(E-E) Ev.g.e.n.i.j ..K.o.z.l.o.v Berlin
(E-E) Evgenij Kozlov: exhibitions >> • Leningrad 80s >>
De Nya från Leningrad / The New from Leningrad,
Kulturhuset, Stockholm, 27 August – 25 September 1988
Text and research: Hannelore Fobo, January / February 2022
Chapter 6. Kulturhuset archive colour pictures
Unlike the reproductions in Sara Åkerrén’s album, the colour pictures from the Kulturhuset archive – approximately eighty prints and sixty slides – go without artist names, at least in most cases. I was nevertheless able to identify almost all of them. Pictures from Sara Åkerrén’s album greatly helped me to do so.
Left is a photo print on paper and right is a slide of Inal Savchenkov's cat, most likely a gouache on paper.
Many of the Kulturhuset slides are also available as prints, either in the Kulturhuset archive or in Åkerrén’s album, and sometimes in both. But for some reason, slides show only a fraction of the print image. “Unwanted” background features are cropped and, with it, part of the work itself. Additionally, paintings with a square or oblong format, that is, with a format different from the 2:3 ratio of slides, are supplied with grey paper on two sides to mask the background. The purpose of cropping and masking a picture might have been to use it for printing.
A slide of the same picture cropped and masked left and right.
A short digression into the history of analogue photography. Unfortunately it is impossible to say whether the paper prints were printed from negative films or from slides. If they were printed from negatives, the slides could be reproductions of the paper prints, shot with the help of a macro lens. If they were printed from slides, then these “cropped” slides could be duplicates of the original (master) slides, taken with the help of a special camera lens. In the age of analogue photography, I used such a device to duplicate slides and remember that is was possible to crop the margin of an image when creating its duplicate (perhaps cropping was even done by default). Whatever the case, the colour match of print and slide is very accurate.
Since most slides exist as prints, too – I will discuss the other ones later – it is enough to study the prints in order to complete the preselection of works. The Kulturhuset prints actually display less selected works and more unselected works than Sara Åkerrén’s album. An important example are those fifteen works by E-E Kozlov documented on prints and/or slides. In her letter from 9 September 1987, Sissi Nilsson asked vice-consul Magnus Dahnberg to send her more pictures of Kozlov’s works. Not long after, Dahnberg, together with Timur Novikov, visited Kozlov’s Peterhof studio “Galaxy Gallery” studio, where he shot a selection of recent works. None of them was selected in 1987, though “Star” did make it to Stockholm in August 1988 and even became the logotype for the follow-up exhibition in Denmark and Liverpool more>>. The Kulturhuset archive also has a number of unselected works by Sotnikov, Savchenkov, Novikov, Ovchinnikov, and Taratuta.
(E-E) Evgenij Kozlov and Timur Novikov holding Kzlov's painting "Star" (1987)
Seven paintings by Oleg Maslov, several taken at an exhibition (possibly the Tenth TEII exhibition in May 1987), also belong to the category of unselected works, as Maslov was not part of the 1987 line-up of artists. However, two of these seven works went to Gdansk later the same year, where they were shown at Gallery Kantor Sztuki, (October-November 1987) more>>. From there, they travelled to Stockholm to an exhibition at Galleri Art Artrium in February/March 1988. Ironically, Maslov’s unselected paintings made it to Stockholm before the Kulturhuset exhibition opened in August 1988, when, incidentally, some of his collective works with Aleksei Kozin were shown.
Returning to the portion of slides which is not printed: there is small section with six works by Guryanov (1), Bugaev (2), and Bugaev / Kuksenaite (3). To be precise, they are printed in a different section of Sara Åkerrén’s album: as part of the exhibits travelling to London and Rotterdam in early 1988. I discussed these exhibitions earlier without being able to identify Bugaev’s works. Sara Åkerrén’s album finally shed light on this question.
A selection of eight slides from the Kulturhuset archive
A larger portion of unprinted slides concerns Olof Thiel’s pictures from June 1988 – mostly slides with his name written on the paper frame. They are discussed in the next chapter.
 Although Kozlov himself also documented his works – with black and white films – these documents are very important, because later, Kozlov continued painting some of these works, and Dahnberg’s pictures thus document a preliminary version. Five of these paintings are “lost” since 1988 – their whereabouts are unknown – which means that to date, Dahnbergs pictures are the only colour documentation of these works.