Over the years of the festival's existence, authors, curators, concepts have changed, the territory has been filled with more and more new art objects. The atmosphere of unrestricted creativity in nature has remained unchanged. Why involve unknown authors in the development of Nikola-Lenivets, when they stop building art objects on this territory, which happens if village men and foreign artists collaborate, and, of course, what will this place be like in the next five years? All this - in a conversation with the curator of the festival, Anton Kochurkin.
Anton, Archstoyanie celebrates its 15th anniversary this year, do you remember how it all began? Who stood at the origins of the festival and determined what it should be like?
Of course I remember. The first festival in 2006 was unforgettable - 17 best architects in Nikola-Lenivets and their bright art projects. "Archstoyanie" was expected and wanted by all those who then lived in Nikola-Lenivets. These are Vasily and Anna Shchetinins - Vasily was the first to find this place, and Anna helped with the creation of a non-profit partnership; Nikolai Polissky - the genius of the place, who encouraged the neighboring peasants to be creative; Vasily Kopeiko is the one who defines the corporate style of the festival; businessman Igor Kireev, with whose money the local church was restored, and other residents of Nikola-Lenivets. Nikolai initiated the festival, but we thought out the content, found opportunities and gathered authors already with Yulia Bychkova. The implementation of the festival became possible thanks to a grant from the Potanin "A Changing Museum in a Changing World". I remember how exciting it was to wait for the results of the competition. The opinion of the commission was divided into two camps - those who believed that we did not have a museum component and those who supported our project. The second group turned out to be more, and they paid off!
Have you noticed when the festival began to turn from a chamber event for its own people into something more? In your opinion, what was the reason for this, and could it have been foreseen?
The process proceeded gradually. In the first year, we only invited experts in the field of art and architecture and our friends. This was enough to make the festival thunderous. In 2007, the financial situation was much worse, but nevertheless, we managed to work with a European author - Adrian Ghese, who designed the "Pavilion of cones", and also set up a tent educational camp in the fields for students from seven European countries.
At first, we thought to make money at Archstoyanie. We worked only with those whom we considered talented artists and architects, we made the festival, despite various restrictions, including the lack of money. I always wanted to experiment, invent something new, help others to come up with and bring to the end different ideas. I believe that this courage and risk helped the chamber event grow into a big festival.
How has the concept of the place and the festival changed during all this time? Can you name a few of the turning points
The first turning point can be called the period from 2000 to 2006, when only one artist worked in Nikola-Lenivets - Nikolai Polissky. The second - 2006 - the time of the first festival. The third - the transition to new territories in 2009 - now they are called "Versailles", then we began to comprehensively deal with the park together with the French natives of the Versailles Higher Garden School - the association Atelieur 710 (now Wagon Landscaping). We analyzed abandoned fields and neglected forests in search of the best landscape tools for the development of the territory. One of the conclusions contradicted the concept proposed by the Ugra National Park - not to touch the nature near the river. It turned out that if you really do not touch anything, then in 10 years everything will overgrow so that the famous landscape with the Trinity Church will simply disappear, and all the value of the place will be lost. After this statement and long negotiations, we became friends with the national park, with which we subsequently had joint projects. Another important year - 2010 - the territory was bought by the billionaire Maxim Nogotkov, the founder of the Svyaznoy company. From that moment on, the enhanced creation of guest infrastructure began, the management company Archpolis appeared, however, in 2014 it went bankrupt, and the festival was again self-sufficient. In 2015, we went with a festival to the village of Zvizzhi, where we created masterpieces of rural public spaces. Two years later, the topic of housing was proposed for the first time, and the festival tackled the real functional architecture of a residential building.
The festival also had invited curators, why was this done?
Each new curator has its own individual story. The first was Oleg Kulik in 2010. I have already curated four festivals in a row and understood that there is experience that I do not have, there is a part of the art community, traces of which have not yet been found on the territory. This community was able to unite Kulik. Katya Bochavar in 2013 became, in fact, the director of the festival. Her ability to be simultaneously a curator, artist and director worked very effectively - the territory was seething with new life, the artists explored the territory filled not only with silent architectural objects, but also with new statements in other genres. Everything turned into a performance. It is characteristic that not a single new monumental object remained after this festival, while its atmosphere was remembered for a long time. Finally, French curator and producer Richard Castelli in 2014. With his help, it turned out to collide two realities - Western and Russian, Nikola-Lenivets. As a result, very unexpected collaborations happened. For example, Mark Formanek's famous performance "The Clock" acquired a Russian character - the clock numbers were made of rough boards, and Julius von Bismarck, who suggested throwing a weight from a height of 15 meters, as a result replaced it with a high-pressure gas tank, which Kaluga men advised him to - the effect was stronger.
Despite the irony with which I speak, the results of the transformation of the ideas of European artists are not at all amateur performance, but the reaction of the place to new approaches to creativity, thanks to which the artists have created unique site-specific works.
