Russian participation in the Frieze already include not just traditional but stable - Gallery XL arrives in London for the seventh time, "Regina" in the third. More from Russia is never anyone there.

However, according to art galleries, the stability is only apparent.

"Yes, we're coming for the umpteenth time, but it means nothing. Rotation can occur at any moment" - the director of XL Elena Selina.

XL, focusing on multimedia and installations, not to bring the Frieze or political contemporary Russian art, no clearly defined national artists. This year's booth picture presented Aristarchus Chernyshev and its art-project "Electroboutique" video of Anna Ermolaeva.

"Every time we tried something new to bring here." This time we brought Igor Mukhin, Alex Buldakova, which never brought to the Frieze ", - has told RIA Novosti Celina.

According to her, the annual success of the galleries at the fair is closely linked to interest in the arts, with whom she works - in Russian art, "understood in the international context that Western buyers was not necessary."

"Regina", which this year opened a branch in London, follows the same line. Gallery brought to the Frieze Jonathan Meese, Mary Serebrikovu, installation of a young German woman Yorinde Foyt (Jorinde Voigt), and others.

"The artists we work with, it already European names, bringing them to the fair, we do not need to prove that they are good artists," - told the London-based director of Regina Ann Makkessi.

This, first of all, talking about artists such as Sergei Bratkov, Simon Faibisovich Paul Pepperstein and so on. And if you stand in the gallery this year before a Ukrainian Stas Volyazlovskiy with psychedelic leaf "choreographer" of Boris Moiseev, surrounded by a vast number of cultural references - from the Torah and the elements of Russian folklore to rhinestones and lace - not necessarily that bought it will certainly Russian buyer .

"There is a kind of visual culture. This differs from the Russian foreign buyer - he was ready to buy something that it is not clear. Okay, I then translated this part of the text, I learned later, who is Boris Moiseev. But it (the buyer ) involves the way it looks, it's interesting, "- said the owner of Regina Vladimir Ovcharenko.

"It is different and the London crowd at the fair. It is more focused on the art of spectacle, a bit of a challenge, with some tension," - he explained.

Both Russian picture resulting from participation in the fair are traditionally satisfied. According to Selina, the closing day of the show before the official opening of the gallery had already sold two works.

http://www.rian.ru/culture/20101014/285343025.html

8. If you use words such as painting and sculpture, they imply the artistic tradition and involves a sequence of adoption of this tradition, thus limiting the artist, who are reluctant to make art, "going beyond".
9. The concept and idea are two different things. The concept sets the overall direction, the idea is a component of the product. Ideas can implement the concept.
10. Ideas can be works of art are included in the chain of development, which eventually may acquire the form below. Ideas should not necessarily be realized in the matter.
11. Ideas do not necessarily develop in accordance with logical principles. They can ask an unexpected direction, but the idea certainly has to get the end in mind, before there will be new.
12. For each product to have a physical form, there are many variations that were not embodied in matter.
13. The work of art can be viewed as a conduit between the artist's mind and intellect viewer. However, the product may never reach the viewer, or it can also never leave the mind of the artist.
14. Words of one artist against another may give rise to a chain of ideas, if both artists share a common vision.
15. None of the forms does not exceed the rest, so the artist can use any form - from verbal expression (written or expressed) to a physical object.
16. If words are used and they stem from ideas about art, then they are art, not literature, numbers are not mathematics.
17. All ideas are art if they are connected with art and fall within the norms of art.

18. Typically, the art of the past to understand, correlating it with the norms of the present understanding of why art of the past is wrong.

19. Works of art change the rules of art.

20. Successful art changes our understanding of the norms, changing our perception.

21. Perception of ideas leads to new ideas.

22. The artist can not imagine his art, and can not comprehend it until, until it is completed.

23. The artist may falsely perceive someone else's work of art (fine from the artist-author), but this confusion can initiate it's own chain of thought.

24. Perception is subjective.

25. The artist did not necessarily understand his own art. His perception is not better or worse than others.

26. An artist can take someone else's art is better than his own.

27. The concept of art can include a material in which the work is done, or the technique of its creation.

28. Once the idea of work was defined in the mind of an artist and decided the final form, the process is blind. There is a lot of side effects that the artist could not imagine. They can be used as ideas for new products.

29. The process is mechanical in nature, should not interfere in it. He must go his own way.

30. In a work of art involved many elements. The most important of them - the most obvious.

31. If an artist uses the same form in a series of papers and material changes, we can assume that the concept of an artist associated with the material.

32. Banal ideas can not save a great performance.

33. Difficult to spoil a good idea poor execution.

34. When an artist too to hone their skills, he will obtain a smooth art.

35. These abstracts are no comments for art, but art.

First published in the "0-9" (New York), 1969, and "Art-Language" (England), 1969.
http://xz.gif.ru/numbers/69/paragr-concept/