Born on November 5, 1940 in Moscow, in the family of an engineer and a pianist. After leaving school, he worked as a mechanic at a factory for two years. In 1959–1966 he studied at the Moscow Higher Art and Industrial School (formerly Stroganov School) in the sculpture department. From 1966 to 1974 he worked in the architectural department of Moscow. Since 1975 - member of the Union of Artists of the USSR. Since 1989 - member of the Moscow Avangardists Club (KLAVA).
He began writing poetry in 1956. In the 1970s–1980s, his works were published abroad in emigrant magazines in the USA (almanac “Catalog”), France (magazine “A-Z”) and Germany, as well as in domestic uncensored publications. He performed his texts mainly in a buffoonish and exalted manner, almost hysterical. In 1986, he was sent for compulsory treatment to a psychiatric clinic, from where he was soon released thanks to protests by cultural figures within the country (B. Akhmadulina) and abroad. In his homeland he began to publish only during perestroika, from 1989. Published in the magazines “Znamya”, “Ogonyok”, “Mitin Journal”, “Moskovsky Vestnik”, “Bulletin of New Literature”, “New Literary Review”, etc. Since 1990 - member of the USSR Writers' Union; since 1992 – member of the Pen-Club. Since the late 1980s, he has been periodically invited to perform literary and musical performances in various television programs. Since 1990, more than a dozen collections of poetry have been published, several books of prose - novels , 2000, Only my Japan, 2001; interview book D.A.Prigov speaks (2001).
Laureate of the Pushkin Prize of the Alfred Tepfer Foundation, which is awarded in Germany in Hamburg (1993), scholarship holder of the German Academy of Arts (DAAD, German Academic Exchange Service).
In addition to purely literary activities, Prigov wrote a large number of graphic works, collages, installations, and performances. Member of the Union of Artists of the USSR since 1975. Since about the same time, he has been a participant in visual and literary underground events, and since 1980 his sculptural works have been exhibited abroad. The first personal exhibition was in 1988 at the Struve Gallery (Chicago). He also participated in various musical (group “Central Russian Upland”, joint work with composer Sergei Letov, etc.) and theatrical projects. Since 1999 (all-Russian festival-competition “Cultural Hero”), he has been actively involved in participating in the management and jury of various festival projects.
CONCEPTUALISM
He is, along with Ilya Kabakov, Vsevolod Nekrasov, Lev Rubinstein, Francisco Infante and Vladimir Sorokin, one of the founders and ideologists of Russian conceptual art, or Moscow romantic conceptualism(both in its literary and visual branches). Conceptualism is a direction in art that gives priority not to the quality of execution of a work, but to the semantic equipment and novelty of its concept, or concept.
IMAGES
In this regard, Prigov focuses on the moment of formation and maintenance by the writer of his “poetic image”, which is elevated to the rank of a fundamental element of the individual creative system. He often talks about strategies, gestures, image construction, etc.
Over the course of a number of years, he tried on a wide variety of images, both traditional and “innovative” - poet-herald, poet-reasoner, poet-cliquish, poet-mystagogue (prophet, mystical leader), etc.
One of the constant individual elements of Prigov’s image is his literary name - Dmitry Alexandrovich (in some periods - Dmitry Aleksanych) Prigov, in which the use of a patronymic is mandatory “by definition”.
It is worth mentioning that attention to image and gesture alone cannot clearly serve as a characteristic of conceptualism. According to M.L. Gasparov, “only in the pre-Romantic era, in order to be a poet, it was enough to write good poetry. Beginning with romanticism - and especially in our century - “being a poet” became a special concern, and the efforts of writers to create their own image reached a jeweled sophistication. In the 19th century, Lermontov did this most skillfully, and in the 20th century, Anna Akhmatova did it even more skillfully.” However, Prigov makes this tradition absolutely valuable in itself, brings it to its logical conclusion, and in some cases to the point of absurdity.
UNDERSTANDING YOURSELF AND THE ERA
Prigov’s intellectual activity includes a hypertrophied element of reflection; he comprehends not only any of his artistic and even everyday gestures, but also their context, situational and historical. He sought to bring a sense of clarity, an understanding of what was happening. He argued: “We are present at a very complex complex of three projects. The first project is secular Renaissance art; the second project ending is the high and powerful art of enlightenment, and the third project ending is the personalist art of the avant-garde, born in the 20th century. The fact is that these three projects, which coincided and came together as if at the cutting edge at the end of our century, gave rise to precisely this strange feeling of crisis and at the same time of absolute freedom, i.e. – in the artist’s practice there is no such opposition to any of the projects, as, say, at the beginning of avant-garde art – to throw Pushkin off the end of modernity. Today such problems are hardly possible.”
The consequence of Prigov’s constant reflexive efforts is an almost obligatory philosophical background that he “lays” under his works. Thus, the poetic cycle about “Militsaner”, famous in the 1970s, implies, according to the author, an understanding of the origin of the state in human life, the state personified by law enforcement officers. In a cycle of poems Cockroachomachy allegedly reveals the “ancient chthonic, low-lying principle” brought into our lives by domestic insects.
AN ENDLESS EXPERIMENT
Prigov constantly experimented with styles, genres, individual artistic and simply technical techniques. An important feature of his work is his penchant for combining innovative artistic practices with everyday life, with mass culture, even kitsch, which sometimes produced a stunning effect.
