Thank you for having raised this issue and for the material. My "inclusion" may be a useful addition.
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Сообщение от Vladimir
The quotations, everything looks sharper than in life. In the realities on the antagonism of any such forces will not suffice. So cute curse - is upset. Sviblova, which can attract such projects alone, long accustomed to criticism. Do not "miss" the one who does not do anything.
We find it difficult to assess the degree of antagonism. It is unlikely that participants climb into a real fight with each other, but .... I am looking at the triangle "art historian-curator-artist" and I must say that a verbal dispute between them - very busy. Katia boldly resists and Sviblovo (as bright representative coaching) and Osmolovsky (as bright Representativ artists that curator nafig not need). And I sympathize with her. Katya had a different notion of supervision than Sviblovo. Sviblova on the side of the commercial interests of artists, and Katya - for meanings. And with Osmolovsky altercation generally very amusing. (I do not want to load people, I can send, to whom it is particularly interesting). Tar attach the interview, taken from Sviblovo the eve of the Biennale. From it you can see the difference in their positions and understand the power and energy Sviblovo. I always remembered only as the article itself, and not in ssyluku inete (Sorry!)
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Olga Sviblova: Curator Credo
Catherine Tar • 30/05/2009
The curator of Russia's pavilion at the Venice Biennale, said Ekaterina Degot that supervision - is like love. And a little more like "Eurovision"
The name of the new pavilion Olga Sviblova in Venice, "Victory over the future," reminds me of the old Soviet anecdote about how the May Day demonstration hanged slogan "Death to the enemies of imperialism". There was a heap of denial, which began to mean the opposite, while Sviblovo - piling up a positive. And the victory, and the future - strong positive. But the victory over the future? It sounds, actually, hopeless and futile. Tragically sounds. But Olga Sviblova probably will not hear.
Sviblova has degrees in psychology and in art has come to love, and not on duty. Her curatorial approach is very different from the approach of classical art historians with a university education, so the professional community sometimes sees her with apprehension. Nevertheless, she proved that she can do what others can not dream. Nobody else in our country has failed to so move to the top of contemporary art - and, most importantly, get to love him. Olga Sviblova - a very successful official, the founder and director of the Moscow House of Photography, one of which mention is enough to open any door, and the Multimedia Complex of Actual Arts. But she is also a successful curator. Even though more widely than the narrow professional circles - it is there and unique.
My personal taste with taste Olga Sviblova, as a rule, do not coincide. Nevertheless (or why) I really think that it embodies some extremely typical installation key of our time and place. And these facilities deserve to be listened carefully.
Curator WORK we do not see, we see only the Artists "
- How do you understand the task of the curator of the national pavilion?
- I believe that the curator of the national pavilion must first show that there is modern art.
- This refers to the Russian pavilion?
- No, to anyone. And he must show this with an energetic drive, so it was seen that that message was sent, because contemporary art - an important component of the image of any country. And that's message should be sent to a specific product. It must capture the attention of people. And second - this, of course, that the Venice Biennale - a unique tool for promoting national artists on the international arena.
- So you see its responsibility in promoting the brand of the artist.
- Yes, absolutely. If a well turned out, the artist gets the attention, the opportunity to work with other curators from other institutions. The task of the curator of the national pavilions - to make art visible. In Russia there are specific, in my opinion, but such problems are, and others. For those countries that set the tone in what is called "modern art" (this is, of course, America, Britain, France), strategies are often built on to show the artist, who is already a brand. They are people between forty and fifty is the brand. But we have such artists scarce. It is an objective reality given to us in sensations.
- I understand that you argued that what made the group exhibitions, and did not show one artist.
- Absolutely. I think it's better to show the many, given a chance. And of square meters, it is my tough position, does not depend, is seen working or not. Good work will be seen, it does not necessarily give ten thousand square meters.
- You are very well described by its responsibility to the artist. And what is your responsibility to the state, since you and imagine it?
- Responsibility to the State soccer coach is that his team played well. After that people worry that we have excellent players, hockey players, volleyball players, there is a certain identification with the country. We have a pavilion at this year's theme of victory. People tend to identify with the victory leader in any area. Take the "Eurovision". You can love him, you can not, I do not know that the farther away from me, some kind of a distant star in the cosmos or "Contest". But I understand that, like it or not, "Eurovision" - a story, where the nation are experiencing certain feelings. You should have seen what happened in the stands, when people are hurt. This mechanism of identification with the leadership achievement in any field: in contemporary art, in football, in sports, in science.
