July 10, 2008 → unofficial art in the USSR. 1970's ...
With 19.07po 27.09 exhibition of unofficial art in the USSR 1970's "
Currently, an informal art 1970 increasingly began to draw the attention of collectors and researchers, while discouraging those, and others, as the lack of substantive publications and many myths that have grown on the grounds of misleading and sometimes deliberately distorted information emanating the subjective preferences of artists, art critics and collectors. The era of Khrushchev's defeat of the left wing in the Manege Moscow Union in 1962 to "Bulldozer Exhibition" in 1974, brought together a small group of the sixties - nonconformists - the initiators of the exhibition shares ending dozer defeat.
The exhibition is open from 19.07 to 27.09.2008
Weekdays from 12.00 to 19.00.
Saturday from 12 to 18.00 Sunday closed. Admission is free.
Address: 107045, Moscow, Daev Lane 33/17
Phone: (495) 608-7775
E-mail: intart1@rambler.ru
Bannikov, sir Belutin, Blaise, Vakhtang, Vechtomov, Voroshilov, Vulokh GAIDUK, Gershman, GLUKHOV, Gordeev, peas, GOST, GRIBKOV, Zhdanov, Zverev, ZUBAREV Kalugin, Kandaurov, Kislitsyn, manhandled, Konysheva, Kropivnitskaya, Krotov KUZMIN KUZNETSOV LEVITSKY LESHCHENKO LOZOVOI LYUMKIS MAXDB MIRONOV OKINSHEVICH Paul, Peter-SMOOTH Plavinskaya POLENOV POTAPOV Provotorov ROZHANETS Sveshnikov Semiletov SNEGUR STROCHILIN Sukharev Sysoev Tabenkin TRYAMKIN ULAN Dmitrenko FOMINA Khudyakov SHESTAKOV Shibanova Spindler YAKOVLEV
Currently, an informal art 1970 increasingly began to draw the attention of collectors and researchers, while discouraging those, and others, as the lack of substantive publications and many myths that have grown on the grounds of misleading and sometimes deliberately distorted information emanating the subjective preferences of artists, art critics and collectors. The era of Khrushchev's defeat of the left wing in the Manege Moscow Union in 1962 to "Bulldozer Exhibition" in 1974, brought together a small group of the sixties - nonconformists - the initiators of the exhibition shares ending dozer defeat.
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The ensuing hype and scandal in the Western media has forced Soviet ideologists little to ease pressure on some art, and to allow, under the close supervision of the "organs", "dose" exposure in a small room. That place was the union of graphic artists at the Little Georgia 28, which was established section of painting which had included this particular group of artists of unofficial art. The first exhibition of the section was held in March 1976. Before that there were two exhibitions of unofficial art: in February 1975 in the pavilion "Beekeeping" and in September the same year in the pavilion "Culture House" on VDNH.
The decision of a small relief measure for a small group of artists was not disobedient act of goodwill, but forced to retreat under the onslaught of accusations of barbarity on their way from the West after the unprecedented scandal involving the destruction of paintings in the exhibition, nicknamed "Bulldozer". Thus, proactive pressure from within, from the assets of non-conformist artists, and outside of the Western ideological propaganda, set a precedent: the authorities opened the exhibition space, is well traced, and significantly reduces the opportunity for criticism from the previously mentioned vectors pressure. This is the beginning of the story "Little Georgians", was the most brilliant exposition opening until 1980. At the authorities' decision was influenced not only the events listed above, but the fact of apartment exhibitions in the 60's - early 70's, as well as the activities of some residential salons such as Salon Sychev at the Christmas Boulevard or salon Nicky Shcherbakova on Lawn - Karetnaya street. It has been visited and foreign diplomats who met with dissidents, bought paintings, thereby supporting the unofficial art. There is a contemporary view of events described above that, creating a small "sump" for an exhibition of artist-rebels, the KGB itself simplified the task of monitoring the situation and the possible suppression of certain ideologically colored provocations by the non-conformists. However, reducing the role of residential exposure, trace of which required a more complex operational work. Also there is a perception that the KGB tried to dismember the informal group of artists, not allowing them to develop a unified position, the most restricting their initiative and creative experiment.
It is not accidental generation of non-conformist artists who began their careers at the dawn of the 70's, sometimes referred to as a generation "excluded". Contempt and hostility on the part of representatives of the official art leaves them little cause for optimism. Rigid ideological unacceptability identified the unique features of creative non-conformist artists 70 years, with the exception of protest art, it could not be focused on meaningful social resonance, reflection, wide-ranging discussion, or commercial success. In the best case, the audience was a small circle of friends and admirers. Work in the table, "in the corner shop, someone opened the way for freedom of experiment, exploration of inner space of consciousness, its expansion; other is driven to despair, binges. Place a bundle of a small group of nonconformists - some chose a formal experiment with syntax, design, composition, technological and stylistic component. Another, smaller part, went on a spiritual quest, deep into the metaphysical content of the picture, the study image, like transformers and sublimator consciousness as the creator and the viewer. It is this aspect of creative search in the area of semantic space pattern has led some artists of this group to conceptualize and then the practical development of religious experience.
