ditch. N. later met the driver of that selfsame minibus in the “glass” here in the Crosses. The driver was in the joint because a woman was killed in that minibus. The people you meet in the “glass”!
You can support Ilya by writing him a letter via FSIN Pismo [the Russian Federal Penitentiary Service’s electronic messaging system] or by regular mail, to the following address:
Russia 196655 St. Petersburg, Kolpino Kolpinskaya St., 9, FKU SIZO-1 of the Federal Penitentiary Service of Russia for St. Petersburg and Leningrad Region Pershin Ilya Aleksandrovich, DOB 17.06.1994
A Titan Among Artists: Boris Koshelokhov Has Died
Kira Dolinina Kommersant
July 12, 2021
The artist Boris (Bob) Koshelokhov has died at Petersburg’s Mariinsky Hospital aged eighty. Despite the thousands of canvases he has produced since 1975, Koshelokhov will be mourned first of all as a charismatic leader of the Leningrad underground. His mere presence in the artistic landscape enabled others to feel that they were situated within a great tradition whose principal value was the freedom to live as you wished.
The news that Bob Koshelokhov had passed away was expected (relatives and friends had discussed and written about his serious illness on social networks), but it was no less stunning, simply because Bob could not pass away: his personal relationship with time and space had long ago settled into an unlimited flow of being. Neither the numbers of birthdays, nor figures of work produced, nor the status of a Petersburg art old-timer stuck to him. Bob could not be called a “veteran” or a “mighty old man”: nothing about him ever changed.
The man in the photos from the 1970s looked like the same man whom you would encounter until quite recently at exhibition openings and in the courtyards of the Pushkinskaya 10 Art Center: long hair, beard, leather vest, black clothes, booming voice, darting gaze. Koshelokhov had become a guru less than a year after he started doing art himself, yet no one ever tried to push him off this pedestal.
His biography seems to have been specially written to fit the canon. He was orphan who ran away from orphanages with enviable regularity until the seventh grade. He was half-educated man who worked as a heating plant stoker, then as a carpenter, then as a trucker. He married an Italian woman and briefly emigrated, but then returned from this “golden cage” to an “iron cage” (his own iron cage). He lived in communal apartments and squats, and achieved cult status. In the early 1970s, he came to Leningrad from his Southern Urals hometown of Zlatoust to study medicine. He lasted two years: his programmatic study of the history of philosophy (Kierkegaard, Jaspers, Husserl, Heidegger, Sartre and Camus) resulted in his being expelled for his fascination with “bourgeois” ideas. Devoutly believing in existentialism, spending all day long in second-hand bookstores and the legendary “Saigon” cafe, where he received the nickname the Philosopher, he arranged his life exactly in keeping with the precepts in the books he read: “Your freedom was born before you.”
His freedom was born on November 2, 1975, the day when his friend the artist Valery (Clover) Kleverov told Bob that he too was an artist. Koshelokhov himself later kidded that it was just a joke, a way to somehow repay Bob for the fact that he had turned his 27-meter-square room in a communal flat into a gallery selling paintings for a whole year. Joke or no joke, Bob took the idea to heart: an artist is someone who sees. Given a strong desire, anyone can become an artist. (Similar ideas espoused by Joseph Beuys were unknown in Russia at the time.)
Even paint was not needed: Koshelokhov’s first works were concocted from objects found in garbage dumps.
But when Koshelokhov got his hands on paint, it was clear that he really was an artist — an artist who was powerful, considerable and critically important to entire Petersburg culture.
Koshelokhov’s first exhibited work was “made of shit and sticks” in the true sense of the phrase. For an exhibition in memory of the deceased Leningrad abstract artist Yevgeny Rukhin, a show that had not been sanctioned by the authorities, Bob produced a “collage” consisting of a tabletop to which he had attached a hospital bedpan, a child’s potty, a coin and a brass exclamation mark. While all the other participants of the show were nabbed by the valiant police as they approached the venue, the Peter and Paul Fortress, Koshelokhov calmly made his way to the site, thus signifying that the exhibition had taken place.