In addition to writing his own original works, Prigov often transformed the texts of other authors - from dead classics to little-known modern graphomaniacs. The alteration of the text could take place at very different levels and was often not only aesthetic, but also ideological in nature. In the early 1990s, Prigov made a samizdat publication Pushkin's novel Evgenia Onegin, replacing all adjectives in it with the epithets “crazy” and “unearthly”; he claimed to have carried out a “Lermontization of Pushkin.” In the club environment, Prigov’s “mantras” were popular - chanting, with howling, works of Russian and world classics, in the style of Buddhist or Muslim chants.
Constant transitions from one type of art to another, from genre to genre, were interpreted by Prigov himself as a life trick: “mania for persecution, mania for changing images, type of activity, discovering new pieces of territory where you can escape, where is each next area in which you are seen and which can be identified with you is instantly abandoned. Therefore, when they tell me: you are an artist, I answer: no, no, I am a poet, and when they tell me: you are a poet, I say: well, yes, I am a poet, but actually I am an artist...”
Prigov's experimentation and constant search for something new allowed him to add many mostly curious “innovations” to literary usage. So, in the 1970s, simultaneously or slightly earlier than the Uzhgorod poet Felix Krivin, he introduced the term “dystrophic” into the poetic vocabulary, i.e. a poem of two stanzas - oddly enough, in the history of literary criticism a special concept for this poetic form has not yet existed. Among Prigov’s “innovations” there is at least one important addition to the poet’s arsenal of artistic means. Philologist Andrei Zorin highlighted the so-called in Prigov’s poetic tools. Prigov's line- an over-scheme line, often shortened and with a distorted rhythm, added at the end of the poem after the text has achieved strophic, syntactic, rhythmic completeness - as if an “addendum” to the main text. Cases of the use of such a line had been encountered before, but it was Prigov who made it a stable artistic device. When read by the author, it usually stood out intonation - pronouncing it as if in decline, in a fallen or as if unexpectedly tired voice, or with an insinuating lowering of tone.
MEGALOMANIA
According to the Prigov artistic system, a separate work is not a poem, but rather a cycle of poems, an entire book; This partly explains one of the main features of Prigov’s work - the focus on the “gross poetic product.” In terms of quantitative characteristics, he is incredibly prolific; in the early 1990s, he was given a fantastic task - to write 24,000 poems by the year 2000: “24 thousand is a poem for each month of the previous two thousand years and, accordingly, for each month of the coming ones. Here is a project for four thousand years: there is an ideal poet, there is an ideal future, there is an ideal reader, there is an ideal publisher” (Prigov D.A. I'm the ideal poet of my time). He wrote poems every day, a significant part of them were published by the author in a microscopic edition of several copies on a typewriter, which he invariably preferred to a computer.
“My task is to forget the written poem as quickly as possible, because with so much written, if it all sits in your head, you won’t get the next one,” the author admitted. As a justification for his wild productivity, the author also cited “the long-reigning Russian cultural mentality. This is a constant feeling of catastrophe, standing on the edge of an abyss, which gives rise to the desire to urgently fill this abyss with something, throw it in, it doesn’t matter what - household belongings, cast iron blanks (from production), - you need to continuously and monotonously throw something into this abyss . And it turns out that the reactive force of this throwing is the only thing that keeps you from falling down. Therefore, the main thing here is not the quality of what was done, not the accuracy of the blow, but continuous movement.”
Prigov wrote mainly in cycles, of which he created countless numbers: ABCs, Stratification, About the dead, Beauty and Hero, Children as victims of sexual harassment, The country of encounters with the bear and not only with him, Child and death, Dystrophics etc.
The desire for a systematic transfer of things and phenomena of the world into the text, given the virtually monstrous number of works created, led the author to the fact that it was difficult for him to find a topic that he had not previously touched upon. He always had one or two illustrative sonnets or poems for a round table on absolutely any topic. According to V. Kuritsyn, “Prigov realized the brilliant intuition of socialist realism - he made art completely planned. But since social realism imagines itself as the pinnacle of world art, the post-Soviet gesture easily becomes focused on eternity - on the myth of the Great Work, on responsibility for every month of the history of all mankind...”
The universality of Prigov’s creative personality forced critics and cultural experts to look for analogies and “pairs” for him among the pantheon of Russian and world literature. In the article A year without Brodsky the same V. Kuritsyn revealed the parallels and contrasts of Prigov and I. Brodsky - the most, in his opinion, large-scale, and in some ways mutually polar, poetic figures of the modern era.
DENIAL OF CONVICTION
The indomitable, even somewhat insane creative energy of Prigov’s creativity pushed critics to play up this quality of his as central and defining (at the round table “Rodents in Literature” on November 8, 2000, Prigov was presented, in association with the well-known property of rabbits, as “the most prolific Russian writer”) . In general, Prigov’s creativity provided rich food not only for artistic and art criticism interpretations, but also for varied and largely contradictory, due to its diversity and polysemy, criticism from other authors. He was probably the most criticized Russian writer.
In journalistic publications about Prigov one often encounters simplified, reductive interpretations of his poetics: “ironic play on Soviet cliches, absurdism, black humor.” This vision of Prigov’s work, the formally impeccable reduction of its multi-level structure to simple schemes, is often characteristic not only of publicists who are far from contemporary art, but also of colleagues in the literary workshop, famous and authoritative intellectuals.
