KOMMUNALKA ON PETROGRADKA

Roman Osminkin, Anastasia Vepreva

10,00 

Novoye literaturnoye obozreniye Publishing house, 2022

ISBN 978-5-4448-1764-3

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Авторы

Роман Осминкин

Roman Osminkin

Roman Osminkin is a shortlisted finalist for the Dar Prize 2025. He is a poet, art theorist and performer. His work combines poetry, theory, drama and actionism, redefining the boundaries of the word, politics and art.

Анастасия Вепрева

Anastasia Vepreva

Anastasia Vepreva is a shortlisted finalist for the Dar Prize 2025. Artist, curator, art critic of contemporary art, whose work addresses feminist, social and political themes.

Expert opinions

Николай Александров

Nikolai Aleksandrov

Cultural and literary scholar, essayist, journalist

“Kommunalka, of course, is a symbol of the Soviet era, the brightest sign of Soviet life with its forced dormitory, i.e. the forced joining together of not just different, but socially very distant people. Kommunalka is a direct proof of the blatant contradiction and antinomianism of the Soviet era's stable expression “culture of everyday life”, because culture is completely suppressed by everyday life. Here the main centers of life and at the same time conflict points are the kitchen and the toilet, and the main mode of existence is scandal. Personal space here is very conditional and human freedom is inherently compromised. But, for the same reasons, the communal center is more than a curious object of research, because this phenomenon explains a lot not only in the past, but also in the present, has not only retrospective, but also actual value. This is why Roman Osminkin's artistic, physiological and phenomenological experiment is remarkable.
Евгения Вежлян

Evgeniya Vezhlyan

Poet, literary critic, essayist, literary scholar and sociologist of literature

«Книга Романа Осминкина (…) - один из важных, на мой взгляд, текстов литературы, которую можно назвать “предвоенной”. Она выросла из дневника, который Роман Осминкин вел со своей женой, художницей Анастасией Вепревой, с 2016 по 2019 год. Дневник с этнографической тщательностью, поденно, фиксирует жизнь двух художников в огромной питерской коммуналке, их разговоры с соседями, бесконечные уборки по графику, подробности приготовления еды на общей кухне, коллизии борьбы за починку протечек, травли клопов (...) Драматургия текста, его нерв - в столкновении оптики, вооруженной деколониальной теорией, связанного с ней способа письма - и той реальности, на которую эта оптика, по идее, и должна быть направлена».

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