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Luchkin, A. (2017). By trains. Travel from Vladivostok to Moscow, Alpina Publisher

The book is a collection of endless amount of tips on how to prepare for the trip and how best to behave in the process. He reveals the secrets that he has learned from his own experience and allows us to immerse ourselves in the atmosphere of a wild journey through Russia with the help of an electric train. You have a very clear route - the rails cannot turn the wrong way, but you cannot predict what events the next day of such a journey will lead you to. What I found particularly interesting about it is that this is not just a book about another trip. This book contains typical portraits of the part-time inhabitants of electric trains with whom the author was lucky (or not) to meet and get to know him. In the absence of the opportunity to immerse yourself in such an atmosphere and experience all this on your own skin, you can read about it in this book, of course, this is not the same as a real experience, but this is a real story that can help build a clearer vision of life in train - one of the very important phenomena in Russian culture. Is that possible to build the whole picture about life in train without real immersion in it? Would several general rides anough to catch all the range of ‘train characters’? Travel, electric train, through Russia Non-visual/20

LITVINA A., DESNITSKAYA A. (2020). Transsib. Poezd otpravlyaetsya! Samokat, Moscow

The book is an example of deep research that is accurate in numbers, historical facts and geographic information. But it is not typical geographical or historical school book. What I found particularly interesting about the creating process of that book, that authors litterally involved future readers in creating process. They asked inhabitancy of particular ares share some stories and photos, and some facts which might be impossible to find in the internet. In this way it turned out to be a true narrative, with detailed illustrations revealing the visual aspect of the journey. Could the involvement of the future reader in the process of creating a book consider to be a participatory art practice? How to find the writer with whom you will be as much on the same wavelength and also equally deeply involved in the process of creating a common object? How to find brought enough but not too much topic what would be ineresting to work with and later read, but will not turn into an graphical endless romance? Illustration, investigation, involving people, book for all ages. Non-visual/19

Zhitenev, A. (2011) “Paper” aesthetics of Moscow Conceptualism

https://cyberleninka.ru/article/n/bumazhnaya-estetika-moskovskogo-kontseptualizma/viewer The article is a collection of thoughts related to metaphorical connotations of paper in Russian conceptualism. Paper can be not only a means of transmission, but also a way of articulating meaning. The author also refers to Pivovarov's article "Paper as Text", which is worth reading for a better understanding of the topic. What I found particularly interesting about it is how brought ‘paper’ might be perceived in the context of works of that period what gave the arts great space for experimenting. "The paper has lost its metaphysical parameters, it became possible to treat it as an object". How it is possible to revise the properties of other material surfaces used for paintings? And where it can lead? Paper, media, conceptualism, metatext, performance. Non-visual/18

Melamed, V. (2020) Machinery of a portrait. The experience of the viewer, teacher and artist

Ad Marginem, A + A

The book is a collection of thoughts and knowledges related to the creation of the portrait. The portraits of the author himself are often built from simple geometric shapes, but at the same time they have a clear recognizability. He describes different approaches to the portrait and even how surroundings (like background or additional object, specific pose or color layout) change the whole mood of the portrait. What I found particularly interesting about it is that he does not teach how do make a portrait, he shares approaches he use to understand specifics of each person and his or her uniqueness. How to draw using your brain but at the same time discarding visual and theoretical knowledge of anatomy? How to keep concentration on the unique features? How not to ruin picture by overdetailing?

Portrait, methodology. Non-visual/17

Artist Zoya Cherkasskaya: USSR in miniatures

https://sputnik-georgia.ru/interview/20160815/232983764.html Ryzhkov, L. (15 August 2016)

Zoya decided to use trash from childhood as a source of inspiration. The topic of nostalgia (such a scale one) will always work great because of the same experience of the generation.She also mentioned that she watch huge amount of films which were made in that time what make her even more inspired and gave plenty of new references. Sp films could be a great source for new material. How to catch are the human trigger topics that can generate the most engagement from your audience? Or should such themes come from the artist and look for their audience after the fact? Trigger topics, trash, nostalgia, USSR in miniature, preservation of time. Non-visual/16

Artist Alexei Buldakov - on the study of urban fauna

https://www.the-village.ru/weekend/art/231373-urban-fauna-lab?utm_campaign=editorial-widgets Text TAMKOVICH, J. Illustrations SMIRNY, A. (10 FEBRUARY 2016), [Online]

