E-E-182002 Noli Me Tangere

Third painting on the left:
(E-E) Evgenij Kozlov Noli me tangere, original title Туареги / Tuaregs
Tempera, gouache watercolour and collage on canvas, 93 x 106 cm, 1982.
The Kozlov & Fobo Collection, Berlin
Paintings on the right: two portraits by Vladislav Gutsevich
Bottom right: Fragment of Timur Noikov's portrait of Sergei Bugaev from 1984

photo: Alexander Boyko, 1984

E-E-183001 Kommissars

top, center
(E-E) Evgenij Kozlov Noli Me Tangere, original title Туареги / Tuaregs
Tempera, gouache, watercolour, collage on canvas, 93 x 106 x 5.5 cm, 1982.

bottom, center (partly covered)
(E-E) Evgenij Kozlov Комиссары / Kommissars, original title Музыканты / Musicians
Tempera, gouache and water colour on canvas, approx. 93 x 128 cm?, 1983
The painting has been lost.

photo: Alexander Boyko, 1984

E-E 184028

(E-E) Evgenij Kozlov, Kiril Khazanоvich, Denis Egelsky Portrait of Timur Novikov

(E-E) Евгений Козлов, Кирилл Хазанович, Денис Егельский Портрет Тимура Новикова

(E-E) Evgenij Kozlov, Kiril Khazanоvich, Denis Egelsky Portrait of Timur Novikov
mixed media, photo-collage, 90 x 90 cm, 1984. The State Russian Museum Collection

This portrait is in documented Sergey Sigey's exhibition review on Грани портрета / Facets of Portraiture, first published in 1984:«От яблоны — в яблочко. Заметки о недавних выставках (обзор статьи Сергея Сигея из журнала «Транспонанс», 1984, нр 25) and reprinted in From Leningrad to Saint-Petersburg. TEII (see top of page),

The reference to Portrait of Timur Novikov is one page 184 (quoted in bold letters), with reference to two instead of three authors: Evgenij Kozlov and Kirill Khazanovich:

Несомненным недостатком выставки «Грани портрета» была установка на жанр: портрет вообще, голая схема — вот и все. Единичны работы, изобразившие конкретных людей (не о женах, разумеется, речь), само существование которых и есть существование второй культуры. В этом смысле весьма ценны работы Дмитрия Шагина и Тамары Валенты. Портреты А. Эндера работы Владимира Михайлова и Александра Малтабарова, портрет Тимура Новикова работы Е. Козлова и К. Хазановича, портрет Бориса Лихтенфельда работы Корсавиной — не слишком ли этого мало для выставки нонконформистов с таким названием?

About the works:

Evgenij Kozlov discussed Turaregs as well as Commissars in his diaries,
Tuaregs: Diary page 3-59 >>, Diary page 3-78 >>.
Commissars: Diary page 3-80 >> and Diary page 4-03 >>

Both works are exceptionally important in his search for a new style.

E-E-182002 (early version) Tuaregs / Noli Me Tangere, 1982

‘Galaxy Gallery’ – (E-E) Evgenij Kozlov's apartment and studio in Peterhof with Tuaregs / Noli Me Tangere and two other works

photo: Alexander Boyko, 1983 or 1984

E-E-183001 Комиссары / Kommissars Tempera, gouache watercolour and collage on canvas, 93 x 128 cm, 1983.

see Diary page 3-80 >> and Diary page 4-03 >>

First title ‘Музыканты / Musicians˚ (Dairy page 3-80, dated 27. 1. 83), title as of 2. 2. 1983 (Diary page 4-03): ‘В ударных бригадах были свои музыканты’ / ‘The Strike Brigades Had Their Own Musicians.’ Last title ‘Комиссары / Kommissars‘.

The black-and-white picture shows the work in progress, presumably January 1983.

E-E-183001, Комиссары / Kommissars, work in progress

The Compostion is reminiscent of group photographs from the 1930s,

The following example of such a group photograph shows Chapaev, http://historic.ru/books/item/f00/s00/z0000183/st032.shtml

E-E-183001 Комиссары / Kommissars, final version

The finished work shows considerable changes with regard to the original composition. A number of figures in the background have been removed in favour of what E. Kozlov defined as ‘Искал и нашел новые способы выражения‘ / ‘I searched for and found new ways of expression’.

The light movement of the two faces and waving hands are in striking contrast to the frozen poses of the commissars. Their sharp outlines were probably done with the help stencils, a technique also used in E-E-183022, ‘Sit venia verbo Традиции ХХ века / Sit venia verbo. Traditions of the 20th Century' (Diaries, page 3-77 >>, also >>), and its corresponding work E-E-183022, the poster for the exhibition at the Palace of the Youth (April 1983) >>.

Another new feature is the self-portrait of the artist: in the traditon of old masters such as Velazquez, the artist introduced himself into this group portrait. With his long hair and beard he is, indeed, similar to Velazquez in his painting ‘Las Meninas’ from 1656. But Kozlov's appearance at the very back and the soft expression of his face allow for a different interpretation. He stands there Christ-like, representing a different world, of which the strong-willed commissars with their stern faces take no notice.

Diego Velázquez ‘Las Meninas‘, 1656. Detail with the artist's self-portrait.
Museo del Prado, Madrid

(E-E) Evgenij Kozlov, Kirill Khazanоvich, Denis Egelsky Portrait of Timur Novikov
mixed media, photo-collage, 90 x 90 cm, 1984. The State Russian Museum Collection

Below:
(E-E) Evgenij Kozlov's picture from his photo-shoot ‘Fashion Show’ at gallery ‘ASSA‘, end of 1984.

In the background (partly covered by Katya Selitskaya) is a poster from the exhibition Грани Портрета / Facets of Portraiture;

left (partly covered by Nataliya Turik / Nazarova) is a poster from the concert on November 12, 1984, at the House of Composers: The ninth evening of the Youth Creativity cycle. Improvisation in Contemporary Music. Concert for the utiugon. Participants: Valentina Ponomareva, Sergei Letov, Vlad Makarov, Valentina Goncharova, I. Abdullayev, Sergei Kuryokhin. (Catalogue The New Artists, Moscow Museum of Contemporary Art, 2012, page 271 / 272)

Exhibtion poster Грани Портрета / Grani Portreta – "Facets of Portraiture, 1984
The Kozlov & Fobo Collection, Berlin