The Second Russian Avant-Garde "

[Алек Сандер]

Understandably. I will have to knead the lip: I imagined that there would be collected and memoirs Plavinskaya, and so on and so forth. Anyway, thanks a lot!

A book from Plavinsky very well want. Or maybe you know: what publishers to plan it? And the material is more than what you have?

[Евгений]

From the forum site ARTinvestment.RU

Сообщение от Vladimir

art-project "Grobman", appropriation art in Tel Aviv.
This is not a full photo spread, but only a preview. But after the opening day Irina Grobman promised to send more photos. Therefore, the theme pillar in advance.
So, July 17, 2010 in Tel Aviv gallery "Kishon" opens the exhibition project "Grobman"
While it is known that "Grobman" - is a collective art project, which is based on "a genre of creative borrowing» - appropriation art. About this feature in our Julia Maximova has a good explanatory materials.
Under "Grobman, the authors came up with this: they are most accurately reproduce some pictures sixties Mikhail Grobman paints glow under ultraviolet light. It turns out this psychedelic through special ideological philosophical material. I think that the comments and explanations appear after the opening.

Organizer: "Collective" (Andrew Leo /Zoya Cherkasskaya /Anna Lukashevsky /Max Lomberg)
Curator: Rufina Valski

Participants include artists: Menashe Kadishman /Max Epstein /Irina Birger /Giora Bergell /Natasha Brillyantova /Arkadi Greenman /Marat Dyusembaev /Natasha Zurabov /Dina Yakerson /Andrei Lev /Katia Lifshits /Tameer Lichtenberg /Max Lomberg /Liron Lupu /Anna Lukashevsky /Ido Michael /Victoria Samoilova /Maria Pomyanskaya /Zoya Cherkassy /Tanya Kaganova /Masha Rubin /Alona RODE

The exhibition will run until mid-August.

[Евгений]

As a gift to the Tretyakov Gallery 22 works were handed over to photographers and performance-Francisco Infante and Nonna Goryunova. All works are large series under the title "Snow Meridian.
Infante and Goryunova create installations in open natural spaces since 1968. His artist's work prepared without the use of installation - if necessary the author achieves a curvature of space with the help of specially placed mirrors.

We note that the exhibition Infante and Goryunova "Snow Meridian opened in the Tretyakov Gallery in December last year. The project includes 162 works from different years, including those on display for the first time cycle "Alpine Snow". This series, created in 2009, echoes the early cycle of 1968, "Suprematist game."
The exhibition will be in the building of GTG on the Crimean shaft until August 1, 2010, but already know that some work remains in the ownership of the Tretyakov Gallery.
"One gets such a good tradition. On the one hand, the complement to the collection, on the other hand, the formation in the objective presentation of the history of Russian art. What goes into a museum, the Museum and will remain," - said the director of the Tretyakov Gallery Irina Lebedeva.

[Маруся]

Due to some confusion in the description of upcoming auction lots AI, remembered the old an article about Evgeny Leonidovich Kropiwnicki. Naduyus that it will be interesting not only to experts AI

N. Marin Eugene L. Kropiwnicki. Artist and poet.
Art. 1989, № 9

Back in the early 20's apologist revolutionary art Roman Jakobson put forward the thesis that the genesis of avant-garde laid ability to create a special and creative - an artist seeking to express themselves simultaneously in different areas of art. (* See Roman Jakobson. The work on poetics. Moscow, 1987). As an example of an individual creative gift like the versatility of talent - poliartistizm - a phenomenon that occurs in all epochs of European art. But just at the crucial moments in history when an energetic avant sweeps away all the established principles of artistic creation, poliartistizm becomes clear trend in the arts, reflecting the desire of the artist-innovator reform is not a separate area of artistic creation, all art in general.
Mining explosion, which occurred at the beginning of this century, let poliartistizmu appear everywhere, and as the defining trends of the new art. Leading avant-garde poets and artists have sought to realize their innovative principles simultaneously in painting, theater, poetry, music, movies. There are many examples where outstanding artists declared themselves as the original poets (A. Russo, P. Klee, F. Picabia, Burliuk, Marc Chagall), and therefore related to various avant-garde movements - as great artists ( G. Lorca, R. Hausman, Jean Cocteau, Vladimir Mayakovsky, Kruchenykh, M. Voloshin, G. Narbut).

