Even if a young artist already knows that the main thing - is a nonprofit career, yet he must somehow ensure its existence, and the best service is not the "McDonald's" and selling their own work. And as expected - in the gallery. So the very first decision - to go to a gallery to show your portfolio. I decided to conduct a little experiment: try on the image of a young artist and try to attract the attention of the gallery. Chose the most famous.

«Winery». on the street minus twenty, or even below, but I was hot. Worried as to entrance examinations. This has mixed with a strong sense of unease - because I'm going to do anything that is normally in this system is not accepted. I explain to myself that I needed this experiment is to understand what and how it works here, force myself to open the heavy door and enter.

The "Regina» cute girl at the entrance says my email bumazhechke galleries and politely offers to send your portfolio there. My question, how often do they come to the young artists with a request to view their portfolio, says that almost never, and generally in the gallery already has its own set of artists with whom they work. On the question of whether they are interested in new artists, I say no, but the offer still send your portfolio to e-mail - "just in case."

in the gallery Paperworks one of the gallery owners, I did not catch. Still a young man working there assured me that such an initiative on the part of artists is absolutely normal, just so happens not so often, as all of each other, and so they know. But in general come to the gallery to show your portfolio - a normal practice, but must pre-arrange a meeting with gallery owners on the phone, and better yet send your portfolio in electronic form (as an option - to bring and keep the disc).

In XL-gallery, despite the fact that the gallery owners were in place, I was not allowed to them and immediately said that the flow of wanting to show your portfolio is too large and the gallery could not hold personal auditions for everyone. Meeting with gallerists can be assigned only after a portfolio review in electronic form. Writing me an email for the next bumazhechke XL, the girl at reception told us that actually browse each gallery owners sent a portfolio, you need only take into account the priorities of the gallery: it's installation and video. They are not interested in painting, photography - in the form of a large exception.

Zapihnuv these bumazhechki with handwritten coordinates in a backpack, I decided to go to the School of Photography and Multimedia. Rodchenko to talk to young artists and photographers who already have experience working with galleries.

- In principle, this method is quite good, and you can use: just go to the gallery and leave your portfolio and hope that the gallery owner once it sees.

I'm sitting at a table in a small room school Rodchenko, in front of me Kiril, a young photographer and student at the school, which has a couple of the artist Sasha Kurmaz recently opened exhibition "engaged in the fight against rabies" in the gallery Paperworks. The room looks always someone, something asking about films and reagents.

- We must understand that all methods are good, because in Russia the art system, and there are not any rules of relationships. There are gallery owners who listen to the recommendations of the artists with whom they work. But there are curators and gallery owners who are interested to find someone themselves, and they ted the Internet are interested. But still there is always a lot of subjective and objective points that may not allow the author to be seen ... In any case, to become a good artist to do good art and good art will always find a connoisseur. Due to the large number of proposals from artists of the demand for art is not increased, by contrast, is more screenings. But always something good for someone interested in, and where and how it will happen - someone will write to you directly, and shalt deliver you to some biennials, and you will notice - it is the circumstances.

- What can you say about studying in institutions such as RPNS, Rodchenko School?

- Art School - is, in fact, the college, which produces some certified professionals. But imagine a college of bakers in the country in which there is no wheat or corn is not claimed! This college produces professionals who are not in demand industry. And each year the artists are available, and a system that would accept them, no, no "jobs", not "industry", the industry of art. The system of art in Russia at one point took the form of a stable and ceased to grow - new galleries did not appear, new fairs or festivals are not held. There is a biennial, is "Art-Moscow", there are fifteen galleries - and all. Periodically, there are some new artists that are distributed in these fifteen galleries. But educational institutions are producing a lot more. On the one hand, it would be correct to say that not everyone who graduated, the artists. But on the other hand, one can ask: teaching artists, and to teach them? And in the end it turns out that the line on which you merish their abilities, should be extended up to an international scale. And it means - to take into account that every year in Germany, England, America and China are produced tens of thousands of people with bachelor and master of modern art. And there's a lot of their tendencies, their hangouts, there is more complicated and the competition above. Sitting in Moscow, we primarily focus on those around us. It is very important not to stop.

- But in general, much depends on the nature of the artist, as he single-minded and able to work - adds Cyril. - It is not even about talent, talent, in any case it should be. What is important is the ability to meet and, for example, do a quick mock-up, visualize your idea to work constantly, write some notes, go through the materials, engage in research topics.

I asked the other student school Rodchenko - Sony, regularly collaborating with photo galleries in Russia and in Europe, whether it makes sense to go very young artist in the gallery to show work.

- In my opinion, this is almost certainly pointless, because gallerists little time. The best way to draw attention to themselves - it is through the artists that you know and with whom this gallery is already working, or by someone who knows the gallery owner and would you recommend. In my case it was: I showed my friend the artist to work from Austria, and they liked him so much that he decided to show them to his gallery owner in Vienna.

Someone's recommendation - the key thing is, it acts kind of filter that keeps out the wheat from the chaff, because people are always looking for new toil. In addition, according to Sony, the gallery does not need an artist who does a project, and then he would binge for five years. It is necessary that the artist constantly worked and delivered new projects, which you can invest. So, perhaps, a little gallery owners with fear relate to new people.

