Michael Alshibaya - surgeon, head of Bakulevskogo Center for Cardiovascular Surgery, Professor. It is - its main activities. But there is another, not even work, and passion - collecting works of art. Since 1986, Mikhail Alshibaya collects works by contemporary Russian artists, and since 2002 has been active exhibition activities. In February 2005, at the State Literary Museum, he introduced his next project - an exhibition of non-conformist artists of the poem by Henry Sapgir "Firebird».
Michael Alshibaya
On the wings of "The Firebird»
As he came out naked from the womb of his mother, and thus departs as he came, and shall take nothing from his labor, gifts which he may carry in his hand.
Ecclesiastes. V, 14
In 1986, I began to collect paintings by contemporary Russian artists. The immediate impetus for collecting served as a sad event - the death of the artist Anatoly T. Zvereva.
Interest in the arts arose in his student years in the late 1970's. First it was to visit museums and exhibitions, reading books on art, collecting album art. In 1982, I was completely by accident as a doctor came into the house of the famous Moscow collector Jacob Evseyevich Rubinstein. Furnishing struck me: all the walls were all, without gaps, were hung with paintings by artists of Russian avant-garde. At that time I did not know that this hanging is called "Tapestry", and in the west it is called the "Russian" hanging, and, of course, never imagined that he someday will live in the same situation. Communicate with Jacob Evseyevich was short-lived (the collector died of severe illness, a diagnosis which I put to him), but it left a deep impression, and it was then, perhaps, I first wanted to have this now, at least one.
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One of my colleagues collected modern paintings. His favorite artist was Anatoly Zverev, a large collection of works which he has collected during the 1970's - early 1980's. We are repeatedly told that bad and I would buy something from Zvereva, but not enough time. When Zverev died suddenly, I became distinctly clear that the artists go and what to collect "the next epoch.
Important role in the history of my collecting has played Vladimir Nemukhin, with whom I was introduced to a professor of cardiology DG Josseliani in 1986 immediately after the death Zvereva. Nemukhin gave me a few Zverevsky watercolors and his big leaf. Stories of the artist, many of whom later entered the famous book "Nemuhinskie monologues", served to me an important guiding factor in my collecting. Vladimir Nikolaevich was a clear concept of collecting: be very strictly apply to the selection of works, should collect only those works and the artists who actually have value and meaning. But how is this determined? Then already formed some "clip" non-conformist artists, whose works have cost dearly. Nemukhin highly valued Krasnopevtsev Veisberg, Steinberg, Plavinsky, Yakovleva, Kabakov, Sveshnikov and others.
In 1988 he took the famous auction «Sotheby's» in Moscow, where the paintings were sold for non-conformists "real" money, and prices have risen. Many of the artists after the auction went to work in the West.
Not having the financial capacity to concentrate on the circle of artists, which marked the Vladimir Nemukhin, I went their own way, focusing on personal impressions of the painting. Of particular interest to me were collecting works by artists who were not yet "unwound", as well as unknown or forgotten artists 1960-1970-ies. In early 1986, at the Izmailovo "opening day" I bought a small canvas Bella Levikova, which later became friends. As perhaps the first buyer of her works, I will not hide, later was very proud seeing Levikova among the artists whose works were sold at auction «Sotheby's».
Exhibition "Other Art" at the State Tretyakov Gallery, held in 1990, highlighted a number of names that were in the shadows, forgotten or not known. Catalog of the exhibition, compiled by L. Talochkin and I. Alpatovo, still is an essential guide for non-conformist art 1950-1970's, a priceless collection of documents and reminiscences about this period of Russian art. Among the many "defendants'" other art "I remember the artist Gayan Kazhdan, two or three works which were exhibited at the exhibition.
