How to create and develop the infrastructure of art?

[iside]

Сообщение от artcol; 2048381"

Personally, my opinion is : how do not resuscitate a corpse - no good will happen. By Mr another Frankinshteyn . Therefore it is better not to touch.

Ooooh , what pessimism is not expected <! - ~ 3 ~ ->

Gelman won the " corpse" is busy , there are some results , he does everything correctly or not a secondary issue . But the reaction to his actions have, good or bad, attracts attention. So the corpse , still not quite dead. <! - ~ 1 ~ ->

In general, even the response to this issue speaks volumes : for almost an hour 72 views , answered only two (as is always the most active member), and present at the forum:

Who is Online
Present: 165 ( 30 users and 135 guests )

[artcol]

Сообщение от iside

Ooooh, what pessimism is not expected <! - ~ 3 ~ ->

Gelman won the "corpse" is busy, there are some results, he does everything correctly or not a secondary issue. But the reaction to his actions have, good or bad, attracts attention. So the corpse, still not quite dead. <! - ~ 1 ~ ->

Well, get another Frankinshteyn - will be a reaction to it <! - ~ 1 ~ ->

In Gelman's all this activity has the character of cargo. Well, self-presentation through these activities, budgets, etc. I do not know, I would not refer to it.

Posted 8 minutes

Сообщение от iside

Ooooh, what pessimism is not expected <! - ~ 3 ~ ->

I will not tell you the entire Odessa, as he says, only for the Volga region.
In 2001, unable to find what to do, I decided to pilot an experimental way to find out what a Russian art. Brand-ie ("Russian Art"), and filling - some not. But something has to be! Tradition, the names and schools - all of this is (recently). As a result of this work, I concluded, in the Volga region there is only one artist, the k-th that brand fit. The rest, or big or too late, I undertook the research. And in other parts of the case is not better. So, speaking of the rights of the COP insignificance of Soviet culture (in many senses) and its derivatives. Yes, it was the scale (in the industrial sense), but it burned down on the job and the ashes scattered to the winds.

[iside]

Сообщение от artcol; 2048421"

Well, get another Frankinshteyn - will be the reaction to it.
In Gelman's all this activity has the character of cargo . Well, self-presentation through this activity, bdzhety , etc. No, it does not need to refer to.

Maybe when the situation is critical (I think in this we agree ), try to do something . One Frankenstein, Frankenstein, second , and before you know the third will be a hero . Unless Gelman , who? If there is no way he does, then how do you want? That there are some ready-made recipes and instructions, which he consciously not does , ignores , blocks , etc. Just want to say that I have sympathy for him do not feel , but for his activism and work I respect . Because even this is rare nowadays, everyone is looking for easy ways.
I repeat the question: If you do not Gelman , who? To whom should refer to in your opinion?

Сообщение от artcol; 2048421 '

so that the COP may talk about the insignificance of Soviet culture and its derivatives. Yes, it was the scale , but it burned down on the job , and the ashes scattered to the winds.

H- yeah ....

[artcol]

Сообщение от iside

but also for his activity and the activity of respect

So do I.

As Newton said (I think ): I was standing on the shoulders of his great predecessors , and therefore able to look further.
Pusternak too, in this sense is expressed , " In the culture we rely on the previous generation."

What can rely on generation of artists and creators in general ( Russian or any other Arab ), to the e - shaped and is formed in the recent past /future. After answering this question is already possible to understand where to invest money.

The main thing - the Spirit . None of the Spirit - there is no soul , only physical . shell - Frankinsheyn .

[Кирилл Сызранский]

Сообщение от artcol; 2048301"

culture of consumption of alcoholic beverages ? Sex ? Driving a /m ? What?

"The culture of consumption of hard liquor " - a Soviet newspaper strains , as, indeed, "driving a /m " - possovetsky .
Journalists have the word "culture " for the eye candy and even used to raise the debate a step further .
"Proper use of spirits ," " correct driving a /m " - it would be more appropriate , but duller . <! - ~ 7 ~ ->

[Vladimir]

We must leave aside the culture and return to the discussion of contemporary Russian art market . As to the project while it is in deep crisis. I know that on this subject firmly believe bright minds . Discussed quite tech tricks as this market can be re-run . In connection with the specifics of the moment , many are turning to the state as a source of resource for this run. The situation is not hopeless , but time is working against us. A new solvent for the audience this time can switch to "import" , where all debugged and clear.

[Кирилл Сызранский]

Сообщение от artcol; 2048421"

Gelman has all this activity has the character of cargo . Well, self-presentation through these activities , budgets , etc. I do not know , I would not refer to it .

