Translated material
Video poetry
Elena Fanailova: VideoPoisia. The term is interpreted very widely, there are many explanations of what it is, today we will talk again about what kind of new genre it is.
At our table, director of the Institute of Book, Alexander Gavrilov ; The director of non -game cinema, including the director of poetic video clips Natalya Babintseva ; poet Andrey Rodionov , curator of the festival Slovo nova; And Ekaterina Troepolskaya , curator of the festival of the fifth leg of the video poetry, which ... how much exists, Katya?
Ekaterina Troepolskaya: He was called "in vain" in the previous edition, and then it has existed for 7 years already.
Elena Fanailova: Here is the video "Rehearsal of the Orchestra" of the Riga Group "Orbit", this video is at the origins of video poetry in the post -Soviet space. The text of Sergei Timofeev, Victor Vilks Video. In my opinion, a rather stylish work of art.
Alexander Gavrilov: VideoPoisia is a wonderful way on the border between the world of moving pictures and the world of letters. Poetry, as it seems to us, belongs to the world of literature, to the world of the book, to the world of letters, but here they are found. What is noticeable by this clip, the debut, made on the knee, that the "orbit" cleverly managed to get away from direct illustrativeness. The poetic story that we see on the screen, with the loneliness of a person on an abandoned submarine that will never plunge, and he will never leave it, and another person who takes his suitcase from the submarine and leaves through an abandoned port, these are the two diverging lonelines - this is a completely different poem than that at that moment Sergey Timofeev reads. They echoes motives, but nothing more.
Elena Fanailova: By the way, I would not call this illustrative series naive. I would call it referring, rather, to the St. Petersburg aesthetics of the late 80s-early 90s. The author of this clip Viktor Wilks is a fairly famous clipmaker, it was apparently one of his first works in this genre.
Andrey, what is expensive for you in video poetry as an object that you do as a curator?
Andrey Rodionov: I am expensive for a movie that is a component of video poetry. And poetry is also a road, but in this case I prefer a big movie, red paths ...
Ekaterina Troepolskaya: Just video poetry is such a departure to another space. At first we fought for a long time to call it a genre, and now I come to the conclusion that it was rather a format than a genre, maybe. There is possible some kind of branch in the form of media poesia or something else, now they are built up and expand everything.
Elena Fanailova: Yes, Mediapoesia is the next step after a video poet, there are elements of a performance, some performance.
Ekaterina Troepolskaya: VideoPoisia also absorbs all calmly, a media poles. Every year, in the composition of the work that sends us, we see that the face of the genre is changing, and there are some completely clear fashion trends, including just performances, some other things that the video poetry allocated to its sunshines.
Elena Fanailova: Natalya, is it a video of a video poetry? It seems to me that you have now left this business.
Natalya Babintseva: Well, it's just laboratory experiments that have little to do with the main profession. This can be done once or twice, this is such a good exercise to isolate from the text not a plot, but a certain visual representation of it. When I deal with my students who learn a non -game movie to shoot, I definitely give this exercise. Few people cope with the opportunity to make a visual settop, try to get away from the plot, but to catch an association, mood, rhythm and make such a video. As a laboratory experience, this is not bad.
Elena Fanailova: Now let's see the already mature work of the Orbit group, which is called "when jazz ends." And there it will be visible how the language is already changing, stylistics, how video poetry is moving in its tactile almost language. And immediately I propose to see the video of Natasha Babintseva to the verses of Tatyana Moseeva to see what kind of tongue is the difference. Natasha said that it is impossible to go illustrative, and it seems to me that her video production for verses by Tatyana Moseeva is not about illustrativeness, but about how exactly another image arises in a video artist when he reads a poem. Against the background of this text, an alarm clocks on the flesh, along the lake, and in the final they drown. This is just an example of an image that is not directly in the poem.
Natalya Babintseva: There is also a time about the time, what can be done in an hour.
Alexander Gavrilov: If we talk about the difference between these two clips, I see the difference. The second clip that Natasha did is the director’s poetic statement. In this case, a poetic vision is not connected with the poetic statement of the poet, but this is a whole poetic image implemented in the video. I believe that this wonderful clip would have made an honor to any collection of surreal cinema.
Natalya Babintseva: Actually, this was a separate statement, it has nothing to do with this clip. I made an installation for transmedile in Berlin, a large plot. We sat in this pond for several days, there were two engineers, they dived, there was a complex cable system to drag the rafts, and the clock should have drowned. And the cables pulled two people through the pond, and one of them was forced to dive to sink them. It was a separate material. Then Andrei and Katya were traveling to Krasnoyarsk, and I needed to do something in a week. And when I read this poem, I realized that I did not need to do anything, because everything is already there.
