Prof. Dr. S.V. Zagraevsky
Again about “spiritual autism”
Published in Russian:
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The following text was translated from the Russian original by the computer program
and has not yet been edited.
So it can be used only for general introduction.
As is known, you cannot embrace the boundless. Today in the Moscow exhibition activities are about three hundred organizations, and, of course, all the talk in this article is unrealistic.
But of these three hundred most small private galleries, municipal exhibition halls and antique stores. Their monthly visit at best hundreds in the worst - dozens of people. Few organizations can boast thousands of visitors - and we'll talk in detail about them. Ultimately, they are equal and all the rest. And at the end of the article we pay special attention and outdoor exhibitions" - the news in the field of monumental art.
We construct our review of major developments in the artistic life of Moscow late 2002-early 2003, according to the traditional principle of "first, the bad news, then good." We begin, as usual, with the worst. With the most blatant and egregious failures. It can be described exhibition activity of the State Tretyakov gallery in the second half of 2002-beginning of 2003.
Actually, this failure has been even earlier - at the exhibition "Women of Russia". In the article "Spiritual autism", published in the fifth edition of the book "one art rating", I wrote:
"Think very unfortunate incident that occurred at
the beginning of 2002 in the Tretyakov gallery, where was held the exhibition
Well, any layman distinguish gold embroidery XV century of modern art. But as he distinguish between "Popov PS" from "Verevkin MV", and that, in turn, from "Kirtsova E.V."? Is the acknowledged master of exposition case Nina Glebovna Delovoy was difficult to ask programmer to write on the tablets at least "Love Popova, 1889-1924", "Mariam Verevkina, 1860-1938" or "Alena Kirtsova, 1954"? Interestingly, not offended would Nina Glebovna, if I in this article called it "Divov N.G."?
End of quote. But, as it turned out, the exhibition "Women of Russia" was not the worst of what we have since demonstrated the Tretyakov gallery.
In mid-late 2002, the exhibition activity of the state Tretyakov gallery petered out (of course, except for major exhibitions in Lavrushinsky lane and Krymsky Val). In the Engineering building was a series of pleasant provincial exhibitions under the General name "Golden map of Russia"and all. But the beginning of 2003 was indeed turbulent.
Perhaps start with the Affairs in the hat" - so called in January and February show on the Crimea. Presented there were pictures of artists of the XVIII-XX centuries, and, naturally, each exhibited the work of the present hat. Or cap or hat, or a cocked hat... Sometimes it's like a puzzle from magazines for elementary school age: "look at this picture hat"... a Sense of humor organizers confirmed among the exposed paintings of ladies ' hats "Haute couture".
More than anything this exhibit is not "cemented". And why not arrange a GTG next show, for example, the existence of each picture costumes? Or dresses? Or boots? What a breakthrough in the exposition! It will be convenient to combine all the work, if only their characters were in anything dressed!.. But this is a joke. And the show seems to be too was not serious at all (although the organizers tried, hung pictures and hats, spent the time and budget money)...
A floor above was displayed icons. And not some, but the great Dionysius. And exposition formalities respected - even excursion service was established. This show has ruined perhaps not neglect, and excessive diligence organizers. There has been a "conceptual" approach - icons hung on a red background, apparently, was to symbolize the brick walls of the temples. And the white gaps in the background, evidently meant the white-stone architectural decoration.
All would be nothing, but the background was chosen such shade of red... In the state Tretyakov gallery has many intelligent and charming ladies, and I encourage each of them to try on clothes and headdress primitive red with white trim, and then look in the mirror and realize that such colors all this coarsens the consciousness and distorts the features of any person. And the faces of Dionysius, then hang on this background it is possible. So I watched the masterpieces of Russian icon painting, as crafts Sofrinskogo Church plant supplies...
But this would not allow us to speak about the complete failure of exhibition activity of the state Tretyakov gallery, if not close to Dionysius was launched ambitious exhibition "Moscow abstraction second half of the twentieth century".
At the entrance hung a comprehensive information on the many exhibition organizers. Quoting. "The exhibition was prepared by: Natalia Adaskina, Larisa Titlinov, Olga Derbeneva, Nikolai Ermolayev, Larisa Kashuk, Tatiana Krasilnikova Lyudmila Marz, Hope Myankova, Alexander Obukhov, Sergei Popov, Natalia Rosenwasser, Alina Fedorovich, Galina Tsedrik. Exposure: Nina Divov, Andrei Erofeev, Larisa Kashuk. Team leader: Oleksandr Morozov".
