[Vladimir]

About Moscow artist Gayane Kazhdan now known, perhaps, only a very small circle of connoisseurs or direct participants in the cultural and artistic life of the late 1950's and early 1970's. In this case, resurrecting the memory of her image, people who knew Gayane, tend, rather, to speak about her outrageous bohemian life or household and personal insecurity, rather than enthusiastically talk about her art. Meanwhile, appearing before us as an integral nature, passionate and uncompromising, Kazhdan especially interesting as an artist. Unfortunately, the creative heritage of Guyana is not too lucky: preserved today in Moscow with relatives, friends and admirers of her talent about fifty paintings are unlikely to be the subject of extensive case studies and serious scientific studies. Also annoyingly short life of the artist being pressed her pursuits to the size of little more than just one decade. And, nevertheless, organized by the gallery "G.O.S.T." first solo exhibition Guyana Kazhdan gives appropriate opportunity to focus more intently on her art. It is important to emphasize that the creative development of Guyana is closely linked with the activities of the studio Elia Belutin inscribed one of the most prominent pages in the history of non-domestic art 1950-1960. Standing out among belyutintsev (AP Valyus, Vorobyov, D. Groman, B. Zhutovski, I. Snegur and others) of his bright personality, partly even in unlikeness to other participants in the studio, Kazhdan very consistently and eloquently reveals the basic artistic principles proclaimed its leader. The most important one - is the principle of "contact" in the art, which Belyutin understood as "the transfer of vital human response to a certain quality of material that can irritate and influence, excite, conveying to people that contact with the world, which the artist has experienced." In this sense, painting Guyana only "contact", because it is extremely emotional, expressive, trusting, even confessional. This art, if I may say so, "open" that can tell the audience about the most intimate secrets of his soul. In this setup, "the picture should not be considered a spectator, it should go for it as the ceiling during an earthquake." These words, spoken by the Italian professor Franco Miele about creativity Belutin, quite appropriate for the characteristics of works Guyana Kazhdan. It naturally follows, and is a key quality of the art of Guyana, as autobiographical, which, however, should not be taken literally. It does not imply a creative self-centeredness and self-experience in painting his own image in its various manifestations. Although the main genre in which to work Gayan, this portrait, and often self-portrait, but the deeper meaning and imagery of intonation, concealing veil, at first glance, the chamber "feminine" art, in fact, able to tell us about pain and suffering on a scale not instantaneous human dimension. Thus, a very specific psychological and social cross-section of images turns into a kind of universal spiritual space. Similar quality painting Guyana is largely due to a kind of understanding and processing of the proposed Belyutin to translate "theory of contact" system of codes relating to categories of formal order. For example, in painting the special role played by space, color, texture, weight, surface, etc. By implementing this system in not an abstract or symbolic and symbolic as the most belyutintsev and figurative art, Kazhdan with admirable directness and mastery of large-scale naively depicts the simplified shapes and objects safely allow the actual anatomical and illogic ( "broken" forms, a checkered cat), eliminates illusory depths of space, the maximum pushing it to the periphery of the picture plane, Thicken, sometimes exaggerates color, bold "stepping up" the texture of the surface due to viscous almost sculptural relief smear of paint. So, it turns out that apparently unpretentious, occasionally painted naive romanticism of pictorial images that constitute a Kazhdan Guyana almost chthonic on its degree of internal tension and struggle of the subject area, spots and "linear" van gogovskogo smear, viscous, lifelike, and the inertial mass of colorful picture plane . It works Guyana wholly possess the degree of "significance", which is in accordance with the theory Belutin reports symbolic representational momentum space "and" speaks of the expressive weight of the space in the overall design. As a result, not surprisingly, perhaps, that Gayan Kazhdan from among members of the school that embodies the most openly honest and passionate creative position that Belyutin in his youth had learned from his mentor Lentulova: "Art - this is not a craft, not an aesthetic category and experience of the nightmare of life. Art - is a spiritual communion of people. " In this sense, Kazhdan, belongs entirely to their own time, naturally continues steady in the world and probably the strongest "passive" line in art and literature associated with the names and Dostoyevsky and van Gogh, and Drevin, and Falk, and etc. One of its most oppressive in the mood and dramatic self-portraits depicting a woman's throat would have encased the hands of anonymous character named Gayan tinged with sad irony, "Seliava" - such is life. However, today, when creativity Guyana Kazhdan naturally and rightly be returned to us from historical oblivion, I want to ask a question: can, and not true that Seliava? .. Elena Gribonosova-Grebneva