Exhibition "Arefevsky circle" in the New Museum in St. Petersburg

[fabosch]

The evening of 3 November at the New Museum in St. Petersburg at the big gathering of the public opening of the exhibition was "gay saints. Arefevsky circle." Event for Peter noticeable, especially since we are talking about the artists essentially marked the beginning of the Leningrad unofficial art. This Aref'ev Alexander, Richard Vasmi Valentin Gromov, Vladimir Shagin (not to be confused with Dmitri, the son-Mitiok), Shalom Schwartz. Of the five participants in this movement still alive, only one - Gromov, Valentin (God forbid he has health and long life), which is still running.
The exhibition presents about 150 works of painting and drawing from different years (from 1950s to 2000s). By the opening of the exhibition has been prepared and published a great, solid album that played ok. 400 works.
Spread Pictures from the opening quote and part of the preface to the album, written by Nazansky:

"It would seem that art, depressed totalitarianism and repression, finally died in the siege of Leningrad, but after a few years, it suddenly reappeared in the medium still very young, almost adolescent students SHSH Academy of Arts. Several young men, making up Onge - Order of mendicant artists them. St. Luke's (in another version - the Order of unsold painters) - irrespective of the time and the campaign against cosmopolitanism, put himself uncompromisingly to serve the arts, honestly and desperately to express and comprehend the realities of life around him. Almost all of them - A. Aref'ev, V. Shahin, V. Gromov, R. Gudzenko, L. Titov (except socially silent, but inwardly stubborn philosopher S. Schwartz) - at different times were expelled from SHSH for formalism. R. Vasmi also did not finish the Architectural College. Young artists, as well as their friend, the poet Roald Mandelstam, being outside the system chosen (preferred) path of artistic self-development in the circle of companionship. If you are going several times a week, discussing each other's work, coming up with themes and contests, choosing "heroic objects of vision" and severity of their decisions, they have grown and gained creative courage. Consciousness, eye, hand to be free from rules and regulations of the official art, their music evolved out of the so-called career. So he was born in Leningrad artistic underground.
Yes, artists have maintained for decades, friendships, but starting from the 1960s - they
quite different, they have multi-directional vectors of development. Everyone develops his very distinctive and unmistakeable style. This difference and otherness was complementarity. As you know, like charges repel each other. They were united not similar craft skills and stylistic habits, and general moral attitude toward art. All the same order - unsold, independent, beggars ... At the time, even Filonov painted a portrait of Stalin. But for all the decades of creativity out of their hands did not come out no situational work. Situation, communication, money, fame, sales, exhibitions at any cost them little concern. Vasmi said working gas boiler "I paid for potatoes and bread, and in painting, too, is - to me this is enough." Paintings he gave to friends hang on for several years. Schwartz attracted more to the creative process itself. Often, completing a job, he lost interest in it. For V. Shagin painting - an open experience the joy of being self-sufficient employment. A bad egg in worldly matters, they were really non-possessors, demanding to his work. Each of them in the 1970s and 1980s-1990s - formed a significant artist with a personal style of writing, deep in their dimension of life, as if not noticing worldly problems of its care. Even the most socialized of them Gromov could come to the theater in the old burst shoes, let alone a Vasmi and Schwartz, when they came together, often checked the passports, and when in the perestroika years, they went to record in the Creative Union of Artists IFA, as their bums
policeman detained and brought the same to the Union for the identification of individuals.
In the 80s there were a arefevtsev followers - they too began to wear vests and called with a light hand Vladimir Shagin, "Mitya." Other followers, not the letter, but in the Spirit, we can also consider New Artists.
Over the past two decades, there was a kind of heritage museumification Onge. A collection of works arefevtsev Norton Dodge - the world's largest collector of Nonconformist Art - to the Museum Zimmerli in New Jersey, dozens of papers have appeared in the collections of Russian Museum, the Central Exhibition Hall "Manege", Museum of Nonconformist Art. The absolute record-holder, subject to stock charts, Museum "Tsarskoe collection." In recent years, the work of R. Vasmi, Gromov and S. Schwartz appeared in the Tretyakov Gallery. But most of the work lies in the hands of private collectors, heirs and friends of artists. For nearly a year, the New Museum of collecting, corresponded with museums and collectors. Altogether there are about a thousand pieces: mainly graphics, less - painting and a little sculpture. For the album were selected about 400 works. Some of them, such as work from American collections, published for the first time.
Onge - St. Petersburg phenomenon purely generated by the special cultural atmosphere of the city, organic for their time and place, but it is universal, and he has his own role in the history of native art of the second half of the twentieth century. "

Here are the works of Aref'eva and Gromov

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That is the work of R. Vasmi

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Here are works by V. Shagin

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Finally, S. Schwartz

[fabosch]

That is the work of R. Vasmi

[fabosch]

Here are works by V. Shagin

[fabosch]

Finally, S. Schwartz

1 - portrait of the poet Roald Mandelstam

[Игорь Гурьев]

Gromov, "On the waterfront" with two sailor and two girls - absolutely fascinating stuff!

[fabosch]

Yes, this is one of his best things is called "White Night" (1958), it is already in TG

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Here is a link to the site of the museum - there are more photos from the opening, so I'm very formal part I do not spread

http://www.novymuseum.ru/events-muze...ravedniki.html

And here's some pictures

[fabosch]

Here is a link to the site of the museum - there are more photos from the opening, so I'm very formal part I do not spread

http://www.novymuseum.ru/events-muze...ravedniki.html

And here's a little picture

1, 2, 3, 6, 9, 10 - R. Vasmi (2 - self-portrait)

4 - Vladimir Shagin,

5, 7, 8 - S. Schwartz

[fross]

Thank you very much awaited exhibition.

One might ask, posts reflect your likes and is it possible to assume that the order they meet?

[fabosch]

Сообщение от fross

Thank you very much awaited exhibition.
One might ask, posts reflect your likes and can it be assumed that they correspond to the order?

No, the order of artists did not reflect my personal preferences. Generally, they are all very interesting artists, and each of them to me in my love. They - they say - "my" cling sometimes very seriously. And yet, two of them - "just mine": Vasmi and Schwartz. In fact, they are a seemingly complete opposites: expressionist Schwartz and "cold" Vasmi. And, nevertheless, they have that inner energy and concentration, that the absolute creative dedication that wins once and for all. By the way, their lives and to unite a very close friendship.
But it is difficult to explain why an artist like most of the other. I love and Shagin. Restrained attitude to Gromov, although some of his stuff is very good. But the nuances are still fluctuate between excellent and superb. Of particular relevance to Aref'eva. His early stuff I think of genius (which is, for example, is presented here), but what he did in the second half of the 1960s did not penetrate me. So it remains for me to figure ambivalent.
In something like that.

Posted 3 minutes

Сообщение от Cyril Syzran

But in Russian there are none, it seems, except Aref'eva, as I see it.

No, no, Cyril, in Russian, they are all there and there, of course, before the Tretyakov Gallery. And, incidentally, from the Russian work is also on display, as well as of TG (the organizers, however complained that Tretyakov was a very "capricious" and until the last minute was not sure what will work)

[Seriy]

fabosch, and on which written work?
Angles, sometimes without paint, cardboard, hardboard can?
and frame-original? - just nailed slats overlap.