(E-E) Ev.g.e.n.i.j ..K.o.z.l.o.     Berlin                                                  


      (E-E) Evgenij Kozlov: exhibitions >> • Leningrad 80s >>

Kulturhuset's New Artists project 1987-1988

De Nya från Leningrad / The New from Leningrad,
Kulturhuset, Stockholm, 27 August – 25 September 1988

Synopsis and Introduction

Part One: Outlining the festival project

Chapter 1. The four phases of the Kulturhuset festival project

Chapter 2. Stockholm’s invitation of Leningrad artists and musicians

Chapter 3. The correspondence between Kulturhuset and the Swedish Consulate, Leningrad, April-September 1987

Part Two: Photo documentation and selection of artworks

Chapter 4. Photo copies with selected works (1987)

Chapter 5. Colour pictures in Sara Åkerrén’s photo album

Chapter 6. Kulturhuset archive colour pictures

Chapter 7. Catalogue reproductions

Chapter 8. Table of works per artist, 1987 and 1988

Chapter 9. Concluding remarks

Exhibtion views, Kulturhuset, 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. The slide is actually a cropped version of the paper print. In Kulturhuset's archive, a number of works are documented twoice with the slide displaying a cropped versions of the print. Courtesy Kulturhuset archive Left is a photo print on paper and right is a slide of Inal Savchenkov's cat, most likely a gouache on paper. The slide is actually a cropped version of the paper print. In Kulturhuset's archive, a number of works are documented twoice with the slide displaying a cropped versions of the print. Courtesy Kulturhuset archive

Left is a photo print on paper and right is a slide of Inal Savchenkov's cat, most likely a gouache on paper.
The slide is actually a cropped version of the paper print. In Kulturhuset's archive, a number of works are documented twoice with the slide displaying a cropped versions of the print.
Courtesy Kulturhuset archive


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.


  top АЭРОКОБРА / AEROKOBRA circa 1987, mixed media, canvas, approx. 65 X 130 cm , Inv.no 187015 Bottom CAMEL (?) circa 1987, mixed media, canvas, approx. 65 X 130 cm , Inv.no 187168

(E-E) Evgenij Kozlov top АЭРОКОБРА / AEROKOBRA
circa 1987, mixed media, canvas, approx. 65 X 130 cm , Inv.no 187015
Bottom CAMEL (?)
circa 1987, mixed media, canvas, approx. 65 X 130 cm , Inv.no 187168
Picture taken by Magnus Dahnberg at Kozlov's apartment in Peterhof (St. Petersburg),
probably in September / October 1987; the artist holds the paintings.
Courtesy Kulturhuset archive

A slide of the same picture cropped and masked left and right. Courtesy Kulturhuset archive

A slide of the same picture cropped and masked left and right.
Courtesy Kulturhuset archive

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.[1] 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) Photo by Magnus Dahnberg taken at Kozlov's Peterhof studio and flat "Galaxy Gallery" September / October 1987. Courtesy Kulturhuset archive

(E-E) Evgenij Kozlov and Timur Novikov holding Kzlov's painting "Star" (1987)
Photo by Magnus Dahnberg taken at Kozlov's Peterhof studio and flat "Galaxy Gallery"
September / October 1987. Courtesy Kulturhuset archive

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.

Two pictures from the Kulturhuset archive with paintings by Oleg Maslov or by Oleg Maslov and Alexei Kozin, possibly taken at the Tenth TEII exhibition at the Leningrad Palace of Youth in May 1987. These paintings were part of the exhibtion Без ореола — Bez aureoli at Gallery Kantor Sztuki, Gdansk, October-November 1987, from where they traveled to Stockholm Two pictures from the Kulturhuset archive with paintings by Oleg Maslov or by Oleg Maslov and Alexei Kozin, possibly taken at the Tenth TEII exhibition at the Leningrad Palace of Youth in May 1987. These paintings were part of the exhibtion Без ореола — Bez aureoli at Gallery Kantor Sztuki, Gdansk, October-November 1987, from where they traveled to Stockholm

Two pictures from the Kulturhuset archive with paintings by Oleg Maslov or by Oleg Maslov and Alexei Kozin, possibly taken at the Tenth TEII exhibition at the Leningrad Palace of Youth in May 1987.
These paintings were part of the exhibtion Без ореола — Bez aureoli at Gallery Kantor Sztuki, Gdansk, October-November 1987, from where they traveled to Stockholm more>>.



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 Left column, top to bottom: not identified, Sergei Bugaev and Irena Kuksenaite, Yevgeny Yufit, Timur Novikov Right column, top to bottom: Georgy Guryanov, Sergei Bugaev and Irena Kuksenaite, Sergei Bugaev (signed as GUB), Sergei Bugaev (signed as GUB) more>> • more>> Photo: Hannelore Fobo. Courtesy Kulturhuset archive

A selection of eight slides from the Kulturhuset archive
Left column, top to bottom: not identified, Sergei Bugaev and Irena Kuksenaite, Yevgeny Yufit, Timur Novikov
Right column, top to bottom: Georgy Guryanov, Sergei Bugaev and Irena Kuksenaite,
Sergei Bugaev (signed as GUB), Sergei Bugaev (signed as GUB) ; there is also third slide with a work by Sergei Bugaev and Irena Kuksenaite more>> and more>>
Photo: Hannelore Fobo. Courtesy 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.


[1] 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.




next page: Chapter 7. Catalogue reproductions


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Uploaded 23 February 2022
Last updated 26 January 2022