From the editors
CULTURE IN A "FOREIGN" SPACE: AN INTRODUCTION
TO GENIUS LOCI KALININGRAD AND KOENIGSBERG
KALININGRAD IN THE YEAR 2020 - A NOT QUITE FICTITIOUS CONVERSATION
DESTINATION - KALININGRAD
FROM KALININGRAD DICTIONARY
MAP OF THE CITY
FORMA URBIS. SYMBOLIC PARALLELS
IN OR OUT
THE RAILWAY STATION AND ENTRANCE TO THE CITY OF KALININGRAD
BINARY STATES OF "K" CITY
Eugeny Umansky, Karpenko-Karpenko
IN THE CENTER
Andrei Monastyrsky, Sabina Haensgen
EMPTY CENTER K.
FOLLOWING SILENT WORDS
FA+ (Ingrid Falk & Gustavo Aguerre)
THE MYTHICAL FOUNDATION OF KALININGRAD
PRETERITION: KNEIPHOF ISLAND
THE BRIDGES AND "THE PREGEL'S ODOR"
John Craig Freeman, Greg Ulmer
IMAGING KALININGRAD: THE SEVEN BRIGES OF KOENIGSBERG
FORGOTTEN KANT AND THE KANT-BRAND IN KOENIGSBERG
KANT'S BRIDES: A READYMADE PHOTOGRAPHIC CHRONOTOPE
THE CATHEDRAL AND KANT FOR EVERYONE, OR IS GOD FEARSOME WITHOUT MORAL
THE CASTLE OF SOVIETS
THE ROYAL CASTLE
A WHITE SEAGULL ABOVE THE CITY: THE SYMBOLS OF THE OLD NEW CITY
WRITING OF DREAMS
LIGHT UP DOM SOVETOV
THE HOUSE OF SOVIETS
THE MOST PROFOUND SECRET OF ONE KOENIGSBERG LAWYER: HOFFMANN
A LEGEND ABOUT FIVE LITTLE ULRICHEN AND FERRYMAN ANDRE
KOENIGSBERG-KALININGRAD. THE TASTE OF MARZIPAN
THE COUNTRY OF PENSIONERS - OR THE GERMANS
CONCRETE ELEMENTS OF KALININGRAD
THE UNDREAMED OF CITY
TOWN PLANNING MATHEMATICS
MOSKOVSKII PROSPECT & THE SHADOWS AROUND ALTSTADT
OUR TOWER Ivan Chechot
THE TOWER-REDAN "KRONPRINZ"
THE KRONPRINZ TOWER. Projects for the National Centre for Contemporary Arts by Students of the Institute for Theory and Design in Architecture (Braunschweig, Germany)
THE AMBER ROOM
BASTIONS IN DIAMONDS AND EMERALDS
THE HOUSE OF MACHINERY: THE RECONSTRACTION AND EXPLOITATION OF THE POPULATION
V.I.P. (Very Interesting Person)
PLACE OF EXECUTION
TRACES OF A VIRTUAL HISTORY IN A VERY REAL CITY
CHRIST THE SAVIOR CATHEDRAL
LIFE AND EGGS (A sketch about trams)
A STROLL THROUGH THE CENTER
IN THE FLOW: FOUNTAIN SEASON
WILD WEST OF RUSSIA
ANIMALS IN KALININGRAD AND A MOSAIC
KOENIGSBERG'S SPIRITUAL HERITAGE IN TONS, ITEMS AND SACKS. From the history of lost and found cultural heritage
WE ALL ARE GOING TO BE THERE
MONUMENT TO 1200 GUARDSMEN IN KALININGRAD
MATTER AND SPIRIT
FRAGMENT OF A SYMPHONY FOR SLOW READING: IVANOV AND HIS SURROUNDINGS
ATTIC OF RECOGNITION
MAN AND WOMAN
THE SMALL SCULPTURE "GIRL"
ON THE STREET
Igor Isaev, Dmitrii Demidenko
THE FIRE HYDRANT
Kalle Brolin, Kristina Muntzing
THE WATERFALL HERACLES' BOLT
V.I.P. (Very Interesting Person)
NATASHA POTERYASHINA. Inteview
TO BE IN THE MOOD FOR PACKING
Dmitrii Bulatov, Pavel Savel'ev
ACEPHALUS: OPTICAL MODELS
LIGHT THE CRYSTALS OF KALININGRAD!
