Prof. Dr. S.V. Zagraevsky
Is there no opposition? There is an opposition!
Published in Russian: Заграевский С.В. Оппозиции нет? Оппозиция есть! В справочнике «Единый художественный рейтинг», вып. 4. М., 2001.
Attention!
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.
1.
Illustration one: 7 December
2000 opened the annual Art Fair "Art Manege", the fifth in a row.
There was a time when the
Art-Manege, led a group of famous Russian art historians, headed by William Meylandom
and Xenia Bohemia, was the main event of the year. In 1999, the construction of the
exposition was given to "farm out" conceptual Alexander Yakut, the
result of which was a frank failure - half-space, not from excessive
conceptualization and a lack of wish to exhibit.
In 2000, the Organizing
Committee Art Manege headed personally Director Manege Stanislas Karakas and
seemingly found some middle. But the "golden"
right?
See. The center of "fair"
has taken quite conceptual design of Vladimir Ovcharenko, "The Art of the
first-hand. But, as we know, can not embrace
the boundless. When a display side by side side
by side classic "Sots Art", an installation in the form of autumn
leaves strewn machines "victory" and a naked man, wrapped in
cellophane and breathing through a straw, it begs the thought that here, too,
tried to find middle ground and satisfy all tastes. But eventually the concept
became eclectic.
However, at least try, and
that's fine. But around this, let the
eclectic, the concept was not Art Manege, but a common art salon. And if in the latter case, the
name itself - salon - somehow justifies the salon and kitsch, the abundance of
such exposures on Art-Arena - a phenomenon unprecedented and very worrying.
Salon tried to smooth out, giving
the appearance of uniformity of exposures, but ultimately exhibit space
"blinded". Tablets with the names of
artists and titles of paintings have been seen through a magnifying glass, and
the names of galleries - a telescope. The most offensive that the uniform
plate was broken heterogeneous ads and biographies of artists, so that a single
exhibition style still did not work.
Fair to say that the picture of
the Pan-Dan "," Zero ", Alla Bulyanskoy, Karina
Shanshieva," Harmony of Contrasts "remained true to themselves, and
certainly their" Corporate Identity ", they broke and a unique"
micro climate "is not lost.
But we are talking about the
Art-Arena as a whole, and he as a whole is clearly not taken place. In one perfume exposition
principle, other furniture, and art third, and no one administrator
multidisciplinary exhibition hall can not be an expert in all areas
simultaneously. Each case requires a narrowly
focused professionals, in this case, art, and their organizing committee
Art-Manege 2000 there was an acute shortage.
So far, the status of the
Art-Arena as the main event of the year turned out to be hopelessly lost. What the audience is invited to
return?
2.
Illustration Two: "thy
name". This exhibition is called an
unimaginable scale and scope, which took place in the CHA on the eve of the new
2001. This refers to the name of Jesus
Christ, although in fact "orthodox" art occupies a relatively small
part of the exhibition. In general, presented a
"regional realism" - the widest coverage of Russian regions (1000
artists, 3000 works), which is not surprising - an exhibition organized by the
Union of Russian Artists.
The exhibition "grand"
rooms on the second floor, where it was brought to "elite" of the Union - painters and sculptors, pleased integrity. Perhaps the only
"puncture"-poveska quite good paintings Zurab Tsereteli behind his
own sculptural portrait of Joseph Brodsky, absolutely opportunistic and
far-fetched. In the end, and painting was not
visible, and sculpture in the exhibition concept does not fit, although the
place of honor at the entrance to the hall.
On the third floor of a two or
three series in the good old principle of "common grave" crowded
graphics, poster and ... muralist. When three rows of hanging
drawings and posters, it is still possible to survive. But when the same manner hang
monumental work (including Nikolai Andronov, Natalia Egorshina, Andrei
Vasnetsov, and many others), turns a sad spectacle. This seems to be on the
conscience of the leaders of the relevant section of SC, did not feel
"exhibit measure".
But especially should talk about
the press conference. Who opened her head CX Russia
Valentin Sidorov in quite soft and sleek form said about the need to preserve
the traditions of Russian realism and chided for avant-garde art, especially in
the tattooed pig, exhibited at the December Art-Arena.
But, as usual, "signal from
above" was immediately accepted for execution. What the post Sidorov said
Academician Viktor Ivanov, smells the worst years of Soviet power. So just terrible when the press
center heard a word about what a new exhibition in the Tretyakov Gallery
(twentieth century) is filled with "lzheiskusstvom" that corrupts the
youth vanguard, erects the cult of sex and violence ... Yes, it is with these words.