Koshelokhov’s painting was made of the same stuff — he composed everything on the go. His expressionism was homegrown and self-made, unlike international expressionism and even dissimilar to what the baroquely passionate artists of the Arefiev Circle had done a little earlier on the other side of town. A spontaneous artist, Koshelokhov mixed everything with everything else, painting on carpets, plywood, upholstery from old sofas, and abandoned propaganda banners. He employed impossible combinations of colors (since they were all his personal discoveries, because even the fact that you get green when you mix blue and yellow was something he discovered for himself). And he painted, painted, and painted.
Although, in fact, he himself preferred to say that “the work should be like a boil: it pops up, comes to a head, then suddenly opens up, as if it bumped against a corner, so that the blood flows with might and main.”
Actually, only Koshelokhov himself could live up to this prescription. But he tried to teach others: the group Chronicle (Letopis), which he founded in 1977, is now famous primarily for the fact that Timur Novikov made his start there. And yet in terms of their painterly method, their devilishly rich rhythm of work (critiques were held every week; if you didn’t bring a new picture to them, you were told to take a walk), and rabid omnivorousness, Koshelokhov’s team fostered its own version of neo-expressionism at exactly the same time as the Europeans were developing theirs.
Koshelokhov’s painted oeuvre is all about philosophical categories, to the point of cosmism. And what matters is not its “complexity” (on the contrary, the images are simple and executed backhandedly), but its quantity. Koshelokhov did not do dozens of anything: his series number hundreds, and sometimes thousands of works. His latest project, Two Highways, was produced over thirty years and consisted of three or four thousand canvases [sic] and tens of thousands of sketches, pastels and drawings. That was how he thought — in terms of numbers with many zeros after them.
One of his last solo shows was entitled 70,000 Years of Boris Koshelokhov. It was occasioned by [his seventieth birthday], but no one was interested in the numbers in his passport.
Vadim Ovchinnikov, one of the so-called New Artists who listened to him attentively, explained Koshelokhov’s place in art best of all: “We advise critics who doubt Koshelokhov’s significance to pay attention to the neon ‘Titan’ sign on the corner of the house on Nevsky and Liteiny where the artist lives.” Only a pandemic was capable of overpowering such a titan. There will be a hole in the stratosphere without him. But everyone who knew Koshelokhov is certain that he has just flown through that hole to the place where his thoughts have always dwelled.
It seems to me that every person is an artist. It’s just that some people know this, and others don’t.
— Boris Koshelokhov
Alain Badiou argues that social progress is propelled by “events”—great insights, discoveries, and revolutions in art, science, politics, and love. Although he often uses language that is evangelical to evoke the lived relationship to these events (it is no accident that one of his prototypical heroes is Saint Paul), Badiou is rather more prosaic, even purposely “mathematical,” when he describes how events come about. In a situation whose elements remain as many and self-identical as they were before the event, the poet, scientist, revolutionary or lover sees something other (more) than what the canon, scientific dogma, public opinion, and common sense tell him that he should see. After this event, the world remains the same and is changed forever. The exact proportion of sameness and difference is determined by how those who live in the wake of the event construe its afterlife. For Badiou, what matters are whether we remain faithful to the event or not, and what forms our faith (or faithlessness) takes. In fact, this is what the event is: the sense or nonsense we make of it; the way it changes how we act even when its whole significance escapes us; the social reaction and personal deadening that set in when we deny or forget the truth the event revealed to us. The event has no other meaning.
For Petersburg artist Boris “Bob” Koshelokhov (born 1942), the event was this: in 1975, his friend the painter Valery “Clover” Kleverov told Bob that he, too, was an artist. Nowadays, Koshelokhov suspects that a sense of guilt made Clover pronounce these fateful words. Koshelokhov had been helping Clover and his family improve their cramped living conditions and (later) emigrate by selling Clover’s works—on zero commission—from a makeshift gallery that doubled as Koshelokhov’s room in a communal flat. Besides not making any money off these transactions, Koshelokhov also drew the ire of his neighbors, who sent denunciations to the authorities. Wanting, apparently, to compensate his friend’s risky, selfless efforts on his behalf, Clover pronounced Koshelokhov an artist. Koshelokhov believed him.