Did you initially know what area of the park you can occupy or were there no restrictions?
No, we didn't understand that. At first, we simply occupied vacant land near the village of Nikola-Lenivets, without coordinating with anyone. But the festival became more and more popular, and conflicts began with the Ugra National Park, which controlled these agricultural lands. Over time, we were able to negotiate and establish partnerships. Every year the territory of the festival expanded, but at the same time, the horizons of its development have been visible for a long time. It will take many years to reach these horizons, and if we keep in mind that extensive growth is replaced by intensive, then this process becomes even longer. So, in 2009, we entered the territory of abandoned fields near the village of Koltsovo and began to comprehensively plan a landscape park, including art objects, camping, cafes, parking lots, walking and horse trails, and much more.
If you can already see the horizon, tell us about the plans for the development of the territory for the next five years
At my lectures on "Archstoyanie" I barely have an hour to tell about the problem that the festival has solved every year, what a challenge the territory has thrown at us. I'll try to answer briefly: initially there was no single plan. It was formed gradually, new tasks were added every year. We asked ourselves this famous question from Michael Clarke Duncan from The Green Mile - "Who are we, where are we from, where are we going?"From year to year, the challenges became more interesting, as did our responses to them: from the impressionism of impressions in the early years to the thoughtful complex work that turned the park into an ecosystem. Now I absolutely understand how to develop the territory, what to build. At the same time, at the level of details, this process will be corrected all the time. Plus, there should always be room for experimentation. The park should have large areas for development. The flexibility of scenarios and the understanding that there may be something else, unknown at the moment, is an important principle that does not allow turning the park into an authoritarian project. In the next five years, we want to expand the residential and service infrastructure, build guest houses, lay new routes, practice new approaches in the landscape, so we plan to work with Peter Merkel from Switzerland. Already in October of this year, we will plant 408 oaks according to the project of Anna Tretyakova.
Are there any events like Archstoyanie?
There are many festivals in Russia that are done outdoors. Much fewer are those who work with the subject environment, creating architectural structures and sculptures. Previously, there was a festival called "Cities", which was replaced by the wonderful project "Drevolyutsiya", which was invented by Nikolai Belousov. But this is a project, rather, for students, since it is they who create works in a short time - within a month before the festival. Of course, with such an approach, one cannot count on something fundamental. There are several other sculpture parks, for example, in Penza, but this is more about sculpture and fine art. Various art objects appear in many cities, but this is a piece product. There is no other place of such scale as in Nikola-Lenivets.
How has the audience of the festival changed over the years?
As I said, we invited experts in the field of art and architecture, architects, journalists, and potential sponsors to the first festival. Further, this tendency began to weaken. Now the audience has changed to amateurs interested in art, architecture, people who need cultural support.
We are glad that educated and well-mannered people come here. There are only a few of those who come only for barbecue, although barbecue and other bodily entertainment are not prohibited here.
Is the influx of people to Nikola-Lenivets a blessing or, on the contrary, evil?
While our limit on guests is determined by the comfort of stay and the opportunity for everyone to get a unique personal experience. Now it is 600 people on a typical day and up to 7,000 people at an event. As infrastructure and services develop, the limit also increases.
On what basis are the festival participants selected?
We attract authors of any age, any regalia and popularity, if we like the proposed idea. For a long time, the participants of the festival were invited personally, or were selected on the basis of creative competitions. In the last year, we have tried the art-residence format. I must say, there is a result! This year you will see the works of three members of the residence - Alexei Luka, Elina Kulikova and Anna Tretyakova. We also respond to requests from authors who want to create something in Nikola-Lenivets, but we cannot and do not want to implement all ideas. After all, this is a creative project, where there is a curatorial will and our “village” expert council.
So "Archstoyanie" is still about art objects, performances or atmosphere? Some say that if a new object is not presented at the festival, then there is no point in coming. What can you answer to this?
At each Archstoyania there were new architectural objects, except for 2013 and 2019, when the themes of the festival were not about finished monumental works. In addition to objects, people come here for the atmosphere, because only at the festival are objects shown in the frame of theatrical performances, which reveal the building through the plasticity of the human body, movement, light and music. Last year, for example, the premiere of five operas took place, which does not prevent the event from being called an architectural festival. Simply, instead of a saw and a hammer, there was sound and scenography from the instruments, and instead of silent contemplation, there was a scenario of life inside this or that object. "Archstoyanie" reveals the idea of "standing" anew with the help of revived architecture and landscape. Such performances are temporary and take place only once - at Archstoyanie, remaining only in memories and in photos. This year, our resident Elina Kulikova will present a perfume performance, synthesizing the smell of Nikola-Lenivets and laziness. You will not see or feel this even in the photo!
Is there a limit and understanding - how many objects are enough for Nikola-Lenivets?
