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O. Vasil’ev, \u0116. Bulatov, I. Kabakov and \u0116. Gorokhovskii in I. Kabakov atelier. Moscow, 1981. Pic: Igor Makarevich \/ Arkhiv sovremennogo iskusstva “Garazh”. Fond Igoria Makarevicha.<\/em><\/p><\/div>\n

Place:<\/strong> <\/em>Moscow<\/p>\n

Key words used in place names: <\/em><\/strong>pereulok<\/em> (alley); kol’tso<\/em> (ring road); bul’var<\/em> (boulevard); ulitsa <\/em>(street), Moscow<\/em><\/p>\n

Description:<\/strong><\/em>
\n<\/strong>Although there had existed private meeting places in the Soviet Union such as Lianozovo hut<\/a>, in previous years, the escape from public spaces into private apartments took place when the Maiakovskii Square<\/a> experience came to an end, coinciding with celebrations for Gagarin\u2019s space flight (April, 14th 1961).
\nOne of the most important private spaces was the home of Ekaterina Fride, who having owned a six-storey building in Borisoglebskii pereulok before the revolution, was granted the use of a 26 square metre room in the same building in the Soviet era (cf. Piretto 2001: 265). During the 1950s up to forty people met in this room adorned with tapestries and rococo furniture on Saturday afternoons (cf. Parisi 2017: 73). The habitu\u00e9s<\/em> of the literary salon addressed problems and themes that were mainly aesthetical rather than political one (cf. Gadasina 1997: web). Despite the participation of many maiakovtsy <\/em>(such as Apollon Shukt, Garik Superfin and Vladimir Bukovskii), the atmosphere was very different from that generated around the statue of the futurist poet in Maiakosvkii Square, where inclusivity and open-mindedness were guiding principles and passers-by, without cultural or ideological instruction, were often invited to participate.
\nAt Fride\u2019s, where Moscow\u2019s renowned handcrafted beer was served and codeine was also available, debates tended to be more sophisticated and regular visitors shared similar worldviews (cf. ibid.<\/em>). Madame Fride’s meetings were not a secret in town; even \u2018Molodoi Kommunist\u2019 wrote negatively about them (cf. Parisi 2017: 72).
\nIn the months and years following the end of the Maiakovka gatherings, many similar apartments welcomed non-conformist young people, including the those of Apollon Shukht and the SMOG<\/a>ist Alena Basilova, whose home was unusual in that she shared the small building on Sadovaia-Karetnaia with her mother (the poet Alla Rustaikis) and her great aunt (Alisa Khvas, her maternal grandmother\u2019s sister, with whom she had frequented Maiakovskii Square).
\nBasilova’s apartment came to be known as the \u201csecond Maiakovka\u201d (Maiakovka-2<\/em>), thanks also to the understanding and empathy of the older women towards Alena\u2019s friends. Most of the talk was about artistic and literary phenomena; Vladimir Bukovskii read his tales which were described by Basilova as not at all bad (cf. Basilova 1997: web).
\nFrom the early Fifties, another unique meeting place was Iurii Mamleev\u2019s house: his hut, now long gone, was the venue for meetings of a small intellectual group interested in esoteric subjects like occultism, theosophy (they read Rudolf Steiner) and subjects that were at the time largely excluded from official debates (such as psychiatry) (cf. Possamai 2007: web).
\nThese gatherings were informally called \u201cIuzhin\u2019s meetings\u201d, from the name of the street where they were held: Iuzhinksii (today Bolshoi Palashevskii) pereulok, 3 (cf. Parisi 2017: 73).
\nOther apartments in Moscow included that of\u00a0 Ioffe and Saburov where the two poets were joined by other authors during the 60s (like Mikhail Aizenberg – cf. Caramitti 2010: 25), and above all Il’ia Kabakov\u2019s studio, situated in a garret of a liberty building in Sretenskii bul’var, 6. During the 70s the artist\u2019s studio became a symbol for Russian artistic and literary conceptualism<\/a> (cf.\u00a0ibid.<\/em>: 319).<\/p>\n

Federico Iocca
\n<\/em><\/strong>[June 30, 2021]\n

Translation by Diletta Bacci<\/p>\n

Bibliography<\/strong><\/em><\/p>\n