Fedor Pavlov Andreevich performances. About the arrest, the difference between theater and performance, and his new performance in Praktika. Selected theatrical works
Artist, director, curator and director of the State Gallery on Solyanka Fyodor Pavlov-Andreevich believes that if you want, you can do everything. We decided to figure out what he was doing, trusted technology and talked on Skype
It is absolutely impossible to find Fyodor Pavlov-Andreevich in one place for several days in a row. Here he is representing artists at the annual hybrid art exhibition Lexus Hybrid Art, here he is documenting a series of his own performances in Sri Lanka, and now he is flying to the opening of his exhibition in Brazil. We met with the artist on Skype to ask about how to manage everything at once, why take off your clothes and where to look for his new projects in the foreseeable future. The conversation turned out to be frank.
Fedor, first of all I want to congratulate you on the next Lexus Hybrid Art exhibition. The queues stood until the last, we checked.
Thank you. The audience's interest depends on how everything is packaged. Marina Abramovich, at the beginning of my work in performance, once told me: “Baby, art is only 50% art and 50% is PR” (“Dear, in art there is only 50% of art, the remaining 50% is PR”), - now say it with a beautiful Serbian accent.
How did this year’s project differ from previous ones for you?
It was distinguished primarily by the fact that I once met almost all of these works and fell in love with all my heart, and in different places: some in Berlin, some at home in Rio or Sao Paulo (IN last years Fedor lives between Russia and Brazil. — Approx. Buro 24/7)
, some in London and New York. And my greatest pride is that several artists created completely new works of art specifically for Lexus Hybrid Art. That is, we arrived in Moscow in advance, crawled around the entire Rossiya Theater, and everything was decided. In general, this year's exhibition had a very large share of my personal responsibility for the content. There are these rather vulgar notebooks - Art That I've Seen and Loved - and you put pictures of the works you like there. The exhibition was my personal notebook like this. And considering that my taste, frankly speaking, does not always coincide with the tastes of other people , I tried very hard to ensure that these were only works that were understandable to everyone, be it a grandmother passing through Pushkin Square, a cat living in this building, or a three-year-old child - and almost all of the objects presented could be observed without any combat training in the field of Sovriska. After all, when you enter a room behind the door of which there is a game. piano music, and you see in front of you the faces of two pianists looking at you and their hands hovering in the air - and they look at you, and look, and look - and then you spit on this matter, leave, close the door behind you, and in the same moment the music begins to play again (the work of the German artist Annika Kahrs “Two Playing on One”), then at that very moment you understand that everything you want to know and dream of participating in is happening beyond your reach - there where we are not.
Artist, performance artist, art manager, director, producer, writer, gallery director - and that's not all. How do you manage all these social roles at once?
In fact, all my roles are one role. It’s just very difficult to explain to people and make them believe that you were born this way, that you are supposed to do ten things by family and tribe. No one tried to change me. My favorite music teacher, Natalya Petrovna Petrova, when I was 5 years old, kept saying these lines from Barto: “Drama club, photo club, and I also want to sing.” And it was as if she was hinting: you don’t want that, do you? Because I ran straight from music school to figure skating, and from there to the rehearsal of my performance; at the age of 6 I was already rehearsing, I started early. Well, people still appear trying to tell me: stop, concentrate, do only this, this is what you do best. And I just live the best way I can. That is, I do exactly what I’m supposed to do, no more, no less. Today, to my great joy, the times have come when there is no longer any need to hide behind anything, any one name. You say “artist”, and it’s all together, all at once. There is no need to talk about any art manager or writer or performance artist, everything is included in the concept of “artist”.
But it’s still difficult to manage everything at once.
I live for stories. Right now, while we are talking, I am in the village of Arugam Bay, in Sri Lanka, doing a series of my performances about slaves in Brazil - both those who lived in the 19th century and those of today. Here we are with documentary filmmaker Lavoisier Clemenche and photographer Igor Afrikyan, filming a story about a black guy - a shoplifter, who last year was crucified for stealing on a lamp post, like during slavery. Tomorrow we will tie me to a lantern, I have to hang for 7 hours, because this series is for the Afro-Brazilian Museum in Sao Paulo (called “Temporary Monuments”): each monument exists for 7 hours, and then there is a photo or video, or both and another at once. Already have finished work: I learned to climb a palm tree under the guidance of a local fisherman, and after a week of training I climbed and hung for 7 hours - from 8 pm to 3 am - and documented it. It was just that slaves, wanting to free themselves, at night, when no one was looking, climbed palm trees and got seeds, which were terribly valuable in those days. They sold these seeds on the black market, and saved the proceeds, and in the end exchanged what they had accumulated for their own freedom. And the work, which is called “Temporary Monument N1,” is just about freedom.
“STILL THERE ARE PEOPLE TRYING TO TELL ME: STOP IT, FOCUS, JUST DO THIS, THIS IS WHAT YOU DO BEST”
Performance art as an art form often requires significant physical effort. How to prepare and release the body?
I fight for my body in several ways. On the one hand, I delve into myself with the help of teachers: Kirill Chernykh from “Yoga Class”, Tanya Domovtseva and Anya Lunegova in Moscow, Sri Darma Mittra and Lady Ruth in New York, Agustin Aguerreberry in Rio and other important mentors for me, — I make my way to deposits of useful and useful minerals, I try to clear the first, and throw away the second. This is yoga. I also do strength training. In Moscow I go to Dima Dovgan at Republic, he is amazing - a classical pianist who became a strength and Pilates coach. He and I talk about music and come up with different amazing ways solve the issue of strength with your mind. In general, I definitely spend some time every day doing yoga and three or four times a week, regardless of flights, I devote an hour or two to strength training. Well, then Kirill Chernykh teaches me very interesting things. For example, how to get inside yourself with your eyes, how to get physically into your breath, how to bend your leg without bending it.
How did you come to nudity as a means of your artistic language?
This is not my only remedy. This is one of the parts of the language. It’s just that it’s much more noticeable to people who aren’t very experienced in observing performances. No one is surprised that in painting there are different types oil paints. But the naked body of a performance artist immediately turns this artist into a target. This is generally good, because it makes our very narrow and inaccessible genre more popular. But, on the other hand, if you google my name in Russian, then the second line is “Fedor Pavlov-Andreevich is naked.” And there was even a couple of days when, someone told me, in Yandex, for the word “artist” the first line popped up an article on this topic in Wikipedia, and the second - “Artist Fyodor Pavlov-Andreevich came to the Midsummer Night festival” s Dream naked.” You need to understand one simple thing: the nakedness of performance is not the nakedness of sex, not the nakedness of eroticism, not the nakedness of desire or seduction. at least, in most cases and in most strong work, it's not that kind of nudity. It is akin to the nakedness of a morgue, the nakedness of baptism, and, ultimately, the nakedness of a gas chamber. It's about zeroing. No one has any questions about the nudity of sculptures or nudity in paintings - Intsagram does not remove selfies taken in front of David’s genitals in the Italian courtyard of the Pushkin Museum. But my account is under close surveillance: any photograph that is much more modest than a cast of Michelangelo is immediately sent into oblivion. Therefore, it will take some time for people who look at art with interest to get used to the fact that Pyotr Pavlensky, when nailing himself to Red Square, did not mean to show all people what his eggs look like - he said a terribly important a thing that everyone who needs it (and, just as importantly, everyone who doesn’t need it too) understood perfectly. And if he decided to do this in his underpants, then the underpants would immediately become part of the message. And all the cards would be mixed up. So nudity is a washed-out meaning, a zero mark, a blank canvas. It all starts with it, but it does not provide or guarantee the result of art. It can mean everything and nothing.
