(E-E) Evgenij Kozlov • Diaries 1979–1983

In his autobiography from 1998, Timur Novikov refers to five New Artists founding members: Novikov, Sotnikov, Kozlov, Kotelnikov and Khazanovich. Concerning Kozlov, he wrote:

And then, in 1982, Ivan Sotnikov and I founded the New Artists group. Together with myself, Evgenij Kozlov came from the old “Letopis” group, while the others joined the TEII.[1]

Novikov, however, determined the founding year retrospectively: in the absence of any formal document or manifesto, the scandal created by the “Zero Object” at the First TEII exhibition in October 1982 became the New Artists’ founding act. Novikov’s and Sotnikov’s “Zero Object” consisted of a label next to a square opening in a moveable wall. The artists, who enjoyed provocation, thus turned the hole into another exhibit. Naturally, the “Zero Object”– an impromptu of sorts – had not been included in the TEII’s list of works to be displayed, and a conflict arose between the two artists and Kovalsky, one of the TEII’s leaders. Kovalsky, worried about the future of the TEII, demanded that the label be removed, which led to a lengthy exchange of notes. Kozlov had known both Novikov and Sotnikov for a number of years, but the scandal goes unnoticed in his diaries, possibly because he did not attend the opening of the exhibition. 

Timur Novikov sitting in the “guests' corner” of the ASSA Gallery. more >>
Next to him is a table produced with his second Zero Object from 1983 as table top and four legs attached to it.
The Zero Object 2 is in The State Russian Museum Collection
Photo: (E-E) Evgenij Kozlov, 1984
E-E archival number: E-E-pho-XA02

This doesn’t mean that the Zero Object as such went by unnoticed. The diary actually mentions another “Zero” object – a different one, created by Novikov alone before the Second TEII exhibition, in April 1983 (p. 4-28). Likewise, Kozlov’s personal poster for the Second TEII exhibition has several references to the “Zero Object”. Finally, there is an entry from August 1983 referring to a performance which included Novikov’s and Sotnikov’s “Zero movement” (p. 4-87, see previous chapter).

(E-E) Evgenij Kozlov, exhibition poster Выставка произведений ленинградских художников 5=20 апреля = 1983 / Exhibition of works by Leningrad artists 5= 20 April = 1983 Gouache and transfer letters (‘Letraset’ letters) on paper, 53 x 35.5 cm, 1983 The Kozlov & Fobo Collection, Berlin E-E archival number: E-E-183023		E-E-183023 (E-E) Evgenij Kozlov, exhibition poster Reverse with signatures of participating artists. more >>

Detail of E-E-183023, E-E Kozlov's exhibition poster from 1983 The rectangular hole in its upper half and the double figure left to it with “0” prints on both hands are an allusion to Novikov's second ‘Zero Object’ mentionened on p. 4-29. Т. Н. сделал полностью «ноль-объект», красивый и интересный. / Timur Novikov finished the ‘Zero Object’; it is beautiful and interesting.’ see Chapter 3

However, it would be wrong to assume that the “Zero Object” formed the New Artists identity. As a group, the New Artists emerged gradually, intensifying their activities in 1984 and later. As a brand, the name is first documented for the exhibition “Happy New Year” at the Leningrad Rock Club at the end of 1985 more >>. Kozlov’s diaries, which end in August 1983, relate to a period of transition from the Letopis circle of artists to the New Artists circle of artists, which lasted much longer than Novikov’s autobiography suggests. Kozlov’s social network didn’t immediately change, and the same artists from 1981 (Diary II) still appear in 1983 (Diary IV). Besides, Novikov’s attempt to set apart the more progressive New Artists from the less progressive TEII artists is rather strange, since not only Sotnikov and Novikov himself became members of the TEII, but also a number of other New Artists who joined the group later. 

But Novikov’s dating the New Artists to 1982 is nevertheless correct with respect to Kozlov’s art. As discussed in chapter 2, towards the end of 1982, the artist achieved a “style reflecting the twentieth century” with “Noli Me Tangere” (Tuaregs) and “Commissars” (The Strike Brigades Had Their Own Musicians). These semi-realistic multifigure gouache compositions display stark contrasts of coloured shadows, an effect creating a rhythmical, almost abstract geometricity. When they were shown at the Fifth TEII Exhibition “Facets of Portraiture” in 1984, the novelty of Kozlov’s approach clearly made them stand out against those portraits created by his fellow artists more >>.

Third painting from 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

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.
The Kozlov & Fobo Collection, Berlin

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
Whereabouts unknown
photo: Alexander Boyko, 1984

Hannelore Fobo, June 2022

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Published 19 June 2022
Last updated 6 July 2022