Abstract
The paper examines works by Dmitrii Prigov from the perspective of routine. Prigov describes routine as a specific way of producing pieces of art and literature.
Putting the principle of routine into the context of non-official Moscow art scene, we may think of a broader role it played in Prigov's practice. Such a contextualization reveals that routine is a complex category describing relationship between craft and artistic work and existence manners of an artist.
The paper shows that routine can be a key factor when thinking of intermedial aspects of Dmitrij Prigov's works. Routine as a key perspective helps also to understand why Prigov grouped his writings and drawings into series and cycles.
Further analysis of one concrete cycle called "Stikhogrammy" (1985) allows to discuss Prigov's attitude to language as to a potentially totalitarian and manipulative instrument. The paper attempts to proof that Prigov used language not only to create texts but also for self-reflective and self-referential operations.