talk about "modern art" nowadays is very active. Discussions on this subject can be seen on television, the Internet, read in a magazine. Visiting opening one after the other exhibitions in the most fashionable locations in Moscow, as a winery, art-Arrow or territory "Bahmetevskogo bus depot, becoming an integral part of life beau monde. That being said, it is very important. But if contemporary art can be called topical?
Since the mid 1980's. began building the art market, there are many art galleries, and in 1990-ies. born and a new term - the actual art. It is already working on the viewer and a priori is in dialogue with him, not expecting the eternal storage in the museum's storerooms. It denies the language of the old masters and constantly creates new artistic language.
The history of art of XX century. begins and develops in the context of the denial, rejection, replacement and search forms. At the beginning of XX century. emergence of such trends as the avant-garde, futurism, Rayonism, cubism, and other "isms" completely changes the awareness of the creative role of the artist. But if the first half of XX century. - A history of denial and the search for new, by the end of the century the artist starts playing with already found forms and traditions, and so is born an era of postmodernism. And by the beginning of the XXI century. The situation is such that, in the words of S. Averintsev, "in the cultural heritage of humanity all the words already spoken, all terms invented.
Misunderstood avant-garde contemporaries, then go underground and open a new round of nonconformists. They create criticized, ridiculed and opposed to times of crisis art, it can be directed to the political or public reaction. The basis of creativity and artistic process lies in the ideology of non-conformists of their art, as it primarily responds to the question "what" and not targeted for sale (it's not a goal in itself).
"Other Art" (or actual), different from the sunlit joy of smiling faces with cloths of social realism, appears in 1960. Non-conformist artists working in the underground, exhibited at the House concert for his narrow circle of connoisseurs. Now their products were included in the permanent exhibition of the XX century. Tretyakov Gallery, and is considered a model of art ideas, intertext and cultural quotations.
If we compare the conditions in which the artist created the 1980's. and now an artist, then the first one was much more freedom in choosing topics. Any new emerging phenomenon has more creative potential than that of its subsequent imitators. But we must not forget that art is in continuous development, in search of new forms and ideas.
Today lexicon contemporary art is constantly updated with new terms. They appear and new topics, sometimes topical and campaign opposing the "art of the old forms." Then the question is relevant: how creative artists of the late XX - early XXI centuries. can be claimed in the first place our art market.
Because of the surface treatment of the subject image art can lose yourself in the campaign slogans and software problems. It may lose its ideological commitment to the pursuit of a quick caricature of modern society. Many will call it a relevant, because it "exposes", but how and what is not so important.
Once the artist ceases to assert his creative independence, he immediately poured into the commercial stream, subject to public taste, taste of the market and political settings. His work is registered, and art is irrelevant. One thing is for sure - changing lifestyles, changing and way of functioning and the degree of relevance of art art market. In non-conformist artists had little opportunity to sell their masterpieces.
In the so-called "get-togethers" 90-ies. the problem of sale was not considered, I think it is simply absent.
In shops and apartments in other cities and unsettled artists born new life, there was a creative process. This artistic environment, where all the work and communicate. Squat artists seventies-eighties there is nothing like an analogue Center for Contemporary Art, where exhibitions, performances and incredible experiments are conducted.
Difference between the "Parties" and our contemporary art that the first she is a way of self-realization of artistic life, she did not need the market, it is not producing the goods! It produced the actual art, which talked about the problems and ideas, stirring a society and the artists themselves. Then it went inside - sore. In the example, total installation by Ilya Kabakov's "flown away into space."
In the words of Russia's curator, editor of "Art Journal" Viktor Misiano "Parties" are not reducible to a simple underground. This is not just a bohemian environment, designed to resist the pressure of the market and social order. This is a creative environment with their absolute values, not having anything to do with commerce and art-market in today's his understanding. The main condition of squats or "hangouts" was the creative freedom, communication and "Spaces meynstrimovsogo experiment." There, under one roof were united artists' studios, drama studios, improvised galleries, cafes, discos. This is a Russian version of modern art, "not tainted" no art market in its European scale, not trendiness.
In the second half of 1990 it seemed that squats are disappearing, and tusovka loses its momentum of development, moved into the gallery, where the concept is gradually being replaced by the notion hangouts art market. Experts estimate the process differently. There was a clear separation of modern art to a commercial (usually means irrelevant) and a non-profit (actual).
