From the editors
FOREWORD

DESTINATION
Aleksandr Sologubov
CULTURE IN A "FOREIGN" SPACE: AN INTRODUCTION
Ivan Chechot
TO GENIUS LOCI KALININGRAD AND KOENIGSBERG
Wolfgang Eichwede
KALININGRAD IN THE YEAR 2020 - A NOT QUITE FICTITIOUS CONVERSATION
Aleksandr Sologubov
DESTINATION - KALININGRAD

PHRASE BOOK
Aleksandr Sologubov
FROM KALININGRAD DICTIONARY

MAP OF THE CITY
Anatolii Bakhtin
UGLY KOENIGSBERG
Elena Gladkova
FORMA URBIS. SYMBOLIC PARALLELS
Valery Orlov
IN OR OUT

SOUTHERN STATION
Ivan Chechot
THE RAILWAY STATION AND ENTRANCE TO THE CITY OF KALININGRAD

CROSSROADS
Aleksandr Popadin
BINARY STATES OF "K" CITY
Eugeny Umansky, Karpenko-Karpenko
KATYANASTYA

IN THE CENTER
Andrei Monastyrsky, Sabina Haensgen
EMPTY CENTER K.
Pavel Nastin
COURTYARD-WELL

COMMUNICATIONS
Artem Advokat
GRAFFITI
Elena Tsvetaeva
FOLK GRAFFITI
Marek Wolodzko
FOLLOWING SILENT WORDS
FA+ (Ingrid Falk & Gustavo Aguerre)
THE MYTHICAL FOUNDATION OF KALININGRAD
Aleksandr Sologubov
MICROTOPONYMY

PRETERITION: KNEIPHOF ISLAND
Aleksandr Sologubov
THE CATHEDRAL
Aleksandr Popadin
ERECTING BRIDGES
Ivan Chechot
THE BRIDGES AND "THE PREGEL'S ODOR"
John Craig Freeman, Greg Ulmer
IMAGING KALININGRAD: THE SEVEN BRIGES OF KOENIGSBERG

STOA KANTIANA
Anatolii Bakhtin
FORGOTTEN KANT AND THE KANT-BRAND IN KOENIGSBERG
Aleksandr Sologubov
KANT
Olga Lopukhova
KANT'S TOMB
Erika Wolf
KANT'S BRIDES: A READYMADE PHOTOGRAPHIC CHRONOTOPE
Ivan Chechot
THE CATHEDRAL AND KANT FOR EVERYONE, OR IS GOD FEARSOME WITHOUT MORAL

THE CASTLE OF SOVIETS
Aleksandr Sologubov
THE ROYAL CASTLE
Igor Sacharov-Ross
WINE CELLAR
Dali Rust
A WHITE SEAGULL ABOVE THE CITY: THE SYMBOLS OF THE OLD NEW CITY
Joanna Sandell
WRITING OF DREAMS
RAKETA
LIGHT UP DOM SOVETOV
Aleksandr Sologubov
THE HOUSE OF SOVIETS

GERMANS
Ilya Dementiev
THE MOST PROFOUND SECRET OF ONE KOENIGSBERG LAWYER: HOFFMANN
KudaBegutSobaki
A LEGEND ABOUT FIVE LITTLE ULRICHEN AND FERRYMAN ANDRE

Peter Wunsch
KOENIGSBERG-KALININGRAD. THE TASTE OF MARZIPAN
Aleksandr Sologubov
THE COUNTRY OF PENSIONERS - OR THE GERMANS
Martin Huettel
QWERTZ

MOSCOW PERSPECTIVE
Olga Sezneva
CONCRETE ELEMENTS OF KALININGRAD
Agnieszka Wolodzko
HABITATION UNITS
Werner Moeller
THE UNDREAMED OF CITY
Oleg Vasiutin
TOWN PLANNING MATHEMATICS
Mark Borozna
MOSKOVSKII PROSPECT & THE SHADOWS AROUND ALTSTADT

OUR TOWER Ivan Chechot
KRONPRINZ
Elena Tsvetaeva
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)
OUR PRIDE
Aleksandr Sologubov
AMBER
Aleksandr Sologubov
ALCOHOLIC BEVERAGES
Ivan Chechot
THE AMBER ROOM

BASTIONS
Avenir Ovsyanov
BASTIONS IN DIAMONDS AND EMERALDS
Rostan Tavasiev
LITTLE BRICKS

THE MARKET
Ivan Chechot
THE HOUSE OF MACHINERY: THE RECONSTRACTION AND EXPLOITATION OF THE POPULATION

V.I.P. (Very Interesting Person)
Elena Tsvetaeva
SERGEI TIMOFEEVICH

PLACE OF EXECUTION
Bert Hoppe
TRACES OF A VIRTUAL HISTORY IN A VERY REAL CITY

CSC ROC
Aleksandr Sologubov
CHRIST THE SAVIOR CATHEDRAL

TRAM
Aleksandr Sologubov
LIFE AND EGGS (A sketch about trams)
SKART
LUCKY TICKET

MEETING POINT
Aleksandr Popadin
THE BULLS
Ivan Chechot
GAUL'S FOUNTAIN
Ivan Chechot
A STROLL THROUGH THE CENTER
Aleksandr Popadin
IN THE FLOW: FOUNTAIN SEASON
Aleksandr Popadin
NINE
Elena Tsygankova
WILD WEST OF RUSSIA

THE ZOO
Irina Kozhevnikova
ZOO
Ingeborg Strobl
ANIMALS IN KALININGRAD AND A MOSAIC
Elena Tsvetaeva
KOENIGSBERG CATS