So the poet Viktor Krivulin wrote: “In the late 80s, the fashion for conceptualism captured the Russian province. Prigov and Rubinstein are recognized as key cultural heroes of the era of the collapse of the Great Soviet Myth. Prigov came to poetry from fine art, transferring collage techniques and purely installation principles of working with ready-made things (“ready made”) into his texts. As such “ready-made things” he uses textbook texts, clichéd ideological formulas, and ritual verbal gestures. His poetry is absolutely devoid of a lyrical subject; it is a set of statements that supposedly go back to the average Soviet man, the microscopic heir of Gogol’s Akaki Akaki Bashmachkin. Prigov talks about everything, without stopping for a second, responding with parodic seriousness to any current situation and at the same time revealing the total emptyness of the very process of poetic speaking. (Half a century of Russian poetry. Preface to the Anthology of Contemporary Russian Poetry - Milan, 2000).
“The clever Prigov can clearly explain the meaning of his fundamentally meaningless works, setting a record for deception,” writes critic Stanislav Rassadin.
Literary critic O. Lekmanov speaks with great sympathy: “...D.A. Prigov, like Vladimir Sorokin, became a voluntary victim of his own experiments, aesthetic and ethical, having marked the edge beyond which one cannot go, beyond which one can only look.”
Meanwhile, an inexperienced reader can find in Prigov’s texts both a reflection of life and a sincere feeling (or, perhaps, a successful imitation of it).
Editions: Tears of the heraldic soul, 1990; Fifty drops of blood, 1993;The appearance of the verse after his death, 1995;Transcendent Lovers, 1995; A collection of warnings for various things, "Ad Marginem", 1995; Dmitry Alexandrovich Prigov. Collection of poems, in two volumes, Wiener Slawistischer Almanach, Vienna, 1997; Written from 1975 to 1989, 1997; Soviet texts, 1997; Eugene Onegin, 1998; Live in Moscow. Manuscript as a novel, 2000; Only my Japan, 2001; Calculations and establishments. Stratification and conversion texts, 2001.
Dmitry Aleksandrovich Prigov
- Russianpoet,
artist,
sculptor. One of the foundersMoscow conceptualismin art and literary genre (poetry and prose).
Born into a family of intellectuals: his father is an engineer, his mother is a pianist. His parents, of German origin, were forced in 1941 to change their national identity. Dmitry Prigov, who later lived for a long time in Germany, according to the remark of Igor Smirnov, who knew him closely, never spoke German.
After graduating from high school, he worked for some time at a factory as a mechanic. Then he studied at Moscow Higher Art and Industrial School named after. Stroganova(1959 -1966). A sculptor by training.
In 1966-1974 he worked under the Moscow Architectural Administration.
In the late 1960s and early 1970s, he became ideologically close to the artists of the Moscow underground. In 1975 he was admitted as a member Union of Artists of the USSR. However, he was not exhibited in the USSR until 1987.
Since 1989 - member of the Moscow Avangardists Club (KLAVA).
Prigov has been writing poetry since 1956. Until 1986 he was not published in his homeland. Until this time, he had been repeatedly published abroad since 1975 in Russian-language publications: in the newspaper “Russian Thought”, the magazine “A - Z”, the almanac “Catalogue”.
In 1986, after one of the street performances, he was forcibly sent for treatment to a psychiatric clinic, from where he was released thanks to the intervention of famous cultural figures inside and outside the country.
Prigov first participated in an exhibition in the USSR in 1987: his works were presented within the framework of the projects “Unofficial Art” (Exhibition Hall of the Krasnogvardeysky District, Moscow) and “Contemporary Art” (Exhibition Hall on Kuznetsky Most, Moscow). In 1988, he had his first solo exhibition in the United States - at the Struve Gallery in Chicago. Subsequently, his works were shown many times in Russia and abroad, in particular in Germany, Hungary, Italy, Switzerland, Great Britain, and Austria.
Prigov’s first collection of poetry, “Tears of the Heraldic Soul,” was published in 1990 by the Moscow Worker publishing house. Subsequently, Prigov published books of poetry “Fifty Drops of Blood”, “The Appearance of Verse after His Death” and prose books – “Only My Japan”, “Live in Moscow”.
Prigov is the author of a large number of texts, graphic works, collages, installations, and performances. His exhibitions were organized several times. He acted in films. He participated in musical projects, one of which, in particular, was the parody rock group “Central Russian Upland” “organized from Moscow avant-garde artists.” The band members, according to them, set out to prove that in Russian rock the musical component has no meaning and that listeners only react to key words in the text. From 1993 to 1998 Prigov repeatedly performed with the rock group “NTO Recipe”, which used his texts in their work.
The leading lyrical images of Prigov’s poetics are the “policeman” and the abstract “he”. The lyrical heroes look at the world through the eyes of the Soviet man in the street. Prigov’s main prose texts are the first two parts of an unfinished trilogy, in which the author tries three traditional genres of Western writing: autobiography in the novel “Live in Moscow”, notes of a traveler in the novel “Only My Japan”. The third novel was to introduce the confessional genre.
The total number of Prigov's poetic works is over 35 thousand. Since 2002, Dmitry Prigov, together with his son Andrei and his wife Natalia Mali, has participated in the action art group Prigov Family Group.
He died on the night of July 16, 2007 in Moscow Hospital No. 23 due to complications after a heart attack. Buried in Moscow, on Donskoy Cemetery.
