- The situation of survival - in the spirit of the Wild West. The artist has to think how to save its face and at the same time hold on the market.

You can be very talented, but never realize their dreams. If they are impervious commercial context. I am working with a gallery of Marat and Julia Gelman. But Marat refused to finance my installation for the exhibition Sots-art at the Tretyakov Gallery, which was assembled Andrei Erofeev.

The wording was: "Do Ostretsov no prospects for sale. There is no single recipe for success does not exist. If the works are selling well, there is a danger samopovtora, the temptation to replicate ideas.

There is another way - play a proactive environment. At the core of the phenomenon of creative groups, as tandem Dubosarskiy and Vinogradov, or "Blue noses" - competent analyst.

They study the situation and give the art-product: it is enough depersonalize, but adapted to the expectations of the market.

The art of marketing - one of the strategies the existence of the artist. And accept it is not talentless people. Despite the simplicity of the used methods, few who get to repeat the success of the same "Blue noses".

- avant-garde music operate with "invoices", a beautiful melody was an absolute taboo ...

- Something similar happened in contemporary art. Artists "new wave" 1980's, to which I belong, believed that the writing on the canvas with oil paints simply indecent.

Message from non-traditional technique helps to reveal themselves from an unexpected quarter, release subconscious.

But times change. Changing perceptions of the artistic material about life in general. Now I can afford canvas, but in 20 years could not. There's nothing to it.

Easel painting, I do not like. Posted canvas, large, comic style, which is derived the phrase "Painting - this is an old whore for rich assholes.

Painting for me - just one part of the installation. I own technique of painting with a picture - no problem. But to express my ideas pictures are not enough. That is why I appeal to the installation, enter them in the mechanical whosis sculpture.

Collectors also interested mainly in painting. We have to go for a compromise. I do, even custom portraits. But they have put in charge of provocation. Do not betray yourself - and customers are satisfied.

The adaptation process can be fruitful if it is for creative dialogue. The very aesthetics of pop art, with which I work, quite plastic, flexible. Allows you to perform various manipulations with the language of mass media and mass culture.

- The direction to which you are ranked, called Sots Art. Not socialist realism, but ...

- Social Arts. In Erofeev now goes big book about the social art. Soviet authorities and most of its attributes are no longer, but retained the idea of totalitarianism and submission to authority.

The artist must have left discourse, to look critically at the world around us. Russian ground is fertile for the Aging Social Art: life is rich in absurd situations.

It seems that since Gogol and Saltykov-Shchedrin, nothing has changed. And will never change (laughs).

I am Russian fable translate into the international language of images. In an era of globalization we are all beginning to speak in English (computer adverb).

The same happens with a plastic tongue. There was an international dictionary. Language of pop art has borrowed much from the arsenal of mass culture: comic books, advertising, political propaganda purposes.

Where had hung banners "Glory of the CPSU - now with banners advertising" Coca-Cola. Tablets with the names of the streets of Moscow has long been bilingual, appeared under the Cyrillic inscription in Latin.

The art can not hold on to the "Russian letter", you need to convert meanings. Otherwise, find yourself in the discharge of exotic species, along with African artists.

Do we need so special? To enter the international art context, the Russian artist must speak in a language understood by the Europeans. To be able to fund it to express their national identity.

- Why do I need to pour it into the European stream? You can in fact learn from the Chinese neighbors are exported local exoticism, social as well.

- We do not eat with chopsticks. The Chinese people - already exotic. A Russian man on a European is no different. Outwardly.

We all try to copy Europe. Specifics related to the enchanting absurd Russian everyday life, with a totalitarian style of thinking. With the mental legacy of the past - both the Soviet and the monarchy. In the spirit of anarchic freemen, who is hiding in the subconscious.

If all this translate into a normal European language, you get a unique product. What, in fact, did in his time constructivists, futurists, Malevich, Kandinsky.

And then our artists moved to separate dialect, began to think in terms of social realism. Dialogue on this idiom with the Europeans can not - do not understand. Only with the Chinese.

And not everyone in the dialogue. Interesting young artists we have not so much - no one to learn, no one to learn knowledge.

The horizon of young people is quite large - listen to one second, went on horseback, but dive deep desire does not arise.

Not taken root in Russia the system of creative workshops (in Western schools venerable artist gaining course, assumes responsibility for the establishment of the Trust).

Our newcomers - themselves with a mustache. Here and there are hollow shapes. Anna acorn, for example.

The fact that it exposes, has no relation to contemporary art. Making fashionable shops, design for boutiques.

The artist did not care about the existential problems, which, in fact, must deal with art. The generation to which it belongs, does not feel connection with the intellectual heritage of their predecessors.

Fame and money came to the young is surprisingly fast. But, in my view, their way deadlock.

- Are all the young artists so hopeless?

- No, of course. Alina Gutkin or Ira Corina sensitive to the traditions. Interact with artists of other generations. Trying to emulate their experience and understanding of art. Create smart and very unexpected work.

I like what makes Olya Bozhko. My wife - Luda Konstantinov - a very interesting artist. A truly contemporary art deals with the art-group "EliKuka" (Oleg Eliseev and Eugene Kukoverov).

Respect inspire social provocation of "War". For example, the participants climbed over the fence of the White House, and on its facade projected skull and crossbones.

But they do not feel polityacheykoy and artists aktsionistami. Hard action. It is unclear how these guys have not put in jail.

- What the artist feels when creating ephemeral project: drawing on the wall, which is tomorrow, paint, build fragile installation?