“No one is surprised that in painting there are different types of oil paints. But the naked body of a performance artist immediately turns this artist into a target.”
You have been creating performances since 2008. Can you tell us a little about your internal observations - of yourself, your body, your consciousness?
In 2008, when I made my first performance, I must tell you, I returned to my home. At that moment I didn’t have any furniture yet; I didn’t even know at which end of the city my house was located. But I already knew for sure that it was mine and that I would have to live in it for the rest of my life. What I did before, I remember everything and understand everything, but it passed, it turned over. Just finding the door to performance and, in general, to some other form of expression - non-linear, often not easily achieved by the viewer - took me three decades. But now it’s very cool and very interesting to live. Sometimes I think: even if I’m gone tomorrow, I’ve already lived an incredible life. wonderful life. It had almost everything, and I would not be at all sorry or afraid to go further.
What about your plans for the future? What projects should we expect in Moscow?
At the State Gallery on Solyanka we are now preparing three exhibitions at once (all of them are special projects of the Moscow Biennale of Contemporary Art), which will explain to people a lot about performance, nudity and how performance art resists the rules of life and how sometimes it defeats them . One of the projects is called “Intimate Shots” - an exhibition about nudity in British contemporary performance. We bring very important artist and photographer Manuel Vazon. He will also work with seven Russian performance artists, each of whom will perform his own performance in the gallery halls for 7 days. The title of this exhibition, Artist Is Hidden, is Russian for “Artist in a Paddock”: each artist will build a wall for themselves, behind which the performance will take place. And each of them will decide for himself what size hole to leave for the viewer: a gap, a small hole or a whole window. The exhibition will be dedicated to the outstanding American performance artist and now architect Vito Acconci, who in the late 1960s made whole line works that changed the course of art history. In the Pepper Hall we will show a small archival exhibition of Acconci himself, who turned 75 this year. By the way, he promised to come and meet with the Moscow public. We have now announced a crowdfunding campaign for these projects, since asking the state for money for such things is now pointless, and sponsors are also, alas, not interested in such things. Therefore, there is hope for Solyanka viewers. Two years ago they made the Artists' Zoo exhibition happen and became an important milestone for all of us.
Do you follow the information agenda?
If you are talking about news, then I don’t always understand which country’s news, Brazil or Russia, I need to follow first, so sometimes I decide not to read them at all. Moreover, there is a crisis in both countries now, and very sad news comes from one of them. No news, calm. But sometimes they give a reason to work: for example, on the outskirts of Rio some dudes, volunteer forest orderlies, crucified a 14-year-old black teenager who was a shoplifter on a lamppost. They tied me up (and secured my neck with a bicycle lock), beat me and left me overnight. This is exactly what they did with slaves in Brazil 150 years ago. In general, little has changed. This episode will be the occasion for the fifth “Temporary Monument”. In this series, I create 7 hours of performances and document them in memory of slavery - both that which is already in history and that which is happening before our eyes. In Russia everything is fine with him too. In Moscow there are about a million people in slavery, mostly from Central Asia. If only some international organization I came up with the idea to look at how they live, what they eat and how their temporary owners abuse them! Everyone in the West is concerned about the fate of Russian gays, but only gay teenagers who really suffer, who are hated and bullied by everyone, including their own parents, and the state helps this a lot. As for the suffering of Russian gays in general, in Moscow and St. Petersburg, in my opinion, they live normally: yes, they are not allowed to hold gay pride parades and get punched in the face if they go out into the streets to protest, but many of them live comfortably and free. But no one cares about migrant workers at all, because they don’t speak English and don’t know how to tell about themselves in picturesque detail. Alas, the genre in which I work as an artist is still quite far from the current social and political situation. I'm big fan Peter Pavlensky, who works brilliantly with this material.
How do you, a person who travels abroad a lot and often, feel about Moscow social life or, more simply put, the party?
I have (or had - I don’t know if he continues his good deed) an idol - the host of Internet television “Oh no, not this!” on the website W-O-S.ru Oleg Koronny. His way of looking at, or even glancing at, social life in Russia seems outstanding to me. He doesn’t know anyone at all, either by name or by sight, the person grew up on some completely different things, has never opened Hello! magazine, and so he approaches with a microphone people who, in his opinion, look like famous characters, and asks them, without any embarrassment, very strange questions. And they endure and endure for a while, and then: “Don’t you even know who I am?” And this is the real thrill. Oleg is almost the Marcel Proust of modern Russian culture. Proust was very ill, lay at home and wrote kilometers of complex sentences, the basis for which were almost evaporated memories of Madeleine cookies soaked in tea and various high-society equivocations. And Oleg once upon a time came up with the idea of calling me Volosatik. His eyeliner even went like this: “Well, let’s go now and ask Hairy the same thing.” And here I am standing in St. Petersburg at some high-society event, and suddenly a nice hipster of about 18 stops in front of me, looks, and then suddenly comes up and politely says: “Excuse me, please. But you are the same Hairy, aren’t you? Oh! Wow! Can I take a photo with you?” Then, by the way, it turned out that it was Sergei Kuryokhin’s son Fedya. And the next day I come to Moscow, go to some party at Strelka, stand with my friends and tell this funny story. And imagine, at that moment a girl of about 17 in a wide-brimmed hat and a leather raincoat walks past us. And in my words about Fyodor Kuryokhin she suddenly freezes, stops her friend and yells at the whole bar: “Andrey, look, it’s Volosatik!”
In Brazil, it all looks just as great: people love to be called “designer”, but at the same time they do God knows what. There is even a story about a young fashion designer who has already appeared on Rio Fashion Week and Sao Paulo Fashion Week (the Brazilians charmingly remake English words) and decided to try her hand in London. She arrives there, all dressed up, and at passport control they ask her: “Why did you come here in the first place?” With her chin raised, she responds in her Brazilian English to the British border guard officer: “Didn’t you know that I’m a celebrity in my country? Better go Google me.” In general, everything is very similar.
“Art as business”, how do you feel about this formulation?
