Joseph Backstein about the future of art in Russia

[SergeiSK]

«Red October" is probably the major art venues in Moscow. Following the Institute of Media, Architecture and Design "Arrow" there will soon appear Contemporary Art Center, which is headed by Joseph Backstein, organizer of the Moscow Biennale of Contemporary Art. The famous art historian, art critic and curator, said Helen Mukhametshin how to rescue art from the commercialization, and that he was going to do with Marat Gelman in Skolkovo.

So still you open the "Red October"?
All the while in the process of discussion papers have not yet signed. There is a project of reconstruction of the former chocolate-shop, 2000 square meters, there is planned to open the center. Ideally, there should be held no fewer than four exhibitions a year, but will still be various performances, theater history, something interdisciplinary.
site "United Russia" quotes your statement at the forum "Strategy 2020" about the fact that culture should be transformed into a new quality. What is?

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I'm saying? The website of United Russia "? About culture in general difficult for me to say, I can say about the visual arts. The situation, not only for us, all over the world, is quite difficult. The place of art, which it occupied in society, culture and ideology, began to change in late 1980, due to globalization, with the end of the Cold War and the collapse of the USSR. In 1970, I was told American colleagues, even in New York contemporary art market practically did not exist. Artists have earned a variety of ways : Andy Warhol, for example, to order portraits painted, for $ 50,000 apiece. Commercialization, which has become a growth spurt in 1990 and ends now, led to the merging of art with glamor, did not become clear division between commercial and noncommercial projects in recent years has sharply increased the role of auction houses. Now, any Exhibition gives way to an auction of popularity and public attention.
The system of aesthetic values, which previously formed the museum institutions, non-profit area, now depends entirely on the galleries and fairs. I, instead of going to the Berlin Biennale, going to the "Art Basel", because it is considered that it arrives on the right people. It used to be a clear division: Museum Gallery, Biennale fair. Now everything is new. The state, even in Europe, is already disappearing from this area: museums are getting less funding. In Russia it is also there: the number of visitors and the popularity of art projects come to the fore, and artistic quality, historical and artistic value are retreating for a second.
We come to the Western model?
Only in Russia is much tougher. The problem, oddly enough, was the least pronounced in the U.S., because everything there was initially built on the mechanisms of fundraising and patronage, the government no role in the financing of the arts did not play. So the Americans easier to adapt to the artistic community than the Europeans or Russian. In Russia the situation is exacerbated by the fact that the surgery was euphoria when it seemed that everything is correct, what we are doing the right art, then in 1990 began the transition period, and finally, in the 2000's there was a strict commercialization. We need more and more to create art projects and alternatives that would exist and develop in relative independence from the commercial component of the artistic community.
You once said that art institutions in Russia are not developed. Nothing has not changed?
Of course! Because we have not completed post-Soviet phase. Art institutions have not been significantly upgraded. Arts education in our little modernized and museums in small degree. The symbol of Russian museums, Irina Antonova, director of the museum is already 50 years. But she was, incidentally, all at home in a museum ingeniously modernized, her board of trustees headed by Dmitry Medvedev. But the Russian museum policy does not meet international. Still, Moscow is very conservative. Even in St. Petersburg the situation is more advanced, the Hermitage and Russian museum. So the museum's policy requires a radical reorganization.
Who is this should give the money? Business? State?
The state should not leave this area. And the money ... I am the way, your best exhibitions from 1987 to 1992, he made no money at all. There was some initiative, we agreed with the artists, they created works, themselves mounted exhibitions. The magic of words, that "no money it does not work" a bit overblown. I am sure that even now many of the projects are feasible with minimal investment.
The Russian Museum policy does not fit into the global trends. A Russian art?
Absolutely. Our artists are an integral part of the world art scene, beginning with the generation of Ilya Kabakov and ending with the generation of Anna acorn. In contrast to the literature in international language of visual art. But an independent artistic community we have just formed. gallery and community is weak, the museum world is not upgraded, an art education at the end of XIX century. What are we talking in general? We in the Moscow art community of people two or three hundred. Compared to New York, London is just ridiculous! We are simply outcasts some unbelievable!
Why art community to join?
We need to develop elements of civil society in the artistic environment, for us to have its own autonomous system of values, goals, identity art. Must be normal civilized relations. So far, everything is based on personal likes and dislikes. It is unclear what guided art editions in response to art events. The relationship between curators, artists, museum staff difficult. Therefore need consolidation. It is necessary to discuss issues openly, not behind closed doors. In the West, the artistic community is opening the debate, influence decision-making, including in the field of education.
you are talking about the community that could and should have been to protest the trial of Samodurov and Yerofeyev?
Course. If the verdict is an indictment, it will make the domestic art world is much more vulnerable. Any work that is exhibited, can potentially offend someone's feelings. This was not even under Soviet rule. In the 1970's was a clear division of post and topics of exhibitions. If this was an informal market, for example, performances of "collective action" were made in Moscow, and did not care nor the KGB nor the committee. There were apartment exhibitions, which are not censored.
The official duty had to be consistent with the artistic standards of official Soviet art. Suppose there were some non-canonical views, which did not take the official exhibition, but exposed to the independent sites, and it is not prosecuted. Was the Soviet and anti-Soviet themes, and when the artists said about the anti-Soviet campaign, they knew what they were. Now I can not pinpoint what was going on. Protests against the art works are all over the world, but that the court-no. told me that very influential people were interested in how to stifle the process. But nothing happened. Because, apparently, the Russian Orthodox Church and religious community are becoming very influential. It can be noted that the artists of my generation in general felt that this topic is best avoided.
painting, "Icon-caviar" you think it offends someone?
It is not my most favorite picture. And perhaps it affects religious feelings.
What will you do in the cultural sector project in Skolkovo?
We just yet discussed with Marat Gelman, who oversees all that there in principle could be done. Maybe some of the special projects Biennale will take place there. It might be something like a contemporary art center. I believe that for projects in the field of art Skolkovo, given the energy Marat Gelman, might be an interesting area.
Especially when you consider what this money invested?
From money no one refuses. Of course, when preparing such a large project as the Biennale, which must be something to bring, carry away, you need money. And for young artists, this should not be an idea fixe.
has already won even Schwarzenegger supported Skolkovo.
You see! (Laughs.)

Elena Mukhametshina
("Russian Newsweek" 27.06.2010.)