In the early 1990's I became acquainted with the poet Igor Holin. The appearance of the man once said that to you an outstanding personality. Tall, thin, naked, with skin stretched over a skull, Choline differed paradoxical reasoning, uniqueness and originality of views, as an art, and politics. However, he could talk knowledgeably about it is everyday things. In his 75 years of Igor dressed very avant-garde: tarpaulin boots, frayed jeans and a multi-layered "cabbage" - a jacket over a sweatshirt, a sweater on top, then some kind of jacket. Sitting in his tiny apartment in Anan'evskij Lane, surrounded by antique furniture, icons, a variety of "antique dealers", he always emphasized how highly the achievements of modern civilization, has only worked on the computer, and predicted future total computerization. Holinskoy walls were hung with pictures of the apartment artists lianozovtsev: LS and EL Kropiwnicki, O. Potapova, and Zvereva, Yakovleva, Steinberg. Choline gave me a great gouache P. Belenko. He was very ill: head injury, surgery of the stomach, thyroid disease, arrhythmia. Despite all this, Choline is fairly optimistic and lived to 80 years. "Michal Mihalich, I am absolutely not afraid of death" - often said to me. I loved the poetry of Choline for its metaphorical and paradoxical as it seems to me, fine lyricism, deeply hidden under the mask of irony and sarcasm. Choline introduced me to the poet Heinrich Sapgir. The meeting took place in the house of second-hand bookshop and publishing house Sergei Nitochkina. But then, our relations with Sapgir not continued. The last time I saw Henry Sapgir at the funeral of choline. He himself left to live just a few months.
With deep expertise and communicate with people and events pertaining to the artists of the sixties, my collection is gradually replenished. I Kholina I bought canvas Steinberg and sculpture of the Unknown, the artist Vechtomov gave me a couple of his works, was going to schedule Yakovlev Pyatnitskiy, etchings and Plavinsky Krasnopevtsev. In my quest to communicate with the artists mostly always seemed to me not picking up images, which are only "traces of the era, by some" artifacts ". For me important is that it stands for - the fate of the artist, which is often dramatic, and if the artist was able to express this drama in his works, they are of value to me. In other words, from my point of view, are important not only purely sculptural quality paintings, but also its conceptual side.
In 1999, fate brought me to a wonderful poet, Tetyana Vrubel, which gave me a book of his poems. With surprise, I found this book in the whole poem, dedicated to the memory of the artist Guyana Kazhdan. Tatiana Vrubel told the tragic story of the life of Guyana, especially the detail about the last years, when she was "evicted" from the alley Kamergersky in Chertanovo. During these years, T. Vrubel was one of the few who continued to maintain relations with the artist. Tatiana Vrubel argued that Guyana after the death of all her work had been thrown in the trash.
I decided to no matter what it is to find pictures of Guyana Kazhdan. The search began on the Internet. The only reference to the name of Guyana was a poem of Henry Sapgir "The Firebird".
To finish this story, I will say that searching works Guyana Kazhdan invaluable assistance to me has artist Boris Zhutovski. Thanks to his efforts, I found the heirs of Guyana, who survived nearly thirty works. Of course, Tatiana Vrubel has largely been a law, a significant part of things lost. Drawings and gouaches, apparently, did not survive, though, as I found out, there were very many. In addition to the family, I found in Moscow a few homes, which house the work of Guyana, has her things and abroad. In general, I know the location of some fifty works. Heritage Guyana Kazhdan still waiting in the wings. I think that the exhibition of her works, sooner or later take place.
Poem Henry Sapgir "Firebird", I have found on the Internet dedicated to the memory of deceased artists of the sixties, most of which Sapgir was familiar. She wrote in 1995 in Paris. The epigraph to the poem are the following words:
- What kind of attack on the Russian poets of this?
- And on Russian artists?
From the conversation
Thus, from the outset it is clear that the main theme of the poem is the tragic fate of an entire generation of artists.
With his characteristic ironic metaphors, post-modern Derzhavina quoting ( "... himself out of a beaming ..."), the preamble of the poem depicts some Sapgir Firebird, which, being at the same time a cloud or a cloud ( "a monstrous storm"), cries, and collects on the wings of artists who had gone to another world. Epithets which Firebird Awards "dead masters, vividly describe the heroes of the poem Sapgir:" drunkard "," abuser "," infidels "," girls zapryagateli "," tavern regulars. " All of them "until the last weakling" Firebird invites you to taste the "bird milk" posthumous glory.