Not bad. Of course, I am for the works to be sold. There are three galleries that deal with me: one in Sao Paulo, one in Rio and one in Paris. They treat me with respect and don't demand that I turn performances into something that can be easily sold. But if this happens naturally, if a beautiful object, photograph or sculpture is born, then I am very happy about it and give it to the gallery, because many of my performances and installations require a budget, but where will it come from? But when you start thinking about it specifically, nothing happens. I am sure that if you do everything correctly, then over time your work in art will begin to bring you money. After all, I did my first performance only 7 years ago, so I am still a relatively young author. But money is not the most important thing at all. The main thing is to try not to be a hypocrite and say what is dictated to you, what comes through you. This is the most difficult task.
Fedor Pavlov-Andreevich
“It’s time to say it loudly - as of this Monday I am no longer the director of the State Gallery on Solyanka.
Actually, I never intended to be one. It didn’t seem to me at all, even in those still relatively prosperous times, that an artist should work for the state. At that moment I was busy with an exciting thing: I was packing my bags to move to my favorite country starting with the letter Br. But when my father, Boris Pavlov, accidentally died - and this happened in the fall of 2009 - then Romuald Krylov, then the head of the Department of Culture of the Central District of Moscow, who started a lot of interesting things in the Moscow center - for example, became godfather Museum of Olya Sviblova, called and said: well, Fedya, if it’s not you, then I can’t vouch for anything. It was important for me that my father’s work continued. And I realized that yes. This is how our new Solyanka appeared.
It was always interesting. Still, from the very beginning I said that I would make an artist-run space - a space under the control of an artist - a story in which I would not have to lie to myself or do projects that were completely alien to my nature. Another question is that finding money for something that was close to my nature turned out to be an almost impossible task. And so, having complicated my fate to the limit, but at the same time protecting myself from endless photo exhibitions of children of deputies, paintings of mistresses of oligarchs and exhibitions of the parish drawing “Our region through the eyes of the flock,” I began to think in horror what to do. However, everything happened somehow right. Later, Shulgin’s “Electromuseum” and a couple of other good museum projects invented by artists appeared, but, as far as I understand, Solyanka was the first to work in this direction.
Already in 2011, Solyanka became what it remains to this day - with Marina Abramovich as the patroness, with Norstein as a locally revered saint and with Sigalit Landau in the image of Demeter, who came to us to celebrate the harvest of pickled fruits of the Dead Sea. Pyrfyr was born - both as a school and as an Endless performance festival, and retrospectives of Tarkovsky, Parajanov and Bill Plympton and about 50 other exhibitions about which we are still not at all ashamed, became the foundation of Solyanka, already quite an institution - with its own audience and meaning - and we were very proud of it. The series of exhibitions of Russian performance art “The Brave Seven” became a separate source of pride: when we did the first one in 2011, the Russian performance stage was empty, Kulik was no longer in the performance, and no one new appeared, so Liza Morozova and Lena Kovylina and I and had to exist more or less alone. I had to persuade friends from neighboring media to come and become performance artists for a while. This is how, for example, Galya Solodovnikova had an excellent debut in live art, but when they collected the last one, “The Artist in the Paddock,” about nudity in performance, there was already someone to choose from—the Russian scene revived.
Yolanda Jansen. Performance as part of the exhibition “Touching a Ring,” May 2017
Image courtesy of Solyanka VPA press service
Pyrfyr is a completely heroic project. Collecting any money from people who want to become performance artists is a daunting task. Everyone understands that it is impossible to make money from this. But we tried as hard as we could, and probably graduated five or six streams of students. About seven of them are engaged in performance constantly, and many return to this passion from time to time.
Seeing people who were previously dentists, programmers or fashion designers suddenly open a completely unexpected door within themselves and enter without looking back - this is a real thrill. I'll follow, of course. And I try to call them when I supervise group projects related to performance and recommend them to other people. But in general, such a school should live on grants, and not try to pay for itself. And grants should be handled by a team of professionals. But the problem is that my work as the director of Solyanka was entirely about running around the world’s environs with an outstretched hand. It was completely impossible to extend a second hand to ask for more money for school. So school is over for now. But I believe that her time will come. The experience we have accumulated is excellent; Liza Morozova and I and other colleagues know well who is worth something as a teacher, so one day we will return to this. There is a reason for this - after all, wonderful flowers bloomed in this garden.
Solyanka became the first Russian institution to decide to work every day until 10 pm, and on Fridays until midnight. And in this she remains the only one. Then Garage made a similar graph, even later Jewish Museum, and the rest slowly and rustily began to turn to face the visitor. In some London or Paris, everything is still terrible in this sense. Everything closes at six. I’m just wondering why they don’t do theaters at three o’clock in the afternoon on weekdays? It's about the same idea. Complete idiocy, to be honest. Night director and night curator are also our story, which many now practice in one form or another. But it’s unlikely that any other directors will regularly start dressing up as caretaker Lyudmila Nikolaevna and greeting visitors at the reception (Alas, the real Lyudmila Nikolaevna passed away last year). But I don't insist. Some things should remain only on Solyanka.
Image courtesy of Solyanka VPA press service
In fact, I've been thinking about leaving for a couple of years now. But here many reasons came into play at once. In 2019 I have two big projects in New York, a museum exhibition in London and several group stories around the world, not to mention two new plays, one in Moscow and one in London. I simply physically would not have survived Solyanka. And I’m not speaking entirely honestly, accepting the rules of the state’s game - I don’t know what my next job in performance will be and whether my government bosses will have to explain to their bosses why they need such a strange person in a position in a controlled department. And taxpayers - do they need this? No, I don’t even want to think about it. Fortunately, there is private money and space, the owners of which do not need to be convinced - they themselves want to work. It’s just a pity that it won’t be in Russia.
This old videotape needs to be rewinded a few years ago. Then Vladimir Filippov appeared in the Moscow Department of Culture, a man who brought the right meaning and calm confidence - it is he who should be thanked for the last years of Solyanka and much more in Moscow culture - he amazingly managed to hear and be heard. In November he left for another job. But even earlier, in September of this year, Rita Osepyan, the main curator of Solyanka and in general the curator with whom we most of all thought up and talked about the state of performance (not only in Moscow, but also, for example, in Sao Paulo) had a meeting with recent years - so, we were not able to open one important exhibition, just invented by Katya Nenasheva. There were reasons for this, I still don’t want to talk about them, but it became clear: my time on Solyanka had thinned out, burst, it was time. Then I started thinking about how best to do this. And he began to persuade the only person in the world capable of leading Solyanka further to get down to business. Katya Bochavar, probably my main accomplice and the person by whom I set my watches in my work for more than ten years, agreed to move to Solyanka from the north of Moscow (as she once agreed to move to Moscow from New York), continuing , what we did, and what she herself did in the last four years on the Ground.