Alexander Gavrilov: I talked with the poet, the author of the poem about small racing cars, and I say: "Seryozha, how did you make this amazing video?" And he says: “You know, we did nothing at all, we climbed into the attic, found a thick album there with the gluing of the heroes of the 70-80s ...” One photograph was added there, there is a black and white photograph of Sergei Timofeev himself, it was entered into a number of these icons of the 70s. "We realized that this idea of leaving time, nostalgia and everything else is completely embodied in this album." But at the same time, it seems to me that in the first video, another important thing is much more obvious, which revived the video pole and made it an actual genre, an relevant form, an actual format. In recent years, Russian poetry has experienced a return to the voice. We rarely think about it, but she got out of paper pages and became sound. This is also reflected in the projects of poets with musicians, what Andrei did with "Christmas toys", what Dima Vodennikov is doing with his permanent composition, what Vera Polozkova does with two thousands of halls. Russian poetry sounded! And video poetry is one of the forms of fixing this sound. Here is how Timofeev reads this poem, with his pauses, his brushes, his word "UP-pa," which begins the poem "When the jazz" ends ", this is a completely special part, a video poetry that is fixed in it. And in other forms worse.
Elena Fanailova: I would probably add that Seryozha Timofeev is also a professional DJ.
Alexander Gavrilov: He is generally a man of rhythm!
Elena Fanailova: Katya, really poetry sounded?
Ekaterina Troepolskaya: We are working on this in all possible planes. But not all video poetry sounds.
Elena Fanailova: Yes, unfortunately, we cannot show beautiful videos on the verses of Vsevolod Nekrasov, which simply consist of letters, there is no sound, but this is wildly interesting! Video poetry is not an Yesenin poem against the background of birch ...
Alexander Gavrilov: Yesenin's poem against the background of birch is also a video poetry! Just like we are talking about the lines of poetry, and we say that this is a good poem, and this is a bad poem, here is exactly the same. The genre has become folk, and if you are in YouTube Vobye VideoPoisia, you will see a huge amount of amateur performances - some rather witty, but the main completely monstrous in a technical and ideological sense.
Elena Fanailova: I propose to move on to the hooligan part of our meeting and see a clip that is close to the folk genre, but it is about time and women, like the previous two. A clip called "Darling", the author is Lisa Gottfrik.
Andrey Rodionov: Kiev poetess, friend of Adolfych ...
Ekaterina Troepolskaya: And she is also engaged in dancing on a pole, incredible beauty.
Elena Fanailova: I did not know that she was a friend of Adolfych, but the motives of his story “Alien” to me in this wonderful gangster poem written by a woman are quite clear.
And it can be compared with the video of Andrei Rodionov, who continues the same topic of urban romance.
Andrey Rodionov: urban, industrial, electronic ...
Elena Fanailova: The last two video clips of poetic expand our ideas not only about video poetry, but also about the possibilities of poetry in general, and about life. Girls such as Lisa Gottfrick, with such gesture plots that are quite in literature, this is not exceptional some kind of thing.
Andrey Rodionov: It is also important here who will do it first. Here the girl made the first video poetry video about gangs in the 90s, and it seems like she had already left the clearing for her.
Elena Fanailova: The clip is perceived, of course, as some caricature, as a satirical one. This image of the former excellent student, who has become a hired killer, who, however, also goes back to the images of French cinema of the 70s. You, Andrei, promised to tell what these beautiful characters read your poem against the backdrop of working quarters.
Andrey Rodionov: These are musicians from the village of Martyshkino, who is near St. Petersburg. These are friends, including the group "Christmas toys".
Ekaterina Troepolskaya: They were found by director Denis Bronitsky. And we must clarify that Andrei has nothing to do with the production of this wonderful video. This is an independent creative work of the director. Unlike Lisa Gottfrik, who did everything herself. And this is just when we can talk about the difference in genres. Poets on their own, when they decide to remove the clip, do not particularly avoid illustrativeness, some other things. They make a simple presentation of the poem, funny and witty.
Elena Fanailova: Natasha, what do you think about the genre features of the two gizmos that we just looked?
Natalya Babintseva: It seems to me that you can talk about them very conditionally, these are two completely different stories. In one case, the director came up with a poem to give a poem to the lyrical heroes, making a lot from one lyrical hero, cast their voice. It seems to me that everything that is born in this genre, if this is not done on the budget, the more spontaneous, the better. And the first story is a girl - to be honest, I didn’t really like it at all. I don’t really like it at all when the poets take themselves away, because they love themselves ...
Elena Fanailova: Of course! This is such a magical cabaret of this actress! And I chose him for mannerism, this is such a perfect decadence.
Natalya Babintseva: In fact, when the girl asks the question there: "Want next?" - I wanted to say: "I don’t want to continue." This irony and such mannerism are enough for two minutes, and the clip lasts four minutes ... A very simple -minded picture begins to annoy me.
Elena Fanailova: The picture is really simple, illustrative, and Natasha, as we understood, is against illustrations.