What followed is art history—in more ways than one. Within a year of declaring himself for the truth accidentally revealed by Clover and after the latter man’s departure for America, Koshelokhov had gathered around him his own haphazard group of disciples, Chronicle. The group’s name is linked to Koshelokhov’s understanding of the artist’s task: “The artist is a chronicler; he has to record everything.” The dozen-some young artists in Chronicle—which included latter-day Petersburg art superstars Timur Novikov and Elena Figurina—gathered weekly in each other’s homes to discuss their new paintings. If they showed up for the weekly session without a freshly painted work, “Master” Koshelokhov showed them the door (even when it was the door of their own apartment).
The group provided a way for Koshelokhov to spread the gospel of art he’d been vouchsafed by Clover. It also created a refuge for Koshelokhov and his pupils from a late-Soviet art world where neither the right wing (the state-sponsored Union of Artists) nor the left wing (the so-called unofficial artists and their alternative quasi-unions) had much time for the purely artistic and personal truths Koshelokhov & Co. wanted to pursue with paint on canvas.
More important, Chronicle gave Koshelokhov the means to realize his notion of art as philosophical/existentialist practice. State Russian Museum curator Ekaterina Andreeva argues that Koshelokhov finds in painting an external outlet for the endless work of inquiry going on in his head and heart. Koshelokhov sees the artwork as the (potential) site of a dialogue between maker and looker, an intermediary in their otherwise lonely search for the meaning of self, world, and being. The result, according to Andreeva, is an “altered space” that forever changes how Koshelokhov’s interlocutors think and behave after they have entered it.
Koshelokhov’s dialogical view of art echoes within his biography. By his own account, he has spent his whole life in dialogue with others—whether the medical school classmates with whom he studied existentialist philosophy in the sixties (they were all expelled for this seditious act), the artists of Chronicle, the habitus of the famous “Saigon” cafe (where Koshelokhov earned the moniker “Philosopher”), or the inmates in the smoking room of the nearby Russian National Library (the equally famous “Publichka”). Through the books of philosophy that Koshelokhov found in this last haunt and elsewhere he has extended his dialogue with others into remoter times and kingdoms. This dialogue is re-enacted in his artistic practice, which can be imagined as an active interrogation of the artists and schools with whom Koshelokhov shares aesthetic ground: the Fauves, The Blue Rider, Dadaism and surrealism, Paul Klee, CoBrA, the Transavantguardia, the Neue Wilde, Figuration Libre.
Koshelokhov’s work likewise evokes international and Slavic traditions of outsider and naive art. In keeping with these traditions and Mikhail Larionov’s notion of everythingism (vsechestvo), and joyously bowing to straitened material circumstances, Koshelokhov has often turned the least promising debris of daily life into the stuff of art: discarded sofa frames, Styrofoam packing, bedpans, and other treasures rescued from garbage dumps. In this connection, his disciple Timur Novikov once remarked that if you come across a Koshelokhov painting from the seventies on a good canvas and high-quality frame, it’s almost surely a forgery.
Koshelokhov’s work also makes an especially clear appeal to the immediacy of children’s art. By his own admission, his five-year-old son Ilya has become his severest critic and “teacher.”
The context most germane for an understanding of Koshelokhov’s work, however, is the post-war Leningrad/Petersburg neo-fauvist/neo-expressionist school, in which Koshelokhov can be seen as the lynch pin between the immediate post-WWII generation (the circle of Alexander Arefiev) and the young bucks who created a grassroots artistic perestroika during the eighties and early nineties (Novikov, Oleg Kotelnikov, Ivan Sotnikov, Vadim Ovchinnikov, Vladislav Gutsevich and their fellow New Artists). For these younger Petersburg neo-expressionists and other local contemporaries, Koshelokhov has served as a peculiar model of steadfastness in the midst of faction and fashion. It is a testament to his significance in Petersburg’s “second” culture that his life has become the stuff of legends.
