Battle of psychics Prokhor the Holy Fool. Everything is ours forever “I am Pakhom”: how to turn your biography into a work of art

Everyone knows such a character as Sergei Pakhomov - the biography of the famous Soviet and Russian underground actor was recently supplemented with another achievement. Now Pakhom is also a psychic. It is unknown what prompted him to take part in the battle of clairvoyants.

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Sergei Pakhomov - biography

Sergei Pakhomov or simply Pakhom was born on November 4, 1966 in Moscow. Known as a screenwriter, musician, designer, artist, actor. All his life he worked in an extraordinary style, which never tired of surprising those around him. According to Sergei Igorevich himself, he went to music school at the age of five.

Sergey Pakhomov

The actor knows how to play the violin, but, as he himself says, his career as a violinist ended when one winter evening his mother tripped and fell on musical instrument. In 1981, Pakhom completed his studies at Krasnopresnenskaya art school, after which in 1985 he graduated from the Moscow Kalinin Art and Industrial School.

Today it is surprising, but Sergei Igorevich in his youth, during his studies, was fond of icon painting. In 1984, Pakhomov was treated in psychiatric clinic named after Kashchenko.

After the 80s, the man often played music groups, was actively involved in sports. On at the moment Pakhom is married to Elena Tokareva and continues to amaze the public with strange, shocking antics.

Creative life

In 1984 - 1985, Pakhom participated in various apartment shows, and starting in 1988 he began appearing at large exhibitions in Russia and abroad. From 1988 to 2000 he learned the basics of contemporary art in Europe and the USA. The man often visited New York, Berlin, Marseille, and Paris.

Movie

Pakhomov (photo from VKontakte)

The popularity of the extravagant figure was brought by Svetlana Baskova’s “Cocky the Running Doctor” (1998), “The Green Elephant” (1999) and “Five Bottles of Vodka” (2002). Fans of underground cinema, of course, could not remain indifferent to his role as a junior officer in the film “The Green Elephant”.

Quite often, Sergei Pakhomov can be seen in the series directed by Valeria Gai Germanika “School”, “Short Course” happy life" and "May Tapes", in which he most often plays minor roles.

The extravagant actor has experience working as a production designer. In the film “Yes and Yes” and the TV series “May Tapes” and “Bonus” he also worked under the direction of Valeria Gai Germanica.

fine arts

The man had the opportunity to work in 2000 at the publishing house “Hachette Filipacchi Shkulev”, after which he was the art director of several glossy publishing houses. For example, from 2002 to 2007 he was the art editor of Elle Decor magazine, in 2008 he worked as art director of Marie Claire, and since 2009 he took the same position at domestic publishing house Elle magazine.

TV shows

Pakhom himself quite often calls everything he does “a mixture of idiocy and absurdity.” As you can see, the holy fool Pakhom does not particularly monitor his statements. Quite often he can be seen in solo shows, such as:

• "Homosexual Master";
• "Dead House";
• "Zhora Apezdl."

Surprisingly, his solo lecture “The School of Modern Play” created a sensation among the creative elite of Moscow.

Sergei Pakhomov is not afraid to communicate with journalists, so, in one interview for Rolling Stone Russia, he said that he simply does what he wants, acts in banned films, but never tried to line his pocket. You can often see a man on television in the program “Exploring the World with Victor Puzo,” which he himself hosts.

Pakhom's latest extravagant escapade is on TNT. But the actor decided not to fight to the end, and left the show on his own on October 24. He justified this by saying that he wanted to “do a good deed.”

How Pakhom became a psychic

In one of the interviews, Sergey Pakhomov was asked why he decided to become a psychic. To which the journalist received an answer that it all started, like most clairvoyants - in early childhood. In his distant youth, Sergei was shocked by how developed his intuition was, what hallucinations he saw and how accurately he could foresee the future.

And when his acquaintances began to share their experiences with him, the young Pakhom tried to understand the situation, became imbued with their troubles, and gave very strange advice, which sometimes was not even clear to him. But he couldn't do anything because it was higher powers spoke through him.

No matter how crazy the advice given by the future psychic was, they helped people cope with various life problems.

Man for a long time tried to understand myself, explain my unique gift, overcome myself and start living like ordinary person. But, in the end, he realized that it was useless to go against fate. Then Sergei decided to leave everything as it was and develop his gift. The man states:

My techniques involve complete dispersal, an absolute loss of will, I become absolutely indifferent - this is such an almost Buddhist state. When I fall into a trance, I can no longer explain how, what and why it comes to me, I just understand that I need to do this and that.

