With regard to provincial creators of illusions we are not entertained. The mechanism of doing art away from the cultural capitals understandable. In the 1990's all had a nose in the direction of Moscow, and thence positioned relative to performance-radical. Or darkly muttered something (not wanting to put up with them fell down on the role of reactionaries), or tried to do "cooler" ...
Our friend Sasha Golizdrin Yekaterinburg in 1998 brought the audience in the pit in a new neighborhood, stripped naked, plastered with shining scales (as Kulik, in a performance), followed by declaring themselves "Botanic Ichthyander district, jumped into a puddle. There he fished out his teeth specially brought carp, something spoke to him (again, as Kulik), and then unsuccessfully tried to copulate with carp (again, as Kulik). Sasha even started work on the spread of pornography. But a group of experts concluded: "Pornography is intended to incite sexual desire. A unsuccessful attempt to commit an act with a fish can not excite anyone.
Presumably, in Moscow the same mechanism worked. While Russian provincials tried to follow the dimly discernible metropolitan conjuncture and worked through "Art Journal", Muscovites reproduce pictures from magazines of Western. Lamented: what is fashionable in New York for one season, peripherals run in decades. No one did not expect that we will Mizin audit will direct ...
Like it or not, ask the editor XQ Viktor Misiano, met me at some round table? "No, - said Misiano - nothing like it! When I no longer worked at the Center for Contemporary Art, I continued to send back" Parquet "and other journals. Which I occasionally pick up. And never, no artist has revealed they are not bothered to look through. "
With that I hastened to agree. That's the way it was! No one consciously did not borrow ... It happened unconsciously and haphazardly. Yes and no copying!
In 1987 I participated in the first exhibition of Sverdlovsk, held without censorship Party Committee. Among the organizers was the artist Victor Goncharov. He himself one by one they re-painting of French op-artist Victor Vazarelli. Nothing bad (even tautological), this one did not. Abroad it was another planet, information about it - zero. They have - their own lives, we have - its own, which never intersect. As a child, did we not see anything criminal in Dr Aibolit (aka Doolittle), Pinocchio (also known as Pinocchio), The Wizard of Oz (the original sources - Oz) and Dunno of Solar City. In kindergarten, I remember, "artist" and does is the one who could better the rest of "copy" the picture from a book ... Just copy pictures Vazarelli "srisovyvaniem" was not. It was an expression of citizenship! The main messidzh then art is as follows: I - a man of pro-Western way of thinking. I - a, burzhuinsky! ..
So no it is not "plagiarism". And the unconscious desire!
Short Course Actual art RUSSIA
It's necessary to look into the story. Traditional iskusstvoproizvodstvo in the USSR obessmyslilos before our birth. Same - with education. An ingenious system of teaching figurative painting Chistyakov, devoid of meaning, withered. If you describe is very primitive: taught how to draw, but not taught why. A failure to understand "why" has ceased to be interested in "how". If in art schools, students were still burning enthusiasm, the universities degraded considerably. Cultivated in the State the type of artist "golden hands, but an empty head" became nemoden. Been replaced by intelligent artists. To look into meaningful activities. Who knew "what", and "how" (which I'm talking about "Moscow Conceptualism"). Then the pendulum has swung further - the artists knew "what", but never learned "how" (this is the "Moscow Actionism").
Actually, our "actual" or "contemporary art" is not quite adequate to its foreign counterpart "contemporary art". We have it - these two articulated and attributed the phenomenon. "Moscow conceptualism" and "Moscow Actionism" ("actualism" - the terminology of Leningrad "new academics"). Both groups have existed sealed. The first was like the underground, the second - newly established party. Once we talked about this with muzeefikatorom national contemporary art by Andrei Erofeev of GTG. For both communities, he became the metaphor - floes already seceded and uplyvshih in history. And after them - still unclear. The preceding "non-conformism" or "other art", opposed the Socialist Realism - also does not count, the forerunner ... It is here that appeared not only the artistic community, but people who managed to create a new coordinate system. Although I, of course, coarsen.
"Moscow Conceptualism" - according to rumor - was inspired by the artist Andrew monastery and articulated Boris Groys. But the main artist was Ilya Kabakov (originally did not belong to the circle of the CD). The heirs of their case - "Medgermenevtika headed by P. Pepperstein. Moscow Conceptualism finally become a fact of history of art and samomumifitsirovalsya somewhere after the departure Kabakov in the U.S.. Bird Language "Conceptual second generation during the" street democracy "was an obvious anachronism.
"Aktsionist Oleg Kulik, once told me, as a" conceptualist "DA Prigov not accept it, the younger artist," Claudia (Club avant-garde). " Although necessary for the recommendation of one of the participants in waders had - from the sculptor Boris Orlov, a friend Prigov. But the last (by adopting the method by which his generation do not let go of the Union of Artists) said: Go more porous, you still too early ...
"Moscow Actionism" restore communicative. Ideologist it was Viktor Misiano. He and the magazine XQ, in fact, created a trend of Russian "modern art". His favorite artists were Brener, Gutov and Osmolovskii. But the most famous artist has become more vital, Kulik (who also personally forced its way). A young growth - this group "Radek" and "What" D. Vilna.