Target curators of contemporary art to attract the attention of viewers to relevant, interesting, socially-meaningful art. It is also the curator is concerned that the need to show our art to the European level. Combine these two goals is not always possible.
The laws of the market are the same everywhere - for sale that claimed. Interest in the art of XX century has now reached its climax, as can be judged on sale at auction Sotheby's paintings of Malevich for $ 60 million. This is the question of what is now fashionable. But in general, the avant-garde can not be demanded in the same way as art, which continues the tradition of Impressionist paintings or classical painting (academic landscape, still life).
Will always be artists who support this style of painting and their works, not the fact that the poor will be included in the exhibitions. They become a small commercial component of the exhibition, which should be recouped, a profit - the organizers and facilitators should take into account the tastes of potential buyers.
The share of so-called commercial art (that is sold, but not always avant-garde) is an important factor in the successful sale of art-market. If the work can not be called relevant, it does not does not mean that it is classified as commercial, tasteless, or custom, as well as its orientation irrelevant - it is a matter of artistic style of the author.
In the gallery "Ark" was a whole exhibition devoted to "irrelevant art" artists Pentecostals and sixties, continued to feature the line Shishkin, Serov, and Repin. The key word in the whole concept of the exhibition was the "irrelevance", because these artists have worked at the time of flowering of abstraction in the West and in the eyes of Western viewers of the Soviet artists were completely irrelevant. They are clearly lagging behind the modern trends. Another thing is that our artists could not know about it in terms of Soviet reality, the 1950's. We also have a lot of successful artists working in the style of old masters. It is irrelevant art does not suggest that it is commercial, not at all. But it sells well because it has good quality, merit and has recognizability.
Not bad, and sold some works of famous masters of modern art, big names are always buying.
Never mind that it is sold, most importantly, how to evaluate the goods: Dubosarskiy and Vinogradov for $ 60 000, Ilya Kabakov, for $ 350 000 or Kazimir Malevich, bought at the 'Sotheby's' for $ 60 million
Of course for the modern artist is a big success. Unlike the sixties, they gain wide popularity among the masses, the popularity and the ability to live off their creativity. Paradox: the market develops, the art of commercialized, and the artist lives in the best of times, when everyone knows it, and he earns well on their masterpieces. However, with this market dictates the artist increasingly stringent conditions, while screening out the most innovative and yet unfamiliar ideas and their forms!
Make-selling, that is commercial, the actual art of young and little-known artists of our market is not very successful. Reasons can be many, chief among them - question of the organization. The fact is that the process for the future of the works comply with the relevant authorities. Museums should not only store already recognized masterpieces, but also buy the product and to organize exhibitions of new artists. An important step in this direction - a new exhibition of art of XX century in the State Tretyakov Gallery. This step is recognition, initiation to the eternal. Another question, if it saves art from the further commercialization?
Of course, the museum and to this day retains its function of preserving and promoting, the exhibition should inculcate good taste and create conditions for meeting the viewer with the product, even union. Do not do this without the help of curators, who are building the track throughout the exhibition, conceptualize it. Proper presentation of the material is very important in the exhibitions. But, according to some experts, our museums of contemporary art is not zhaluyut, disagreements arise within the museums themselves. And artists do not always trust the curators and the exhibition itself make its own way.
Disintegrates the unity, the viewer is often left wondering, you can not recreate that art world "absolute values", which is so carefully lined up the avant-garde artists, nonconformists and modern authors. And without unity it is impossible to imagine and proper development of the art market. Spectators need to educate, explain, learn to understand!
Tastes customers fairly easy to predict, moreover, they can educate and guide. Many experts believe that this is one of the main objectives of gallery owners and without their help is indispensable, and the art market, especially given its growth and development.
Compare the situation of free hangouts 1980. and an established system of press-2000-ies. The scale and extent of razreklamirovannosti exhibitions, the growing popularity of artists not only for a narrow circle of connoisseurs has led to increased demand for art-product. Have any work at home the same nonconformist is a sign of good taste, it is to keep pace with the times. The question is, in a plus or a minus is for art.
The market will always pursue their own interests and profits, but he can make the art relevant and interesting to the called-product. Some perceive it to cheer, others believe that it leads to a loss of artistic and ideological value of works.
