Gallery of Modern Art NT-Art in conjunction with the production company "start" at the Museum of Modern Art in Odessa with the support Pivdennyi present an exhibition of works Valentine Khrushch
The exhibition presents the work of Valentin Khrushch from private collections, galleries and MSIO.
Opening of the exhibition will be held at the Museum of Modern Art in Odessa 18iyunya 2009. at 16.00.
gans, and if you have photos from the opening of the exhibition? I like this artist is very likable, I would like to see what kind of work before Valentine Khrushch now on exhibition in Odessa.
Elena Godina: With whom did you first learned of Odessa?
Vadim Zakharov: From Sergei Anufrieva, then with Jury Leiderman. Then at the exhibition Nikita Alexeev - Odessa Exhibition, which was in 82 th year. There was Wojciech, peppers, just appeared in Moscow, Larisa Zvezdochetova, Leiderman and Sergey Anufriev. With all of them I met, I think, here at this exhibition. But Sergei's work I saw in the first exhibition Nikita. In addition, I was familiar with Vladimir Naumtsev, also an artist from Odessa. It so happened that we had still been living together in Cologne in the same house, because his wife - my wife's sister. Therefore, with regard to the older generation, I know too much, the old connection with Odessa, almost family. So what can we say about the first of some relationships, and even then one could say about some new developments from Odessa. In Moscow the situation, rather new to my generation, Odessa appeared somewhere in the late 70's. Odessa artist is a young and interesting, with some new ideas, and the farther, the more it was possible to see - interesting ideas, quality of work. And almost all these artists have become my friends.
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EG: On the first show there was any relationship to the type of Moscow - Metropol, Odessa - the province?
VZ: I can say that can and has been an ambitious, but it was all the other artists, including Moscow. There was such a sense of Moscow - Odessa, Odessa because of the many artists were already sufficiently well known, little can be said about the contacts in Moscow - Odessa, rather than Moscow - Leningrad in the art of the time. I think it's more interesting trend is for that time. Now this has changed, but then in the modern art, I think, Moscow - Odessa - the important line, and there appeared a lot of artists who have played an important role in the stage 80. And plus the activities of Sergei's mother, Naumtsev, Gorokhovsky, in my opinion, too, from Odessa.
EG: Have you been to Odessa in the 80's?
VZ: I was, unfortunately, once and very unfortunate. We usually went to the Crimea - it is somehow a route of pilgrimage and leisure - Tarkhankut, Bahchisaray. Then we got from Evpatoria in Odessa on the "Rocket", and there was a storm, and we got to Odessa in very poor condition, and all the impression of Odessa was a blur. Three or four hours of storm time, and so somehow it was not very much ... I really liked the city, but blurry impression ...
EG: So you went to his company and Odessites not really? ..
VZ: We were, in my opinion, the Pertsev, at Sergei's mother. Then there was Vladik Greenberg - a strange character. Unfortunately, the older generation I have not touched in Odessa - in the same mass of artists, Volodya Naumets told me about them. But it is a little different.
EG: if you have not taken Odessites for any particular place?
VZ: No, probably not. There were some places, but I do not really go into them.
EG: So you were only in peppers and Seryozha?
VZ: No, we went somewhere, but, first, it was a very long time ago, somewhere in the 83rd and 84 th year, and maybe 82-th. And practically no one there had seen more. It was such a short visit to Odessa.
EG: And now in Moscow after the show Nikita, as continued life, cooperation?
VZ: It varies. Here with Sergei, with Larisa Zvezdochetova and Yura Leydemanom I have friendly relations, and they remain today. With Sergei Anufrieva we now have an exhibition, which I hope you look, but so far we had to communicate and work well. This is probably one of the most interesting artists of my generation. When Serge arrived, he was quite young. He was 66 th or 64 th year of birth, I have five or six years his senior. There is, of course, does not matter, no difference - we are one generation. For me he is one of the most interesting artists, and yet Paul Pepperstein and Yuri Leiderman most interesting artists still remain.
EG: How are your relations with others, with Igor Chatskina, for example? Which appeared later.