- Until you coherent group project from many authors in the Russian pavilion was doing only one person, twice, namely, Viktor Misiano. Have you seen these projects and whether they influenced you?
- Before me, I did not see NOT group projects in the Russian pavilion, if not take Kabakov in collaboration with Tarasov in 1993.
- There were many occasions when arranged communal apartment of the individual projects, in the extreme case, one on one floor, another on another. But to the curator, incorporate several artists in one space - it only made Misiano.
- I do not understand. If the "communal flat", then exposed a lot of artists.
- I mean holistic curatorial project. This has not happened.
- I assume from what we see, and not from the fact that in mind. I see the objective reality. Given us in sensation. C 1993, I had never seen the Russian pavilion at the Venice Biennale, which would be presented to one artist.
- But all these projects were not curators, or was it a combination of curatorial projects in the same building.
- And here it is, I'm sorry, I do not understand at all. It's gibberish to me. If several artists in one space, then this curatorial project.
- But when I did a project by Olga Chernysheva, I was the curator of the others and I could not decide about them. Since then everything was completed, unfortunately.
- Kate, sorry! Such confusion! I'm a man, a graduate school of mathematics, I used to think logically. Logically, we have a division, which opened in the Biennale. Since 1993 we had one artist in the pavilion, we have always had a group of artists. If you can not call it a curatorial project, I do not understand. If you put a few projects, they must belong to us. If you ask me about the project Viti Misiano, I saw the 2003 project. There were selected very good artists, which I love, all love them. And we did not so much, but here was chosen a great team. I think that this project was an internal communication that would allow these projects together - this is the first. And second - tragically failed to win the space Valera Koshlyakov. But this space is generally very difficult to use. It seems to me that this project was not good for Valerie. And since this is the central hall and large, this was the energy hole, which as a result of influence on the wonderful, in my opinion, the work Dubosarsky and Vinogradov and which did a wonderful job passing Zvezdochetova.
- For you, this is the problem of the artist rather than a curator?
- I believe (maybe I am wrong) that the curator - a litter. Curator - a conductor, which helps the artist to articulate tool that it is. You can be the tool to fail or he will lead the party. Psychologically, conceptually, technically you help the artist. The victory is only from the artist. But if you have not made that this victory, as a result have only himself to blame. Because it objectively, we see the work of the artist, we do not see Curator work.
- Tell me, therefore, how you treat a bright coaching practice nineties, which was based on entirely different principles. It is embodied in the texts on aesthetics Bourriaud relations. How do you relate to this?
- Burriaud curatorial projects that I have seen, sometimes I liked, and sometimes I do not like at all. I do like the individual projects. I love the draft Viti Misiano in Kuskovo in 1991, "Aesthetic experiences. I return to it, he shook me. I love the concrete works. And you ask me a general question. Aesthetics of the nineties, I think the botched time. A specific project Nikola Burriaud I am in different ways: the texts are almost always good for a visual incarnation - sometimes positive, sometimes negative.
- Usually curators somehow relate themselves to some theoretical texts. What theorists are especially important for you in your mentoring activities?
- The original theme pavilion sounded Russian "victory?". I was interested in philosophical problematization of the concept of "victory". On this subject there is a huge discourse - ranging from ancient literature, and ending with the whole philosophy. There is a psychological discourse: what is victory, what is the mechanism of accommodation of the senses. There is a notion of collective victory. There is a social discourse on the subject of victory, a philosophical and so on.
- The names of any you can name, who was especially important to you?
- Especially important was not. I was interested in the development of the concept in historical perspective. And then - practice. Curatorial projects are not from the discourses, in this I do not believe it. I can not meet in art history texts, quotations from Deleuze, Barthes, I feel sick. For me, much more interesting to quote the gospel, because in the end, everything comes from there.
- Then ask specifically. Will you do for himself after his first project at the Biennale some practical conclusions, whether you wanted to change something in their approach?
- Nothing. The shift issue - and the changed set of artists, respectively.
- But the principle remains the same?
- What principle? I'm doing a group exhibition, and I'm doing a group exhibition.
- But the approaches are different.