Never thought that I would have to explain the "group leader", the Deputy Director of the state Tretyakov gallery on scientific work, the President of the Association of art critics, head of Department of history of Russian art of the Moscow state University, doctor of art history, Professor Alexander Ilyich Morozov, what to write the initials of the artists after the last names (e.g., Zlotnikov YU.S.) - a writing style that is inappropriate at exhibitions. With this style in cases where the organizers did not bother to find middle name artists, looks just terrible. "Schubladen" is still all right, but "Shablavin S." - sorry...
Never thought that I would have to explain to the unique virtuoso exposition case Nina Glebovna Delovoy that hang on group exhibitions abstract art on the principle of "black to black, green to green, white to white paper to paper, metal to metal means to turn the room into the corridor of the Bank or office where the abstract canvases play the role of design elements. Well, it is impossible to have a number of Boris Turkish and Valery Orlov only because they are both made of crumpled paper! Eventually disappeared the individuality of these great masters, and something average.
Never thought that I would blame Larisa Apollonovna Kashuk, a profound connoisseur of "underground"for being close to several works of Lydia Masterkova forlornly huddled one picture Lev Kropivnitsky, performed in a similar plastic and color. In the end - the complete decline in audience interest and respect and Masterkova, and Kropivnitskogo. Well, did not take the same Larissa Apollonovna thus any personal scores with artists!..
And who among a large group of organizers came up with half the load of the exhibition halls in the shade - you can only guess. Is Eric Bulatov and Edward Steinberg... Oh, sorry, we have the same color of Russian iskusstvoznanie now tells him to call them "Bulatov EV" and "Steinberg MET"... Will these craftsmen don't deserve decent lighting? And if the TG is not good lamps "point of light", then why meditate such "concepts"?
Catalogue of the exhibition "
In parallel, in the Engineering building of the state Tretyakov gallery opened a personal exhibition of Alexander Drevin. Of course, sin blame the organizers for the apparent bias towards work 30-ies - as the saying goes, the rich, and happy. And that "in exile", that is, the farther corridor, sent three beautiful Altai work - only minor defect exposition. But the fact that nowhere on the entrance to the corps of engineers or at the entrance to the main exhibition, neither in cash nor in the lobby or in the locker room, is not it written that the exhibition is held Drevin, brings to nothing all efforts of designers.
But at the entrance to the corps of engineers suspended spectacular brochure exhibition "the trick". The circle has closed.
Upset and Pushkin Museum of fine. Specifically, distressed Museum of personal collections (MLK) in the main building of the Pushkin Museum periodically "loud" exhibition classics by way of thumb "international exchange", and then little has changed since Soviet times. "Come," a collection of the Belgrade Museum, Venetian painting...
But watch the show stops the activities of the "Museum of personal collections", specializing in modern art, very sad.
In September the Museum of personal collections GMII us "delighted" by Uzbek embroidered robes. And without any claim to the concept, at any particular material feed - just robes on hangers. In several rooms. I wonder if in Central Asia put Russian dolls or hats with earflaps, was whether it would be an artifact? Or just a gift shop?..
A front robes, in the second half of the Museum, the exposition bead embroidery (mainly XIX century). Moreover, these beads were hung with a claim on the conceptual - symmetric blocks. Imagine how smiled intelligent designers the Pushkin Museum building "concepts" of mediocre bead embroidery. But the victims of these pastimes eventually become the visitors.
Up to the third floor - the top - few people in the audience reached. And in vain! That there really was something to see. Was held exhibition waldemars Matvejs, author of one of the first manifests of Russian avant-garde of the early twentieth century and, as it turned out, completely underrated artist. He looked great, even on the background of the work of their colleagues in the "Union of youth", as Olga Rozanova, David Burliuk and Vladimir Tatlin.
And further - in the far corner of the upper floor is decorated with magnificent personal halls of Vladimir Weisberg and Alexander Rodchenko. Here would change places with bathrobes Weisberg, and Matvejs with beads...
Then MLK for a few months "seized" the collection of drawings by Henri Matisse from the collection of his faithful companion, Lydia Delektorskaya. Good, very good. Only long. And the new exhibition (watercolors Arthur Fonvizin and Boris Marquevich) began only in mid-March 2003. But "people's path" has the ability to quickly fill - we observe on a sad example of the "House naschokina", where almost half a year was hung graphic art exhibition of Zurab Tsereteli, and at this exhibition activities galleries quietly stood by itself. The audience of the "forgotten road".
As for the exhibition of Arthur Fonvizin, then, in my opinion, the organizers made a serious miscalculation exposition, all works of the artist in several rooms are not in chronological and thematic. In one room - the portraits, in another - landscapes, in the third - circus... the result was emphatic weakest aspect of the work Fonvizin - excessive ornamentation. One objective view of the creative work of this great artist has failed.