VZ: Chatskina ... Who is he? Well, Wojciech emerged as the times, I think, with Sergei. That's just about the Odessa mentality of this country, and I find it hard to understand, but it is present, some Odessa complex tissue, which imposes on all the behavior of the artist's impression. Or is this some sort of moire restlessness, perhaps, on the other hand there are the extremes, where it start running Odessa artists, he turns into a depressing rod lock, which begins to pull down.
EG: Are you about Lena?
VZ: And on the Lena. Many times I just met him, talked with him, and saw a lot of very good work. But some now incomprehensible inner spring knocked him many times from this very good, in my opinion, the internal state of a very good creative state, a very good creative thinking on some trite, painful level. And this, I must say, instability, lack of partner, let's say, a colleague, as it were, represented a kind of crack, through which it is difficult to move every time. It always appeared a kind of crack, it is unclear where and every time to move the crack - it's hard psychologically.
EG: That is, with Lenya communication is not evolved for reasons ...
VZ: Communication is different: sometimes collegial, communication with friends. If Lenya comes to Moscow - I am pleased with him talked with pleasure see what he does ... But, probably, a close communication does not arise ...
EG: But to be friends with him was difficult?
VZ: But we're not talking about the fact that he is a good man or bad, it's not a conversation. It turns out that I have very few close friends - just one, two, three. ... Well, Lenya was one of the colleagues and the people with whom we have been very close. He ran in harness, that is, strangely, with jumping, falling, uryvayas into the ground nose, as each of us. But it is, in principle, one could see such a strange race of Odessa, a method of such country, which was unexpected for me. Seryozha Anufrieva this manifests itself in a strange method of work, in a strange reflection, strange behavior. There are no jumps and the extreme, if there is extreme - the extreme conscious, while Leni Voytsehova - a shift in psychology, the transition to a painful condition ...
EG: But when they started Furmanniy lane? ..
VZ: Furmanniy just emerged from two workshops - Vova and Sergei Mironenko, Sven, Costea I, Yuri Albert, Andrei Filippov and Larissa Zvezdochetova - that group that started the whole Furman. There were two apartments in the very beginning, which then had become encrusted with the most incredible number of shops and apartments. But Furmanniy - a 86-th year, if not mistaken. In our conversation, "the impasse" with Sergei Anufrieva I consider it such a "dead end" 80-x. This is a great time and, again, a great conversation. Fair to assess what has been done at Furman, it is difficult - there are very many and good, and bad it was. As for Odessa, then everyone started doing some great work, which previously did, there were opportunities there were any specific space, which was not - apartments are large enough. There were money, there were opportunities to stand. This left a definite imprint, plus the interest of the West, of course. All this spurred change the method of work compared to the early 80's. On the one hand, it is good, on the other, probably not. Because, in my opinion, much of what has been done in the early 80's, has been forgotten or cleared, it is in pursuit of the painting, "picturesque" in quotes, pictures.
But then, of course, many other artists, too Odessans, were, of course, but it is really each of us was this moment of ambition, that moment of fear that someone someone would steal the idea - that did not exist before, but now on Furmanny it appeared. I remember just Pertsev, which are very good artists, and after interest for Feldman, they locked themselves very strongly in his studio and allowed only their own people and were very strange in that sense. But, again, everyone understood that this is a period that has lasted, unfortunately, to date, which is also strange. I do not remember who else was in Odessa Furman. Here Lenya Wojciech, but rather on Clean Ponds was, although he was at Furman. After Furmanny were clean pond where I participated, all moved there, but these were actually rehash, echoes. End Furmanny was totally uninteresting: all the creativity has evolved into a kind you like this, and transitions from one apartment to another, public relations. Despite the fact that the house was huge, but they were communal relations with the grievance, cursing, with booze, which is natural, and I must say it was quite interesting.
And then the flow entirely of other people - that's a year and a half after the start Furmanny all the surrounding houses were populated entirely by artists not in our direction. All this is a completely unnatural for Moscow conglomerate, a clot, which had nothing to do with the beginning, and it was very strange and not very good, at least it was impossible to work there. In my opinion, Chistoprudniy - it was an attempt to return to its original position, reducing the number of artists. The house was one of two stories, for its own, but, in my opinion, it does not lead to anything. They were all very happy - in the center, a beautiful place. But on Clean Ponds nothing was done such that it was done at Furman. The only thing I remember that Voytsehova was a very good series with the conductor type such large canvases. I really liked it, but the fate of these paintings, I do not know.