V. Dyakonov objects: but there were others ... Were! L. Bazhanov created institution that provided seamless creeping "modern art" in the provincial museums. A. Erofeev a collection, which is then conveyed by parts in the Tretyakov Gallery. Kovalev brought the art critic F. Romer. E. Tar privatized first Soviet underwear, and after the rest of the socialist-realist legacy. A Ter-Oganyan with "School of the modern artist." There were galleries Gelman, XL, "Aidan" and "Regina". I. Backstein something organized in the attic ...
And yet ... About that time, there is a well-known anecdote B. Groys. He came to lecture in China. He asks: Do you know Russian artists? Those responsible: know one! Ran naked through the streets, defecating under the pictures, biting people and his name is Misiano ... In this history - only joke. Actually, Misiano and was the principal designer 1990's, it was he who gathered around the philosopher Podoroga company to formulate a "postkontseptualistsky discourse", and Brenner Gutov and Osmolovskii - only paint on mizianovskoy palette.
END OF PERIOD "MODERN" FORMS
The end of this phase I was in 2003.
When in 1999 we arrived in Moscow, we summarily explained that "modern" form - only that emerged in the XX century (photo, video, actions and installations). A "unfashionable" - everything else. What, for example, Leonid Tishkov - no was not an artist, because it can draw. What kartinschiki Vova Dubosarskiy Sanya Vinogradov - our friends, of course, but busy hopeless case. And what people's opinion of Nenashev circle should be ignored ...
However, the time came, and soon the veil from my eyes awake. It appeared that deal with "modern art" can be just as reckless. What it also has become a routine. The Institute of Contemporary Art grew homunculus, who have learned: if we - "Contemporary Artists", we must engage in "performances". Under the "performance" understood inarticulate absurd action. Ten years ago it was still appropriate, but now few people are suited, I wanted more meaningful gestures ... "Video art" was called ineptly filmed. Even the rare native art correspondent confessed to me that pass by domestic as "video art" without delay.
Gradually, all understood: the separation of the "modern" and "unfashionable" technology more irrelevant. So no matter what form you use, it is important that you want to say. Redistribution in the minds of fixed Venice Pavilion V. Misiano, "The Return of Painting" (2003). This is caused in a year "left turn" Khodorkovsky and "liberal empire" Chubais (the main sponsors of the liberal project, thus recognizing his defeat in the ideological war). As explained Misiano two years earlier: "Because we like it or not, but most of the townsfolk still prefers a more effective figurative imagery. Even with Gutow Osmolovsky took up a pencil and began to talk about "formalism" (about Ahaz of visual art that is). Camouflaged that way my old theme - "about dilettantism in art." In fact, black abstract skulpturiny admirable already on the Baltic exhibitions 20 years ago, only in today's mezheumochnoy situation it could be a revelation to issue ...
Roughly the same demonstrated 1-I Moscow Biennale and the Russian pavilion in Venice in 2005. Yes, we are able to do the average western mainstream. But he had very few people are interested. Yes, we can also deliver to the world of art-dozen supermarket frozen hamburgers. But why?
In availing Blame PETER I
Copy of foreign patterns were taken to Russia, as a minimum, with Peter I. Half of the sixties were irresponsible Cezanne, Post-Impressionists. Well, what can you do if pictorial language was updated in Europe or the U.S. ... However, when the 80's dacha near Moscow creative "Senezh" taught more fashionable abstract expressionism, then explained: in fact, is - our know-how, come to us before the failed ... The method of development of western forms of work, multiplied by the faith of the older generation of artists that are progressively and correctly. Since childhood, I remember the three phrases of the multivolume "masters of the art:" Nobody wants to find, interesting finds "(Picasso)," Going on the trail of the other first to come can not "(Michelangelo) and" The Lion has digested lamb "( Valerie). Artists in the underground, who kept the secret knowledge in basements, workshops, presented today, if not the lions, it's not just a bunch of sheep!
"In the 70 years of artists (non-circle) represented the elite of society, - said E. Tar. - They read books that have not read the others, they were interested in discourses that are not available to the general populace ..." Once we talked about generational theme with DA Prigov. He says: people my age revitalized and viable because they seemed to be preserved. Years lived in the Soviet Union, it is better to divide into two. If a person on the passport of 50 years - think: 25! .. And it is - the truth. In the USSR, the artists were not very sickly specimen. Over the shoulders of the older generation was not only the intellectual environment, not only the abundance of free time, allowing them to read and think, but understanding of its social significance? It now seems that any of their sneeze immediately broadcast Radio Liberty or the Voice of America. For Kabakov, Makarevich, and even younger Kulik with Ter-Oganyanom (who managed to ripen) can not be accused of borrowing styles. Nothing wrong with their appropriation no. Only the appropriation of - is when consciously!
