This idea is so not new ...
But it is still anyone anything, unfortunately, not taught.

Added after 12 minutes
When it was still NTV (ie in 1990), they made a movie about a Russian painter (at the time she was probably 60 years old, last name, of course, can not remember).
She lived in Tashkent, was born there, parents are buried there, her two-bedroom apartment was - in short, an ordinary life. And then, literally overnight, she had to drop everything and leave. Nothing to remove it failed, left, one can say what was. She somehow lodged somewhere in the Russian provinces, it seems (certainly not in a big city). Now I do not remember the details, I will tell you that remember.
NTV on the money they brought it to Tashkent, as She had no money at all. I (and artist) hit donkeys on the streets of Tashkent, women with covered faces, dirty kids in some ditches. A feeling that the city for several years simply degraded. I really hope that now after all is not so. I am in Tashkent was not, but I always thought he was very handsome.
Came to the apartment: the feeling is that residents simply went into the store and return soon. Everything in its place, but everything is closed awfully dusty rags, sheets - for a few years, dust has accumulated. She began to reveal dozens of paintings - bright, very beautiful. For the flat all the time watched the neighbors to avoid being requisitioned and nothing there is not stolen.
So she sat, just heartbroken, in these four walls, where all life was held, where all her things and take their opportunities no no. And ended up as something quite grim. I really hope that NTV helped her at least something there to take, it just has not been shown. Scary movie left an impression, how many years have passed, and I remember.

From Tashkent, as I remember, speaking residents forcibly displacing none.

Cyril , you are a person literate and probably read " Hurramabad . Just do not to me about the difference between Tajikistan and Uzbekistan . It certainly is, but not for us
In general, your very expression " forced ... do not crowd out " already says a lot . Or by force ( if it is not crowding out ) or displacement ( if it does not force ) . There was something, and more . Who got that too

fabosch, I have friends in Tashkent did not leave in time and are now living.
:)

Cyril particular case does not negate the fact that people were leaving in large numbers and many were on a real basis.

Some, perhaps, quite in vain.
Go on guess.
Painfully high price

Leaving not because of oppression, I think, but because of the unwillingness of becoming a national minority in an independent state.

Yes, and now in Uzbekistan Russian is 5%.

That is because steel is Russian national minority in the Baltics , and did not run in this kolochestve in which fled from Central Asia . And we understand that in addition to the standard of living is very different, the basic role played fear . Predict what will happen in Central Asia , and it is much harder than in the Baltics .
PS. Eugene, sorry for offtopic

Perhaps it is. I am now, while she read , remembered one more grim details of the film : the neighbors , the Uzbeks , who literally watches the apartment for a few years , said that beyond them , it most likely will not be successful since the apartment is very strongly interested and officials , and some gloomy personality ( their words convey , but the meaning , alas , is clear ) .

Uzbekistan is preparing to SMS-revolution
 Mass demonstrations in the Middle East, starting with an active campaign by promoting social networks and via SMS, forced the Uzbek authorities to take preventive action against cellular operators, according to RBC daily ".
"Socio-political reality of the CIS countries has in common with the Arab Republic of Maghreb (Tunisia and Algeria): a monstrous corruption, nepotism, cronyism power, unemployment, long-standing rule of one leader or dynasty, and, most importantly, the presence of a factor of Islamic fundamentalism" - indicates the expert. In his view, the repetition of the Egyptian-Tunisian scenario most probably in the first place in Tajikistan, Azerbaijan and Uzbekistan.

Read more: http://top.rbc.ru/politics/15/03/2011/559461.shtml

Added after 4 minutes 45 minutes
Svetlana Gorshenin AVANGARD, stopped on the run ..."( full article).