Alexander Gavrilov: The most famous Russian video poetic clip in general is the video of Vladimir Gorokhov "everything is so cool." Everyone watched him! The clip looks like this: Vladimir Gorokhov stands at the cabinet, and we even know that an amateur camera stands on a shelf of this wardrobe with a mirror, and reads his poem that everything is so cool and then bam - and everything is terrible. And this wonderful lyrical statement continues for two and a half minutes. This is a very simple statement of a visual, very simple poetic statement, and, of course, the main content of this clip is not what is cool, but it is terrible, but the fact that the poet with the help of both his text and this video injecting are in a certain meteration, rising over the traditional image of the poet, excuse me for the smart. The absolute masterpiece has just appeared in the genre of video poetry-Hope, there is such a fashionable genre, there is a 30-second video, which is looping, spinning in a circle, and they took a picture from the old Soviet cartoon, where some kind of clue in beret waves wings in front of the hippo sitting in an armchair, and the poem is read from the room. Joseph Brodsky, which is read by the author himself, and some kind of musical sneak. And Brodsky with his wonderful howling voice: “Do not leave the room, do not make a mistake ...” The music is increasing, everything is more pathos and more pathos, and we see on the screen, as a meaningless heron in a hat rides in front of some idiotic hippo in a chair.
Ekaterina Troepolskaya: And you listen to the poem at least five times and enjoy this effect of growth, pathos, laughter ...
Natalya Babintseva: Just Gorokhov himself acts as this heron.
Alexander Gavrilov: Of course! And in this sense, Lisa Gottfrix ...
Natalya Babintseva: She did not become a heron!
Alexander Gavrilov: Well, I don't know ...
Ekaterina Troepolskaya: Natasha always, of course, was very strict, Natasha has an excellent education, so she looks at these issues in a directing way. There was some point when only some unbearable slag came from the Internet, but this, nevertheless, is changing every year. There is simply always some percentage when the simple video is a simple video, there is no idea about quality, and nevertheless, some kind of pretty focus happens.
Natalya Babintseva: And I am not at all for them to be somewhat specially made. A witty solution is sometimes more expensive than any money. Gorokhov has it, and this very heron also has it.
Ekaterina Troepolskaya: And it may not even be very witty. Here Alexander definitely remembers the Siberian Cortasar. A 7-minute video from Novosibirsk, which was shot by the young Anton Metelkov and Kristina Karmalita, is very long, black and white, where the train just rides all the time.
Alexander Gavrilov: And there the story is that you first watch some dull, joyless video, some kind of gray khmar there, Russian, how much you can ... You hear a voice reading some excerpts of the text, and it is not very clear how these fragments of the text are mounted with this video, which should happen ... 7 minutes, sorry, Bohemian Rapsody, the longest track in the history of the world broadcasting. And at the end, two titles suddenly authors of this video report that the author of these poetry and near-satical texts, Alexander Makovsky disappeared, left on the train somewhere and did not return.
Ekaterina Troepolskaya: And suddenly it became clear that this video was his writing of poems.
Alexander Gavrilov: And you see how the author and the hero dissolve in being before your eyes. But this is generally an incredible case of such a poetic clip based on real facts, the only such copy.
And there is the noise of the train, opening doors ... That is, such statements require an immediate return to the beginning. When you look at a thing with a simple inner statement, there is a “shower”, you will not be reviewed right away, running. You looked at her, realized that this was laughed and went. This is the same "Siberian Cortasar" you inspect to the end and feel an acute need to immediately review it! Because a very bright, deep, genuine statement is sprouted in you. That's when video poetry becomes such a movie, this, of course, is a great success, but also a rarity.
Elena Fanailova: And I suggest that we see the next portion of interesting things. The clip "Autumn on Zarechnaya Street" continues the theme of working outskirts, which was demonstrated to us by the previous clip for verses by Andrei Rodionov.
Andrey Rodionov: No longer workers.
Natalya Babintseva: The same director is Denis Bronitsky, therefore the aesthetics are similar. Since I am involved in the creation of this story, I look and every time I am convinced that it is better to get a story under the finished visual material. The story was born because we were fans at that moment of the Gopnikov.net site, we have accumulated a certain number of pictures that we simply did not know where to children, what to do with this happiness visual. And when this clip was born, we realized that this collection from Gopnikov.net would be there. And the characters of this site became the characters of this clip.
Elena Fanailova: Well, the characters are outstanding, of course, men in tattoos, keeping sausages in their teeth ... But these pseudo -DETOSTIC NAILE drawings?
Natalya Babintseva: We already painted it ourselves, animated.
Alexander Gavrilov: In this video I was shocked by the acting work of the poet. Because Seva is so anthropologically indistinguishable from all these people in camouflage ...
Natalya Babintseva: He did not see them.
Andrey Rodionov: The fact is that he was beaten the day before, and there it is visible.
Alexander Gavrilov: But he is not only as a creator, but also as a character of this world magically joined.
Elena Fanailova: It seems to me that this is his technique, he does not separate himself from the characters of this world. There is a rather subtle game ...
Andrey Rodionov: No, Seva, of course, separates.
Александр Гаврилов: Его политическая поза – это, скорее, высказывание персонажа его поэтического мира, чем высказывание кого-то снаружи.
Елена Фанайлова: Емелин в гораздо большей степени связан с московским концептуализмом, чем о нем принято думать. То есть его любовь к Дмитрию Александровичу Пригову вполне себе легитимна.
Поэтому предлагаю перейти к клипу одного из столпов московского концептуализма – Льва Рубинштейна.