- (1940 2007), Russian writer, artist. He belonged to the poetic “underground”, an ideologist of conceptual art (see CONCEPTUAL ART), until 1989, poems appeared only in samizdat and in the West. In poetry, ironic play... ... encyclopedic Dictionary
- (b. 1940) Russian writer, artist. He belonged to the poetic underground, an ideologist of conceptual art; until 1989, poems appeared only in samizdat and in the West. In poetry, there is an ironic play on Soviet cliches, absurdism, black... ... Big Encyclopedic Dictionary
Prigov, Dmitry- Poet, artist, sculptor Moscow poet, sculptor, artist, performance artist, who is often called the father of Russian conceptualism. Dmitry Aleksandrovich Prigov was born in Moscow on November 5, 1940. After high school, he worked for two years... ... Encyclopedia of Newsmakers
Russian poet and artist, one of the founders of Russian conceptual art Date of birth: November 5, 1940 Place of birth: Moscow, USSR Date of death: July 16, 2007 ... Wikipedia
Dmitry Aleksandrovich Prigov Russian poet and artist, one of the founders of Russian conceptual art Date of birth: November 5, 1940 Place of birth: Moscow, USSR Date of death: July 16, 2007 ... Wikipedia
Prigov, Dmitry Alexandrovich Dmitry Alexandrovich Prigov Russian poet and artist, one of the founders of Russian conceptual art Date of birth ... Wikipedia
Dmitry Aleksandrovich Prigov Russian poet and artist, one of the founders of Russian conceptual art Date of birth: November 5, 1940 Place of birth: Moscow, USSR Date of death: July 16, 2007 ... Wikipedia
Dmitry Aleksandrovich Prigov Russian poet and artist, one of the founders of Russian conceptual art Date of birth: November 5, 1940 Place of birth: Moscow, USSR Date of death: July 16, 2007 ... Wikipedia
Dmitry Aleksandrovich Prigov Russian poet and artist, one of the founders of Russian conceptual art Date of birth: November 5, 1940 Place of birth: Moscow, USSR Date of death: July 16, 2007 ... Wikipedia
Books
- Thoughts. Selected manifestos, articles, interviews. Volume 5, Dmitry Aleksandrovich Prigov, “Thoughts” completes the five-volume collection of works by D. A. Prigov (1940-2007), which includes “Monads”, “Moscow”, “Monsters” and “Places”. This volume consists of manifestos, articles and interviews, in... Category: Contemporary Russian prose Publisher: New Literary Review,
- Dmitry Prigov. Collected works in 5 volumes. Volume 3. Monsters, Prigov Dmitry Alexandrovich, Monsters continue the incomplete collected works of Dmitry Alexandrovich Prigov (1940 2007). This volume includes works by Prigov, representing his… Category: Poetry Publisher: New Literary Review, Manufacturer:
Moscow poet, sculptor, artist, performance artist, who is often called the “father of Russian conceptualism.”
Dmitry Aleksandrovich Prigov was born in Moscow on November 5, 1940. After high school, he worked at a factory for two years, then entered the Stroganov School in the sculpture department, from where he was expelled for one year - “for formalism.” In 1966-1974 he worked as an architect in the Main Architectural Directorate of Moscow (according to other sources, as an inspector for checking the painting of buildings). He began writing poetry in 1956, and his first publications appeared in the second half of the 1970s in emigrant and Slavic magazines. At the same time, he worked as a sculptor and was friends with many figures of the Moscow underground, including Lev Rubinstein and Francisco Infante. Several of Prigov's poems were published in the unofficial almanac "Catalog" in 1980.
In 1986, Prigov, who came up with a street action - distributing poetic texts to passers-by - was sent for compulsory treatment to a psychiatric hospital, but after public protests he was released. In 1987 he began to officially publish and exhibit, and in 1991 he became a member of the Writers' Union (he had been a member of the Artists' Union since 1975).
Prigov first participated in an exhibition in the USSR in 1987: his works were presented within the framework of the projects “Unofficial Art” (Exhibition Hall of the Krasnogvardeysky District, Moscow) and “Contemporary Art” (Exhibition Hall on Kuznetsky Most, Moscow). In 1988, he had his first solo exhibition in the United States - at the Struve Gallery in Chicago. Subsequently, his works were shown many times in Russia and abroad, in particular in Germany, Hungary, Italy, Switzerland, Great Britain, and Austria.
Prigov’s first collection of poetry, “Tears of the Heraldic Soul,” was published in 1990 by the Moscow Worker publishing house. Subsequently, Prigov published books of poetry “Fifty Drops of Blood”, “The Appearance of Verse after His Death” and prose books – “Only My Japan”, “Live in Moscow”. By November 2005, the number of Prigov’s poems, in his own words, was close to 36 thousand, and the author never set out to publish all of them. Speaking about his poetic credo, Prigov asserted: “I am not concerned about the words themselves, but about certain cultural grammars, large ideological blocks... I work with the image of the 19th century in the current pop consciousness.”
In 1993, Prigov was awarded the Pushkin Prize of the Tepfer Foundation (Germany), and in 2002 - the Boris Pasternak Prize.
Prigov took part in several projects as an actor and vocalist, including at the festival of composer Vladimir Martynov, acted in films in episodic roles (in particular, in 1990 - in “Taxi Blues” by Pavel Lungin, and in 1998 - in "Khrustalev, car!" Alexey German).
Since 2002, Dmitry Prigov, together with his son Andrei and his wife Natalia Mali, has been participating in the action art group Prigov Family Group.
