А. Монастырский, Н. Панитков, И. Макаревич, Е. Елагина, С ...

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form the Chia Jen hexagram ("Family"); then the first line (Xian hexagram, "flow"); the third line (Guan hexagram, "contemplation"), the sixth (Bi hexagram, "approaching") and the fifth (Kun, "performance"). Moscow region, Savyolovskaya railway line, field near the village of Kyevy Gorky 27 th of October, 1985 N.Panitkov, A.Monastyrski, E.Elagina, I.Makarevich, G.Kizewalter, V.Salnikov Viewers: I.Kabakov, V.Mochalova, A.Filippov, D.Machibeli, I.Bakshtein, Yu.Leiderman, B.Mikhailov, I.Pivovarova 41. SCORE (Sound perspectives of the vocal space) The action took place at Monastyrski‘s apartment and involved the recording of the "Score" soundtrack. The expositional set of the action included four black boards of various sizes nailed to the walls of the room. White ropes were wound round the nails. The audience received eight copies of the "Score" text, each of these was represented by a stack of photographic copies (30x24 cm) of the aforementioned text printed in reverse (white letters against black background) and glued to cardboard sheets. The audience was prompted to look through the text of "Score". As the lights were out during the demonstration of the slide sequence, each viewer was given an electric torch to read the text with. On the day before the performance the same text was read aloud and tape-recorded by Monastyrski, full stops and hyphens marked by clanging of a typewriter and ringing of a bell respectively. As soon as the lights were out and the audience began reading the text of "Score", Monastyrski who was standing beside a wall/screen and S.Romashko sitting in an armchair turned on a Walkman and while listening to the soundtrack via headphones, began vocalizing the marked orthographic signs (Monastyrski –full stops and Romashko – hyphens). This part of the action lasted 15 minutes. At the same time slides of "The Wall" series were projected on a screen. A sequence of 30 slide photographs pictured bare papered walls of Monastyrski‘s apartment in locations covered with black boards during the action. Besides that, in the course of these 15 minutes S.Letov manipulated a sound modulator with "Musical dropper" to produce a 8-minute-long looped minimal rhythmic sequence (piano, Monastyrski). Then, proceeding to the second part of the performance, Monastyrski repeated aloud text recorded on the Walkman cassette (as a sequel of the "Score") and dedicated to the Iron Flute and inserted an iron rod of Totoki-Tosui (which he had been holding in his hands) into a rectangular black box with a label: "The Reutovo Station. Next stop is Zheleznodorozhnaya". This box was on a bigger black box previously used during the "Translation" performance, but for the "Score" it was slightly changed: electric torches were removed and a single blue flashing light was inserted. Two holes on the box‘s left side were covered with red glass filter, while the two on the right side produced a bluish effect. A board-screen, previously used during the "Discussion" performance (although its marking signs were covered with iron sheets) was sitting on this box. The slide sequence was projected on it in the course of the action. Parallel to the box and opposite to its two right holes, a mace-shaped large iron rod was lying on the floor. Its slide photograph opened the demonstration of "The Wall" sequence (in the first part of the performance).
The last 15 minutes of the action featured demonstrative conditions of a free environment (audio-vocal happening). Letov modulated his breath through speakers accompanied with the "Musical dropper". Monastyrski and Romashko chatted over an "inner" background of Meredith Monk‘s music (which was recorded on the same tape with the "Score" soundtrack). The viewers could examine the slide sequence "Trains, bushes, towers, mannequins" and chat with each other (encouraged by Monastyrski and Romashko‘s free speech example). Before the very end of the action instead of "The Musical dropper" the cassette from Monastyrski‘s Walkman was set to playing back through speakers without any electronic distortion effects. On it there was a musical quote from Meredith Monk. It consisted of a rhythmically monotonous, but constantly amplifying piece of "mechanical" music (2 minutes 10 seconds). It was accompanied by the slide sequence "Motor, Garbage truck, Instruments, Motor". The autonomous audition of the soundtrack recorded during the action (the goal of the whole event) can be accompanied by demonstration of the slide film in the following order (reversed during the action): 1. Rod 2. Trains 3. Trains 4. Trains 5. Trains 6. Bush 7. Tower 8. Trains 9. Trains 10. Trains 11. Trains 12. Bush 13. Tower 14. Trains 15. Trains 16. Trains 17. Trains 18. Bush 19. Tower 20. Trains 21. Trains 22. Trains 23. Trains 24. Bush
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А. Монастырский, Н.
