Boris Koshelokhov, 1942-2021

Boris Koshelokhov in his studio at Pushkinskaya 10 in Petersburg. Photo courtesy of boriskoshelokhov.com

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.

Boris Koshelokhov, Happy New Year!, 2007. Oil on canvas, 120×190 cm. Image courtesy of boriskoshelokhov.com

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.

Boris Koshelokhov at an exhibition of his works. Photo courtesy of boriskoshelokhov.com

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.

Translated by Thomas Campbell

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Two Highways (Nick Teplov & Alexander Markov, 2008). Courtesy of boriskoshelokhov.com

2097 (Vadim Ovchinnikov, Boris Kazakov, Georgy Baranov, Tatiana Ledneva, 1996). Courtesy of boriskoshelokhov.com

The Creative Path of Boris Koshelokhov (Yevgeny Kondratiev, 1988). Courtesy of boriskoshelokhov.com

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Boris Koshelokhov’s Two Highways

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 

Sources
· 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.

Source: boriskoshelokhov.com

Fallout

TASS reports:

The fallout from the news that Russian tourists in Cuba have been quarantined due to suspected coronavirus infections does not facilitate promoting tourist trips to this country on the Russian market. The [Russian] diplomatic mission is working with the Cuban side to resolve the problem as soon as possible, Russian Ambassador to Havana Andrei Guskov said.

Plaza de la Revolucion, Havana, Cuba. Photo: ITAR-TASS/Andrei Babushkin

Bumaga reports:

From January to April 2021, 30% more people died in St. Petersburg than during the same period in 2020, according to figures published by Petrostat on July 5.

In total, 27,027 people died in the first four months of 2021, compared to 20,752 people a year ago. In April, 5,897 people were confirmed dead — this was 11.5% more than in April 2020.

In 2021, community-acquired pneumonia also began to be detected more often in St. Petersburg. From January to April, 22,945 cases of pneumonia were recorded. This was twice as many as in the first four months of 2020.

No Country for Old Men

Young people celebrating on Palace Square in Petersburg. Photo: Alexander Galperin/RIA Novosti. Courtesy of Open Media

The authorities spend 35 million rubles on offline celebration of Youth Day in Russia amidst pandemic’s third wave
Dmitry Nikitin
Open Media
June 27, 2021

The Russian authorities have spent almost 35 million rubles [approx. 406,000 euros] on celebrating Youth Day (June 27), Open Media has calculated on the basis of public procurement records. Events are being held offline in twenty-three regions; no tenders were announced in the other regions of the Russian Federation. The money has been used to organize concerts, master classes, picnics and lectures, which have not been canceled amidst the third wave of the coronavirus pandemic. Over the past day, according to the federal pandemic crisis center, 20,538 new cases of infection were reported, and 599 people died. In many regions, restrictions have been introduced and mandatory vaccination has been announced for certain segments of the populace.

The most funds have been allocated for Youth Day celebrations in Tatarstan: the celebration in its capital city of Kazan has cost 10 million rubles. Six venues have been organized around the city for events including a music festival, dance competitions and master classes on promoting TikTok content. Family picnics featuring children’s activity zones, photo shoots, DJ performances and lectures have been scheduled for parents and children at the city’s Gorky Park. The tender documents do not specify whether the number of attendees at the events will be restricted.

In St. Petersburg, a concert costing 1.1 million rubles has been commissioned by city hall’s Committee on Youth Policy and Cooperation with Public Organizations. The celebrations in Tula have cost 1.5 million rubles. The authorities there have scheduled a master class in archery, a football tournament and a city tour.

In some regions, planned events have been canceled due to the epidemiological situation, for example, in Vladivostok, Dagestan and the Perm Region.

Youth Day has been celebrated annually on June 27 since 1993, when it was established by a decree of President Boris Yeltsin. Last year, due to the pandemic, the offline celebration was canceled.

Translated by the Russian Reader

No Placards

“While you’re celebrating and watching football, the prisons are filling up with political prisoners.”

Woman, Prison, Society
Facebook
June 26, 2021

NO PLACARDS ALLOWED
While its hospitals are overflowing with covid-19 patients, and photos of mass events and celebration in Petersburg are making the rounds of the media, solo pickets are still prohibited in the city. Marina Shiryaeva and Yevgenia Smetankina were taken to a police station yesterday for violating health restrictions, that is, for placards demanding the release of political prisoners.

