Grigory Revzin became Commissioner of the Russian pavilion in Venice

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Grigory Revzin became Commissioner of the Russian pavilion in Venice

Commissars of the Russian pavilion at the Venice Biennale appointed patron Stella Kesaeva and architecture critic Grigory Revzin, RIA Novosti reported with reference to the adviser to the Department of Fine Arts of the Ministry of Culture of Russia Anna Novikov.
The order was signed on June 29. The previous commissioner, director of the Moscow Museum of Modern Art Vasily Tsereteli, the Commissioner will be the ministry's international exhibitions in Venice.

Kesaeva will deal with the Russian pavilion in 2011, 2013 and 2015, Revzin - in 2012 and 2014. At the same time Minister Alexander Avdeev will no longer appoint curators of national exhibitions at the Venice Biennale - now their candidate will recommend commissioners.

Stella Kesaeva - Chapter Stock Stella Art Foundation, winner of "Innovation" in 2010 for the promotion of Russian art. She has organized the Russian exhibitions abroad, including in Venice. Grigory Revzin, critic, ID "Kommersant", is preparing a national exhibition "Factory 'Russia'", which is present in late August at the Venice Architecture Biennale.

http://www.lenta.ru/news/2010/07/07/komissar/

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The curator of the Russian pavilion at the 1954 Venice Biennale of Contemporary Art, which will be held in 2011, will become an art historian Boris Groys, RIA Novosti reported with reference to the art critic Mary Kravtsov.
Groys was born in Leningrad, graduated matmeh, worked at the Department of Structural and Applied Linguistics, Moscow State University, in 1981 he moved to Germany. He is now professor of philosophy, art theory and media theory at the State Higher School of Design in Karlsruhe. Earlier it was reported that the Commissioner of the Russian pavilion in Venice in art exhibitions 2011, 2013 and 2015 will be the head of the foundation Stella Art Foundation Stella Kesaeva. Choosing the curators pavilions entrusted the Ministry of Culture Commissioner.

http://www.lenta.ru/news/2010/09/09/grojs/

[Yurko]

Go reasoning .. contemporary Russian art belongs censors (such as art critic) and gallerist .. And, God forbid, insert the curators someone from professianalov .. so to speak from the art world of the artist .. .. a sculptor or an architect kraynyak?? And the question whether the artists curators will ... that's blunder, contemporary art, certainly in the evolutionary process, but belongs to its presentation to the people who are very far from it ..
By the way here from the topic suggested to participate in international exhibition in Denmark .. .. they have a representative in the jury .. and everywhere in the categories of painters, sculptors .. or ... kraynyak historians and art critics and public relations techniques in arte purely on my

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Curator Boris Groys said Yekaterina tar, which means that this name
 
- No, this exhibition is not about religion per se in its historical perspective, it is about today's phenomenon of the return of religion in the form of aggressive, dynamic, radical movements, and the medial practice these movements. They are specific to our time, that is, for the time after the fall of the influence of secular ideologies. Nearly all secular ideologies such as communism, and liberals too, who for a long time satisfy the intellectual and spiritual needs of the peoples of Europe, proved today that is heavily tarnished and lost the appeal. They were replaced by religious movements, which, however, already taken into account the fact that it was up to them. The main thesis of the exhibition - an assumption that those religions with which we are dealing with now - a religion after spiritualnosti, after the death of God, after the disappearance of the subject, after the collapse of idealism as a philosophical or religious. This religion, which took the domination of the material, even in a sense, materialism. In this form of religion become fundamentalist, they rely on the material foundation, which consists in the ritual, word, medial practice. There is no longer any such that, like, everybody is praying. No, they are doing something very practical: they are a blow, blowing up other people, they are engaged in propaganda, video take off ... No theology within these religions, no one does. In one of the progressive evangelical movement, even the cross is forbidden to hang out with them in the room so as not to istorizirovat situation. With regard to Islamic movements, there theology simply does not exist. This Nietzschean fundamentalism. It is the eternal return and practice, actually.

[SPOILER]- Just practice?

- Literally, that's the case. For example: if you want the community, community, and there pronounced the name of Christ, and sung songs appropriate, it is believed that Christ appeared among them and perform miracles. Usually a practical nature cure someone, for example. It's immediately removed the video and immediately put on the Internet. Next is the same action is already playing this action. Video on the Internet acts as a guide for themselves or for someone else. Video amalgamated with the ritual. The same video suicide: they are all very well shown. You twice have downloaded this video - and ready.

- When and how did it all start?