This question cannot be answered straightforwardly. Since the answer requires many clarifying questions. Each object has a border of influence and perception, it can be seen from a kilometer away, or maybe only when you come close to it. Some objects can be combined with others, but some cannot. And if you knock off the already grown cultural layer, then the search for an answer becomes even more difficult - can land art and sovrisk, nonconformism and pop art get along here? Some objects are designed only for an event, some - for many years. Finding answers to these questions is an ongoing creative work. One thing is definitely not worth worrying about - the territory will not be oversaturated for a long time.
Why are only natural materials used for the construction of objects? Has it always been like this?
Not always. The use of natural materials began with Nikolai Polissky, who, together with Nikola-Lenivetskie crafts, worked with hay, wood, firewood, and willow twigs. Vasily Shchetinin, in turn, built houses from logs. I try to develop this topic - I developed the concept of contextual architecture, which seemed to be always there, using "reproducible" materials and not inventing anything new in technology. In the early years, it seemed to us that this was how the ecological approach could be developed. Now we do not limit ourselves, because environmental friendliness is not only about using old technologies and natural materials that can be grown.
Has it ever happened that a temporary object became part of a permanent collection?
This has not happened before, because these are completely different approaches - it is one thing to design an object according to all the rules of design calculation, taking into account the load and the elements, and the other is to display the sculpture as in an exhibition hall. Sooner or later, it will start to collapse.
How do you track objects?
No matter how well our facilities are built, they are surrounded by nature and need to be looked after. We follow them, repair them. One large building is renovated every year. This year we have completely reassembled the Rotunda by Alexander Brodsky, have carried out a cosmetic renovation of the Pavilion of Cones.
The infrastructure of the park grows along with the development of the territory. What other buildings may appear in the coming years?
Last year we created a public space. While it is in the tent, but in the future we plan to assemble something more stationary. We are expanding the living area by adding one or more houses from year to year. We are planning the reconstruction of the summer reception and the Ugra cafe - after all, there are not enough warm spaces. There are many plans, they are slowly being implemented.
Will there be more house-art objects?
I have long wanted to create architecture in Nikola-Lenivets in the full sense of the word, that is, something functional. For the festival in 2017, I formed the manifesto "Spaces for Life", so the "Shtab" house appeared from the Alych art group, where guests live inside a skate ramp. House "Kibitka" from the architect Rustam Kerimov and director Yuri Muravitsky reflects the state of the modern working city dweller who always runs somewhere, drives, changes space, not finding peace. An important detail of this house, which also reflects modern life on display, is a showcase instead of one of the walls, in which you can see everything that happens inside.
"House with a chandelier" from the Bureau of Needles is a declaration of communist ideals, which, incidentally, are very pertinent in the context of Nikola-Lenivets. The main element of the house is the chandelier on top. At the same time, the house itself is without windows and in order for it to become light, you need to turn on the chandelier, 10% of the light from which goes inward, and 90% - to the street. And, of course, the masterpiece of Alexander Brodsky and Anton Timofeev - "Villa PO-2", built from panels of typical concrete fences assembled in the area. This year we are building another such house - “Dom-mezzanine” by Alexey Luka. We will continue the theme of manifesto houses. We have plans to build new lots with different artists. You can live in each of these houses by booking in advance. Believe me, this is an invaluable experience!
What is the oldest art object of Nikola-Lenivets? Are there any related objects?
The oldest is Nikolai Polissky's Mayak, built in 2004. But the connectivity of objects can be traced. If we take the same Nicholas as an example, then we see different stages in the development of creativity: at first the works "grew" out of nature, he used the technologies that local peasants knew. Now the skill has grown along with the level of complexity of the objects, the color has been added. So in the collection of the park the first colored object "Ugruan". Another form of connectivity is, for example, height regulation. Thanks to this, our Versailles has a system of three viewing platforms - belvederes: Rotonda, Arch and Lazy Ziggurat.
What is your favorite object and why?
This is a tricky question. I have many favorite objects, they are all different, and you can only evaluate them in conjunction with the place where they stand. It is impossible not to love “Nikolino's ear”, because it was created to listen to the Ugra valley, and “Mayak” completes the landscape of this place.
In the "Pavilion of cones" you feel peaceful, "Arch" opposes two worlds - the world of the forest and the world of fields, I like to climb it and notice how the trees have grown around. I like "Fast Track" very much - it makes even gloomy people laugh and have fun. “Storming the Sky” amazes with its delicate and sophisticated design, taking you up, but the “Rotunda” is a symbol of the beginning of a new park - a pearl that revealed a space abandoned in the past. I cannot but mention the knitted Wowhouse bridge - I like to stop there and look at the swampy landscapes, it used to be unsafe. Each art object is not only the creative position of the author, but also a strong emotion. Emotions are difficult to count and conclude which one is closer. It depends on the internal state - where you are at the moment. If you answer this question differently, then unloved projects do not remain on the land of Nikola-Lenivets.
Details and tickets for the anniversary "Archstoyanie" here >>>