- A young artist can make a career in several ways - says the artist Alexei Shulgin. - First - is to enter into friendly or sexual relationship with people who have power in this system. Another - to do something incredible, something no one else did and then go past the impossible. A third option is the best, combined with one another. But it is very difficult. Those who succeed, usually reach the top of his career.

I'm sitting in the studio of Electroboutique. Aristarchus Chernyshev collects some complicated spiral structure, which occupies half the space. Alexis asked whether the young artist trying to draw the attention of their own galleries.

- I would not advise to do so. The fact that young artists go and settle all the time. People who regularly besieged by young talents, often do not expect to see anything good and belong to the artists who come to the gallery, with prejudice.

According to Alexis, at the present level of dissemination of information to go into any gallery does not have to. We have to do a job that will look presentable in the online media, put it in the internet and everything.

- When you posted something on YouTube, is a census of the people pissing boiling water, it means that the work has already taken place, it is a reaction. And then the galleries and institutions you will find yourself. The group ran the war is not what any of the institutions, as a result of the institution began to run after them.

- What are some career strategies?

- You can criticize all. But every time I see a young artist begins to once again expose the system, I just laugh because it's been repeated many times. It really says what all the sales, like all rotten, and it is this sincerity and attracted the attention of the same system: oh, how nice, what an interesting young artist! And then this young artist disappears somewhere, and once there is a new one, which again begins to reveal to us all eyes to how the world is unfair. In general, the policy options are few: either you're going to bow to the institutions and the life you stay in the bent bow, or you're doing is art, that these institutions do come to you, because you suddenly become they need, because you're doing that -something that none of these can not be bent to create. And - yes, without the advice of someone's really hard to attract the attention of the curator or gallery owner. But there is nothing terrible. The artist exists in the public space. These are the rules of the game.

- What are the negative sides of the gallery?

- Gallery wants the artist is, roughly speaking, all the time about doing the same thing, so he formed a face, and he made recognizable zabrendirovanny goods. And often try to dictate the gallery artists, to do what works. But just behave and curators in the non-profit institutions: preferred working in such and such media, in such and such topics. If you compare - from gallery owners and curators of the pressure is the same. Behind all this there is a certain economy. Both are sitting on some cash flow, and artists are exploited. But I personally like the gallery operation more simply because it is honest. There is clear: do the goods, the gallery has sold, you get your share.

According to Alexis, the curators have little responsibility for the artists with whom they work: now they need artists who work with the theme of guest workers, and tomorrow - feminists. Gallery also sells a limited number of artists, and it nurtures them like fish in cages.

- I recently talked to one London-based gallery owner, and he told me that the artists under the age of forty, he does not work, because the gallery owner from the artist's need consistency - consistency and constancy. And because young artists often make very different products. Here Brazhkin Vanya, for example. He is doing interesting work, but they are all different, as if they were doing different artists. As a gallery owner to sell it? Therefore, the gallery in no hurry to expose young artists. As an experiment, can make a group show, to see how a painter at all, in principle, able to work with the gallery.

According to Alexei, in the nonprofit sector, institutional corruption flourishes of art is much stronger, because the artists that make the non-profit art a lot, and they are often used interchangeably.

- So many artists do not jump with guitars on Red Square, as Pussy Riot, a long and elaborately built their career: friends, with whom it is necessary, do not forget to congratulate on his birthday, invite the guests. In these very special artists vision and flair to present the right people. Some also a dad, for example, an oligarch. Someone, for example, a young and handsome like institutional funktsionersham middle age. Someone's husband, media mogul, who can write to the Biennale. It's all one pole. Another, according to Shulgin, this radical activists: "As a general rule, guys do malokommunikabelnye vivid art, which turns out to fit the system because the system does not make such an artist."

- I would still advise a young artist in the first place to think about what will happen to him after ten years. It is clear that young people need all the here and now, and it's pressure from all sides, coupled with competition forcing artists to run with bulging eyes. The young artist is in principle possible to strain to make one brilliant product and for a short time to become famous, but what's next, here's the question. I think we should calm down and not try to push through his work, wherever possible, should not strive to be institutional or gallery slave. Success will follow to you, if you have something to say to the people. The young artist must first learn, to study the technology, the history of modern art and media art, go to the cultural capitals - London, New York. Look on the communication media that they can do. Because museums and galleries - it's coming later, all life originates in other communication areas.

More advice to young artists - to work together. Very often, the artists hang out, discuss things, and art - apart.

The group is always more attention, because it is perceived as a movement. So I would advise young artists to join in creative teams, to do joint projects. However, you can do more complex projects, are less likely to do some small stuff, because there is a joint discussion of ideas. By the way, the most famous in the world today, Russian artists - this is the group AES + F, and war.

While we were talking about the design that collected Aristarchus, has become even greater.

- Here! - Emotional gesturing, says Alex. - We have to work and not think only about how to get into modern art.

In the next issue, Elena Artemenko try to learn as a young artist can get through.