Finally and most vitally, Koshelokhov’s artistic practice is a dialogue with biological evolution and universal history. He rehearses the evolving variety and perennial sameness of animal and human life, and re-maps the migration of these life forms through geography and history. In his own words, his work and life is a cognitive and pictorial ontogenesis that repeats the phylogenesis of art history and human culture.
Paradoxically and appropriately for an artist so interested in dialogue, Koshelokhov’s path has been a remarkably lonely one. In a Russian artistic culture that favors collective identities, he has taken pains to emphasize his independence and distaste for “crowds” and “scenes” (the tusovki that prominent Russian curator Viktor Misiano identifies as the dominant form of post-Soviet artistic and cultural life). This sense of independence was his birthright: an orphan, he spent his childhood passing through and running away from a series of orphanages in the Urals. The wanderings of his youth and middle life took him to places as far-flung as Odessa and Leningrad, and jobs as unromantic as ship’s electrician and armed security guard. Most remarkably, just as his influence within Leningrad’s underground art scene was solidifying, he gave it all up and left for Italy with a young Italian aristocrat-communist. Just as surprisingly, he returned to the Soviet Union several months later, having found life in his new “golden cage” no more conducive to his pursuit of the truth revealed by the event of 1975 than life behind the bad-old Iron Curtain.
Whatever the peripeteias of Koshelokhov’s life, then, they all answer to another of the dictums he often repeats (following Sartre): “First my freedom was born, then I was born.” Koshelokhov teaches us that human life is a work of art that takes shape as its makers—we ourselves—haltingly grope backwards and forwards toward this originary insight.
Since the dawn of another great and little-understood political event, perestroika, Koshelokhov has become bolder and more single-minded in his faithfulness to the event that changed his life in the mid-seventies. This boldness has manifested itself in an increasing turn to scale and number. Ekaterina Andreeva points out that many of the great artists of the modern and postmodern periods (she cites Picasso, Warhol, and Ilya Kabakov) have also employed rapid, serialized mass production as a means of unburdening themselves of their genius. Koshelokhov had always been productive and profligate, even in the midst of harrowingly inhospitable working conditions. (His “studios” have included the machine room of an elevator and waterlogged cellars lit by a single bulb.) Many of the hundreds of paintings, sculptures, and assemblages (the so-called concepts) of his early period disappeared into the mists of oblivion and the landfills of suburban Leningrad almost as quickly as they appeared.
In the late eighties and early nineties, Koshelokhov carried out two projects that even more clearly signaled his desire to “world the world” by turning it into art: Puppets of Peace March Around the World (1989, oil on canvas, 23 meters x 6 meters) and Heilige Sunder (1992, oil on canvas, 120 meters x 3 meters). Fortunately, these gigantic pieces weren’t consigned to the rubbish bin of history. They are now in private collections in France and Moscow.
In 1992, Koshelokhov began work on his magnum opus, Two Highways, which Andreeva cites as one of the most significant art works of contemporary art. The first two stages of the project—1,200 black-and-white sketches and 6,000 (40 cm x 30 cm) pastels (five variations on each of the original sketches)—were completed in 2002. The third and final stage—a 5,000 square meter mural incorporating the findings of the previous two stages—so far exists only in the imaginations of Koshelokhov and the friends he has infected with his sober, tender, and naive re-visioning of life. He says that he is ready to produce the work anywhere in the world, given a wall that is big enough, a team of helpers, and a minimal amount of funding.
As Koshelokhov explains it, the two highways in his project’s title (in English in the original) are the earthly path and the heavenly path. “I travel in a vehicle over the earth’s surface. My peripheral vision picks out quintessential human images and artifacts from the Stone Age to modern times. My journey takes me from Europe to Africa, across the Atlantic and America to Alaska. From there I go to Japan, Asia, the islands of Oceania, and around Australia. Finally, I cross Antarctica and complete my journey in South America.” Andreeva suggests that the prototype of this imaginary trek is a solo road trip from Trieste to Palermo that Koshelokhov made in his Italian wife’s Citroen in 1978. It also has to be mentioned that for some time in the late eighties and early nineties he worked as a gypsy cab driver in Petersburg. He ferried people and things around the city at all hours of the day and night in a used Mercedes-Benz until the mafia forced him into an early retirement.