Decorative works Fonvizin was emphatic and "aid" hanging in two adjacent rooms dry "surovostilnyh" watercolors Boris Marquevich.
Always a shame when personal exhibition worsen, not improve the image of the viewer about the artist, especially if we are talking about Arthur Fonvizin - wizard world scale. But doubly hurt when a "downgrade" is due to exposure errors.
However, spectators at the exhibition was extremely small. Unhurried exposition of works of the Museum of personal collections GMII tangible leads to "overgrowing popular trails.
Of course, the Pushkin Museum is the Pushkin Museum, and hardly a "people's path" there completely heal even after opening pompous building a personal Museum of Ilya Glazunov, which is being constructed at a record pace. Once Irina Antonova said, the desirability of around GMII "Museum town", that's got: the Roerich Museum, the Museum of the Cathedral of Christ the Savior, Shilov Museum, Museum of Glazunov... Perhaps Ivan Tsvetaev of that environment, and never dreamed of.
I apologize to the readers for being forced to periodically switch to a humorous tone. This elementary defensive reaction against the monstrous Orgy of kitsch and bad taste, which is spreading in Moscow mayor Yuri Luzhkov and his team. And a tragedy "Luzhkov style" - in its ubiquitous penetration. That he, as a virus that infects even quite intelligent people. For example, such as the Director of the Moscow center of arts "Marina Loshak.
It is symbolic (although it is legal?) what private gallery Neglinka uses in its name the word "Moscow", and in a very ambitious context - "Moscow center of arts". The degradation of the exhibition hall has been a long time ago, and recently he has taken the form of complete destruction of cultural expositions and fundamental rejection of the educational effect of exhibitions.
For example, I used to wonder: why Marina Delovna Loshak gradually disclaims any explications? Another year or two ago on the walls necessarily hung the information that the exhibition is held and what are its features. Although page, at least half a page - but all the same information! And recently explication altogether disappeared.
And just recently I was "good people" explained: it is to Marina catalogs to buy!
Well, not "new Russian" I approach? And he really, there's not waste money for the entrance hall on Neglinka taken even with artists and art critics. And the ticket costs a lot - three times more, than, for example, in the Pushkin Museum. And if you want to know what was referring to the organizers, displaying a particular artist, then buy more and directory - but it is much more substantial sum.
And here the example of "the Moscow center of arts" we see the adoration of the Golden calf" inevitably leads to degradation of the spiritual and educational components of the exhibition activity. For logic here is built of iron: the man is still paid for entrance, so look that will show. Why try to make literate hanging, writing on the labels of "extra" information? We write the initials instead of names - and nothing! Will write the name of Alexander Osmerkin through soft sign - and nothing! "New Russians" in the history of art malosveduschi, they will do so!
This artifact - artist "Easterlin" - took place at the last exhibition (February 2003) with an amazing name "New Russian collections. However, this spelling error, I pointed out the administrator and it is probably fixed. But to fix haphazard handing up services paintings by the best artists of the first half of the twentieth century is, of course, impossible. And so it remained hanging on Neglinka of Peter Konchalovsky in chessboard order with the work of Aristarchus Lentulov. And the work of Mikhail Larionov and Basil Christmas and have remained scattered in different parts of the hall.
Exposition of paintings for the exhibition was, thank God, in one number. But Alexander Drevin made an exception, hanging over his painting job his wife Nadezhda Udaltsova. This is probably as a foreign tours: one or two with a lady, still rooms in hotels (in this case - meters of exhibition space) are the same. Very modern and effective" approach.
It was a "very distinguished" in January and February show. But there were earlier.
In the late autumn of 2002 on Neglinka stood in the queue. Aidan Salakhova brought Chagall painting "for sale" and for a week, put them on Neglinka that they "looked the last time." Let each reader himself will give a moral assessment of such a joint project of Marina devovny and Aidan tairovny. Just imagine for a moment: one day the Pushkin Museum, God forbid, will announce that after a week stored in it the works of the Impressionists will be sold. Perhaps all "show last" drawn up for several kilometers, and the crowd will be like fifty years ago at the funeral of Stalin.
A further Neglinka in September an exhibition of Olga Rozanova. Specifically, the compositions of playing cards, a few graphics and paintings to form a complete picture of the artist, it was obviously not enough. And since no explication of the audience was nowhere to learn even the most minimum curriculum vitae Rozanova (and moreover - on what basis was formed for the exhibition), there was a feeling that presents a very mediocre artist. This, sorry, in the exposition is definitely kill the artist.