How did it like the same Ter-Oganyan, declared: "Capitalism in the yard! Who stole - he is right, and I stole. I - for piracy! .." Or, for example, the Leningrad Florensky artist who likes to draw again in his usual well-known masterpieces, explained in a TV show: if I love this product, it is colored by my personal attitude toward him and become mine. With this, too, can not argue! Artists have always understood that do not live in a vacuum. Continues the tradition. Monastic and Brewers inherit Dadaists, and Yankilevsky Sooster - Le Corbusier, Lyon - Cobra, Mukhin - Cartier-Bresson, and Vinogradov and Dubosarskiy - Plastov mixed with Rosenquist. They must be the nicest way. Father can not hurt, they put in is life.
But young people can not stand on ceremony!
RESPONSE TO REVOLUTION
In the restructuring during the "Russian boom" in the artists rushed by anyone who either laziness. According to eyewitnesses, even a car mechanic and merchant seamen. The former social roles are impaired, in the changed reality it was urgent to choose a new identity from the set: a broker, a bandit, a rock musician, underground, artist, neformal or gay. The newly minted artists rely exclusively on the western collectors, many - to go abroad. That was a period of storm and stress, the formation of "modern art" rather than a trend, but as a brand. The main question was - how we are "behind" the West? It was necessary as soon as possible you might encounter its special, different from everything else. All previous - sucks! Earlier artists were engaged in masturbation, unthinking reproduction of traditional forms, but we will take in the future! Time was revolutionary ... Inability multiplied by the uncertainty caused by the intransigence of some and hurt others.
Poet Kibirov talked about his friend, who decided to first become a literary hooligan - he came on the writers' gatherings and teased the elderly. Not yet got to the deceased poet now Turkin. I told him that something unpleasant and even tried to kick. A Turkin was last front-line scout. One hand grabbed our scoring in the leg, and another was deliberately hit in the crotch. Being a writer who immediately got sick - and moved to the radical artists.
In addition to the wronged new brand from the very beginning was surrounded by a complete lack of understanding outside the subculture. At the ceremony the first prize of "Innovation" in the NCCA sociologist D. Dondurei of sweets critics aptly quipped: "In today's art no one understands, no one about him not really know, almost nobody is interested in them and do not buy it. In this situation, for artists grows incredibly important criticism ... "
"Do you like modern art?" - Asked the magazine Kommersant, in 2002 (the anniversary visit to N. Khrushchev Manege). "I - not a conservative and Pelevin read with pleasure!" - Responsible politician Hakamada, not even knowing what it wanted. Not suspecting that there is "contemporary art", which is not modern art, and "contemporary art"! Here are other answers: "Love it! Especially painting from Malevich to Falk ..." "I - a big fan of jazz ..." Well, etc. You can, of course, plead that all media characters - stupid. But true to be recognized: the original priority when creating a brand was to obtain Western financial support, but not approved in their own country.
Grievances on "contemporary art" poured on this day. I recently saw a talk show "Channel One" is just about it. First found incriminating examples: German anatomist steals corpses in Novosibirsk for his exhibition at the Museum blasphemers cut icons, politzhivopistsy portray nasty deputies. Classical pianist Nikolai Petrov tried to teach the art of tolerance: "In the culture of the main thing - tolerance for other people's value system, and what they showed us - stinking filth!" This, of course, unfair, but many young artists away from the capitals and understand: the basic method of "modern art" - to cause rejection. Our friend, artist Konstantin Skotnikov in the same Novosibirsk organized youth tickets with the eloquent title "redneck. Nice to meet you, as they say! Russian contemporary art (with the exception of ten artists who work for export) significantly marginalized and doomed to depict a situation such as marginalized groups.
Or the recent TV program "School for Scandal" with Oleg Kulik. Leading T. Butt and A. Smirnov recoup on it for past wrongs. All your "modern art" - in front of a classical picture of shit! Or ass show! Or other persistence pubertal complexes! .. A Kulik did not answer. He has no interest to defend the old slogans. He stepped on the next step and against the traditions do not have. He is already doing the work, referring to Phidias and Tiepolo.
We were in Moscow Mizin relatively late (in 1999), because we know the "Moscow Actionism" more on this, sink into our echoes. In modern art has prevailed stagnation: one international curator, two artists and a large number of texts designed to legitimize it. All other artists vaguely wanted updates, but did not know what to say about it.
COLD WAR ORPHANS
The reason for stagnation is obvious. If in the 1980's "unofficial" art is an important tool in the struggle of ideologies, after the collapse of the Soviet Union, no ideology, this tool has not picked up ... And soon, active fellow moved into more prestigious areas - politics, business, advertising or television. Those who were close to high officials, were able to convert this intimacy in real estate (Shilov, Glazunov, Tsereteli, in our field - Bazhanov, who created the NCCA). All other remaining hudozhnichat - atavism Cold War. As the fifth generation kaespeshnikov. Or the third rock musicians. Or as a young poetry - has become very much a ghetto for losers.
But where now the poor artists go?
Artist - it is. Once vobet himself in the head a nail, which is already being pulled. I remember a story familiar (again, from Sverdlovsk). Together with her husband, she graduated from technical college, but the state distribution unexpectedly canceled. Now everyone had to choose his own destiny. Her husband, watching the film "Assa", went to "underground" artists. I bought a canvas and paint. She, too, sitting at home with the children, drew the three works of art. Soon after her husband was summoned to the exhibition in the foyer of DC railway. And the miracle happened! There looked a bug from Moscow, who bought all three of her masterpiece. This was a major triumph of her life! Since then, no one from her no longer buy. But for almost 20 years, she daily rubbing with a brush on the canvas ...