- In Islam, of course. From the moment when all these former socialists, communists, liberals of the Muslim world flooded into Islam after becoming disillusioned with the West and Communism. ], the original country was Egypt. Egypt in general, the source of all these Islamic movements, has been and continues to be their ideological center. In any case, they were all secular people, they did not know Islam. It was and is the layer of intellectuals, educated on the notion that the criterion of truth is practice. They were ignorant of theology and immediately went to practice, understand Islam in practice. The same thing happened with the new evangelical movement, which emerged at the same time, thanks
He integrated the socialist idea in his sermons - his practice was communitarian in essence, left the practice. He preached to simply organize the communitarian life, and the whole side of the theological, historical was eliminated them famous claim - which, incidentally, is shared by radical Islam on the Koran - to understand the Bible literally. This predictive method has destroyed the entire cultural tradition and religion as such.

The fact that the entire history of Islam - a history of interpretation, its various schools. One author wrote that a man in the XIV century XV whether proposed to abandon the interpretation of the Koran, so for this he was executed. The same with Christianity - the moment when I say that I understand it literally, I practically eliminates all its ancient history and was left alone with a certain object, the object with which I am beginning to work. This was the starting point for the emergence of modern religious movements, which operate mainly on the Internet, in the media.

- How does it compare with communism?

- That's communism, and taught us that the criterion of truth is practice and the goal - to change the world, and not understand it.

- No, I mean, there was a Soviet Leninism is such a fundamentalist, almost cult-oriented form of Marxism, who broke with its history?

- No. It it was not. Although I must say that such attempts were. In fundamentalism is always a revolutionary measure, because it breaks with history. And if you take the history of Marxism, in particular Russian, every revolutionary gesture was declared as a return to basics. Plekhanov, for example, was an orthodox ... literal sense at all is a revolutionary gesture. But Russian Marxism never reached a high degree of radicalism, because it is necessary for this was the area of freedom. If you have no freedom, then you need a hierarchical organization, which, in fact, freedom and limits, and which has as its base only the right interpretation. This is a guarantee of any hierarchy. When I say this, I thus will break this hierarchy. - Okay, this is the ideological aspect of the exhibition. But you have made not the activities of these religious groups, and contemporary artists working with that subject, if I understood correctly?

- No, not really. I just did expose the activities of these groups. One impulse is to understand what has happened to religion at the present stage, in that it has become. his argument about the end of history holds between a man and a book. Man thinks that he understands that he says and what the subject is, and the book - no. We do not expect the paper that she would understand that it is printed. But this is the right attitude and a man, too, especially at the end of history, when man begins to be the bearer of knowledge, a subject of which he is not. This is what happens in modern religious practice. In this sense, modern religion has become a medium. She does not understand herself, but she does not seek to understand. The man is perceived as the bearer of knowledge, and not as its subject. He did not shout, it is only a medium, it is just for reproduction of knowledge, and to the extent in which it participates in this ritual, he attains immortality. But there is a second aspect of my interest: if we take the leading religions, they all ikonoklasticheskie, iconoclastic - Islam, Protestantism ... Nevertheless, they operate mostly images. Why do they do and how they explain it? This is a very important point. We had a serious survey of Islam, and it turned out that Islam has never been banned images. It was only prohibited to produce, but does not prohibit their use. Or, as I say, Islam is forbidden to be a modernist, but not forbidden to be a postmodernist. There is a very interesting and far-reaching discussion, mainly in Iran, on the question of where the boundary between the production of image and its use.

- So what exactly is the material associated with religious movements, will be on the show?

- An Iranian official television, video, bin Laden's video collection of radical Islamic suicide bombers. army, which will be for him to fight. He removes them from life, and this is the highest goal. There is a series of novels and video games, this built.

- But how do we determine that the person committed to heaven alive, but he did not just die?

- Yes, that's a problem. But somehow it is solved.

- Is there in this exhibition of some authentic Orthodox material?

Submitted but new radical Hinduism, which is very actively developed today. All the best artists and art critics in India have gone now to build Hindu temples. The whole art system for this work. Especially those artists who have previously written different kinds of national heroes in a realistic style - now they represent Shiva and Krishna.

- Thus, we have moved to modern artists. What is their attitude to the subject they are taking? Is this attitude, as they say, critical?