MEMENTO MORE
Avenir Ovsianov
KOENIGSBERG'S SPIRITUAL HERITAGE IN TONS, ITEMS AND SACKS. From the history of lost and found cultural heritage
Aleksandr Sologubov
KALININ PARK
Aleksandr Popadin
WE ALL ARE GOING TO BE THERE
Aleksandr Sologubov
MONUMENTS
Irina Kozhevnikova
MONUMENT TO 1200 GUARDSMEN IN KALININGRAD
Roger Palmer
BRIEF MEMORIALS

MATTER AND SPIRIT
Aleksandr Sologubov
MYSTICISM
Aleksandr Popadin
FRAGMENT OF A SYMPHONY FOR SLOW READING: IVANOV AND HIS SURROUNDINGS
Evgenii Umanskii
ATTIC OF RECOGNITION
Aleksandr Sologubov
STOVES
Dmitrii Vyshemirskii
MAN AND WOMAN
Lana Vyshemirskaya
THE SMALL SCULPTURE "GIRL"

ON THE STREET
Evgenii Umanskii
CHANUKAH
Aleksandr Popadin
CUBIC PAVEMENT
Igor Isaev, Dmitrii Demidenko
SEWER HATCHES
Aleksandr Popadin
THE FIRE HYDRANT
Irina Kozhevnikova
TRADITIONS
Kalle Brolin, Kristina Muntzing
POTENTIAL PLACE

Aleksandr Popadin
THE WATERFALL HERACLES' BOLT

V.I.P. (Very Interesting Person)
Manuela
NATASHA POTERYASHINA. Inteview

ATMOSPHERE
Aleksandr Sologubov
TO BE IN THE MOOD FOR PACKING
Aleksandr Popadin
ALL-WEATHER KALININGRADIANS
Dmitrii Bulatov, Pavel Savel'ev
ACEPHALUS: OPTICAL MODELS
Mark Borozna
LIGHT THE CRYSTALS OF KALININGRAD!

THE HARBOR
Evgenii Kazannik
PORT
Aleksandr Ponomarev
THE GATES

SUBURBS
Avenir Ovsyanov
THE BRIDGE THAT THE "RUSSIANS COULDN'T PULL DOWN"
Elena Tsvetaeva
THE ROAD TO BERLIN: FROM EPIC TO BANAL. Interview with Valerii Bugrov
Aleksandr Popadin
HOAR-STONES AND BOUNDARY SYMBOLS
Aleksandr Popadin
MUSCOVITES ARE HANGING
Anders Kreuger
BEFORE THE CITY



KANT'S BRIDES: A READYMADE PHOTOGRAPHIC CHRONOTOPE


Erika Wolf / Dunedin, New Zealand / New York, USA


While visiting Kaliningrad in 2004, I made the obligatory trip to Kant Island to inspect the cathedral and the great philosopher's tomb on a sunny spring afternoon. During my stroll, a steady flow of bridal parties visited the tomb to celebrate marriage vows, drink champagne, and have their photographs taken. As a scholar of Soviet culture and sometimes resident of Moscow, I immediately recognized this phenomenon - having many times witnessed similar groups at the Kremlin, Smotrovaia Ploshadka, and Victory Park in Moscow. I was intrigued by the adaptation of this Soviet marriage ritual in Kaliningrad, where the philosopher's tomb became a beacon for the erotic display of brides. What an improbable spectacle - a mixture of lace, roses, lipstick, champagne, and historical materialism. I was also struck by the morbidity of this erotic display -philosophical analogues to the brides of Dracula.

I have designated the entire series of photographs of brides made at Kant's tomb a readymade, a cultural artifact that sits between the boundaries of art and everyday life. At my request, the NCCA has begun compiling an archive of these bridal photographs. As with Marcel Duchamp's readymades, the idea or concept is primary, while the actual execution of this project is void of any sort of aesthetic delectation. Ordered chronologically, the collected photographs function as a record of a particular place over time. In effect, this archive is a photographic chronotope, a concept of the Russian philosopher Mikhail Bakhtein. The photographs record changes in wedding practices, fashion, politics, the physical condition of Kant's Tomb, and even in photography itself.


M. Dinahet. "Marriage", photo collage, 2004

As this potentially infinite archive grows, I will compile the responses of diverse individuals: anthropologists, fashion historians, architectural conservationists, employees of the local Kaliningrad marriage registry (ZAGES), psychologists, philosophers, florists, and an artist obsessed by Duchamp's Bride Stripped Bare by her Bachelors, Even. Here is the first response to Kant's Brides, from a Kantian philosopher:

It is interesting to speculate why this pilgrimage to Kant's tomb should have become a part of the culture of marriage in this community. Kant is, without doubt, the most famous of Kalingrad's sons and this fact alone might make such a pilgrimage popular. However, it is more satisfying to imagine that the married couple who make this pilgrimage want to be seen to be acknowledging the importance of their marriage as a moral commitment since Kant is probably known to the community as the philosopher who taught us to respect each other as persons, to never treat each other simply as a means to an end. Marriage, as a moral institution, is founded upon mutual respect so that a couple who have their picture taken before Kant's tomb have, in effect, declared their mutual respect for each other. This is a plausible speculation since it is safe to assume that few visitors to the tomb would be aware that Kant himself never married though he was certainly in favour of the institution. In his youth he could not marry because he was impoverished and when, at forty-six, he could afford to marry he had settled into a routine that left no room for marriage. So if we wish to believe that the pilgrimage is not simply a ritual devoid of any connection to the philosopher's teachings, we must, I think, take this rather satisfying view that the philosopher's teachings have not been in vain and that anyone who marries in Kalingrad-and makes the pilgrimage-is marrying for the right reasons. (Dr. David Ward, Philosophy Department, University of Otago, New Zealand)


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