Prof. Dr. S.V. Zagraevsky
Spiritual
autism
Published in Russian: Çàãðàåâñêèé Ñ.Â. Äóõîâíûé àóòèçì.  ñïðàâî÷íèêå «Åäèíûé õóäîæåñòâåííûé ðåéòèíã», âûï.
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.
"Autism (from the Greek. autos - itself), a mental state characterized by a
predominance of
closed inner life and active
suspension from the outside world".
Russian encyclopedic dictionary
1.
For start - a very sad statement: the audience for
contemporary art is not. This fully experienced every gallery owner, every
Museum worker and, ultimately, every artist.
Perhaps, until very sinister
absurdity of this situation has been brought in the new halls of the Tretyakov
gallery on the Crimean Shaft. On the
second floor periodically "loud" exhibition like Briullov. At
the entrance there are queues on "Briullov" floor - the crowd, and
third, "modern" - empty. And yet there is exhibited not only modern
art is a General decline in audience interest and got Malevich and
Petrov-Vodkin, and Pimenov, and Reservoirs. But even if the audience and reach
them, then resist the temptation to run out the door, located on the
"watershed eras - between a group of
thirteen" and earlier works Zlotnikov and Korzheva - capable of very
few.
The same situation is observed in the Central house of
artists. When on the second floor are held every "fur salon" is the
third floor is empty, and in galleries around the "commercial center"
special revival there. But there is something even though it is clear that most
people initially come not to look at the artists and buy the exclusive fur. But The Tretyakov Gallery?
However, even at "rogue Tretyakov - Nesterov,
Starzhenetskaya, Zatulovskaya, Novikov and other great modern masters have, at
least fifty people a day, but look. And the gallery of modern
art in
Of course, there remains the possibility of trading
with works of art, but the word "trade" already implies a significant
reduction in the quality of works. One thing -
gallery-Museum, and quite another - gallery shop. And it's not only that
the gallery appears "inferiority complex" and they wave their hand in
the selection of artists and works - just to sell. It's worse than that, as
against the "gallery-shop" starts to work its own weapons market.
The thing is that during the art boom of the late
eighties - early nineties galleries tried to settle in Prime locations, and
then, of course, a huge rents. Therefore, competition with cheap market on the
Crimean Shaft and the nearby Marina, which is obviously lost, and art is about
the same thing with clothes and electronics: there preponderance of Turkey and
China, and here - the hordes of hacks, "the good hand" and producing
standard painting scenery with the speed of the production line.
That there are such "picture-Wanderers", as
"the Holy Grail", had a number of "cool" offices and
eventually settled in an apartment on the outskirts of
Sometimes you can hear quite logical proposition: God
is with her, with the Crimean embankment and its analogues in other cities, let
them sell the cheap and galleries let them sell good painters work for much
more good money. And then there will be profit, which should be enough and the
rental of the prestigious areas, and on their renovation, and to attract highly
skilled art, and material assistance to the neediest artists...
In theory this is true, but practically it is
impossible. Why? But because not buy the public good painters work for good
money. First, not that after the 1998 crisis, people have to pay, and most
importantly - the public does not know what artists are good and which are bad.
After all, everywhere all the praise! It turns out that all artists are equal. And
then, as they say in advertising washing powder, why pay more?
Besides, from the point of view of the personal
preferences of any customer, for which all artists are equal, the Crimean
embankment offers a choice not worse, and even better than any of the gallery:
want summer landscape - please wish winter - please wish portrait - please, and
even abstract art is present. As "strawberries for
lovers of the exotic."
And imagine this "terror": a man comes to
the gallery, but there is one Natalya Nesterova. Monotonous - some swings, some
unpresentable cyclists, some men, plastered with cards - no heart, dear Central
Russian landscape, and all the gloomy and incomprehensible. And in another
gallery go down, but even there some curls, and signature: Yuri Zlotnikov. That
person thinks: mock me? And right would have cost these two Zlotnikova smear in
the centre of a white sheet penny for stroke, but it is, and the price is
great! Just kidding, I will go to the embankment. Or in a
furniture showroom, where I still picture the color of the bed pick...
All this would be ridiculous, when would not be so
sadly. It is not an absurd fiction, and quite candid stories are absolutely
normal people, which I recently had to lecture on contemporary art. They were
voters, and I am a candidate for Deputy of the
However, Shilov people love, not take away. And at the
sound of the name Glazunov revived. However, Zurab annoying, but then a special
case: the urban environment any more or less decent man is cherished. Recalls,
for example, in his youth as he walked to the girl on the Manezhnaya square,
but now they all have been dug, sculptures've made and boutiques were opened. There
is a certain nostalgia, and in this case it works
against Tsereteli, or, for example, Shemyakin.
