Apraksina, Tatyana Igorevna

Apraksina settled in Leningrad in 1963, and began living on Apraksin Lane since 1972. The musically colored informal culture of that time was actively intertwined with her life. She mastered the art craft mainly on her own. ^{[6] [10] [11]} Since the mid-70s, Apraksin has become her creative pseudonym. ^{[5] [12]} During 1974, marked by the creation of her first significant series of graphic works, the main musicians of Aquarium , as well as Mikhail “Mike” Naumenko ^[12] , gaining her first authorial experience and already in early 1980, entered her next Wednesday Recognized as a soloist and leader of the Zoo group as a key figure in Russian-language rock and blues. The apartment on the alley, which turned into a base for rock activities, as a result, existed for special observers under the definition of "Madame Apraksina's Salon" ^[13] . Personal rapprochement with Apraksina contributed to the formation of Mike's musical face, which is reflected in a number of songs, including Sweet N, and others of the same subject ^[12] . In the anthology of “One Hundred Magnetic Albums of Soviet Rock,” Alexander Kushnir notes: “In one of his later interviews, Mike gave out a very intimate and, perhaps, most important:“ All my songs are dedicated to her ... ” ^[12]

In the 00s, Apraksina was a consultant and participant in the work of James Mantet's authentic song translation into English of the works of Mike, Boris Grebenshchikov and Bulat Okudzhava and its execution.

By the early 1980s, the systematic work on the production of author's art film posters (which also served as the reason for Apraksina to create the first professional poster of the Aquarium) became the backdrop for the development of the picturesque side of her work. ^[6]

In 1983, a sense of professional and creative duality forced Apraksin to abandon official work. She became the default “free” artist, stepping on the sensitive line of violation of the Soviet law on compulsory employment. ^[6]

In 1984, she completed a series of monochrome expressionist landscapes of the city, the nature of which were abandoned surrounding houses and courtyards, including Apraksin Dvor . ^{[4] [10] [11] The} exhibition of the cycle “Inside Look”, unexpectedly popular, in the Leningrad branch of the Library of the Academy of Sciences , was suddenly interrupted with the subsequent intervention of KGB special agencies on the basis of the “non-established” nature of the appearance of the “city from inside the courtyards” in the paintings. ^[5] The fact of contacts with foreigners and disloyal fellow citizens served as an additional aggravating circumstance. ^{[10] The} rejected exhibition, however, was able to be transferred to the premises of the House of Architects, as a result of which Apraksina found herself in the position of a special consultant to the participants of the All-Union competition of architectural projects for the reconstruction of Apraksin Dvor. ^[five]

At the same time, Apraksina’s creative attention has shifted from underground culture and alternative aesthetics to high art. This turn also had a musical background. ^{[4] [14]} The role of the conductor in this process was played by the Riga harpsichord player Aina Kalnciema, ^{[4] the} collaboration with which began in 1982. ^[5] The center line was designated in 1984, when Apraksin began attending orchestral rehearsals in the Great Hall of the Leningrad Philharmonic Society ^[4] , the main conductor of which was then Eugene Mravinsky . The development of material related to stage musical activity was facilitated by the assistance of the Director of the Great Hall Dmitry Sollertinsky (son of Ivan Sollertinsky ). Apraksina's first philharmonic exhibition, including sketches made at rehearsals, took place in the fall of 1984. In addition to the conductors - E. Mravinsky, A. Dmitriev , M. Jansons , E. Chakirov - the violinist Mikhail Gantvarg , whose image is directly or indirectly present in many Apraksin's paintings on musical themes, had a great influence on the formation of a new creative concept. ^[five]

The domestic policy of the Philharmonic led to the loss of the studio, in which Apraksina began developing orchestral subjects, but communication with the Philharmonic continued until the late 1990s.

Portrait of Shostakovich

In 1985, responding to a proposal by D. Sollertinsky, Apraksin took up the plot of the memorial portrait of Dmitry Shostakovich . ^{[5] The} portrait was created in 1986 with the participation and support of composer Boris Tishchenko , musicologist Mikhail Bialik , director Semyon Aranovich and other friends and relatives of Shostakovich. Rejecting the proposed fee, Apraksina donated the painting “Faces of Shostakovich” to the Leningrad Conservatory, where the portrait was placed in the class of Shostakovich ^[4] , from where later, at the request of the composer Andrei Petrov , he moved to the board of the Union of Composers. ^[6]

The prominent aesthetic philosopher and culturologist M. S. Kagan , who opened Apraksin’s exhibition “The Age of Music” (1998), relates “Faces of Shostakovich” to

"the development of the already known ... in the medieval art of reception ..." a group portrait of one person "... the personality of the great composer really appears ... as a" republic of subjects "... Painting makes visible what A. Voznesensky has poetically shaped ... To appreciate such an interpretation of modern personality , it is worth comparing this "group portrait" with the famous portrait of Merlin Monroe, painted by E. Warhol ... " ^[15]

Portraits of Moscow musical figures

The next significant portrait work by Apraksina was connected with the personality of the then-living composer Alexander Lokshin ^{[16] [17] [18] [19] [20]} . This took place in Moscow, where her personal exhibitions were held in 1987 at the Institute. Kurchatov, as well as in the State Central Museum of Musical Culture. Glinka ^[4] . In Moscow, she also made a number of sketches for the portrait of composer Mechislav Weinberg and began a creative collaboration with the Quartet named after Borodin ^[4] . Two of her paintings on the Quartet are owned by V.A. Berlin . Acquaintance with the organist Natalia Malina, who dedicated Apraksin to the secrets of the structure of the organ and the embodiment of organ music, led to the emergence of another figurative line, which can also be attributed to Moscow.