Екатерина Троепольская: И там в главной роли как раз Наташа…
Александр Гаврилов: В кадре есть три сущности – геометрия, кирпич и человеческое существо. Вот то человеческое существо, которое… идея человеческого существа – это Бабинцева.
Елена Фанайлова: А, вы там актриса, Наталья! То есть существо, которое красит все, черный квадрат, черный круг?
Наталья Бабинцева: Мне кажется, что клип вообще очень тонко сделан, мастерски сделан, профессионально. Петя Соловьев вообще очень рукастый и глазастый человек, но там еще очень тонкий есть момент, что в конце вот этот шарик, который она пытается поймать, девушка, героиня фильма, он ускользает, он убегает, и в этом есть какая-то ирония. Мне очень нравится эта придумка, это момент некоторой внутренней работы режиссера. Ему кажется, что он припечатал вроде бы текст этим видео, но он понимает, что ничего не поймал, все равно в результате самое главное ускользнет всегда. Экранизируя стихотворение, ты должен понимать, что все равно что-нибудь да не поймаешь, что-нибудь обязательно от тебя ускользнет.
Александр Гаврилов: Я ужасно люблю это кино. Но не уверен, что его можно показывать в детском саду…
Елена Фанайлова: Это все-таки должны быть люди, визуально образованные.
Екатерина Троепольская: Там 18+ надо ставить, вообще, на этом видео.
Александр Гаврилов: Но у него есть серьезная укорененность в визуальную культуру 80-х. То, что Петр Соловьев делает здесь с изображением, с видео, это, конечно, очень тонко и изящно перекликается с тем, что Гороховский и Булатов делали с изображением в картине. И этот прямой стык геометрии и фигуративности, этот кружочек, который... мне вот кажется все-таки важным, что он не шарик, а кружочек, плоская фигура, который, не будучи пойман девушкой, в краске уползает по кирпичной кладке, здесь есть очень изящные отсылки к поиску художников, которые были очень близко к московскому концептуализму даже чисто биографически. Все это, мне кажется, считывается. Но это, конечно, интеллектуальные радости, это понятно.
Наталья Бабинцева: При этом это такое видео, которое совершенно не мешает слушать текст. Потому что у меня часто бывают претензии к тому, что я вижу, потому что я не слышу. Иногда бывает, что ты смотришь эти фильмы, ролики, и ты понимаешь, что в конце у тебя возникает какое-то раздражение из-за того, что картинка мешала тебе услышать стихотворение, то есть не помогла, а помешала. А это очень трудно, на самом деле, – услышать этот текст Рубинштейна. Это, мне кажется, редкий удачный случай, когда картинка помогает услышать его, сосредоточиться на нем.
Екатерина Троепольская: Большинство работ, которые мы обсуждаем, в них очень хорошо слышится текст. Они все сделаны… это называлось тогда – студия "Кружок, квадрат и треугольник", группой товарищей. Это Наташа, Денис, Федор Кудряшов, Денис Броницкий… То есть коллектив людей, у которых очень четкое представление о формате видеопоэзии, о том, как она должна выглядеть, звучать. И в определенный период это было действительно зерном любой нашей программы, которую мы возим по разным городам и везде показываем. У кого-то есть такие радости, у кого-то попроще, кто понимает, что черный квадрат и Рубинштейн как-то связаны, и нормально, очень хорошо все это принимают. Потому что вообще очень приятно смотреть. Если кто-то может отреагировать по-разному, например, на клип Емелина, хотя он тоже достаточно зрительский, но кто-то может оскорбиться и сказать, что такой поэзии не должно быть. И если в каком-нибудь городе Канске какая-нибудь серьезная пенсионерка приходит, то Рубинштейн ее абсолютно радует.
В последнее время у нас появляются совершенно другого рода работы. Это видеоперформансы, Роман Осьминкин… Там текст, конечно, слышен, ну, почти весь, запись текста далека от идеала, и она сделана в прямом эфире. Некрасов, которого мы берем, с буквами, это инсталляция, которая снята, причем она существует и в виде инсталляции на каких-то выставках современного искусства, но это висит в комнате – не работает, а вот в этом видео человек идет сквозь эти буквы, по лесу, и читается там это стихотворение или нет, или читается какой-то другой образ, который проникает через другие системы восприятия… Клип "Белка" – там конкретные художники, две молодые прелестные девушки, шли по Чистым прудам, нашли бомжа и сели ему читать стихи. Ксения Уварова, на самом деле, человек не робкого десятка, при этом такой сосредоточенный внутренне… а здесь вот напала на бомжа (смеется), прочитала стихи. И Вика Бегальская, боевая такая единица, она была потрясена тем, насколько поэт может войти в жизнь… И вот эта ситуация, когда ей человек говорит: "Ну, прочтите еще раз", – это просто вот мы видим документацию конкретного поступка двух художниц.
Елена Фанайлова: То есть это не постановка.
Екатерина Троепольская: Нет. И вот это новая видеопоэзия, которая сейчас появляется.
Андрей Родионов: Акционизм.
