Punk Culture Korol&Shut
Project team:Architecture: Planet9
The exhibition “Punk Culture. King and Jester” is presented in two halls: The exposition of the White Workshop tells about the phenomenon of punk, its origin and development abroad, as well as its appearance in the Soviet Union. The Red Workshop is entirely devoted to the most famous Russian punk band – “King and Jester”.
The visual difference in punk culture is expressed in a deliberate rejection of socially accepted norms and rules. The same goes for the lighting: intentionally asymmetric, torn, and filled with various shades. It reflects internal nihilism and an attempt to break away from reality into a new, free future.
The punk culture emerged in the mid-70s in the UK and the US as a natural response to the socio-economic crisis.
It combined ideas of non-conformism, a desire for personal freedom and independence.
The room of Egor Letov, located in a typical Soviet panel building, is cluttered with guitars, records, and other musical equipment.
The main lighting technique is the general reflected light from the ceiling chandelier, which is delicately complemented by warm accents on key elements in the space.
Protest – against morality, aesthetics, and even society.
The “NO” zone in the exposition is represented as a collapse, an informal platform for self-expression, as the apotheosis of nihilism and anarchy.
The prevailing cold, blue, green, and pink shades reflect the image of street space, supplemented by local sources of light.
Soviet punk came to the USSR with minimal delay; already in 1977, representatives of the Soviet underground in Moscow and Leningrad secretly acquired records of “Sex Pistols” and “Ramones,” stylized leather jackets, and shaved their heads.
However, unlike English punk, punk in the USSR emerged as a protest against totalitarian thinking – it brought new values to culture instead of rebellion. The fabulous flair of the texts and countercultural, shocking images struck a chord not only with the musical but also with the socio-intellectual society.
“King and Jester” wore T-shirts with logos of cult bands and leather coats with the inscription “We’ll drink everything, but we won’t disgrace punk” – they reflected not only the values of anarchism but also the importance of cultural changes in the country…
Supernatural elements and protest incorporate familiar and newly recognizable lighting techniques – from fire to futurism, light leads us through the exposition of the Ceh as through a series of stories intertwined with each other.