On July 6, 2007, Prigov was admitted to Moscow Hospital No. 23 with a diagnosis of a massive heart attack. He underwent three operations, and by July 9, the poet’s condition was assessed as extremely serious. On the night of July 16, Prigov died. Lev Rubinstein, his close friend, told reporters about his death.
Milestones
1940
born November 5, 1940 in Moscow. Father is an engineer, mother is a pianist. Parents, of German origin, were forced in 1941 to change their national identity. The surname Prigov is German - the Russified name Priehoff
I had polio as a child
1956
started writing poetry
1959–1967
studied at the Moscow Higher Art and Industrial School. Stroganov. Specialization – sculptor
1964
Wedding with Nadezhda Georgievna Burova
1965
Settles in Belyaevo
1966 Birth of son Andrei
1967–1974
worked at the architectural department of Moscow. Was involved in the design of children's playgrounds
1970 - 1979
together with his wife, Nadezhda Burova, who taught English in
Faculty of Economics, Moscow State University. M.V. Lomonosov, created the English Theater, for
who wrote plays and staged performances. This directing experience influenced
for all of Prigov’s future work, opening up opportunities to work in a new way
with the space of a scene, verse, graphic sheet
1975
was accepted as a member of the Union of Artists of the USSR
met Viktor Krivulin
Since 1975, he has been published abroad in Russian-language publications: in the newspaper “Russian Thought”, the magazine “A - Z”, the almanac “Catalogue”.
Around the mid-seventies, Orlov and Prigov turned their workshop into a public platform where literary readings or showings of new works regularly took place.
Mikhail Aizenberg recalls one such evening: The year, apparently, was 1976. It seemed to me that the photographs were taken by Orlov. Although he is also present in one photo, I only remember these seven participants in the meeting.
At this evening, poetry was also read in a circle, but the nature of the meeting was different, more intimate. It seems that there was some additional strategic meaning in it (the meeting). Probably yes. I wondered: wouldn’t it work out as a “group”? The “group” didn’t work out. 
1978
meeting Lev Rubinstein
1981
Nouvelles tendances dans l "art non officiel russe 1970–1980 (Group Exhibition). Center Culturel de la Villedieu, Élancourt, France
1984
Les Russes au present (Group Exhibition). Le center culturel de la Villedieu, Élancourt, France
1986
after the performance “Address to Citizens” he was sent for compulsory treatment to a Psychiatric Clinic, from where he was soon released thanks to protests from cultural figures.
1987
Documenta VIII (collective exhibition). Kassel, Germany
Retrospection of the creativity of Moscow artists. 1957–1987 (collective exhibition). Amateur Society Hermitage, exhibition hall at Profsoyuznaya, 100, Moscow
Object-1 (collective exhibition). Exhibition hall on Malaya Gruzinskaya, 28, Moscow
Creative atmosphere and artistic process. The first exhibition of the Avangard Club (collective exhibition). Exhibition hall of the Proletarsky district on Vostochnaya street, Moscow
Unofficial art (collective exhibition). Exhibition hall of Krasnogvardeisky district, Moscow
Contemporary art (collective exhibition). Exhibition hall on Kuznetsky Most, Moscow
1988
Boris Orlov, Dmitry Prigov. Struve Gallery, Chicago, USA
Ich lebe – Ich sehe (Kollektivausstellung). Kunstmuseum, Bern, Switzerland
Glassnost. Die neue Freiheit der sowjetischen Maler (Ausstellung Zeitgenossischer Russischer Kunst). Kunsthalle, Emden; Galerie Valentien, Stuttgart, Germany
Nowe ruskie (New Russians, collective exhibition). Palac Nauki i kultury, Warszawa, Poland
Geometry in contemporary art (collective exhibition). Exhibition hall of Krasnogvardeisky district, Moscow
2nd exhibition of the Avangard Club. Exhibition hall of Proletarsky district, Moscow
Artwork I. Kunstlerwerkstatt im Bahnhof Westend, West Berlin, Germany
Labyrinth (collective exhibition). Moscow Youth Palace, Moscow
1989
Since 1989 - member of the Moscow Avangardists Club (KLAVA).
St. Louis Gallery of Contemporary Art, St. Louis, USA
Lesung von D. Prigov im Buchladen (Media-Park). Cologne, Germany
Jenseits des Streites – Neue Kunst aus Moskau (Kollektivausstellung). Krings-Ernst Galerie, Cologne, Germany
Expensive art (exhibition of the Avangard Club). Moscow Youth Palace, Moscow
Abend im Atelier von I. Kabakov (I. Bakstein, D. Prigov, B. Groys, N. Nikitina, V. Sorokin, A. Kosolapov, V. Kabakova, Schriftsteller Sascha Sokolov). Kurze Lesung von D. Prigov am 23.6.