EG: It is said that people greatly changed the so-called Russian boom, when people who previously did not have money, they have appeared.
VZ: I think there are many factors that have led not to the physical disintegration of Furman, but to some inner emptiness, which is not fed anything. Usually, the concept of emptiness of the Moscow conceptual school - filled with the notion of creative space, and emptiness is indeed turned into the void, which is no cast.
EG: Did you with Odessites any collaborations, share, collaborate creatively?
VZ: Creatively ... Probably not. The fact that it is difficult to talk about co-authorship, although for me the co-authorship is a very important thing. I have worked with many artists, but almost from Odessa artists - no, not with anyone. Here again we can talk about any contacts that are not expressed in the joint development. But some mutual influences with Jury Leiderman, with the same Sergei. With Sergei were doing something in the early 80's, we had raised the topic "zone", ie minds of criminals. Example of work that have been made in the closed zone, in fact, the development of "theme impasse" in the end.
EG: Do you think the majority of Odessa began as poets, musicians - Peppers, Serge. This is somehow affected their work?
VZ: That what you say - the artists written texts were poets - it is the conceptual basis of the Moscow school. The fact that Sergei wrote, Leiderman did little books, or they wrote some texts. Serge wrote a great number of texts in the early 80's. And it was accepted and understood. In Moscow it was structured, clear, and in Odessa it was at the level of anecdotes and jokes. And in Moscow it was the method of work and, of course, I think that helped one another. By the early 1980 Kabakov made a great many of their albums, made many of their monastery shares with the comments - the system was arranged. Therefore, artists from Odessa, who appeared, they appeared on the same wave with the same frequency, and so they were immediately taken. Incidentally, many Moscow artists, who were trying to work on the same wave, they failed, they did some work, participated in some events, but beyond that it's not vulgar. And virtually all inhabitants of Odessa, whom I know - they still do the same, and it should be active and interesting, ie a sequence of surprises me in a positive sense, knowing Odessa elusive fabric behavior.
EG: Did you have a close contact with Martynchik?
VZ: Light had even spent the night with me on Pokrovka couple of nights. What year was it? Perhaps the 83rd.
EG: Maybe a little later - 85 th?
VZ: Maybe. Here she came ... I even her early work is not related to these plasticine series. Her husband, unfortunately, I have not room. Practically all the relationships built through Sergei, but the light just called and said that she wants to show the work of any. And it came to our home with Masha, my wife and we had a very nice time, she showed his work and stay overnight. I do not remember what year! And it was her initiative, we later saw two, three.
EG: How do you feel about the fact that Martynchik do now?
VZ: I have seen very little. I saw at an exhibition in Hamburg in Feldman, saw their plasticine worlds. This is all interesting, but again, this Odessa "sticking" in the material, they zalipli in plasticine - a different perspective, I just saw. But then I found it very interesting, but they zalipli in the material, as many slapped in his gallyutsionoze in their illness - is like entering a time, the loss of distance and Martynchik ... But Peppers, for example - they moved to Moscow, and it will completely absent. Why was it necessary to move? It is their personal business, but I do not understand. They are also not in the Moscow art situation now. And this is strange.
EG: Did you Fomenko and Kaminnika?
VZ: I knew at once in passing. They later appeared, I can not say anything concrete. With whom I have spoken - with Sasha Karman. And he somehow found his position, his point I think there is something interesting. There are moments - it can be divided: Moscow - Odessa, but I'm just looking to many ... It is the general situation of such a lethargy, lack of interest, the circuit in his corner, driving in her corner, a lack of interest in the common interest. The interest I say in some culturological sense, all this is somehow lost, and many dispersed to their corners. This gallery "coat" - it was very fresh and very active, but again, I think Sasha got stuck in his coat. To have a gallery, you need to get out of his coat, and he, in my opinion, it stuck. So it goes, and - gallery "coat" was merely a coat. And when I met him, he then made a ballpoint pen drawings of some bands, but this, in my opinion, Clean Ponds.
