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«КХ Artist’s Book Mikhail Pogarsky 2010 Curriculum Vitae ника удож га х Кни Погарский Михаил Валентинович. Родился в Муроме в 1963. Кандидат наук. Член Союза художников ...»

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Later I traveled for a long time on kayaks (probably I could not go anywhere books of Mikhail Pogarsky are strange, there are always pages (“stranonly this summer because of the birth of the baby). Probably all of that af- nicy”). Literally there are sheets of paper, a surface of sand of tree with fected somehow my life philosophy. For example, I lose my heart to the marked sign, even tablets with the letters. Sheets and leaves. Words and principle of Japanese art “Mono no avare” where hidden charm of things is shown.” 2 The wanderer takes care of information. Someone collects, its own special text. Sometimes the text is encoded; sometimes it is rolled botanizes. The other writes down the impressions. Mikhail Pogarsky pho- up, concentrated in the sum of associations, as in a plate with text “Bust tographs. Photo in his projects plays an important role. And it is better to in line” (by-word “Wink at nothing”) with the bit of bass. The existing of this call on the author again: 2 “There is no doubt, that the camera is one of the plate and of a bit of bass is the book itself, to be more exact it is the cover most remarkable instruments given to the artist by progress. As, because you know, the world is filled with poetry, it is necessary to learn to find it out game, palindromes is the necessary part of many projects of Mikhail Pogand to choose. But if I can take and bring home a roll of bark, I cannot do arsky and Gunel Yuran. The book of verses of Velimir Khlebnikov “Perethat with the old crane on the river or with neglected steam locomotives, verten’” (“Palindrome”) became the kaleidoscope where linesin this way the camera will help. It is very curiously, when you travel to- palindromes are multiplied. The book “As Pushkin Chaj-Ka” (“Ace Pushkin.

gether with the other artists, many photo-godsends strike everybody’s Tea-seagull”) (2009) hints not only at flight, speaks ironically of Pushkin’s eyes and we aim at some fanciful shade, reflection or crack on the asphalt initials, turned him into pilot-ace, but also justifies the occurrence of a tea like Japanese tourists all together getting cameras to take pictures of Peter bag (“Chaj” in Russian means “tea”). The name “Odds of the Aphorism” or the Cathedral of the Redeemer. It seems that Walter Benjamin had no- (2009) generates the situation of “self-playing” words in spirit of new wordformation of Khlebnikov. 2 Of course we are interested what the beginticed that the invention of the camera has essentially shaken a paradigm of art from the process of making to the process of vision. That is now much more important not how and what was made by the artist, but how from Nizhny Novgorod (we studied at one school in Murom city, this is my Installation – “Poem between stones”. Bank of Volga, made something like art-space around it. We both have come to the art in the Central House of the Artist, in the Museum of L.N. Tolstoy in Yasnaya from science. (Eugene finished radio department in Nizhny Novgorod, I fin- Polyana, at the International Festival of experimental art in St.-Petersburg, ished mechanical-mathematical department of Moscow State University). on the Sicily Island in Italy. It was very instructive experience of participaCertainly, we knew practically nobody from art world. And when we began tion in the collective art project, of mutual respect and of choice of own to prepare the first issue, we decided to invite some rather known writers. creative concept for my students from Polygraphic University. And we had That time we both like Andrew Bitov (I’ve found him in such a primitive way books of sand, of Moon, of futurism and of water. And they were good as for 20 kopecks through the informational bureau). We arranged for meeting and obtained big interview (we spoke for more than 6 hours!). And a litThe second border. Artist’s book as the way of existence tle later Bitov introduced us to his old friend Rezo Gabriadze, than Rezo acquainted us with Leonid Tishkov. And just Tishkov showed me the world of the modern Artist’s Book. He has a splendid collection in his studio on poet” in 1998 in Nizhny Novgorod.” It is not enough to see author’s book and to read its title. It is necessary to view it from every quarter. Each author has absolutely unique borders of their books. I thought that those mentioned above are the most important for Mikhail Pogarsky. May be there are more of them. For this moment this borders are shows by themselves like the borders of celestial sphere in the book-polyhedron “Eight celestial spheres”. The first border. Artist’s book as the collective project.

I’m attracted at first by commutability and amicability of Mikhail Pogarsky about edition of what he makes in one of author’s catalogues of Pogarsky.

and secondly by his continuous availability for collaboration. And even It is one, sometimes two, three or five copies and only some of his books more he respects “sovereignty” of his co-authors. 2 Because there are have tens or hundreds copies. It is M. Pogarsky and Ania Gogoleva take part in performance Bruno Niver, at the Prospero’s Library opening day. Central House of Artist, educational books and supposes that then work and attention of the other book, which suddenly was seen and made by the author. It’s photo lanpeople such as proofreaders, technologists, printers will be applied. 2 guage. 2 “I never make books for the sake of the form; each of them has Each text has subtext and context. Fiction is represented to me as a hybrid some message. Certainly when the consciousnesses are similar, people of exact science language and attempt to catch ephemerality of emotion need just some reference or hint to compare notes. But it is difficult to that is almost impossible to measure. Or rather it is possible but you need solve some questions in such manner, in my opinion there is art language the other balances and scales. Probably comprehension of such thin mat- to answer such questions. I’m attracted by possibility of message in comters which are difficult to be explained with the words has influenced a plex language in the artist’s book, when verbal and visual component inchoice and inclusion of the other languages. 2 For example, gesture lan- corporate and give not sum but product (production) and if it is possible to of the exhibitions-festivals organized by Mikhail Pogarsky is represented by the theatre of verse of Bruno Niver and by dramatics of word of Evelina Schatz. 2 The other language is tactile, the language of textures and maThe fourth border. It is not even a border but the door and opening gates terials. Everything exists in unity of a certain place as it is in nature, everyinto the artist’s space.

thing generates the image of this place, and the same is in the books of Pogarsky: there is a set of details creating the new book-essence or bookMikhail’s comment: 2 “I wanted to get out of a sheet plate, to take the text landscape each time. 2 The third language is the language of combinainto three-space, to lose touch with the paginal linearity. Those years I tion of subjects having certain sign sense. There is writing table of the poet which seems to be in the air as it has only two supports: one leg is table leg and the other is chair leg. Imponderability of this strange object is undodecahedron which designated Universe according to Greek symbolic.

derlined by the real bird’s feather into inkpot on the table. There are obSo this first book was made no less then with universal scope. :) This space jects of certain rudiments: stones and shells “speak” about water and sea;

ing-paper belongs to light and air. The combination of a cut of a tree with clock mainsprings and gears projects an image of “Time Mechanisms”.

It is no mere chance that the photo is presented at his projects so often.

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