The list includes 21 Sapgir name. Each of the artists the author gives a brief description of shaped, showing a few lines of the brightest moments of his sad life. The order in which characters are placed poem is a reflection of the personal view Sapgir their hierarchy in the arts. But Sapgir takes into account their personal likes and relationships with artists. The first to go Krasnopevtsev and Weisberg, then a friend of his favorite Sapgir Belenok. Along with the names of famous (in addition to the above-mentioned here are Siddur, Sooster, Zverev, V. Ya Sitnikov, A. Kharitonov, LA and EL Kropyvnytskyi) Sapgir mentions artists are much less known, sometimes almost forgotten. A separate unit dedicated group of tragic characters, "spiritual leader" who was V. Pyatnitskii. Here, along with more or less known by the Pyatnitsky and Voroshilov, appear almost forgotten Paustovsky and Demykin. At the end of the poem Sapgir names the tragically deceased half-forgotten Vladimir Kovenatskogo Kazhdan and Guyana, as it were, comparing them with the world famous Chagall and Saryan. But the Firebird is absolutely no matter what the place of the artist in the hierarchy of celebrities - all of it collects on its wings, and it is - the main principle of the poem:
- Show yourself from the depths of hell
Kovenatsky!
and you rank --
and Chagall and Sarian --
Gayan and Kazhdan
Reading the poem Henry Sapgir, I discovered that in my collection is present most of the names of artists, they mentioned. And then the idea was born: to visualize this poem, submit it in the form of installation in the museum space, where snippets of text accompanied by pictures of the poem mentioned Sapgir artists and their portraits. As a result, the book should get a spatial installation. Reader (also known as the audience) can enter the space of this book and move within it. The walls of the exhibition hall - pages of this book.
The path from the origin of the idea to its realization has been long and difficult. First of all, it was necessary to make sure that the idea is worth something and it makes sense to take up its implementation. And although most seemed to me that the idea is not bad, I needed external support. First, to whom I told about my project, was the writer Ulitskaya. Lucy warmly endorsed the idea, and it played the role of a trigger mechanism.
Ideas can nasochinyat much, but try to find a suitable exhibition hall! Of course, ideally suited for project Literature Museum. Book-installation should be presented exactly in the Literary Museum! I must say that the directorate of the museum, in the person of Helen Dmitrievna Mikhailova, I liked the project, and she supported it, that is, including an exhibition in its plan.
Finally, we needed a specific person who has realized the project would have little, because I am not a professional "ekspozitsionerom", and besides, most of his life spend in the operating room. This man was a senior fellow of the museum a wonderful Natalia Rebrov. It was filled with my ideas and came up with a number of creative solutions that allowed to make my "sketch" in this exhibition.
Floor plan, developed jointly with Natasha Rebrov, included several sections. Two halls - a "list Sapgir": works of the artists named in his poem. The third room - the so-called supplementary list. The fact is that at the end of the poem Sapgir as it gives us the opportunity to continue the list of characters:
account already in the tens:
collector shot
awash in a fit
drowned ...
from myocardial infarction
at the easel ...
... Too hot!
just looked Eternity
Indeed, all because in the end will be on the wings of the Firebird! The composition of the third hall artists could be huge, but we confine ourselves to the names of those who were closest sapgirovskomu circle. This included work on the recently departed from us BI Turetsky, V. Yakovlev, B. Sveshnikov, Y. Sobolev, M. Spindler. While working on the exhibit list replenished. Died Roginsky Gorokhovskiy and, finally, is immediately before the opening of the exhibition - Alexei Khvostenko, tail, with whom Henry Sapgir was also friendly.
Fourth room - room photos of artists. Brilliant Igor Palmin agreed to take part in the exhibition and offered his magnificent portraits, most of them were exhibited for the first time. Palmin wonder just picked up a shot especially for this exhibition. For example, he found in his archive photograph died tragically in 1976, E. Rukhin beside it with the work referred to in the poem Henry Sapgir:
and provides tables:
poisoned by fumes in a fire
... Or
so decided
in the "Big House"
... And the staff rows
went on a mission
... Two canvas
knocked in a cross
True, "shot down in the form of the cross" not two, as many as five canvases, and this is clearly seen in the photo I. Pal'mina.
Finally, the fifth small room was devoted himself to Henry Sapgir. Here, along with archival documents, photographs, publications, we decided to present his own visual and verbal experiments (sonnets on shirts, izostihi).
The most important task was the search and selection of works for exhibition. As I have said many things were in my collection. At the same time, there were gaps, and some of the names mentioned in the poem, were totally unfamiliar to me: Demykin, Gurov, Kovenatsky. About the artist Alexander Rabin, A. Dlouhy and Paustovsky I knew, but had no idea where to find them work. Oleg Grigoryev was known to me as a poet, but the news was that he worked as an artist. Find forgotten names appeared in itself is interesting enough. In general I can say that the work on the exhibition has expanded the horizons of my knowledge about this time.
