- Who if not you compare the teaching in the previous Surikovke and in the present: in the 1980's you are studying in this institute, and now she teaches it. What is left from the previous Surikovki now, and whether this lack of education present amateur painter?
- In those days, that education is quite enough. And then there was the prospect of public procurement and distribution of students after the fifth year apart in certain places - a beautiful plant, in sculptural, etc. Someone was going to teach in art schools, someone sends a painter at the plant or even on some business. That is, the system worked according to plan.
- Now this is not of planning. So who is preparing institution?
- For example, faculty of monumental painting of restorers prepares temple murals - they have lots of orders. They prepare and specialists in their paintings of new buildings, and stained glass artists. That is, they are called for. Here are the graduates of the Faculty of Painting after the diploma are in limbo, they are available almost anywhere: do what you want! And because they are well able to paint portraits, still lifes, competently done to the track ... And where to go to this artist? Of course, he may pursue a traditional realistic art (but where he goes with him?). If he wants to make a career of actual artist, then he should complete their education, because he can not think, just not able to use the terms of contemporary art.
- In the old days, depending on the plans and built a system of teaching. And now there is some kind of specialization or non-existent gone?
- We have, for example, there are battle-painting workshop, and some other specialization remained. There is a very interesting workshop Tatyana Nazarenko, and then workshop Sergei Shil'nikova (which I once learned), still other professors who teach in the same spirit, soundly and efficiently. But they generally do not know (or do not want to know) about the new tools or methods of artistic expression.
- Take, for example, your practice: how do you teach?
- I - the strict teacher. I absolutely classic, even academic approach: my students make sketches (the performance), then the cartons, then cartons are transferred as a painting, and in grisaille. When working on a composition I'm trying to get at least a little thinking. I told them, for example, propose the same idea to put into the installation. They make models of installations in the premises of my gallery, and say that three or four were very good. Generally it is a very difficult process - it is the first-second year. In the beginning, I teach them to formulate their ideas in writing, that is, ask something like essays, descriptions of the concept. And it is very difficult to understand because they are accustomed to the simple, banal decisions: if the theme of "city" - writing a couple in love on a windowsill (and with a cat or dog to score a break) with a view of Moscow, if the "loneliness" - that girl goes on an empty street, etc.
As I think they lack the basic cultural, human knowledge, which must be among those who decided to take the path of the artist. It's just a primer, which they had to teach secondary schools, I am not talking about art. Funny and sad - twelve, thirteen children learn about Leonardo from the movie "The Da Vinci Code." Our Moscow "hudozhka", ie MSHSH, something else makes that clear - all the museums nearby. But those who came from the provinces, the cultural level leaves much to be desired.
- It may be worthwhile to increase the requirements for admission to a Surikovku came more or less well-trained people? Or in this case you will have a big shortfall?
- If you conduct more interviews and, of course, will be the shortfall.
- Thus, the requirements for admission to the institute - the ability to do hands: to draw, write, sculpt. Elementary intelligence test is not carried out.
- But not before the test, generally wanted to know why he decided to become an artist, whether he is prepared for this hard work, to such a life, but at least to the cash-strapped waiting when you notice it. I think that today's youth are not very imagines what goes.
- How you could stir up students? You seem to have any ideas on this?
- When we learned that with the lack of information about contemporary art, we sought different ways to find out what's happening in the world. Some books were brought, get, then they exchanged. Now this is no interest. Students no longer sit out in the Library of Foreign Literature (and it is from us in two steps), in those halls, where albums and books on art. They are even in the classical vanguard do not focus. It seems that in the art of the XIX century, too, are floating. Judging by their knowledge, they are unlikely to these requests come to the Internet.
- Surikovka seems rather self-contained structure, the part of it, it seems, does not like to take either lecturers or teachers?
- Why? For example, I and Sergey Ossowski (he teaches drawing) - we went to teach at the institute. For me it was something like an experiment - can you? So Surikovka admits to himself, would be initiative. The results can be very fruitful. You can look at what China's rise is a school of modern painting and Leipzig (former GDR) school. But all of them in their time learning from us. They just mastered our "artistic export, processed it and began to make his own, original. And we like and nothing.
Still, I think we should leave our strict school for what it is: as we learn to draw, never taught anywhere else. Our professors are - relic. But it must, of course, much wider range of knowledge. Perhaps the introduction of new disciplines, for example, give an idea about new technologies, at least on video art. That is, the palette has expanded - you can express itself in installations, objects, videos, photos or using the same art-piece. If you possess drawing and painting, then you can express yourself in any format of contemporary creativity.
- But the basis of these technologies lies and his own theoretical framework. That is, that students have mastered them, you need to invite teachers and profile? If for this add learning hours, you'll need something to take away from the basic academic program? You can not keep up everywhere?
- In principle, you can catch. And then here it is a more in-depth and professionally-oriented study of the history and theory of art.
- Who currently produces Surikovka: small "Ossowski", "Nazarenko," Aidan "? That is how creative independence graduates?
- No, in Surikovke all quite diverse, since there is no pressure. We can say that we have democracy in Moscow. I am not forcing students to do salahovskuyu painting. I give them the skills of classical art, focusing on high designs, say, Alexander Ivanov. And only then they can do, what they have soul lies.
- And what was with the notorious Soviet thematic picture? Left inside it?
- No, of such huge paintings as Prisekinskoe painting that hangs in the Kremlin, no longer write. There is no historical paintings or pictures on a religious theme. After all, this requires a lot of work: a long time to gather material, think about it, do a lot of sketches. No, for such work today, it seems, no one seriously taken.
- You follow the fate of their students?
- I do not so long ago, a teacher at the institute, and then I do the first two courses. But those whom I teach, I track. I want to do every summer in its gallery exhibition of students - three or four projects: the installation or video.
- A class "installation" or "video" in Surikovke can protect diploma?
- Of course not, but that is not necessary. Let the students how to master the classical school. After all, how it is. Comes to me in the gallery with the project some actual artists, and the need to spend too much time on the formatting of his project in accordance with the basic requirements of the composition, color, etc. That is, in this case it is necessary to fix flaws, overcome his ignorance in the field of classical art. Although it happens that everything works correctly. But somehow there is an element of chance, but it should not. In short, the art went to different poles: one has only the ability to make and hands, on the other - only the head and understanding. The second case - the usual practice of Western institutions, where the hours of conversations with professors, the discussion, but where absolutely not teach art rukomeslu. That is, the western a pupil in his own way, too, is not free. And he avoids working with brush and pencil. The same problem and our current artists ...
- I do not suggest whether you are a graduate institution to transfer to the school of modern art for the development of the mind and vice versa - a modern artist sent for vocational training in Surikovku?
- Laughter laughter, and about three years would cost to send actual artists in the institute. In general, it seems to me that the conflict between classical and modern art school has long been exhausted, it is outdated. High school teachers, who should be commended for what they continue to teach, you need to understand that none of them is not going to fight. Just academics and modern must somehow combine. Then, perhaps, will be the same result as that of modern Chinese painting. And then our art will be competitive.
- Competitive? Here you've already started talking as a gallery owner?
- It is better to say: as a professional, who loves a good, quality product.
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