Well, in the "Golden" time (the New Year) and more than a month (from December 17 to 20 January) in the "Moscow center of arts" were exhibited Russian folk toys. It is "decent" exposition. That's only Hope Babkin forgot to invite. Would sing something daring-folk, plenty of "new Russians" have attracted...
From the personal exhibition of Zurab Tsereteli gallery of his name on Prechistenka, 19 (November-January) nothing particularly new, of course, was not expecting. But the reality has surpassed all expectations. Zurab audience again surprised.
New was not an incredible amount of repetitive paintings, ranked even with the "carpet" hanging (in two-three rows) almost all the huge building on Prechistenka. Fertility Tsereteli-painter and the lack of moderation in Tsereteli-of exposition known. Not surprised and model "Balzac" for France and "Columbus" to America - we have repeatedly seen before. Amazed yard. That's the kind we have not yet seen.
Strictly speaking, this is not the yard. This is a huge hall, covered with glazed metal structures. On the walls of a huge bronze bas-reliefs on biblical themes. "Jesus Christ", "virgin Mary", "the apostles", "saints" (all of them, of course, performed in the iconic plastic). In the middle of the hall is a huge bronze "Yabloko" (executed in constructivist sculpture), which symbolizes the "Apple of sin." And that symbolism was convincing the viewer can go inside the "Apple", sit on special benches and plenty to admire himself "sin" in all the subtleties of its technical performance.
Not for me to give a moral assessment of this "profound" supereklektichnoy composition. We note only that (apparently for greater absurdity) are arranged around the statue of Yuri Luzhkov in a variety of forms and poses... no, No, don't worry, not from the "Kama Sutra". Only with a broom, with a tennis racket, with a football...
The spectacle is really unforgettable. It's not even laughter through tears, tears through the laughter. This Russian art ever seen. Where there is the most courageous performance-nihilists, Russia and the rest of the world! Pathetic attempts...
Here are just wears would then Zurab in the Orthodox sovereign service! 'd say honestly that creates a modern Sots-art and everything would be fine. However, Luzhkov would hurt museums and orders are picked... But the truth can hurt and...
Kidding, kidding. But, on the other hand, what remains in this situation, if not joking? To fall into depression? To stop painting and go back to businessmen? No, no wait, Zurab Tsereteli, Ilya Sergeyevich Glazunov, Alexander Frolov Shilov and others like you. Ahead, sorry, eternity. Will see who and how will remember about you and your work even after a short, very short historical period. Well, for example, in fifty years.
I recently asked his staff to survey public opinion. A representative sample of citizens were invited to speak about the work of Isaac Brodsky and Dmitry Nalbandian. 3 % of the respondents belong to their creative work positively, 5 % - negatively, and 92 % of "difficult to answer" (or mixed Isaac Izrailevich with Joseph Alexandrovich). In other words, forgotten. But Brodsky and Nalbandian also all sorts of titles, powers that they posed and the Museum-apartment they were (and still are).
Do not wait if the same fate, the Lord, your numerous court-formal portraits and statues? And not "sealing" whether closest descendants your miracle museums works of other artists, as happened, for example, with the flat of Isaac Brodsky on the Mykhailivska square in St. Petersburg? Not if this will happen, for example, with remarkable "Burganov-Center" Arbat?
Note that opened for visitors in autumn 2002 "Burganov-Center" is really wonderful. In all seriousness. And the deepest respect deserves someone who has put the Arbat courtyard with dilapidated Soviet building in the middle, made him "the picturesque ruins" and brought all of stylish constructivist galleries. The design of the "Center" flawless.
But when all this magnificence is completely filled with very pretentious and monotonous sculptures of Alexander Burganov is a good beginning is poured into another "tseretelizatsiyu. And what would be nice, for example, came out of this "Museum of modern sculpture". And he could have even had a name of its organizer. And may be even Alexander highlighted a personal room. But why press down all by himself? Why sit on the chamber"?..
It is the same with the gallery Shilova. Art gallery in downtown Moscow with a new building (which is now being built in full swing) - this is, by and large, well! But when it is entirely occupied by one artist... And it is not the owner - municipal gallery! Only the organizer and Director - Alexander Shilov... now, when the whole gallery exclusively occupied by one artist, the effect of such a good beginning is completely reduced to nothing.
Imagine that all the Tretyakov gallery hung with works exclusively Igor Grabar and Ilya Ostroukhov. They in the first years of Soviet power created the state Tretyakov gallery, which is today the leading Russian Museum. And the artists are really beautiful. But as they say, with all due respect...