Avangard stopped on the run "or" logic of internal development?
Central Asia brought together all those with whom today is usually associated notion of the Central Asian avant-garde, namely A. Volkov, A. Nikolaev (Usto-Mumin), V. Ufimtseva, M. Kurzina, Benkov, V. Markov, E. Korowai, Y . Tansykbaev, O. Tatevosyan and others, little more than a decade - since the early 20's to early 30's. our century. Reasons privedschie here is so different in scale talent and value set of artists, were very different. Someone adventurous character by searching here vsegdavshnyuyu spice and tartness distant unknown country, the East in general, while others tried to resurrect the fabulous images associated with childhood memories, others were sent here on a mandate TurkTsIKa for "strengthening and development of arts and culture in Central Asia"From Moscow, Leningrad, Kiev, Siberia, they brought with them irreconcilable maximalism beliefs and those beautiful principles that defined the unique face of the Central Asian avant-garde.delights and expressionist experimentation. [SPOILER] The situation in Central Asia, where until the middle of last century, the tradition of easel painting as such, in principle, no, but at the beginning of this century completely dominated dull monotony of ethnographic orientilizma soundly at provincial level, suddenly exploded in a fantastic fireworks and zaburlila incredible "sverhgustotoy" and " Super Intensive "the most striking paintings of individuals and monometodology.
The reason for this is not a smaller-scale gifts and the lack of ability to the end to bring the theoretical development of the creative principles - the Central Asian avant-garde has long been regarded by researchers as a full-fledged component of the phenomenon of Russian avant-garde. Case and not in the rejection of the main ideas of the utopian avant-garde, seeking to rebuild deystvtitelnost means of art. "Avant-garde citizenship" Turkestan was filled with artists - among them there was not one that restricts itself purely aesthetic problems. Reasons, and there were a few lies in a fundamentally different plane.
Firstly, all the artists who gathered in Uzbekistan to the early 30's. Were avant-garde "second generation". Most of them were disciples of the "nisprovergateley framework" with which the birth of the Russian avant-garde and the first attempts to reform the academic system of art.
Before them, no task was a break with all previous experiences and the rejection of the prevailing picturesque tradition. This has already been done in the teens Malevich, P. Filonov, M. Chagall, Kandinsky, Mikhail Larionov, Natalia Goncharova, A. Lentulov. They have also been developed and fundamentally different from each other's paintings, iconographic and conceptual art system, formed the diversity of the Russian avant-garde. Central Asian artists have had the same in this situation, the right choice, the role of "nisprovergateley old" for them was no longer possible.
Secondly, a osoznovaya kulturtregerami designed to open to residents of the Muslim suburbs of Soviet Russia the world of fine and decorative and ornamental not art, they are largely unconsciously choose the plastic language, which previously was absent here, but attracted like a forbidden fruit.And here we must give them their due: when faced with a situation no strong tradition of figurative easel art and skills of its perception, the artists who came did not go towards the creation of an elementary izogramoty and retained given the previous generation of high level intellectual skills and creative direction eksperementatorskuyu searches.
Targets set in the previous decade - the ratio of the world's terrestrial and cosmic (Malevich), the priority of spiritual over the material (Kandinsky), the unity of humanity in its historical, current and future state (Filonov), the implementation of human dreams, and its merger with human memory ( Chagall) "- remained, but changed the approach to their solution. And the "culprit" this was largely Asia, happily preserved the spirit of folk art.
Another way of life, way of keeping thousands of years, other, sun-bleached nature, other people, reminiscent of the Biblical prophets ... East is strikingly different from the usual Landscapes Central Russian Plains. Pass its astringent beauties, poring over the creation of Suprematist spaces - was impossible. Antidote for exotic non-existent.