Екатерина Троепольская: И каждый год мы сталкиваемся с совершенно новыми форматами.
At our table, director of the Institute of Book, Alexander Gavrilov ; The director of non -game cinema, including the director of poetic video clips Natalya Babintseva ; poet Andrey Rodionov , curator of the festival Slovo nova; And Ekaterina Troepolskaya , curator of the festival of the fifth leg of the video poetry, which ... how much exists, Katya?
Ekaterina Troepolskaya: He was called "in vain" in the previous edition, and then it has existed for 7 years already.
Elena Fanailova: Here is the video "Rehearsal of the Orchestra" of the Riga Group "Orbit", this video is at the origins of video poetry in the post -Soviet space. The text of Sergei Timofeev, Victor Vilks Video. In my opinion, a rather stylish work of art.
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Freedom in clubs: video poetry.
Alexander Gavrilov: VideoPoisia is a wonderful way on the border between the world of moving pictures and the world of letters. Poetry, as it seems to us, belongs to the world of literature, to the world of the book, to the world of letters, but here they are found. What is noticeable by this clip, the debut, made on the knee, that the "orbit" cleverly managed to get away from direct illustrativeness. The poetic story that we see on the screen, with the loneliness of a person on an abandoned submarine that will never plunge, and he will never leave it, and another person who takes his suitcase from the submarine and leaves through an abandoned port, these are the two diverging lonelines - this is a completely different poem than that at that moment Sergey Timofeev reads. They echoes motives, but nothing more.
Elena Fanailova: By the way, I would not call this illustrative series naive. I would call it referring, rather, to the St. Petersburg aesthetics of the late 80s-early 90s. The author of this clip Viktor Wilks is a fairly famous clipmaker, it was apparently one of his first works in this genre.
Andrey, what is expensive for you in video poetry as an object that you do as a curator?
Andrey Rodionov: I am expensive for a movie that is a component of video poetry. And poetry is also a road, but in this case I prefer a big movie, red paths ...
Ekaterina Troepolskaya: Just video poetry is such a departure to another space. At first we fought for a long time to call it a genre, and now I come to the conclusion that it was rather a format than a genre, maybe. There is possible some kind of branch in the form of media poesia or something else, now they are built up and expand everything.
Elena Fanailova: Yes, Mediapoesia is the next step after a video poet, there are elements of a performance, some performance.
Ekaterina Troepolskaya: VideoPoisia also absorbs all calmly, a media poles. Every year, in the composition of the work that sends us, we see that the face of the genre is changing, and there are some completely clear fashion trends, including just performances, some other things that the video poetry allocated to its sunshines.
Elena Fanailova: Natalya, is it a video of a video poetry? It seems to me that you have now left this business.
Natalya Babintseva: Well, it's just laboratory experiments that have little to do with the main profession. This can be done once or twice, this is such a good exercise to isolate from the text not a plot, but a certain visual representation of it. When I deal with my students who learn a non -game movie to shoot, I definitely give this exercise. Few people cope with the opportunity to make a visual settop, try to get away from the plot, but to catch an association, mood, rhythm and make such a video. As a laboratory experience, this is not bad.
Elena Fanailova: Now let's see the already mature work of the Orbit group, which is called "when jazz ends." And there it will be visible how the language is already changing, stylistics, how video poetry is moving in its tactile almost language. And immediately I propose to see the video of Natasha Babintseva to the verses of Tatyana Moseeva to see what kind of tongue is the difference. Natasha said that it is impossible to go illustrative, and it seems to me that her video production for verses by Tatyana Moseeva is not about illustrativeness, but about how exactly another image arises in a video artist when he reads a poem. Against the background of this text, an alarm clocks on the flesh, along the lake, and in the final they drown. This is just an example of an image that is not directly in the poem.
Natalya Babintseva: There is also a time about the time, what can be done in an hour.
Alexander Gavrilov: If we talk about the difference between these two clips, I see the difference. The second clip that Natasha did is the director’s poetic statement. In this case, a poetic vision is not connected with the poetic statement of the poet, but this is a whole poetic image implemented in the video. I believe that this wonderful clip would have made an honor to any collection of surreal cinema.
Natalya Babintseva: Actually, this was a separate statement, it has nothing to do with this clip. I made an installation for transmedile in Berlin, a large plot. We sat in this pond for several days, there were two engineers, they dived, there was a complex cable system to drag the rafts, and the clock should have drowned. And the cables pulled two people through the pond, and one of them was forced to dive to sink them. It was a separate material. Then Andrei and Katya were traveling to Krasnoyarsk, and I needed to do something in a week. And when I read this poem, I realized that I did not need to do anything, because everything is already there.