- I am the curator, that I can change? First, there is a problem that worries me, which should be my tuning fork, my experience. Then I look, I wonder whether it is other people, look at the social situation. Then I have understood that I worked with this problem in a certain context, because the texts out of context, not sound. I am still a student Schedrovitsky, I understand what the text and context. There is no single truth, this exhibition I'm doing for the specific conditions and public perception of the Venice Biennale. The problem that I have a sore, should be interesting not only for me, and besides, it must be like something played in the history of art, because art discusses only with itself. And then, once you have it, you have come artists. Of these, should pull the product, which is the embodiment of their art world. Artist - this world, and you should very well know the history of what the artist did before. That you got, could enter into contact with him and draw what you need.
Artists, of which you choose to reflect your personal taste, or do you choose who is most relevant, or who is on the rise? Based on what?
- No, it's not my taste, I'm not married to artists. After sixteen years of life with a poet (her first husband Olga Sviblova was recently deceased poet Alexei Parschikov. - OS), I clearly say that I worked as a professional. I can not say that I love this artist more than that. I love this product more than that. I choose the artists works. I choose the artists who, I believe, are in peak working shape, fitness. They are somewhere between 35 and 45, they already have felt the peace with everyone, he prostroen. It's the artists who I thought might work to give specific, adequate.
- So you first thought up the theme, then found under her artists?
- Yes. I had a choice, I certainly thought. I could take a classic of the eighties - and wishes. For example, I very much wanted to do a solo exhibition of Eric Bulatov and Volodya Yankylevsky. But the question was forgotten. Two years ago, it was hoped that the pavilion will be presented in such a state that can be displayed the work of museums (and the exhibition of these artists can not do that if you do not have climate control and so on), but now no.
- You orientirueshsya for a particular job, I'm a curator is very close. But when you see the product as you will know that it took place?
- I am a professional.
- But you can it somehow verbalize?
- I can not. This thing maloverbalizuemaya, but I write the lyrics about it. Fifteen pages, standard catalog of the Venice Biennale, although I'm sure that at the Venice Biennale not read the text. It is important that the product matches the theme, and that from one author to another thread stretched. It is important that it was at the level of feelings. Moreover, I understand that people are fleeing, they should feel something - maybe not even otrefleksirovat until the end of the connection. This is not a museum exhibition, where people come for a half hour. First reaction to the product - energy. There is power or not. Second - the product should reflect the artist's world, a degree of originality in relation to other artists. When you work with an artist at the Venice Biennale, one way or another product that you are away you take, it should be - a bad word, but still - typical. It must grow out of what he was doing before. It should be possible to express his world, he approaches his materials, his concept. We Lesha Kallima were, for example, performances, where he taped doing sculpture, but it's still not the high road Lesha Kallima, his paintings are much more Lyesha Kallima. Therefore, we appeal not to his sculptures or performansnym things, but to the picturesque.
- So this is your approach, you are formulated. You ask, what is your approach - that's it. Because not all the curators argue so. I, for example, as curator, on the contrary, I love to seek out the artists things where they do not look like himself.
- I see something from an artist that I think zatsepochkami. I understand that he is working with this material. Every artist is mythology, elements of his world, that somehow crawled out, repeat. They'll be hooked. I must respond to them. If I see that they are quite frequency emerge, this element of his world, and not an accident. The product is created in dialogue with the artist, you talk with him first sketch, then you come, look, that he had obtained.
- Very interesting, you and I curatorial exchange of experiences. To what extent do you think it possible to advise an artist or you just say: "No, it's not, think"?
- At the level of preparation of the project - I can advise. But how do you talk to him - it's always different. Sometimes quarreling so that the feathers fly.
- But you can say: "There should be no teddy bear, you better be here ..."?
- Yes, of course. But it is always woven into a context that the artist was willing to hear you. Because if you come to him and say: "You know, dear, I like it, but it is not" - he'll send three letters. To reach the stage where you begin to listen - is a matter of magic, relationships, human emotions. You're one man one way vzaimodeystvuesh, and with another - another. This love, this novel is a novel-fighting.
- You said that the artists do not get married, but love still there?
- We are united on the stage of the project, we are not married. But at this moment when we are working on the project, it may be a novel, it could be a wild fight, including the physical - with Sasha Ponomarev, we really fought. Sometimes love, sometimes in struggle, but we need to hear each other, it is a psychological interaction is very sharp, which, if the project was successful, and provides an opportunity for the next project together.
"DO NOT UNDERSTAND WHAT IS GLAMOR"
- Now the question on the more general topic about your approach. I know that you are against the opposition of "glamor" in art and art critical, you're quite passionately voiced criticism against glamor. Maybe you say something about this?