Gelman Perm revived , and with it many other places.
It does and it is bearing fruit.
How can you not remember you did not love the intellectual Chekhov?
... it is necessary, gentlemen, do it ! We must do it !

Added after 10 minutes

Сообщение от Vladimir; 2048671"

We must leave aside the culture and return to the discussion of contemporary Russian art market .

How is that?
For whom is "animate " the domestic market sovriska ?
For lovers of chanson ? These do not need no art - not art , nor the old. TV - that their " art."

Or you are looking at the current solvent ?

Сообщение от Vladimir; 2048671"

I know that on this subject firmly believe bright minds . Discussed quite tech tricks as this market can be re-run .

Oh, yes! The technology worked :
first - the nobles and landlords , the Decembrists and Herzen. Narrow circle of these revolutionaries. They are terribly far from the people. But their cause is lost. Decembrists awakened Herzen. Herzen began the revolutionary agitation .
She was picked up , expanded , strengthened , tempered revolutionary commoners , from Chernyshevsky and ending with the characters " Narodnaya Volya " Shire has a circle of fighters , their closest contact with the people . ( a ) and m . on to the classics ... <! - ~ 7 ~ ->

Added after 13 minutes

Сообщение от Vladimir

A new solvent for the audience this time can switch to "import", where everything is debugged and clear.

Yeah, and domestic artists finally switch to export.

[Vladimir]

Сообщение от Kirill Syzran ; 2048691"

This does not need any art - or art , or old. TV - this is their "art ".

And so it had never been to them is not necessary. In this sense, nothing has changed. Lovers of art circle is limited. Attendance of our site - about 10,000 a day. While at the site a good football team - about 100,000 .

[Кирилл Сызранский]

Сообщение от "Vladimir; 2048891 '

so it never used it was not necessary.

Then why think about Russia's revival of the market sovriska?

[iside]

Сообщение от Vladimir; 2048891"

lovers of art circle is limited. Attendance of our site - about 10,000 a day. While at the site a good football team - about 100,000.

But it's true. True to replace the BV Site 100tys about football. visitors read and watch pictures of cafes, where they make unprecedented types of hamburgers <! - ~ 11 ~ ->

My personal opinion is that a very important aspect in the development of art - is education. Seminars, programs, whatever. Quality comes from quantity.

On this subject, also following an interview with Anatoly Osmolovsky «Those who want to become artists know absolutely nothing about art»

Opened in Moscow institute of "base" - an educational project for artists and art historians, experimental research platform. Among the solid authority of teachers: Oleg Kulik will conduct short courses and workshops, and Oleg Mavromatti - read skype history and theory of performance. Responsible for all the rector and founder Anatoly Osmolovsky.

- Why is a successful artist decided to become rector of a new educational project?
- In some ways it is an attempt to organize their own efforts. I always give lectures in different places, and there is a completely different audiences, often repeated. A replay of thought leads to stagnation. So I decided to assemble in one place and draw something. I practiced and taught before, I had students 90 years - the group "Radek". There were several students in my one-year course, which seven years ago, I read the "Factory Project", came out a few artists.

Generally, such activities are very beneficial venture. Not only did I pass the knowledge to listeners, but listeners will mobilize me, forced to be on our toes. Because I am responsible to the audience, it is impossible to drive the hack here. Of course, this does not mean that I am not teaching in bad shape. But, assuming that I already pretty much do, publish a journal, work on their projects, I still have time. So I lay on the couch and read books.

- Do not you think that in the field of contemporary art in Russia now there is a certain stagnation?
[SPOILER] - Of course, there is stagnation - but for objective reasons. We've a very poor infrastructure in the community: there are practically no contemporary art museums, there is an extensive system of normal galleries. In the wake of the oil boom up to 2008 there was a whole constellation of cultural institutions. Some of them have already been closed, some still working, but in any case - we have very little of that. In Moscow, the capital of which is a huge country, the liberals of the art has not built a major museum of modern art. In this sense we are, when compared with Western society, are somewhere in the year 1960.

How to teach these people my beauty or the beauty of Black Square? Or, on the contrary, I learn something from them? None of this should not do it, one needs to find another person with the same perception of beauty.
Verevkin Alexander: "My curves and pictures can be attributed to the contemporary art ..."

Some of the Bolsheviks at the time said that Russia lags behind the West for 50 years. Subtract from this half-century of our time, we get 1963. And at that time was in the West? It was a time of discontent, had a few years before the youth revolution in '68. Therefore, all our latest developments in the Swamp, in Sakharov's all harbingers of youth anger that we are slowly infused. March 4th, of course, no particular change will not happen. But internal conflict is brewing, because contemporary culture in Russia has virtually no output on public opinion. It is still not allowed. And not because there is some censoring is not allowed simply because of a different cultural paradigm.