Sergei is sure that such a state is perfect for the time in which we find ourselves. He believes that everything in this world must be looked at from different points of view, which in any case will be true to one degree or another.

The man’s answer was rather ambiguous; most likely, it was another joke or prank with which he wanted to attract attention. But who knows, maybe the psychic Pakhom has a truly unique gift.

What will the horoscope tell you about Sergei’s extrasex abilities?

On the set of the battle of psychics 16

Since the date of birth of a popular artist is known, you can do personal horoscope and using the natal chart to determine whether a given person has any extrasensory abilities. If you believe this horoscope, then Sergei Pakhomov is dominated by the element of water.

This suggests that the personality is quite susceptible to various energy flows of the surrounding world. In this case, a person may indeed have good intuition and increased sensitivity. It may be noted that there is a rather pronounced emphasis on Pluto. It is known that this planet is responsible for magic and extrasensory perception.

It is worth noting that the horoscope contains a planet that is almost always active in people with supernatural abilities - Neptune. He is in harmonious aspect with the Moon. This connection is responsible for increased sensitivity and excellent intuition.

This result suggests that perhaps Sergei Pakhomov’s participation in the “Battle of Psychics” project was not only a game or a farce. U this person there is potential, but it is up to him to decide whether he will show it only in art or in other areas of activity, including extrasensory perception.

Unfortunately, it is difficult to give a more precise answer, since the exact time of birth of the clairvoyant is unknown. Otherwise, it would be possible to determine the event map of his life.

How to contact a psychic

Photo from VKontakte

Today you can use social media. VKontakte has

Photo: Ivan Kaidash

You must have heard: Sergey Pakhomov, artist, musician, actor, art director, meme and simply an extraordinary personality (as he himself says, “... you’ll see who I am”), now also the holy fool psychic Grandfather Pakhom. Sergei came to TNT for the sixteenth season of the “Battle of Psychics,” passed a series of tests and voluntarily left the program, giving way to the duet of Iolanta and Rossa, whom the jury voted against. Under the guns of the cameras, Grandfather Pakhom explained his action with a desire to do a good deed. Over the course of six episodes, about ten million Russians recognized Pakhom by sight - the show’s ratings are comparable only to those of the President’s New Year’s greetings. Pakhom grew up in a single-parent family. His father, a microbiologist professor, broke up with his mother when Sergei was still a child. As a child, Pakhomov had hallucinations and visions; he could cry for six hours at the mere thought of his mother’s death. “And I’ve had all the experiences in my life. Whatever I think, that’s what I worry about. When a child is alone in the family, this indicates pain. I try to aestheticize everything, including her. This good tool to understand the world: through suffering, through psychosis. But my pain is always on the verge of masquerade, which is important. Because, of course, I am for life, not for death,” we met with Pakhomov a week after the screening of the last episode of “The Battle of Psychics” with his participation. “Grandfather Pakhom is a collective image. Such a mythology of Russian culture, a certain simpleton who does not wipe his nose or cut his nails. The voice of the people,” explains Sergei. Maria Shaikevich, the permanent producer of the “Battle of Psychics” program, talks about Sergei: “He is a hypersensitive person, and what is this if not a psychic? We didn't want him to leave. They predicted victory for him." A TV source confirmed that Pakhom was the favorite among both the jury and the audience: according to polls, he received 50% of the votes, three times ahead of his closest pursuer. I ask Pakhom whether he, as a medium, sees his own destiny. "Certainly. Such smooth illumination. It's called delusions of grandeur."

In painting, Pakhomov oscillates between abstractionism, icon painting and popular print: “I like pseudo-metaphorical, pseudo-banality, the likeness of something, something that looks like a glimpse of thought, but exactly what is similar, because that way it becomes more meaningful.” Photo: Ivan Kaidash 6.32. Saturday. Crimea.“Good morning, Great Moloch,” Sergei Pakhomov greets me in a vacant lot five steps from the central square of Balaklava. Time is running out. Sergey started the morning with coffee and the latest Ariel Pink album; in the car, the artist Vladimir Yarin offers to have a snack with fried red mullet, as does Pakhomov, who is working on the set of Valeria Gai Germanika’s new series “Bonus”. In a series of fantastic metamorphoses, Pakhom was thrown here by the production designer. On the way, I ask Pakhomov what they have in common with Germanika. Cabaret style? “Probably yes. When I lived in Berlin, I went to old cabarets and absorbed the music of Klaus Nomi. With Germanika we are united by strength and helplessness. Or the power of helplessness. The idea of ​​greatness through squalor is close to me,” he explains. Pakhomov draws my attention to the similarity of the patchwork insulation of Khrushchev buildings with the paintings of Paul Klee, talks animatedly about the filming of the Chapiteau Show in Simeiz, but when the conversation leaves the well-worn rails of social conversation, he suddenly becomes serious: “In art you can go towards perfection. Or you can go back to destruction. But even there you need to look for your own rhythms, your own logic of decay, and be able to identify cyclicality.” We are talking about “The Green Elephant” - an artifact of the nineties, a deeply metaphorical chamber drama, which, against the authors’ ideas, became for recent years a real internet hit. “It could only have been shot in that cheap style; I understand and love everything ugly, wretched and ugly. Because it’s beautiful,” Pakhom’s voice trembles, and tears are about to well up in his eyes. In the scattered rays of the sun breaking through the gray clouds, he looks like a big child.