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Among them is Eugene and Kropiwnicki - painter, poet and composer (he wrote a few instrumental pieces and opera Kiribeevich "based on" Songs of the Merchant Kalashnikov Mikhail Lermontov). He lived a long life in many ways typical of those leaders of national culture, who since the late 30's was outside the official art.
Eugene L. Kropiwnicki was born in 1893 in Moscow into the family of a railroad employee, had the reputation of a writer-amateur. After graduating in 1911, Stroganov School, E. Kropiwnicki actively involved in the artistic life of Moscow in those years. He enthusiastically engaged in painting, writing poetry, music, doing book drawing. Experimenting with various forms of plastic, he experiences all the then avant-garde fascination in painting - from Cubism to Suprematism. Works from this period almost did not survive, but with some confidence we can say that the artist and t the time most attracted figurative tendencies in painting. Even late in life, being a recognized leader in the new - the Soviet - the avant-garde, declaring their unconditional approval of any novel finding in the paintings, E. Kropiwnicki non-objective of works not written.
Unlike his older contemporaries, the artists range of "Blue Rose" and "Jack of Diamonds", with which it is linked with a community of creative pursuit, and in some cases and personal friendship (with P. Kuznetsov, Mashkov, A. Lentulov), E Kropiwnicki not become a prominent figure of Russian vanguard 10 - 20-ies. He also stayed away from the group trends in Soviet art 20-ies, as if still feeling if your original handwriting. It is known that in those years he was particularly attracted by the fantastic stories and themes of ancient mythology. Brownies, Sprites, fagot, little devils - favorite images of his paintings and graphic works. The family kept a small cardboard Kropiwnicki "head of house" on the back of which there is an inscription: "This head in 1922, I wrote on the wall in the Tyumen club, and in 1923 - on canvas 80 x 80 cm.
In 1920 - 1923 years of the artist moved to the North, working in different cities: Vologda, Glazov, Tyumen ... He is credited with creating an artistic community in Tyumen - the first in those regions (currently Tyumen artists and historians are trying to organize a memorial museum, EL Kropivnitskogo).
From 1924 until his last days, the artist is constantly lived in the suburban area Lianozovo. Up until the mid 30's he had numerous exhibitions, and, as from 1939 a member of the Artists' Union, before the war carried a lot of work on orders and contracts. To this period belongs his friendship with A. Tyshler, Yves. Pavlov, A. Shevchenko, familiarity with A. Twardowski, who took an interest in his poetry.
As artistic work to feed the family did not succeed, E. Kropiwnicki found himself another profession in mind - became a teacher. For thirty years he taught at various art schools, studios, clubs and homes of pioneers. Completely devoid of even the elements of didacticism, well-educated (in 1915 - 1918 he studied at the National University Shanyavsky at the Faculty of History), benevolent, he easily attracted creative youth fellowship, which gradually created his own method of disclosing the aesthetic value of the real world lain at the core of the school Kropivnitskogo.
Poet and playwright Henrik Sapgir recalls: "In 1944, a hungry little boy I went to the House of Art Education Leninsky district is proud of Moscow, where students were given ration cards. Art studio in the House led Eugene Kropiwnicki. I told him something liked and gradually it was one of a small group of close disciples. Every day we went to the sketches, where he worked with us and the teacher. Simultaneously, he struck up lively conversation, joking, telling episodes from his life, sometimes very naughty. We have written to the nature, the teacher corrected: unobtrusively, as if in passing. Read poetry - mostly Russian classics, the Symbolists and their own compositions. Reading takes too long: if less than one and a half hours of reading, tons of day seemed lost. "
