Exhibition "Socialist realism: Inventory of the archive"

[Евгений]

Art of the 1930's - 1940's from the collection GMVTS "ROSIZO".
Date: December 17, 2009 - January 17, 2010
Address: National Museum of Contemporary Art PAX, Gogol Boulevard 10
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Exhibition "Socialist realism: Inventory of the archive" is timed to the 50 th anniversary of the State Museum-Exhibition Center "ROSIZO" and the 10 th anniversary of the Moscow Museum of Modern Art. The project represents the first time in Moscow a unique collection of works of Soviet Art 1930 - 1940's who are now in the collections "ROSIZO.

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The history of this collection begins in the years 1937-1939, during the preparation of large-scale exhibition "Industry of Socialism". A huge layer of paintings, drawings and sculptures executed for the failed exposure, accumulates in the funds established in 1940, the Directorate of Art Exhibitions and panoramas. In 1951, when Zagorsk Museum-Reserve created special archive of works of art, and there urgently transferred about 1500 items from the collections of the Directorate. In 1958, the archive is converted into a central repository of special works of art, comes the next piece of art - portraits of the deceased or has fallen into disfavor former Soviet leaders, especially Stalin.

A unique collection of the Special archive shows how ideologically driven was the approach of the authorities to art and artistic production, even during the thaw. At first glance, it is difficult to understand what could be in the 1960's to find a seditious in paintings Tsvetkova "amphibious" (1933) or the delivery of the flesh "(1937), glorifying the Soviet utopia - higher and higher and higher! . Nevertheless, the Special Archive, actively supplying during the Khrushchev thaw, Brezhnev's stagnation and the country's many museums, clutching these and many other products because of their "dubious origin", ie the order of the Stalinist regime. However, sometimes it seems that such canvases as "border guards in Batumi" (1932) V. Lyushina or "offensive tank" (1933) E. Grain, created for the exhibition "15 years of the Red Army", might seem artistic council the 70's too unusual and avant-garde. These and many other circumstances we are obliged to maintaining the archive, broadcast in early 1990 to conduct GMVTS "ROSIZO" big block works, to evaluate the peculiarity of the "Soviet idealism of Stalin's early decades and the vicissitudes of" the struggle for the flag "(the wording of Catherine Tar ).

Art of the transitional period (1920 - 1930) is not by accident continues to attract the attention of curators and visitors. One example of this - a number of successful exhibitions of projects implemented in recent years in Europe and Russia: "Communism: Factory of Dreams" (2003, Frankfurt), "The Soviet idealism" (2005, Liège), Red Army Studio "and" Fight for the flag " (2008, Moscow). In all these exhibitions of work from the funds involved "ROSIZO". On the one hand, the excellent material for a talk about "discourse" on the other - a very interesting artistic phenomenon, showing how in many cases makes the way through the picturesque skill ideologically rigid rule-based task and finds out in the unordinary aesthetics of the proposed solutions.

Of course, the archival collection of works GMVTS "ROSIZO" mixed bag artistic merit. Nevertheless, in the exposition, the first time in Moscow, representing the full range of collections, works like a "give away" that portrayed in their lives - not to "Bright Path", and the heavy existence, deprived of light, joy and hope. These paintings depict scenes of workers' meetings, rallies and discussions, work at the factory, in carpet factories, in the hot shop, a grocery store and in the culinary department.

The most controversial material - in the context of today's perceptions - are paintings received by the Archives in 1950 after debunking the cult of personality of Stalin. For many years the tower in Zagorsk become a place where there were removed from the stretchers monumental portraits of the leader, performed the main official painters of the Stalin era - A. Gerasimov, V. Svarog, B. Efanova. All this beautiful array of work on the glorification of the leader's personality sixth of the globe, re doing mythologized history of the country and the legend of the highest authority, embodied in one person. Created by socialist realism, mythological representation formula of power, relying on the experience of the world of art, but play it a hypertrophied, worked out not only in paintings depicting the Leader's People - reflections of this technique can be seen in portraits of Stalin's associates - Molotov, Voroshilov and others. One can not but pay tribute to the perfection of methods developed by the socialist realism of the strongest impact on the psychology of a potential consumer of these works - artists do not shunned the most unexpected and risky, but flattering power devices.

Today these works are restored, stretched on a stretcher entered the everyday life of art criticism and actively displayed at exhibitions, whose main task - not nostalgirovanie of a bygone regime, and the analysis of complex artistic situation of those years and the visual techniques, developed an official art. Therefore, a wide range of works selected for the project "Socialist realism: Inventory Archives, and includes the transitional aesthetic of the" Soviet idealism "and the widespread introduction of tightly controlled official doctrine of the methods, and absolutely spent masters of social realism formulas.

[artcol]

Сообщение от Eugene

Art of the 1930's - 1940's from the collection GMVTS "ROSIZO".
Date: December 17, 2009 - January 17, 2010
Address: National Museum of Contemporary Art PAX, Gogol Boulevard 10
-------------------------------------------------- -------------
Exhibition "Socialist realism: Inventory of the archive" is timed to the 50 th anniversary of the State Museum-Exhibition Center "ROSIZO" and the 10 th anniversary of the Moscow Museum of Modern Art. The project represents the first time in Moscow a unique collection of works of Soviet Art 1930 - 1940's who are now in the collections "ROSIZO.