Moreover, what about the dream of avant-bespredmetnikam, there already existed, but was found on another - not professionally, artistic and folklore - level.The basic principle of traditional ornament - "instead of the whole" - made it possible to convert all the turmoil surrounding world in a strict architecture of simple geometric shapes, compressed into a simple symbol of an infinite set of its manifestations. He allowed to degrade the image of the sun - to the solar sign resembling a wagon wheel or a flower, and it in turn to turn in a circle. Such encoding, symbolization and sacralization of the universe was in harmony with the newest artistic invention, as well as the ambiguity of traditional archetypes, not reducible to unambiguous interpretations.
Once a charm to folk art, prehavshie in Central Asia artists did not seek to shift his music into the language of oily or watercolor. It would be pointless. But after studying the laws of its construction and beautifully-shaped systems that store the full cultural isolation of the memory of myth and epic, passed all. Decorative ornamentation of Central Asian art in the world outlook complemented prieshavshih artists ascetic iconography of Russian icons, the classic heritage of the West and eksperementatorstvo Russian avant-garde. Reconcile these conflicting principles in a situation sort of "fair crop," it was only possible by means of ironic, eccentric methods of creating outwardly very similar picture of life, but certainly recognizable, summing up the eastern impressions. Without saying a word they have chosen as a primitive way to penetrate the poetics of a much longer time than the time of their lives, and remain human beings of the twentieth century.At the same time, the neo-primitivism has been thoroughly seasoned with symbolism, the origins of which - in the heritage of the French Romantics, Gauguin, Matisse and Picasso, first tried to understand the East as a special artistic value. Not accidentally, AM Efros somehow irochnichno noticed that the "art of the way through Paris is always the most direct and short." Including - and the way to the East. Creative discoveries by French artists for a long time defined the face of the qualifications of intentions, which was subsequently confirmed in the history of world art as a symbolic Orientalism and completely dominated the Uzbek art in 20 or 30 years it. And later in 80-90-it. years. And so it was not a random observation of art criticism in 1920-ies. That "in many things more in Paris than in Tashkent, more Matisse and Picasso, as oriental rugs.
Meanwhile, the path traversed easel painting in Uzbekistan since the mid-nineteenth century until the first half of the twentieth century back to the opposite-European. There, from Classicism and Neoclassicism of David and Ingres through the romanticism of Gericault, Delacroix, Gaspar David Friedrich and the realism of Courbet and the Barbizon to Impressionism fleeting Manet, Degas, Renoir and spasmodically-wrenching post-impressionism Van Gogh, Gauguin, Toulouse-Lautrec and Cezanne. Of them - to the Fauve Matisse, Picasso, Cubism, Expressionism, "Blue Rider" ... here - not counting the half-century ethnography of Orientalism (a sort of springboard to a higher point, a prelude to the extravaganza) - Two centuries of Western Europe were compressed to the minimum length of time - just over half a dozen years. The movement began almost from the peak point - from the absolute bespredmetnichestva through kubofuturizm (Volkov, V. Ufimtsev) and expressionism (M. Kurzin) to symbolism, art that failed to pass just about anyone, then - through neo-classicism, romanticism flavored (V. Markov) and impressionism (AP Benkov) for realism - at first just, then the "heroic" and later "socialist realism".
The logic of this, at first glance, absurd retrograde motion could be explained by a miracle - when the tree starts to grow not from the roots, and immediately appears a wonderful golden fruit. Or you may otherwise - considering the most gold treasure is not isolated, but a single tree belonging Eurasian art, which gave much originality as a branch of the Central Asian school of painting.
However, this reverse evolution back to the avant-garde predecessors, to objectivity, and further to the classical traditionalism to become the 30-th years. Twentieth century. does not specifically Central Asian trait. It was the inner logic of self-development of world art, satiated "cosmic rebellion" avant-garde and a thirst for a more comfortable situation. However, in the Soviet Union, it was exacerbated by the particular socio-political situation that led to the increasing isolation of one sixth of the planet from global hudozhstvennogo process.