- I do not understand this. Just do not understand where the problem is. There are words, they somehow used, I simply do not understand. Some work I like, at the same Koons, others not. Painting him I saw a terrible, suddenly I go to the gallery: this sculpture!
- You can still slightly more generally, but not specifically?
- Who is Koons, I ask myself the question, it glamorous or not?
- I do not know what you think.
- For me, the notion of glamor - very specific thing. Glamor - this is what is inside the scope associated with the consumption of luxury brands and serving their publications (some of which are published fiction works). For example, for me the most antiglamurny artist in the world - this is Guy Burden.
- Guy Burden - a commercial photographer.
- Yes, but William Klein was also a commercial photographer. He created a photo of fashion, it is two people who are most invested in it. Guy Burden published at this time in glossy magazines, but at that time director of glossy magazines allow it to printed.
- And now it's impossible?
- But I think that now it is again possible. The worst time for the glossy magazines was a period when it was inflated art market in general appeared this madness, which I really did not like. The last five to seven years, which were associated with the concept of money, peace, luxury and so on. As to whether this is the glamor? I think this is very common cliche. If we take the concept of "glamorous", it is quite specific areas have magazines that he serves. Glamorous edition - this edition photographic. What is the glamor or sculpture neglamurnaya, I do not understand.
- That is glamorous - is that like the glossy magazines?
- No, it's just such a segment.
- Okay. And if the artist works in this aesthetic in art, it is for you is not the glamor?
- If this is a critical view, I think it's just fine.
- How to determine critical to or not?
- If I can read that message as critical, then for me it is critical. Excuse me, please, any work of art - this text. You can read it properly and adequately. Even instructions on how to wash hands under a certain type of cranes, people read sometimes not so. One piece - a very personal reading. For example, I believe that the show with Ksenia Sobchak Bartenev was an excellent exhibition, fine, good, and her video installation "I buy, I buy, I buy" was just a remarkable video installation. In my opinion, this exhibition, which refleksirovala notion of glamor, and is absolutely critical and, incidentally, is psychologically a very subtle manner. It just can not even speak, because the world, with whom I talk today, that little art world under the name "the Russian context of contemporary art" - as soon as the word "Ksenia Sobchak" is pronounced, people will not listen. Stereotype of "Ksenia Sobchak - a glamor stereotype" Bartenev "- this freak. I do not even know what a freak, I have twice climbed to the dictionary to understand what it is. So for me the notion of glamor, which can and should discuss contemporary art, this segment of our lives, as "war", "love", "sex", "TV".
- Good. Tell me, is such a thing as a "commercial artist" for you there, did you ispolzuesh ever?
- Commercial artist? There.
- This, for example, who?
- Commercial artist - this Nikas Safronov. It is sold, there are people who are buying.
- For sale all artists. What is a commercial artist?
- "Commercial Artist" - for me negative comments.
- Yeah.
- This is an artist, which I totally uninteresting, but that is for sale.
- And what are its symptoms?
- He is outside the context of contemporary art. Context of contemporary art - this is some dialogue with the art itself and art in society. Commercial artist out of context, it is out of perspective.
- That is an artist who is in the range of contemporary art, business can not be, from your point of view? Many accuse the AEC Dubosarsky and Vinogradova that are commercial artists.
- This is just such nonsense as the notion of glamor. I even talk about it uninteresting. If an artist at some point starts to sell, nothing's wrong there.
- Right, but they are accused is not the point.
- What?
- The fact that the very aesthetics of their business.
- Idiots, in my opinion, simply. I believe that Dubosarskiy, and Vinogradov, and AEC - is very strong, existentially poignant statement about the nature of the world. If people do not like to look at his face in the mirror, let them blame on his face, there is a saying, crude, but accurate. Because they talk about the secondary, they talk about fake, they talk about the artificiality of the world in which we live, where the stereotype becomes deputy phenomena. And, criticizing these phenomena, they use the aesthetics of this phenomenon.
"Real art critical in any case"
- You also once said very clearly that you think is unnecessary to impose a critical approach, you think that the positive can bring some great results in the art. Could you have something to say about it?
- I'll tell you that generally positive outlook of life - is a complicated concept. We, on the one hand, its all we want, but on the other hand ...
- I'm not about life, I mean the approach of the curator, the artist.