I mean our media - even the supposedly intelligent programs is clearly visible. Take, for example, "School for Scandal." You can see that in this program for the time of its existence had been invited one or two artists. Of course, I'm not constantly looking transfer, but it is clear that leading a highly negative attitude to contemporary art - and, accordingly, this information flow is outside their field of vision, perception and understanding. Therefore, modern culture is in the ghetto, and the conflict that exists in the political arena, eventually associated with this situation. Although most people who come to the same swamp, so maybe do not realize. These people listen to some music, read something, doing something, while it uncomfortable to live. Although, as I understand it, the money they earn a normal, acceptable for life. But the discomfort is always present, and the figure of Putin looks very outdated. However, Putin, it should be noted cheerfully, and Medvedev, too. But it looks willfully. Once we have the culture of politics gone - but it's all connected, of course.

- How do you see your ideal student?
- My ideal student, in this case, a young artist - a surgeon with a cold intelligence and iron will. After all, who is a surgeon? This man, on which life depends, it must be nepanicheskoe thinking, clear understanding of what can and should do nothing to detract. And so the modern artist should not be conducted on any emotional wiring that society is constantly slips. In this sense, the contemporary artist - this is such an anti-Zhirinovsky. This does not mean that it should be non-living, if necessary, he may give in the face. But it must be clearly aware of what he was doing.

- will be built as an educational process? Are you ready to give basic knowledge and want people to come prepared? How, by the way, the first set?
- Based on 60 applications that came on the planned 20 places in the group, most willing to absolutely know nothing, they do not have the necessary basic knowledge. Although it was assumed that when it comes to art-direction, then people should know the history of art at least until the XX century, I can not fill this gap. This is an immense, they should deal with specialized institutions, which is quite versed in this. My goal - to give knowledge of what happened in the second half of XX century. It is clear that this is a fairly extended period of time, there is already held on the figure. The figures, which is understandable why they exist in the history of art. But at the same time it has neostyvshaya story. It is very strongly associated with some topical today processes. And I want to show an example of the second half of XX century, that the art direction - it is not voluntarist attitudes of some mad, which is something of the thumb sucking.

In the popular consciousness lives the stereotype that the modern artist is mainly engaged in shocking. Many people, knowing how much modern art in the West think that the artists - it is also charlatans, who turn their capitals. And there is a conspiracy of professionals. And I want to show that the art direction that existed the last 50 years, there is a concrete logic, it is the development of certain ideas, paradigms.

- Once again, we come to need a basic knowledge of art history, but not all of your students own them. How will you teach them?
- Applications are many, I choose the best. Of course, watching what people have completed training institutions, which they have expertise in a particular area. On the other hand, I decided to do a three-hour introductory lecture, where I briefly talk about the art of the first half of XX century, to show the main trends and explain the conditions that gave rise to everything else. I'll tell you why the contemporary art emerged from the painting of Edouard Manet's "Olympia." And the examples, of course, very briefly, to show the most important.

In addition, I have a great teaching experience. Once the three years I taught the people, who generally knew nothing about art. And I taught them. So confident that I can quickly explain today's students what contemporary art. Generally speaking, this thing is pretty simple. Incidentally, in the popular consciousness, there is another myth that contemporary art - it is very difficult, it's only for intellectuals. But in fact it's quite simple. And the difficulty - in detail. To have an idea, you need to know the ideas of 4.5, which are present in this area. Clearly, if to go into this area, there is a huge number of different nuances. These subtleties including us are going to study for this course.

- Why not integrate into any existing educational project? Why create an institution from scratch?
- First, I had a similar experience of teaching at MSU. There I read a series of lectures, it is true for philosophers, not for art historians. Secondly, these institutions are highly qualified specialists, who are already engaged in this for a long time. Thirdly, I highly do not like formality, all these papers, contract documents, badges. Therefore, I even did not attempt to integrate somewhere.

Art - a phenomenon for individual consumption and the sublimation of personal experience. Any collective experience (even in the theater, cinema or concert) still works in the individual mode, so what about the agitation and propaganda (even with a plus sign), knocking down is individual in a kind of crowd?
Playing with art

On the other hand, many educational institutions, including government, there is absolutely unacceptable to me a situation where there is a speaker (or the number of speakers) and have students who can come to school, or may not come. And between them there is no special relationship. And I will try to establish with the people who came to me, some kind of contact. I'll try to introduce them to today's Moscow art process. I'll try to make sure that we have been living in a group that felt the overall creative process.

