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But, on the other hand, the largest auctions are opportunities for adventures. For example, the work "For the love of God" - Demian Hirst's diamond skull. In fact, he bought it for himself, and became co-owner of his work.
- Yes, it happens, but it is not a rule but an exception. It is clear that the auction - a commercial event, and there can be used by commercial technologies. But nevertheless, with regard to Hearst or any other artist who may be co-owner of his work - this is nothing more than an episode from the life of the auction house. I am not idealizing the situation, but I think that before we criticize the market, it is important to enter it. Criticize those who did not get there, and can never reach.
- Who bought your work Sohteby's and Philis de Pury?
- Who bought my work, just do not know, but it is not Ukrainian collectors. I did nothing. There are people who like what I do, theoretically, could agree with them, but it's not in my nature. I wanted a real market test. It is possible under conditions favorable for the collector, something to offer and he can buy. But this one, twice, all the time he would not do it. And my purpose is to reach that market, and from time to time, so that there is something sold. Of course, valuable not only sales, but confirmation of status, international, internationalist. In sales, I did not want to interfere, it's really not practical, if you go to market with pies, you must understand, whether to buy them.
- How does "Office Love-2" got on Philis de Pury?
- Came the representative of the auction, but all my other work has been reserved. "Office love-2" Ukrainian collectors did not buy - for them it is tough, but liked the work.
- And what about the cost of the work?
- Too rapid growth in the value of work - also not very good. If a picture is worth $ 30 000, and sold at auction for $ 200 000 - is not clear what's next. It is better to a gradual increase, then there will be landslides.
- Why are you so important market, do not want to be an unrecognized genius? Van Gogh, for example, when life was not demanded by the market.
- The ears are cut, starve? (laughs). I think this is a bad example. We live in a different time. I grew up on these stories, they need to make art charmed, it is useful in an age when you have determined the attitude towards the profession. But it should be a modern man, to know at what time you live with what you are dealing with.
Promotion and sales - part of the profession, but I'm not a businessman, and will not be doing it, like Hirst. But I do not do netlenku, which is irrelevant to real life is not, I do art, which, I think, on news of the day. Of course, this is not limited to, if we assume that there are several levels of reading pictures, the first level - social.
- there may be a professional artist, not only because of the market, but the system of grants. I remember you way to make video projects?
- Yes, but long. Now many grants in the West. But the ability to receive grants - is an art, it is first. Secondly, the system of grants - is to create a hothouse environment. Grants - this is what corrupts.
- But there is a non-profit arts.
- What does a non-profit art? This is 10 times more commercial. You can combine and do both, do not see this problem. Everything depends on the artist and his level.
If we talk about art as a medium of the underground, it is possible in a country with a totalitarian regime. If we live in an open society - then the operation of market technology. Remember Basquiat, and Banksy.
- But Banksy, as I understand it, success does not care, he defends their own independent territory.
- We could be chaste, but very expensive to sell. Charles Saatchi said that a good artist is expensive. Yesterday's radicals Kulik, Osmolovskii - now bourgeois artists.
- I think that in this case a change in strategy was not associated with a desire to succeed in a bourgeois environment, they're just exhausted radicalism reached the limit. Therefore, the New eydzhevye hobbies Kulik, and the concept of autonomous art Osmolovsky - search for an answer on what to do next.
- They have exhausted the radicalism of his generation.
- Generally exhausted. For example, a group of "War" Ebis_za_naslednika_Medvezhonka, much less radical than Brener, Kulik, Osmolovskii in his time. Although we, unfortunately, there is nothing like that.
- Group R.E.P.
- Are they radicals?
- Critics, but what is the result? Its not. Thus, infantile performances.
- But I still wonder, why here, in Ukraine, the commercial success is so important. Why is your circle of artists and generations speak only about money and the market. I do not understand.
- Understand nothing. Mikhail Kamensky (note - general director of Sotheby's in Russia and CIS), said that the fall in Sotheby's important for the artist than participate in a major museum exhibition.