Spazierganz durch Aachen (D. Prigov, N. Nikitina, M. Podominskaja)
Neue Kunst aus Moskau – Labyrinth. Katowice, Poland; Schloß Wotersen bei Hamburg, Germany; Schloss Bennigsen, Hannover, Germany
Novostroika (Group Exhibition). Institute of Contemporary Art, London, UK
Moscow – Third Rome (collective exhibition, Mosca: Terza Roma). Sala Uno, Rome, Italy
USSR today (collective exhibition). Aix-la-Chapelle, France
1990
member of the USSR Writers Union
Russian. Sadovniki Gallery (exhibition hall of Krasnogvardeisky district), Moscow
Schizochina: Hallucination in Power (exhibition of the Avangard Club). VDNKh construction pavilion on Frunzenskaya embankment, Moscow
Towards the object (collective exhibition). Sadovniki Gallery (exhibition hall of the Krasnogvardeisky district), Moscow; Stedelijk Museum, Amsterdam, Netherlands
Von der Revolution zur Perestrojka (Kollektivausstellung). Kunstmuseum Luzern, Switzerland
USSR today (collective exhibition). Musee d'Art Moderne, Saint-Etienne, France
Soviet conceptual art (collective exhibition). Tacoma Art Museum, Tacoma, USA
From the Revolution to Perestroika (collective exhibition). Liljevalchs konsthall, Stockholm, Sweden
1990–1991
Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism. Tacoma Art Museum, Tacoma; Institute of Contemporary Art, Boston; Des Moines Art Center, Des Moines, USA
In de USSR en Erbuiten (Group Exhibition). Stedelijk Museum, Amsterdam, Netherlands
1991
100 possibilities, Inter Art, Berlin, Germany (100 Möglichkeiten. Installationen für eine Putzfrau und einen Klempner. Inter Art Agentur für Kunst, Berlin, Germany)
Berichte über das heilige sowjetische Russland. Krings-Ernst Galerie, Cologne, Germany
Soviet art (collective exhibition). BiNationale (Israelische – Sowjetische Kunst um 1990). Kunsthalle Düsseldorf, Germany; The Israel Museum, Jerusalem, Israel; Central House of Artists, Moscow
MANI Museum – 40 Moskauer Künstler. Karmeliterkloster, Frankfurt am Main, Germany
Metropolis (Kollektivausstellung). Martin-Gropius-Bau, Berlin, Germany
The Bible and contemporary art (collective exhibition). Dominican Monastery, Frankfurt (Dominikaner kloster, Frankfurt am Main, Germany)
Kunst Europa (Kollektivausstellung). Kunstverein Hannover, Germany
Contemporary Russian artists (collective exhibition). Auditorio di Galicia, Santiago de Compostela, Spain.
1991–1993
Rosa e giallo / Gelle e rose (Group Exhibition). Galeria Pieroni, Roma, Italy; Le Creux de l'Enfer, Thiers, France; La Criée, Halle d’Art Contemporain, Rennes, France; Artcenter, Tir, Italy
1992
Sots-art (collective exhibition). Museum of V.I. Lenin, Moscow
Ex USSR (Former USSR, collective exhibition). Groninger Museum, Groninger, Netherlands (Holland)
1993
From 1993 to 1998 performed with the rock group “NTO Recipe”, which used his lyrics.
Pushkin Prize of the Alfred Tepfer Foundation, Hamburg, Germany (Hamburg, Germany)
Der Schlaf der Walküren gebiert schlafende Ungeheuer (The dream of the Valkyries awakens sleeping horrors.) Kunstwerke, Berlin, Germany
Triple zeal (together with Andrey Filippov and Yuri Albert). Exhibition hall on Solyanka, Moscow
Weber Galerie, Münster (Weber Gallery, Münster), Germany
Deutschsein?: eine Ausstellung gegen Fremdenhass und Gewalt (Kollektivausstellung). Kunsthalle, Düsseldorf, Germany
Von Malewitsch bis Kabakov: Die russische Avantgarde im 20. Jahrhundert. Museum
Ludwig in Josef-Haubrich Kunsthalle, Cologne (Cologne), Germany
The fate of text 1 (together with Lev Rubinstein and Vladimir Sorokin). L-gallery, Moscow
Russian art of the 20th century (collective exhibition). Josef-Haubrich-Kunsthalle, Cologne (Josef-Haubrich-Kunsthalle, Cologne), Germany
1994
Computer in a Russian family. Gelman Gallery, Moscow
State Russian Museum, St. Petersburg
Drei. Kunstverein Ludwigsburg, Germany
Stalin's. M. Gelman Gallery, Moscow
Leningrad Buddhism. State Russian Museum, St. Petersburg
Dinner in der Galerie Inge Bekker, Köln (R. Zwirner, S. Anufriev, E. Barabanov, D. Prigov, V. Komar, I. und G. Chuikov, N. Nikitin, E. Degot, J. Albert)
5 Bienalle der Papierkunst (Kollektivausstellung). Leopold-Heusch-Museum, Düren, Germany
Fluchtpunkt Moskau (Kollektivausstellung). Ludwig Forum, Aachen, Germany
ISEA - 5th International Symposium on Electronic Art. Helsinki, Finland
II Cetinjski Bijenale. Cetinje, Montenegro (Crna Gora)
Stop in Moscow (collective exhibition). Ludwig Forum, Essen, Germany
Imaginary hotel (collective exhibition). Leipzig, Germany
1995
The fate of the text 2 (together with Lev Rubinstein and Vladimir Sorokin). L-gallery, Moscow