Mikhail Trofimenkov has written of Two Highways that it gives us a glimpse of how God sees the earth as He flies above it. For his part, Koshelokhov claims that, like the opposite side of a Moebius strip, the earthly path repeats (in extension) the forms and ideas that lie hidden in the empyrean. His mission is to re-awaken the viewer to the possibility of participating in the world’s co-creation by uniting thought and feeling, theory and practice, sensus et ratio (to borrow the artist’s beloved coinage). Everywhere—even in the less prepossessing quarters of Leningrad/Petersburg (Koshelokhov’s real muse)—we are reminded (by colors, shapes, faces, bodies, buildings) of the miracle of being’s unfolding. Ekaterina Andreeva argues that it was this impulse—to see the whole world and to see it all at once—that launched the postmodernist/transavantgarde project. In this sense, she speculates, it was no accident that Koshelokhov found himself in Italy just as the movement was jelling. (There, he exhibited in a special program at the Venice Biennale, “New Soviet Art: An Unofficial View.”)
Preached by Mikhail Larionov and Joseph Beuys, and then taken up by Koshelokhov and Novikov’s New Artists, the now-unfashionable avant-garde notion that everyone is an artist and everything can be turned into art (which we must distinguish from the directive to turn everything and everyone into commodity and consumer) is nothing other than the ethical imperative to remain faithful to the insight that visited Koshelokhov in the mid-seventies: that the mission of art is to reunite vision and thought, self and world. In Koshelokhov’s case, “insight” has to be understood literally. Two Highways is a journey that the artist has been making without leaving his current studio at Pushkinskaya-10. Like all genuine avant-garde projects, though, this journey won’t be complete until the human world (or, at least, one 5000 square meter corner of it) is physically and spiritually transformed. // Thomas Campbell
· Ekaterina Andreeva. “Khudozhnik,” Novyi mir iskusstva 6 (1999): 3–5.
· Ekaterina Andreeva. Postmodernizm. Iskusstvo vtoroi poloviny XX—nachala XXI veka [Postmodernism. Art of the Late 20th and Early 21st Centuries]. Saint Petersburg: Azbuka-Klassika, 2007.
· Ekaterina Andreeva. Videotaped interview, January 2007, Saint Petersburg.
· Alain Badiou. Ethics: An Essay on the Understanding of Evil. Trans. Peter Hallward. London and New York: Verso, 2001.
· Thomas Campbell and Nick Teplov. Unpublished tape-recorded interview with Boris Koshelokhov, October 2006, Saint Petersburg.
· Boris Koshelokhov. Zhivopis. Exhibition catalogue. Text by Ekaterina Andreeva. Saint Petersburg: Na Obvodnom Gallery, 2002.
· Nick Teplov, editor. Bob Koshelokhov. Two Highways. Saint Petersburg, 2003.
· Mikhail Trofimenkov. “Bob pravdu vidit,” Kommersant 14 August 2002.
😡The ArtPlay Design Center in Moscow has reneged on its agreement to provide a venue for a performance in support of Yulia Tsvetkova.
Over the last month, negotiations had been underway with an ArtPlay staffer about staging a performance as part of the Naked Truth project. The performance’s organizers provided a press release, all the information requested by the venue, and layouts and diagrams of the upcoming performance. The venue agreed to host the event, and the performance was to be held in ArtPlay’s small auditorium on [July] 14. Performances about female physicality had previously been staged at this site, and ArtPlay is known in art circles as one of the most creatively liberal spaces.
However, today, an organizer of the performance was [told that ArtPlay would not host the performance], since, according to the ArtPlay staffer, they “do not hold events with a political bent.”
This is not the first time that a major contemporary art center, well known for its liberal views, has turned down requests by artists to host events in support of Tsvetkova, most often by citing “political” motives and the “dangerousness” of her case.
The Naked Truth project has been in existence for a year. As part of the project, performances in support of Yulia Tsvetkova have been staged by respected and significant male and female artists from Moscow and Petersburg.
