According to him, all of Kabakovs presented in this project, Russia has not previously seen.

"Ilya and Emilia Kabakov have left Russia in 1988, then lived in Paris, then moved to New York, where he settled. Kabakov returned to Moscow two years ago, when galeristka Stella Kay invited him to participate in an exhibition at the Hermitage . But this event was though very interesting, but all the same chamber. Therefore, Moscow project is intended primarily as a return to the homeland of the great artist "- he added.

He explained that the project, which includes mainly the work of recent years, will unfold in three stages - in the center of modern culture "Garage", Pushkin Museum of Fine and the Centre for Contemporary Art "Winery".

"First of all, 15 September, will open specially created for the Pushkin Museum installation" Gates ", which includes art objects, paintings and drawings. The next day, start a large-scale exhibition in the Garage: it comprises object" Red Wagon " made for the exhibition of the Museum of Art in Vienna, and the installation of "Alternative History of Art" - said the agency.

Finally, on 17 September "Vinzavod" projects will be presented Kabakov's "Life of the Flies", "Tennis Game" and "Toilet".

According to the curator, "Toilet" - an exact copy of the object, which Kabakov created in 1992 for the documenta in Kassel: "This is a classic outdoor toilet, which looks like inside the apartment. Then, many visitors have decided that people in Russia sometimes live in the toilets. "

Backstein believes that Ilya Kabakov - the last great Russian artist. "The death of Solzhenitsyn's from an era of" great. "It is no longer of great writers, poets, artists, and there are stars - expensive and well sold. But the difference is palpable - the great born, but the stars are doing. Communicating with Kabakov, you realize that this man says with the world "to you" as the poet Joseph Brodsky, "- he said.

The curator does not doubt that the most famous contemporary Russian artists, Kabakov was not accidental. "The most radical of the galaxy of talented conceptualists 60-ies, only Kabakov could create a whole universe, to simulate a society in which we lived, and hold him in the history of Russia. His works are so multilayered and the many meanings that can be endlessly interpreted in They are present simultaneously with Khrushchev and Brezhnev, and Gogol's characters, "- said the agency interlocutor.

The curator gave an example, when in New York, Ronald Feldman Gallery, was Kabakov installation, in which he produced an exhibition of his favorite characters - the artist Stjepan Kosheleva in the museum of the city of Barnaul. "He painted the walls a dark green color and made them the picture of his character. The main trick was that on this design Kabakov spent tubes and simulated leak: water poured down on spectators and substituted at the bottom of the pots. It is a familiar story to us - the roof Museum passes. Americans do not understand, thought - Repair "- he said.

In this case, according to the curator, it was not clear what is the subject of art - paintings, or the impression of installation.

Ilya Kabakov - the most famous and expensive Russian artist. Born in Dnepropetrovsk, with 70 years of XX century it became one of the leading Russian unofficial art. The main motive of early works by Kabakov - simple Soviet communal flat, immersed in an atmosphere of mysterious absurdity. In February 2007, the work Kabakov "Beetle" (1982), exhibited at auction Phillips de Pury & Co, was sold for nearly $ 6 million.
Take a look and compare from year to year, there is a big gap -))) But now, invest and promote so to speak (in my old age). And I will say more. For me personally, if a particular artist, was caught copying someone something, it simply ceases to exist - as a person. It is a pity that we do not see how all thrown in the trash after a year. You can see Cyril tip of the iceberg, but see below. This vector art invented, in order that the masses would be bred - to do something stayuschee currently expensive and not profitable -)). better show the garbage man and say it's cool and prestige - and all went to buy bins - haystack - taps - toilets - dead slave - and dissected animals. But this is not something that implies this conceptual art - I assure you. Just look deeper and look not much further than Russia. It is desirable to ride and see and touch.

Curator of Russian povilona Venice Biennale, director Olga Sviblova MDF is known for its bizarre statements about the works of Russian artists, which she sympathizes. Not so long ago in an interview, she reported that a group of AES + F, "one of the most intelligent artists of our time ... actually predict the future. Their work" Islamic Project "96 года predicted .. [and] the tragedy of September 11. .. " To this she added that the Islamic project "was purchased by all the major museums of modern art. A good contemporary art is interesting is how the telescope in the future." Last sentence looks like news in light of the very few auction sales AES, consisting of four trades work out "Islamic Project" in the French auction Calmels Cohen in 2005. Of the 4 photos (all are copies 8 copies) was sold at three price $ 1,198, $ 2,847 and $ 3,297. Work "Notre Dame de Paris" with an estimate $ 986 - $ 1,233 could not find a buyer.


The Onion Online vs AES + F: "Conceptual Terrorists packed tower
Sears store in fruit jelly

However, two years things would change and it is likely that the efforts of the gallery "Triumph of the artists are now actually are in the collections of" all the major museums in the world. " This, according to Olga Sviblova (gif.ru), a third copy of the video AEC "Last Riot", shown at this year's Venice Biennale, was sold for 300,000 euros, the sale of 5 of those copies. Accordingly, the exhibition at the Russian Museum for the AEC in the spring of this year, for which the triumph of post holders who paid $ 600,000, probably already paid off. In turn, Deutsche Bank, known for his influence on the market, "the young" art, was attentive to the group. In a press release about the outcome of established Kandinsky Prize, which lists only the names of artists, the winners and mentions the name of AES + F, not marked by the jury.

