Memoirs of Odnoralova Roginsky

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This text I give more because there are different parts of apartment exhibitions and exhibition on the Running in 1975
Incidentally, I did not know that the exhibition was on Begovotsy book reviews, so would find her, because she just somewhere gathering dust - all the same historical document

In general, the exhibition at the Running was a lot of interesting events, which Odnoralych are not telling, for example, things like that then, before the show came to a kind of ideological commission to supervise that sedition was not.

Immediately had problems with Roginskii: first, they did not like his pants with nadvisyu "Fools eat cake". Here I must explain that for Misha this inscription was a paraphrase of the Gospel, "Blessed are the poor in spirit: for theirs is Tsvrstvie heaven", but the commission apparently interpreted this inscription as something different, because Odnoralov said they were offended)))

Read more: see onm Nishina "Matches Pavlyuchenko, and suddenly shook her head, language, and clatter to make comments in the spirit of" Hey you, what you do bad, always something to pull such things to light ", and" how do you not ashamed of the most unsightly pages from the history of our country to seek out? ".
Odnoralov, showed them the exposure, pricked up his ears - this "ugly page", he always knows all the gossip, I have not - but as he tried to extract from them the details, nothing he did not work - they are gone, do not splinter.

The next day, all Moscow knew that the name of the sniper Liudmila Pavlyuchenko, Hero of the Soviet Union, linked some naughty story, and learn immediately began to dig the ground. Intellectuals trackers entrenched in libraries and archives. Subjected to interrogation with a great passion Roginsky nothing coherent to say could not - printsipialnotsy difference between the box "Pavlyuchenko" and a box of "Slow down" or "3%HYDRATED loan" he had not seen a model for a still life, and nothing more.

As a result, the case revealed some really interesting details: it turned out that Mrs. Pavlyucheniko was not a sniper, a nurse at the field hospital, where she once decided, in accordance with its capabilities assisting in the fight against fascism and killed all the wounded prisoners, was in the hospital, and to achieve its objective She took the knives can do without a rifle with telescopic sight and a camouflage robe, with which it is depicted in a matchbox.
In the heat of war, she was given the order for the number slaughtered by the Germans, then, to understand the conditions of deeds of heroism, began to ignore her, but matchboxes is not controlled - as they say, and the old woman is proruha!


Interview Alena Romanova

I long ago knew Misha Roginsky. I played some, so to speak, the role in his life. Generally, I met with Misha very long time, we were taught, was a popular Correspondence University of the Arts. And there he taught a lot of left-wing artists, because there was free software, we have not done a bad student academics small, and we teach them ... how to develop their individuality. For example, I taught some of Colonel abstraction, ie, exercises, etc., so to speak. Pavel Leonov - it was a student of Misha, and he had with him an awful lot of fiddling, and actually really - he was very talented original artist, but Misha made him what we can say a diamond. He polished it, and, of course, would not have been Leonov Leonov without Misha. Unfortunately, when did a great exhibition Leonova, then all of Misha was not even mentioned, as if this Leonov fell from the sky. There is a Vladimir Moroz, whose large collection of Leonov, and I told him about this, incidentally, when he showed me his collection, I said to him, Volodya, why do not you, because it really was his pupil and he had spent a a lot of time and a lot of fiddling. Because we have always taught well, so more or less faithfully, but if you come across some amazing student ... Here, for example, and have Roginsky, and I had a lot of people out of prison, because it was a place where prisoners were allowed to study the criminal, not political, in the small mode, and they are usually sent some very interesting work. Landscapes, as you can imagine, there was not, and the interior, still life and portrait flourished, and Misha were also very interesting exceptionalists, we had once discussed.