- And I want to start with life, because for me art - a reflection of life, I'm sorry. This is something that hurts me is that I worry. I do not care about the texts, which none can read. I hung the text before Gursky, written by its curator, in the length of this, then people went and asked me: "Can you explain about that here?" I say: "Gursky about Hell, Purgatory and Paradise." This is understandable to people. People perceive art when they perceive it not discourse, but also life experience. Positivity - is a problem. Positivity in life in general can not be, I strongly agree with the ancient writers, that life - it is a tragedy. The tragedy has two ends and a kind of catharsis. Catharsis - this is for me the main feature. If you go back to your questions, I might have on them is very easy to answer: for me a piece of art took place when, looking at him out of discourses, perspectives, contexts and texts, I feel a catharsis. I can see the most terrible work, such as a shark dissected, but to experience catharsis. There he was, for me, a work of art is, no - no. This is the first reaction. And then there is the opinion of the expert community, discourse and all that. The happiness that people experience a catharsis of different works. Someone from Safronov. But if we return to the notion of positive ...
- The concept of criticality, I'd like to return. To what extent do you think the artist is obliged to be critical?
- I believe that any man - is primarily a frontal lobe. Severity lies always, this frontal lobe, without which I sometimes boring to talk with Russian artists. Do not say that there are many foreign, with which you can talk ... but interesting, when he has the background and this background is made up of its all the same education, damn it. Poet Parschikov said that out of nowhere, even stupidity is not growing.
Without the frontal lobe of the art has never been done. Leonardo da Vinci - in his frontal lobe was working on a full program, Michelangelo, too. Even Van Gogh. Critical discourse is always laid in any work of art, if this work with a capital letter. Another question, what type of critical discourse, because discourse tends stereotyped. You do not casually asked about the discourse of the nineties, for example. If we take the art of the late eighties and early nineties, it all appears earlier in the sixties, with pop art. This discourse, which demifologiziruet certain social phenomena.
- And what kind of discourse that? Who wrote it? Names?
- If you take Andy Warhol ...
- Discourse - it's still not artists, are those who write about them.
- Who wrote about them, I worry less.
- Then it is not discourse.
- Wait. The artist, when creating their work, you must excuse me, he did not moron.
- Discourse - this is what is written handle, you know?
- The fact that expressed by the product of an artist, I am interested in many respects more than theorists, to be honest. What I want to say - this is why for me a significant positive. It is not in a positive, the point is utopian. Society, in my opinion, can not live without social utopias. If we examine the history of mankind, it is always built around some kind of utopia. But after the fall of the Berlin Wall, the society is left without social utopias. This is a problem not only in Russia, this is a problem of England and France. I think that an artist today to try to create a new utopia. This is what I'm talking to Kulik, before it appeared exhibition "believe", which I think is very valuable experiment.
I think the artist today should at least examine whether it is possible emergence of a new utopia. No utopia, we will not go away. The world will explode and it will end in disaster.
"I hope that PAVILION WILL FINALLY HOST"
- Let's talk now about the boring practical affairs. What you think is wrong in the organization of Russia's participation in the Venice Biennale?
- I think in the end have to make the pavilion so that each curator did not solve the problem of connecting the world, Drainage ... I hope now at the pavilion will be the host. Alfa-bank "takes lead this place in the divine form.
- But before the building was on someone's balance sheet?
- Everyone in the world. It first belonged to the Foreign Ministry, then the presidential administration. And okmotu Affairs president had items on it. Then it was all transferred to the balance "ROSIZO" with a symbolic rent due largely supported Ms. Medvedeva.
- What Mrs. Medvedeva? Spouses of our president? What she had to do with it?
- I asked her for help, it helped. But it would be positive if "ROSIZO" got the budget and the duty to bring the pavilion in order. Neither one nor the other did not. Right now, as far as I know, a contract between "ROSIZO" or the Ministry of Culture and Alfa-Bank.
- A property whose will?
- And "ROSIZO" not the owner, he was steward, the latter property was manager. At least, there is a person who is responsible for that property. This state, it can not sell, you can pay in rent, as given for the symbolic value of "ROSIZO", but then the tenant must bear responsibility.
- What would your advice have for the future?