Is
another "home"?
Unfortunately, confirmation of
this was the exhibition itself. "Vystavkomovskie"
officials (mostly members of the secretariat SH) thin sensed the mood of
leadership and do not miss the exhibition of any (!) Work directly or indirectly,
reminiscent of something abstract, but the more conceptual. As a result, the exhibition
filled the endless pine Shishkin and weaknesses of urban landscapes. Sculpture is represented better,
but it carefully "emasculated". The exception was amazing "Madonna"
Leonid Berlin, but it is almost an exact copy was installed at the metro
station "Rome", so that seems to be "approved by the
censor."
Dear Viktor Ivanovich Ivanov! But have you thought about the
consequences of your fiery speech? Of course, your own business -
to consider "lzheiskusstvom" Krasnopevtsev Zlotnikov, Plavinskaya
Zvereva, Weisberg, as well as the exposition GTG "XX Century". Yes, and you blame sin on
realism - you have achieved a lot in it, your work are unique and recognizable.
But legally I put young artists
so rigid? Look at the dominance of stamps
in the works of thirty-forty years of the "realists"! Look at the dull-gray tones! Look at all the efforts to write
"as in life! This "like-mindedness of
George Orwell's" could be expected from the show works undergraduates
RAZHVIZ (Academy, led by Ilya Glazunov), but not from the exhibition, designed
to represent the whole range of areas of artistic life.
Russia's power is not realism, van or any other particular
style. Russia's power - in her art,
but it holds and Repin, and Malevich, and Surikov, and Kandinsky. Yes, the art of speculation
should be harmless, and the unfortunate pig tattooed on the Art-Arena - the
same case. But one thing - to fight the
extremes, and more - falsely declare "lzheiskusstvom" everything
except that "ordered the party. We are, as the saying went. Maybe that's enough?
3.
Illustration three: in February,
in the hall at the Kuznetsk bridge, 11, Moscow Union of Artists (USDA) held an
exhibition "Moscow & Muscovites" ("and" it was written
this way, American style).
We already know - if the show
holds MA, expect hundreds of participants, expect thousands of works, hanged
without any system. Such events are among the
artists have long been called the "mass graves", and nothing new to
it was not. But ...
It's
an exhibition, it is good! No, certainly not an
organization - even such a trifle as the writing on the plates of initials
instead of names, completely "blind" viewer. It would seem that is to write a
memorable "Alexander Sitnikov," instead of faceless-office
"Sitnikov AG", but no! How many union of artists for
this fight, and so far in vain ...
But good work, primarily
painting section. "Old style and primitive
socialist realism" represented only one or two works - hundreds! And in the vast majority - a
striking picture, painted in a completely modern style - and abstract and
figurative and expressionistic and realistic ... the graphics section are
poorly represented, but this criticism is not an artist, but "show".
At the exhibition you can see
how in recent years has increased the so-called "average" of the Moscow art. Of course, the art of the
concept of "average" is hardly applicable, but the "Moscow
School of Painting" may well serve as a model for the Russian regions. Dozens of artists of the
European level - will agree, there's something to be!
It is a pity that the exhibition
is no such emphasis was not placed. All generations, all styles, all trends were hung
alternately. An experienced eye could see
that "celebrities" are gathered together: Mikhail Konchalovsky and
Mikhail Ivanov, Mikhail Matorin and Ivan Sorokin, Alexander Sitnikov, and Olga
Bulgakova Zurab Tsereteli, Tair Salakhov ... But there was no overall system or
the more biographies of artists. About excursions even funny to
say. Directory was not and is not
intended.
And, of course, a ghastly
condition of the hall at the Kuznetsk, 11, cut his eyes. Worn parquet - really have no
money for USDA barrel of varnish? Do not burn half the fluorescent
lamp - is it a USDA no money for new? Damp stains on the walls -
really have no money for USDA bucket of latex paint? List of what no money from USDA,
annually receives more than a million dollars for the leased premises
(including the same Kuznetsk, 11), is long, but that's not the questions the
organizers of the exhibition, as the head of the Ministry of Agriculture Vasily
Bubnov.
The Exhibition "Moscow and Muscovites" deserved to hang in a neat place and have a good information
provision. But, unfortunately, was not able
...
4.
Illustration Four: in early
March at Prechistenka, 19, opened mnogotysyachemetrovye new halls of the Russian Academy of Arts (PAX). The old rooms were Prechistenka,
21, and these are close, in a building formerly owned by the military
authorities.