Fully was ruined, and a good beginning, as show in the Arena, dedicated to the 70th anniversary of the Moscow Union of artists (USDA). Take her to the most "Golden" time - on the New year as the one celebrated in 1962. But for 40 years, much has changed.
Yes, Khrushchev yelled at artists and threatened them uranium mines. I in no case does not have a nostalgia for those times. But why do we never cease to live by the principle "the nose pull - tail stall"? Instead of yelling Nikita Sergeyevich - the silence of the media and the empty rooms (huge crowd of artists, their relatives and friends at the opening, of course, does not count). Instead of selecting office "socialist realism" - clerical personal responsibility labels with the initials instead of names.
And if in 1962 after officials vystavkoma broke even "belyutintsy", who in 2002 broke through the absence of any public response from so unprofessional organized the exhibition? Sorry, from the typical "mass grave"?..
Again, if you got on track, "the worship of the Golden calf" - and it rolled along to the very bottom. Moscow house of artist on Kuznetsky most, 11, USDA recently rebuilt (for the account of tenant), repaired (also not at their own expense) - and where the response from the exhibitions taking place in it? Themselves exhibitions where? No, no longer exists. And on the "Golden" time - New year - there are not exhibits, and souvenir shops.
It is not surprising. He who pays the Piper calls the tune " why art exhibitions businessmen, who invested money in repairs? The logic obtained is simple: if we really, merchants, repaired the hall, then admire, artists, and our, kommersantskie show! For example, the "interior of the Indian Maharaja" (Kuznetsky, 11, January - February 2003).
Vasily A. Bubnov! Artists are well aware, how many square meters of property You, Chairman MOA, rent, and how the proceeds of millions of dollars go nowhere. So at least bring the money in the procedure room of the Union! At least do a competent exhibition activity! Though invite professional art - exhibition curators! A little bit of money to spend on advertising and print directories! It will all pay off with interest...
The voice of one crying in the wilderness? Unfortunately, Yes. That held the creative unions "blind persons" exhibition - "mass graves" - with thousands of anonymous works. For brevity, only list them. Since the summer of 2002 "gravediggers are:
- The Union of artists of Ukraine. Youth exhibition. Central house of artists. Summer 2002;
- Moscow Union of artists (Association of graphic arts and sculpture). Kuznetsk, 11. September 2002;
- Moscow Union of artists (Association poster). Kuznetsk. 11. October 2002;
- The Union of architects of Russia (virus irresponsibility and stationery lack of personal responsibility is penetrated and there). Festival "Zodchestvo". Manege. October 2002;
- Moscow Union of artists. Exhibition "70 years of USDA. Manege. December 2002-January 2003.
Oh, and a few regional exhibitions of creative unions. And end to this "mass graves" is expected. Although...
The exhibition with the pretentious name "Art of Nations" (Central house of artists, December 2002-January 2003) was also waiting for something like this. The scale - thousands and thousands of artists, organized by the international Confederation of unions of artists, uniting the Republican creative unions of the former USSR... How can you not get another "mass grave"?
But did not work! Was normal, high-quality exhibition. And all because the organizers have made minimal additional effort. "Only a" properly allocated exhibition space between the many creative unions and developed a single standard label with the name and artist name, year of birth, city, and exposes the Union.
And the exhibition space by some miracle "saw the light". It was easy to navigate, understand, who is who in today's artistic life in the former USSR, to find your favorite and least favorite artists... what else to demand the exhibition of many thousands of works in various genres?
Of course, there were "distortions", but they are themselves the conscience of the creative unions. For example, the Union of Russian artists exhibited almost exclusively realism, and the exhibition turned out to be quite solid, but "fan", and lover of the very specific. And when the painting as a lump sticking monstrous sculpture Andrei Kovalchuk Ivan the terrible, the room turned branch "Tsereteli art Gallery". However, on the other hand CXP exhibited excellent graphics, including several works recently deceased Victor Duvidova.
But the USDA provided all the flow and direction, but "his own way" - that is generally unsystematic. However, some "system" in this unsystematic was present, but were it not for exhibition activity, and to a desire vystavkoma flatter his superiors. Thus, the exposition of paintings USDA began with... five works of Zurab Tsereteli (as well as the exhibition in honor of the 70th anniversary of the Ministry of agriculture). Other artists have given to hang a maximum of one to two. Even the most "Chairman of the Ministry of agriculture Vasily Bubnov.