I am very happy with how everything was resolved - people who loved Solyanka and did not miss the exhibitions there will definitely be very interested. But I’m not going anywhere and will help - a little more from afar than before, heading Solyanka’s board of trustees and continuing to return from time to time with individual projects, including some of those that have already become a tradition at Solyanka.”
In her author’s column “Locker Room” Olga Tsypenyuk meets another MH hero immediately after training and calls him - warm and relaxed - to straight Talk: first about the training itself, and then about everything in the world. In this issue, her counterpart is the artist and director of the State Gallery on Solyanka Fyodor Pavlov-Andreevich.
How often do you come here to the Republic Gym?
When I respect myself, then five times a week. But there are circumstances. I’m almost a flight attendant, I fly all the time. And on the day of the flight you can’t go to sports, only yoga. Because flying is a weakening of the immune system. When you fly, you get sick. And when you get sick, you can’t exercise, otherwise you’ll get seriously ill. Flying is hellishly harmful - since I sometimes make four transatlantic flights a month, I know all about it. This is how it was bequeathed by Maria Candida de Melo, my Brazilian healthy lifestyle doctor. First, never eat airplane crap. Everything that is fed on an airplane was prepared at an unknown date and then brought into the airplane environment. In this environment it is ventilated in best case scenario 30 percent of the air is when doors on the ground are briefly opened. The rest of the time it is inhabited by what the passengers inhaled - many interesting and not fully studied reptiles by science. This food, by the way, is the cause of many post-flight ailments. But the main problem not even in the food itself - during the flight, all the insides are compressed, only a fifth of the stomach’s volume is working and she can cope with little - at best, pureed soup, but this is rarely served on airplanes.
And how do you get out?
Every airport I frequent has a trusted restaurant in the departure area. That's where I eat, right before my flight. Tested and proven by the stomach: nothing is violated this way. And if you eat even a piece of airplane food, it's a kayak. You can test everything on my stomach, it’s like a crystal vase: just a little bit - goodbye.
Temporary Monument 7 (Sao Paulo), photo by Guilherme Licurgo
With food it’s clear. What other air commandments?
On intracontinental flights, for example, Sao Paulo - Buenos Aires, only 2.5 hours, you are supposed to drink a liter of liquid. It's not very easy, but it's important. I always bring a thermos and bags of organic ginger-lemon or rosehip tea with me on the plane. I take a couple of lemon slices from the flight attendant, throw them into a thermos, pour boiling water - after an hour it’s no longer so hot, you can drink it. You start running to the toilet towards the end of the flight, so it’s normal.
A liter in two hours? Are your legs swelling?
I put a small suitcase at my feet, which they allow me to take into the cabin. Well, or I’ll get completely impudent: I take a seat at the emergency exit in the first row and put my feet on the folded seat of the flight attendant, having previously made friends with her.
I'm trying to imagine myself as that flight attendant.
Oh yeah! They all hope to marry me, and the older ones hope to adopt me. I am the case that fits all options: to the young I seem young, and to the older ones they are able to discern experience in my eyes - which means I can become their third marriage, which, as we know, is forever. Gay stewards rely on me as one of their own - I smile at them! - and now they will start dancing, like in an Almodóvar film. I once flew on an empty British plane along the magical Almaty-London route. There were three passengers, a handsome young man - I was the only one, and there were five stewards, all gay over fifty, wildly flirtatious. They, of course, didn’t know that I was only ten years younger. Can you imagine how it felt for me?
Hid in the toilet?
I didn't hide, I enjoyed the care and adoration. I don't care who adores me - I love it. Okay, let's move on about health. On transatlantic routes you need to drink 2 liters. When I fly to Pavlik, I mean to Sao Paulo, it takes at least 11, or even 13-15 hours, from Doha - all 16. My body is already trained. I go in and even before takeoff I pass out completely. I sleep 10-11 hours almost without a break. I wake up. I do pranayama and shadkarmas. I drink a liter of hot water with lime. Then I do asanas for an hour - there is a place between the cabins, the senior flight attendant, with whom you need to negotiate this, always allows it. I often fly Turkish, so Turkish flight attendants get together and discuss me, sometimes they clap. Then I drink a protein shake. After that, I again frantically drink water and, if it’s completely unbearable, I eat oatmeal cookies - I buy them in boxes in London and always carry them in my backpack - because you can’t go hungry, Maria Candida said. Since meeting her, thanks to all these measures, I have had jetlag once in my life, although I change continents at least once a month, or even two or three.
Temporary Monument 4, photo by Igor Afrikyan
At what point did you become so focused on your body?
The focus was always there. But when I turned 32, I realized who I was. Not a TV presenter, not a producer, not Chief Editor magazines, not a PR person, not a microphone stand at corporate events, not that’s all. And I am an artist and my means of speaking out loud is performance.
Foundling 3, photo by Dasha Kravtsova
How did you understand it? Was there a voice? Dream? Or did it change itself and drag you with a lasso?
I worked everything under the sun, earning my frying pan in hell. He published the magazine “Molotok” - recently a fat, middle-aged man caught me by the sleeve and said, looking strangely into my eyes: “When I was a child, your poster hung above my bed.” I hosted corporate events and the “Under 16 and Over” program, Zhirinovsky came to my studio, and Nikas Safronov gave me a book that I tried to throw away three times, and every time the janitors brought it to me because there was a dedicatory inscription there. I received money for searching common language with the mother of my beloved Ksenia Sobchak in front of millions of television viewers, and with this money I rehearsed underground performances at night. At my third performance, it seems, the German curator Christina Steinbrecher came and said: listen, this is not theater, this is a performance! And I was just thinking: why am I so fascinated by Marina Abramovich on a horse and with a white flag? It turned out that everything that was inexplicable in me since childhood, all these standing for hours in one place, repeating different words- it was all a performance, I just didn’t know about it. And then Christina sent me to Rome for some group exhibition, where I made my first performance. Strange. The second was also strange, but on the third, even stranger, in London, Hans-Ulrich Obrist, an outstanding curator, stuck his nose in. I sat naked on the floor and endlessly said out loud everything that was in my head, looking into the eyes of a sculpture made from food for domestic rats - and five wild rats ate this sculpture. And Obrist, like that, says: “Oh! It’s you that I need.” That’s how I ended up at an exhibition of ten performance artists called “Marina Abramovic Presents.”
AND? Has a new life begun?
Do you know what I felt then? It’s as if I was born transgender, suffered all my life in someone else’s gender, and then suddenly I had sex reassignment surgery. It was as if I returned to myself, became myself. And when I realized this, peace immediately came inside, clarity outside in many things, and the body gradually began to enter its shores. Yes, it was in 2008.
Surely not before? I remember how in 1992 I tried to send at least someone from Kommersant to the Austrian Alps to test running shoes of a famous brand - no one wanted to, having heard that they would have to get up at 7 in the morning and wander around the mountains. And you drove off like a clockwork.