Let us say at once: the honor
and praise to the current president of Arts Zurab Tsereteli, it is a huge
three-storey building not only took away from the military, but also resulted
in perfect order. Renovation, purity, protection,
grandeur ... Whose money is all done - it does not matter (it was argued that
the "personal savings" Zurab, but let this doubt, knowing his close
relations with Moscow authorities.) The important thing is that in Moscow there is a new huge exhibition area and not another restaurant or showroom.
But as soon as we move from the
area in general cultural area arts and education, honor and praise Zurab
Tsereteli end. So far, no more warm words to an
exhibition space has not yet deserve. Yes, it is the area in which
chaotically hung and arranged several thousand items, directly or indirectly
attributable to the works of art.
Already a huge hall on the
ground floor makes the impression that I want to leave immediately, without
avoiding dozens of others. It is difficult to describe in
words, but still try.
The volume of the enormous room
(height in all three floors) architecture is designed in the spirit of
constructivism. On the walls of the middle
column (in the style of Le Corbusier) hang sketches and sketches for frescoes
of Christ the Savior, although under the supervision of Mr. Tsereteli, but in
style, of course, Konstantin Ton. And below are the projects of
modern architects in Moscow, Moscow had already given the many eclectic
steklobetonnyh "new Russian" mansions with turrets, and intending to
bestow Muscovites hundredfold. Just look, for example, the
projects of reconstruction of the Central House of Artists, like whether the
landing stage at the station, or frogs' eggs in the month of April ...
Now imagine what it looks like this
room as a whole, when the architects of the thin drawing loom large,
photorealistic dirty feet of the Apostle Matthew the Evangelist and overhead
glass dome crosses aluminum fittings.
Okay, let's go through the halls
on. The suite of casts from the store
Pushkin, of course, could play an educational role, whether the exhibits are
arranged as in the same GMII - for ages, by category, by country. But when several rooms just
crammed casts - the question arises, why so many of them. And when immediately after the
last replica of a sudden opens exhibition fashion, have little shocked at
first, and then becomes simply ridiculous. Christ Pantocrator with
Byzantine mosaics, executed in Surikov Institute, sad looks on polyethylene
kickback Irina-traps, which, pardon me, and the panel feel ashamed (and cold)
stand.
And deep in the
"trendy" rooms and admiring the artistic revelations famous fashion
designer Slava Zaitsev (the backdrop for his dresses is it the same graphics),
exclaims: misfortune, since his boots will stitch pie ... However, on March 7,
Vyacheslav Zaitsev became corresponding member of Academy of Arts. Hopefully, still not behind
schedule, and for achievements in the field of arts and crafts.
More or less logical that the
two large rooms next given theatrical artists. Leventhal, Kurilko-Ryumin
Messerer and Tyshler ... But why such different level and
style of artists chose to unite under the label of "theatricality" -
is unclear. What at such a disadvantaged
background (in terms of brightness and colors) makes a brilliant sculptures of
Leonid Berlin - at least not clear. And what next to Berlin makes kitsch bronze "Ivan the Terrible" by Andrei Kovalchuk - and does a
mystery.
The second floor strongly
resembles an open one and a half years ago, the Municipal Museum of
Contemporary Art at Petrovka 25. It is not surprising - they have
a mastermind, leader and chief ekspozitsioner, Zurab Tsereteli. And there and then a separate
room for "foreigners", but around randomly hung Korovin, Serov,
Zhukovsky, Repin, apart Konenkov, Golubkina, Ginsburg ... At the same artist in
one room, one painting, the other - two in the third - three ... Any
attempt to systematize fails.
However, in the museum at
Petrovka almost no china in Prechistenka it a lot. And if a lot, so our brilliant
collectors of porcelain Frikh Jara, Danko and Sotnikova can put in a
multi-tiered glass shelving mixed. Much the same! Let stand, as in antique
philistine "rollercoaster" - looks richly tradesmen. But at the very bottom, like a
pan in the oven, tseretelievskie ekspozitsionery put a vase of Vrubel. Majolica - not porcelain looks
rude - so down it! That, they say, we Vrubel that
the Academy did not even finish my studies!
However, there have Prechistenka
and radical difference from the Peter and Paul. In the latest bad before
vanguard - Krasnopevtsev, Plavinsky, Sveshnikov, Brodsky ... And at
Prechistenka almost all the rooms available to academics. Thus it happened that the place
of the "vanguard" took three huge halls, hung with works of the
president and cluttered PAX Tsereteli.