- But it requires the status say such things.
- I'll say otherwise. How to imagine how one can be a non-profit artist? Grants are many, but their limited number. You can get a grant for six months, a year, and then what? Having their own money, I can put them in their projects, such as making sculptural installation. I do not want to wait to request money from someone from the wealthy people in order to create your own work.
Money alone is not valuable, I need them to work on. And there are artists who do work, let's say, for Andrew's descent, stupidly collect the money, put in the bedside table, because they do not invest in anything. What I earn, invest in yourself.
- But what about the new word in art?
- The new floor must be able to read. This is not so much a problem of the artist as the problem of the viewer. Avant-garde vector - Duchamp's urinal, cow's head with the flies Hirst uninteresting to me. What makes the Hurst, its objects the same thing that he did Duchamp. These are the same Reidy Made, of that I do not see anything new, like a cow's head for the first time in a museum, but, in fact, nothing new - it was done 50 years ago. New here under a big question.
In addition, these avant-garde, by and large, Selyukov, and then it does not matter that he was born in a city or village, the Selyukov no other way to enter into a culture, moreover, as it is partially destroyed, they fight it, they will destroy entire history of the avant-garde in the destruction. Everything was destroyed, creating a new, and where it is new?
- I think that the vanguard, we are obliged to read the future in which we partly live. Take the same Futurists.
- Other options for the future was not, because they destroyed everything. I prefer not so open radicalism of yesterday, there are things that do not so clearly. Not in form but in content. Jeff Koons - more innovative than Hearst, but he does not fight, do not destroy, and proposes new rules. But at a fundamental level Koons much more dangerous for sanctimonious society than Hurst.
- When talking about social taboos, you some boundaries go? In connection with the prohibition of pornography will be doing work for the frank sexual themes?
- Before doing, although I have never shocking for the sake of shocking there were no problems were different. When I say that I like art is not radical, it does not mean the average and lean. Art - not my secret desires, not mine complexes that are not self-assertion.
I am rather interested in a kind of social art related global topics. But when there are such laws are hypocritical, I'm a living man, I want to answer, but it is on an emotional level. Of course, something in this direction will do, but now the time Aesop's tongue, it might be interesting, and very evil.
- How do you feel about the political art?
- Two ways, on the one hand, since I do not live in my dreams, but in the real world, react to what happens in politics and public life. But on the other hand, the political, banner art, I also not interested. Become a pose criticism of the authorities - too easy to have people criticize her, I do not need.
All press, TV even more hopeless than under Kuchma, I think that they serve even more power than they did then. I watch TV I do not want, just sick of what is happening there. All this is counter-productive, merely marking time. But isolating yourself from this, too, can not, therefore, choose any forms that are somehow connected with public life and politics, but it is not strikingness art.
The goal is not to criticize and mock, but the fact that the work belonged to this time. A fine golden mean: on the level of plot, the work can pay a tribute to local, regional, you live here, you soaked it all, but it should be inscribed in an international context. That's it - the combination of incompatible, and there appears skill, skill, wit, intelligence, talent.
- I always thought that the movie has a direct impact on your creativity. Is it really so?
- Does all the time. Even in the "Hide Hearst" two works are too cinematic, even the style of shooting. Since I have long been subjects of criminal work, and in photography, and video, and painting. I really like the screen version of comic. I love films for a mass audience, there is a lot of game, a lot of money and hack-work, but there are things which you can learn.
As for the "Remove Hirst, I addressed his artistic medium. You can then read the perverse eulogy. In painting, literature and cinema were the works which are addressed to a particular master. Then I wanted to start a secular squabbles. One of the levels of the project is connected with the cinema, the other - from an artistic medium, with its intrigues. They intrigue, there is, but opaque, do not break out the level of massacre and grave expression.
- Why do not you teach?
- If you're referring to a particular educational institution, do not offer. When I began studying in Kiev hudinstitute - plunged into darkness. In art school, where I studied, was before a spirit of freedom, the teachers are young, there was no ban, and every three months caused headmistress and ask: Who has inspired you, that you can be all? And I answered her: Is it bad?