Alexander Gavrilov: I talked with the poet, the author of the poem about small racing cars, and I say: "Seryozha, how did you make this amazing video?" And he says: “You know, we did nothing at all, we climbed into the attic, found a thick album there with the gluing of the heroes of the 70-80s ...” One photograph was added there, there is a black and white photograph of Sergei Timofeev himself, it was entered into a number of these icons of the 70s. "We realized that this idea of leaving time, nostalgia and everything else is completely embodied in this album." But at the same time, it seems to me that in the first video, another important thing is much more obvious, which revived the video pole and made it an actual genre, an relevant form, an actual format. In recent years, Russian poetry has experienced a return to the voice. We rarely think about it, but she got out of paper pages and became sound. This is also reflected in the projects of poets with musicians, what Andrei did with "Christmas toys", what Dima Vodennikov is doing with his permanent composition, what Vera Polozkova does with two thousands of halls. Russian poetry sounded! And video poetry is one of the forms of fixing this sound. Here is how Timofeev reads this poem, with his pauses, his brushes, his word "UP-pa," which begins the poem "When the jazz" ends ", this is a completely special part, a video poetry that is fixed in it. And in other forms worse.
Elena Fanailova: I would probably add that Seryozha Timofeev is also a professional DJ.
Alexander Gavrilov: He is generally a man of rhythm!
Elena Fanailova: Katya, really poetry sounded?
Ekaterina Troepolskaya: We are working on this in all possible planes. But not all video poetry sounds.
Elena Fanailova: Yes, unfortunately, we cannot show beautiful videos on the verses of Vsevolod Nekrasov, which simply consist of letters, there is no sound, but this is wildly interesting! Video poetry is not an Yesenin poem against the background of birch ...
Alexander Gavrilov: Yesenin's poem against the background of birch is also a video poetry! Just like we are talking about the lines of poetry, and we say that this is a good poem, and this is a bad poem, here is exactly the same. The genre has become folk, and if you are in YouTube Vobye VideoPoisia, you will see a huge amount of amateur performances - some rather witty, but the main completely monstrous in a technical and ideological sense.
Elena Fanailova: I propose to move on to the hooligan part of our meeting and see a clip that is close to the folk genre, but it is about time and women, like the previous two. A clip called "Darling", the author is Lisa Gottfrik.
Andrey Rodionov: Kiev poetess, friend of Adolfych ...
Ekaterina Troepolskaya: And she is also engaged in dancing on a pole, incredible beauty.
Elena Fanailova: I did not know that she was a friend of Adolfych, but the motives of his story “Alien” to me in this wonderful gangster poem written by a woman are quite clear.
And it can be compared with the video of Andrei Rodionov, who continues the same topic of urban romance.
Andrey Rodionov: urban, industrial, electronic ...
Elena Fanailova: The last two video clips of poetic expand our ideas not only about video poetry, but also about the possibilities of poetry in general, and about life. Girls such as Lisa Gottfrick, with such gesture plots that are quite in literature, this is not exceptional some kind of thing.
Andrey Rodionov: It is also important here who will do it first. Here the girl made the first video poetry video about gangs in the 90s, and it seems like she had already left the clearing for her.
Elena Fanailova: The clip is perceived, of course, as some caricature, as a satirical one. This image of the former excellent student, who has become a hired killer, who, however, also goes back to the images of French cinema of the 70s. You, Andrei, promised to tell what these beautiful characters read your poem against the backdrop of working quarters.
Andrey Rodionov: These are musicians from the village of Martyshkino, who is near St. Petersburg. These are friends, including the group "Christmas toys".
Ekaterina Troepolskaya: They were found by director Denis Bronitsky. And we must clarify that Andrei has nothing to do with the production of this wonderful video. This is an independent creative work of the director. Unlike Lisa Gottfrik, who did everything herself. And this is just when we can talk about the difference in genres. Poets on their own, when they decide to remove the clip, do not particularly avoid illustrativeness, some other things. They make a simple presentation of the poem, funny and witty.
Elena Fanailova: Natasha, what do you think about the genre features of the two gizmos that we just looked?
Natalya Babintseva: It seems to me that you can talk about them very conditionally, these are two completely different stories. In one case, the director came up with a poem to give a poem to the lyrical heroes, making a lot from one lyrical hero, cast their voice. It seems to me that everything that is born in this genre, if this is not done on the budget, the more spontaneous, the better. And the first story is a girl - to be honest, I didn’t really like it at all. I don’t really like it at all when the poets take themselves away, because they love themselves ...
Elena Fanailova: Of course! This is such a magical cabaret of this actress! And I chose him for mannerism, this is such a perfect decadence.
Natalya Babintseva: In fact, when the girl asks the question there: "Want next?" - I wanted to say: "I don’t want to continue." This irony and such mannerism are enough for two minutes, and the clip lasts four minutes ... A very simple -minded picture begins to annoy me.
Elena Fanailova: The picture is really simple, illustrative, and Natasha, as we understood, is against illustrations.