Why do artists now sue? Yes because they - the most defenseless. Useless, I mean. Descended from heaven to earth. And the street population is growing dissatisfaction and self-consciousness. What is expressed in the attacks on "foreign" and the courts with the categories of citizens, who are accustomed to seclusion. Philosopher Ryklin (Ani Alchuk husband, accused of organizing the exhibition "Caution, Religion!") Says: we suddenly found themselves on the street and talk to the "street" in their language is impossible. "They" do not understand! Y "them" for us one criterion - "devilry"!
Now every artist can offend. Protective invisible sphere "is no more. Now for their actions to be answered. Being, perhaps, more accurately, or ready for anything. So whether flutter? Example A. Ter-Oganyan taught that modern artists flutter (ie, take up topics ostrosotsialnye) better not.
Abroad - Perspectives too depressing. The increasingly dismal existence of former compatriots in Berlin is reminiscent of Soviet propaganda about the life of "traitors". Illusions of a decade ago there too melted away like smoke ... In Geneva, where we Mizin recently conducted master classes, artists do not need anyone but themselves. Society gives them grants so that they died of hunger. But at the same time - to nowhere got through. We are accustomed to, that the artist - is it a socially significant, that our poet - more than a poet. And then the youth of this and never heard ever! In the French art academies, I checked, they do not teach anything at all - not just "why", but "how." After all, if you will teach, posyagnesh to "freedom of expression" ... So let them do what they want, as long as cars are not set on fire! What will grow - it will grow. The result, however, as we have - interesting artists are 2%... In New York, our gallery owner Marat Gelman bypassed Chelsea district (where the 300-with-something galereek) and shares his impressions: galleries - good, but the art in them - bad ... Stunted-prechahly minimalism. "We have before it is too early, - laughs photographer Boris Mikhailov, - we have more pressing problems enough! .."
All our friends, who sought paradise abroad, have returned home. It was found that a single "international context" does not exist. Instead - many small strata, which must fit. Here they feel about-ho-ho (lived under the illusion), but there must start from scratch! .. But when he returned home, the artists also were without the recipient - does not understand here some population mindlessly borrowed forms and genres.
We, the next generation of artists, marking time in a long time gap, which collapsed predecessors, pondering: what to do next? Subsequent discourse still can not emerge.
Change mindset
They think about how many.
Here, for example, interviews (3-years old) artist Volodia Arkhipova, collecting in the villages vulgar homemade: "Our so-called modern art was devoid of social responsibility and serve only the interests of the rigid craft. His designs were too selfish ... Our art may not be interested in the West, if it did not take place within their own country. It has long had to turn in the direction of society and to obtain from him credibility - but alas ... " As they say, who lead the, from, and rack up! Fewer had Volodia the villages to go and talk to people not from our "hangouts"! ..
Artist Alexander Sokolov, who lived in Germany 6 years ago, shared his impressions of the new Russia: "It's hard bourgeoisified want, at a time when everything is art - against the consumer society!" However, now and here it is clear that the former messidzh "I - a, burzhuinsky" (remember?) Does not work. This is not the issue for political position. Desire for a more complete consumer basket is not enough, the password in the artists changed.
Illustrative case recently told AP Pepperstein living closed. The only reason to communicate with strangers from him - when he catches the car to go visit. Published Pepperstein the street, raised her hand. Hinders jeep whose owner is clearly not interested in additional running-in. Working in a bank. Stories about office life. Pepperstein curious what the pragmatics of his revelations. At the end of the road agent admits: "You know, capitalism is a jam!" All decent people must do everything possible to revive something that was best in socialism! " And Pepperstein again repeats his words, on its own behalf.
As I write this essay on the TV series is "Kazaroza" - a detective from the life Esperanto clubs in the 1920 years. The most plaintive episode - 50 years later. Feeble old Esperantist said: "We could not imagine that the time will come when the girls would dream of marrying a foreigner, so leave the country .... We believe that the international language is necessary for world revolution." Such were the times. Perfect was the time ... "
Paphos our bourgeois revolution (in the terminology of some) or restoration (as described by others) is also diminished. 20 years of Perestroika were not in vain, the mentality has changed. Especially - in the province or in the villages (which teeter "Peredvizhnik V. Arkhipov). The fact that there are values more important than the laws of the market, understand - in their own way, the truth - even the ROC! But no general consolidating ideas and goals of society no. "The country turned to the past - laments M. Gelman. - And it's good that the officials can not agree, in a past they want to return.
How are subcontractors?
For comparison, we want to bring witnesses to our neighbors. Do they have found a way out?
A similar situation is observed in the more massive forms of art - literature, music, movies and television. The period of "import substitution" is over, all the external funds tried, synthesized "European standard" does not catch on, I want the "truth" ... Some of my colleagues will insist on the singularity of our scope. And with the television (which also, incidentally, dominated by imported entertainment formats) to compare himself and did not want to ... But I do not see any fundamental differences. Is that: the product of izoiskusstva - 7-10 users nemassovy CD released in circulation 1 000-2 000., Books - 3 000-30 000, the moviegoers - even more. Because of our subcontractors have to shoot more accurately casts collective unconscious. And we always have a reason to poke my head in the sand.