Indeed, many fear the "desperate commercialization" of art, after him was awakened great interest. There is much debate and discourse of art, very active in advertising, not to mention opening up one after another show contemporary art. And this is already an integral part of life - just fashionable.
At the annual exhibition of young and progressive art "Art-Moscow", considered to be analogous to our domestic art market has always tried to combine the two main tasks - sales and promotion. In 2000, the organizers of "Art-Moscow" remember that strange art we must be able to bring to Russia the viewer, to tell about it as much as possible. After thought-out exposition and interesting comments often help to reveal the essence of the idea of the author. That was the work of "Art-Moscow" as "a PR project.
In public debates about art in the first exhibition "Art-Moscow", was born the belief that contemporary art, opened in the artistic form of topical problems of today's society, we must promote and advocate.
Yes, the audience is not yet accustomed to the outrageous and shock - the main methods of exposure, but that they offer artists "treat" our society. The main method of this art - to draw attention to all the bad things in this world with the help of provocation. Emphasis has been placed by critics that the works of contemporary authors must be able to understand and be able to explain. Every whether the author is well aware that he did, everyone I have enough internal culture that his work was entirely worthy of the rank of art? What is it doing? The criterion of art should be defined only by the fact that the work of the author is obliged to carry people something raises it from the animal state. An important question arises art market: how to separate art from its antipode - vulgarity?
Another utopia of the XXI century was that we wanted to forget about the mechanisms of the market, take pure propaganda, but gradually gave way to enthusiasm for commerce. Why? According to many contemporary critics, artists, so long valued by the public finally became recognized, and most importantly, pokupaemy mere spectator and no longer create art of an unpleasant, burning, and intelligent. Pretty hard estimate. But this phenomenon is observed.
Well-known art historian and ideologue of the art of XX century First Lady Tar said that "the modern market dictates the primacy of art over the art itself, the market is normal, but the art market situation is not limited. Now almost the entire artistic process of shopping centers began to live by this principle.
The main question: which product offers the market in Russia? At a client it is focused? Offering a nice wrapper on the candy, the market is counting on a quick reaction of the public. How to stop propaganda uninteresting, kitsch, commercial things, how to protect them from the public taste?
The challenge harmonious combination of market and artistic interest is borne by the organizers of the exhibition, museum staff, gallery owners and artists. This should be a united ideological alliance. It was in this capacity themselves to present the "Art-Moscow". The idea of the reports of art to the masses is not so utopian. The only while in Russia it is not very feasible. According to the eminent art historian and art critic Yevgeny Barabanov, in Russia there is no system of communication.
We say that contemporary art is becoming fashionable, he gladly collect, prices are rising. But the problem is that this is unintelligible! If the vanguard of the 1910-ies adequately comprehended, his study and write a monograph about him, the nonconformist art of the 1960's has seen just as a fashion plate on the wall. Inability to comprehend leads to an increase kitsch and irrelevant, the relegation of ideas.
Society is confused, because few people know how to properly evaluate contemporary art! Besides specialists themselves do not always understand it, do not recognize and are not objective. As said Yevgeny Barabanov, that communication took place, need to work together museums, critics, galleries and publishers. Should be promoted not just a fashionable trend, but a layer of artistic life, because "we were not worse."
Disputes are many, difficult to assess the legacy of the art of XX century. On the one hand, denied the vanguard of "museum" and "what was once suggested as the vanguard of protest against the commercialization of art, civilization was once owned and exploited for profit" - this is the verdict of Maxim Kantor, one of the most popular in the world of Russian artists.
Summing up, we can say that the domestic market develops, goes to the world position, but remains an unsolved problem of presentation and organization of art projects. The challenge to attract inexperienced spectator to the artistic phenomenon of modern art in Russia is very, pardon the tautology is relevant. Must be a balance: on the one hand to expand the art market, the other not to lose this market for itself the relevance, significance of art. And most importantly, understanding how it is expressed.
Referring to the views of some critics, wanted to get closer to objective reality. Yes, there is progress, the output of artists from the shadow of the Iron Curtain, because they know our artists and buy it abroad! Reaction - standing ovation and applause from some, no way out from others.
The question remains open. Market relations hang art itself as an act of creativity and creative expression of individuality, or in the XXI century art itself is no more?
http://artgals.info/polemika/notes/a...-kalashnikova/
02.09.2009, 19:16
Russia. Art Market.
Древовидный вид
Похожие темы