b. 1968, Kaliningrad, Russia
Poet, performer, lingua-artist. Covers a wide range of experimental poetic techniques, such as poetic noism, action, tactile, visual and sound poetry. He is the author of numerous publications in magazines and literary miscellanies, such as: Offerta Speciale (Turin), Signal (Belgrade), Chernovik (New York), Blocos (Rio de Janeiro), Revue Enveloppe (Paris), Passauer Pegasus (Passau), Numero (Frankfurt-on-Mein) and many others. He was the guest co-editor of the literary miscellanies West of Russia and Oikumena (1994-95). In the "Simplicij" publishing house he prepared and published the books dedicated to the history and development of the non-traditional poetry in Russia and abroad, including such as: Experimental poetry. Selected articles (Kaliningrad - Malbork, 1996), Point of view. Visual poetry: 90s (Kaliningrad - Olsztyn, 1998). Bulatov has been a co-organiser of more than twenty exhibitions, including such as: Kant Perfo-Ratio (State Art Museum, Kaliningrad 1994), Word Theatre (State Art Museum, Kaliningrad 1995), Echo area (Kaliningrad Branch of National Center for Contemporary Art, 1998), Point of view. Visual poetry: 90s (Toronto University, 1999), Echo area. Siberian Sore (III International Biennial of Museum Expositions, Krasnoyarsk, 1999), Glukhomania (International Art Fair "Art Moscow," Central Artists' House, Moscow, 2000) and others. His sound poetry productions have been published in international collections, such as: Pate De Voix (#9, Turin), SonArt. Revue Litteraire Sonore (#008, #014, Paris), Doc(k)s (3 #21-24, Ajaccio), Gedda Life!!! (VEC Audio CV#3, Maastricht) and others. He participated in more than a hundred art exhibitions, including the following ones: Visual Poetry Exhibition 1985-1995 (Balatoni Museum, Keszthely, 1995), VI International Biennial Experimental Poetry (El Chopo Museum, Mexico, 1996), Poesia Totale 1897-1997 (Palazzo della Ragione, Mantova, 1997), Visuelle Poesie (Gedenkstatte Schloss Rheinsberg, Berlin, 1997), 1st International Biennial Exhibition of book-objects (Musee d'Art Modern - Vasarely Museum, Paris - Budapest, 1998), Elvideoylapoesia - Lapoesiayelvideo (Centro de Cultura Contemporanea, Barcelona, 1999), International Art Fair "Art Manege'99 Eurasian Zone" (Art Manege, Moscow, 1999), Concrete Poetry from Russia: D.Bulatov, S.Segay, W.Starquist (Sonoma Museum of Visual Art, Santa Rosa, 1999), Hommage a Carlfriedrich Claus (Kunstkeller, Annaberg, 2000) and others. Bulatov participated in fest-programs: The 1st International Multimedial Art Festival (Odzaci, 1998), H2O-Festival (Oslo, 1999), First Aix Art Contemporary Festival (Aix-en-pce, 1999) and others, he was also a regional co-ordinator of the All-Russian festival Cultural heroes of the 21st century (Kaliningrad - Moscow, 1999). His works are kept in the collections of: The Ruth and Marvin Sackner Archive of concrete poetry (Miami), Academia d'Arte di Pisa (Pisa), Centrum Bildende Kunst (Groningen) and others. He took part in international conferences on the issues of contemporary literature and art, and also delivered courses of lectures at various universities in Russia and Canada. He is a laureate of the professional reward "Recognition" in the area of literature (1998), information: Art Diary International (Milano: Flash Art Books, 1999), Who is who in Kaliningrad (Kaliningrad: Yantarny Skaz Publishing House, 2000). Lives and works in Kaliningrad, Russia.
"bACTeria - barter", 2001, bio-temporal performance
The main idea of the project was to develop methods of acquiring bacteriological weapon for the local application under the museum conditions. Some outstanding Russian and foreign artists, as well as Russian art critics, were invited as donors of the initial material - bacteria. Each of them was taken samples of scrapes off their teeth with the characteristic of this or that artist or the art critic set of bacterial cultures (bacilli, cocca, spirilli, filiform bacteria, etc.). After being kept in favorable conditions for about a week all the bacterial samples became a pathogenic mixture holding potential danger for those around. The project allows the viewers to apply the assessing technology of risks when defining the place and role of an artist in the contemporary society.
Particular thanks to the Museum of Fine Arts (Nizny Tagil, Russia) for the paid attention and support given in the process of bio-temporal performance.