Читать дальше... 

The history of this collection begins in the years 1937-1939, during the preparation of large-scale exhibition "Industry of Socialism". A huge layer of paintings, drawings and sculptures executed for the failed exposure, accumulates in the funds established in 1940, the Directorate of Art Exhibitions and panoramas. In 1951, when Zagorsk Museum-Reserve created special archive of works of art, and there urgently transferred about 1500 items from the collections of the Directorate. In 1958, the archive is converted into a central repository of special works of art, comes the next piece of art - portraits of the deceased or has fallen into disfavor former Soviet leaders, especially Stalin.

A unique collection of the Special archive shows how ideologically driven was the approach of the authorities to art and artistic production, even during the thaw. At first glance, it is difficult to understand what could be in the 1960's to find a seditious in paintings Tsvetkova "amphibious" (1933) or the delivery of the flesh "(1937), glorifying the Soviet utopia - higher and higher and higher! . Nevertheless, the Special Archive, actively supplying during the Khrushchev thaw, Brezhnev's stagnation and the country's many museums, clutching these and many other products because of their "dubious origin", ie the order of the Stalinist regime. However, sometimes it seems that such canvases as "border guards in Batumi" (1932) V. Lyushina or "offensive tank" (1933) E. Grain, created for the exhibition "15 years of the Red Army", might seem artistic council the 70's too unusual and avant-garde. These and many other circumstances we are obliged to maintaining the archive, broadcast in early 1990 to conduct GMVTS "ROSIZO" big block works, to evaluate the peculiarity of the "Soviet idealism of Stalin's early decades and the vicissitudes of" the struggle for the flag "(the wording of Catherine Tar ).

Art of the transitional period (1920 - 1930) is not by accident continues to attract the attention of curators and visitors. One example of this - a number of successful exhibitions of projects implemented in recent years in Europe and Russia: "Communism: Factory of Dreams" (2003, Frankfurt), "The Soviet idealism" (2005, Liège), Red Army Studio "and" Fight for the flag " (2008, Moscow). In all these exhibitions of work from the funds involved "ROSIZO". On the one hand, the excellent material for a talk about "discourse" on the other - a very interesting artistic phenomenon, showing how in many cases makes the way through the picturesque skill ideologically rigid rule-based task and finds out in the unordinary aesthetics of the proposed solutions.

Of course, the archival collection of works GMVTS "ROSIZO" mixed bag artistic merit. Nevertheless, in the exposition, the first time in Moscow, representing the full range of collections, works like a "give away" that portrayed in their lives - not to "Bright Path", and the heavy existence, deprived of light, joy and hope. These paintings depict scenes of workers' meetings, rallies and discussions, work at the factory, in carpet factories, in the hot shop, a grocery store and in the culinary department.

The most controversial material - in the context of today's perceptions - are paintings received by the Archives in 1950 after debunking the cult of personality of Stalin. For many years the tower in Zagorsk become a place where there were removed from the stretchers monumental portraits of the leader, performed the main official painters of the Stalin era - A. Gerasimov, V. Svarog, B. Efanova. All this beautiful array of work on the glorification of the leader's personality sixth of the globe, re doing mythologized history of the country and the legend of the highest authority, embodied in one person. Created by socialist realism, mythological representation formula of power, relying on the experience of the world of art, but play it a hypertrophied, worked out not only in paintings depicting the Leader's People - reflections of this technique can be seen in portraits of Stalin's associates - Molotov, Voroshilov and others. One can not but pay tribute to the perfection of methods developed by the socialist realism of the strongest impact on the psychology of a potential consumer of these works - artists do not shunned the most unexpected and risky, but flattering power devices.

Today these works are restored, stretched on a stretcher entered the everyday life of art criticism and actively displayed at exhibitions, whose main task - not nostalgirovanie of a bygone regime, and the analysis of complex artistic situation of those years and the visual techniques, developed an official art. Therefore, a wide range of works selected for the project "Socialist realism: Inventory Archives, and includes the transitional aesthetic of the" Soviet idealism "and the widespread introduction of tightly controlled official doctrine of the methods, and absolutely spent masters of social realism formulas.

In the case of a literate and abstract.

[Кирилл Сызранский]

Сообщение от Eugene

However, sometimes it seems that such canvases as "border guards in Batumi" (1932) V. Lyushina or "offensive tank" (1933) E. Grain, created for the exhibition "15 years of the Red Army , might seem artistic council the 70's too unusual and avant-garde.

We need to look up on January 17, very interesting, but what is shown at a time and kept in Spetsarhive.

[Евгений]

Сообщение от Eugene

The Art of the transitional period (1920 - 1930) is not by accident continues to attract the attention of curators and visitors.

This is one of the most interesting trends in collecting art ...