Pleased with the unions of artists of Ukraine and Moldova. Especially the last, presenting only whole and aged exhibition space, while preserving the artists of their individuality. This is what happens when the formation of the exposition to come up with soul! It is a pity that the organizers of the exhibition "Art of Nations" were not able to publish a directory and put the explication of the history of each of the creative Union...
And in mid-March in the Central house of artists held "Art-salon" (this time it was called "New generation"). Of course, flawless exposures (especially on such a scale) not happen, and without more "honey spoons" not happened. But about them a little later, but in General "Art-salon" of 2003 were distinguished by a single exhibition style, informative labels and explication, a splendid catalogue of thoughtful General construction exhibition (center - solid "non-profit" large exposure of creative unions, on the perimeter - mixed "market" small galleries).
But, unfortunately, disappointed many, many representatives of the new generation of artists. For example, at the beginning of the exhibition hung the work of students and graduates of the workshops Nikolai Andronov, Andrei Vasnetsov and Pavel Nikonov. And the disciples so carefully reproduced the style of his teachers that help thinking: what will happen when these lovely young people will understand that the Shilov imitate profitable than Nikonov?.. But understand sooner or later. The track "remake", as is known, slippery.
The same can be said about the "youth" exhibition, Union of artists of Russia, where "remake" was interpreted as "traditions of Russian realism". Very poorly acted "new generation" of the St. Petersburg Union. As for the Moscow Union of artists... Half (!) the exposition of the Ministry of agriculture was busy working two sons of the Chairman of the painting section of Victor Glukhov. In this regard, want only to say: dear Victor, Your boys have a long and, like all of us, life is not easy.
A similar situation took place at the stand of the Association of art critics. Alexander Morozov continued the series of shares of "promotion" young daughter of the artist Alexander Sitnikov - Natalia. Painting the latter is quite good, but still hardly deserves such a large and prestigious personal exhibitions.
But back to the Central house of artists. That "Art Salon" 2003 some gallery owners (including one of the organizers of the Salon" Arnold Bialik) attributed to the "new generation" of Alexander Zhytomyr (1907-2003), Alexander Laktionova (1910-1972) and Andrey Marz (1924-2002), we can only regret. If state the exhibition theme, the duty of each of the organizer is to follow this theme, in spite of any personal reasons. But again, due to high exposure culture "Art-Salon" in 2003 was quite successful.
As for "routine" exhibition business, then here CHA stable "keeps his bar". Yes, of course, difficult to conduct a rigorous selection in a constantly moving "conveyor belt" of dozens of exhibits. Yes, there is still tremendous pressure "Vernissage" with nearby embankment and from the nearby underground passage. But it is already difficult to find the exhibition (except those which are the creative unions "for show"), which would not be sitting consultants, where would not be posted comprehensive information about the artists, where the exposition would be done with serious violations.
Dominance salon kitsch, of course, disappointing - but, unfortunately, such is now the art market. Yes, and in this respect CHA still not embankment. Speaking rating category, "6B" in the Central house of the artist will not meet.
In short, CHA as it reflects all the pros and cons of the Russian art market, and reflects them. Open and honest approach, not try on clothes or "national shrines"or "advanced conceptualism.
And today CHA is the only place in Moscow where the masses of people go to see it on contemporary art. Of course, attendance is down, and gallery owners, whose exhibitions are held on the Crimean shaft, recently forced to welcome the "additional bait" for the public - Antiques and fur salons.
It only remains to wish the organizers of the major art exhibitions in the Central house of artists tougher approach to the observance of creative unions and private galleries single exhibition style, and also to prevent them explicit violations "exhibition ethics". We must not forget what cost the rejection of "rigid approach of the exposition" once the main event "art of the year - "Art Manege".
Say: "Art-Manege" sample 2001-2002 turned into a writ of "Art-Salon". Aggravated, because there is no single concept justified the construction of the exhibition space. Aggravated, because less representative. Aggravated because the Central house of artists, unlike the Arena, there are many permanent employees galleries, complementing any "one-off" event. Aggravated, because the arena is not a specialized art, and the atmosphere there, and infrastructure are absolutely different.
The only thing that could save the "Art-Manege" - a piece curatorial approach to the exposition. The approach in 1997-1998 helped this "fair" to become the main event "art of the year. Now... Where the crowd at the opening, and all subsequent days of work? Where is littered with clothes closet? Where the battle for the invitations? Moreover, they say, now, "Art-Manege" will be held twice a year, so he destined to become empty and empty...
One of the organizers of the first "Art-Manege" in my recent question, not whether to invite him to curators, said sadly: "Now "Art-Manege" organizes accounting".