As for the "Museum"and not monumental art -
people have no criteria other than "the traditions of Russian
realism". Thank God, in Lavrushinsky lane in the child was taken by almost
all. It turns out that the viewer instinctively grasped as a straw,
reminiscences of childhood.
And for that he still missing?
The press praised all - how much is "customized" published in the
Central newspaper or on TV, we know. That sellers of
paintings extolling any goods in which the buyer is at least delayed for a
second opinion, we also know. Familiar artists or art critics, who can
"tell"is not every viewer.
Hence, there remain serious exhibition, where the idea
is that you can become acquainted with the works of artists and their
biographies, and something for themselves "sort".
This is the idea. Why, in reality, the contemporary
art exhibitions is empty?
2.
But the fact that in reality the vast majority of
exposures did not tell the audience. On nah no guides or directories, or even
instead of the names of the authors are bureaucratic, impersonal initials. In
short, the exhibition "blind".
You can talk about the traditions of the great designers
- Boris R. Wigner or Michael Vsevolod Ivanov, " but
today it is not that a little closer to the heights of their work exposure. Now
forgotten (or rather, are ignored) the most elementary basics, and shows not
even done that in principle, available to first-year student of the art
faculty.
Think very unfortunate incident that occurred at the
beginning of
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."?
Okay, suppose that the exposition suddenly wanted
things to be "uniform" - as in the files of the passport office. But
if you want to imitate the passport office, write to the floor plates of the
artist - in fact there are names which would not understand, citizen wrote a
picture or a citizen. At the exhibition "Women of Russia" though it
is clear that all female, and what to do about the exhibitions, which are
attended Nazarenko YEAR, Steinberg MET, Goltz N.G., Kantor, MK Kaluga or EV?
Repent,
the last of the artist (artist?) I do not know, although I saw him (her?) the
picture on the youth exhibition of
Yes, there artist Central Kaluga E.V. - a fate befalls
all, who takes part in large-scale exhibitions of artists ' Union of Russia,
the Moscow Union of artists and Union of artists of St. Petersburg.
It's time to confess and repent ": namely, I once
put in circulation in relation to such exhibitions term "mass grave".
I apologize, but my words don't refuse: how else can you call a thousand works,
placed in three rows on the walls of the huge halls of the Central house of
artists, where about each Creator is known only that he "Animals E.I. or
I.V. Sorokin"? About those heroes who lie in these mass graves,
and that you know more: military rank, name patronymic, year of birth...
It turns out that a huge crowd, which meets at
exhibitions of creative unions in the Central house of artists, has no relation
to the audience - just one of thousands of participants leads friends and
relatives. People meet, bowing, said the solemn voice, "the cuckoo rooster
praises for what he praises the cuckoo", and then - silence. Viewers with
horror run through "mass graves" and hurry to leave these dark
places.
And for exiting the CHA waiting for them... right,
friendly embankment, where everything and tell, and show and sell. What little
kitsch inside the CHA? Gallery "zero", "Collection
Yakimanka", "Alpenrose", "Elena" is constantly rented
halls, and their smart and friendly owners differ
considerable commercial talent.
And not in vain gallery of Karina shanshieva almost
entirely shifted to the sale of dolls - and what could we do if, for example,
work Nesterova hangs on the wall for years and never sold? One of two things:
either consciously move to kitsch painting scenery and homegrown expressionism,
or completely change the profile of the gallery. And, paradoxically, Karina fellow, that was not afraid to make this choice is not in
favor of izohaltury.
If you fall last Bastion of true art in the Central
house of artists gallery "Les Oreades" and "Harmony of
contrasts" - it will be quite sad, although the situation will not change
fundamentally. Worse still is probably nowhere. Or is there?..
3.
But we got away from the topic of "blind"
exposures. A couple of months ago I sent out a letter that I consider it my
duty to bring this almost completely.
"The
culture Minister of
Dear Sirs!
I appeal to You,
the leaders of major organizations, leading Museum, exhibition and artistic
activities, expressing extreme concern about the loss of contemporary Russian
art of its educational role.
Unfortunately, not all the problems
associated with the unprecedented decline of public interest in the visual
arts, can be explained by "uncivilized market". Not the last role in
this situation is almost universal loss exposure culture.
Remember: more recently, during the
Soviet power, no large-scale exhibition is not done without the directory.
Mandatory settled down excursions, in each room hung detailed explication. Even
apartment exhibition "underground" is actually passed on a similar
scheme, only the "explication" were personal, "trusting"
the relationship between the viewer and artist.
In our time these seemingly
"basics" exposure culture universally ignored. Examples of
"blind" exposure can result set. Especially upsetting is the fact
that the plates to work instead of the name initials - in relation to the
artists is not only clerical personal responsibility, it is elementary lack of
respect. Most often this way build their large exposure creative unions - and
the exhibition of thousands of artists and works are for spectators impersonal,
and, in the end, do not perform their educational role. However, the
"sighted" and the second part of the state Tretyakov gallery
"art of the twentieth century, and new museums, ARTS, and most of the
booths at the "art-salons".