Enormous role in that exhibition was held, played my friends - collectors and artists. I wish from the outset that the project involved only people close to me. Igor Sanovich gave a wonderful canvas Veisberg and "Still Life with a Skull" Krasnopevtsev. Artist Andrew Krasulin found for me gouache Igor Kukles. My colleague and friend Zurab Pirtshalaishvili provided early abstraction Leo Kropivnitskogo. In another of my colleague Mark Kurtser I took a wonderful non-objective work of Olga Potapova for "supplementary list". At the same meeting it was a great big canvas Oscar Rabin, written in 1994 in Paris: "Cemetery number 2, they were. Leonardo da Vinci. This work is, in essence, a visual analogue of the poems of Henry Sapgir. It shows a cemetery with tombstones and portraits of deceased artists of the sixties. "List of Rabin's" almost identical "list Sapgir", but there are some differences. In addition to many common characters Rabin in his picture painted Tiapushkin A. and N. Elskuyu not mentioned Sapgir, as well as collector GD Kostaki. Two empty tombs Rabin left for yourself and V. Kropiwnicki. This work was displayed at the exhibition last, next to a portrait of my deceased friend Igor Choline, by the painter V. Vorobiev in 1972. The works of these two living artists were shown in a separate space, and the canvas as if Rabin put the final point in the book-installation.
Linocut Kovenatskogo Natasha V. Rebrov found in the collection of A. Gankina, A. Demykina work for an exhibition I had in the family of the artist (the writer George Balla), Vitaly Dlouhy things found in the United States, canvases A. Paustovski gave me Galina Arbuzov and Mary Plavinskaya.
Important role in the implementation of the project played a widow G. Sapgir - L.S.Sapgir-Rodovskaya, which provided for an exhibition of works of Rabin and A. Khvostenko from the collection Sapgir, his portrait of P. Belenko, as well as part of an archive of the poet. A couple of my friends, private collectors donated their items for exhibition.
Up until the last moment I feared that all would fail, and I will not be able to embody his idea of decent. It was necessary to create space books installed, build in some sense "total installation" (if you use the word I. Kabakov) to set aside for exhibition halls of the Literary Museum in Trubnikovsky Lane, 17, who correctly placed on the walls of the fragments of the poem relating to these works. The complexity of creating the exhibition was that we were obliged to observe precisely the sequence of the heroes of the poem, in accordance with the text Sapgir. I must say that all employees Litmuzeya who worked on the exhibition, have invested heavily in creating the final exposure. Here I must mention Alexander Gusev, Xenia Osorio, Lorin Nikolaev, Vera Borisova, Anatoly Mizakova.
A tremendous contribution to the project have also publisher Igor Pronin and designer Helen Mokeeva, which managed, as usual, as soon as possible to print to the opening of her exhibition catalog, and gave exposure to the canvas V. Pyatnitsky.
What do make it a show? This seemingly simple question is actually not so easy to answer. You can, of course, talking about information and educational aspects of the exhibition, the exhibition can be viewed as a commercial project aimed at promoting the artist (or artists) with its consequences, including economic considerations. There are in the exhibition activities and the time to meet their own ambitions and self-esteem, and a peculiar element of exhibitionism. Principled antiekspozitsionnuyu strategy demonstrated some artists of the sixties. A striking example - Mikhail Shvartsman, worked in the quiet of his studio, and almost none of his works are not shown. "The exhibition - it is a tragedy" - that's one of his maxims.
Until 2002, I did not put the work from its collection. Once I was asked to give a picture of David Burliuk for the show, but I refused. Later, Igor Sanovich remarked to me about this: "You had to give work to the exhibition, it is - the only thing you can do for the artist." The phrase has made big impression on me. Indeed, what is the point in my collecting, - the accumulation of images that almost no one sees?
In fact, I never considered myself a collector in the strict sense of the word. I do not characterized by specific attributes of conventional collectibles: the resale of works exchanges. I am very hard to part with the works. Its gathering, I felt more research, and pilot study. When you pay money for a picture, albeit very little money - it is always an experiment, and it makes the choice to be responsible. Study component collection may be explained by the fact that the passionate collectors were often well-known scientists, including doctors. Here we might recall academics Medicine AL Myasnikov, NN Blokhin, VI Burakovsky.