According to MBKh Media, the young women held up pieces of cardboard containing the messages “I’m not waiting for a prince at Crimson Sails, I’m waiting for all political prisoners to be released,” and “While you’re celebrating and watching football, the prisons are filling up with political prisoners.”

Based on an article at m.123ru.net. Photo courtesy of m.123.ru.net. Thanks to Maria Mila for the heads-up. Translated by the Russian Reader

Crimson Sails

vera.afanasyeva
“A man depicting Alexander Nevsky, on a ship that [was built] 500 years after Nevsky, sings the Soviet song ‘It’s Fun to Walk Together’ at a Putinist festival in St. Petersburg at the height of the epidemic.

Russia: Chronicles of Mass Madness”

And also people in elven armor, people in 18th and 19th century European dress, one dude in a hockey uniform. Peter the Great and someone who looks like Lomonosov.

Only Lenin and Stalin are missing from this picture.

Poor, poor [Alexander] Green . . .

See Alexander Petrosyan’s photos of last night’s Crimson Sails festivities here. Translated by the Russian Reader

__________________

Saint Petersburg Posts Record Covid Toll Following Euro 2020
AFP (Moscow Times)
June 26, 2021

Sweden supporters cheer during the UEFA EURO 2020 Group E football match between Sweden and Poland at Saint Petersburg Stadium in Saint Petersburg on June 23, 2021. Maxim Shmetov/AFP

Russia’s Euro 2020 host Saint Petersburg on Saturday reported the country’s highest daily Covid-19 toll for a city since the start of the pandemic, data showed.

Official figures said the city, which has already hosted six Euro 2020 matches and is due to host a quarter-final on Friday, recorded 107 virus deaths over the last 24 hours.

Russian news agencies said this was the highest toll of any Russian city since the start of the pandemic.

Saint Petersburg was where dozens of Finland supporters caught coronavirus after they traveled to the city for their team’s defeat against Belgium.

Russia has seen an explosion of new coronavirus cases since mid-June driven by the highly infectious Delta variant first identified in India.

The nation as a whole reported 21,665 new infections on Saturday, the highest daily figure since January.

The dramatic rise in infections come as officials in Moscow are pushing vaccine-skeptical Russians to get inoculated, after lifting most anti-virus restrictions late last year.

“To stop the pandemic, one thing is needed: rapid, large-scale vaccinations. Nobody has invented any other solution,” Moscow mayor Sergei Sobyanin told state-run television on Saturday.

“To fundamentally solve this problem, you need to be vaccinated or go to a lockdown,” he was cited as saying by the RIA Novosti news agency.

Russia also reported 619 new coronavirus deaths on Saturday—the highest daily toll since December—bringing the total to 132,683 fatalities since the pandemic began.

But officials in the sixth-worst hit country the world—and the hardest in Europe—have been accused of downplaying the severity of the outbreak in the country.

Under a broader definition for deaths linked to coronavirus, statistics agency Rosstat at the end of April said that Russia has seen at least 270,000 fatalities since the pandemic began.

Just 21.2 million out of a population of about 146 million had received at least one dose of a vaccine as of Friday, according to the Gogov website, which tallies Covid figures from the regions and the media.

Juneteenth a la russe

Four solo picketers detained in Moscow demanding that authorities not exacerbate the epidemic 
OVD Info
June 19, 2021

Alexander Rimov has informed OVD Info that four people involved in a series of solo pickets demanding that authorities not worsen the epidemiological situation have been detained.

During the United Russia party congress, taking place at Moscow’s Expo Center, several people took turns holding up a placard containing a message encrypted using a QR code. The protesters urged the authorities not to worsen the epidemiological situation and postpone the elections so that the ruling party does not endanger the electorate.

Among the detainees, according to Rimov, are two virologists, a law enforcement officer and a municipal employee. They were taken to the police department in the city’s Arbat district, where they were cited for violating the rules for holding public events (per Article 20.2.5 of the Administrative Code).

UPDATE 10:00 P.M. After the charges were filed, the detainees were released, a friend of theirs has told OVD Info.

During the United Russia congress, President Putin announced the first five names on the party’s federal list for the upcoming State Duma elections.

Thanks to Activatica for the link and the Kamchatka Krai branch of the United Russian party for the photo of the congress venue. Translated by the Russian Reader

United Russia has set itself goal of winning the elections, but this is not an end in itself. The main thing is to achieve more for the country, Vladimir Putin said.

He noted that the platform of United Russia, as a leading party, should be truly popular.