- For me, of course, the model here was the art of Moscow Conceptualism. Which is your material does not criticize or approve, but as something with it. Pin, Diaz & Ridveg. What other artists in the exhibition?[/B]

- Emphasis was placed on artists from the Arab countries, many of whom are very good. An Iranian artist made the work of young preachers, a boy of five or six years. Artists from Egypt, Iran, Syria, Iraq. I think this is the most interesting in the exhibition. Then, there are several works of a new wave of Israel - where the artists have recently discovered the ultra-Orthodox Jews, who did not notice before. Also an Israeli artist. There, the fact is that an Israeli tank, four windows and the people there do not have a general picture of the world, everyone sees her. Therefore, they are required ongoing discussion of what they see, to make the picture. So he made this video on four screens. It is perhaps not directly related to the topic, but on the other hand, as if true. ... Then, many papers on the theme of death, which is also in this context must be understood in terms of practice. Unfortunately, we did not get the work of Gregor Schneider, who created a gallery space for the dying, but there is an earlier work of the artist, who died in the gallery and their blood tests and x-rays sold as artwork. That such is about the exhibition.

- But what will be in the catalog?

- Well, all this will be. Lyrics of artists, for example. It deals with mysticism of blood and wrote a fairly good job of vampires. - I can not ask whether the question was discussed that this exhibition should not affect the feelings of believers? For example, take it into account Peter Weibel?

- No, Waibel - absolutely not. But some journalists asked me this question. And I'm on a clearly answered that here there is nothing to offend anyone. There are no attacks on Islam and that whatsoever. We take the artists whose ratio is an analytical rather than critical.

- So you think you are entitled to decide for others, it is their feelings hurt can not. And if you still come and people say that hurt - that will happen in Germany in this case?

- It's hard to imagine it, but I would say - then we'll see.

- That is such precedents in Germany was not?

- That's like you say, no, no. But there are precedents of another type: when some authorities think that something may hurt someone's religious feelings. Basically, of course, Muslim, Christian because no one cares already. And they are beginning to exercise caution, even if the Muslims on this subject without saying anything. That is indeed the case.

- But you did not.

- We did not and could not be, because I have long been living in this country, all of this ideology, and I know, to be frank, to some extent it is shared. I know that many see this as an infringement on freedom of speech, but honestly, I do not see it.

- So you're for, to limit its expression in a delicate situation.

- I am for having to limit their expression in any relationship, let alone in first place in the sense that what you do not know that it is better not to talk. What I find somewhat annoying is when people are about Islam, for example, do not know, begin to speak. It often seems a bit silly, and sometimes really hurtful. And always looks out of place. All of these Danish cartoons - the work of people who she did not understand. A completely different situation, if you invite people who grew up in this culture, is very well versed in all of this and understand the possible reactions - I do not think that there might be a protest.

- But you have the work of artists from Islamic countries, consciously critical of Islam?

- Well, of course, very much. But I have a feeling that this criticism is not a thoughtless, incompetent nature and is not an outsider. We also often hurts, especially when outsiders speak.


- I insist on this issue, because the Russian reader is obviously interesting. If, however, there would be a claim of this nature, what would your kontrargumentatsiya? For example, appealed to you to ensure that it is a museum, a special area which is not for everyone and there can afford to criticism and even provocation?

- No, I think not.

- probably to the fact that this analytical process, not an insult?

- Yes, perhaps, only for this. I would simply say that any image of anything in principle was hurt. That's what I said. Photographed you - it hurt. If God portray - a shame, too, even if it's a good icon, yes? This resentment is part of the overall offense to any depiction. She has a long history, great tradition. And such an insult, on the one hand, legitimate, and on the other - is inappropriate. Waves ikonoklazma many times passed through Europe.

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[Yurko]

O is a hot topic after the assurance of a pseudo-religious fanatics on the fire of religious books ... Americans have a rest!

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[QUOTE=Yurko;1267402] Go reasoning .. contemporary Russian art belongs to censors (such as art critic) and gallerist .. And, God forbid, insert the curators someone from professianalov .. so tell from the art world .. artist .. sculptor or an architect kraynyak?? And the question whether the artists curators will ... that's blunder, contemporary art, certainly in the evolutionary process, but belongs to its presentation to the people who are very far from it ..
By the way here from the topic suggested to participate in international exhibition in Denmark .. .. they have a representative in the jury .. and everywhere in the categories of painters, sculptors .. or ... kraynyak historians and art critics and public relations techniques in arte purely on my

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Today, 15 September, in the Stella Art Foundation, whose head, Stella Kesaeva be commissioner of the Russian pavilion at the Venice Biennale, it was announced the name of the artist, who will represent Russia in Venice in 2011. He was Andrew monastery.
Also, has confirmed that the curator of the Russian pavilion will Boris Groys.

For the first time since 1993 in the Russian Pavilion will be held one-man exhibition. All previous years, there was the practice of appointing the curator or curators, who conducted a group exhibition or a personal project.

Andrew Monastery (b. 1949) - poet, painter, one of the founders of Moscow Conceptualism. Author theoretical articles on contemporary art in the domestic and foreign editions. http://www.openspace.ru/news/details/17854/