A 1988 celebration of a year of the late- and post-Soviet youth program “Vzgliad,” where several sketch comedy artists parody and recapitulate its casual, sincere, and freewheeling style of television programming.

Clips of “Vzgliad”'s reports during the attempted anti-Gorbachev coup of August 1991. These include the hosts’ holing up in the seat of Russia’s new parliament, the White House alongside its defenders and celebrities, including the cellist Mstislav Rostropovich (1927-2007).

An annotated map of gay locales—cafes, bars, nightclubs, saunas, and cruising areas or pleshki—published in a 1997 issue of the gay magazine Argo.

Images from a photo shoot from the Polushkin Brothers’ Fash-Fashion collection, which alluded to both queer and fascist aesthetics. Images in the series appeared, respectively, in an ad for Dr. Martens in the lifestyle magazine “Ptiuch,” and as an example of the countercultural aesthetics of the National Bolshevik Party in the pages of its press organ, “Limonka.”

Igor Dudinsky takes over the magazine Megapolis-ekspress and turns it into an extreme and surreal parody of the lowest and most excessively sensationalist forms of Western tabloids.

The Moscow-based, English-language magazine the eXile combined gonzo journalism and stiob to provide unique reporting on post-Soviet Russia. At the same time, the outlet fetishized the very 1990s-era lawlessness or bespredel—not to mention Western sexual and economic exploitation of Russia—that it nominally denounced and condemned.