In fairness, we note that in December 2002 the "Art-Manege" and was curator-gallery - Vladimir Ovcharenko. But his "coaching" was expressed only in the decision to exclude from the exhibition... sculpture. Why - God only knows. In the end, the exhibition space was looked lonely and empty.
"Ray of light in the darkness" were two "side" of the exhibition is Irina Starzhenetskaya gallery "Manezh" and "underground sixties and seventies" on the second floor. But both exhibitions were "deaf and blind." Neither explications or decent labels or duty consultants... in One word, "poor relatives" raging salon "Art Manege".
And if you look at the masters "underground" people still came, then the exhibition Starzhenetskaya was completely empty. There were even security - at least in the form of moonlighting as pensioners. And the audience, of course, shy (or even frightened) to enter into such premises. The psychology of "user" to the designers also must be considered.
However, it is possible to speak about accounting psychology of the viewer from the charming Irina meleshkevich (Director of the gallery "Manege"), whose halls are empty even on weekends, when, passing by a door gallery in the Kremlin are huge crowds of people! Would put out a catchy advertising Board would ask young workers to distribute "flyers" - how would enhance the educational effect of the exposure of this beautiful gallery! And now, because even the entrance to the gallery "Manege" free - and in the halls is still empty. Shame...
Empty and Marat Guelman gallery. Empty and in the gallery "Krokin. And in the gallery "Ark". And in the gallery "S. art". And in the exhibition hall "na Solyanke". And in the gallery "Rusarta. And in the gallery "A3". And at the Kuznetsk, 20. Exhibitions are held regularly, and there are very good - as, for example, "Mitki" in "SART e", Meer Akselrod on "Solyanka", Komar and Melamid with Gelman, "Painting without pictures" in the "Ark", Anastasia slepysheva in "A3", Paquito Infante "Krokin".
And coverage of such exhibitions in the media depends on the amount of money from the organizers. Someone has typed only on the article "Culture" or "Painters", someone managed to organize a note in "Izvestia" or in "Moskovsky Komsomolets", and someone had the TV report on the "News of culture" or even "news".
This ugly situation generated by the first years of "wild Russian capitalism", and not going to change for the better. And blame is not only "corrupt" media. Guilty and exhibition designers, unable to make such a public response from their show to the press itself drew attention to them.
Perhaps the only pleasant exception here is the activity of Olga Sviblova in "Moscow house of photography" Ostozhenka, 18. There are always many people. However, media coverage in recent years greatly diminished - apparently Sviblova, "roll out" your room, was to pay less for coverage... But the audience is still very much. And exhibitions are various - from masters of photography of the beginning of XX century to almost honest "hard erotica".
Note that the "Moscow house of photography" is the only gallery in Moscow, where there are modern air-conditioned. It would seem that "middle-class trifle" - a view of any exposition ever held with the keynote here: on the audience think, it's not an "audience for the gallery"and "gallery for the audience".
However, the picture was originally located in more favorable conditions to attract the audience than painting. Still photography is usually more focused on "mass tastes", and even the elite photo perceived audience quite adequately - pictures like "everything is permitted". Here, Olga Sviblova, of course, have a little easier.
And not accidentally, many "conceptual" in Moscow galleries are increasingly moving to the photo - as, for example, "Aidan" or "Krokin. It's a shame, but, unfortunately, it is not surprising. In his time, the author of this article had this experience: at one of its exhibitions, along with painting and presented some photos. The majority (!) spectators saw at the end of the hall photo, went straight there, not even looking at the pictures.
But comparative analysis of the public's perception of photography and traditional fine arts is not included in the topic of this article. So refer to the "exhibition", the exhibits which can not see anyone passing by. "Exhibitions", which is room for the whole of Moscow. Talk about news in the field of monumental art.
In September 2002, an event occurred that received media coverage, is absolutely inadequate to its importance. Zurab Tsereteli in the courtyard of the main building of the Moscow Union of artists at Starosadsky, 5, put a "model of the statue of Saint George, installed in front of the UN building in new York"...
Sorry, but such is called "distortion". Above is the statue Tsereteli is not installed "before"and for the United Nations building, in the "Park of sculpture". And read what is engraved in gold letters on a pedestal "models" on Starosadsky, - it turns out that new York is almost a "statue of Liberty" Zurab Konstantinovich!
However, the fate of this small model unenviable, and above it a sin to laugh. The fact that one of the buildings of the Ministry of agriculture at Starosadsky leased very "lush" restaurant and patio in the evening with George into a "Smoking room" for the appropriate audience. All this would be ridiculous, when would not be so sad...