I am interested in the ways he hilts as the possible ones to achieve the create result. He says that is impossible to achieve the ability to create art if you interact and study only on the official history of art. To create real art, you need to put together all possible sources of information, and for this you need to communicate with different people and study the world around you. The world around us consist out of unlimited sources of inspiration and use (such as material). In the digitalization era it is important to stay in connection with real world around us? He also hi lights that learning go through mistakes. When you face up with problem, you are learning how to avoid it. How to find an object in the surrounding reality for interaction? How to interact with surroundings? Contemporary art, urban fauna, exploration, interaction, learn through mistakes. Non-visual/15

Exhibition "Train Stay"

https://rosizo.ru/events/event/890/ Dates: March 23 - May 20, 2018 Curators: Vitaly Patsyukov, Ekaterina Drakunova, Anastasia Kozachenko, Svetlana MakeevaExhibition architect: Konstantin Larin

The exhibition is an attempt to reveal the essence of the train phenomenon in Russian culture. Dynamism and suddenness of appearance. The very name of the exposition reads "Train Stay", which signals its intrusion into reality. Then the train became a symbol of change, but what is the symbol of the electric train now? I am interested in the ways electric trains were interpreted and symbolized by different artists. Some of them make symbolic meaning out of them, for other it was just a location of some kind of a story. Every artist are really different but in this case they were united by the same topic they accidentally choose to work with in some time in their artistic practice. The exhibition was very well thought and organized but unfortunately it was several yers ago so foe now I was able just to see published descriptions and photos of works which can nit transfer the whole mood but still can show the main idea. Phenomenon, exhibition project, form of the train, immersion experience. Non-visual/14

How Samara artists survive the quarantine: exhibitions in the bathroom and refrigerator

https://sgpress.ru/news/187729 Skokova, J. (April 1, 2020) [Online]

The article is a collection of short stories related to experimentation flat exhibitions which took part on the quarantine in several artist apartment due to the desire create something. I am interested in flat exhibitions and their types and ways they could be carried out. In this case several artists used refrigerator, toilet and bathroom for personal and group exhibitions. Their main feature was, obviously, the locations, which were well played in the names of the exhibitions and their conceptual descriptions. Where the experiment based on constraints ends and the madness begins? How far can restrictions be imposed? Is limitation always good and leads to positive results and progress? Limitations, home exhibition, experiment. Non-visual/13

Bulatov, E. (1987) Don't Lean Back

[Oil on canvas], 240×169,9, Russia Bulatov’s painting is interesting for me as an example of a work that depicts such a mundane object as view on the landscape from an electric train window. He combines classical landscape and text. He uses this combination in several of his works, but due to the realism of the situation, this combination looks as organic as possible. But in his works the words which applied to the picture are usually create additional meanings. So in this case you star think deeply and mention next feature: white text (in real life it might be also yellow) remind us the typical Moscow surrounding view on ti the panel houses district. What can create additional interpretations to this painting. So the location of the text on whole composition it is not random at all.

How to combine text and image to make them look organic and meaningful? Out of context, text, landscape, train, window,

Visual/20

Grishin, A. ( 2019) Mytischi hate

[Oil on canvas], 95*57cm, Russia The painting depicts a typical view out of train on the Moscow suburbs or Moscow region. I am interested in the way artist use the humanization to show the feeling of the city's aloofness from commuter train passengers entering it. This painting is visualization of the graffiti (with the same text as painting named) which Alexander Grishin mentions every time he travels in a commuter train under one of the bridge in Mytishchi. Nowbody knows what forced the author of the text to do that, but it seems to me that it is clearly reflects the the impression of traveling by train. Grishin’s painting is interestingfor me as an example of a work with such a strong visual mundane form that helps to create right impression of the picture as a whole object. This train window from the perspective sight creates kind o window to the artists world vision what is also works as an unusual method. So the imitation of the train window is definitely the main feature of this painting. How far is it possible go with the experimenting with the frame of the the shape of the canvas / drawing surface? How to train the brain to notice such powerful visual images at the same time. Imitation, framing, diptych, metaphor, humanization

Visual/19

Pieter Van Eenoge (2018) New York Trilogy

I am interested in the way artist uses to show several locations/stages in one scene. It is an unusual approach which could be useful in several other context to deal with the limit of canvas space. If it would be triptych it would not have the same meaning and not give the same impression. I am interested in how the author sacrifices anatomy to achieve the effect of teleportation through / worlds /. As well as he reduces the background of the main picture to a minimum in order to focus on the performance itself. How this method/composition decision might be applied to another story?