So, do not refer to the theorists, but the rank and file of reviewers, who walk the earth:
"If you speak rudely: contemporary Russian music simply does not exist. Only academic ..." - Recognizes the composer A. Aigi, half the time living in Paris and the ability to compare. What he does here (as in the West), there (in the West) unclaimed.
"In 2005, a year ending Westernization: there is some literary WTO, Russia will certainly have it ... But in general Westernization of Russian literature rather disappointing: no new energy, it is not freed, no new fuel is not invented on the Red ... area instead of the parade vehicle parades grinders and mixers - writes a literary columnist Danilkin L. ("Bill"). - Now you can say: when the formal compatibility with Western standards on the merits of Russian literature and not Westernize. It is not possible, the main result 2005. Russian literature is no longer running with outstretched arms toward the west, realizing that the world - in otherness, in the provincial, national "Chthon".
Here is a quote from him is:
Literature did not practice enough "truth" - because she was busy mastering the previously taboo areas of language, the absorption of the poetics of "vile" genres, intertextual games, the privatization of inheritance compatible with the Western canon of the modern novel, and so on. Now, the figure of Joyce's desk became a cause not so much admiration, as for some reason in contempt. journalist in a big favorite, as a philologist, roughly speaking, you go get the serve Chechnya, or poblyadstvuy in the Emirates, or earn a million on the original business idea, and then compose this text, your "good language" ... Languages, kunshtyukami do those who have nothing to say. Now literature profitable to engage in reality ... In the literature, taking a favorable conjuncture for the "truth" - trench, political, social, futures, and so on. Literature does not need mediators - the only personal experience, direct contact ... Interestingly, those who are able to demonstrate not the language, and reality ... "
Stolen Figuratively unacceptable
Ample quotations in the text of borrowing is appropriate. Now about the movie:
"Jeans and a cud easily counterfeited imagery - like hell. What a grand chasm opened up between the subjects and by introduction of domestic invoices ... - complains film critic J. Manzo (
www.russ.ru). - Positive examples quality of borrowing is, but they are all long gone. For example, the immortal comedy Eldar Ryazanov "Irony of Fate" demonstrates a clear knowledge of its director and a permanent collaborator Emil Braginsky with the poetics of American comedy 50-60-ies and, in particular, with an outstanding band Billy Wilder's "Apartment". And Leonid Gaidai - competently and skilfully, subtly ponataskavshy of Western cinema with everything he wanted, and then enriched it all someone else's nezaemnym her ... but we must also digest and rich! stolen imagery is unacceptable. Our filmmakers have decided to that the poetics of the Western genre movies is reduced to a meaningless non-stop running about "bandits" and "cops." What we think: in American cinema is nothing other than bang-bang-Peck-slap than frantic pace and aggression, but in reality it is not. Their poetics rests on the religious and general cultural foundation. Now a new craze: one after another series "with humor and kindness." Only low-grade humor, kindness and false. "
But from Mantsova same about TV news:
"Yesterday's television many times, with ill-concealed pride told about how our icebreaker" Krasin "came to the rescue of insolvent American polar explorers. They breakers have failed, bogged down, turned, and what, say, you've been waiting on the bombastic Yankees?" I was amazed This ill-concealed triumph, the whole evening broadcast our mediaelitoy! elite that fifteen lags dismally in another fairway, the extent of his wretched forces copying and stealing, stealing and copying. logical outcome: an inferiority complex creates terrible hatred for trendsetters, for teachers. Podlovato enjoying every Western defeat, losing all sense of reality: for if once again, as in the seventeenth, win the steppe, their consumer paradise ends in the most unexpected forms ... "
"The entire political establishment in both capitals, all of his events and his whole life is a bad carbon copy of Western models, - says media analyst S. Minaev (
www.vzglyad.ru). - TV programs about the beau monde, gossip column fashionable glossy magazines try to give our home-grown Glamour legitimate base. Making the Russian twilight raid cosmopolitan and identity with the Western hight society. And Grace Jones, and Ru Paul, who spoke in Moscow club "Summer", on a plan of the organizers of the party, are likely to be a kind of bridge between the madness of the 70's in the "Studio 54" and three hundred and twenty-second, "rag" in his copy of the Moscow-2005. But there were Warhol, Nureyev, Bowie, Jagger and others ... If you can not reach the level of original content with a copy. In the elite media carefully introducing all those who are more or less advanced in the primitive accumulation of capital. pimps have become producers, prostitutes - art promoters, criminal authorities - known businessmen. "
Agree: in our case, self-less, but, in principle, all roughly the same. Подпорки в виде Данилкина или Манцова нужны нам, потому что "современное искусство", самоизолировавшись и утратив стимулы для саморефлексии, до сих пор жило по рецептам начала 1990-х. Примерно об этом была выставка "Смотровая площадка", организованная в ЦДХ А. Ерофеевым. Прежняя система координат растаяла, художники предоставлены сами себе и вынуждены сами придумывать смысл своего художества, вот их самодеятельные программы...