Well, let's do not respect Zurab
viewers. But why he does not respect
himself as an artist? Why is he committed a hanging
his paintings are very good "carpet" - in three rows up to the
ceiling, with no gaps between the pictures? Does he not understand that on
this background, which dazzled the eyes, its already perenagromozhdennye bronze
sculptures look jungle? Model Balzac in France, a model of Columbus to America, model Petra for Moscow ...
Fair to say that the living room
of "cool" of exposition is perfect. Naturally - Zverkov, overgrown
and Salah is a respected, tried to hang their work badly! For sculptors the same situation
- the influential academics Kerbel and nut set "just right", but Alla
Pologova - not a lady, would bear the balance in a checkerboard pattern with
sculptures of Victor Dumanian. And Vera Mukhina died in 1953
and did not find a time when the audience goes along the corridor of Arts and
sees this alternation: Mukhina sculpture - sculpture Vilnius, Mukhina sculpture
- sculpture Vilnius ...
However, had to "move
up" and Obrosova and Salakhova and Zverkovu - in the same prestigious hall
hang pictures ... Edward Drobitsky. True, not the contrary
"supermetrov", but rather late (and therefore irresponsible) Nikolay
Andronov.
However, negative feelings about
all these (and many not mentioned) of gross exposure mistakes disappear on the
third floor. No, not because there is a good
hanging. Because just as eclectic hung
work ... Shilov and Glazunov. It should be figured out -
Shilov hang interspersed with Glazunov! And that was at all funny,
"dilute" several provincial artists. A perceived subtle sense of
humor.
But the experts will laugh, but
what the audience for whom this museum is? What they "will put"
out of this exposure? What will understand?
And if anything, then why are
the organizers?
It is known that in the
exposition of the important not the quantity of work. It is important to their
quality. More importantly, the quality of
the exposition in general, especially when it comes to large-scale exhibition
projects.
But we must not forget the
impression produced by exposure to non-professional audience. If he went out into the street
after seeing something ponders what kind of "spread out on the shelves -
then, labor organizers was not in vain. And it needs to "sort
through" was expanded exhibition itself to it in any way the inspection
there was a clear logic, time, art line. In the end, it is impossible to
represent thousands of paintings and sculptures without the characteristics of
the era, against which created a particular piece!
And yet the result of exposures,
such Prechistenka, 19, deplorable - porridge in your head for the visitors and
their grim conclusion: no, the art - it's not for me ...
5.
Figure Five: March 16, almost
immediately after the opening of new halls at Prechistenka, started regular Art
Salon "CHA-2001". These salons are held each year,
and the word "salon" shows that his task primarily commercial. That said, fair.
But
Fair Fair strife. On this - CHA-2001 - "the
percentage of" truly powerful work was obviously higher than usual. Just look, for example, two
halls, which lent the organizers Anatolia Slepyshevu - it was possible to see
the work and the eighties and nineties, and the most "fresh". In fact, solo exhibition was
held. Quality was hanging on a fine
level - this in CHA, thank God, engaged professionals.
Did not fit in the "trade
fair" and conceptual stands several provincial galleries. They arrived in Moscow not to sell, and exhibit, and for that they, as they say, kowtow.
But the main event of the
Interior in 2001 passed quietly, and few knew what it was - the main thing. The fact that the salon attended
"Creative Union of Artists of Russia", headed by Edward Drobitsky. In itself, this event is
difficult to call - "Creative Union" exhibited two paintings
Obrosova, one - Salakhova, and several works of academicians and their own
functionaries.
Nothing would be special, if not
a speech at the opening of interior Edward Drobitsky, svezheprinyatogo (March
7, 2001, together with Alexander Shilov and Ilya Glazunov) as an active member
of the Russian Academy of Arts.
And the essence of speech was
limited to what Drobitsky no longer dissident. No opposition. No alternative to
state-sponsored Orthodox-official organ, active propagation of the Russian Academy of Arts, led by Tsereteli. Edward N. salon offers visitors
a look at his work, as well as the work of artists "in his circle, and try
to find there the same sort of opposition.
Well, let's not criticize the
academic Drobitsky for the fact that he still think in terms of decades ago,
when the opposition ("anti-Soviet") could be deduced from the
specific works of specific artists, and against them by the KGB could have
taken action.
The situation today turned into
a very different plane, though less tragically did not.
6.