- I believe that the curator should not engage in economic affairs. It should be minimally adapted pavilion without inflicting damage, and a clear answer for the fact that, away from the pavilion, to leave it so that the next draft to enter and there was this endless nightmare. I have no electricity, no drainage of the pavilion, there is no air conditioning. Hall should be able to put any modern art museum on the standards. We did not, we have shed. There is no fire escape. And every time we go through the fire commission like this here (shows). This year we put ply floor, the wires are not zalilis water, this horrified. I have been doing that ninety percent of the time. Next - the budget money allocated to the pavilion must reflect the real costs, because the second task, which solves the curator or the Commissioner - is the search for funding.
- Is it just says that you yourself must find the money? And if you did not find them?
- If I did not find them, just nothing would have happened. Because this year the budget increased, but the ruble exchange rate has changed, and it is essentially the same. Three million rubles in the past year, this year five.
- Yes, I know that everything is not enough, given the transportation ... And what is the interest sponsors? And, perhaps, you do call them, since you usually pay much attention to this aspect? And as you say, how much money they made?
- This year, the general partner of Russia's pavilion at the Venice Biennale is a company Novatek, and other partners - Mikhail Prokhorov Foundation, the company MasterCard FAVORITES "that a strategic partner of the museum in general, the draft of" snob ", who also contribute financially, and CUS Art Foundation, which is a partner pavilion second consecutive year and, accordingly, appears as a permanent partner. (At the request of partners in the project specific amount of financial support from the text crossed out - OPENSPACE.RU.)
- What is the interest of all these people? How do you manage to convince them?
- I do not call their sponsors, because I think it is humiliating, it partners with whom you can talk to and who should love this area, they must like projects. In general, I have been working with partners in the same way as does the "Tate", for example. Every time I propose partner fan projects, and he chooses. And you should be more or less know their taste, to know the direction of their activities, because they never pick something that does not coincide with the overall company image. I have never supported private people, I have always worked with the companies. And I always have with each company a hard contract, which is working out the way I. For example, as I continued working out in the press, because it is very important to them. Someone wants more public presentations, some less, to those talks too much time away. But there are other suggestions. When we last year showed TsUMu different projects, they have invested in total, but selected projects Sasha Ponomareva. And these projects had gone to him, became the owner of Central Department Store these projects.
- This was a condition of their participation?
- Yes.
- And for other companies?
- Other companies such conditions are not set. In fact, it was a painful condition for Ponomareva, a long time he did not agree to this, but, on the other hand, agreeing, was so glad they are now friends with the Central Department Store. There was a spike. He could not say then how many artists were told: No, we will not give up their work. I Gordeeva last year was the first idea - I'll help you, but take away jobs. That is, he seems to be bought at the price of production. The artist is free to accept or not, I do not advise. As a result, Gordeev deed, renovating the pavilion, which was in terrible condition (it is now in poor, and two years ago was terrible), totally unselfish, plus gave me a hundred thousand on the process entirely. He is not got no work.
- And the work that will be now in the collection of your partners will not come.
- No.
- How is your relationship with commercial galleries, working with artists, which you выставляешь?
- Nothing.
- They do not participate?
- Do not take part, besides that provide free materials for the catalog.
- Despite the fact that after this exhibition, as you yourself have said in many interviews, the market value of the artists clearly increase.
- They do not participate, except in the gallery Toli Zhuravleva, which paid him a trip to Venice. This year, we do not fit into the budget dramatically. Last year, we also have missed, 62 thousand euros of debt and the additional costs I paid until April, I personally, they just fell on me. And no gallery, no one artist, not a single sponsor of these debts are not covered.
- From his pocket, do you mean?
- Yes, because the museum had no right to pay for these debts. This could only lie down on me as a curator. And I can say that neither John, Joe, nor I in the past year have not received a penny fee, and this year we have not received a penny. But if we have additional costs due to the fact that the artist made a mistake, the designer made a mistake, you need to put a new wall - it all just falls on you, and you no longer help. Sponsors made with them entered into a contract on it the amount they gave, the more they will not give anything. The only thing we did this year - signed a contract with the artists, I do generally have never done.
- What character?
- I consulted with the Pompidou Center, with other major museums and other major Biennale. If an organization invests in the production work and is sold within three or five years, the money for the production and go back to the production of other products.
- And the last question: tell me how you understand the information system of sponsorship? What are you waiting from journalists, are your information sponsors?