Another important impression of Pakhomov’s childhood is the popular print, understood as a unique picture of the world. This is noticeable in his painting - bright, contrasting colors, rough but accurate outline, ubiquitous inscriptions - from quite clear to abstract and self-sufficient. “Homosexual gentleman”, “Freedom, equality and brotherhood, I love to touch”, “Sof Yaots Zyuyul”. He was first shown on television in the late eighties in the program “Vzglyad” as a painter. He sold his paintings on the streets of Moscow, and in the early nineties he went on a long journey: he painted the Berlin Wall, made friends with Parisian bohemians and received grants in New York. Apparently, he was truly successful: Pakhomov participated in landmark collective exhibitions of the eighties, and in the 2000s he developed a truly brilliant gallery history. Consider the incident with Saatchi’s acquisition of one of the artist’s monumental works, “I Am Groin,” sixteen wooden boards with the same inscription, combined into a giant panel. Painting, video, photography, and Pakhom’s life itself are clearly subject to the principles of seriality. Take “Blaue Hand,” an installation in Berlin consisting of three hundred photographs of Pachom’s hand in a blue glove, getting into interesting life situations. “I’m generally a supporter of banality. You know, I like people who tell jokes, or better yet, the same joke. And it is ideal for a person to pronounce one word at all - we are sitting with Pakhom in a cafe. “I dreamed of such a person, and then the wooden hero appeared in an American film, where he said: “I am Groot.” Now the husk is leaving and only “I am Katya”, “I am Petya”, “I am John” remain. Nothing more. Because there are a lot of songs, a lot of worms, a lot of wars - a lot of everything. Material assets leaving. Wanting is no longer important, doing is no longer important. But the moment of identification is important.” Sergei Pakhomov does not hide the fact that he perceives life as a creative act, and biography as a work of art. This approach correlates with the attitudes of the late Soviet nonconformists - Mamleev, Prigov, Sorokin, Zverev. He met many of them in his youth. “We just need to understand where we came from, where we are going,” Sergei finishes his noodles, and around us in the tiny cafe people whisper. The words “groin”, “battle” and “elephant” are clearly audible.

One of Pakhomov’s main achievements is the development of a recognizable image that people turn to: “During times of mud, I created own world with your demons, everything is like in a good Japanese manga. That’s why teenagers love me so much, because I’m a familiar hero to them, such a shitty, cheerful grandfather and also a sorcerer. This is a solid picture that can be taken and inserted anywhere - from a rock opera to documentary film»