Well, that's because I loved everything free. And now I love it. The household of one great cultural figure, now middle-aged and legendary, told me: when he returned from a tour, stashes of shower caps and tons of disposable slippers were picked out of his luggage. He is even very rich - he just has the Soviet business trip syndrome. Apparently I inherited this too. Therefore, when you sent me to test sneakers for free - and I was 15 years old - of course, I was happy.
Foundling 4, photo by Marcelo Elidio
Sneakers are a great reason to return to the topic of sports. Are you training with an instructor?
I’ve had a coach for ten years now - a terribly competent guy, an adored friend, Dima Dovgan. He and I started at Republic on Oktyabrskaya, and then we moved here together on Valovaya. He is the most specific Dorian Gray. You walk into the hall and look - what else is this? Why such a face and a coaching uniform? Dima from incredible intelligent family: Dad, mom, sister and brother are all pianists. In his youth, Dima graduated from the Gnesin Academy, won competitions, but then he began to have children one after another - now there are four of them. Fortunately, not all pianists are violinists and have already won competitions. So Dima had to go earn money. He started doing Pilates and functional training. Through breathing, through gentle distribution - and with a complete ban on any chemicals - Dima achieves very fast and clear bodily results.
photo by Dasha Kravtsova
Were you initially focused not on empirical “health”, but on physical results?
My body is a tool. I speak through him. Therefore, I have no choice. If I do not water it, thin it and fertilize it, the tool will not work.
Describe your average functional training session.
It always consists of two parts. First, I start flows: I drive energy throughout the body, making sure that there are no holes, that everything is filled. I try to go to a special stretching room, because not all athletes understand what happens to a person who stands for a couple of minutes with his eyes closed - and something happens to him, but what is unknown.
Are you expending energy? Sorry, how - by force of will?
Well, this is not really about will - rather, about all sorts of myofascial matters, no esotericism. It’s just that our body is a bag: you are aware, at most, of your arms or, there, your head - and even then not always. The rest lives in ignorance and stagnation. But when you begin to pay attention to different nooks and crannies, to penetrate into blind corners, then everything comes to life. I never listen to music, I don’t walk around the gym with my phone - I’m focused, I pay attention to each exercise and know what I want from it. My goal is not to gain weight, I don't want to bloat. With a height of 190, my usual weight is 76 kilograms, I have very light bones - that is, by nature I am a total wimp. And if I stop exercising for a couple of months, I’ll still weigh that much. And my task is to weigh 82, I must maintain this.
I launched the flows, accelerated the energy, what next?
Having dispersed the strength throughout my body and made it full, I stand up on my hands. I stand on my hands for 16 breaths - this is already physical filling. Next comes a split - two exercises for the chest and one for the arms, either for biceps or triceps. Chest: different variations of TRX flyes, dumbbell bench press on a ball, dumbbell flyes at different bench inclinations, but never a barbell.
Why don't you like the barbell?
The barbell is a killer, my body reacts poorly to it. At the age of 19, I had an injury - a compression fracture of the spine: I fell on my back during a catwalk show, from a great height. My friend jokingly pushed me. I didn’t even know about this fracture, I walked around in pain - my pain threshold is such that I treat my teeth without anesthesia. After that, I have to be careful in choosing my arsenal.
Do you have a regular set of exercises?
Biceps are always a drop set: I lift dumbbells with both hands, first 22.5 kg for 5 reps, then 17.5 for 9-12. I do all strength training in four to five approaches, including a warm-up. On the day when I do triceps, I alternate four exercises with a superset: rows in the machine with a reverse grip, I prefer a short bar, I pull down with pressed elbows 12 times, now 36 kg on average. Then pull-ups: either very wide grip, Dima supports his legs, it turns out like in a gravitron, or a narrow grip - five approaches of 8-10 times. Or there is another option: you go to the machine where the deadlift is done, lower the barbell about a meter from the floor, climb under it, grab it with a reverse grip with your hands, hang and pull yourself up like that, 15 times 5 approaches. Next in this split comes TRX with a fly - I do it with a light weight, like 15 kg, I try to pull in the chest projection, putting one straight leg back on the toe, and the other forward, bent at the knee, arching my back and not lowering it in any way chin. And the fourth element is the buttocks. I do the so-called Romanian deadlift with 50 kilograms.
Romanian?
I think in Romania no one makes this craving, all these names are like Olivier salad, which Olivier has never heard of. For example, in Portugal hot water with a curly cut lemon is called carioca, which translates as “resident of Rio de Janeiro”, and in Rio itself no one has ever drunk such water in their life and knows nothing about it. In general, a four-element split takes 20 minutes maximum. I don't rest between sets, I like to not waste time, be completely focused, go through four exercises very quickly - but that's how it goes on triceps day. But biceps usually take ten minutes longer - the minimum split set takes half an hour.
These are the chest and arms, and the rest?
I have divine abs, I owe you a confession.
I'm not blind, I see.
He doesn’t need almost any care at all - I do the abdomen, as they say in Brazil, once a week, if at all. As a rule, I charge for a ten-minute cycle: first, 150 times in a row obliques - I lie on the floor, placing my feet on the wall with bent knees, and curl up. The second thing I do right away, without getting up, is 50 lifts and lowers with triple breathing, and then I finish off with 150 very short jerks. After that, the press is on fire, and you don’t have to think about it for another week.
Cardio?
I have naturally strong and large legs - in the Moscow metro I can easily run up an escalator step of any length and hardly lose my breath. But my ass, which I am certainly proud of now, is the fruit of my efforts. A fruit grown with long care. Every time I work out, I do buttocks, because by nature my butt is flat, like a wall.
Here, I feel that girls will actively join in reading our interview.
It’s an illusion that boys are not interested in this. It’s a well-known fact: for some reason, a woman looks first at a man’s ass. Therefore, without an ass - nowhere.
And I, the scarecrow, the first thing I do is look a man in the eyes.
By the way, I do eye exercises every evening before I go to sleep. This is a super important thing, it brings order throughout the body. You close your eyes. 20 hellish eye rotations clockwise, 20 counterclockwise. It is important not to move any other face, otherwise everything will be in vain. It will be very difficult the first time. The second exercise, all of them are done with eyes closed, - pupils up to the limit, then down to the limit. Third: pupils to the left to the limit, to the right to the limit. All 20 times. After this, your body feels relaxed and you can fall asleep.
You suddenly jumped from your buttocks to your eyes.