Frankly, I have it on Furmanny not remember. Maybe he was, but I do not remember. At Clean Ponds he was, and I remember his ballpoint pen drawings - some funny pictures groups. It is unique. So, I think there is a generation of artists in Odessa, which affect the situation in Moscow - gallery "coat" was recognized as the best gallery in Moscow. This suggests that it was a good idea on how much I know, this idea was shared with pepper. And it says about this kind of Odessa's worldview and its impact on Moscow. This can be said, but again it is because here in Moscow, fertile soil. Painters are working on an understandable wave, and thus comes into contact, it is propitious. In St. Pete Odessa artists virtually none. Radically different environment, although again it may be closer, because there's more freaky environment, as well as in Odessa. Addicts and alcoholics are now very divided over the poles.
EG: Drug addicts - one thing, and alcoholics - it is another world? ..
VZ: That's right - a different outlook and behavior. This can say a lot. And, apparently, Piterskaya environment should be closer Odessa. And I must say that, in as far as I know, no contact from Odessa with Peter there. Whether it is a great geographic distance that must be overcome - it is not clear, there can be many reasons. Odessa - Moscow - is beaten line of the road, which does not burst out anywhere. In Moscow, it ends, Moscow - the last station, and south, respectively, Odessa.
EG: In this case you can not say that Odessa is Moscow.
VZ: In one sense, yes, but again I say that the entire Soviet Union in the art, there are three cities: Moscow, Leningrad, Odessa. Most cities I do not know who did so much for contemporary art and grew to as many artists as these three cities.
EG: Odessa was the first city from which came such a group of artists in Moscow?
VZ: I do not know about the older generation - again Naumtsev generation. Although Naumets lived all the time in Moscow, moved to Stroganovka, and for him Odessa existed as a native context. He knew of many - and Khrushchev, who was very good artist, I saw many of his works. But again, a strange situation, which deprives artists of high-good status, "high" in quotes for some strange type of behavior, which replaces the work of the artist - this is very interesting. At the same Khrushchev, at the same Voytsehova - was a lot of interesting works. But it is that it seemed that the behavior of the artist's more interesting than the product, and there was such a substitution. If Kabakov Character - this is an important thing, I can appeal, to use as a method, then they are a permanent loss of range. They constantly "sticky" in the masks that they wear - or mask an alcoholic or drug addict is a mask or a mask Character.
Each time the removal of the mask - this is a very painful process at the level of suicide, at the mental hospital, at the level of scandal and stress. And this time, not-professionalisation of something, ie all nice guys, all clear, but there is still time unprofessionalism, which includes all this. But the loss of distance has always said that what is happening is some mistake, and it is always visible, because all of each other very well know, understand and see that for what it is necessary. But everyone understands that everyone puts on their masks and trying to portray something that is All this should be done with a professional distance. They are constantly playing, and Kostya Zvezdochetov chose this method of work, which to me is uninteresting, because it began to play. This is his style, he always played in it, but maybe he will play his role - he is a brilliant actor - well before the end. While it is not clear. Time has come when he needs to survive - will look to play to the end or change role. But, probably, to the end will play.
2005.
1. Arisovich Vadim Zakharov (r.1959) - artist, archivist, publisher, book designer, kollektsioner.Na over the past 20 years collecting archive Zakharov of Moscow conceptualism. Sacharow represented in major private and museum collections in the world.
I have information that in Odessa on June 8 was the opening of the exhibition Valentine Khrushchev, but obviously in a different place.
It was the eighth and indeed elsewhere, I did not go. This is such a "multi-pass project, the next step will be running in Kiev.
Today went looking. Very good selection of works submitted to different periods of creativity Khrushchev. There were many guests from all over Ukraine, and Muscovites who actually brought most of the work "of the Moscow period, and presented a book about Khrushchev. I photographed is not everything, so show that more like it.
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16.06.2009, 21:06
Exhibition Valentine Khrushch
Here is the way lifetime LIST Khrushchev http://www.slav-nonart.com/photo1.php
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