Will and representation as peace and will. M. Gelman Gallery, Moscow
Performance Prigov-Tarsov. Eingangsworte von B. Groys, Munich, Germany
Fredskulptur 1995 (Group Exhibition). Skanderborg, Sweden
Exposition of the Moscow Museum of Modern Art (collective exhibition). Ludwigshafen (Germany); Altenburg Museum (Altenburg, Germany)
Kunst im verborgenen. Nonkonformisten Russland 1957–1995 (Kollektivausstellung). Wilhelm-Hack-Museum, Ludwigshafen am Rhein; documenta-Halle, Kassel; Staatliches Lindenau-Museum, Altenburg, Germany; Central Exhibition Hall "Manege", Moscow (Manege Central Exhibition Hall, Moscow)
Gwangju Biennale 1995 (Group Exhibition). Gwangju, South Korea (Gwangju, South Korea)
1995–1996
Dmitrij Prigow: 1975–1995. Städtisches Museum, Mülheim an der Ruhr, Germany; Ludwig Museum, Budapest, Ungarn; Musée d'Art Moderne, Saint-Etienne, France
1996
Monstropologie (Monstropologie). Krings-Ernst Galerie, Cologne, Germany
Russisches Tibet (Russian Tibet), Wewerka Pavillon, Munster, Germany
Methods for resolving infinitesimal quantities (together with Vladimir Kupriyanov). XL-gallery, Moscow
Life line. M. Gelman Gallery, Moscow
Gallery XL (collective exhibition). Moscow
1997
Mysterious witnesses of the mysteries (Mysteriöse Zeugen des Mysteriums). Krings-Ernst Galerie, Cologne, Germany
Exhibition at the Galleria Frigerio Melesi, Lecco, Italy
Exhibition at the University Museum Amsterdam (collective exhibition). Amsterdam (Netherlands)
Russian Center (collective exhibition). Budapest, Hungary
Exhibition at the Hohentahl Gallery (collective exhibition). Berlin (Berlin, Germany)
Performance Prigov-Pschenitchnikova. Galerie Diana Hohenthal, Berlin, Germany
Pivovarov, Prigov, Makarevich, Jelagina. Krings-Ernst Galerie, Cologne, Germany
1998
Courageous Teddy Bear. Centro Arte Contemporanea Spazio Umano, Milan, Italy
Series. Velta Gallery, Moscow (Series. Velta Gallery, Moscow)
Erscheinung aus dem Nichts. Krings-Ernst Galerie, Cologne, Germany
Flickering Darkness, IFA-Galerie, Berlin, Germany
7 Biennale der Papierkunst. Leopold-Heusch-Museum, Duren, Germany
Pocket exhibitions (collective exhibition). Mitkov Gallery, St. Petersburg
Monsters (collective exhibition). Gelman Gallery, Moscow
Thinning ideologemes (collective exhibition). Art Fair, Manege, Moscow
1998–2001
Preprintium (Kollektivausstellung). Staatsbibiliothek, Berlin; Neues Museum Weserburg, Bremen; Museum für Literatur am Oberrhein, Karlsruhe, Germany; Oesterreichische Nationalbibliothek, Vienna; Minoritenkloster, Graz, Austria
1999
Visits Japan at the invitation of the University of Tokyo; here he organizes performances, performs with local poets, artists and musicians; The result of the trip was also the book “Only My Japan”
Number of Russian literature. Obscuri Viri Gallery in the Rosizo Hall, Moscow; 2000 ICA (The Institute of Cultural Affairs, Sapporo, Japan
Pulsierendes Schwarz. ifa-galerie, Berlin, Germany
Number of Russian literature. Obscuri Viri Gallery in the Rosizo Hall, Moscow
First Prigov readings at the Crimean Club (June)
Die Menschen mit einem dritten Auge. Krings-Ernst Galerie, Cologne, Germany (People with a third eye, Krings-Ernst Gallery, Cologne, Germany)
Ars Aevi: International project. Museum of Contemporary Art Sarajevo, Sarajevo, Bosnia
Gallery Hohenthal (collective exhibition). Russian Center, Berlin, Germany
Exposition on the occasion of the opening of the museum in Sarajevo (collective exhibition). Sarajevo, Bosnia (Sarajevo, Bosnia)
2000
ICA, Sapporo, Japan
General German number. Exhibition hall on Kashirka, Moscow
General number. Koln Messe, Cologne (Cologne), Germany
Performance and General Number of the Valencia Biennale. Valencia, Italy
Advance notice. Cultural center Dom, Moscow
Performance Prigov-Pschenitchnikova-Vinogradov. Essen, Germany
Performance My Wagner. Experience of reconstruction of the phenomenon of Richard Wagner ʹDeath of the Godsʹ. Cultural center Dom, Moscow.
Installation projects, Dom, Moscow
Photo materials, House, Moscow
2001
Malevich’s Vagina. State Russian Museum, St. Petersburg
Determination of the Blok number within the general number of Russian literature as part of the General world number. Museum-apartment of A. A. Blok, St. Petersburg
Phantoms of installations (collective exhibition). Gallery White Space, London, UK
Media Hello (collective exhibition). State Russian Museum, St. Petersburg
2002
Since 2002, Dmitry Prigov, together with his son Andrey and his wife Natalia Mali, has participated in the Prigov Family Group of action art.
