Ironically, the Soviet Apt-Art struggled with socialism, but in the West, like apt-art or underground struggles against capitalism and imperialism.
APT-ART
Write, however, as necessary: and the Apt-Art, and Apt-Art, and APT-ART, and even the APT-ART.
According to witnesses, these things controversial combination of letters (one of many ironic paraphrase of the English terms, popular in Russian artistic underground) emerged in 1982 in a conversation, Mikhail Roshal, Nikita Alexeev and Sven Gundlaha and comes from the merger of English words: "apartment", "apt. " - Apartment, "art", of course - the art; respectively "Apt-Art" - a "private art". Rather, the arts, adapted to apartment exhibitions, often even produce it with the expectation of such, and only this way of exposure: in the early and mid-eighties (renaissance APTART) informal artists for obvious reasons could not count on any other exhibition spaces.
The name "APTART" wore a gallery, located in the apartment of Nikita Alexeev, also known as the first exhibition. Later the term acquired a broader meaning, as the name of a separate stream of Moscow Conceptualism. In the absence of any one style, participants APTART combined, as I (and by almost twenty years later) it seems particularly ironic attitude toward art and spirit - not the heroic frivolity, not something frivolous heroism. Conceptualism APTART - it was a "frivolous" is not burdened with the philosophy of the game conceptualism.
Apartment exhibitions "unofficial" artists, and arranged to APTART, nothing fundamentally new in this method of exposure there. But it is apartment Gallery Nikita Alexeev from the beginning was not just a "free hut, where you can" hang a picture, "and a" power spot "for the artistic underground of the first half of the eighties. APTART - this creative environment, generate new ideas and the transformation of old and kind of elite club of like-minded, and "expert advice" - a unique, incidentally. That is APTART replaced its participants a normal artistic process. All that was done under APTART, and was the artistic process.
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And to do, I should say a lot of things differently.
Exhibited in the gallery APTART Abalakova & Zhigalov, Nikita Alexeev, Yuri Albert, Vadim Zakharov, Amanita (and jointly and severally), Andrei Filippov ... No, this is not the case, the list is too long will turn out. It is important here is that: it usually was not just the exhibition (ie, not just hanging paintings on the walls), and, as one would say now, "projects". That is declared theme of the exhibition and the participants especially for this occasion did the work.
For some reason I sunk into the soul APTARTovskaya idea of "zero waste art: ie works for this exhibition suggested that you make from waste: trimming the canvas, pieces of paper, empty tubes from under the paint - what else are waste of artistic production? - All this was to be the material for new art objects. And after the exhibition I was not, do not even know she was held or not - but as a memory etched! Because of the desperate youth poverty must.
And for the talented provincials exhibition at the apartment of Nikita Alexeev (sort of baptism APTART) often becomes a kind of a pass in the "contemporary art". The "art" that is. At least, later famous Odessa (Sergei Anufriyev, Yuri Leiderman, Peppers, Larissa Rezun-Zvezdochetova) entered into the history of modern art through these gates. The exhibition, incidentally, was entitled: "Moscow - Odessa.
The communion of Odessa to APTART, among other things, led to the fact that in Odessa (now in the mid-eighties) broke a real epidemic apartment exhibitions. As a witness can testify with regret that the cultural phenomenon similar APTART, for obvious reasons did not happen. But here's the spirit APTARTovsky, heroic frivolous, caught on for many years that, in general, more than compensated for the lack of a full-fledged artistic process, and bright prospects.
As far as the movement itself APTART, then in 1992 (the classic "ten years later) it has acquired a new impetus when the program Apt-Art International Slovenian group of artists IRWIN conducted in Moscow project NSK Embassy. The project marks the beginning of a new creative phase and themselves, "Irwin" and for the whole galaxy of friends with them during the joint work of Moscow artists: Vadim Fishkin, Yuri Leiderman, Anatoly Osmolovsky, Dmitry Gutova, Oleg Kulik.
If the program Apt-Art International has been a conscious attempt to revive the spirit of brotherhood APTARTovskogo should mention another interesting precedent: a return to APTARTovskomu method of exhibiting works. The author of these lines happened to be one of the organizers of the exhibition "The House of Art", held in Moscow in autumn 1999 in the premises of the hostel students of the Literary Institute. Seeing the result of the invasion of objects of contemporary art in the deformed long-term human presence of the space of residential interiors, I was able not only to indulge in sentimental reminiscences of apartment exhibitions (similarity was really quite large), but also to appreciate some of the obvious advantages of "Apt-Artovskogo" approach to organization exhibition space.
Placement of works by contemporary artists in the living room creates an amazing (for Russia - so easy phantasmagoric) the illusion of social relevance and appropriateness. It is curious that, as the hanging of gradually changing perceptions of residents themselves: as strange and incomprehensible ", in their view, the objects and paintings became an organic part of the usual interior apprehension gave way to curiosity, lack of understanding - a willingness to accept the rules while a strange game. Many of them have since become regular visitors to exhibitions of contemporary art, which in itself - a wonderful and highly optimistic fact.
The author of the article: Max FREY