Okay, I'm coming back. There are five glute exercises that I love. I start with the maximum weight - this is leg raises in the simulator, usually 70 kg - I do it 12 times. It is important to breed very slowly and to the limit - then any weight will be useful. Then I gradually reduce the weight - 65, then 60, two more times 12 each. There are four sets of these in my split. The following exercise for the butt can be done without any weight at all: lie down on the floor, put one bent leg on the bench, lift the other straight up, and rise up, straightening your lower back, 30 times on each leg. I also do variations on the buttocks of abducting the leg back with a weight of 12 kg encircling the leg, on this kind of Velcro - I don’t know what this thing is called. In Russia there are almost no such weights for calves more than 5-7 kilograms, but in Brazil in all gyms there are both 12 and 15 kg - people there really care about their butts. In Brazil, the bigger the ass, the more honorable it is - because samba, because they love sex. Women pull these enormous riches tight and stick out, buttock implants are a big topic among plastic surgeons there.
You said that the training consists of two parts.
The second half is asanas. I've been working out on my own lately. My teacher Kirill Chernykh, by whom I have been comparing my life for a couple of years now - we met at the Yoga Class club - believes that only a person himself can resolve the problems inside his body, that you need to constantly delve into it, figure it out - and everything will happen. By the way, about the distribution and acceleration of energy in the body and about filling the peripheries - he came up with all this. Every time after strength training, I can hang in asanas for a good hour - at such moments you don’t know what’s going on around you. In “Republic” there are understanding people - such a conscious atmosphere: everyone is friends with everyone, but they keep their distance, they let you be yourself. There, in fact, eight years ago I met the inhumanly beautiful Tanya Domovtseva. Tanya now seems to be over 60 - and this is one of the most beautiful women I know. Her classes, which are often attended by a couple of dozen people of both sexes, are a supportive hand for everyone who takes her classes, regardless of the number of participants. Tanya taught me a lot. She herself took up yoga as an adult, at 38 years old, her system is very competent and wise, very attentive. If suddenly after strength training I don’t want to do it myself, then I go to group yoga either with Tanya right in “Republic”, or in the new club “Material”, which was opened by another important yoga person in my life - Anya Lunegova. In general, yoga after training is a must for me - I don’t remember that I neglected it.
You talk about the physical with such passion and in such detail... How much time a day in total do you devote to your body?
I devote all my time to my body. Because I am always in it at the moment of my physical life - and I want to feel and hear it. And if you are talking about practices, then in the morning I do all sorts of breathing things - not for long, about 5-10 minutes, and I do some simple things before going to bed. When I don’t go to the gym, I try to do asanas at home for half an hour. In the summer I always disappear for three weeks hugging Sveta - this is my surfboard, I’ve been riding for more than 15 years. During these three weeks, I try to do asanas softer and deeper, catch waves for several hours a day, and the rest of the time I write texts and come up with new works of mine, this is always a very important period for me.
What do you eat? The question is lengthy, but the answer, I think, will not be long - there is pollen, morning dew and a wormy apple, bought exclusively from the old woman who raised it. Right?
It's funny that I have exactly three wormy apples in my backpack right now. This is just a given - my body does not accept many edible things: something immediately starts to hurt or itch.
So I ask - what do you eat?
From non-plant foods I only eat eggs - I try to buy organic ones - and products made from goat or sheep milk. Goats and sheep are not bred in industrial quantities, so they are not stuffed like cows with hormones and other rubbish. Goat cheese, cottage cheese, yogurt - in Brazil I make it myself, I buy milk from the farm. And then - all sorts of things from which you can get protein: lentils and other beans, nuts - not everything, I am allergic to many, for example, peanuts and cashews.
When was the last time you drank alcohol?
Yesterday. I might take a couple sips of white wine. But of all the dopings, I like the smell of marijuana the most. I like the smell, but I don't like smoking. So I don’t drink, I don’t smoke, I have one serious vice: I’m very addicted to sex. Born this way. As a child I built it in the kitchen kindergarten girls and boys, and they all took off their panties at three or four. It is very difficult to find a person in my age category in Moscow - one of those who went to the House of Creativity of the Writers' Union or the Union theatrical figures, or were hanging out somewhere - which I did not persuade to engage in sexual acts. Not to mention adults: as a child I was a “reverse pedophile” - a 34-year-old aunt who worked in a pioneer organization and took 13-year-old me to filming for the “Marathon-15” program, in which I then worked, for a long time about this I regretted it. Now it's the other way around. Nowadays, at the age of 40, people are usually already ruined. Sexually, emotionally and, most importantly, physically.
Everyone is destroyed, and here you are - a pouring apple, yeah.
It's wormy after all - because it's organic. And this worm is an as yet undiscovered means of redistributing the energy of the floor. But it will be found, I believe, I am working in this direction.
Do you push yourself so physically, also because of sex?
As for why I nurture myself, these are all things clinging to each other. Fitness - it's about eternal life. Which, of course, can break at any moment - and here you are lying like this, all embossed and lumpy, in a box, and no one can even admire you, because you are covered with a blanket and dressed in half a shirt. And everyone looks and thinks: “And under the clothes! He tried so hard - and it was all in vain.” Therefore, from the point of view of mortality, it is better not to deal with the body, but to let it wither away quietly. Another question is that this is my job! My work, my body, my sexual energy are all the same. My work is about the truth, about what really bothers me.
And sex is obviously not low on the list of things that bother you.
Sex comes first. This must be honestly admitted.
A portrait with the artist and void, photo by Gustavo von Ha
The choice of Brazil as one of your base points of residence also has something to do with it?
No. But as soon as you decide to be honest with yourself, many things begin to happen without your will. Therefore, when 10 years ago I went out into the street in Rio for the first time and breathed in the air, I immediately realized: this is my land, my people, my language, my culture, my body. I opened my mouth and my tongue flew into it: I spoke within a week. He raised his leg - and she was already taking a samba step. In three days in Rio or Pavlik, Sao Paulo, I become myself. Brazilians generally approach sex completely differently than the rest of the world. On my recent birthday, my friends and I took a boat to a nearby island in Rio. All my friends got a little drunk - and here we are lying on the deck of the boat, all hugging each other, enjoying the sun, the sea, each other, and somehow this makes us want to hug each other even more and all that. At some point I realize that the boat driver is looking at us from behind the glass. I feel ashamed for a moment. We sail back, go ashore, and I tell him: “Aristeu, brother, forgive us for being like this. It’s awkward in front of you!” And he’s like: “What are you talking about! It was so beautiful! So awesome! I admired it! But at the same time, Brazilians have a wild shame of nudity. A girl can wear dental floss instead of panties and glue a couple of tassels to her nipples - she will already be considered dressed. But here I am crawling out of the box after my “Foundling” performance in Sao Paulo - everyone is covering their faces with their hands in horror.
So what bothers you about sex?