РОССИЙСКОЕ ИСКУССТВО – ЭТО ЦЫГАНЩИНА
В конце нашего изодетектива хотим – подобно сыщику Эркюлю Пуаро (из "Восточного экспресса") – предложить вам на выбор две версии.
First. Сначала "современное искусство" было попыткой преодолеть провинциальную салонность, присоединиться к "мировой цивилизации", соотнестись с передовыми веяниями. Поменять "сезаннизм" и "сюрреализм" на "концептуализм" и "акционизм". Почувствовать себя "космополитами", прогрессивно мыслящими людьми. Когда в 1980-е в Свердловске я узнал, что делаю нечто, очень похожее на Болтански в Париже и Кабакова в Москве, то полагал: ничего плохого в том нет. Выходит, я нахожусь на магистральных путях развития искусства. Просто в современном искусстве разных стран – примерно одинаковый набор тенденций.
Вторая версия. В какой-то момент "современное" искусство замкнулось в себе, принялось воспроизводить отработанные клише и стало точно таким же "салоном". Это часть стандартизированной культуры для узкой компрадорской прослойки, которая во всех странах читает журнал "Тайм-аут" и поддерживает ценности "свободного рынка". А за это хочет, чтобы и у них (как в каждом турецком городишке) была улица бутиков известных торговых марок. Не только собственные "Рено" и "Икея", не только свои "Гарри Поттер" с "Властелином колец", но и клоны зарубежных арт-брендов. Именно эта группа является адресатом моды, рекламы, политических деклараций и нашего с вами творчества. "Современное искусство" – давно уже не расширение кругозора, не попытка соотнести себя с прогрессивными веяниями, но способ отгородиться и за пределы своей резервации не заглядывать!
What choice?
Конечно, мы лукавим. Вторая версия явно продолжает первую. Недавно в американском журнале "Арт-форум" (2005) я вычитал ещё более жуткий приговор. Что никакого "российского современного искусства" вообще не существовало. Что всё это – пиратство, цыганщина. Контрафактная, как сейчас говорят, продукция. Другими словами: советские, а позже российские художники смотрели на западные аналоги и делали то же самое, только хуже... Примеров – масса. Исключений – единицы. Ибо, повторимся: были и сознательная апроприация, и цитаты, и римейки традиционных сюжетов.... Что скрывать, мы с Мизиным и сами "апроприировали"... Половина наших работ напоминает Эдвина Вурма из Вены, другая – Пьеррика Сорена из Нанта... Правда, в завершение автор "Арт-форума" надеется, что сейчас, когда российское искусство, наконец, обросло отечественными институциями и получило финансирование внутри страны, оно обрело шанс для саморазвития. И теперь не будет тратить силы на то, чтобы отрицать культурные различия, а наоборот – станет их подчёркивать.
Выходит, необходимо обозначить новые приоритеты! What?
БЫТЬ ИЛИ НЕ БЫТЬ МЕЖДУСОБОЙЧИКУ
Мы спросили о том Виктора Мизиано. Он говорит: спасение – в "сетевых структурах". И в очередной раз приводит в пример группу "Что делать" Д. Виленского...
Эх, если б нам не встретился Мизиано, текст получился совсем другим. А так психологическая подоплёка очевидна: когда мы, сравнительно молодые художники, рвались в столицу, то думали, что редактор ХЖ нас оценит. Он не оценил (как когда-то Пригов Кулика). Пришлось пробиваться самостоятельно. Теперешний Мизиано – лучшая иллюстрация к рассказу Чехова "Человек в футляре". В том же "Арт-форуме" опрашивали кураторов: каковы итоги 2005 г. в ваших странах? В. Мизиано на целый разворот ответствует: ничего интересного, 1-я Мосбиеннале стала разворовыванием средств и частью путинского идеологического проекта, молчаливую интифаду режиму блюдут только ни в чём не участвовавшие Гутов, Осмоловский и Виленский...
То же – в недавнем интервью Екатерины Дёготь: "Русское искусство сейчас довольно аполитично. В СССР аполитичность являлась политической позицией, но сейчас это скорее уход от проблем. Впрочем, ситуация начала меняться. Появилась группа художников, которые, возможно, смогут создать актуальное политическое искусство. Осмоловский, Гутов, Чернышова, Виленский – работают с реальностью в её социальном, политическом и классовом аспекте..." В начале 90-х, когда эта группа "появилась" данное пророчество можно было читать без усмешки. Сегодня первый (из упомянутых) решил на старости лет научиться лепить абстрактные скульптуры а-ля Бранкузи или Мур, второй учится рисовать, группа "Что делать" Виленского выпускает газету, где никак не может внятно изложить, что они хотят сделать, а четвёртая художница – просто подруга Кати.
Комментарии, как говорится, излишни. Существуют, как минимум, два параллельных мира: былые "идеологи" и близкие им художники – и собственно "художники". Один немецкий галерист рассказывал мне: "Наши коллекционеры не хотят покупать русских художников потому, что они им непонятны. Кому охота разбираться в тонкостях ваших взаимоотношений – такой-то художник хорош тем, что был дружен с таким-то куратором, отчего тот суёт его на все выставки... Скажу проще – их язык непонятен и там тоже!"
