Why the choice fell on Yesayan? Of course, I would like to show the work of many artists, but always have to start somewhere. Sergei Yesayan in this sense - a perfect example. This is - an artist who, as a nonconformist, in his paintings came from the problems of a purely aesthetic and existential, and to a lesser extent, appealed to the socio-political context, is common to many nonconformists. Therefore, it seemed to us that the French public will be easier to perceive the creativity of the artist, who in his art speaks of purely artistic problems.

Yesayan perceived by us as an artist is very European. He felt like a fish in water and in French and in English culture, like Beckett, the work of Marino Marini and Giacometti. This determined our choice, the more that Sergei was for many years closely associated with Sotbiz. He was a man absolutely amazing artistic culture of his eyes, we were often necessary when selecting works for the auction.

Galina Ackerman: I know that Sergei Yesayan was an adviser to Mstislav Rostropovich in the formation of his beautiful collection. Probably, and others, he advised that purchase.

Irina Kronrod: Absolutely. He greatly influenced the choice of works in the collection of Rostropovich, he was an adviser and other collectors. We tried in this exhibition reflect this breadth of its activities. The only thing I would like you to correct: we have arranged only one exhibition Yesayan Gallery Charpentier. Suddenly, at the same time, the second exhibition holds regardless of us, the gallery on the Rue Saint Bussy. If we represent the work Yesayan recent years, since the 1990s, then in Bussy Gallery presents works of the 1980s. This cycle is very different from what we show. I think that this is - just a wonderful occasion arises to see the work of two artists of different epochs and to understand how it developed. When he arrived in Paris in 1979, he plunged into the sea of light, colors and lights, after the Soviet Russia, grim and dark, and now this light emerged in his works 80 years. And his work of the 1990s and early 21 century - quite conceptual, perhaps a bit more cold and detached, but they - the insane beauty.

Galina Ackerman: When he died, and in the last years of his life, his practice here is not exhibited, and it seemed that he could go into a kind of artistic oblivion. And then he suddenly so bright floats on the Paris stage.

Irina Kronrod: I think that for every artist there is a danger of being forgotten. My experience suggests that this has nothing to do with the quality of painting, but rather due to the properties history. And our job - to try to make sure that none of our artists do not be forgotten.

Galina Ackerman: Last question. You say that you started with Yesayan, but in Paris a lot of artists come from Russia, from the USSR. There is a project to show their creativity?

Irina Kronrod: Talk about the project too early, but it is - the first swallow. This is - an unprecedented exhibition, we had not previously exhibited work of one artist, because the auction house should be objective and reflect the completeness of any movements. Here we create a precedent and hope that it will positively and enthusiastically received by the public. If it works, we will be happy to continue and make it a show of other artists, now living in France. And not only in France.