Alexandra Exter's "In Retrospect"

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Сообщение от Maroussia

attribution in which neither the author nor the publisher is not responsible, I personally, I hear the first time.

Maroussia, no author-curator is precisely over and took responsibility. A publishing house and a museum with responsibility removed.

Here is the first reaction culpable.

Dangerous Tour
A new exhibition at the Moscow Museum of Modern Art

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Alexandra Exter (1882 - 1949) loved and knew how to be in the spotlight. Acutely aware of a new artist, secular emancipated woman, strong personality, she has great impact on colleagues and the development of avant-garde movement in Russia. Exter traveled a lot, priyatelstvovala with the great French and Italian colleagues acquainted with Western novelties, participated in almost all the major speeches of national artistic revolutionaries - from shimmering with all colors "Jack of Diamonds" to constructivist "5x5=25. Her theater work - a performance of Chamber Theatre Famira Kifared Annenskii (1916), Salome Wilde (1917), "Romeo and Juliet" (1919) - made an epoch in scenography.

Last solo exhibition of the artist in Moscow, held twenty years ago in Theatre Museum named Bakhrushin, forgotten for chamber and barred years. New, organized with the assistance of Novatek and company Enel, was to be the event which was more than significant - alas, it turned out to be small scale, foreign works are not brought, did not reach even pictures from Kiev. Gathered in the main that lay nearby. The curators divided the two suite of theatrical and mounted work - turned out not very persuasively, besides the most interesting and resonant futurist paintings were in a tiny room, sandwiched between a much less significant and impressive early and late works. At full strength only work perfectly matched costumes for productions that are placed in the spacious halls. Among the brand name of museum pieces newcomers from private collections look pale - even what was on the invitation. Main story of the exhibition - is almost unknown in Russia later French period, creativity fled their homeland in 1924, the artist. Even more unknown works to release a monograph, but the quality of the estimate is almost impossible - to print the book leaves much to be desired.

Scandal, a natural satellite of the avant-garde exhibitions hundred years ago, there was a MMSI not a ghost. Shortly before the opening day museums - participants received a letter from Professor Andrew Nakova, founder and chairman of Parisian society "Alexandra Exter, who notified their correspondents that they themselves know well:

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« The situation with the work of Exter now is in a state of shock. This is due to the large number of fakes that have appeared in recent years as the Russian and the western art market. " Listing the recent scandals in the first place, initiated by him arrest a year ago, a large exhibition of Exter in Tours (pictures already released), rejected fairs, expositions taken out of museums work, canceled the exhibition presents Nakova doubts about the authenticity of one of the titular painting exhibition - owned MMSI "Landscape with houses." Nakova "seems premature to meditate now an exhibition of Exter, especially since this event is carried out without any respect for the moral right of the artist and without requesting a check in the archives of the artist.

These claims executive director of the museum Vasily Tsereteli said, politely but firmly: what exhibitions do, decide for themselves the right willing to consider, as the presentation of documents on them, "leading experts in creative artist ... relevant publications on the topic, which included, and Mr. George Kovalenko, recognize the authenticity of works that are planned to exhibit and publish in the accompanying book directory. The very same author published by the opening of the first volume of the monograph George Kovalenko asserted that all information about the very existence of the archive of the artist solely on the basis of Nakova, no documentary evidence, including publications based on it, does not exist, as there is no legally proven, owned to any of the experts "moral rights" in its work.

Organization of exhibition of Exter in this difficult situation can be viewed differently. Including take a bold act MMSI - owner of several of her later works. Museum to insure as best he could - in the book reads: "Playing in this edition works of art are works by A. Exter on the basis of expert opinions of the author. Public relations professionals find out, of course, harm the reputation of the artist. Perhaps, however, still lower than the non-public gossip, rumors, shrugging his shoulders. Doubters can understand: the emergence of a large number of hitherto unknown works shocks, changing all the old ideas of their author - just as it was, from the store when Soviet museums have got the avant-garde work. The alternative is simple - do not show do not write books. Or display only long-known, familiar things, rejecting the very possibility of the existence, survival of artists extruded from the current context, and sometimes outside the country, somewhere other than museums, and discovered long ago in the private collections. MMSI went another way. Hopefully, not in vain: exhibited in the halls of the museum, in a monograph published work will be an occasion for purely scientific analysis, debate, discussion. Neither the experts nor the current owners of work, paying them huge sums of money, will not face prosecution for those who expressed a reasonable doubt.
Faina Balakhovskaja

http://www.vremya.ru/2010/93/10/254819.html