Photo: Ilya Batrakov

Photo: Ilya Batrakov

10.30. Saturday. Simferopol, station. None of those with whom I had the opportunity to communicate throughout my career have been approached by as many people for an autograph or simply with a question as they were to Sergei Pakhomov. He unquestioningly signs other people's notebooks and stands in the sights of smartphone cameras. “A friend of mine from Holland made a vase from a booger. I sat there in the morning, put my finger in my nose, pulled it out - he liked the shape, he digitized it on a scanner, and it turned out to be an excellent vase. His name is Marcel Wanders, the company is Moooi,” Pakhom tells the stunned fifty-year-old station employees and a couple of policemen about the modern design. 10.40. Right there. “You have to really play with yourself. Risk is a very important thing, you need to be open to it. But a lot of sad things happen. It's scary when people take off and can't say anything to the world. They do not spit divine spit into the future. Unfortunately, you cannot send songs of Laertius to aliens. They don't give the full picture. But if you send them the songs of Laertsky and Muromov, then the picture will become complete. But what prevents me from being both Muromov and Laertius, and also all the space between them? There must be ambitious goals. And the divine harkotina for spitting must be prepared all the time,” Pakhomov argues, taking advantage of a break in filming, sipping tea from plastic cup. Right hand Pakhomova, Igor Gembel, who, with the light hand of his boss, was floored film set He calls me Goebbels and starts telling him that fluoride closes the third eye, so you need to brush your teeth with powder. “Everyone here on the site is sick. Everything... [with shift]. Healthy ones are not needed,” Pakhom lets go as he walks. 10.55. Right there. Loading onto the Simferopol–Sevastopol train, in the dining car of which filming is to continue. Germanika and Pakhomov are riding in the compartment. Let's get going. The "Motor" team is postponed, postponed, postponed - at some point the art director and the director begin to sing in unison "This train is on fire." The train crawls, violating all conceivable laws on minimum speed, stalker-like landscapes stretch outside the window. Sergei carefully cleans the sleeve of his jacket to remove the stain he found. For a person with such a rabid lifestyle, he is unusually economical. “I love jokes. But to me, as a lover of grace, absurdity seems more subtle than straightforward humor. A joke that doesn’t look like a joke, something like that,” says Sergei. 11.40. A deputy enters the carriage general director TV channel "Rain" Alexey Kazakov, dressed in a conductor's costume. After giving several compliments to Germanika, he begins to tease Pakhomov with the fact that “the stage is not built.” “Who builds something? Everything has already been done a long time ago! Not made by hands is our principle, understand? This is how Crimea is, it is not made by hands,” Sergei waves his hand. However, Pakhomov soon gets excited and threatens to “hit the team in the head with Thor’s hammer.” However, it is already clear from everything that he is not Thor, but Loki, the god of wickedness. Germanika shares her sadness about a car stolen in Moscow. “I want a new one. I wrote to Volkswagen, I’m Germanika, so that they would give it. And I wrote to Skoda - to Octavia (the name of Valeria’s daughter - Ed.). I’ll name my second child Mercedes,” the director slaps himself on the stomach.

One of the milestones of Sergei Pakhomov’s partisan struggle was his employment in leadership positions in the largest glossy publications. “It was so far from me at that time, the whole structure, these computers - it was interesting for me to start from scratch. And at the same time lead all the time double life, during the day, keep the concept of the magazine in your head, and in the evening go and film with Baskova,” Pakhomov never tires of explaining. Pakhomov’s main occupation in the 2000s was stand-up, strange, like the speeches of Poezhay from “The Green Elephant”. To watch Pakhom’s performances, every Tuesday bohemian circles in Moscow climbed up a steep fire escape into an unheated room behind the theater of the School of Modern Play, converted by restaurateur Arkady Zeltser into either an office or a private club. “The performances themselves could last two minutes, when the stubborn Pakhom could yell something, hit his forehead against the wall and fall. But after that he got up, dusted himself off, went out into the crowd and, as if nothing had happened, carried on elegant small talk,” laughs Alexander Kondukov, editor-in-chief of the national Rolling Stone. Editor-in-Chief publishing house Ad Marginem Mikhail Kotomin recalls: “I was amazed by his drive. It was cold, but Pakhomych in Sorokin’s narratives warmed himself up so much that at some point he took off his sheepskin coat and remained in his shorts, not noticing what was happening around him.” Pakhomov’s style was, on the one hand, shaped by tram brawlers, city madmen, street preachers, and on the other, by the conceptual poet Dmitry Aleksandrovich Prigov: “He knew how to look at himself from the outside during a performance. Little Prigov controlled the big one. Like any performance artist of world significance, Prigov understood that he could not let go of ecstasy completely. Uncontrolled madness is simply not interesting.” Pakhom himself - as a name, as a crystallized image - appeared in 2005, during the first, short-term experience of cooperation with TNT. “We wanted to try to turn Pakhom into an anti-Grishkovets. But Pakhomych turned it the other way: at his request, we bought the bathtub from which he was going to broadcast, and ordered a neon sign “Pakhomy-TV.” There was an agreement that he would not swear, but, naturally, when he entered his state, he forgot about the ban, and the pilot ended up on the studio shelf,” says Kotomin. Son Pavel shares his thoughts: “Pakhomov is an absorbing organism, and Pakhom is an ejecting organism. Pakhom is incapable of social life, he lives in a kingdom of complete absurdity, and Sergei can still solve everyday issues. But it seems to me that Pakhom is gradually absorbing Sergei Pakhomov. It can go as far as the absolute.” Kondukov did not miss a single performance by Pakhom: “These are spiritually evoking psychedelic stories, like those of Peter Murphy and Marc Almond, such iconic passion-bearers. And he was, in a way, one of them. He was always present on the border territory; he could go out in the evening for a drink and return without teeth. This is what attracted me - men in general try to communicate with those who give off such a good spirit of danger,” a slight sadness creeps into Kondukov’s voice. I ask Pakhomov how he managed to move away from a destructive lifestyle: “I drank every day for 30 years. But physics passes, I need all sorts of washings, cleanings, sick days, I’m lazy. I thought, I’d better not drink, it’d be better for me to... [don’t give a shit] - that’s all. I'm without a tower. I'm like a thief in law, without a tower. I'm free. I may drink, I may not drink, I may be an alcoholic, I may not be. But I may not be able to. I can do anything. Well, to make it interesting is the main thing. So that there is movement."