In the autumn of the same year, Belgian sculptor Olivier Strebelle installed on the "European square" (in front of the Kiev railway station) is very nice monument "Abduction of Europe". Constructivist style, "economical" attitude toward space, good taste, but... Above the metal horns "Zeus-bull" hangs a huge metal structure krasnoluzhskogo former railway bridge, move to the Kiev station, converted into a pedestrian and glazed under the guidance of the architect Yuri Platonov.
Installing over just built the "House music" on the Red hills (architect Yuri Gnedovsky) treble clef Zurab Tsereteli was a sad example of how just one tasteless bronze detail might spoil a huge architectural complex. After all, "Red hills" and so full of eclectic altitude dominants. Glass House music with a hemispherical roof, creating a common "spherical" shape, was designed to mitigate these dominant compositional and justify. But here stood up many-plated "key" - and instead of the ball had another tall dominant.
A lot of noise caused a proposal Yuri Luzhkov returned to Lubyanka square the statue of Dzerzhinsky work Eugene Vuchetich. Of course, in the end, this proposal is "not passed" - but did the mayor of Moscow just went to the deliberate undermining its image? You can't be serious. Most likely, in this case happened about the same thing a couple of years ago: to "mislead" the mayor then suggested Moscow city Council to assign Alexander Shilov the title of honorary citizen of Moscow.
Personally, I have no doubt that "under the guise of" at the Dzerzhinsky was put across anything like that.
The bosses have excellent taste.
The twenty-first century-the baby
Waiting in the art of change
And great work.
Thus, under the poetic nickname "Dobrolubov" wrote the famous Russian art critic (fully this poem was published in the sixth edition of the book "one art rating").
What time is it noise around sculptural complex Alexander Rukavishnikov at Patriarch devoted to Bulgakov! Turn on the TV, open a newspaper - everywhere Alexander Yulianovich. That press conference, the interview, the meeting, the regular meeting of the city planning Commission. What is advertising for twelve "Primus", for a four-meter "Jesus walking on the water", and "Masters" on broken bench!
But let's not forget that the Ponds have a monument to the work of Andrei Krylov Drevin, and around - the characters from the fables of Daniel Mitlyanskaya. And as if in the end neither looked composition Rukavishnikova still Patriarchal turn into different color "sculpture Park". And given the fact that now above the water surface is adorned with hanging uncontrollably bright yellow building "Patriarch" (architect Sergey Tkachenko) with the likeness of "Tatlin tower" at the top, we can only say farewell to the Patriarch.
Dies, another area of our home in Moscow. This area not only survived but has not lost its identity and under Stalin and Khrushchev, and Brezhnev. The building, erected around the pond in the Soviet era, heavy, but urban neutral, and this saved the unique atmosphere of the Patriarch. Saved, while the society and the state does not give Moscow "at the mercy" of Luzhkov and his team.
But the installation of the monument, which Moscow can truly be proud of - the monument to Bulat Okudzhava, Arbat (sculptor Georgy Frangulyan), took place in autumn 2002 quietly. And sorry.
Here is an example when the statue, impeccably executed in a realistic style, can become the pride of the city, and for that, it turns out, does not necessarily represent the Okudzhava in bronze horse and gold-plate him epaulettes and order (the last is not a joke, it did so with the "Bagration" operation Merab Merabishvili on Kutuzov Avenue). It turns out that portray the poet in the short jacket with the collar turned up, leaving an uncertain gait of Arbat gateway, and it will be much more convincing. Remember the words from "Arbatskaya romance":
Even my walk I was not funny,
Still not a patch was patrialis,
From each window, where music is heard,
What me luck opened!
Perhaps, with time opekushinskogo "Pushkin" and Andrew "Gogol" frangulyanovsky "Okudzhava" - the first monument in Moscow, truly lyrical and penetrating into the innermost depths of the poetic image.
But not without a "fly in the ointment". She was the complete absence of indications that this is the monument to Bulat Okudzhava. And if Pushkin and Gogol almost every Russian citizen knows in person since school times, something about Okudzhava not say. Not to be unfounded, and bring the results of a public opinion poll conducted about frangulyanovsky monument: 39 % of Muscovites and 72 % of the "guests" did not know, who is pictured here.
In short, in Moscow was erected another monument "spiritual autism" modern Russian intelligentsia. And the same sites "spiritual autism" became the most expositions of Moscow "elite" of the exhibition halls.
The domination of "new Russian" merchant of kitsch, dressed in Orthodox sovereign service, forced intellectuals twist in a cocoon as a butterfly - autumn frosts.
But after the winter always comes summer. And I still believe that we wait.
© Sergey Zagraevsky