- Informational sponsorship - is a clear contract with a media partner. When we talk about media partnership, we assume no obligation to promotions of an information source, it is hard upon agreement with a source in the form of its advertising services. In this case we ask to be a certain amount of material on the meaning of which we have no influence. Not so it is nice when they are absolutely subjective insane, but still at this point we have no influence. And we also ask that the media partners mentioned by our partners with which it is created sobytie. Because beautiful eyes - are beautiful eyes, and when the company invests heavily that it could not invest, it needs to make it in a civilized way to say "thank you".
Russia Pavilion at the 53rd Venice Biennale (artists Anatoly Zhuravlev, Alexey Kallima, Irina Korina, Andrew Molodkin, Ghosh Ostrecov Paul Pepperstein Sergei Shekhovtsov, curator Olga Sviblova, Commissioner Vasily Tsereteli) will unveil on June 4 at 16.30. Biennale will be open to the public from 7 June to 22 November.
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Сообщение от Vladimir
Disassembly and clear division of roles, institutions, media, PR, curators - is "City of the Sun by Tommaso Campanella.
Well, then, that someone is on someone's professional territory and interferes with people "PR" is talking, so who is to blame for this? Articles on contemporary art art have long read?
What do you mean under the articles? I believe that the publication in the press materials Kati Tar, Khachaturova, Groys, Andrei Erofeev, Anna Tolstoy - this is the art articles and very strong. I read them constantly.
Цитата:
Сообщение от Vladimir
Normal PR displaces sophisticated nonsense as advertising drugs displaces medical encyclopedia. Such a prospect too - or the future that more and more difficult to win.
Even your knees before the sharp comparisons, I would not want to have a future. Of course, there are critics who can not read, does not levy a dozen dictionaries, but it is rather an exception. I know of one such friend (LCR knows it, too) and I can not read it. This happens when there is nothing to say, but necessary. However, the majority of art that are not affected. PR certainly does its job, and here we need to be able to distinguish the wheat from the chaff.
just seemed to me that we step over step "acute-political" and "acute-social" art, but ..
I do not care, I want to see art, not a "theme".
And here is an art. Look:
1) there is a cultural association - they are in the name of "Red and Black", plus a form of Nike of Samothrace.
2) a thick layer of artists believed and believes creativity - sacrifice. Literally, that "Art is the blood of the artist's heart." And in the Molodkina circulating blood
3) classics actualized in Context current state of the world: the art of holding on the money, and money - it is oil. Mainstreaming is not new (and earlier instead of oil, it would be something else). The synthesis of art and money increased by the fact that these two Niki overlap video and it turns out that the blood is mixed with oil in the third "virtual" Nike.
4) If you think about the meaning, the first option:
Nike with blood - a symbol of art, Nike oil - a symbol of civilization and its contradictions, in which the artist lives. And the artist, as he should be, in the process of creativity is forced to mix their blood with the "dirt" of the world, to survive and reliably convey to the viewer is a clash.
Second varant meanings: Nike with blood - that's life, and Nike with oil - it is death by violence. Oil as a source of the outbreak of war, carrying death.
Molodkin could not adulterate the policy here (Chechen theme) - his work and so good for smyslonapolneniyu.
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Of course, there are critics who can not read, does not impose dozens of dictionaries, but it is rather an exception. I know of one such friend (LCR knows it, too) and I can not read it.
Not on whether the letter T.? Tar, incidentally, also did not read very easily. Journalism - easier, but the texts where it is most trying - there is a dictionary. Judging by her book on Russian art of XX century. Signification thesis, structure, focus, number of illustrations - all super. But read the text itself - not everyone can handle the. About the role of PR I am with you always argue. Here are just gather my forces
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Tar, incidentally, also did not read very easily. Journalism - easier, but the texts where it is most trying - there is a dictionary. Judging by her book on Russian art of XX century. Signification thesis, structure, focus, number of illustrations - all super. But read the text itself - not everyone can handle the.
Tar is not so difficult to read, Groys, in my opinion, more difficult. But it's not that he /they are difficult to read, the fact that these art historians /critics are not quite see things and not interested in them - maybe that's why they prefer art that you can tell by mobile phone (I had already say that my art is not interested).
Note in the dialogue Tar /Tar Sviblovo position clear to me. It is strange that Sviblova not understand, when the Tar interprets her on curatorial projects
Tolstova - smart and subtle critic (which I also have somewhere said).
My trio - Kovalev, Alekseev, Tolstova - but I'm not looking at the criticism on a regular basis, could miss the interesting and important things.
