Sorokin is one of few contemporary
Russian writers known in the West.
Vladimir Sorokin and Egor Radov (PTUCH
#3) are the only ones to excite young
people by their literary works. "Like the
cinema in America is more than just
movies, Russian literature was always
something more than just books," says
Sorokin."Now it is dead. Actually it's
been dead since the 1917's Revolution.
But communists preserved the body to use
writers as tools." Only conceptualists, like
poets Prigov and Rubinshtein, and
Sorokin, buried that corpse in the late 70s
- 80s making the funeral most pompous.
Texts by Sorokin always combine incom-
binable. He easily plays with different liter-
ary styles driving the concept of "social
realism" to total absurdity. For the post-
Perestroika youth "social realism" is some-
thing they won't give a damn for. Still, the
teenagers of the 90s read Sorokin's stories
to change their reality. Egor Radov called
Sorokin "a psychodelic writer", whose
texts you experience like an acid trip.
Visuals were always important for the
author, and in the last couple of years he
made a full turn from literature to cinema.
Contemporary Russian cinema, unlike the
literature, is something not born yet. In his
screenplays Sorokin, at last, changed his
black costume of a grave-digger to a mid-
wife's overall. Let us wish him successful
Mobile phone is more of a
sign than a tool. It is for the
new hero what a sword used
to be for a noble Frenchman
or a fancy cane for an English
gentleman. A mobile phone in
Russia is not a useless item of
luxuary any more. It took it's
place of honour in the row of
fallocratic symbols. It is some-
to be proud of, some-
eagerly exposed1
mobile phones
one more step fur-
country: they are
European businessmen like their
phones with mass-producted geomet-
rical patterns. The ultimate hip here in
Russia is owning a phone originally
decorated by a fashionable designer.
Tatiana Panova was the first artist to
start the professional phone-decora-
tion business.
This kind of work demands a great
skill from an artist. But it's not enough.
You must feel and understand what
this piece of plastic means for his
master. True designer must be some
kind of a psychoanalyst. The phone
hand-set is an instrument of magic. It's
a weapon made to bring good luck
both in business and private affairs.
And the/iew heroes want to have
their instrument decorated with the
new heraldics: Spiderman and
Batman, sharks and dragons. This
year, Tatiana says, the latest Versace
advertising campaign has brought the
new cult of Classical Greece and
Roma. Minotaurus - a creature with
an athletic body and a head of a bull
- is this year's basic image. Many of
Panova's clients subconsciously con-
sider the apparatus an extansion of
their bodies, hence the biggest sec-
tion in her catalogue is "tatoo": from
the biker's best through the Celtic
commonplace to the most fashionable
acid-treated ancient Rus patterns.
Female wireless phones' owners tend
to make them an original accesory.
They need their phones decorated
with lace and zebra skin to match a
handbag. Women more often buy the
bigger and heavier Motorolla's. Ask
Freud, why.
Motor: Moving Up
Vadim and Dima were once TDC. Now Dima still makes commercial music,
while Vadim calls himself Motor. Inspired by Kraftwerk and Depeche Mode,
the duo began to play its own music in 1989. In 1991 they started producin'
disco and house tracks in their studio. About 1995, when Vadim discovered
ambient, the TDC fell apart. As Motor he makes "mudiana, a kind of monoto-
nous techno with stupid dorky (mudiansky) sounds. Panasonic is a perfect
example of mudiana".
P: How do you make music?
V: A song is a fixed state of a foment. The state comes first. Then comes the
desire to fix it.
■ 1
Cari Lekebush
Famous techno producer from Sweden, came to Russia in
February to play a Dl set at the Moscow's Master club.
P: You came here as a DJ. W hy don't you play your own
music live?
L: I played live only twice. And I hate it. Too much stress, too
much unnecessary work. You have to take a lot of equipment
with you and it's likely to break down during the show. When
you produce mountains of vinyl why not just spin your records?
Oleg Kostrov: 100% Easy Listening
Easy listening is a term for the music of 60-70s, where sounds
of the first electronic instruments and synthesizers were original-
ly used. The 60s is a decade of experimental orchestral music
with a lot of lively melodies. Movie soundtrack of the 60s -
from James Bond to Pink Panthera is a classical example of the
genre. Easy listening is coming back into fashion. Remember
brilliant music from Tarantino's "Four Rooms"?
O . Kostrov: I called my EL radio show on Substation "Sixty
Six": I had a dream about 1966 being a musical center of the
Century. My collaboration with Liuda Raketa is also based on
the 60s' music. Raketa here sings both in Russian and in
English. English songs remind us of the 60s spy-film .suspence:
rain, long dark raincoats, black Cadillacs. W e work with a
of the acid-jazz Lilac Orchestra and a DJ, the
of scratches.
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