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или более интеллиг
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Бывают такие состо
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«акции» в городско
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О П И С А Т Е Л Ь Н Ы Е
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with portraits, inserted into the l
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МУРАНОВО - САФАРИНО
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Москва, Измайловск
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Then a fishing-line was placed betw
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At the other end of the violet rope
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П Р И Л О Ж Е Н И Е
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А. Монастырский. Об
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машина, там были Иг
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После акции все отп
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Долго ли коротко ли
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зрителя в такое вот
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Итак, на стенд-газе
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планшете «стенд-га
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Но вскоре стало пон
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Особенное воодушев
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(почти как у Матисс
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Все изменилось. Пол
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С. Ситар. Акция “Лу
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времени, оказались
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и ―мотива-фактора
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существенной - стал
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азиатской машинке.
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То ли потому, что ко
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сейчас фигура возн
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не известно - как. П
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таблица биржевых к
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произносились, чет
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рода возникает в хо
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тексту). В случае ак
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парадигмой, в котор
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мира» или «пред-ост
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пустые пакеты оста
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ИНФУЗОРИИ В ТРОЩЕЙ
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НИКОЛАЙ ПАНИТКОВ Т
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предлагающая Ануфр
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КИТАЙСКИЙ СЕКРЕТ В
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Николай Байтов, пис
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P.S. К плюсам можно о
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действия крайне не
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Акция с часами, Лоз
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туннеля, и там, очев
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план наиболее уязв
Page 106 and 107: времени как раз так
Page 108 and 109: оказалось, вычисли
Page 110 and 111: ПРЕДМЕТЫ, ОСТАВЛЕН
Page 112 and 113: К О М М Е Н Т А Р И И С
Page 114 and 115: ранние Лозунги вто
Page 116 and 117: А. М.: В Лозунге-2005 а
Page 118 and 119: tradition, into which the aesthetic
Page 120 and 121: Rhythmisierung der zeitlichen Folge
Page 122 and 123: Verbindungen zwischen philosophisch
Page 124 and 125: П Р И Л О Ж Е Н И Е I I
Page 126 and 127: (The weather stayed sunny and calm
Page 128 and 129: In 4 minutes 20 seconds (320 meters
Page 130 and 131: All the radios are turned off. V.D.
Page 132 and 133: Moscow region, Savyolovskaya railwa
Page 134 and 135: turn and stand facing the forest in
Page 136 and 137: Then they were to approach the dark
Page 138 and 139: Moscow, Botanical garden 2 nd of Au
Page 140 and 141: When Panitkov was distributing enve
Page 142 and 143: I think that a "daytime brushstroke
Page 144 and 145: While Romashko was trudging through
Page 146 and 147: Monastyrski read aloud the text pre
Page 148 and 149: 3. 19:50 - 20:00 - Phonogram "The T
Page 150 and 151: Besides that, TV noise (speech or m
Page 152 and 153: SIMULTANEUOSLY WITH THE 99 TH SLIDE
Page 154 and 155: listing the following demonstrative
Page 158 and 159: 25. Tower 26. Trains 27. Trains 28.
Page 160 and 161: with I.B. and A.M‘.s dialogue acc
Page 162 and 163: The action suggested that during th
Page 164 and 165: Prior to V.Nekrasov‘s arrival at
Page 166 and 167: Before the action‘s start a large
Page 168 and 169: consisted of noises of airplanes fl
Page 170 and 171: When the viewers were approaching t
Page 172 and 173: We came to the snowy Kyevgorodskoe
Page 174 and 175: At I.Makarevich‘s workshop on a w
Page 176 and 177: 72. LAUNCHING A KITE IN PRORA S.H.:
Page 178 and 179: N. Panitkov, S. Haensgen, A. Monast
Page 180 and 181: there was an inscription in black l
Page 182 and 183: Into 13 books of (mainly) ideologic
Page 184 and 185: Following the verbal instruction, K
Page 186 and 187: disassembled it. And accompanied by
Page 188 and 189: The peculiarity of this book was it
Page 190 and 191: from ―Adventures of the blind‖)
Page 192 and 193: After the performance was finished,
Page 194: Индивидуальные акц
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А. Монастырский, Н. Панитков, И. Макаревич, Е. Елагина, С ...

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