At first, "music revolution" opravdavala all: in noisy debates 20-ies. In which at times was more imaginary, contrived controversy than true, and declared goals are not consistent with real results, present the most important: when the entire outer naked and categorically allegations and artists and theorists and art critic, aware of themselves being involved in a single artistic process, were ready to hear a strange voice, try to understand if not accept someone else's meaning. Almost none show the first half of the 20-ies. was not monometodologichna: the presence of the artistic spectrum was the rule. State of "war of values," while only try on society, and melancholy flavor overpowering the East's hottest head.
But gradually a sense of belonging to a single stream of creativity, formerly a powerful rallying point, begins to recede under the pressure of rigid social order, acquires the character of not only external forces, with the entire might of the state machine of a pressing from the outside, but internal limiter, intuitive computing being wanted or unnecessary, and then the risk of being created. Art criticism is beginning to play an increasingly important role in the unfolding mystery. Critic, becoming a "political instructors and creators of artistic values ​​and their consumers, increasingly desperately needs to overcome divination left art and understand it - a priori alien - social implications. Adoption of new values ​​- "a new revolutionary humanism"; permanence of intense class struggle; mandatory willingness to sacrifice the present day in the name of a bright tomorrow "- is far from easy. Intolerance and orthodoxy in lieu of any arguments in the dispute. And increasingly, the artistic life called "izofrontom", first quoted, and then become accustomed, without, and artists, according to a strict military rankings, is referred to the right or left flank or announce centrists.
The logical outcome is the emergence of politicized art groups, the first of which Uzbekistan was a branch of the Association of Artists of Revolutionary Russia (AHRR) - the most dogmatic and orthodox union, based on the traditions of the Wanderers. On the resurrection Peredvizhnichestvo in the most primitive version of it already in 1919 wrote a brilliant art critic, and in that time yet and the commissioner of department of Fine Arts Narcompros RSFSR NN Puning: "They have the advantage, for example, miriskusstnikami that the majority of malointelligentny, and although with a weak artistic culture, but strong and constructive, rude and naive. The proletariat, in particular non-Communist and malokulturny instinctively drawn to them, to their rude tastes, even their sheer tastelessness, washy and stupid. This art group, using the mass popularity, is just claiming to be the most proletarian of art and the fact that its representatives were called truly proletarian artists.
Punin was right - the art documentalism close the film and snapshots, laced with "heroic realism" was the most udobovarim to the widest audience of the masses, there is little or not at all prepared to accept highly intellectual avant-garde masterpieces. "Everybody wants a friendly art - quips about this Malevich - but no one wants to fit his head to his understanding." It is about the "adjustment of the head" to understanding zaum avant-garde manifestos do not come. Much simpler case with the Declaration AHRR, whose sonorous revolutionary phrase perceived natural extension of the editorials of major newspapers.
"The development of" Central Asian expanse AHRR, established in 1922, began only in 1926, the eve of the eighth exhibition "Life and life of the peoples of the USSR." Work ahrrovskih envoys to Central Asia (S. Karpov, P. Kotova, S. Ryanginoy, B. Yakovlev, V. Pshenichnikova) called at an exhibition in Moscow, the most contradictory opinions. Once in Central Asia, they seem to have forgotten their "civic duty to humanity - documentary capturing the greatest moment in the history of his revolutionary fervor and gusto with painted portraits of the Central Asian ceremonial monuments and bazaars. "Aestheticism" criticism of these works are clearly identified: a geographic and ethnographic illustrations of schoolbooks.Characterize it as a simple ethnography can not. "
Praise Commissar acted approvingly - Uzbek AHRR and Tashkent in her studio, where he taught Kazakov, M. Novikov and AN Rykov, was given the green light. In 1928 the building was opened vostfaka Saga I exhibition in Tashkent branch AHRR, which was attended by sixteen artists are absolutely the opposite value orientations: akademiziruyuschie realists L. Bure, Kazakov, Mikhail Novikov, side by side with the "Left" - A. Grintsevichem, A. Volkov, G. Charles, shading to stand apart of Nikolaev. Such a diversity of Tashkent AHRR perceived by a majority of Uzbek artists as the exhibition association, which does not require its members to follow a single rigid ideological platform and a certain artistic standards, and determined the terms of the "proper" its failure.Only Professor A. Mironov was not at all discouraged by this failure "of Bogomazov AHRR.








 

















  
















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March 30 at 18.00 in Galeyev Gallery under the auspices of the Moscow club of collectors of fine art exhibition opens " Garland Savitz . The exhibition is devoted to the memory of Igor V. Savitsky , the founder and permanent director of the famous Nukus Museum . Risking to be reckoned to the category of " enemies " , Savitsky , leading a truly ascetic life , at first with almost no money on the enthusiasm was collecting illegal or poluzapreschennye works little known in those days, the masters of Soviet art of 1920 's and 30 's.
About Savitsky , click here
http://museum.kr.uz/history
The exhibition will feature the works of those artists that were in the range of interests Savitsky . Most of these works from private collections have never been exhibited . To put catalog was published . The exhibition will be open until May 31.
PS Eugene, I hope you do not mind that I am here you little pohozyaynichal . Just this message refers directly to the stated topic you are here