The forecast for the next decade by Catherine Tar

[fross]

Catherine Tar · 27/12/2010
2021 Happy New Year, dear artists, twitter and yutyuba!

The end of the year has brought many of us have nostalgic feelings. It is known that in 2014 the former site Vinzavod was transformed into giperelitny central Moscow airport Winzavod (advertising slogan - "knock out the cork!"), And in the stripping of Moscow from unwanted social elements under the runway has been given
nearby territory of the former Kursk railway station. But for two days in late December 2020 of the airport was again meeting galleries - here once again took an attempt to hold an international fair of contemporary art in Moscow. Everyone was very nice to walk the old ways, but it seems, SpiritMoscow is disappointing and gallery owners share the fate of the previous eleven projects, fairs, which was not continued, despite the excellent organization and great interest to them. Among them, we recall, were so ambitious as HipMoscow at the racetrack in 2011, ConsuMoscow in GUM in 2015, HolyMoscow Christ the Savior Cathedral in 2016 and a small but interesting alternative MausoMoscow in the Mausoleum of Lenin in the Jubilee 2017 meters. This year, even the most successful Moscow gallery - "Garage" - sold out against the few. This is a mystery, given that the "Art-Moscow", which is still in 2011, moved its operations overseas and has opened branches Art Moskva Miami Beach, Art Moskva Porto Cervo and Art Moskva Forte dei Marmi, is thriving. Perhaps the fact that the "Art-Moscow" has managed to establish its own production in the field, despite the fact that the labor force in Miami and Italy are not cheap, there are expert in manufacturing high quality products of modern art major brands. Production has gone particularly well since then, as a factory in Sardinia has acquired its own art school, headed by an experienced Stanislav Shuripa.

The main theme of this year related to the expectation of a regular program of the Moscow Biennale, which in 2021 will, as always in recent years, the Grand Kremlin Palace. For the first time in the history of the Moscow Biennale of it will cook Russian curator - 63-year-old Viktor Misiano. This will be the youngest curator of the Moscow Biennale of the past ten years. He has not yet announced his curatorial concept, but there are rumors that he is interested in a topic which he formulates as "subversive subversive." Behind this name hides the desire of the curator boldly advance into the territory of the far-right, reactionary political ideas, to discover there the potential to undermine existing systems. Guide Biennale has no objection to this concept, as it will certainly meet understanding of how the general public, and among elites.

In general, the Moscow Biennale in the past few years has put his position, especially since gained popularity Moscow YouTube Biennale, which in 2018 initiated the famous sculptor of the academic wing Anatoly Osmolovskii. Breaking with the practice of installing symbolic monuments (in the last ten years he has put them in about forty different cities of Russia and Europe, the most representative - in Skolkovo and Brussels), he suddenly made a new turn in his career and said that "cutting edge and most risky Art today - no longer market or semi-official and popular culture, so I should be there. "

YouTube Biennale, which runs the network (its theoretical discussion program called Twitter Symposium), Moscow was serious competition, but she managed to regain popularity after abandoned costly practice of transporting products. Now, after closing the Biennale works on it sold for parts - at affordable price to buy "to cut" an appealing piece of painting or piece installation (some of them may even be useful in everyday life). All that has not found a buyer finds a destroyer: for a small fee viewers can participate in the process of destroying the works. Crowbars, picks, scissors and cigarette lighters are free of charge. Armageddon-party became the most popular among Moscow's youth employment. In this sense, art has a certain advantage over YouTube - it can be destroyed, that gives the viewer a great cathartic experience.

In terms of artistic policy of the most discussed event of the year was the return of the church building so-called House on the Embankment in Moscow. This is made possible, firstly, after the preventive union in 2016, all existing religions in Russia under the auspices of the Russian Orthodox Church (in order to avoid religious strife) and, secondly, after a legislative recognition of the communist ideology a form of Christian heresy, which paved the way to return to the rightful bearer of the Communist ownership of Russian identity. A small unassuming building houses on the waterfront would be used for the needs of the Church and, of course, society - at one of the floors will house parking fee for which will be by Moscow standards, low (in the parking place will be granted upon presentation of a document on churching), and a former Variety Theater is theater of religious art, which will show their work (in a slide show), many Russian artists, in part - graduates of the department of spiritual photography of the Moscow School of Photography and Multimedia of Alexander Rodchenko.

Primarily aesthetic event last year was the exhibition of the 60 th anniversary of the national classics Dmitry Gutova. Gutov showed new series of paintings, accompanied, as is typical for him from time immemorial, wrought reliefs with reproduction of manuscripts of his heroes: "Portraits of microbiologists," "Portraits of psychoanalysts and especially provocative" Portraits of the researchers, Sumerian-Akkadian writing ". Experts have started talking about what Gutov reached a new level of "critical tautology, uncompromisingly reflects the political and social reality of our days.

The most influential figures of the Russian art abroad today are undoubtedly the leaders of the School of Russian roulette in the art department of Bart's College (USA), Oleg Vorotnikov and Leonid Nikolayev, formerly known as the group "War". This institution was created specially for them back in 2015. Each year they prepare a ten to twenty students who specialize in this type of performance that has deep roots in Russian culture. One or two students are usually able to adequately perform the task. Unfortunately, collar and Mykolaiv unable to come to Russia for a lecture - against them is still a criminal case on charges of inciting hatred and insulting the artistic good taste (this article was, as we know, was introduced in the Penal Code at the insistence of the public).

Most unjustly overlooked, the exhibition has become the exposition at the Museum National Center for Contemporary Art, where this year will finish sixth floor of the sixteen. On the fifth floor of the museum's director Arseniy Jiliaev showed the pilot project attempts to memories of the era of "special emergency rule" (2011-2015), which was introduced after the dramatic events of late 2010 to combat the danger of nationalism, extremism and excesses of modernization, then admitted the irresponsible leadership of the country . Curator Jiliaev with a visible effort recalls that, as society is already happily forgotten. As he reconstructs, in the years of special treatment and the temporary reduction of the civil rights of artists developed a completely new direction - "a conceptual activism" (compilation of virtual plans unworkable for political reasons, shares), Aesopian minimalism "(decorative geometric work with a well-hidden inside decor protest message) and political contemplation "(bezobektnoe art, which makes our total legal impunity).

Product of the first half of 2010-x, which Zhilyaeva found in the archives, clearly indicate that the external constraints have always gone for the benefit of Russian art. Today, at the end
2020-th, when extremism of any kind of Russian political, social and artistic life legally and practically eliminated when a new national idea was the slogan of "positive platitudes" and "more haste, less speed", we were surprised to discover that in the past modern art had some (we are not yet fully clear) attitude towards the concept of "modernization." Perhaps the art of the next decade will careful critical study of this tradition.

AFtar nastaeval for publication in the old TEXT arFagraFii to riFormy 2015.