Alexander Gavrilov: The most famous Russian video poetic clip in general is the video of Vladimir Gorokhov "everything is so cool." Everyone watched him! The clip looks like this: Vladimir Gorokhov stands at the cabinet, and we even know that an amateur camera stands on a shelf of this wardrobe with a mirror, and reads his poem that everything is so cool and then bam - and everything is terrible. And this wonderful lyrical statement continues for two and a half minutes. This is a very simple statement of a visual, very simple poetic statement, and, of course, the main content of this clip is not what is cool, but it is terrible, but the fact that the poet with the help of both his text and this video injecting are in a certain meteration, rising over the traditional image of the poet, excuse me for the smart. The absolute masterpiece has just appeared in the genre of video poetry-Hope, there is such a fashionable genre, there is a 30-second video, which is looping, spinning in a circle, and they took a picture from the old Soviet cartoon, where some kind of clue in beret waves wings in front of the hippo sitting in an armchair, and the poem is read from the room. Joseph Brodsky, which is read by the author himself, and some kind of musical sneak. And Brodsky with his wonderful howling voice: “Do not leave the room, do not make a mistake ...” The music is increasing, everything is more pathos and more pathos, and we see on the screen, as a meaningless heron in a hat rides in front of some idiotic hippo in a chair.
Ekaterina Troepolskaya: And you listen to the poem at least five times and enjoy this effect of growth, pathos, laughter ...
Natalya Babintseva: Just Gorokhov himself acts as this heron.
Alexander Gavrilov: Of course! And in this sense, Lisa Gottfrix ...
Natalya Babintseva: She did not become a heron!
Alexander Gavrilov: Well, I don't know ...
Ekaterina Troepolskaya: Natasha always, of course, was very strict, Natasha has an excellent education, so she looks at these issues in a directing way. There was some point when only some unbearable slag came from the Internet, but this, nevertheless, is changing every year. There is simply always some percentage when the simple video is a simple video, there is no idea about quality, and nevertheless, some kind of pretty focus happens.
Natalya Babintseva: And I am not at all for them to be somewhat specially made. A witty solution is sometimes more expensive than any money. Gorokhov has it, and this very heron also has it.
Ekaterina Troepolskaya: And it may not even be very witty. Here Alexander definitely remembers the Siberian Cortasar. A 7-minute video from Novosibirsk, which was shot by the young Anton Metelkov and Kristina Karmalita, is very long, black and white, where the train just rides all the time.
Alexander Gavrilov: And there the story is that you first watch some dull, joyless video, some kind of gray khmar there, Russian, how much you can ... You hear a voice reading some excerpts of the text, and it is not very clear how these fragments of the text are mounted with this video, which should happen ... 7 minutes, sorry, Bohemian Rapsody, the longest track in the history of the world broadcasting. And at the end, two titles suddenly authors of this video report that the author of these poetry and near-satical texts, Alexander Makovsky disappeared, left on the train somewhere and did not return.
Ekaterina Troepolskaya: And suddenly it became clear that this video was his writing of poems.
Alexander Gavrilov: And you see how the author and the hero dissolve in being before your eyes. But this is generally an incredible case of such a poetic clip based on real facts, the only such copy.
And there is the noise of the train, opening doors ... That is, such statements require an immediate return to the beginning. When you look at a thing with a simple inner statement, there is a “shower”, you will not be reviewed right away, running. You looked at her, realized that this was laughed and went. This is the same "Siberian Cortasar" you inspect to the end and feel an acute need to immediately review it! Because a very bright, deep, genuine statement is sprouted in you. That's when video poetry becomes such a movie, this, of course, is a great success, but also a rarity.
Elena Fanailova: And I suggest that we see the next portion of interesting things. The clip "Autumn on Zarechnaya Street" continues the theme of working outskirts, which was demonstrated to us by the previous clip for verses by Andrei Rodionov.
Andrey Rodionov: No longer workers.
Natalya Babintseva: The same director is Denis Bronitsky, therefore the aesthetics are similar. Since I am involved in the creation of this story, I look and every time I am convinced that it is better to get a story under the finished visual material. The story was born because we were fans at that moment of the Gopnikov.net site, we have accumulated a certain number of pictures that we simply did not know where to children, what to do with this happiness visual. And when this clip was born, we realized that this collection from Gopnikov.net would be there. And the characters of this site became the characters of this clip.
Elena Fanailova: Well, the characters are outstanding, of course, men in tattoos, keeping sausages in their teeth ... But these pseudo -DETOSTIC NAILE drawings?
Natalya Babintseva: We already painted it ourselves, animated.
Alexander Gavrilov: In this video I was shocked by the acting work of the poet. Because Seva is so anthropologically indistinguishable from all these people in camouflage ...
Natalya Babintseva: He did not see them.
Andrey Rodionov: The fact is that he was beaten the day before, and there it is visible.
Alexander Gavrilov: But he is not only as a creator, but also as a character of this world magically joined.
Elena Fanailova: It seems to me that this is his technique, he does not separate himself from the characters of this world. There is a rather subtle game ...
Andrey Rodionov: No, Seva, of course, separates.
Александр Гаврилов: Его политическая поза – это, скорее, высказывание персонажа его поэтического мира, чем высказывание кого-то снаружи.
Елена Фанайлова: Емелин в гораздо большей степени связан с московским концептуализмом, чем о нем принято думать. То есть его любовь к Дмитрию Александровичу Пригову вполне себе легитимна.
Поэтому предлагаю перейти к клипу одного из столпов московского концептуализма – Льва Рубинштейна.