- Students will be your apprentices?
- Well, I guess, so it is impossible to say. Journeyman - is if they plowed on me, but it will not. I do not need assistants, more precisely, I need it, but I have. These people decide to technical rather than artistic issues. For example, you need to grind a bar of bronze. To teach the students this type of activity - this is beyond good and evil. Therefore, the word "apprentice" is not very appropriate.

I have not studied at VGIK, but it seems that our educational process is more likely to resemble their model of learning. For example, there are some memories of when Romm spoke with the young Tarkovsky Abdrashitov, they were some kind of quasi-partnership. That's the direction you want to develop.

- What training institute "Base" will be different from other educational programs for artists and art?
- There is an important point, which is unlikely in our schools adequately present - understanding the logical development of trends in art. It must be remembered that the Russian art community is mainly made her debut in the 90s and 90s in the global cultural process - it is time for the development of postmodernism. It is clear that this term is now virtually no saturated, except that some negative meanings. But in general this type of thinking was a very important point - the denial of history, the denial of the concepts. Everything was based on a critique of Marxism and structuralism. And this piecemeal approach is very peculiar situation, the Russian art, I mean the faculty.

I intend to put up against the new historicism. Practice shows that post-modernism, in which we live for 20 years (although the correct measure of the 70s, but we lived under Soviet rule, and it was completely different), is now in deep crisis. This crisis stems from the fact that the denial of history, tradition leads to the fact that in the end the artistic process is mainly the dollar. If there is no logic of development, anyone with money can send this logic to it at the right direction, roughly speaking, of course. The denial of history leads to an absolute voluntarism within the artistic context, to inflate the bubble in the art, a huge amount of speculation.

I am not so naive as to think that my learning process will be able to reverse this situation. But, first, such a reorientation in thinking about the artistic process is not peculiar only to me but is a major theme in modern Western cultural life. Second, one must start somewhere. Especially in Russia, where no deep understanding of the roots of contemporary art does not. It is necessary to find and create a ridge. I think that the history of art thus becomes the backbone, which can have any meat stringing, as on a skewer. This does not mean that history is a kind of iron logic of a totalitarian, no, of course. The actual process of thinking about history, because it is associated not only with logic, but with our will. Up to a certain extent a person can fix any logic.

- When creating a "Base", you were guided by some Western educational models that seem effective?
- Honestly, I'm not a great expert in Western universities. Some, of course, I know, somewhere in the lecture read. But I was not there long enough to understand how it works. I was soon invited guest. So I have no right to speak on this matter any value judgments.

In developing the concept of the institute, I fully relied on his own experience. Again, I have it pretty big, I have lectured, taught the people. But if you look at the world practice, I was not interested in Western institutions, such as the Academy of Karlsruhe and Dusseldorf Academy, I wonder some studios - Studio Vito Akonchi, Michelangelo Pistoletto. When an artist gains a disciple young people with whom he interacts.

- Who developed the training program and why it has turned out so, what has turned out?
- Basically a program developed myself. Consulted with the curator Constantine Bohorovym, he will also teach. In the educational process, I'll probably be responsible for the visual arts, for the practice. But always wanted a different look that was not monovision. And it will look Bohorova, who is a practicing curator, on the one hand, and on the other, he is one of the few in Russia to really studied the problem of curatorship.

- will be built as an educational process? What to expect students?
- The first three months, until the summer, will be mostly lectures, seminars, reading assignments for certain texts. Lectures will be accompanied by a specially designed visual material. The first 1.5 hours of lectures will be devoted to the history of art, and the second 1.5 hours - any activity relating to the practice. To the people at the outset could somehow organize themselves to start some kind of life. And the second season, from October, there will be more practical lessons, trips to exhibitions, an explanation of how to do this or that project.

I think there is nothing more proper than to go to the Tretyakov Gallery in the Department of iconography. Even Matisse when he came to Russia in the early XX century, he said, pointing to the icon: "What are you worried that you have no artistic tradition, this is it." As for contemporary art, unfortunately, we did not have a lot of events that are worthy of attention. Well here goes, we Biennale every two years, sometimes there appear some serious artists. Clearly, there is usually some 60 percent of actual shit, and 40 percent - something worthwhile.

In general, any serious and successful exhibitions of contemporary art in Russia is almost not happening. As in the West, for example. We even Biennale for the society and the media at the best newsworthy - they say, come and look, laugh. That's all. And here we are back to where we started - contemporary art in our country is in the ghetto. It has no effect on the society at large.

- Do you have a questionnaire for candidates was the question, "What do you expect from the Institute." As mentioned, if not secret?
- Two main hope in people. First - to plunge into the environment in the current contemporary art. And the second is hope - if we summarize and generalize - "I want to understand why the paintings of Jackson Pollock is not daub."