“I like to be careless about money. That is, I like them... [to have sexual intercourse]. …[have sexual intercourse] money. Important point. Let them moan." The last fifteen years of Pakhomov’s work have been in good commercial demand Photo: Ivan Kaidash 9.40. Sunday. The road to Yalta in Gembel's minibus. The news is read that Sergei was included in the list of candidates nominated by the public for State Duma deputies from the Omsk region. The recent story with the relaunch of Kinopoisk comes to mind, when users dissatisfied with the redesign began to bring the Green Elephant to the top as a sign of protest best films in the history of cinema. At the time of going to press, the “ZS” rating was 9.1 with almost thirty thousand voters. This is more than, for example, the film “The Cranes Are Flying,” which is 71st on the list. However, “Elephant” is missing from the top 250 films. Yandex declined to comment. Pakhom is used to his name becoming synonymous with gentle disobedience to the system. “I present people with a nice instrument. I’m bringing it into the mainstream as an arrogant element, and the mainstream is getting chipped and cracked from the inside,” he says as we drive up to the structure that’s to be turned into grandma’s house. main character"Bonus". Vladimir Yarin shows on his iPad references drawn by Pakhom in his signature grotesque iconographic style. The house we arrived at obviously would have to be tinkered with: there wasn’t an ounce of the magic we were looking for in it, just an ordinary condo on the seashore, built by people who had not long departed from the caricatured world of the new Russians. For Pakhomov, incomplete compliance with the reference is not a problem, but a task. Soon remarks like “blue-glowing white, or matte white?” begin to pour in. and proposals to make wood from linoleum, stone from flax, and iron from plastic. 12.40. Miskhor. Having sorted out our affairs, we stand and smoke on the serpentine road. What he does is what Pakhom calls DJing: tuning into several waves of consciousness and going into a trance. My throat is cold, either from the cold wind, or from the thought that in order to understand this person, you need to write not magazine article, but a monograph. “I believe that now in this world of ours, we are mixed up, where there is a terrible mixer that grinds everything, where you cannot take eggplants and cut them neatly with a knife. In this world, in order to be, you have to be like me, in all guises,” when Pakhom starts talking with quotes from his own famous stand-ups, he becomes completely uneasy.

Musician Sergei Pakhomov gained less fame than an artist, and even more so a medium, but here he found his own style. In its chthonic nature musical performances It’s hard to doubt - when Bruno’s 4 Positions came to Moscow for the first time, the second group that evening was Pakhom and Vivisector, and it was clearly visible that both groups wanted to climb exactly to dark side moon. Sergei took up music in the early eighties. His first group, Ju Om, was conceived as an ensemble of mentally ill people. In one of the few remaining videos from “Ju Om,” band member Berendey recites the following verse: “Three sausages from shit/The average person by the collar,/My music is needed/Only artists and thieves.” The few accounts of Ju Om come from hippie websites. “Yes, we are all hippies. But we were still strangers there, we were the kind of militant hippies who could punch you in the face, many looked at us askance. It’s important for me to break out of context. When you know the rules, you can break them more gracefully,” Pakhomov explains. He studied music himself - thanks to his mother, Sergei often visited the Conservatory and Bolshoi Theater, and his awareness is evidenced by the fact that at the age of seventeen he received a Terry Riley record. In the eighties, he was already a fairly well-known artist and could buy himself not only rare recordings, but also precious instruments - he took his favorite congas from both David Tukhmanov and the unknown garage Kulibins. “And no one played percussion then, it was also a kind of nonconformism. In general, it’s easy to play anti-music if you’ve listened to it a lot. We made a parody of the avant-garde, it was considered capitalist shit back then, but, in essence, it was maximum punk - we played until the last spectator. Often in all sorts of strange places, in the halls, on the streets, in the middle of the audience at someone else's concert. They beat us and called the police. I remember music critic Tatyana Didenko shouted: “Hooligans, hooligans!” And three days later she called me and said that it dawned on her that it was a fucking concert,” Pakhomov chuckles. Mikhail Vivisector says: “Our performances usually began amid drunken screams and the clinking of glasses. But when we paused in the middle with silence, you could hear that no one was drinking anything, everyone was sitting silently, with their eyes on the stage. He knows how to take control of a crowd of even the most inadequate people and drag them into his cinema.” Mikhail retells the story of how he and Pakhomov were returning from a tour from Estonia and the Russian border guards, while checking documents, raised everyone's ears, forced them to stand up and squat, comparing faces with photographs. The only person, who was not touched or even asked to show his passport, was Pakhom. “They are alien to mysticism, completely oak soldiers, they cannot be suspected of suggestibility. “And he did them in one moment,” the Vivisector gets excited and then voices another assumption about why Grandfather Pakhom left the “Battle of Psychics”: “I expected something like that from him.” Because he is a master at pulling off such tricks. He can't walk in a straight line. He can’t do it like everyone else.”