- Nothing is more eternal than a transitory, ephemeral. It is known that the first urinal Duchamp had been defeated. What we can see - the replica recovery.

Malevich repeatedly "reproduced" his square. If the idea is that it will find its realization. Let even years later.

The most interesting thing restored, reconstructed. I heard that somewhere abroad are going to build a House of Soviets, a draft of which has not been implemented in Moscow.

Fear of extinction tangible "evidence" of your work should not curb the boldness of conception. The idea of the artist still lives on - in photographs, on video, in reflection of the mass media.

- Is it important for an artist to create their own mythology? You now come up with some new government.

- The task of any artist - to develop his vision, saying a new word. Chagall, for example, introduced a picture of the flight, came up with his own mystical reality.

My new Government - the artist's reaction to the problems of society in which we exist. How to live to live better? How to save humanity from the threat of planetary catastrophes? Maybe, to evacuate to outer space?

I was influenced by the concept of Konstantin Tsiolkovsky, who in turn had been infected with ideas of Nikolai Fyodorov.

The unique combination of science and religion. They gathered to raise the dead, make people immortal. Multiply is not needed (Fedorov was a passionate woman-hater).

And because the place on earth for all the Risen is not enough, the extra soul to export to other planets. Harness star virgin soil. That's what came up Tsiolkovsky rocket.

Fits of delirium, scientific insights, cultural discovery - it was all intertwined, all intertwined.

Striking power of this philosophical idealist impulse. To this we should strive for.

It is necessary to take on projects of social reform, despite their utopian. Hopefully, some will make opening and me.

The establishment of such projects offer many opportunities for the artist, save me from the creative crisis. I appeal to the new government and deal with him various global issues.

Currently working on a project related to the funeral service in the social state. Now create a new aesthetic for the cemetery gates. Their wings raskurocheny explosion. The idea - a victory over death, clear religious overtones.

- Shares of contemporary artists often resemble an archaic ritual. There is not enough just pure faith in the power of gesture and speech. Is it possible in contemporary art semantic leap from the mundane to the sacred.

- Real art - is always sacred. But the artist has to relate the tradition with the present day, with modernity. Otherwise, everything he does, will be packed with lies and deceit.

We can not endlessly copied paintings of the Renaissance masters. The essence of the phenomenon of Christian European culture lies in the fact that a person feels a sovereign person.

The artist himself appears before the Savior. It implements its mission and its identity in time, in which he dropped out to live.

Expand purpose - that is the task of the artist. Even if what he creates, ephemeral, short-lived, prone to fracture.

Christ did not write any books for the students recorded them. Contemporary artist in the first place - a philosopher. Codes of Beuys or Warhol's almost more interesting than their pictures. It is important how a person thinks.

The same Godard - original philosopher, which is realized through cinema.

- Watch his films difficult.

- I'm his movies the 60's look with great interest. Thought in Godard fused with the visual side, separated from the screen image it is difficult to perceive adequately. Good done.

Of course, this is - a film not for everyone. So in fact and philosophy - not a yellow garbage, and real art - not for everyone, does not excite the masses.

We still do not understand the squares of Malevich. Seeing them, "art lovers" laugh. We in Russia are still living in the XIX century - the Soviet period inhibited the intellectual development of the masses, has slowed him. Unique cultural situation.

- You have lived long abroad that gave the European experience?

- I lived in France for 10 years. They had lost the best years of his life. Did not work at home, I had forgotten. When he returned, few people realized that I was billed before all the fashionable artists today.

They think Ostretsov declared itself only in 2000. And the first exhibition was in 1986. With a group of "Kindergarten", with Timur Novikov.

The only bonus from a long stay abroad - disillusioned with the West. I know what Europe is living.

Recently, many have cooperated with the British, German, American galleries. But without illusions. Doing their jobs. 10 years spent in France, gave me the opportunity to soberly assess the situation.

- In the overseas collections have your work?

- Charles Saatchi (the influential British collector and promoter of modern art. - SA) has recently bought two large installations ...

- What the Russian artist pleasant - be in the Saatchi collection or the collection of the Tretyakov Gallery?

- Within the walls of the Tretyakov Gallery, I exhibited for the first time in 1988. In the department of modern art is a large collection of my works.

Tretyakov - something intimate, familiar, "home cooking". Ostretsov and the Russian Museum is. I'm happy, of course, that in Russia I - a museum artist. Not starring, but in "Retrospective" is presented.

With regard to the collection of Charles Saatchi, an auxiliary tool. Inclusion in the directory it affects sales, the establishment of an international career. At home I have everything in order. To move the idea further, to join in an international context.

- What inspires you the birth of her daughter?

- The artist lives outside of ordinary logic, chooses the path of social exclusion. But he should not be afraid of difficulties - it helps the Lord.

Having a baby - only the good, changing the lives of the very positive manner. Once Lesch Kallima became a father, he received a State Prize, better sales went, he was finally able to leave the communal.

And I have the birth of her daughter were taking place in all sorts of miracles. An American gallery has expressed a willingness to work: today sent a parcel with the baby clothes out of some super-store.

Large collector commissioned three works. Money offered to transfer to an account of the child when he grows up - interest nabegut.

- As daughter named?

- Martha. In Calendars, in honor of Martha Diveevskiy. I'm an Orthodox man.

- And how do you reconcile orthodoxy with contemporary art?

- They are intertwined. Tradition nurtures actual art. Modern man wears pants, not because he thought them up. And because such clothes were fathers.

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