Я спрашиваю (на том же круглом столе): кто из сидящих в зале хочет походить на Виленского? Ничья рука не поднялась... Секты арт-эсперантистов, симулирующие социальную активность, никуда вывести не могут. Нам необходим свободный обмен мнений, широкое обсуждение сложившейся ситуации (какое существовало во времена инициированной В. Мизиано "Лаборатории постантропологических исследований"). Именно поэтому в данном тексте так много чужих голосов.
Итак, первый путь (первоначальное копирование) – себя исчерпал. Второй – может помочь лишь сравнительно безболезненно протянуть до конца дней своих. Нам кажется – выход не в самоизоляции! "Современное искусство" не зря представляется нашим оппонентам междусобойчиком... Так оно и есть! Но это определено объективными факторами. Повторюсь: музыкальный CD выпускается огромадным тиражом и продаётся в любой тьмутаракани. Число его потребителей неограниченно. Искусство – тоже может быть тиражируемым (офорты Рембрандта, литографии Дали, наше с Мизиным фото и видео) – но не больше 7 экземпляров. На всю страну потребителей его – 250 человек, которые приходят в галереи, и 10 коллекционеров. Мы, художники, должны ясно понимать эту тенденцию и сознательно стремиться не замыкаться в своей группке. Не утешаться былыми заслугами. Разрушать искусственные границы. Наше искусство не должно быть междусобойчиком!
ЧТО ЖЕ ДЕЛАТЬ?
Для этого надо признать, что прежнее "современное искусство" давно закончилось. Пора начинать следующий этап. Правильней было бы вообще упразднить этот термин. Во всяком случае, необходимо сформулировать новую программу, так и не появившуюся после ухода в тень прежнего идеолога. Ни Московская биеннале, ни последний венецианский павильон даже не попытались её наметить.
Итак, каким быть новому "современному искусству"? Подытожим, что нас не устраивает, перечислим, к чему мы стремимся. Нужно оговориться, что всё это уже существует в непроявленном состоянии.
Современное искусство утратило общественный интерес и социальный статус, связь с обществом, влияние на него и способность к самовоспроизводству. Пока всё продолжается по инерции. Художники без особого энтузиазма высасывают из пальца то, что уже сто раз было высосано до них в Париже или Нью-Йорке. Делают аналогичные "объекты", "перформансы" и "видеоарт" – чуть лучше или чуть хуже западных образцов.
Другая причина замкнутости – желание замаскировать дилетантизм и не допустить из "традиционного" искусства критерии "профессионализма" и "качества". "Живопись" многих современных художников может считаться живописью только в условиях самоизоляции. "Фотография" современных художников – если и отличается от того, что делают фоторепортёры и "фотохудожники" – то в худшую сторону. То же самое – со скульптурой.
Не стоит усугублять это и ещё больше маргинализироваться. Самозакупоривание ведёт к стагнации. Любая самомифологизация губительна. Как только цеховое сообщество начинает воспевать себя, на нём можно ставить крест! Потому пестовать собственную "недоступность" (скучность) или "элитарность" (никому не нужность) нельзя. Попытка выдать свои (а чаще чужие) открытия за последнее слово в искусстве и подчинить этому весь дальнейший процесс только вредит.
Производное инерции – усредненность и формализм. Высосать из пальца получается только расхожие ходы. При этом абсолютно неважно, сознательный это плагиат или нет. Работы, появившиеся на свет клонированием, малоинтересны. Неотличимы от того, что и без них навевает скуку на всех международных ярмарках и биеннале. Давно пора перестать сосать палец и начинать черпать вёдрами то, что таится у тебя под ногами. После десятилетий несознательных групповых экспериментов, пора всерьёз заняться коллективным бессознательным, которое окружает тебя в этой стране, в этой ситуации, в эту минуту. Для этого недостаточно прочитать Дерриду и посмотреть телевизионные новости. Нужны новые методы зондирования. Mногие из них уже выработаны в смежных гуманитарных областях.
Свои творения надо адресовать не только и не столько на экспорт, но находить адресата в своей стране. Имеется ввиду отнюдь не наша "тусовка". "Современные художники" оторваны от почвы и повседневности. Не то, чтобы они не ходят по улицам и не ездят в метро, но хотят абстрагироваться от сограждан, свысока смотрят на обыденную жизнь, презирают массовую культуру. Тебя зачали не в Моме и на на Арт-Базеле. Чем скорей ты смиришься со своей пуповиной, тем лучше для тебя. Это – твоя родина, сынок! Ты – плоть от плоти "совок". Верней всего, здесь ты и помрёшь. Поэтому постарайся быть интересным не только международным кураторам, но также своим маме и бабушке, своим соседям по лестничной площадке.
Для этого надо популяризировать язык и актуализировать содержание. Твоё искусство должно быть понятно твоему адресату. Твой "мессидж" является сообщением, только если оно до адресата доходит. Иначе это не "мессидж", а пшик себе под нос.