The lack of direct contact with modern Western art and the inaccessibility of information on domestic forefront of 20-ies created an atmosphere of vacuum, "cooking in its own juice", which gave creative nonconformists 70 certain specific features. Fragmentary information about the western vanguard came through magazines on the art of soc. camp and rare editions of Skiri ", travels through the cordon. This stimulated the creation of certain myths, both individual and group, about creativity and living artists. Not accidentally, seventies sometimes called "personal mythology." Despite all difficulties, sparse dosed exhibition activities in Malaya Gruzinskaya, 28 became the creative laboratory of artists in the style of experiment and technology, a field of mutual professional exchange of experience, creativity and growth. Conceptualism in the Sixties was enriched by new discoveries in the field of morphogenesis, the deepening of the content. Developed line of students Vasily Sitnikov, moving toward the development of the metaphysical and mystical levels of the composite measure. Developed an original line of neo-naive art, as well as neo-and postsimvolizma. Were drafted personalized version of surrealism, minimalism and hyper-realism. There is a distinctive trend in painting religious subjects. Materialized performance and group meditation, experiments in the field of stage movement and the avant-garde stage design; reached the dawn of creation "instant art" Anatoly Zverev; receive an entire line of neo-expressionist. Had developed a neo-historical paintings, metaphysical landscape and even the new version of genre painting.
The formation of the artistic language of non-conformists-seventies took place against a background of opposition to the official line of the union of artists with his professional attitudes, norms, taboos and cliches. By the mid-70's decline is "severe style" and "left wing" MOSKh trying to find new plastic language within permissible. This is mainly interpretative "approaches" to the west of fashionable styles that can be adapted to the "general line" of social realism. For example, this line of variations on the theme of "naive art" that "peddling" under the ideology of popular, native "- or the line of" neoclassic ", starting from a monumental Italian protorenessansa. Or, for example, the Soviet version of American hyper-realism, to hedge themselves ideologically as a "documentary story" and "realism-designed" and portrayed himself as a fashionable and innovative line of socialist realism. A separate line of the left MOSKh the end of the 70's has adapted to the variation of the German Socialist Realism Expressionist 20-ies, combined with the technological innovations of the American Neo-40-60-ies, the line Pollack and his followers. Thus, in the 70 years the scope of official art has expanded considerably to include a few plastic of use Western mainstream, adapted to the national ideology and mentality of the functionaries of the art, distributes orders, purchasing policy of the Ministry of Culture, hudfonda, the Union of Artists.
Separate plastic line on the background of the artistic life of 60-70-ies was the school Elia Belutin, as well as closer to the early 80's, the school Zubarev.
These were attempts to "legalize the avant-garde", a methodology for teaching the fine arts, design, build and composition. The experiment was "legalized" in these schools in the plastic language teaching method, considering the language as a formalized pattern. These methods though and implemented in a purely local part of the pedagogical process had an impact on the consciousness and the formation of artistic language, a number of non-conformist artists. As for exhibition activities in the 70-ies of the basement on Malaya Georgia, some representatives of the "left wing" of the Moscow Union participated in a number of exhibits, but in general, the artists of this wing were in opposition to non-conformist artists, not to mention the bulk of the members of the Union of Artists, jealously and hostile to their creativity. Peculiarity of exposition of life in the basement Little Georgia was that it exhibited artists from different generations, ousted from the official art or openly opposed themselves to him.
By 1980, some of these artists left the Soviet Union. In 1981, the union leadership was "cleansing" section of the series of paintings and from there were driven out under the pretext of lack of references on non-standard collaboration with publishers, a number of unwanted art of opposition.
Exhibition activity continued in the 80's, but the beginning of perestroika-time non-conformism increasingly pushed into different versions of the salon, Kicevo art forgeries, variations psevdoavangarda that by the end of the 80's began to dominate, creating, unfortunately, negative opinions about painting, exhibited in became famous basement.
Unfortunately, being ruthlessly dealt with the legacy of nonconformists 70-ies. Recreate, at least in approximation, a complete picture of the creative process at that time is not possible. First, because of the physical death of many members of this era without a trace the disappearance of their operations abroad. Secondly, the absence of exhibitions, discussions and publications on the phenomenon as an informal art 70-ies, not to individual personalities, but about the process as a whole, has led to what many have disappeared from the social memory, and the remaining overgrown mythology, personal and group, as enemies, as well as survivors of the events.
The proposed small exhibition puts modest goal - to identify opportunities and to introduce art lovers and collectors in some of the non-conformist artists of the "first draft" of the exhibition hall at the Little Georgia 28, in their composition to the early 80's. Most of the artists involved in the process of exposition in the first section of the exhibition of paintings in March 1976. The projection for the future lies in the fact that more fully, on a personal level, to acquaint visitors with the works of these artists.
This exhibition - a tribute of reverence and respect for the well-known American collector of Soviet unofficial art - Norton Dodge (Norton Dodge) - author of the term "Soviet non-conformism". It should be noted that this ultimate explorer, the discoverer and patron of the arts not only drew attention to protest the political aspect of this cultural phenomenon, but the uniqueness of it as an artistic event of the 20 th century. As part of the history of world art, N. Dodge, thanks to its museum collection, preserved and transmitted to succeeding generations the page of national history that deliberately wanted to silence domestic critics biased and contemporary detractors - "aktualschiki" and co-workers of the globalization of culture.
Member Mossich SV Potapov
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fross, opening 18.07.2008 at 18.00
The exhibition is open from 19.07 to 27.09.2008
Weekdays from 12.00 to 19.00.
Saturday from 12 to 18.00 Sunday closed. Admission is free.
Moscow Daev Lane, 33.
15.07.2008, 06:40
Exhibition "unofficial art in the USSR 1970's"
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