Unlike paintings, poems E. Kropivnitskogo, starting with the 10-ies, have been preserved in fairly complete form. Written in small neat handwriting tetradochki, they take up little space and, probably, therefore survived. It is curious that in the poetry of AE Kropiwnicki up to 60 years worked in the traditional manner and forming shapes are not fond of. In 40-ies Kropiwnicki developed an original poetic concept, later called the "concrete realism." The Poetics of this direction was based on creating an ironically grotesque artistic image, based on the description of different and sometimes even the most serious, manifestations of everyday reality. Creatively comprehended oberiutov experience, in particular, NM Oleynikova, E. Kropiwnicki managed to create its own system, a new coming-to-use "solid forms" of verse (sonnets, Triolet, sekstiny, gazelles, etc.). He lexically upgrade these strophic form by typing in their poems or everyday colloquial expressions Slavonicisms, monotonous primitive syntax. Thus, the effect is achieved parody discrepancy between "higher form" (a front facade of being) and squalid lexical basis (small gray reality). Lyrical hero E. Kropivnitskogo defining the tragic-parodic note the eternal question: "Why all this for what?" - Juxtaposed with typical images of Soviet poetry officially-parade of optimism. Their original poetic maxims such as "schwank" E. Kropiwnicki often used for the direct declaration of seditious views on art and contemporary reality:
Long poems
Read difficult
And tedious:
Write to the meek poems -
In them less rubbish
And you can read them soon.
Pictures and graphics Kropivnitskogo from 40's hard not admitted to the official exhibition, and the identity of its own, provided to the recalcitrant, defiant, and would infringe on the public deanery, aroused undisguised irritation at the "bosses" 60 - 70-ies. However, among the artistic intelligentsia of Moscow VE Kropiwnicki enjoyed exceptional popularity. It readily quoted his "seditious" the time verses such as:
If it wants to live,
I'm not going to press.
Let it currently lives on -
Unknown
Insect
Let it give way.
Were also popular, and short essays in which artists express their views, ridiculing the pathetic idea of art as a form of "earthly comfort."
"Art is only art, but to understand art, its over love. The artist brings a special world, a characteristic, and this is its charm. New art is a reaction to the reality of the old art and are other ways to the tops of the Spirit. It is better to starve to death than to give arts a reproach. "
His entire adult life E. Kropiwnicki defended the idea of "simplification", believing that every artist should strive to organize your life easier as far as possible, because the person is able to develop a spirit only by abandoning materialism, which prevents deep feeling and love. It is on this basis, formed his famous ideological credo: "Death of things!"
A small apartment in the Moscow suburb Lianozovo, where E. Kropiwnicki lived with his wife, artist Olga Potapova, since the late 50's turned into a sort of places of pilgrimage of young artists and poets, as well as all sorts of enthusiasts, who actively participated in the artistic life of the capital. Here, along with long-haired young geniuses, charming bohemian girls and rapturously important foreigners in extravagant outfits could be seen and venerable masters who belonged to those years in intellectual opposition. Writer Ilya Ehrenburg, the literary critic Leonid Pinsky, poet Boris Slutsky, Leonid Martynov, pianist Sviatoslav Richter - all of them were frequent and welcome guest in this house, where, however, the entrance was open to all art lovers. So people jammed a lot, including, of course, and all sorts of random people.
Visiting flats E. Kropivnitskogo not limited to viewing the paintings and poetry reading. Direct communication of those present was usually accompanied by heated debates on topical issues of artistic life. The artist of direct participation in them has not played. A short, stocky, heavily shaved head and sharply sculptured facial features, the manner of move and manners something smacks of the old man of the so-lesovichka his favorite Russian fairy tales, it is usually more listening, looking intently into the faces of the disputants, and only on the most exciting moments nick ironic comments on the merits. He owned funny sayings relating to the conduct of disputes: "The dispute - is a verbal brawl. You can not argue with children, fools, schizophrenics and senior officials, because they can be offended. " Offense really occurred, and even what! Free environment debate, the independence of judgments, the critical thrust of statements - all of this, coupled with innovative search in art and literature, caused irritation among the powerful. However, a decent excuse for acceleration of "suspicious gathering" to find they could not. However, in the infamous 1963 "boss" was able to recoup. Selected as the scapegoat, he was solemnly anathema "for formalism in art" and expelled from the Moscow Union of Artists of the USSR. Two years later he still was proposed to recover, of course, subject to a formal confession, but this grace Kropiwnicki rejected.
Come an artist Zamaraev
Did not approve my painting ...
And I'm one of the sheds,
And sad poems sing.