16.21. Sunday. On the bus.“Everything comes from my childhood, from my fantasy consciousness. It's nice to be a resident, a spy, changing everything all the time. Why? This is because of imagination, out of a terrible fear of death - the desire to live some more life, or better yet, many lives. I understand those who change gender because they want to have a new experience in a different body. Find yourself again."

On September 19, the 16th season of one of the highest-rated Russian reality shows, “Battle of Psychics,” started on the TNT channel. One of the new participants in the project unexpectedly became Sergei Pakhomov, an artist, painter and master of extreme stand-up. Connoisseurs of underground Russian cinema are also familiar with him from Svetlana Baskova’s films “Five Bottles of Vodka”, “For Marx”, “The Head” and, of course, “The Green Elephant” - Pakhomov’s hero from this film has long become a source of endless memes on the Internet. This time Sergei acted in a new role for himself as a psychic and instantly became the favorite of the “Battle”. Gazeta.Ru contacted the artist to find out how this metamorphosis occurred.

— How did you end up in the “Battle of Psychics”?

— On the one hand, I decided to refute the myth that exists in the mass consciousness that you cannot get on any program to the common man. I read on the Internet how this was done, went to the qualifying meetings, filled out a form and eventually became a participant on a general basis. On the other hand, I had to apply my abilities somewhere - especially since I had been striving for this for a long time. In general, I chose the program according to my profile. A psychic goes to psychics, right?

And I’m not only a psychic, but I also love performing – so I went on television.

— But you already have a popular image thanks to your role in Svetlana Baskova’s film “The Green Elephant”, in which you use foul language a lot, eat feces...

- So “Green Elephant” is also a magical practice! If we consider social rules as reality - you can’t eat shit, you can’t talk about it - then any meaningful destruction of this reality is magic. A slap in the face to public taste is magic, a way out to other forms of perception.

“The Green Elephant” was ahead of its time and is now gradually connecting with it - like Bach’s music, which is compared to a huge aqueduct from the past to the future.

Of course, some bold projects always cause a sharp reaction from people. That is why in performances I use dirty talking and some provocative things. At the same time, I like to combine and collide this with some naive, sincere things, with beautiful music. In a sense, the same thing is happening now, when the familiar image collides with the fact that the audience discovers me in a new quality.

— It is believed that the “Battle of Psychics” is a fake, staged show. Didn't you have such suspicions when you went to the casting?

— In general, in my opinion, the viewers of the “Battle of Psychics” are usually underestimated, although they are much more attentive and energetically stronger than the ill-wishers and cliques who throw mud at the program. I believe in people, I love them and I’m sure that they themselves will figure out whether to believe those who say, for example, that I’m actually the vile shit-eater from the “Green Elephant”, and not the kind grandfather Pakhom. They will see that there was the same powerful kindness here in the Battle. As for the program, there is no set-up: I come to the tests and only at the shooting itself, when the presenter announces the task, do I find out what will be discussed.

The ritual, which in fact is the rules of the project, is valuable in itself, since it has already become part of reality.

Truthfulness is very important here; the moment of interaction with human destinies is important, which in this case is clear and close to me. Unlike, for example, hockey and football, which I don’t watch because I don’t understand them at all, although I appreciate the love of others for them. In addition, the public’s doubts about the truthfulness, in my opinion, only make the program more interesting - I am guided by this principle in my performances. I am generally an enemy of clarity.

- How long ago did you have symptoms? supernatural abilities?

- Well, it all started with childhood hallucinations, coincidences, hits, some kind of shock... Later, when people shared their troubles with me, I was imbued with their grief and gave some strange, wild advice that I myself could not explain, but nevertheless it helped to cope with problems. I tried to explain this force for a long time, but in the end I just accepted it as it is and began to work with it. My techniques involve complete dispersal, an absolute loss of will, I become absolutely indifferent - this is such an almost Buddhist state. When I fall into a trance, I can no longer explain how, what and why it comes to me, I just understand that I need to do this and that. By the way, it seems to me that this state is very much in the spirit of the times in which we live. Today, after all, the great style is gone, there are no ideologies, no values, but there are many points of view on any issue and each of them is true to one degree or another.