There is nothing reprehensible in the aggressive promotion of AES + F on the market, as their dealer - Gallery Triumph openly said in an interview - it's a business.

One way or another, but I must admit that the remark Olga Sviblova true: after the events of 11 September media attention to the creativity of the AEC has slightly increased, which has been identified, for example, like this article: Grand Theory /Grand Tour: Negotiating Samuel Huntington in the Grey Zone of Europe. However, in addition to underlining the link between the project and the attacks on America of 9 /11, the text has almost no relationship to the "Islamic Project". In particular, his philosophical calculations, including reference to Bart, Huntington, Roeck and others do not have any apparent connection with the debated works of art. Specifically, they relate to him in the same way as, say, a project magazine The Onion "Conceptual Terrorists packed tower Sears store in fruit jelly. At the same time, what we see in the "Islamic Project" - the possibility of an infinite replication of successful progress with collaging Muslim domes - should be regarded as a highly original cultural and architectural fantasies on a given topic.

Work from the exhibition AES + F in MMOMA. One of the panellists - Vladimir Fridkes -
popular photographer with the Russian edition Vogue, Harper's Bazaar, GQ, AD ...

Around the same way, but rather less distinct, because narrative is essentially absent - using AES + F and when you create a "children's" series ("Last Riot", etc). It seems that they are based on the work group member, photographer Vladimir Fridkesa, which borrows the characteristic techniques from the world of glossy photos, while bringing in her moment of pseudo-violence. An interesting experiment in the field of contemporary fashion photography.


The owners of the Moscow gallery "Triumph" share the secrets of the art marketing [09/10/07]

A recent interview with Bill [Bill. All your entertainment Petersburg № 111, 8-21 October 2007; text online], founders of the gallery "Triumph", Emelyan Zakharov, Dmitry Hankin their aim to change public taste. Dmitry Hankin: "We can no longer fartsevat from the trunk - all point. You can not get the thing in a million from the trunk, even if it is his Bentley, and show it somewhere in a secluded corner of the cafe, taking a bag of garbage from rags stuck tape. And you people, respectively, the money transfers in the newspaper. Or in the box under "Panasonic". Of course, there are still runners and Zhigunov, as we call them, are settling to a financial channel and they are right there, into the study. They sit for hours in the waiting room, and then the prices charged, that we, rogues, it becomes uncomfortable. We do not know and do not want to be able to. We ambitiously believe that we must change public taste. "

On the question of how to define art gallery run by a "Triumph", Dmitry Hankin said: "Many great art style. Who is the last time there was no en masse. We have consistently advocates of figurative art, consistent supporters of rather simple criterion - the beauty." Among other things, Emelyan Zakharov retract (such as in an interview with "big city", he replied impartially on Russian art), said: "About the Russian contemporary art, I did not say anything. I'm talking about classical Russian art. Yes, I do not like . A contemporary - it is excellent, because it is in the mainstream. "

In an interview with gallery owners textbook knowledge sets out options for promoting their own artists on the market. First of all, it is forming a hierarchical relationship with the Russian museums through joint or exchange exhibitions with shocking cash costs ($ 600,000 for the exhibition AES + F at the Russian Museum). Perspective - cultivation examples of works in museum collections.
Among other things, according to Hankin, "Gallery" Triumph "was initially scheduled to be a gallery of galleries, a mediator between the galleries and a group of wealthy otvyazantsev, because if someone does not buy the artist, we have it suddenly start to buy: Emelyan knows some specific vibrations to persuade. Then we realized that our Contemporary business is much more dynamic than expected, and we are likely now somehow marginalize this activity. " This idea found its illustration in nedavney organizing presentations journal Sitizen K "in the space of the gallery. Swiss glossy fashion magazine - a project of the publishing house Kommersant - ousted from the walls of "Triumph" character art art scene. Their place (at least tap in the press) took the businessmen and habitues of Moscow exact same secular parties and presentations of expensive boutiques and beauty salons. Among observed at the presentation:

Screenwriter, actress Renata Litvinova with her mom
Chief editor of Russian Newsweek "Leonid Parfenov and his wife
TV presenter Ksenia Sobchak
Businessman Vahe Engibaryan (also known as a "diplomat" and former fiancé Ksenia Sobchak)
Singer Valery Syutkin
Member of the Board of Directors of Alfa Bank Alexander Gafin with wife
designer Denis Simachev
politician Andrei Kozyrev and his wife
Editor-Sitizen K "Sergei Nikolaevich
Businessman Alexander Mamut
Actress Olga Dykhovichny
French stylist and publisher Gerard Kapoff
Head of the Joint Control press service and information of the President of Russia Natalya Timakova
political columnist for the Associated Press, Alexander Budberg
Singer Zemfira has exercised in the gallery with concert
Chief editor of newspaper "Kommersant" Andrey Vasilyev
Chairman of the Board of Directors of Alfa Group Mikhail Fridman

(Source - Kommersant.ru)
New players enter the art market its own rules, by aggressive marketing, in many respects similar to the strategies of some foreign dealers focused on the creation of art stars. Not long ago, the Russian Museum has included in his collection of sculpture artists "Triumph" - a group AES + F will also provide Russian pavilon at the last Venice Biennale.

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