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This paper is one of the most influential French critics - Philip Dazhana, who wrote in Le Monde. He has another distinguishing characteristic: it is possible, it is the only art critic in France, which, as I said one galeristka, "love and understand art." I was not going to translate it - the forum is already enough articles critical of certain parts of modern art - but after reading yesterday in the plot Ilona statements of people who refer to Manet, to justify their products, I decided to still put it as just Dazhan affect the subject.

I hope that the lesson regardless of my personal tastes and preferences I can observe a balance between the texts of fans of modern art and its critics


The Art of between provocation and cynicism

Le Monde, 31.10.2008

28-October a series of eleven watercolors by Adolf Hitler, retouched brothers Jake and Daynosom Chapman, two British artists with a satanic reputation and high quotes, were sold at FIAC two hours after the opening of the fair for 815000 euros. These watercolors, created during World War II, depicts the battle, written in the style of newspaper illustrations of the time. In terms of art they do not represent any value. Chapman Brothers added to them, a rainbow, sunset, different color stains. These additives are also deprived of whatever artistic interest.

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The interest in something else: the attractiveness of watercolors is the signature of Hitler. Do bear in themselves some sense additive two brothers? No, Chapman had nothing to say about Hitler, except, perhaps, that the use of his pictures is a wonderful medium for the provocation to which they will speak, and consequently, the financial value of their "joint work" will increase.

Chapman - specialists of this case. They became famous in the 90's. By placing mannequins of children, on their faces and bodies which have been implanted in a large number of male and female sex organs. Even then the automatic choice was obvious provocation, the more effective that the objects of her children were. Still bored, and when such work has ceased to attract their novelty, they began to mock-ups of piles of victims of massacres and death camps, and then - to Hitler's watercolors.

So Nazism was replaced obscenity in an argument scandal in the likelihood and profitability of emergency which could not be any doubt. Material form of these works has no significance. It is important to only one thing - that it was as simple as possible to understand. Any allegory, allegorical, the nuances could not weaken the shock hit. Of course, such works may not be the place and formal innovations.

Brothers Chapman promoted Charles Saatchi, a successful London-based promoter, which became a collector, a very influential character on the art market. His main achievement - is the organization in 1979, the exhibition «Sensation» at the London Royal Academy, where he presented 42 artists - among whom vzodili Chapman - whom he brought into fashion under the name «Young British Artists».

The same Saatchi "launched" Demiena Hirst, another worshiper of the principle of "do simple, you sell expensive" and unwavering star of the art market. His "Golden Calf" (oh, how hard to resist not to write "The Golden Calf"!) - Is a real eighteen months the calf, horns and hooves (Wow! Which of the two - Phillip Dazhan or Demien Hurst - a lover of Russian -Soviet literature? Still, probably Dazhan as something I can not believe that Hirst was well aware of literacy, despite its rather grandiose statements in the press, but in general, "the horns and hoofs" he would be in I think the place) were really gilded, and between the horn from him - a disc of this 18-carat gold. Make something more basic is simply impossible. Selling price at Sotheby's: 18 million euros.

Another direct and universal theme - death. Accordingly, Hirst has created «For the Love of God», a human skull, adorned with 8600 diamonds (as a whole was 1,106.18 carats). Actually no more than a ennaya variation on the theme "vanitas", one of the most popular characters in the history of art, no matter what civilization or take. Sale price of this luxury banality: 100 million dollars, that is 76,10 million euros.

In the same segment Hurst offers cow and sheep carcasses, cut into pieces and immersed in formalin killed. Disgust is guaranteed. As paintings, they are to increase the photos of sick cells. Description: "Skin Cancer", "Cancer of the salivary glands. And in case anyone does not understand, Hurst added more razor blades and broken glass. So, as to object to exert effective influence on the viewer, it is necessary to make it as easy as possible to understand, and will be attended by as many as possible of violence - and that's all. This is part of modern art - that part, which they say often, and which is sold dearer. And it is from that you experience some discomfort: not from the amounts paid by investors who possess the necessary means, but from the mediocrities and primitiveness of what they so dearly paid.

Advertising argument

The high cost of art - this is an old European tradition, but it should have been worthy of the name, it was supposed to provide food for the eyes, the heart and mind, and it was Rembrandt, Picasso, Titian and Bacon. However, items whose prices have for some time now reach the dizzy heights, characterized by poverty of ideas, bukvalnostbyu forms and complete absence of novelty. An iron rule for their construction: not only to dream, do everything as much as possible literally! This principle is akin to that prevailing in the world of television and advertising, cultivating a complete disdain for the audience. The report is done to stun its object, the image must be a more effective manner, the plot - how to more primitive - sex, death - or outrageous, shocking - Nazism. The proposed works are the illustrations, which should cause intense emotional impact - the price of these products is directly proportional to this clarity and force of impact.

Once Manet, Cezanne and Matisse, caused a scandal, this is not quite themselves wanting, not because they did not want to like, but because they could not write otherwise, without betraying himself. Duchamp, Dadaists and Surrealists scandal caused intentionally, for them it was one way to protest against the established social order and tradition. Hurst, Chapman brothers, and some dlrugie - Tracy Emin, Cattelan - have provoked his only artistic technique, but the scandal turned into an advertising argument. They did not protest against what, on the contrary, they are very well and enthusiastically use capitalism, flattering billionaires and passing them off as patrons of the arts. They play with the system Mediatization, and the only advantage you'd like for them to admit - this is the perfect and cynical understanding of the situation.

All this fully applies to the Jeff Koons, who is not rampant in the genre smertonosnotsy provocation, and tenderly stupefies style - it increases the toys everywhere, shimmering heart hangs from yarkami bows and shows in Versailles, which he is a great decorator. Such an understanding of artistic activity is not new. In the last third of the 19 th century, it helped put together the official artists themselves considerable fortune - like their successors today, they created the work, impressed the audience by their orgomnymi size, its technical mastery, his complete absence of novelty, all the famous scenes and incredible expensive. Now everyone knows what happened to the suppliers of art for the great of this world at that time: from Jerome, Masson and others like them today were only names.

When one remembers that the court of history, it is somehow easier. But for all those who refuse to take the art branch of luxury and entertainment, comfort is very weak.