#PulseOfLife #ThanksDoctors. Five days ago, Elena Prudovskaya photographed and posted this photo of a street mural on Liteiny Prospekt in Petersburg, thanking doctors for their heroic service during the covid-19 pandemic. Two days later, she reported that municipal housing authorities had already painted the mural over. || TRR
Hello, my name is Darya Apahonchich, and the Russian Justice Ministry obliges me to start any video and story that I publish online with the phrase:
THIS MESSAGE (MATERIAL) HAS BEEN CREATED AND (OR) DISSEMINATED BY A FOREIGN MASS MEDIA OUTLET PERFORMING THE FUNCTIONS OF A FOREIGN AGENT, AND (OR) A RUSSIAN LEGAL ENTITY, PERFORMING THE FUNCTIONS OF A FOREIGN AGENT.
Since I have become not just a foreign agent, but a foreign agent media outlet, I decided to take advantage of this unexpected status and record a trial internet video, as if I had my own TV channel. So, this is my first video, and it deals with the case of Yulia Tsvetkova and issues surrounding the female body.
This program is about what the vulva is. I’ll explain why I’ve chosen this topic. The fact is that my apartment was searched by the police. During the search, one of the officers found a lot of posters protesting the Yulia Tsvetkova case. At some point he asked me, “What’s a vulva?”
At that moment, the search had been going on for a long time. I didn’t feel like talking and said that, in keeping with Article 51 of the Russian Constitution, I wished to exercise my right not to incriminate myself. I wouldn’t be telling the officer what a vulva was.
Almost three months have passed since then, and I thought it was unfair that there was a cop walking around who didn’t know what a vulva was, so I decided to record this video so that he and others could fill in this gap in their knowledge.
Now I shall fantasize what I would have said at that moment in reply to the officer’s question.
So, the policeman would ask me, “And what is a vulva?”
And I would answer him, “Unfortunately, I can’t answer your question quickly. I can only answer by resorting to a fairy tale.”
And he would say, “Well, you have so much junk in your home that we’ll be searching it for a long time. Let’s hear your story.”
And I would say, “Good, because your question reminded me of a question that a dinosaur asked a sea cow. The fact is that this tyrannosaur ran out of friends suspiciously often. He would invite them to dinner, and by the end of the dinner they would all be gone. So, he asked the sea cow for advice.
“‘Listen, sea cow, you have so many friends. How do you manage to be an equal among equals? I’d like to do the same.’
“‘Yes, you’ve come to the right place. Here’s my advice: start reading about the world and its problems, about injustices, have a look at theory, and make friends who are also interested in these things. And yes: you need to completely abandon meat and eating living creatures,’ the sea cow answered.
“The dinosaur took this advice, and when he and the sea cow met a year later, he was quite different.
“‘Listen, I did everything as you taught me. Now I read books with other former predators. We get together to discuss the global cold snap and the violence that we generate. But I’m very sad, and so are all my friends – we are really grieving. It seems that this isn’t what I wanted,’ he said to the sea cow.
“‘Yes, but you wanted to be an equal among equals, didn’t you?’ the sea cow asked.
“‘Yes, but not like this. I’ve achieved my goal, but not in the way I thought.”
“‘You know, tyrannosaurus, this happens quite often. For example, I recall the story of a jellyfish who quarreled with everyone.’
“‘What’s the story? Tell me!’
“So, the sea cow told the dinosaur the story.
“‘Once upon a time there was a scyphozoan jellyfish who quarreled with everyone. She couldn’t help it when she heard something about motherhood or the rights of females:
“Well,” she would grumble, “They used to give birth to jellyfishlets in the sea, and there were no female rights, and everything was normal.” But no one wanted to be friends with her, and so she asked a moon jellyfish for advice.
‘“How do you not quarrel with anyone? What’s your secret?”
‘“You know, I have a magic spring in the sea, and as soon as I want to say something about the rights of females, I swim to it, take in a mouthful of water and count to a thousand, and then let it out. And that’s it. I don’t quarrel with anyone.”