Surreal, scenery, metaphor, conceptual. Visual/18

Trends in contemporary art

http://www.lookatme.ru/flow/posts/art-radar/157249-5-glavnyh-trendov-v-sovremennom-iskusstve Gurov, (February 22, 2012), [Online]

This article is a collection of changes which took place in art sphere because of digital revolution. Firstly, I was interested in are there any fashion in trends / types / techniques in contemporary art over the past decades? But then I became interested in the ways which modern artists use to make art sold to both collectors and the wider public. Selling original and 5/10 editions of copies printed on good quality paper with the signs and documents of originality as well. In this way An artist can get a little more income from his work, and fans of his work can get his work for not huge price. Does printed copies has artificial value? How many of copies is possible to sell to keep them unique enough?How much less should a copy cost in relation to the original? Non-visual/12

Berger, J.(2012).Bento notebook. How does the impulse to draw something arise?

The book is a collection of essays with thoughts of the author related to the study of how the impulse to drawing is born. In short words, he suggests that the desire to draw something is directly related to the desire to capture the moment. And this idea sounds extremely obvious. After reading a little deeper, you understand that the essence is also in the sensations that the object or phenomenon you see can push you. These essays can also be interpreted as an explanation of this through the desire to depict everything for which the artist's eyes and mind are caught. Hooked means interested. Interested means attracts attention. Attracting attention means worth being depicted = drawn. The book does not answer the question asked in the title, but rather leaves even more questions after reading. This book will not teach you how to draw or make you want to draw, it is not a practical guide. This is literally a notebook - a notebook of thoughts, it can inspire introspection of actions associated with the creation of images. And sometimes this is enough to achieve a result. So how to catch the desire to draw something? Observation, attention to the sensations.

Non-visual/11

Kabakov - about the communal world

https://arzamas.academy/materials/592 Semendyaeva, M. [Online lecture]

One of the main themes in the work of Kabakov was the communal apartment and the peculiarities of life there. He was the first who told the whole essence of the unattractiveness of such a life to the Western public. His installations and ridicule of the surrounding reality in them were the only way to escape from reality. I am interested in existence of modern so strong social phenomenon like communal flat which is possible to investigate. What is the best way to find the subject for such a dip investigation? Is it necessary to build deep works on the sick topic affecting the author throughout his or her life? Phenomenon, art as investigation, work with human pain. Non-visual/10

Deep underground or artistic self-organizations of Moscow

https://artandyou.ru/articles/deep-underground-ili-hudozhestvennye-samoorganizaczii-moskvy/

The very fact of the existence of the existence of self-organization suggests that the conditions are still not very favorable for the existence of artists separately and in the field of information. By the way the "intraspecific" support among artists is also important because the courage of several people brought together as a whole is capable of many breakthroughs and successes.

How does flat exhibitions and exchange of views on the development of art affect the personal practice of an artist? How can the growth of artistic self-organizations create a crisis in Russian contemporary art? Underground art, self-organizations, flat exhibitions. Non-visual/9

Pivovarov, V. (1971) Moscow party

[Hardboard, enamel], 80*120 cm, State Tretyakov Gallery, Moscow. The painting depicts a typical Moscow party but in an unusual manner. Kitchen parties have been a typical pastime for Russian people for many decades. So for now it is kind of traditional activity. I am interested in the way he showed it on this work. It looks pretty surrealistic. As the artist himself says - he draws not what he actually se, but what is going on in his soul. It is important to mention that this work one of the first from the hard period when he had artificial block related to the painting practice and difficulties with finding his style and themes. So in this work it is possible to see euphoria of liberation. Usually I do not perceive such kind of works, bit somehow this now one translates the idea so well that even I can catch that. How to kern perceive the world around not just a viewer but also the one who can portray sensations? Surrealistic, state of soul translation.

Visual/17

Gankevich, A. (2014) Russians go 2

[Oil paining on canvas], 200x150, St. Petersburg, Russia The painting depicts a procession of typical Soviet Russian women. From the first glance it seems that they are exactly the same, that in fact they are almost the same and yet they are different people. Carpets - as a symbol of the banner of the Soviet Union. Carpets in the USSR symbolized the well-being of the family and home, but more importantly, a symbol of common consciousness. This work is a kind of anthem of the era, which is gradually being is erased from sight, but has not yet died in the minds of that generation. The technique of imitating mosaics - the artist's trick - only further emphasizes symbolism. So what would be the possible hymn of modern reality? Anthem of the era, hymn, symbolism.

Visual/16

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