What is going on around these
five pictures - so-called "big events"? What happens where there is just
normal everyday work - artists paint pictures, viewers watching them, gallery
owners to sell? Where there is no sound solemn
speeches and orchestras? What does not appear gray-haired
doctor of art, and nobody tells excitedly about what we have wonderful artists,
gallery owners and are progressive, and what the audience thoughtful? Where not talking about
multimillion euro-repair - the canvas to make money, and with hunger would not
die?
The August 1998 crisis had
almost forgotten, but the wounds they still bleed. However, claims for full
membership of Russia in the "Big Eight" collapsed and the art market.
This happened not once, and
seemingly unnoticed, but remember: another three or four years ago, artists and
galleries selling the work at prices that ensure tolerable existence, and even
prosperity. In any case, well-known and
"untwisted" artists of the highest rating categories can not afford
the standard of living are comparable with Western counterparts in the
profession.
And what now? Sale of paintings or
sculptures more hundred to two hundred dollars - an event, and thousands more -
something staggering. Even "celebrities"
hard, but what about "ordinary" artists?
With the crisis collapsed, and
hope to the western level of artistic materials. Expensive ... From the import of acrylic
paints and canvases smooth artists turned again to the "native" Podolsk butter lumps and canvas with protruding wires. And
what would you do?
Renting apartment, and most live
in the studio? That is what many of the lucky
ones who have a garage - even the beloved "gift" of the Moscow Union
of Artists, or rather, inherited from the Soviet government. Only a few shops, and many
artists, and at the helm of MA grouping Bubnov-Glukhova-Kazan knows who
"give", and who does not. Almost the same situation in most
regional offices of the Union of Russian Artists.
State Order in the Soviet era
was the hope for many artists. But today he is (at least at the
level of Moscow) is actually in the hands of the almighty Zurab Tsereteli, who
personally decides - to whom and how much. Naturally, first of all
"trusted", "our", and the rest ... Well, that's their
problem.
Cruelly, but freakish
"concepts" of Russian business era millennium - just.
For the same
"concepts" art is reduced to the level of the huge supermarket: sold
- well, not sold - badly. That took the 'free art market,
"cheap painting scenery, portraits and nudes, made for the needs of the
solvent to the public.
However, low cost in terms of
art does not necessarily mean low cost in terms of value. And example of this - the
highest achievement of the "market", People's Artist of the USSR
Alexander Shilov. Neither of which works as a
speech can not go, everything is simple: if you like - buy! And if you ask tradesmen:
"Make us a nice" - do it!
The beauty in the notion of the
Shilov mean total black-and lovingly traced the folds on the front dress. By art, of course, nothing to do with it does not, and
about any "phenomenon Shilov" we are not talking. The word "phenomenon"
implies something unique, but in an interview with Ogonyok art Maria Chegodaeva
reasonably noticed that each epoch has its own arts.
But by the same
"merchant" standards on the background of this luxury real art looks
modest. So to say, "no
presentation. How to get money for a carved
gilt frame?
The question arises: do we need
a genuine work of art gilt frame? Shilov and Tsereteli loudly
answered "yes", and on the background of the mighty bass weak
tenorochki lost art, trying to argue about the true artistic value of works of
art whose authors have, for whatever reason, can not afford the gilded frames.
And when a handsome duo
Tsereteli and Shilov pour jingoist arias Glazunov, a layman the impression that
we have on the art market everything is normal. Everything seems to be there,
everything is balanced!
Yes, everyone knows that we have
and the poor artists. And who pretends to be fighting
for their rights? Whoever is talking about it more
than anyone else - Chairman of the Moscow Artists' Union Vasily Bubnov. Renting lease tens of thousands
of meters of property, inherited by the USDA "inherited" from the
Soviet Union, and getting (a conservative estimate) more than 1000000 (one
million) dollars a year, he was on social assistance to the artists ... spends
150 thousand rubles, or about $ 5000 . And instead of listening to the
ranting of Bubnov cynical about the plight of artists, any member of the MOA
listened to with much greater interest in what to do with the remaining money. But
more about that - silence.
Surely, if the Russian economy is
destined to impoverished third world, the efforts of our art masters Tsereteli,
Glazunov, Bubnov, Shilov and the like waiting for a similar fate?
7.
With this we should fight. Every decent person knows that the great
Russian art should not be in the role of public servant-orthodox officialdom. But
to understand a little, we must act.