Phantom Installations. University Art Gallery, University of Pittsburgh, Pittsburgh, USA
Russian Patient (Group Exhibition). Freud Museum, London, UK
General number of Frankfurt Messe (collective exhibition). Frankfurt am Main, Germany
Portrait of Freud and the General Number of Freud's Theory (collective exhibition). Freud Museum, London, UK
2003
Dmitry A. Prigov. Ausstellungsraum Klingental, Basel, Switzerland
In the Presence of a Stranger. Galerie ArtPoint, Vienna, Austria
(In the presence of a stranger, Muzeum Quertire (Kultur Kontakt), Wien, Austria)
Berlin-Moskau / Moskau-Berlin 1950–2000 (Kollektivausstellung). Martin-Gropius-Bau, Berlin, Germany
2004
Caspar David Friedrich's vision of Russian Tibet. (Caspar David Friedrich’s Vision of Russian Tibet). State Tretyakov Gallery, Moscow
Monster und… Galerie Sandmann, Berlin, Germany
Berlin-Moscow / Moscow-Berlin 1950–2000 (collective exhibition). State Historical Museum, Moscow
Poeta pingens / Writer drawing (collective exhibition). State Literary Museum, Moscow
My Kabakov (collective exhibition). Stella Art Foundation, Moscow
face/off. Mediale Körperphantasien (Kollektivausstellung). Kunstverein Pforzheim e.V., Pforzheim, Germany
2005
Quotes from different contexts. Gallery O.G.I. Street, Moscow
Phantom Installations. White Space Gallery, London, UK
Accomplices (collective exhibition). State Tretyakov Gallery, Moscow
2006
On the Boundary of the Black. Museo Laboratorio d'Arte Contemporaneo, Rome, Italy
Hand drawing (together with Dmitry Tsvetkov). Krokin Gallery, Moscow
Phantom Installations. Gallery Griffin, Izhevsk, Russia
Book. Central House of Artists, Moscow
Jörg Immendorff (Kollektivausstellung). Ludwig Forum für internationale Kunst, Aachen, Germany
2007
I believe! (collective exhibition). Winzavod Center for Contemporary Art, Moscow
Sots-art (collective exhibition). State Tretyakov Gallery, Moscow; La Maison Rouge, Paris, France
Thinking realism (collective exhibition). State Tretyakov Gallery, Moscow
Woe from Wit (collective exhibition). State Literary Museum, Moscow
Adventures of the Black Square (collective exhibition). State Russian Museum, St. Petersburg
A joint action was planned with the Voina group, about which Alexey Plutser-Sarno wrote:
"(...) in June 2007, the Voina group proposed a joint action to Dmitry Aleksandrovich Prigov, within the framework of which the group had to drag the master sitting in a locked fireproof iron cabinet up the stairs to the 22nd floor of the Moscow State University dormitory. (The iron safe cabinet could not be obtained, before the action, it was decided to use a Soviet oak cabinet). The war took upon itself the “ascension" of the poet, locked in a Soviet cabinet on the stairs of the university dormitory "Student's House" on Vernadsky. We had to drag the multi-pound iron cabinet by hand to the 22nd floor all day long. Prigov had to was reading poetry straight from the closet. But not just reading, but echoing his own poetic soundtrack, carried by speakers along the flights of stairs. The noise of this soundtrack was like an unchanging sacred otherworldly voice, which was echoed by the voice of a living poet, locked in an iron “cage.” would have risen higher and higher, through the floors of the universal life he glorified, but the action scheduled by Prigov for July 7, 2007 was banned by Dean Mironov on July 5, and the next day Prigov suffered a heart attack and soon died. The public ban on the last work of Dmitry Aleksandrovich Prigov is an eternal shame for Moscow State University and personally for the dean of the Faculty of Philosophy. Dmitry Alexandrovich's announcement for this action on his website became his last work." (http://plucker.livejournal.com/208289.html)
On the night of Monday 17.7. in Moscow, in the cardiology department of the 23rd (Yauza) hospital, Dmitry Aleksandrovich Prigov died
On Thursday, July 19, 2007, Dmitry Prigov, after the funeral service at the Church of St. Nicholas in Tolmachi, was buried at the Donskoye Cemetery in Moscow. The funeral takes place at the Bilingua club.
2008
Citizens! Don't forget, please! (Citizens! Please Mind Yourselves!) Moscow Museum of Modern Art, Moscow
Arbeiter der Kunst. Galerie Sandmann, Berlin, Germany
2009
I Prigov Readings (RGGU, MOSCOW)
2010
The international Dmitry Prigov Foundation was founded as the “Foundation for the Development of Innovative Art, Literature, Philosophy and Humanities named after. Dmitry Prigov"
2011
opening of the Educational and Scientific Laboratory named after. D. A. Prigov at the Educational and Scientific Center for Contemporary Russian Literature of the Institute of Philology and History of the Russian State University for the Humanities
Dmitry Prigov: Dmitry Prigov (curator Dmitry Ozerkov). Exhibition as part of the 54th Venice Biennale of Contemporary Art, Ca’ Foscari University, Venezia
2012
The Hermitage opens the Prigov Hall; To coincide with the opening of the hall, the international conference “IV Prigov Readings” and the festival “Prigov Days in the State Hermitage” will take place on November 6–8.
2014
May 16 - November 9 exhibition
DMITRY PRIGOV. FROM THE RENAISSANCE TO CONCEPTUALISM AND BEYOND, State Tretyakov Gallery and
Foundation for the Development of Innovative Art, Literature, Philosophy and Humanities named after. Dmitry Prigov
From May 28 to June 15, the Belyaevo gallery hosted the exhibition "Dmitry Prigov - Duke of Belyaevsky. Genius of the Place"
2016
From June 17 to October 30, the Star Summer Palace (Prague, Czech Republic) hosted the exhibition "Havel - Prigov and Czech Experimental Poetry." The exhibition was organized by the Museum of Czech Literature, the Vaclav Havel Library and the Dmitry Prigov Foundation.
From September 13, 2016 to March 27, 2017, a hall was opened at the Pompidou Center (Paris, France), which presents early graphic works, poems, objects, works on newspapers, videos and an installation by Dmitry Aleksandrovich Prigov.