Looked at the artist Zamaraev
And found that it is not so.
Explained to me long Zamaraev
What should I write, and how.

I'm sad at the barn
And sad poems sing.
Help! Artist Zamaraev
Did not approve my painting.
In the early 60's paintings E. Kropivnitskogo completely transformed. Shestidesyatipyatiletny artist like got its second wind. It creates an entirely new in the domestic arts style "romantic symbolism," an effort in the original pictorial forms to express the idea of eternally young as Feminine cleansing and harmonizing the beginning of human existence. Paradoxical at first glance is the disparity between thematic problems in poetry and painting. Kropiwnicki those years: the more concrete, more rigid, and sometimes sounded coarser than his poetry, the ideal and became romantically exquisite paintings and graphic images. Coloring pictures Kropivnitskogo gradually changing and is already in the early 60's in his works dominated by gamma light, pale-bluish tones are combined with pink and pearl shades. During these years Kropiwnicki was created amazing in its soulful sensuality gallery female images, symbols, embodying the artist's representation of the Faith, Hope and Love.
Eugene Kropiwnicki was the spiritual mentor of an entire galaxy now known at home and abroad, and in 50 - 60 years young and persecuted artists and writers. In the mid-50's they formed, as we now say, "informal" literary and artistic associations, known as "Lianozovo. At various times it included: Poets G. Sapgir, I. Holin, V. Nekrasov, V. Kovenatsky, Limonov, H. Satunovsky, writer Erofeev and NV Mamleev, artists Nemukhin V., N. Vechtomv, L. Masterkova, A. Zverev, O. Rabin, O. Potapova, LE Kropiwnicki, and VE Kropiwnicki, I. Kabakov, D. Krasnopevtsev, D. Plavinskiy etc.
Eugene L. Kropiwnicki died in Moscow on January 19, 1979, did not live a few months before his 86 birthday. Lack of official recognition at home did not prevent his works fall into the museums of Europe and America, the famous private collections, and many of its judgments are now perceived as a prophecy, fortunately, come true.
What seemed
Very valuable
Very fit,
It turned out -
And it is not valuable,
And it is not necessary.


As far as the famous "virgins" Kropivnitskogo - scanned - will lay out, or maybe someone can help?

[zarajara]

when the energetic avant sweeps away all the established principles of artistic creativity

Today spent the whole morning, read the whole topic, including references, by the way the reference to "sotsart" did not work (may - temporarily, I do not know). Many thanks to all participants.
Interestingly all the same as the view changes with time. In 1975 already happened twice to visit the exhibition at the Exhibition Center, pavilion "Beekeeping". I remember the show well, then I do not like it all seemed very weak.
   I had just arrived from Yerevan to study, and by the time we have a much more radical work calmly and exhibited at the Museum of Modern Art, and even in the CX. But it was the first show after the "Bulldozer" and perceived it as a small victory, a kind of retreat of government. The exhibition will last, it seems 3 days, and it was a line. The most memorable feeling - some kind of excitement and fun (the youth) the expectation that just about anything happen. Thank God, everything went quiet.
Now would probably, I'm all other eyes watching.
But I think - after all the artists are actually lucky that they are somehow persecuted and clamped. After all, the brand and created. It seems to me such a sequence, all elements of inter-converted: History - The Brand. Brand Price.
Now - you want to eat the embryos, you want to Draw sperm. I can see on our, as you want at least a little scandal.
 But when the most that neither is the avant-garde exhibition (spring 2010 at the Center for Experimental Art - NPAK) within three weeks - I (because the material for this article) and the guard on the first floor. What is already here scandal.

