Search Results
Search Terms
Text Containing:
curator: Rita Safariants
Page: 4
Aleksei Balabanov's "Brother 2" (2000)
The continuation of Danila Bagrov's story from Balabanov's 1997 smash hit "Brother" was partially set in the United States, where national hero Bagrov avenged his friend's death while responding to Russo-American cultural differences.
View Artifact
A 1997 interview with Sergei Bodrov, Jr.
Interview with actor Sergei Bodrov Jr., who famously played the loveable gangster Danila Bagrov in Aleksei Balabanov’s films Brother and Brother 2, becoming a post-Soviet cultural icon.
View Artifact
Band Survey from the Leningrad Rock Club completed by Sergei Kuryokhin of Pop Mekhanika
An official rock club survey in which Sergei Kuryokhin utlilizes the late-Soviet aesthetic of stiob and performative socialism to underscore the club's dependence on the KGB
View Artifact
"Tsoi's Wall" on Arbat
A wall of fan graffiti dedocated to the late Soviet rock star Viktor Tsoi on Moscow's famous Arbat Street.
View Artifact
Leningrad Rock Club
A wall of graffiti in the courtyard of the Leningrad Rock Club (1981-1991) on 13 Rubinshteyna Street in Leningrad (St. Petersburg), which featured fan street art dedicated to USSR's most revered rock-music collectives. When the wall was painted over in 2010 by the bulding's new proprietor, this caused a public outcry from both rock fans and the many surviving musicians from that era, who sought to preserve the LRC's legacy and designmate the wall and the building a historical landmark.
View Artifact
TaMtAm Rock Club documentary by German television (1993)
The first and until 1994 the only Western-style rock club in Russia, which was founded in 1991 by cellist Vsevolod (Seva) Gakkel (Akvarium) after he visited the famous music club CBGB in New York. The club specialized in punk rock specifically, providing the budding underground punk scene in Russia a much-needed performance venue and cultural legitimacy. Some have accused Gakkel's establishment for breeding far-right nationalist sentiments among Russia's youth subcultures (or at least providing them with a physical organizational platform) in the early 1990s. The fact that a German television production company took interest in TaMtAm is also a testament to punk as a truly transnational movement after fall of the Berlin Wall.
View Artifact