Екатерина Троепольская: И там в главной роли как раз Наташа…
Александр Гаврилов: В кадре есть три сущности – геометрия, кирпич и человеческое существо. Вот то человеческое существо, которое… идея человеческого существа – это Бабинцева.
Елена Фанайлова: А, вы там актриса, Наталья! То есть существо, которое красит все, черный квадрат, черный круг?
Наталья Бабинцева: Мне кажется, что клип вообще очень тонко сделан, мастерски сделан, профессионально. Петя Соловьев вообще очень рукастый и глазастый человек, но там еще очень тонкий есть момент, что в конце вот этот шарик, который она пытается поймать, девушка, героиня фильма, он ускользает, он убегает, и в этом есть какая-то ирония. Мне очень нравится эта придумка, это момент некоторой внутренней работы режиссера. Ему кажется, что он припечатал вроде бы текст этим видео, но он понимает, что ничего не поймал, все равно в результате самое главное ускользнет всегда. Экранизируя стихотворение, ты должен понимать, что все равно что-нибудь да не поймаешь, что-нибудь обязательно от тебя ускользнет.
Александр Гаврилов: Я ужасно люблю это кино. Но не уверен, что его можно показывать в детском саду…
Елена Фанайлова: Это все-таки должны быть люди, визуально образованные.
Екатерина Троепольская: Там 18+ надо ставить, вообще, на этом видео.
Александр Гаврилов: Но у него есть серьезная укорененность в визуальную культуру 80-х. То, что Петр Соловьев делает здесь с изображением, с видео, это, конечно, очень тонко и изящно перекликается с тем, что Гороховский и Булатов делали с изображением в картине. И этот прямой стык геометрии и фигуративности, этот кружочек, который... мне вот кажется все-таки важным, что он не шарик, а кружочек, плоская фигура, который, не будучи пойман девушкой, в краске уползает по кирпичной кладке, здесь есть очень изящные отсылки к поиску художников, которые были очень близко к московскому концептуализму даже чисто биографически. Все это, мне кажется, считывается. Но это, конечно, интеллектуальные радости, это понятно.
Наталья Бабинцева: При этом это такое видео, которое совершенно не мешает слушать текст. Потому что у меня часто бывают претензии к тому, что я вижу, потому что я не слышу. Иногда бывает, что ты смотришь эти фильмы, ролики, и ты понимаешь, что в конце у тебя возникает какое-то раздражение из-за того, что картинка мешала тебе услышать стихотворение, то есть не помогла, а помешала. А это очень трудно, на самом деле, – услышать этот текст Рубинштейна. Это, мне кажется, редкий удачный случай, когда картинка помогает услышать его, сосредоточиться на нем.
Екатерина Троепольская: Большинство работ, которые мы обсуждаем, в них очень хорошо слышится текст. Они все сделаны… это называлось тогда – студия "Кружок, квадрат и треугольник", группой товарищей. Это Наташа, Денис, Федор Кудряшов, Денис Броницкий… То есть коллектив людей, у которых очень четкое представление о формате видеопоэзии, о том, как она должна выглядеть, звучать. И в определенный период это было действительно зерном любой нашей программы, которую мы возим по разным городам и везде показываем. У кого-то есть такие радости, у кого-то попроще, кто понимает, что черный квадрат и Рубинштейн как-то связаны, и нормально, очень хорошо все это принимают. Потому что вообще очень приятно смотреть. Если кто-то может отреагировать по-разному, например, на клип Емелина, хотя он тоже достаточно зрительский, но кто-то может оскорбиться и сказать, что такой поэзии не должно быть. И если в каком-нибудь городе Канске какая-нибудь серьезная пенсионерка приходит, то Рубинштейн ее абсолютно радует.
В последнее время у нас появляются совершенно другого рода работы. Это видеоперформансы, Роман Осьминкин… Там текст, конечно, слышен, ну, почти весь, запись текста далека от идеала, и она сделана в прямом эфире. Некрасов, которого мы берем, с буквами, это инсталляция, которая снята, причем она существует и в виде инсталляции на каких-то выставках современного искусства, но это висит в комнате – не работает, а вот в этом видео человек идет сквозь эти буквы, по лесу, и читается там это стихотворение или нет, или читается какой-то другой образ, который проникает через другие системы восприятия… Клип "Белка" – там конкретные художники, две молодые прелестные девушки, шли по Чистым прудам, нашли бомжа и сели ему читать стихи. Ксения Уварова, на самом деле, человек не робкого десятка, при этом такой сосредоточенный внутренне… а здесь вот напала на бомжа (смеется), прочитала стихи. И Вика Бегальская, боевая такая единица, она была потрясена тем, насколько поэт может войти в жизнь… И вот эта ситуация, когда ей человек говорит: "Ну, прочтите еще раз", – это просто вот мы видим документацию конкретного поступка двух художниц.
Елена Фанайлова: То есть это не постановка.
Екатерина Троепольская: Нет. И вот это новая видеопоэзия, которая сейчас появляется.
Андрей Родионов: Акционизм.
Екатерина Троепольская: И каждый год мы сталкиваемся с совершенно новыми форматами.