Sex is wonderful. This is an important part of life, you can’t live without it, it guides and drives everything. My favorite recent news story on Brazilian sites was from a small town in the state of Pernambuco. There, the robber prepared for an attack on the house - a gun, a mask with slits for the eyes, that's all. The couple living in the house planned a sex party for that evening - another couple came to visit them, and the third couple was late. And this robber cuts off the power to the house, climbs through the window, wearing a mask and with a gun. And there is just active foreplay going on. He is immediately thrown onto the bed, undressed, and becomes part of the orgy. And his plans change, because sex is most important.
Temporary Monument 5, photo by Pedro Agilson
The body is your instrument, nudity is your tongue, sex is your engine. Can you use these tools to explain to your children how the world works?
My children - I think I will have them soon - will receive full picture peace. If I had them at the age of 17, as I originally wanted, they would not have been very lucky, because they would have had a fever along with me. And now I’m almost completely ready for them - I know how and what to tell them, where to lead them by the hand. I have five nephews and nieces, three great-nephews - I trained on them. But they will become vegetarians only if they themselves want to. They will not be dictated to in anything.
What experiences of your own would you want to protect them from?
From the snout trade.
Are you ashamed of your media past?
On the contrary, I'm having fun. “We welcome you to the studio of the talk show “The Price of Success,” we, your hosts, Lyudmila Narusova and I, Fyodor Pavlov-Andreevich!”... I’m not ashamed for a minute. That's just how he was back then chemical composition my blood. I confused performance with climbing into a television box. It was the wrong box. Now I have the right one: glass, almost as tight, but a little not as flat as modern TVs.
Is the “golden shower” on Midsummer Night's Dream the right box?
I make a lot of decisions in life with crap. So I put a shower on him and went to Midsummer. This holiday is made by my close friends and I couldn’t miss it - it was their wedding anniversary. My entire large Moscow family came there - it was impossible to appear in an elf costume, you know? Any costume I wear automatically becomes part of my job; I can’t “just dress up.” Then, from this carnival costume, the work Dickorders for the Venice Performance Week grew - and there this idea finally became live art. It’s just a performance - it’s about the zero point of meaning, about insides turned inside out. This is often hara-kiri.
Os Caquis, photo by Pedro Agilson
Turning inside out - in the name of what? What is important for you to tell people through your artistic experience?
There are things that would take hours or years to explain in a linear way, but art can explain them in a second, with a click. Sometimes to do this, it brings down its victim, knocks him to the floor, rapes him, possesses him. This happened to me several times with contemporary art. Once I became a victim of Tino Segal, just in Rio de Janeiro. After the woman who participated in his performance left me, who simply told me a piece of her life - not tragic, not even sad at all - I stood in an empty museum, leaning against a column and sobbed for half an hour, as if I was being beaten from the inside, pounded and cleaned. Some time ago the same thing happened at the Theater of Nations; I went to see Peter Brook's short one-hour play based on the Mahabharata. By the twentieth minute, my tears began to flow. And then I flooded the floor, the walls, the entire theater, my friend looked at me in horror - okay, we were put in the government box by mistake. By the way, cool art that has nothing to do with eroticism can cause an erection. That is, your own body begins to offer you different ways of extreme response - because it does not have another, more relevant echo to the received signal.
And here you are, so crystal-muscular, with sky-high abs, crying at other people’s performances, talking to people with your body. But you haven't answered the question, what do you want?
I don't want anything at all. Some work can be done in a field, in a forest, in the middle of the sea, on a mountain. When no one sees. It is important for me to understand why I am here. And where will I go next?
Dickorders, photo by Alexander Harbaugh
Then why are you looking for an answer with the help of the audience? Why don’t you lie as a foundling in a field or forest, trying to understand why you are here?
If thirty people come to my performance in Moscow, I jump for joy. Because even among my friends there are few who are able to stick. And no one is to blame. You cannot bring a reindeer herder from Kamchatka, who was born and will die in a yurt, to Grand Theatre listen to an opera: he will think that a woman is giving birth on stage and will rush to help.
Why? If they sing well, he will get an erection.
There is one thousandth of a percent of art that, while not being part of everyday life familiar to every viewer, will be understood by everyone. Here is Pyotr Pavlensky - he nailed himself by the balls to Red Square and every village, every prison and hospital knows about it. It is clear that 98 percent believe that his place is not in France, but in a psychoneurological boarding school. But that doesn't matter at all. My main favorite, Caravaggio, was also in prison - and almost no one understood him either. And he was a performance artist, of course. And Goya, my other idol. Nothing has changed since then!
Do you put these three on the same page? What about you yourself, do you want to be remembered - like Pavlensky or like Goya?
I want to look in the mirror and not feel ashamed. I want to wake up and not think I'm doing crap. I want to not lie to myself. I want to love every minute of my life what is happening around me, or at least accept it. If they happen to know me at the same time - well, if they don’t - so much the better for me. You know, in the midst of their talk shows on federal TV channels I was flying from Sochi to Moscow, and a young lady ran after me across the entire airfield shouting: “Stop! Stop! I really need your signature!” She ran up to me, opened the notebook and said: “Okay. First here, then on my chest. Write to Angela from Anton.” She mistook me for Anton Komolov. In general, I think it would be better if they didn’t know me - it would be much better for me to think that way. They may find out later, when I’m quite old. Well, or when I transform into something more intelligible.
- Pavlov-Andreevich Fedor. Interview / Fedor Pavlov-Andreevich (Russian). Echo of Moscow. Retrieved November 29, 2017.
- History of Solyanka (undefined) .
- Director Fyodor Pavlov-Andreevich about the arrest, the difference between theater and performance and his new performance in “Practice” (Russian), Poster Daily. Retrieved November 29, 2017.
- Lyudmila Narusova will interrogate successful plumbers. In defiance of the “Big Wash”, RTR begins filming a new talk show “The Price of Success” (undefined) . Komsomolskaya Pravda (July 25, 2002).
- The price of success: there will be no decoys (undefined) . Moskovsky Komsomolets (July 25, 2002).
Olga Tsypenyuk
Russian artist Fyodor Pavlov-Andreevich staged a “naked performance” at the Met Gala 2017 in New York
Ukrainian journalist Vitaly Sedyuk, who regularly causes a stir in secular society (you can read about all his “tricks” involving stars), has a serious competitor. Journalist and former editor-in-chief of the weekly Molotok, and now performance artist Fyodor Pavlov-Andreevich appeared at the Met Gala 2017 evening in New York completely naked.
Fyodor Pavlov-Andreevich appeared at the Met Gala at the height of the evening - when the paparazzi lined up to meet the stars. They waited for Beyoncé, who never arrived, but the 41-year-old Russian performance artist, closed with 18 screws in a glass box with small holes for air, put his naked body on public display. It was carried to the Met Gala by four accomplices, like-minded creative people. They set it up and retreated, leaving the guards and the stars who had already arrived on the red carpet in bewilderment. The security did not immediately succeed in lifting the box with a total weight of 100 kilograms. They hid the nakedness of the “foundling” with a white sheet, and only then decided what to do with him.
