Vagrik Bahchanian The man who came up with the line “We were born to make Kafka come true”; pioneer slogan “When you tie a tie, take care of it. He and the red fish are the same color”; pseudonym Limonov for teenager Savenko Date of Birth: 23.05.1938 Country: USA

Biography of Vagrik Bakchanian

Vagrik Bakchanian is a man who is known for his famous line "We are born to make Kafka a reality" and the pioneer's speech "Take care of your tie. It is the same color as a red fish." He is also the one who came up with the pseudonym Limonov for the teenager Savenko. His favorite phrase "Fight against the system to save Russia!" and his creative method of SOSrealism have left a lasting impact on the art world.

Born in Moscow in the 1970s, Bakchanian's art is a reflection of the time, with its abundance and contradictions. While many artists and writers from that era have faded into obscurity, Bakchanian's artifacts continue to resonate. His collages and wordplay are like sparks that ignite when two incomparable realities collide, creating unexpected, funny, and sometimes painful moments. These cracks in the viewer's consciousness may be narrow but they go deep.

Bakchanian's rich and promising artistic career in the 1990s, reminiscent of a landfill in Podolsk, seemed to be wasted without him. He only returned to Moscow from New York in June of this year, his first visit in twenty-nine years. His collages are currently on display at the "Muha" club until June 17. His two-hundred-page book "Mukh uima. Khudozhestva" (The Power of Flies. Arts) has been published by the "U-factoriya" publishing house. It is Bakchanian's first book in his historical homeland.

According to Alexander Genis, "I don't know what Vagrik did in Kharkiv (in his youth), but knowing him for 20 years in New York, I can guess that it was nothing good. It is enough to say that Limonov, whom Vagrik invented the pseudonym for, considered him a momma's boy." Bakchanian's reputation as a legendary wit precedes him, but in person, he is reserved and melancholic. When asked about his creative process, he compares it to poetry, saying that ideas come to him spontaneously in conversations with others.

He fondly remembers the atmosphere in Moscow in the 1960s, where everyone in the editorial room of the 16th page of "Litgazeta" felt like akyns, a type of poet in Kazakh culture. However, he finds it more challenging in America, although there was a brief period when Dovlatov published the newspaper "Novy amerikanets." The atmosphere there was quite decent, with people like Vayl, Genis, Dovlatov, and publisher Grisha Polyak. But it didn't last long.

Bakchanian's collages were eventually printed as double-page spreads in Vayl and Genis' journal. People started cutting them out and hanging them on their walls like posters. He recalls one collage called "Simbirskiy kot" (Simbirsk cat), which depicted a cat with Lenin's face, combining the style of Russian folk art with political satire.

When asked about his memories of Dovlatov, Bakchanian describes him as a complex person, someone he was even a bit afraid of, especially when talking on the phone. Dovlatov always read his texts verbatim without any hiccups, and Bakchanian knew that everything he said was being recorded. Despite this, he praises Dovlatov's honesty and precision in his speech.

Bakchanian's books, such as "Ni dnya bez strochki" (Not a Day Without a Line), "Sinyak pod glyazom" (Bruise Under the Eye), and "Stikhi raznykh let" (Verses from Different Years) were published by Maria Vasilyevna Rozanova, each one a conceptual project. He mentions another unfinished project, a never-ending scroll with the phrase "Suetu suet i vsecheskaya suet suet..." ("Vanity of vanities, all is vanity..."), and a collection of plays that he describes as "plays for reading."

Living in the United States for a quarter of a century, Bakchanian has witnessed a different reality from his Russian experience, which is reflected in his artworks, including collages without words that still resonate with people who have Russian experience. However, he admits that he has no interest in actively engaging with the Soviet symbolism or politics of the present day.

When asked about his views on contemporary Russia, Bakchanian expresses his love for the visual arts and museums, which he finds impressive. However, he is troubled by the aggressive nature of politics, especially during the Iraq war, which he was against. He recalls the time when he lived in New York during the tragic events of 9/11 and the constant smell of smoke that permeated the city. This experience made him realize the importance of peace and stability.

As for his interests in present-day Russia, Bakchanian mentions that he used to enjoy watching NTV but became disappointed when the channel started airing old programs instead of current news. He praises the channel "Culture" for its focus on literature and arts, which he believes would attract many subscribers in the United States. Although he has not found everything he was looking for in Moscow, Bakchanian cherishes the memories of his extraordinary friends from his youth, and he continues to write stories about them, capturing the essence of their uniqueness and eccentricity.

In conclusion, Vagrik Bakchanian is an artist and writer whose distinctive style and contribution to the arts have left a lasting impact. With his collages, wordplay, and sharp wit, he continues to captivate audiences, bridging the gap between different realities. Despite spending a significant portion of his life in the United States, Bakchanian's connection to his historical homeland remains strong, as he explores new artistic endeavors and shares his unique perspective on the world.