And the fact that the former "dissident" Edward Drobitsky
turned down the role of the opposition and went to work with the powers that be
"- a serious mistake on his part. Use more harsh words will not. Artists
in fact, thank God, not crucified and did not castigate. Yes, and assigned
Drobitsky rank of Full Member of Russian Academy of Arts has lost its former
luster so that his thirty pieces of silver and some will not name. Even more
difficult is called "price of blood" (Mt 27,6) those 2,000 rubles
(about $ 70) per month, who receive tseretelievskie academicians from the
"generous" state. Just tired Drobitsky play in the opposition, and he
stopped.
Marat Gelman on the role of spiritual opposition rejected a year ago, going to
work closely with the failed Moscow mayor Sergei Kiriyenko, and even topped his
campaign headquarters. Kiriyenko is unlikely to be called the opposition, the
more spiritual. Anyway, as you know, politics - a dirty business.
It is a pity that Marat A., being near the "trough" Kiriyenko,
instantly forgot that it allowed there only because of his past activities in
the art world. As a result, the fictional world actually lost an extraordinary
personality, able to deal with officialdom was not only in words but in deeds. The
last year or two, we see only a shadow Gelman, and it really hurt. However,
each chooses his own way.
In civilized countries an alternative to semi-official organ and kitsch by
independent art critic. But Russian art critics, most of the media space on
your pages, much less air time does not. Many art critics at the highest level
acts as a "critical", only when they are asked to form a display,
write laudatory introductory article in the catalog or to speak at the opening
day. All this for art criticism has only an indirect relationship.
It may seem that the public official organ of spiritual opposition Tsereteli,
Orthodox Black Hundred Glazunov and candy salon Shilov today in Russia.
8.
But in fact the opposition is.
The first confirmation of the fact - the activity of union painters. The fact
that today artists are protected by the Federal Law of № 10-FZ of 01.12.1996
"On Trade Unions, Their Rights and Guarantees" has already helped to
defend the violated rights of many artists. And with shops, and copyright, and
pensions ...
Naturally, the presence of a truly independent art organization raises many
"power and money haves" considerable irritation. But all possible
conflicts in this region clearly shows in the art. 5 of the Law on Trade
Unions, and in articles 29 and 30 is designated the responsibility borne by
those responsible for the obstruction of legitimate trade union activities. Until
the criminal. Therefore, union will fight for the rights of artists, no matter
what "sticks in the wheel" to him or staged.
The second confirmation - an activity rating Centre for Trade Union of Artists.
About the rating has already been said and written much, and should not be
repeated. The main thing that lay viewers got a clear and intuitive tool for
art criticism. A history of art can not be bought. Art critic, unfortunately,
it is possible (and not one), but over art studies - science - no power, no
State.
A spiritual alternative tseretelievskoy Academy of Arts - Academy art critics,
led by Anatoly Kantor, Honoured Artist of Russia, one of the largest Russian
art. Aims of the Academy are detailed in the Charter, which is a document that
is open to the public, and in this article makes sense to the main, strategic
objective: to fight for itself the right of criticism to exist.
Yes, exactly: the struggle for existence. Recently had to hear one sentence is
doubly terrible because it was uttered by the administrator of the Moscow
Center of Arts "on Neglinnaia - galleries, until recently renowned for
competent work exposure and a high level exhibitions. When asked why art is not
a free entrance to the exhibition, the answer was: "We are free only to
let those who write for us!"
That's how many commercial galleries currently estimated art! E-mail is not for
art, but for "us" - and save (and from the standpoint of a merchant
saved money - money earned) 25 rubles!
Of course, it is not in the "Moscow Center for the Arts (artists,
by the way, on Neglinka have even worse - do not let them free under any
circumstances). Much sadder is that most people now accept the Russian art
criticism in much the same: someone sold for 25 rubles, someone
"worth" more expensive ...
But now, critics, professional ethics which does not allow write "for
someone to" come together in a truly independent of the Academy of art
criticism. This is especially true for those who do not live in Moscow or St. Petersburg, and then turned after the collapse of the Soviet Union outside
of Russia.
While the Academy will be able to prove the artistic world that the true
history of art is not dead and not sell - then starts to listen to art critics
and audiences. And the authorities the very least, but still have to take into
account the opinion of the potential electorate.
And only then did the merchant "make us beautiful" give way to
genuine art. And only then it will be easier for real artists.
And it is worth fighting for. And we will fight.
It is a pity that the situation today was such that we have to fight for
such a seemingly obvious things. It is doubly unfortunate that the struggle for
such obvious things puts us in a position of opposition. But what to do if the
"power and money haves" forget that the future of Russia - for the Spirit, not the speculators?
Moscow, 2001.
© Sergey Zagraevsky