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Tar, incidentally, also did not read very easily. Judging by her book on Russian art of XX century. Signification thesis, structure, focus, number of illustrations - all super. But read the text itself - not everyone can handle the.
There are few. I remember some places in this book, reread many times, trying to understand what she meant. But I told her that "I forgive" (stupid expression) for a common position (about coaching), with which I am in solidarity.
Цитата:
Сообщение от Vladimir
About the role of PR I am with you always argue. Here are just gather my forces
I do not perceive this as a dispute, but rather as one more interesting view. A. .. Now I understand. Perhaps you think that I limit the role of PR promotions of some institutions and not invest in its educational role of public functions? Okay, I will not guess - wait.
Цитата:
Сообщение от LCR
Tar is not so difficult to read, Groys, in my opinion, more difficult. But it's not that he /they are difficult to read, the fact that these art historians /critics are not quite see things and not interested in them - maybe that's why they prefer art that you can tell by mobile phone (I had already say that my art is not interested).
I agree about Groys. Oh, and what art can tell by a mobile phone? Conceptual? Nana, I do not quite understand!
Цитата:
Сообщение от LCR
Note, in the dialogue Tar /Tar Sviblovo position clear to me. It is strange that Sviblova not understand, when the Tar interprets her on curatorial projects
That's what I think the Tar - stronger curator. Her show always carries out educational and communicates the knowledge of the history of Russian art (exhibition "Fighting for the flag"), or do not remember the name of the exhibition in the Tretyakov Gallery - where she got the roll of contemporary artists with the classics. And Olga Sviblova artists like the 80's and 90's and thank her for organizing exhibitions. Alexeyev is praised in her book "The ranks of memory." And it also causes sympathy. I actually can do it myself to understand the "grab-bag", which is sin its exhibitions.
Цитата:
Сообщение от LCR
Tolstova - smart and subtle critic (which I also have somewhere said). My trio - Kovalev, Alekseev, Tolstova - but I'm not looking at the criticism on a regular basis, could miss the interesting and important things.
My trio - Kulik, TAR, Tolstova. That's because women are good fellows! Women subtlety, multiplied by the mind!
Nikita Alexeev - a special case. Recently, the NCCA was his brief exhibition of "Views of Zarechye. The central text, which he won in the works was the Constitution of the Republic "Uzhyupis" - a virtual state of artists in Vilnius. I hung up the text in front of his workplace, and authorities ordered to withdraw. http://aristos.diary.ru/p44225769.htm
[color="# 666686"]Added after 6 hours 3 minutes[/color]
Here's an interesting view on how we presented the Motherland Russia's participation in the Venice Biennale. Author dissatisfied (YP who is this?), Which is about the artists who represent Russia in the main draft Birnbaum hardly speak, but the draft of the national pavilion is stuck, with the exalted role of PR - that is, as if on its merit and worth talking about, not about the artistic value of the exposure. http://www.artinfo.ru/ru/news/main/b...-53_venice.htm
Here's an interesting view of how we presented the Motherland Russia's participation in the Venice Biennale. Author dissatisfied (YP who is this?), Which is about the artists who represent Russia in the main draft Birnbaum hardly speak, but the draft of the national pavilion is stuck, with the exalted role of PR - that is, as if on its merit and worth talking about, not about the artistic value of the exposure. http://www.artinfo.ru/ru/news/main/b...-53_venice.htm
I read. Once again, I wonder why these questions and contradictions are always opened to the fact, when the train left? Why such Liability parties not to hold a round table for four months before the show? Make some imitation transparent regime in the style of public hearings. It is clear that decisions must be made at the expert level (otherwise "shook" any question), but at least let each other agree in advance.
Not quite in the topic. though ...
Yesterday in the transfer of "Big difference" did a parody of "Private see" with Gordon. In a parody of a parody of showing art-house film that has proved so successful that Gordon invited him to his transfer, accompanied by some text such as: "The critics, they know .. Now you look and say - I do not understand. And they say - e no, Wait, I'll explain, you're not in the context ... That there is a familiar quote ... But as the sand spill if it were the other way, then ..."
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And they say - e no, wait, I'll explain, you're not in the context of ... Here there is a familiar quote ... But as the sand spill if it were the other way, then ... "
Noticed for sure. But well, if explained at least at the level of sanding vector. Well, if "... the product brings us ..." or "creative intuition tells us ...". But how will discourse shmiskurs, then mascara light.
04.07.2009, 01:16
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