THE BRIDGE THAT THE "RUSSIANS COULDN'T PULL DOWN"
THE ROAD TO BERLIN: FROM EPIC TO BANAL. Interview with Valerii Bugrov
HOAR-STONES AND BOUNDARY SYMBOLS
MUSCOVITES ARE HANGING
BEFORE THE CITY
From the editors
Art-Guide: Koenigsberg/Kaliningrad Today is the first attempt to create an aesthetic and artistic guide of a new kind. We are not proceeding from the past but from the present, hence a special place in it is given to the work of contemporary artists, photographers, publicists, writers, architects, musicians, historians, leaders of different sub-cultures, and experts on heritage. A number of Kaliningraders and non-Kaliningraders, including foreign authors, have been inspired by modern Kaliningrad and have created work of a special type. The city has a profound impact on many. While it is sometimes negative, this impact stimulates arguments, makes people think, dream, and search. It excites reflection about politics, history, existence, personal matters, and so forth.
At the same time, we would like to give due attention to monuments of the past. By the latter we mean not only architecture and sculpture, but the city environment itself. It is hard to determine where history ends and contemporaneity begins in Kaliningrad. In the same way it is almost impossible to divide between what should be deemed aesthetic and artistic, and what lies beyond it. Prefabricated sectional buildings and the House of Soviets are also the art, architecture and design of a certain period. This is obviously a matter of aesthetics, even though it may be "the aesthetics of the ugly" (the title of a work by the famous 19th century Koenigsberg philosopher K. Rosenkrantz). This book begins with several introductory texts. Like the entire guide, they are manifold and contradictory, reflecting the multi-layered and disharmonious character of the "Koenigsberg/Kaliningrad" phenomenon. These texts include reflections, a diary, a treatise full of humor, some interesting extracts from research materials, and so on. Next, we attempt to trace a very simple route. It begins at the Kalinin Monument at the Railway Station and sets off down Leninsky Prospect, as if we are walking with a guest towards the ancient center of Koenigsberg. We pass the Island, the Cathedral, and Kant. We climb Castle Hill, where the city was founded in 1255, near the House of Soviets. From here we have a clear view of the empty center of Kaliningrad, of imaginary Koenigsberg. Some prefabricated sectional buildings on Moskovsky Prospect catch our eye, and we go there. Having reached the city exit road at the Zakheim Gates, we turn along Litovsky Val to the left and soon, after passing the Royal Gates, we are finding ourselves in the inner yard of the Kronprinz Barracks. The new residence of the National Center for Contemporary Art will be located here soon. The Art-Guide is the result of work of the Center and a large international creative team of authors from Austria, Great Britain, Germany, Denmark, Lithuania, New Zealand, Poland, Russia, Serbia, the USA, France, and Sweden. From here we head towards Vasilevsky Square and the Amber Museum, then to the Victory Square in the city center. Past the House of Technology and the new Orthodox Cathedral, we walk down Prospect Mira, going as far as Kalinin Park. The route conventionally finishes at the port, at city's sea gates.
Various texts have been written for the guide. Among the authors are artists, architects, photographers, writers and researchers. Some essays were written by people whose jobs are not related to writing literary works. There are street interviews and even children's compositions.
The editors considered it possible and necessary to retain the specific style of each author. As a result, readers will sometimes have to exert themselves while reading, but sometimes they will also be likely to smile. Such is the varied and bright language of the Kaliningraders and of those who write about the city. This language is also the appearance and soul of the city, it will say much to those who have thought about the cultural processes that taking place in Kaliningrad.
The Art-Guide is not only intended exclusively for internal use and is likely to be read by potential guests of the city, who will no doubt have some difficulty in orienting themselves in both the Kaliningrad wastelands and in the Koenigsberg wilderness. Hence, we decided to provide both historical directions and general information, while retaining the general tendency towards the revelation of both the amazing beauty and startling peculiarities of this city and its striking deformities.
Translation by N.Andreeva