‘The scyphozoan took the advice and began doing the same. It helped her, and then she asked the moon jellyfish another question.
‘“Look, it’s a great method: I’ve made up with family. But magic water isn’t scientific, is it?”
‘“Well, yes, but you had to learn a new way of interacting with your loved ones, so you did it. You’ll change your mindset later on.”
‘“That’s great, of course, but I still prefer knowing what I’m doing, not just doing it. This story reminds me of the story of the doubting bee.”
‘“What’s the story? Tell me!”
‘And the scyphozoan told her the story of the bee.’
‘“Well, there was once a little bee who doubted whether she really needed to spend the whole summer gathering nectar.”’
And that’s when the policeman would have interrupted me.
“Look, I already got the point about the sea cow, the jellyfish, and the dinosaur, but what does that have to do with the vulva?”
“Look, you’ve come to search my home because I might have seen someone jaywalking,” I would have told him, “but you’ve been looking at my vulva posters for the past six hours. What’s the connection there?”
“All right, go ahead,” he would say.
And I would go on.
“So, the bee doubted that she really needed to collect nectar, flying from flower to flower every day: the work made her tired. She shared her thoughts with a stick caterpillar, and the stick caterpillar decided to play a nasty joke on the bee.
“‘Listen, honey bee,’ she said, ‘there is a magic flower called the elecampane. It is difficult to find, but as soon as you find it, you bring the pollen from it home, and you shall always have food for all your brothers and sisters.’
“And the bee flew off to look for this flower. When she met the stick caterpillar in the autumn, she was reproachful.
“‘Caterpillar, did you deceive me?” I spent the whole summer looking for the elecampane, but I couldn’t find it.’
“‘Yes, I deceived you because I wanted you to keep pollinating the flowers while thinking that you were looking for elecampane. Because your work is very important: without you, the flowers would not be able to reproduce, and the whole green world would die, and we would die with it. That’s why I lied to you.’
“‘Look, maybe your method worked,’ the bee said, ‘and I have been pollinating flowers all summer, but it’s wrong. I’m a rational being and I understand how important my work is, but it’s better to have a theory than not having one, to know what I’m doing than not knowing.’”
“Yes, I understand,” the policeman would then say. “So you mean that in all these stories, the characters achieved their goal, thinking that they were doing something different, but they were disappointed because it is better to have a theory than not having one?”
“Yes, you’ve got it quite right, comrade policeman,” I would say, “and that brings you closer to the question of what the vulva is. The vulva is a sexual organ, and many organisms have one. But feeling shame over the vulva is the starting point of our misogynous culture, while the movement towards respect, towards understanding that the vulva is an organ of a living person who has the right to know about their anatomy is a process. Therefore, the vulva is the path from shame to respect.”
And now I will draw a picture of how I told this story.
First, I told you about my conversation with the policeman. This was the first narrative frame. Inside it was the second frame, about the dinosaur and the sea cow, followed by the story about the jellyfish, and, at the very center, the story about the bee. The structure of my story will also help you to think about what the vulva is.
It’s a little strange to write about something positive these days, but I saw that, as part of the complete reconstruction of the Central Bus Station in Moscow, they preserved its old mosaic, which is now behind glass. Buses start from the 6th floor of the station, which is located under the same roof as the Shchelkovsky Shopping Center. On the other hand, I wasn’t able to find in my collection photos of the historic Toksovo station, which was demolished, and from which I departed for the dacha half my life.
Аn “agent” due to wages: foreign agent status threatens teachers
Oleg Dilimbetov and Marina Litvinova Kommersant
April 7, 2021
A job at a foreign institute of higher education or a salary from a foreign employer can be grounds for obtaining the status of a so-called foreign agent. This transpired during the the hearing of a lawsuit brought against the Justice Ministry by Petersburg teacher and activist Darya Apahonchich. She had requested that the ministry specify the reasons it had forcibly registered her as a “private individual acting as a foreign mass media outlet functioning as a foreign agent.” The ministry provided the court with written proof of her employment at a French college [in Petersburg] and the Russian branch of the International Red Cross. The ministry confirmed that the “foreign funding” received by a potential “foreign agent” does not necessarily have to have anything to do with subsequent “dissemination of information” or “political activity.”