But modern art argues that in an era
when evaluating works of art from the point of view of the academic canons of
art, gave place to semantic-discursive assessment of the work as first language
of self-expression of the artist, the relevance of serious preparation of
exhibitions does not decrease, but increase. For the work should be tracked
personality of the artist (subject-object unity of the artist work), otherwise
the unprepared viewer is reasonable to have the feeling of
"permissiveness" and "egalitarianism" recognized masters
with nimble "marketeers".
Share and personal experience. During
my election campaign in the Moscow city Duma in late 2001, I repeatedly read
the voters lectures on modern Russian art. A non-professional audience of
different age groups reacted negatively to the reproduction Andronov, Zverkova,
Zlotnikov, Kabakov, Nesterova, Nikonov, Popkov, Starzhenetskaya, Yukina and
other great masters, and the arguments of a century ago - "but life is not
so." And only after a more detailed analysis of work and get acquainted
with the biographies of artists became clear to the audience deep psychological
background of their work and attitude changed in a positive way.
Dear Sirs! In connection with the
foregoing offer informal (and possibly formally) to take the following
necessary conditions for any temporary or permanent, exposure in any Museum,
gallery or exhibition hall of the state, municipal or private:
1. Each offered work should have a
sign:
-
at least - with the title of the work, the surname and first name of the
author;
-
at best - with the title of the work, the surname, name, patronymic of
the author and the necessary biographical information. The latter may refer to
several papers.
2. Each exposure should always be:
- at least - consultant;
- as maximum - guide.
3. Each exposition should have:
- at least - wall explication;
- as a maximum - directory.
Note that the additional financial
cost to the organizers of the exposition will be negligible compared to the
enormous increase in educational effect. If the purpose of the exhibition is to
sell papers, and in this case, the adoption of such requirements is a
substantial increase in sales.
To start such prerequisites can be
taken within the competence of each of the organizations leading Museum and
exhibition activities. In the short term and possibly taking on this issue a
joint statement.
The Union of artists ready with
Your prior agreement to carry out organizational work on preparation of such
statements.
I will be glad, if we manage joint efforts of these
necessary conditions to expand, implement and be convinced of the necessity of
their adoption by private galleries.
With respect and best wishes,
The Chairman of the Professional
Union of artists Sergei Zhirinovsky Zagraevsky".
4.
And what was the reaction of those to whom this letter
was addressed?
To say that no, it would be unfair. Almost immediately
sent a response to the Russian Institute of art history in St. Petersburg - its
Director Tatyana Alekseevna Klavina supported our initiative and proposed to
initiate the development of methodical recommendations for exhibition activity.
In fact, apparently, Tatyana Alekseyevna have to
reinvent the wheel, because in Soviet times, these guidelines were. However,
they are now happily sank into the depths of the Ministry's archives, and we
are certainly well invent a Bicycle and develop recommendations. What next? How
to convince all the other art organizations, and the more private galleries,
should they follow?
On this subject I have received quite a typical
response from the Director of the Central house of artist Mikhail Ionovich
Cerchiara, limited to the fact that the initiative is fully supported, Central
house of artists and art historians as much as possible always tried to instill
artists and gallery owners exposition culture. But no real levers of influence
at the CHA not as rooms for rent, and Gale is%8
It is true, and the last Art-Salon in the Central
house of artists is shown: where gallery owners "listen" to the
organizing Committee, hung, and biographies of the artists, and explication. In
my experience, the audience is most delayed in these galleries - and this
confirms the need for "turning the display facing the audience.
But then - silence. No one responded to the letter.
However, I have no doubt that "receipt in the
absence of leverage," sooner or later in some kind of get and from the
Ministry of culture and art organizations. But why the silence of those
directly involved in the work of exposition?
I'm ashamed to say, at first thought that they have no
time or, at least, anyway. And then I called the head of one of the regional
branches of the Union of artists of Russia, with which I have old friendly
relations, and expressed about my writing is something that can be briefly
characterized by folk saying: learn wife soup to cook.
I asked to justify what has been said and heard about
the following: "what are you, Sergei, don't know what the rush to make
alliances exhibition? Who's going to think that writing on the plates? What are
there guides - you don't know what the salary of our employees? What
directories - you don't know how much edition?.."
Can't say that I lost the gift of speech - these
arguments do not stand up to scrutiny, and no reply was sin. Really, really
hard instead of initials to write the name and year of birth of the artist -
which, by the typist's hand fall off to print five extra letters? Is it so hard
to hang on the wall at least a press release, which is printed in any case? Do
not collect money from the artists not to drink, a snack on the opening day, and
the publication of at least a simple, even in black and white directory?..