Only by dragging the “object” to a safe distance and cutting the box (the artist refused to go out any other way), the situation was resolved: Fyodor Pavlov-Andreevich was arrested and taken to the police. However, after 22 hours they were released. There was no reason to detain the artist in his actions: in the box he was grouped in a position that precluded the demonstration of his genitals.
Pavlov-Andreevich’s action is called “Foundling” and made him famous in certain circles for a long time, but this was the first time he took New York by storm with his naked performance. Pavlov-Andreevich came up with the idea of lying in a transparent glass box, curled up in a fetal position, and appearing in this form to the world, or rather to the elite of this world, a few years ago. He performed his first “Foundling” during the 56th Venice Biennale, then appeared in obscene form at the Museum modern culture"Garage" in Moscow, at a party auction house Christie's in London and at the Biennale in Sao Paulo. In total, according to the artist, he planned a series of five performances, so the performance in New York was the last.
, TV presenter
Fedor Borisovich Pavlov-Andreevich(English) Fyodor Pavlov-Andreevich, at birth Pavlov; April 14, Moscow) - Russian-Brazilian artist, curator and theater director, former TV presenter.
Biography
Parents: film critic Boris Pavlov and writer Lyudmila Petrushevskaya. Great-grandson of the linguist N. F. Yakovlev and great-great-grandson of the revolutionary I. S. Veger.
Since the 2000s - theater director, performance artist, director of the State. galleries on Solyanka in Moscow. Lives alternately in Moscow, Sao Paulo and London.
Video on the topic
Career
In the 1990s - 2000s - editor-in-chief of the magazine “Molotok”, host of the popular TV show “Under 16 and older...” on the ORT channel, columnist for a number of periodicals (“Brownie”, etc.). Founder of the Face Fashion modeling agency, which later became a production company marka. Hosted a number of television programs. In 2002, he was the host of the daytime talk show “The Price of Success” on the RTR TV channel (Russia), paired with Senator Lyudmila Narusova. In 2003, he hosted the daytime talk show “Short Circuit” on the same TV channel (later he would be replaced by Anton Komolov). In the fall of 2004, he was the host of the romantic TV show “This is Love” on STS.
In 2002, Pavlov-Andreevich made his theatrical debut with the production of “Bifem” based on the play by Lyudmila Petrushevskaya. In 2003, the performance received the “New Word” award at theater festival « New drama» .
Among other theatrical works are “Old Women”, a thirty-minute experimental opera based on a text by Daniil Kharms, nominated for two awards at the national festival “Golden Mask”, in 2010 and “Andante” - a play based on the play by Lyudmila Petrushevskaya, staged in 2016 on the stage of the Center. . Sun. Meyerhold.
Since the late 2000s, Pavlov-Andreevich has been involved in contemporary art. Collaborates with artist Marina Abramovic, director of the London Serpentine gallery Hans-Ulrich Obrist, director of the New York museum MoMA PS1 Klaus Biesenbach. Performances and personal exhibitions of Pavlov-Andreevich were shown at the Venice Biennale of Contemporary Art, at the Garage Museum (Moscow), Künstlerhaus (Vienna), Faena Arts Center (Buenos Aires), CCBB Cultural Center (Brasilia), Deitch Projects (New York), ICA (Institute of Contemporary Arts, London), Museum of Contemporary Art Sao Paulo MAC USP, etc.
He earned international fame thanks to the performance “Foundling”: the throwing of Pavlov-Andreevich naked and chained in a glass box onto a row, which was not agreed upon with the organizers. social events(opening of the Garage Museum in Moscow, party of the French philanthropist Francois Pinault at the Venice Biennale, Met Gala in New York). During a performance at the Met Gala on May 2, 2017, he was detained by the New York police for illegal entry into private territory and nudity in public place and sent to Central Booking Prison, where he spent 24 hours.
Pavlov-Andreevich dedicated a series of performances Temporary Monuments (2014-2017) and solo exhibitions of the same name in the Moscow Pechersky Gallery (2016) and at the Museum of Contemporary Art of Sao Paulo MAC USP (2017) to the problem of modern slavery in Brazil and Russia. In each of the seven performances in the series, the artist immerses himself for 7 hours in the conditions in which slaves had or still have to exist. During one of them (Pão de arara) he exposes himself medieval torture, which is currently used by the Brazilian squad special purpose, during another (O Tigre), repeating one of the rituals of the Brazilian slaves, crosses Rio De Janeiro, carrying a basket of sewage on his head.
The range of Pavlov-Andreevich’s creative interests is formed by three themes: the distance separating the viewer from the work of art in performance, temporariness and defenselessness human body, the connection between the sacred and the obscene.
Selected solo exhibitions and performances
2017 - Adventures of the Body, personal exhibition. Baro Galeria, Sao Paulo
2017 - Temporary Monuments, personal exhibition. MAC-USP, Sao Paulo
2016 - Temporary Monuments, personal exhibition. Pechersky Gallery, Moscow
2015 - “Peter and Fedor”, 24-hour discussion-performance with artist Pyotr Bystrov, curators - Daria Demekhina and Anna Shpilko. State Gallery on Solyanka, Moscow
2015 - O Batatodromo, personal exhibition, curator - Marcello Dantas. Centro Cultural Banco do Brasil, Brasilia
2015 - Os Caquis (The Persimmons), performance, curated by Bernardo Mosqueira. EAV Parque Lage, Rio de Janeiro
2011 - Photobody, personal exhibition, commissioned by Galerie Non. Non-Stage, Istanbul Biennial, Istanbul
2009 - I Eat Me, personal exhibition. Paradise Row Gallery, London
Selected group exhibitions
2017 - Pieter Bruegel. An upside-down world, curated by Antonio Geusa. Artplay Design Center, Moscow
2015 - Trajetórias em Processo, curated by Guilherme Bueno. Galeria Anita Schwartz, Rio de Janeiro
2013 - “Zoo of Artists”. State Gallery on Solyanka, Moscow
2013 - Our Darkness, curated by Viktor Neumann. Laznia Center for Contemporary Art, Gdansk, Poland
2011 - “9 days”, curator - Olga Topunova. State Gallery on Solyanka, Moscow
2009 - Play: A Festival of Fun, curated by Lauren Prakke and Nick Hackworth. Paradise Row Gallery, London
2009 - Marina Abramovic Presents, curated by Hans Ulrich Obrist and Maria Balshaw. Manchester International Festival, Whitworth Gallery, Manchester
Selected theatrical works
2016 - “Andante”. Center named after Sun. Meyerhold, Moscow
2015 - “Three pieces of silence.” Center named after Sun. Meyerhold, Moscow
2013-2014 - “Tango Square”. Center named after Sun. Meyerhold, Moscow
2012 - “Bakari”. Theater "A. R.T. O., Moscow