Ms. Apahonchich was placed on the register of so-called individual media foreign agents on December 28, 2020, along with three journalists and the human rights activist Lev Ponomaryov. At the time, the Justice Ministry did not explain what specific reasons had caused them to assign her this status. In March, Ms. Apahonchich filed a lawsuit in Petersburg’s Lenin District Court, claiming that the obligations imposed on her by the Justice Ministry due to the new status violated her rights under the Russian Constitution and the provisions of the European Convention on Human Rights (ECHR). On April 5, during a preliminary hearing of the lawsuit, Ms. Apahonchich was informed of the Justice Ministry’s objections to her claims and finally learned the reasons she had been entered into the register.
The ministry told the court that the woman [sic] had received foreign money transfers from Sweden, Germany, France and Finland. As Ms. Apahonchich explained, these were official fees for participation in festivals and exhibitions and her work as a teacher.
Thus, she was paid 35 thousand rubles by the Finnish Museum of Photography. She received Another 112 thousand rubles from the French college [in Petersburg], where she taught Russian. She received about 60 thousand rubles from friends via the PayPal transfer system, and these transfers were expedited by Deutsche Bank (Germany). [That is, Ms. Apahonchich had received the fantastic sum of approximately 2,220 euros at current exchange rates — TRR.] In addition, Ms. Apahonchich was imputed with having received bank transfers from her employer, the Russian branch of the International Red Cross. The Justice Ministry stated that the source of these funds was Norway, and the intermediary was Sweden. The activist herself claims that she performed work at the Red Cross under a [Russian] presidential grant.
As for “dissemination of information,” the Justice Ministry pointed out that Ms. Apahonchich had reposted on social networks the article “Feminist Fairy Tales: Princesses Fighting the Patriarchy,” published by Radio Liberty (which has been deemed a so-called foreign agent media outlet by the Russian authorities). The ministry also told the court about the YouTube channel “Feminists Explain,” where Ms. Apahonchich has discussed the topic of gender equality, and her article about domestic violence, published on the website Colta.ru. In addition, the woman [sic] had appealed on social networks for solidarity with the defendants in the case of the Network (deemed a terrorist organization in the Russian Federation and banned) and LGBT activist Yulia Tsvetkova.
“The list of my sins is long but honorable: I taught Russian as a foreign language, participated in international festivals, and voiced solidarity with the regime’s victims. Yes, I also accepted financial assistance from friends from abroad,” Ms. Apahonchich said when asked to comment on the Justice Ministry’s position. “It is clear that they brought the house down on me for solidarity: for solidarity pickets, for public discussions with friends. The situation was not what it is now: everyone seems to have gone off the rails. We’re in trouble, we need help.”
Her lawyer Alexander Peredruk noted that the Justice Ministry had not even tried to prove to the court that there was a connection between the foreign funds received by his client and her activism.
“Based on the Justice Ministry’s position, if you publish something on social networks, it does not matter whether you receive foreign funds directly or indirectly. And it is very difficult to independently monitor the matter: when collaborating with an LLC, you cannot know for certain whether it receives foreign money,” the lawyer said. “The Justice Ministry argues that the separately existing evidence of receiving funds from abroad and publishing on social networks is enough. They have not tried to establish a direct connection between them.”
The Justice Ministry told Kommersant that the law sets quite clear criteria for inclusion in the register. In the case of “individual media foreign agents,” it is sufficient to “distribute news reports and materials intended for an unlimited number of persons,” as well as to receive “money and (or) other property” from foreign states, organizations and nationals, or “from Russian legal entities receiving money from these sources.” To obtain the status of an “individual foreign agent,” it is enough to receive “foreign” money and “distribute news reports and materials” created by a “foreign agent media outlet” or “participate in the creation” of such “news reports and materials.”
“The legislation specifies neither the need for an obligatory link between the receipt of foreign funds and the dissemination of news reports and materials, nor evidence of the individual’s political activity,” the Justice Ministry confirmed to Kommersant.