But I doubt I persuaded my companion, as I heard a
question: why all this, if the exhibition will hold, and all artists will be
happy?
And his words, he was soon matched by action:
conducted a large-scale exhibition of abstract art, which hung on the wall
beside the work of "D. Plavinsky" and "Irina Nakhova. And since
the first picture was two times less than the second and written much less
flashy colors, very few spectators there were quite a reasonable belief that
"Dylanesque" - neki the
And what about "raising role of such exhibition?
However, let's not throw in the creative unions too
large stones. Group exhibition, held even for a "tick" is still an
event that, at least, gives the artist to feel among colleagues, and this is a
kind of "sweetening" of the pills that work with the "mass
graves" are never sold. So we assume that the creative unions hold their
exhibition solely for the amusement of artists - something like a pleasant
"cabal".
But what holds its exhibitions, such as "Moscow
center of arts" on Neglinnaya? Pretty well formed and hung exhibition
"the Jack of diamonds" - and again: Aventuras, RFL, A. Milman... a
legend - Yes, posted. On the history of "Jack of diamonds" head of
the gallery Marina Loshak enough half a page. Briefly, but clearly there?
Well, Aristarchus Lentulov, Robert Falk, Pyotr
Konchalovsky, knows almost everyone. But the past is not so "popular"
Lev Bruni and Adolf Milman people were not stopping - primarily because Ms.
Loshak offered viewers a faceless and asexual beings, identified as "A.
Milman," and "La Bruni. Thank God, at least wrote initials, not after
the last names, and before them - still intelligent person...
And such "blind persons" exposition without
number. Sometimes, though it is absurd that a biography of the artist can not
even look at his personal exhibition! An example is the recent
"personalka" Natella Toidze in the Museum of modern art at Petrovka,
25.
And the last "Art-Manege" (December 2001)
set a sad record: more than half of the "personal" stands had no
biographical or the art of information about artists. There were even some
sverhoriginalnye gallery as "Together", are not worthy of the
audience information about the work of the artist looking at them from the
walls. But Petr Bronfin %E
So there is a rhetorical question: for whom
make such exposure?
It is clear that no one, except the organizers
themselves.
5.
I think that the current state of Russian artistic
culture can be described as spiritual autism.
Reasons for this state of plenty, and you can list
only some of them.
First, the market principle of "every man for
himself" is not able to work in all segments of the market. If we are
talking about the owners of stalls, selling cigarettes and vodka, perhaps. But
as soon as we move to more sophisticated goods - here is no longer possible
without a certain corporate actions directed on formation of "the Guild's
image. Russian financiers and investors have realized this a decade ago, oil -
five years, but commercial galleries are not yet understood and still live on
the wolf's principle: "you today, and I have tomorrow."
Secondly, those organizations, which God himself
commanded to deal with the issues of forming the image of the world of art
among General public - the "old" creative unions - was keen on lease
of premises, getting to them in the inheritance from the USSR artists ' Union,
and forgot about everything. The same applies to the Russian Academy of arts,
although the reasons there's a little different today, all of ARTS works on the
image of only one person (on behalf of Zurab Tsereteli), and all other problems
other artists were "overboard".
Third, we are in a youth too well versed in the words
of the poet Pushkin:
"Shut up, senseless people,
Journeyman, the slave needs, worries!
Obnoxious me thy murmuring bold,
You're a worm of the earth, not the son of heaven,
You would use all its weight
Idol you appreciate Belvedere"...
And forget about the other - the crowd:
"...Are restricted by the club in us vices.
You can, middle loving,
Give us a bold lessons
And we listen to you!"
And here the reader (in this case the viewer) at every
step hears:
"Go away - what's the matter
Poet peace to you?"
Poet, indeed, nothing to the crowd there is not and
cannot be otherwise it ceases to be the Creator himself is transformed into
"the journeyman, the servant of the needs, concerns". But there is
another hero another poem - the bookseller, and had some potential buyers to
work there.
"Not for sale inspiration,
But can the manuscript to sell".
And this requires a certain set of "marketing
activities", which includes the formation of corporate image.
And what is the attitude to this problem of modern
"booksellers" and, therefore, what today this image, we have already
spoken. Image simply don't have the art world in the "out". That is
no longer sold the manuscript (in our case - works of fine art, though the
writer the world problems are the same).
So what to do?
In General, nothing new and nothing special is%
"Only a" drop corporate hubris and try to
purposefully engage the viewer in the artistic life.
And if such an "important task" put yourself
every expositioner, every gallery owner, every journalist who writes about art
then a chance of cure "autism", which today is the world of Russian
art.
Otherwise the situation will
continue to get worse and worse, we will again and again optimistic to state
that "the worse there's nowhere, here will be held a black bar and all,
and then again and again to understand that the band, which we thought was
black, in fact, was white...
© Sergey
Zagraevsky