[Алек Сандер]

On the one hand, you're right. And on the other ... Let us turn to some examples. Ter-Oganyan - "little" scandal - the flight from Russia. The price for a picture? .. Dmitry Vrubel - constant "small" skandalchiki - retreat (probably and hopefully temporarily) to the West. Who else is there? Timur Novikov. Scandals, attempts (and unsuccessfully) to change the world around them (no wonder it is compared with Malevich!), Then blindness (!), And then death. Not to be scandalous and (horrible word) is better for the fate of the artist? So what? He is so in demand? Yes, his works are not cheap, but let's see how much Basquiat, and in my uneducated opinion, creativity Timur far more valuable to the mother-Stories.

That I am only a few, those who immediately come to mind, gave an example. Again, the fate of the exhibition "Forbidden Art" is quite revealing ... Rather a reaction to as the judges.

We have, in my opinion, is now much worse. There may not help the prosecution, nor the "pinching". People silent. It seems that the Internet people are much more fun than tearing some sort of artist. <!--~ 2 "-" That's where life and not some sort of exhibitions. Even a little bit uncomfortable becoming.

[Vladimir]

Сообщение от Alek Sander

It seems that the Internet people are much more fun than tearing some sort of artist. That's where life and not some sort of exhibitions. Even a little bit uncomfortable becoming.

Just discussion of the reals to the Internet have moved. Evolutionary step, do not worry. Audience more in the history remains. Since shopping is a different story. I find only one explanation: the audience aktualschikov not yet entered the age of the solvent. Work is not cheap, payroll specialist will not buy them. But the "work up zhirok" and then begin the process of acquiring what he loved in his youth. Before the sixties could optionally buy the engineers. Now we need some kind of business or have some other significant source of income to make regular purchases of works from the current "holder".

[Алек Сандер]

Well, I do not know, judging from the recollections of the same Manevich, engineers are not particularly tough for those days were the price. Is that Zvereva. A Steinberg, Plavinsky, Rukhin, Kharitonov, Sveshnikov, Krasnopevtsev and then very well appreciated: from sixty to two hundred rubles, and Schwartzman, and generally a lot higher! Here the usual engineer had to be well very strong desire. But it is the demand side. And then talked about the "little scandal," and creating a brand through persecution. I gave the example of current artists. Mass persecution and suffering (and, even quite sincere and serious, and do not work for the public) and no "brand." Internet I have mentioned already as a development theme.

Quote message zarajara: "The artists are really lucky to have them as a persecuted and clamped. Oh yeah, lucky people were, one and all ... Someone more lucky, someone smaller. Yes, and poets as lucky for you! Mandelstam, Pasternak, Tsvetaeva, Akhmatova, Brodsky ... See for yourself all the lucky ones. I'd hate to have started in the next era of indiscriminate luck.

[Vladimir]

Not for the hat crackers, but relatively inaccessible. Gouaches Yakovlev cost 15 rubles. A 60-100 rubles in our current Moscow's money - it's probably 500-900 dollars. About the lack of a brand I find it hard to accept. I recently "itching" when I see some of Gregory said. In the sense that you want to buy.

[Кирилл Сызранский]

Сообщение от Alek Sander

Mandelstam, Pasternak, Tsvetaeva, Akhmatova, Brodsky ... See for yourself all the lucky ones.

Yes, really, lucky ...
Mandel'shtam know where buried, and the exact location of graves of Tsvetaeva is unknown. You text her dying notes carefully.
Akhmatova's fate remember:
Then, as in the death of blessed I am afraid
Forget the rumbling black marus,
Forget how hateful slamming the door
And the old woman howled like a wounded animal.
A Pasternak? And Brodsky?
I do not know, with life's point of view, none of them "lucky."