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And then there was so that we have with him were a number of shops, not far away. He was on Volkhonka, and I was in the 1-m Zachatievski. In its place now stands Art.ru gallery, a huge house stands. It was a very strange shop, a basement, it was the first workshop, in my opinion, Kosolapov, then the juice, and a Sokova I bought it. And she was with me. First there is the sculptor placed a huge stone, something to carve, he had spent all sculptors and me. Actually, in this studio apartment was the exhibition, which I supervised at a time. It was one of the sites. (And why ru.art issued a press release when they are opened, that we are on-site workshop Odnoralova.) Here. Misha was next, and somehow I drew vobschem Misha, he came and began to exhibit with us at the apartment exhibitions. There were two series of apartment exhibitions, and Misha was not in my workshop, and the second, in my opinion. We made up a list of conditionally depending on the number of apartments. It was three people, the initiative group, I was its chairman and members were Komar and Melamid, and Oscar Rabin. Of spontaneity, no no, it was all organized. It was one system in each apartment hung a list of others, and it was all coordinated. The fact that these shows were not designed for the elite. Because the elite, and so could go to the artists in the workshops and saw everything. It was designed for the middle class, that is. For engineers, teachers, civil servants, who had no such opportunity. And so we did as the need for them. For example, Rabin, I remember, one wall could be an abstraction, surrealism and the other third is something that they see ...
AR. To make them understand what is what?
MO. They did not understand at all, in principle, the Soviet man liked surrealism, and they understand much of anything is not understood, but they are insanely impressed. And why? We, incidentally, even consulted a psychologist. The problem is that these people have seen mostly only official exhibition, where all the paintings were more or less the same. Differed slightly by genre, a little bit of style, but vobschem ... Actually the country was moving not only the heads mostly, but these people - engineers, civil servants, the whole machine spit. And these people have experienced a profound lack of ideas, because vobschem damn thing did not show anything not published, it was very limited, they knew Hemingway had a beard, but vobschem it was a maximum. Those Solzhenitsyn called semi-intellectuals, relatively educated, but not the elite, the intellectuals, which was more or less complete information, wide. And so the idea that hang in front of paintings on the concept of mutually exclusive of each other, and the idea that the most ordinary objects can be viewed with the most unusual point of view, for what ever comes to mind is terribly impressed by them, and caused a mad interest and that way we did the exhibition. If possible, we did the walls, and where possible we did a separate apartment. In particular, we have one apartment was devoted to a concept, an abstraction, and Misha was in one of these apartments. One group was there - juices, Gerlovin and everybody, not just conceptualism, rather, a pop-art, pure conceptualism was another apartment - Donskoy, Mikhail Roshal, for example ... This distribution is explained by the presence of flats and the desire of people like these together, those together ... And all this led us, this was the initiative group. In the first part, while the second part was I, Komar and Melamid, and Oscar in the second part did not participate. The result of the first series of exhibitions was "Beekeeping", but they decided to put the elite and the rest did not display. And we made a second, this time without an Oscar, and the result was an exhibition VDNH, which I did, I struck her like again.
AR. Where the very coat appeared?
MO. Yes.
AR. Loew here Bruni was indignant, saying it does not coat Odnoralova, it is only called a coat Odnoralova.
MO. Well it was not just my coat, but it was called. This installation will now be restored and will have Bazhanova in the permanent exhibition. The coat that was created due to the fact that, when we started the installation of the exhibition was a very bourgeois atmosphere, and I decided that I will not be there among them, hang out, but I will keep in touch by phone from his studio, and they're doing already mounted. And as a token of my absence, we decided to make a coat Odnoralova. Authors - Roginsky, I and Bruni. This coat was hanged, even when mounted exhibition. This was somebody's coat, I do not remember whose, and nobody remembers.
AR. And Misha I think, brought a bottle of yoghurt and put it in your pocket, huh?
MO. Well, it all somehow made together. And this is done, and was hanged, made the tag "coat Odnoralova" and hung a sign "Do not touch". Before that it was in fact only one coat in Moscow, the Museum of Lenin, a black coat under a cap, then, in which he was when he was shot Kaplan. Nobody said a word about this course, but that time the audience is all very well understood. And the Soviet government is tolerated. This is a Voinovich has such "Ivankiad, there footnote to coat Odnoralova that the Soviet authorities still have tolerated it.
So, first we taught together with Misha, a bearded man walked in ZNUI, and then we somehow have to communicate, friends, the more we became friends when it started a movement and as a result of the second experienced this exhibition VDNH. This is a special story. But Misha was then under the influence of Isaiah, strong. And I almost did not see him work 60-ies. And under the influence of Isaiah was such a small group: Leva Povzner, Eugene Izmailov, Yessayan and Misha. Yesayan in these exhibitions was not involved, he refused. And Misha and the rest, and put them together. They were like some kind of a trend. Well this I think it is not my most favorite time. Recently I once saw two things from this period and it seems to me that they are weaker. And at these shows apartment he met Nana. And I remember they started an affair, and they came to me in the studio, and both were like two nickle. It is shining. And we were friends, I was then married to the artist Marina Telepneva, schedule. And then in 76 year, is about a year, I made such a show on Running, members of the Union of artists who took part in this. And we all gathered, I Natta Konysheva, and weight, a number of artists, the list is, and Roginsky Misha. And we started to talk to Talochkin that no evil would have to put the work Roginsky 60-ies. But Misha was not in Moscow, because they are with Nana left in the Crimea. We prepared the exhibition in the summer, and she was supposed to be in late summer, but they have always been there as something wrong, all receded, it opened in September, almost in the best season. Although they gave us a special summer. But Misha had a terrible allergy stickers, all his life he was tormented by this, and he always tried to leave, and just at that time, they blew in the Crimea with Nana, and it was not. And I think, what to do? And I managed to get through to him in the Crimea! You can imagine what it was in the 76 th year to call in Crimea! I phoned him and I said, Misha, I want to put here such and such a work. He said that in any case, why do not, this is the last period, it is mildly amusing, it is not interesting and so-forth. I categorically did not want. I began to whine, repeat the circle and push a little bit so. The upshot was that he said angrily: "Mish, I do not want it to stand, but if you so wish, for you I'll do it. Can. And there the conversation ended. Then I called Talochkin, we hired A graph taken with a crowbar and went to the studio Roginsky. The workshop was closed, a door was opened and attached to it was so affixed katushok, katuh a sheet-iron, just standing on the ground. And we skovyrnuli castle, and there on the ground were those of 60-ies, the mass of piled up. And we picked out a pile of work and have contracted a red door and a number of works, we took part, significant, and brought to the races. And I hung it there tile, trams, then that's the black shops, then a few stoves I hung up, I also hung, this box of matches he had a "Sniper Pavlyuchenko, I hung over the entrance, is not placed, I hung in the corridor, and in the lobby, I tried to fit the red door, but then I was approached by Igor Popov, who was then Chairman of the Moscow Union, the painter, we have personally had a good relationship. And he told me so: "Misha, well understand that the red doors of MOSH is not ready yet. And the red door we took off. I said, well, we will take, but everything else was in order.