During this period, Apraksina’s work was presented in such magazines as “Music in the USSR” ^[4] , “Musical Life” and “Soviet Union”.

In Leningrad, Boris Arapov was another model for the portrait. Another series of works in the 80s was made under the influence of Goethe's Faust.

Foreign lectures and exhibitions

In 1989, Apraksina received funding from the Soros Foundation for a trip to the United States with a collection of her paintings. In America, eleven of her exhibitions and a number of author's lectures (later expanded and staffed under the general name "American Lectures") were held in educational, cultural and information centers of the country. ^{[6] [14]}

She was invited to a personal reception at the artist’s house, Jamie Wyeth , a representative of the “three generations”, whose patriarch was Andrew Wyeth .

In 1991, a large solo exhibition by Apraksina was held in Leipzig .

In the first half of the 90s, several Apraksina exhibitions were held in St. Petersburg, including in the House of Scientists and the House of Composers. In these and other institutions, her lectures were delivered, in which the main burden was given to the private philosophy of Apraksina, her interpretation of the connection between the arts and the community of sciences. In 1993, she entered the Eastern Institute of St. Petersburg, feeling the need to systematize her long-term acquaintance with eastern thought. ^[6]

Based on her previous experience in producing the Athenian Class self-published magazine (1994), in 1995 she took up the job of the editor-in-chief of the Apraksin Blues publication founded for her leadership, and since 1996 the organization of the annual March Solo cultural festival has been added to this ^{[ 3] [21] [22]} . New paintings, prose and philosophical articles continued to appear. Among the exhibitions and significant performances of these years - the International Music Festival. I.I. Sollertinsky in Vitebsk (1994, 1995, 1997) ^[23] and the Faculty of Philosophy of St. Petersburg State University (1998) ^[24] (lecture theses are arranged in the essay “Praxitel Syndrome”). In 1997, Apraksin Blues became a laureate of the Golden Gong All-Russian Journalism Competition. In 1997–98 a series of illustrations was created for the poetry collection by Victor Kulla “Palimpsest” ^[25] . In 1998, in the building of the Twelve Colleges , at the Center for Contemporary Art of St. Petersburg State University, a retrospective exhibition of Apraksina's “Age of Music” was held. ^{[3] [26]} "Brief Segments" on the work of "Lessons for 'Orly" was published in the yearbook of the St. Petersburg Philosophical Society in 2000. ^{[27] [28]}

Apraksina’s memories and thoughts about the personality and fate of Alexander Lokshin (1998, 2002) went through a series of reprints. ^{[16] [17] [18]}

Apraksin is a member of the International Association of Historical Psychology. prof. IN AND. Startseva ^{[29] [30]} .

Apraksina’s literary and philosophical studies include, among others, Friedrich Nietzsche ^[31] , California poet Robinson Jeffers , writer Jack Kerouac ^[32] , and the role of America in a geopolitical context ^[33] .

Apraksina’s recent work is represented by a number of presentations both in America and in other countries. ^[9]

In 1999, Apraksina again appeared in America, entering a new long period of creative work, almost without leaving the Santa Lucia Mountains in California, where she settled. ^[34] Among the works of 1999 is the epic poem California Psalms ^{[9] [35] [36] [37]} (St. Petersburg: Neva, 2005, 2007). ^{[38] [39]}

Apraksina’s activities in California were supported by Sam Farr, representative of the US Congress, who noted her “ability to have a huge impact on global perceptions of the significance of the unique landscape of Big Sur.” ^[40]

Apraksina’s “Psalms” became the laureate of the international poetry contest of Roszarubezhtsentr in 2008 ^[41] and are presented in the literary collection of the competition “I see dreams in Russian” (M .: Literaturnaya Gazeta Publishing House). Apraksin and the Psalms: "This is a powerful, extraordinary poet, with its own unique style, theme and originality of the creative method. In some higher senses, the diaspora of the Russian world seems to be a kind of avant-garde detachment of the Russian language and culture, located in the zone of intense activation contacts, during the change of eras and the mixing of tribes. ” ^[42] In 2012, the Psalms Apraksina were first introduced by the author in Jerusalem. ^{[5] [43]}

The poem cycle “I look at Fuji” (St. Petersburg: “Reality and the subject”, 2001, 2002 ^[44] ) followed in 2000.

Documentary shootings on Apraksina’s work and with her personal participation include the Lentefilm (“Consonance” ^[45] , directed by A. Prazdnikov, 1989), Russian television programs such as The Fifth Wheel (St. Petersburg, 1992) and the European cultural channel Arte .