All 6 years of study at the institute was hard, I went four times, then returned because they have nowhere to go, I have taken with a smile. Then, when finished, he wanted to graduate, but I told you so wanted freedom, you are now free. In short, do not take it. But now can not imagine myself in this institute. If a branch was Poplavskiy then went to teach.
- There is a non-formal education, in Moscow artists gather students in his workshops, in Kiev, none of your circle of artists not willing to provide.
- I think that the problem is not with us, and in them as students. Obviously, if someone comes at Kettle plaster to paint - I'm not interested, they should understand what they mean. I believe that these people do not. The Institute formally learned something, but not enough.
- Do academic school? Some believe that the contemporary artist to have a diploma of the Faculty of Philosophy preferable.
- My answer is this: yes and no. If an agronomist working in landscape art, I do not deny it - he can be successful, he can read good books, good movies to watch. But my understanding is needed not just a visual culture, but the visual initiation.
Occupation may be initiated. So what the artist - a kind of text that anywhere else, in any book not read. Art is unique, because this information is transmitted only in this way.
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There are a lot of people held in the art, they have no art education.
- They can draw, but they do not understand what they are doing. Other education helps, develops, but can not replace the core.
- How do you refer to the state awards, ranks?
- I do not stand in the queue. But if an elderly person receives the title, even if it does not quite deserve it, I treat them properly. But not quite understand what meaning to hang on the title that it will?
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For example, the state museums will become work. The museum now has no funds for the acquisition of works of contemporary artists, but nevertheless, discuss it ever dropped?
- No, I have no one suggested it. It is not known, it is better when the work is in the public museum, or when they are not there. This is a plus or a minus? While this is negative.
- Politics do not like?
- Not in this case. Must be the program of the Ministry of Culture for museums to enable them to acquire works by contemporary artists. I can give, rarely, but nice work I give my people. But in this case, the work should not be the status of the gift.
- how relations with galleries?
- We did. I had a long relationship with Gelman Gallery in Moscow, earlier in Regina.
- You were not satisfied with the cooperation?
- No, in Moscow everything was fine, I agreed to their conditions, thanks to Gelman, he has opened me to the market. We worked with a short interval of about five years, but this could not last forever. We support, recently called and offered an exhibition in the next 3-4 months. I thanked him and said that he would be happy, but later. I have plans that do not allow to drop everything and do this. Exhibition - yes, but on a contract with the exclusive sales, I will not go, this is more for beginning artists, I do not need. But gallery owners here yet fall short of the normal level.
- Normal level - is what?
- When are activities that relate to the media, with the promotion, while selling work. But this is half the battle. All the same to be done abroad. This is to ensure that the artist was competitive, universally marketed. With Ukrainian galleries sad turns.
Now is not the time, galleries, and the time artists. There are buyers, which we somehow give the gallery. All artists complain about the gallery. Relatively speaking, top Ukrainian artists leaving the galleries, we do not need them. Galleries will have to work so that young artists are doing.
- Do you miss the absence of a full-fledged artistic process? No full periodicals on contemporary art, there is no curatorial projects, no museums.
- So, what we do is connected with what is happening in the world, but would like to see there was something in it, although it is not necessary. Of course, should be a magazine, it is simply a disgrace, when there is no specialized authoritative publications. Indecent, when the magazine is, but there no one to write. Those who write, at best reproduce the chronology, describe, but do not analyze, or they lack the determination, or the formation of other people, or they are not interested, and do not need.
As an artist must perform at least once a year something like an act of its work, the same applies to writing rights. The journalist who wrote the note expose commits an act. This is the ideal, although this press we have almost no. Critic must take a position, perform an action. He does not do this and this is evidence of provincialism. In our art medium lacking surgeons, doctors Hausa no.
http://life.pravda.com.ua/interview/4a57c86638900/
14.07.2009, 01:36
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