The Audio Archive of Soviet Rock Music: A collection of rare recordings featuring stories about musicians and their influence on Soviet and post-Soviet culture.

Sound of Time: Recording and Distribution of Rock Music in the USSR

The exhibition includes over 70 paintings, graphic works, and sculptures by the artist from the AZ Museum and private collections. The exhibition explores Belkin's exploration of the meaningful gap between his artistic and behavioral expressions and one of the central themes of his art—the erosion of the cultural layer and the fragmentation of memory. Their music combined philosophical texts, profound cultural references, and musical experimentation. The album "Triangle" (1981) was one of the first tape albums recorded on home equipment. This archive contains rare recordings of concerts and rehearsals that were previously unavailable to the general public. Boris Grebenshchikov and his band Aquarium always stood apart from the Soviet rock scene. Their music combined philosophical lyrics, profound cultural references, and musical experimentation. The album "Triangle" (1981) was one of the first tape albums recorded on home equipment. This archive contains rare recordings of concerts and rehearsals that were not available to the general public. Anatoly Belkin is an artist, cultural promoter, and mystifier. He participated in the first exhibitions of unofficial art in Leningrad in the 1970s and founded the St. Petersburg magazines "Sobaka.ru" and "Vesh.doc." Today, his works are held in the Hermitage, the Russian Museum, the Stedelijk Museum Amsterdam, and other museums around the world. Since the late 1980s, the artist's solo exhibitions have been held in galleries in New York, Paris, London, and Berlin. In 2004, Belkin's exhibition "Gold of the Swamps," a grand project about a fictional "swamp civilization," became the Hermitage's first foray into contemporary Russian art. However, throughout his career, he has only exhibited in Moscow once—in 2006 at the Triumph Gallery, where the "Gold of the Swamps" project was shown again in collaboration with the Hermitage. #VIDEO_1# Vitaly Pushnitsky is one of Russia's leading contemporary artists, whose work is widely known beyond the country's borders. He was born in St. Petersburg in 1967 and educated at the Academy of Arts. Pushnitsky works in a variety of media, including painting, graphics, installations, and video art, exploring themes of time, space, memory, and sound. His projects have repeatedly participated in major international exhibitions, including the Moscow Biennale of Contemporary Art and the Venice Biennale. The artist actively uses sound as an important component of his works, exploring its influence on the perception of space and interaction with other media. In Pushnitsky's work, sound often becomes a metaphor for time, memory, and communication, which is particularly evident in his portraits and installations. #EXHIB_1# He was born in St. Petersburg in 1967 and educated at the Academy of Arts. Pushnitsky works in various media, including painting, drawing, installations, and video art, exploring themes of time, space, memory, and sound. His projects have repeatedly been included in major international exhibitions, including the Moscow Biennale of Contemporary Art and the Venice Biennale. Some text He was born in St. Petersburg in 1967 and educated at the Academy of Arts. Pushnitsky works in various media, including painting, drawing, installations, and video art, exploring themes of time, space, memory, and sound. His projects have repeatedly been included in major international exhibitions, including the Moscow Biennale of Contemporary Art and the Venice Biennale. #GALARY_2# Some text before the quote

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In reality, I think the division between the Moscow and St. Petersburg schools is very arbitrary. In the 1960s, 1990s, or 2000s, you can find far more similarities between Moscow artists and their contemporaries in St. Petersburg than between Moscow artists of this generation and the previous one. It's hardly possible to trace clear lines or a definite continuity here. Continuity is extremely difficult in Russian art history; it's the most scarce commodity. And in the post-Soviet space in general.

Our continuity is more decorative. We dislike being ourselves so much that we long to return to some imaginary authenticity. And we want to rely on the figure of a teacher to ground us, justify us, and generally give our existence a sense of rootedness and confidence, although in reality, this is a completely therapeutic construct that allows us to suffer less from the horrors of life.