Any gathering, as such, essentially meaningless. After collection not unesesh to the grave or in a different world. Cudba known collections are often tragic: die collector, and the collection goes under the hammer or torn apart by the heirs, at best, falls into a state museum. A lot of examples, one of them - a collection of the same J. E. Rubinstein, surviving after the death of the collector is only partially due to the efforts of Tatiana Vikentievna Rubinstein. Trade shows give new meaning to collecting.
In 2002, I put my Burliuk at the State Literary Museum. And in 2003, in the same museum exhibition was held man-made book of Victor Hoppe "Hoppe in the collection Alshibaya" - twice monographic exhibition (one artist and a collector). In the same year Pierre Brochet and Michael Bode asked me to show a small fragment of the meeting under a special non-profit project "Contemporary art in private collections" at the Art Fair "Art Moscow Central House of Artists. So I gradually drawn into the exhibition activities.
In 2004, the State Institute of Art I, along with a young art historian K. Alexandrova organized an exhibition of artist Tatyana Kiseleva under the patronage of Igor Tamm Svetlova. Tatyana Kiseleva, died in 1990 at the age of fifty years. Cheerful and sociable, while at the same time, lonely, Tanya was the soul of a great company, gathered in her home. Circle of friends Tanya Kiseleva included Vladimir Nemukhin and Slava Kalinin, Igor Holin and Henry Sapgir, Mikhail Shvartsman and Vagrich Bahchanyan, EL Kropiwnicki, Sasha Alexander Kurkin and reeds. Artist Cyril Prozorovskii, one of the heroes sapgirovskogo project was for a time by her husband.
Tanya Kiseleva became my accidental discovery in the way search works Guyana Kazhdan. Zan N. Plavinskaya once said to me: "What are you, Misha, all looking Gayane, hybrids had better Tanya Kiseleva!" The name of this artist I was familiar with the catalog "Other Art". From Sasha Kurkina I learned address Tanya's mother, which at that time was almost ninety. Pictures Tanya stood in a dusty corner of the cupboard and were clearly doomed to death. I bought these works, and they hung on the walls of my apartment, biding their time. At some point, I called Ksenia Alexandrova and said that in childhood she was familiar with Tanya Kiseleva and owns two of its paintings and sculpture. Thus arose the project exhibition.
Tanya at the opening of the exhibition there were many of her friends. Beautiful words were said about the artist. I was left with a feeling of great satisfaction, especially on what this exhibition turned out to be happy for Catherine V. Kiseleva, mother of the artist. The exhibition is over, but remained a small catalog, so that the name of Tanya Kiseleva recorded in history. Boris Zhutovski, to pass on the exhibition Thani on the channel "Culture", is very accurately described my attempts to remove art from oblivion "exhumations. Scary word, it would be better to call it "resuscitation", but because the artist is physically dead, the term Zhutovski acquires meaning.
A very important figure in my way collector was Leonid Prokhorovich Talochkin. Early on in this way, during the first dive in vernisazhnuyu you like this element, the unusual figure chained my attention. Large, in denim suit with neobydennymi facial features, with gray hair and a luxuriant beard, constantly saying, spraying of knowledge, detail, a love of artistic era, traces of which he had painstakingly collected over the decades, Lenya Talochkin was undoubtedly one of the most colorful figures in Moscow artistic life. Continuing our travels intersecting routes soon led to a clash, and it turned out that we - the neighbors. Only just ten minutes of slow walking divide us. Often, after the next opening day, I picked up a bit euphoric from a few glasses of wine Lenya to the entrance of his house. He never once did not come out of the car. The conversation, which started on the road, could not come to an end. Stories clung to one after another, many details have surfaced. "Listen, - he said finally, - well, come in to me. Soon nothing will remain! (Talochkin then gradually transferred his collection to the Russia State Humanities University. - MA) Or Call for a cup of tea, I want to see your collection! ". "Yes, yes, - I answered - today and tomorrow - heavy operation, Wednesday - Academic Council. Leonid Prokhorovich, by the end of the week созвонимся. We never managed to meet at home. In April 2002, at Talochkin suddenly developed a stroke, and in the night of the 1 st to 2 May, he died in the 20-th city hospital.
