[inutero_gallery]

Interest to non-professional art gallery owners is growing every year. Net dynamics, expression, executed outside the traditions, schools and movements, beyond the influence of authority, helpless, self-expression is superior to a traumatic effect the outcome of the search in the space of painting. Oppression experienced by artists who require a high performance line and color stains are also growing: academic in all its forms gives rise to increasingly strained, decadent art, reminiscent of the decline of the times of totalitarianism - the learned songs honed to lifeless form, proven, dead color. Source of failures - in reliability, stability, warranty - hours of classes, materials, techniques, texts of lectures - rounded phrases professors, for whom every event, passing experience, immediately sent a plane and acquires finality simply because he observed them from one and the the same point - with a rocking chair on the veranda of the villa, which they do not go for a long time.
Many noticed that the Soviet underground and could not escape the academic routine - it's degeneracy simultaneously with the emptiness and quiet, just completed for the majority of the search and struggle, and they make art out of habit - that revolutionary in a pattern that is only true because unique.
Nonprofessional painting - from laconic trash to an inept, angular lyrics - confidently enter the market of contemporary art. Understand the reasons for this is simple: they win on the opposition to the activities of large schools and their followers. Closely enough otsmotret work of one of the most prestigious masters of the St. Petersburg Academy of Arts, George Kalyuty deeply neorganichnye filled with artificial, played skill, rough, bright colors. Attempts to artists who were brought up in the figurative tradition, the subject of painting, refurbish worldview, while remaining within the boundaries of the search of masters of the twentieth century (and some artists - the Americanized Feshina Nicholas, in whose works can be traced a clear connection with almost Wanderers in their worst, bytopisatelskoy incarnation) will lead to very dramatic break with the overall shaping of modern intellectual life of Russia and the world. Elegiac painting - woman in the mirror, dancers, children with toys - the aesthetics of well-known "Russia" Panteleimon Romanov - razed, and the "fantasies" have no more than meaningless. Honore Daumier noticed that the artist should belong to its time - and, above all, accurately sense of form and color, composition and harmony that should be extended, raise, giving them a universal status Worldview era. Antonin Artaud wrote about Van Gogh, "Van Gogh believed that the need to learn how to extract the myth of the most mundane items. And, I was damn right. Because the reality is immeasurably superior to any story, any story, any god or any surreal. Only the gift to understand it. " Today, people who consider themselves artists, are often guilty of far more terrible sin than lack of professionalism - and it is in craftsmanship. They say that history, which occurred as tragedy, then always repeats itself in the form of slapstick: Filonovsky and "the made" becomes a laughing stock, resulting in the carefully molded the modern landscape of foreign cities - here and in Stockholm, and Venice, and Jerusalem - but it seems that the author has not only never went nowhere, but do not live, barely there in the stillness behind closed doors, like the heroes of Samuel Beckett, but, unlike them, is not aware of his misery.
However, the space coordinates, which now tries to find a place amateur painting set and more complex, sensitive, modern masters - for example, Vladimir Titov, a longtime partner of the author of "Shatunov," Yuri Mamleeva on metaphysical realism. In his distinct, textured canvas is the main place specific, the pessimistic agent of Russian life - the dirt, deep and heavy, taking an infinite variety of forms, carrion, nearly Baudelaire, in which the swarming and writhing figures, almost blending with the storming of the protoplasm, the distorted nature, which has absorbed in itself all possible waste and germinate them, altered the genetic code. The whole painting might Titov, a lover of trains (on the benches of his characters sometimes resemble the famous drawings of torgovok Honore Daumier, the very bazaar women, which eventually sent to the guillotine, the beautiful Marie Antoinette and her "cubs"), garbage dumps and the panel, the sleeping areas aims to provide the orgiastic celebration of the monstrous life, far beyond the limits of life, acquiring awesome versatility. Titov wants to represent on canvas a full-scale orgy of evil. At this point, where the strategy worked out by painting, perfected, the varied infinitely subtle form begins to suppress the polyphony on which to build today's multi-disciplinary projects of contemporary art, Titov dangerously approaches the Kalyutoy and sacrifices the specificity of art as an art form demands of contemporary art as a life strategy. Simply put, it deliberately creates a closed little world, not allowing him to germs of variability - it does not want to hear those voices of diversity, so that no urge to fill the space of the canvas from top to bottom ash-gray and frail, nomadic darkness in all directions doggish monstrous organic material .
Away from school, academics, and individual artists, dedicated by the picturesque material for many years having evidence of final and irrevocable death of painting (how many times she had already died, but now it seems the story is really coming to an end). Painting by Vyacheslav Zhdanov, Vasily Golubev and Catherine Gorokhovaya located in this area. Returning to nature - not declared by the proximity to her, ending artificial, contrived compositions and poses lozhnoklassitsisticheskimi models - a close study of figures, the provisions of the dynamics of light and shadow, the object - the basis of their art - and by changing optics, and can be changed circumstances of the life-world, artists are not the unity - the canvases resemble a broken toy, clumsily assembled puzzle. This is just competent evidence that any continuous objective space no longer exists, it is destroyed to date of human thinking machine, it recognized a non-existent and it seems ridiculous, when the artist tries to rebuild. Trajectory, planned for just stood out in the dark things, - on them warily moves look (again, the unknown field in which you guessed something from memory, something painfully trying to remember, but you can not still lurking and what you do not know . These fragmentary trajectories are in the area of ​​art that can be described as running on the winning of Suprematism, a rethinking of the postmodern and today discern from the outside. Between this and we have described postavangardom painting - the area conversion, area, non-continuous line of the canvas - it is part B. Zhdanov.
To a certain degree of non-professional artists operating in the zone of naive art, naive search for border crossers - first attempt at writing, the sample line, followed by an evaluation of the effect, result, consequence. The inadequacy of the experiment suddenly just resonates a sense of the world, the most uncompromising is uncertain, poor vision. The artist, recognizing the lack of skill in the hopelessness of their more open to the world, its complex connotations than armed limited zatverzhennym master tools. In the end the best today are those who find the image, metaphor and adequate means of expression - these funds, which, as they say now, "tear pattern," create a gaping, hole in the depth of an adapted social reality zatverzhennoy - and shocking here, which arrogantly dismiss the side throughout the twentieth century, yet manages to rank him "Black Square", and grin it, like children's antics, there is resentment, rage, inconsistencies are expressive completeness - shocking is deeply functional, it eliminates the human being as a set of functions and actions formed daily routine, commonplace, a man suddenly finds himself faced with a choice, search, problem: need to understand that in front of him, and to understand yourself.
Differently represented in the work of deconstruction of the contemporary Russian artists - from Eugene to Antufeva Trushevsky Elias, Gregory of Yushchenko to Ani acorn - and stands alone, but all the more praise the divine self-sacrifice of the total group of artists Banionis Thanatos - all the poles alone, dostoevschiny, concentration camps in them, being born in the cruel and disgusting tortures Russian contemporary art, creativity flows Vyacheslav Zhdanov, which otherwise would have to die under the pressure of the norms, societies and institutions. People of the future, open and free, reflexive, and at the same time, men of action, do not carry in itself neither conservatism nor dull anger will be living with this art - in the space of constantly colliding sets, suffering and difficult choices. It seems that the other way neither Russia nor the world can not.