The division between truth and untruth has disappeared - it is quite possible to assume that the Earth stands on three pillars, and that a person dies during sleep.

In general, the worldview has become fractional. IN modern world, in my opinion, everything exists at the same time: both miracles and harsh reality, and objective reality, which treats people, let’s say, detachedly. This means you just have to do what you want, irrationally. At the same time, the need for a new culture has matured, new activity, in some kind of transformation. This is what I do, I really like to integrate into reality in this way.

— You are used to being perceived as an artist, actor, performer. Is this activity also somehow connected with extrasensory perception for you?

— Of course, practicing art is magic. After all, I have some abilities not because I am an artist, but, on the contrary, rather, I became an artist precisely because of my abilities. In my performances I also resort to trance practices, doing the same thing as on the air of “Battle”. The logical system is turned off at these moments, I fall into a state of controlled madness, watching myself from the side. I manage my unconsciousness without reducing its degree.

I call this state the Scalded Feeling, from which I always came out completely different.

Actually, I went to television partly because I wanted to test this practice of controlled trance in some other conditions.

— That is, for you there is no fundamental difference in the type of activity between the stage and the screen?

- Yes, that's right. In general, I live like this all my life, I trust my trance. To some, my life trajectory appears to be filled with fearlessness and randomness. I do not cooperate with any institutions, I do not follow beaten paths. I have a principle that I take on any task that interests me and do it well. My popularity is also connected with this - after all, this is also a strange, wonderful phenomenon, considering that I never studied this anywhere. I believe that nothing can stop me from doing what I want. To put it bluntly, I am sure that I could become a good journalist even if I were deaf and could neither read nor speak.

Nowadays this is quite possible. It seems to me that people in general are endowed with some kind of abilities, but they deny themselves them because a certain conceptual system, a logic, is imposed on them, which I have never understood. friendly relations didn't join.

I have always been closer to absurdity, strangeness, trance, ecstasy. All this is characteristic of Russia, Russian culture in general; this is Russian spontaneity, which is often talked about.

Our country is governed by all these laws - strange, irrational - and not by the laws of the dollar, the market, or oil. Therefore, I am sure: in order to become a person, you need to listen to yourself, be able to hear the language coming from within and already communicate with the outside world in it. Then a special view of the world will appear and the world around will begin to move.

— Well, in conclusion, I must ask: what are you going to do next after finishing your participation in the project? Will you return to performances?

- I have no idea. Any strategy, any programming is, in my opinion, always funny. My consciousness is in a state of semi-levitation, which is why, by the way, young people, who are alien to callousness, love me. I used to sometimes dream that everything would be this way or that way, but now, ten years ago, I stopped dreaming altogether. After the “Battle of Psychics,” I might record a new album or do something else, I don’t know.

The main thing is that this will help me understand, feel what kind of world I live in, because it is so complex that it can drive me crazy.

Therefore, you must constantly act, otherwise you can wither and disappear into the damned void.

Psychic Sergey Pakhomov (Pakhom).
Biography: grandfather Pakhom, scandalous artist (Green Elephant), mad artist and famous holy fool in Moscow. Grandfather homeless Sergei Pakhom (Green Elephant), a psychic holy fool, deliberately falls into a state of trance, his techniques and practices are similar to a crazy dance.
Pakhom is the most surprising participant in the new battle. He successfully draws, acts and sings. He says he felt the messiah.

Official website of psychic Sergei Pakhomov (Pakhom’s grandfather), where you can ask him questions and make an appointment .

Participant in 2015 on the TNT channel. , why did he suddenly leave the 16th battle being the leader of the trials?

How Sergey Pakhomov passed the tests, reviews, abilities:
+ He found a man in the trunk. The presenter Safronov decided to double-check and asked Pakhom to take this test again. And for the second time he found it again... For the first time in the history of the Battle.
+ in the drawings I was able to figuratively show what was hidden behind the screen;
+ was able to find my photo from 11 others.
+ was able to find the house from the photograph and clear the area of ​​the restless dead.
+ was able to determine who is dead and who is alive by a love spell;
+ can find needles in the house and remove the curse on himself;
+ can find a person who has physically changed gender;
+ can determine from a photo whether a person is alive or dead;
+ can find out what was hidden in the black box;
- could not find the person in danger;

How strong psychic Sergei Pakhomov (fool Pakhom) according to a 3-point system: 3 (based on TV tests)
(1 - none; 2 - something can, something cannot; 3 - a strong psychic)

Sergey Pakhom Pakhomov is a showman, underground actor, avant-garde musician, outrageous artist and show participant. He left a noticeable mark on cinema, appearing in leading role in the film “The Green Elephant”, and his music album “Boncha” was called “the first real Russian rap.”