  It was the exhibition was a great discovery, and I invited the U.S. ambassador, a sinful man, and in front of MOSH was the second such street, alley, and she was in a terrible mess of potholed ... they're about 15 years asked the city to the case paved, and no finger not stir. I invited the ambassador - a night it was all paved. There was a guestbook, which in MOSKh secretive immediately. And I asked her reading then, and read in the personnel department, not having the right to leave the room. Because she was very laudatory. But they were officially released this flyer katalozhek list, and the poster that came after the exhibition naturally.
The audience reacted very well, so they are secretive and book reviews. Because they figured that the common people will come and say, "What a scribble!". A guestbook was simply wonderful. Incidentally, it is somewhere must lie in the archive MOSKh.
AR. Tell me, but there were different artists all the same. But what was the reaction to these venture Roginsky?
MO. Of course, when the public looked at the black empty shops, of course, that the reaction was positive.
AR. So take this as a great social thing.
MO. In a sense, yes. Well, I do not think that the general public understand these uafeli, but these shops, trams, they understood. And stoves. Well, just do not do do some ad hoc analysis, but the exhibition was a success, although there was a line, as VDNH. because the ad was bad. During the radio did not.
  It was a show as expected, the whole time, and came Misha. And he saw himself, so they work on the wall in the exhibition context. He saw, and something happened to him. Because he threw the hell out of this mannerism, and returned to what he was doing. Though later he did not really like to admit it. When I reminded him, he was very upset about it, I remember. Nevertheless, it was so. After that, though he resisted me on the phone, and Talochkin egging me on, come on, come on, trying to persuade. I just forced him. And he did it from a good relationship with me, because we were very close. And it happened when he saw it, something happened, and that some here, such a process, he soon left, but in France he experienced transient, so these early works, and then he went to all these series, gas stoves, steam engines, then Moscow, the final series, and by such a mannerism he never return. Some of it has been a shift due to the fact that he was the first time in many years saw these works. That this was history, and shortly thereafter, he arranged a sale and left. And I went to 80-m, and then we have already met with Misha and abroad, we have seen a lot. First, I am fairly often traveled to Paris almost every year, because my daughter lives in Versailles, she married a Frenchman, he was also an artist, he did cartoons for French television. When Misha first few times he went to America, he lived with me. I live in New York. Then he stopped at a polynomial. When I went to France, I always met him, very much, when he traveled with his wife, he drove us to Paris.
AR. What is the difference between Moscow and Misha, Misha, in France, was a kind?
MO. Was not essential, their apartment looked exactly the same as the workshop. That the same layer of bones, a heap of paint has grown, where he wrote on the wall, then its just not been tried, when he left the apartment. And it is supported, Nana, in fact, like me, he once said: "No, Nana, I would have croaked in the garbage." What is the honest truth, because he bought as a very small and sluggish, though he made several vystavochek, but no special sense. I was at one of its opening days in Paris, near the Bastille, in the gallery.
Misha was not merry, but he had a sense of humor, and he was telling and fun, and could make a joke, it was an irony, we have intercourse with him was without much gloom.
He is indifferent to clothes to food ... As he told me once poured a glass of red wine, I drank, I say, what do you do, it's a wine 50 years ago, he says, but you can not pour me I still do not understand.
I remember when he lived in my apartment, my younger daughter was very concerned, and quietly asked me: Why does Misha is sitting in the kitchen and looking at our garbage? What is special in this bucket? She began to watch myself, but saw nothing. I later found out that he actually does not look at the bucket, but he sat quietly, drank vodka, she was standing in my fridge, he quietly sat and drank quietly at bedtime. Well, we somehow talked about other artists, about art, he was very strict, categorical, principled.
AR. What he liked when you talk to him?
MO.Odno time he was well disposed to Misha Chernyshov, who adored him, he liked his own band in a general sort.
AR. And not a Russian?
