Radek group. "Barricada". 23.05.1998
Oleg Kulik.  Two Kuliks. Art Center 'Ark', Riga, 4 November 1998 >>>images
Oleg Kulik. White Man, Black Dog. Gallery Kapelica, Ljubljana, 7 October 1998
Elena Kovylina. Proektion, Gallery "New Kollegion" Sankt-Petersburg, 04.11.1998
Elena Kovylina. The exchage rate of rouble, Moscow, 01.05.1998

Nove. 1998/ Exhibition “Emergency (Zapasny) Exit in Art-College”. Petersburg, exhibition Art-College Gallery, St. Petersburg
(dedicated to Marina Abrmovich and Joseph Boyce) Performance


Materials: Hare (fluffy toy), copies of Durer's "Hare", of photograph of Abramovich's performance "Pieta" and picture of Boyce's performance, in which the artist talks to the dead hare about the exhibition, white fabric, stand.
Action: I am in red and hold a hare-toy in the “pieta” pose.
Duration: 12 min."
http://www.escapeprogram.ru/english/members/liza/l18.htm

Elena Kovylina. Proektion. Gallery "New Kollegion" Sankt-Petersburg 04.11.1998

 Art Center 'Ark', Riga, 4 November 1998, Ikon Gallery, Birmingham, 17 May 2001
Kulik-the-artist and Kulik-the-animal fight using the means available to both of them. The first is drawing his self-portrait with his 'beak', remembering that he is a bird, while the second is always displeased with the conventionality of the result. In Riga the conflict reached its climax when one of the Kuliks (which one?) broke the glass self-portrait with his hand, and had to be rushed to hospital for surgery."
Live Art Development Agency

 
Gallery Kapelica, Ljubljana, 7 October 1998
Kulik was trying to establish close relations with a black dog in complete darkness, split intermittently by camera flashes made by two photographers documenting the action. This process revealed a surprising effect when temporal imprints appeared on the retina of the spectators' eyes. Such ephemeral 'documentation' is the only true, 'absolutely real' art.

Aug. 1998. 2nd International Festival of Experimental Art and Performance Manege, St. Petersburg, exhibition, Zapasny Palace, Tsarskoe Selo



Materials: Aquarium, toys, cigarettes, lighter, my drawings and letters from when I was a child.
Action: A child’s world – a doll’s room - is recreated at the bottom of an empty aquarium. Aquarium is placed at the highest place of the balustrade of Zapasny Palace.
I stand still inside the aquarium looking into the distance.
I smoke and burn letters and drawings until the bottom of aquarium disappear under the ashes.
Duration: 1,5 hours"
http://www.escapeprogram.ru/english/members/liza/l7.htm

The crowded opening of „Body and the East" was a big party, with the inevitable Alexander Brener throwing eggs at some important people. One egg hit an important man’s head, and as he happened to be bald, the organic liquid contained in the egg slowly slided down on his shiny head. It was all a big scandal, of course. There also was a buffet for the opening, consisting of a table covered with apparently hand-made sausages, lined up in different colours. The table looked as if covered with intestines. You had to use scissors to cut off the small sausages. They were very tasty. At the buffet, I got the chance to talk to Brener. He proved to be a very friendly person.

  The Place where Symptoms become Real: Cosmonauts, Explosives, and Hand-Made Sausages. Impressions from Ljubljana, Slovenia, 7-12 July 1998 by Inke Arns <inke@berlin.snafu.de> Berlin, August 1998
-http://www.projects.v2.nl/~arns/Texts/lju98.html
NO IMAGES!!!
 

Император Вава. Я ненавижу Россию. 30 мая 1998 года, у Большого Театра
http://www.guelman.ru/gallery/moscow/valkiria/nenavistnik/

Radek group. "Barricada". 23.05.1998
On the 23d of May, 1998, an action “Barricade” – the most mass action of Moscow art activism - happened. Bolshaya Nikitskaya Street has been blocked with empty cartons, prepared in advance of the action. About 300 participants hold the barricade during 3 hours beyond 200 meters from Kremlin.
“Barricade” was devoted to Paris student revolution in 1968.


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Moscow, 01.05.1998

"The Shaking Hands & Making Conflicts symposium will be held at Färgfabriken, Centre for Contemporary Art & Architecture, April 23-26, 1998. It is produced on the initiative of the Swedish Ministry of Foreign Affairs and Färgfabriken, in collaboration with the Ministry of Culture and the Swedish Institute. It is held in the installation/theatre play "Dabloids" by the Russian artist Leonid Tischkov. The symposium aims to create a lasting network - a Partnership for Culture - for artists and intellectuals, with special emphasis upon the young, first and foremost from the Baltic Sea countries, together with Byelorussia and the Ukraine. 0. "The Dabloids are a sort of symbol for each person's mental luggage", says the Russian artist Leonid Tishkov.

From brener

One of our key works was done in 1998 in Berlin. There still exists a part of the former Berlin Wall, which is now called “East Side Gallery”. It is not a simple wall. This wall is decorated with official commissioned graffiti. And it is a cultural memorial. But we don’t like memorials and what they stand for. The “East Side Gallery” symbolises the reunification of Germany. But you have to know that together with the reunification of Germany new borders emerged in Europe. And we wanted to make that visible. So we came to the East Side gallery and started to paint with grey colour over the graffiti. As well we stuck leaflets to the wall with the following content:

The Necessity Of A Cultural Revolution
(Alexander Brener, Barbara Schurz; 02/2002)

Kapelica Gallery


Synthesising our tribute to AL. Chizhevskiy and this statement, we created a dance piece for which the intensity of light was conditioned by the activity of the Sun on 7. February 1997 (the 100 Th. birthday of A.L. Chizhevskiy), and the rhythm of light was determined by the heart beat of dancers dancing in a performance of Paula Massano happening simultaneously in Centre Cultural des Belem in Lisbon,Portugal. The heart beat of the dancer in our performance was in the same time transmitted and incorporated (as light) into the performance of Paula Massano. "And once we experienced the exchange of our heart beats, this performance is free to depend on itself and so use the heart beat of its own dancer to guide the rhythm of light."
"
http://www.wwsd.org/dancers/kapelica/kapelica.html