Childhood and youth

Sergei Pakhomov (more often known under the pseudonym Pakhom) was born in Moscow in 1966. His patronizing zodiac sign turned out to be Scorpio. According to him, at the age of 5 he was taken to one of the music schools in the capital, from which he graduated in violin class. But Pakhom gave up playing the instrument after a tragic accident: one day, while walking along an icy street, my mother slipped and fell on the violin.

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In addition to playing the instrument, Sergei Pakhomov was already interested in drawing in early childhood. To develop his artistic talent, he graduated from 2 institutions. He completed his education at the Krasnopresnenskaya Art School in 1981.

After her, Pakhom studied at the capital's art and industrial school, graduating in 1985. Here the guy became interested in icon painting and Russian painting techniques.

Sergei "Pakhom" Pakhomov in childhood and youth ( "Facebook")

In his youth, Pakhomov began to show interest in music and sports. He played in various musical groups and practiced wrestling. Pakhom reports that a year before graduating from college, he was placed in a psychiatric hospital named after Kashchenko, where the draft board sent him, instead of sending him to the war in Afghanistan.

In the mid-80s, the artist took part in chamber art exhibitions held in apartments and clubs. But in the late 80s he got the opportunity to demonstrate his skills at painting exhibitions in Russia and abroad, in particular in New York and Austria.

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From 1988 to 2000, Sergei Pakhomov had the opportunity to study contemporary art in Europe and America. I was able to visit Paris, Berlin and Marseille.

Psychic Pakhom also worked as an art director in glossy magazines. From 2002 to 2007, he edited the publication Elle Decor as an artist. In 2008, he was acting art director of Marie Claire magazine, and in July 2009, Pakhom was hired for the same position in the editorial office. Russian version"Elle".

Films and TV projects

Pakhom became famous for his roles in the notorious films directed by Svetlana Baskova “The Green Elephant”, “Cocky the Running Doctor”, “Five Bottles of Vodka” and others. Baskova herself working together with Pakhomov compares with the relationship and, emphasizing that the underground actor is an “integral part” of her paintings.

Sergey "Pakhom" Pakhomov and Svetlana Baskova ( "VKontakte")

Sergei Pakhomov is more critical, calling his work in cinema (and not only in it) “a mixture of idiocy and absurdity.” Pakhom’s most notable film work was the role of a village peasant, a “traveled” junior officer in the film “The Green Elephant”, where the hero relieves himself on camera. His partner in the plot was , who plays the role of “brother”.

The film was created over 2 days. It was difficult for the actors to overcome their own fears while playing in some scenes. The absurd and cruel plot of the film was intended as a protest against Chechen war.

Sergei Pakhomov and Vladimir Epifantsev starred in the film "The Green Elephant" ( "Facebook")

As an actor, Sergei also appeared in the director’s TV series. He starred in several episodes of her “School”, as well as in “ Short course happy life" (as a swinger) and "May Ribbons". IN last movie Pakhomov also worked as a production designer. In Baskova’s film “For Marx...” Pakhom played the role of the foreman of the foundry shop of the plant, who kills the owner of the enterprise, the hero Vladimir Epifantsev.

The film received the White Elephant award in the Event of the Year category, and was also presented at Berlinale 2013 and Kinotavr.

Sergei "Pakhom" Pakhomov in the film "For Marx" ( "VKontakte")

In the artistic circles of the capital, Sergei Pakhomov is a fairly well-known personality. Some call him a “cult character,” others call him a “buffoon” and “ social phenomenon" Music critic Leonid Aleksandrovsky stated:

“This is a Renaissance man from Novokuznetskaya, a wild buffoon in full swing, an always-on swearing racket of the bohemian capital.”

In September 2015, Pakhom became a participant in the scandalous project “Battle of Psychics – 16”. He claims that he knew nothing about the project and never watched a single season. I got there on the recommendation of friends who knew his psychic abilities. He impressed the audience by the fact that for the first time in the history of the project he was able to find a hidden person in the trunks of cars twice in a row.

Sergey "Pakhom" Pakhomov in the show "Battle of Psychics" ( "VKontakte")

For magical "insights" Pakhom uses trance, which resembles a strange dance.