The widow of a collector Tatiana Vendelshteyn invited me to exhibit my collection to the second anniversary of the death LP Talochkin in the museum "Other Art" RGGU, where the meeting contains the famous collector. The curator of the exhibition - curator Julia Lebedeva - very accurately selected the D: with our LP Talochkin collector interests were largely similar, in some way apart, and all that was shown at the exhibition.
Among my "discoveries" of artists I am proud to call still alive Natasha Parkhomenko. Her work - another example antiekspozitsionnoy strategy. Since late 1960, NA Parkhomenko create amazing, absolutely extraordinary works, which are based on Buddhist philosophy, and no one showed their work. I met Natalia Alexeyevna in 1999, her paintings and objects struck me the highest quality and dissimilarity to all that was done at this time. In 2001, I published a monograph on her, and in 2003 gave her canvas at the exhibition "Moscow abstraction" in the Tretyakov Gallery. In late 2004, the Moscow Museum of Modern Art held the first solo exhibition, NA Parkhomenko, which were shown and work from my collection.
Arranging exhibitions, I am doing my duty to the artists. Most importantly, the memory of deceased artists. There are still a number of projects: a solo exhibition and Guyana Kazhdan, and exhibition of works by completely forgotten artist Peter Vasyukova, who died in the late 60's, "Kineshma Zvereva, according to my definition, of which I miraculously managed to track down. And I would like to someday return to the "Firebird". I think that this project can be resubmitted in another, much larger space, expand the exhibition of works by artists sapgirovskogo list, significantly increase the "supplementary list", which did not get many worthy artists, including Chagall and Sarian ...
Exhibition "The Firebird" by the poem of Henry Sapgir - this necropolis, cemetery, and it requires special treatment. I would not just show pictures. I have tried at least to some extent to recreate the atmosphere of the sad times, show the "poor art" of this circle. That is why in this exposition, I deliberately refused to demonstrate some of the large and "beautiful" canvases, preferring to show a small graphic work of individual artists. It was important to build a common line, so things have been strung as beads or a rosary on sapgirovskoy thread of the narrative poem. I think that to a certain extent this is achieved. Some of the surviving representatives of that era, came to the exhibition, told me that they felt in the exposition of "breathing time". It is extremely important (and the poem Sapgir just talks about it), that next to the works of famous artists have been displaying the work of those who have almost forgotten. I think that the deck will be shuffled in the Sixties for a long time, and today it is difficult to determine the place and importance of each of the characters in the artistic context of the era. For me it was important to collect them on the wings of the Firebird:
(soul - the fiery feathers
I gather you now)
Artists sapgirovskogo circle - very different. Individuality creative handwriting expressed clearly enough. And yet, despite all the stylistic and ideological differences have something in common that makes them art - a sense of the tragedy of life is fleeting, and dropped out to live it like this is pointless, in the haze of alcohol fumes, drugs, molecules, and delirium. Discolored dead still lifes Krasnopevtsev diluted in the space of geometric shapes Veisberg, replica faded photographs Edik Gorokhovsky tragically lifeless self-portraits Guyana Kazhdan, tiny human figures carried by the horrific apocalyptic swirl in the works Belenko, boshopodobnye Purygin hallucinations, surreal warped characters Pyatnitsky, A. Paustovsky Demykina , Kovenatskogo - all about the tragedy of life and death.
Someone might accuse the author of the project in "necrophilia." Concern to preserve the heritage of the past is very easy to call this term. But recall the old truth: where death forget it prevails, in the same place it on recall, triumphant life. I think that real art always reminds of imminent death, or life that is essentially the same thing:
brighter Firebird --
and tysyachelitsa!
and tysyacheusta --
The lips of the living!
palm --
Dalani
from the heart
and Dole --
the sky
and God
and waking
and in a trance
and stone
and bronze
and oil
and Numbers
and now
and ever
Эти 11 пользователя(ей) сказали Спасибо Allena за это полезное сообщение:
How interesting, with great pleasure read somewhere a week ago, the history of the exhibition "The Firebird". A recently found in the workshop Boris Kocheyshvili a job here. Portrait of Sapgir among other things. Boris drew this picture about a couple of months ago, but about the exhibition Alshibaya, said never heard of. Just mystic sort ...
Эти 7 пользователя(ей) сказали Спасибо Тамара за это полезное сообщение:
25.01.2010, 13:50
M. Alshibaya about the exhibition "The Firebird"
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