Ложные критерии нужно отбросить. Не стоит бояться обвинений в "попсе" (популизме), "шутовстве" (занимательности), "китче" (интересу к языкам массовой культуры), "литературщине" (использованию любых выразительных средств) и т. п. Все средства хороши. Между "современными" и "несовременными" приёмами нет никакой разницы. Делай то, что тебе ближе. То, чему учился всю жизнь. Вспомнилась история про куратора МАКа Питера Нойвера (рассказанная З. Трегуловой). В российской глубинке его потрясли не церквы, не грязь (которые он видел многократно), а окно детской художественной школы. Там – рисовали гипсовые головы!!! В европейских академиях это не практикуют. Ноэвер долго в себя придти не мог!.. Важно одно – захватывает твоё искусство или не захватывает? Чтобы то, чем ты занимаешься, было не "искусством", но прямым высказыванием!
Это не значит, что нужно иллюстрировать модные стереотипы или обслуживать коньюнктурные медиакампании. Искусство – не информационный повод для политических презентаций (какие полюбил устраивать Саша Панов). Искусство – не симулирование акций гражданского неповиновения (какие любит делать Гоша Острецов). Художник призван очистить от идеологического мусора хотя бы свою собственную голову. Культивировать смысл, а не бездумное подражательство. Быть самостоятельно мыслящим. Если тебе прожужжали уши чем-то одним, перешагни на другую чашу весов.
Искусство – проводник актуальных социальных идей. Как было во времена "передвижников", критического реализма и авангарда начала ХХ века. Это не значит, что нужно начинать плодить реплики перечисленных образцов или объявлять себя их наследниками. Те формы обслуживали идеи, канувшие в Лету. К сожалению, никаких долгосрочных футуристических проектов, требующих интеллектуального и культурного подкрепления, сейчас у России нет. "Экспортом революций" занимается новая "империя зла". Лет 5 назад В. Сальников написал, что в таких условиях местное "современное искусство может выжить только ценой национального предательства". Это оставалось бы верным, если б реципиентная группа его по-прежнему находилась вне страны. Теперь ясно, что это не так. И хотя никакого особого финансирования мы тебе не обещаем (то, что выделит минкульт, потратят либо Бажанов с Миндлиным – на лишённую актуальных приоритетов ретроспективную премию, либо Бакштейн – на биеннале с невнятными задачами), ты можешь вернуть себе хотя бы самоуважение. Понимание того, что ты занимаешься осмысленной деятельностью.
Повторяем ещё раз: наше искусство окончательно загнётся, если не будет принимать привычные массовому восприятию формы. Если не станет интересным пионерам и пенсионерам. Мы – за расширение аудитории. За социально близкий обществу язык. За то, чтобы современное искусство было понятным по форме и актуальным по содержанию.
Наш проект призван вдохнуть в него новую жизнь.
КУДА ПРИВОДЯТ МЕЧТЫ
В приложении – трогательная история невзгод репатрианта в Америке (чтобы избавить вас от лишних иллюзий).
В декабре 2005 года у нас с Мизиным была выставка в Нью-Йорке. Первым на неё пришёл художник Кабаков с женой Эмилией. А потом вдруг приходит Витя Гончаров, упомянутый мной в самом начале. Оказывается, как всякий перестроечный авангардист, он решил эмигрировать. И 10 лет назад укатил в Америку, раздобыв приглашение сети русских бензозаправок. В аэропорту босс забрал у него паспорт, обратный билет и увёз в глухомань. Зато выдал велосипед. 6 месяцев без выходных Витя ездил по утрам на бензозаправку и работал за 150 долларов в неделю. Кто-то из проезжавших посоветовал ему искать справедливости: "Депортировать тебя могут только по суду. А в Нью-Йорке жить легче!" И Витя потребовал у босса свой паспорт. Тот отвечает: "Но мы ж договаривались, что год ты пробатрачишь на нас! А будешь бузить, мои ребята с тобой разберутся!" В тот же вечер по пути домой Витю сбила машина. Не сильно, а чтобы попугать. Сломала велосипед. Больше он не бузил и ездил только по тротуару. Спустя полгода паспорт ему всё-таки отдали. Рано утром Витя собрал в рюкзачок манатки, пошёл на железнодорожную станцию и вскоре устроился уборщиком в нью-йоркском отеле.
История его не уникальна. Через это прошли все эмигранты в первом поколении. На бензозаправке сменщиками Вити работали бывшие: председатель горкома комсомола, священник и главный инженер сталелитейного завода. В отеле напарником Вити был седой кандидат наук 60-ти лет. Их контролёр знала по-русски два слова. Увидит пыль и кричит: "Убирай, собака!" Седой кандидат наук вечерами плакал: "Никто никогда ко мне так не обращался!" А Витя его успокаивал: "Без работы нельзя. Вот накопишь денег и уйдёшь отсюда. А пока терпи!"
Оказывается, любой попавший на территорию США может претендовать на гражданство. Витя подал как "экстраординаре". Сейчас работает в Бруклине, подбирает колера в строительной фирме. Почти по профессии, говорит. Былые амбиции позабыл. Пытается вывезти к себе жену. Английский язык так и не выучил.
25.03.2010, 21:12
Линейный вид
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