MO. We specifically did not mention it, well, classics, we talked about the classics. Chardin he liked, of course. There is. And he worked at home and then he worked at a small studio, it was a workshop of a sculptor who received it from the city, and that it is not used, and Misha worked there. It was in some sort of vile area, far away. He complained of France, where they lived in this suburb. I remember there was a huge mess in the apartment, and then he goes for bread, and change his pants workers. I mean, what do you change clothes, I would go. He says I can not, because if I go in this bread a couple of times, neighbors, and then I rang the doorbell, a whip-round and will bring new pants, because they decide that I have no other. What in America is not perfect.
We have seen regularly, and that's when he made a series of Russia already then, he went with her to America to do so, a little worked there, even wrote to the American landscape.
In the last workshop, strangely enough, he was friends with the artist by the name in my opinion, straws, who had a shop on the ground floor. It was quite scary commercial artist, a nightmare. But this did not stop, he is praised Misha, Misha, and he is very cheap to sell work, if it works someone liked, he was very lenient. And if not, he was quite lenient. And then he had his own, of course, overrun and principled, he often acted contrary to its commercial advantage, simply by virtue of its nature. He could not bear it now lies, wobbling, it is not digested, he repeatedly sent the juices of some buyers, that he earned, and very often it ended lazhey because Misha himself is not so, and conducted me, I remember, juice, said : Well, Misha ... I remember it as something he called, he took slides of my still-lifes of some and carried them in Paris was such a wife Glazer, who kept the gallery then. She says while it is still standing separately? If still life, should be a bouquet of flowers in the middle, something like that, she said. Then we have nothing to talk, he said, took my slides and left. Typical Misha. And he was. But he was very sincere person, he was not lying, not wagging ever, unlike many of my colleagues. And even in spite of its direct benefit - he simply could not do otherwise. In a good mood, he was absolutely charming. He was quite a unique person, these people I have very little in life he knew. Misha few abused, I must say. He was such an artist for artists at one time, very long time. The public is not fascinated by it, and such a wide audience it was not clear. For many years he was an artist for artists. Artists all his, even many knew and great range of artists he admired. Variety, but not the general public. The general public was little understood, it is very little buying. In general, artists are not very fond of each other, but treated him well and he appreciated the wide range of artists. This is a rather atypical pattern, from my point of view. And the public or did not like, or remain indifferent it very often, at least for a long time. For example, I pressed a little bit, that my curator Alex Gertsman, the U.S., so he started them. And he said, you know, the public will not understand, it is very difficult to sell. I drove. Mishka arrived, he was madly in need of money, and suddenly found some people saw these still lifes, which I advised him to take. They said, oh, we like it, we'll buy this still life, and even this one. They work in French, 80-ies. This was before the exhibition by Pauline, he is madly in need of money. And then in the gallery Nakhamkin he had been deceived. This most blatant Nathan, Misha lived with me, he came directly from him, and tells me the following story: he was calling from Paris, because of that he came from, they are absolutely without a penny, he calls Nathan, rings, rings, nothing. And he came, and he finally came to him, and it sold works. Nathan sold the work. And he knows how many sold, and half of it relies. And Nathan said to him: I will not give you this, but I will give it to a value you want - take it, do not want to - judge me. Well, come and judge me. Misha hesitated, hesitated, took. How they gave him, because he has never had a penny. Misha immediately told me to come. And just then I put these still lifes, and suddenly, to my surprise and Gertsmana, especially suddenly he, too, bought and Misha went from 7000 dollars in his pocket, very pleased. We have work Gertsmana Roginsky.
The last time I rang him in hospital. I'm from New York telephoned the ward, we had a very short conversation, it was difficult to talk, he had delayed speech, and I stopped the conversation. He found out who was talking to him and everything. He had no strength to any reaction to any talk.