DOI: 10.46726/H.2026.3.3
The article describes the role of Russian conceptualism in the formation of the Soviet and Russian rock scene. The idea of the monolithic concept of Russian rock as a single cultural paradigm is being rethought. Using the example of the groups “DK” and «Central Russian Upland», it is shown how the conceptualists reinterpreted the main ideologems of the late Soviet era and rock culture. In particular, we are talking about using techniques that are uncharacteristic of Russian rock. The fundamental principle of the conceptualist strategy on the rock scene is the deconstruction of the high image of both the author and his audience, which contradicts the elitism of the subculture in the 1980s. An important technique in the poetry of rock conceptualism is shimmering, a concept that D.A. Prigov applied to his poetry: with its help, the very image of a rock star is critically revised, around which a ritual-like stage action is built, requiring a “prophet”, a “priest”. It also talks about performativity as the basis of a rock concert, which is opposed to the traditional idea of Russian rock as a logocentric art. Also, using the example of
the bands “Auktyon”, “Children”, “NOM”, etc. the influence of a seemingly marginal phenomenon on the main paths of development of Russian rock culture and later song poetry is shown.
For citation: Karpov D.L. Jump over the navel: conceptualism and Russian rock, Ivanovo State University Bulletin, Series: Humanities, 2026, iss. 3, pp. 21—31.