In the top five of United Russia’s federal list in the elections, there should be both political heavyweights and relative newcomers, Putin believes. The Russian president named Shoigu among those whom he sees at the top of United Russia’s federal list in the elections.

Putin also said that Protsenko, Lavrov, Shmeleva and Kuznetsova should be among the names at the top of the federal list.

Source: TASS, June 19, 2021. Translated by the Russian Reader. Mediazona editor Yegor Skovoroda writes that new data from Rosstat, the Russian federal statistics service, shows how authorities in many of Russia’s regions have been hiding covid-19 deaths by passing them off as mortalities from respiratory and circulatory diseases. In Chechnya, for example, such deaths suddenly increased by 674%, while in the Samara region they increased by 202%. It was mostly the elderly that have been dying from these alleged causes, prompting Skovoroda to call the phenomenon a “nightmarish variety of ‘pension reform.’” All the particulars are contained in Mediazona’s survey of the stats, published on June 18, 2021.

Slugfest

I usually like what Kirill Martynov writes, but the screed, below, is overdoing it. DOXA are just four nice smart, brave kids, not the Red Army Faction. They shouldn’t have to bring down the Putin regime on their own. This is not to mention the fact that Russia has been an “ordinary dictatorship” since 2012, if not much earlier. || TRR

___________________

Kirill Martynov
Facebook
April 16, 2021

At work, I have to constantly write about the “socio-political situation.”

My thoughts are now as transparent as Patrushev’s tear: we have arrived at an ordinary dictatorship with a president for life, prisons and a ban on practicing their professions for dissenters, and the subsequent collapse of the state—after this patriotic feast ends with some pathetic and shameful event, as usually happens to dictatorships.

Accordingly, there is practically nothing to write, except for specific stories—for example, about when they try to block YouTube or how they will simulate elections under the new circumstances.

The DOXA case should be read in this light: this is not about random “siloviki going after a student magazine,” but about the dictatorship purging education and the media. It is impossible to win a trial against the dictatorship, so further bets will hinge on whether everyone remains free or not.

The advantage in this case is that “DOXA’s criminal video” says nothing except the that students also have the right to take a civic stance, and university administrations should not try to persecute them for this. It looks like the kind of case that should end in a suspended sentence, which, by Russian standards, is tantamount to an acquittal.

However, so far the state has imposed special pre-trial restraining measures on DOXA. All four editors can leave their homes for one minute a day, from 11:59 p.m. to 12:00 a.m. (so as to avoid putting them under house arrest for some reason).* All four of them have already been issued summonses for more than twenty interrogations, scheduled for every working day between now and late May.


In a better world, Summit Brewing Co.’s fabulous Slugfest IPA would be my new sponsor. Instead, it only dulls the pain I feel when contemplating the one-sided slugfest happening in the world’s biggest country. Image courtesy of Summit Brewing Co., St. Paul, Minn.

Armen Aramyan wrote his honor’s thesis in epistemology with me as his academic advisor. I hope that the investigator will have time to talk with him about this interesting subject. (“Why so many books?” the police asked when they searched his apartment.)

So from an epistemological point of view, the situation looks something like this. The authorities are now able to kill DOXA’s entire support line in a matter of days: the state will simply devour a few lives and go on, thus maintaining “stability.” But the state’s weakness is that it has no idea what phenomenon it is facing.

It has no idea how these people think, what they want, and what to use to “break” them. When the Americans were at war with Japan, they commissioned anthropologists to study Japanese culture. Our state is waging a war on young people blindly, like a drunken gangster in a dark alley.

I have no idea at all what DOXA—a horizontal student editorial board that writes about modern philosophy and harassment—looks like to police investigators.

And while the state is trying to figure out this unknown quantity, to unravel how it can be bought off or destroyed, many more interesting things will happen.

* As reader Pavel Kudyukin pointed out to me, house arrest was not imposed in this case so that its duration could not later be subtracted (as “time served”) from a sentence of imprisonment or probation imposed after a trial and guilty verdict. This suggests, he argued, that the powers that be have already decided to convict the four DOXA editors and send them to prison. || TRR

April 16, 2021

Covid is raging in Russia: over the past twelve months, there have been about 500,000 unexplained excess deaths. Putin is killing Navalny in prison, right now, literally. And this is the scene today, Friday, at 11:15 p.m., on Pyatnitskaya Street in downtown Moscow. How is this possible?!

Translated by the Russian Reader