"Victory. Style Epoch

[sini4ka]

Сообщение от inega

But the samples "Stalinist" architecture is decorated with the image of Russian cities. They propoportsionalny, strictly, have a normal height ceilings, exterior decoration, form the space around.

I agree with you. They immediately tell the difference, make eye. Consistent with the era strict harmonious architecture

[NATA NOVA]

Сообщение от sini4ka

Consistent with the era strict graceful architecture

 and Sculpture ...

[Tana]

and apartments - "stalinkas" very even Nizhny, are not rasssypayutsya, spacious with high ceilings, built on the conscience!

[NATA NOVA]

Сообщение от Tana

and the apartment - "stalinkas" very even Nizhny, are not rasssypayutsya, spacious with high ceilings, built on the conscience!

Bet! Exactly! (Just do not get those. Who built ...)

[Tana]

well, now get to buy not the ones who build

[NATA NOVA]

Сообщение от Tana

well, and now get to buy not the ones who build

Incorrect comparison (IMHO)

[sini4ka]

Сообщение от NATA NOVA

Of course! Exactly! (Just do not get those. Who built ...)

You are mistaken: just got very simple people. Get The St. Petersburg Avtovo lined stalinka, part of the buildings on the Moscow prospect - they had entered ordinary common people.

Сообщение от NATA NOVA

and sculpture ...

Yes, it is clear, but it is not
http://teatre.com.ua/review/zhelezny...rformans_daxa/

And the author of Topeka:
- The exhibition is very interesting. Highlights is a combination of household items - doves, bears - clothing, furniture and cars. Thanks for the photo!

[NATA NOVA]

Сообщение от sini4ka

You are mistaken: those who received just very ordinary people.

Numbers, please! (Documents)
Although .. (Unknown because the people you as belonging to the "simple" - perhaps the nomenclature of the party for you "simple")
 And the percentage of communal to "stalinka" is really for the full picture ..
I do not like you know, fingers and emotions "(ie: to communicate emotionally, explain" fingers ")

[inega]

Thank you for your feedback. At telelekanale Culture planned to discuss the exhibition "Victory. The style of the epoch". On the ambiguity of the items (a complex and difficult era for the country). If anyone hears when will this transfer, please let us know.

[inega]

Pointing the fragments from the concept of "Victory, period style.

The concept of the exhibition "VICTORY. Style of "
Exhibition Project on the 65-th anniversary of the Great Victory
Great Patriotic War Museum
May-September 2010

"From the moment when the Russian people became clear intentions of Hitler, the German force was opposed by the force of the Russian people. From this moment was clear and the outcome: the Russian were stronger ... primarily because for them it was a question of life and death "
Sebastian Haffner, a German historian, 1971
                                
Death ended - started life
AA Plastov, artist. May, 1945

  "The proposed exhibition project" Victory. Style of an era "is dedicated to the remarkable date - the 65 th anniversary of victory in WWII, one of the key events in the artistic life of Moscow and all Russia. For the first time in the museum exhibition space, scale, and clearly represented the post-war art as a separate phenomenon national culture - both in terms of reflected its unique time-time winners, both in terms of style formation, as the apotheosis of the original "Stalinist Empire.
         After May 9, 1945 for a short period of time has established a special artistic situation, when formed together the conditions that determine the appearance of full, ie with all its attendant attributes and historical identity: the unprecedented Majeure public mood, a certain consensus on the basic concepts of world view (which, for example, because not enough now), the completion of the logical development of forms of which originated in 1930. special "Soviet Art Deco, deliberate and massive government support of art, a distinct and selective state order. It is from this angle - as a style, not as a decoration of the totalitarian regime ¬ ma, a politicized statement (with consistently negative connotations), or as spectacular, but the indiscriminate piling up of all the famous monuments of officious - the phenomenon has not been discussed and presented in a separate exhibition project. Hence the relevance and novelty of the alleged exposure.

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By conferring this phenomenon features a full-fledged style, the authors of the concept has in mind, first of all, the presence of over-the ideas underlying the great historical ¬ s achievements and demanded that art adequately its scale visual confirmation. Napoleon built his new, powerful France, formed the imperial identity, including with the help of the Empire style. "The American Dream" was erected in 1920-30-ies. - A complex of the Great Depression, the disease growth was fast running out with the help of skyscrapers. In other words, as the great Russian architect IV Zholtovsky: "Style is great, if bares its political nature." Under the "political nature" we mean a profound ideological content, and the Great Victory in 1945 and became just the reason why driving force and, simultaneously, an idea which facilitated the emergence of a new style. He does not like ¬ lzya better reflect postwar reality - and reality, rather a mental, rather than actual (the country lay in ruins). He carried a double ¬ governmental image: on the one hand, the memory of the dreadful-term price paid by council ¬ Skim the people to victory, on the other - the joy and happiness, which are then ka ¬ It has been found for many years to come. The organizers, offering a conceptual view, take into account this feature, which did not allow objects that carry the idea of war and peace, and reveal the artistic ideals and the taste of victory generation, become sickly "positive" in a pseudo-heroic exaltation (so characteristic of fascist art) or a statement of horrific scenes of death and destruction (of which, it should be noted, no one is forgotten - but not fiddling with the wound). This kind of positive reconstruction of retro-futurism, and not a reflection on the horrors kanuvshih into oblivion - a fundamental difference of the exposition from the previous show - the theme of tragedies, the suffering seems to recede into the shadows, but does not disappear, sounds restrained, as in the ancient Russian icons depicting scene of mourning.

It is extremely important, and the aforementioned connotations restore art ¬ Česká historical justice, because this style for a long time did not notice, and later sharply criticized and, indeed, and most conventionally formal, unjustly marginalized from the art of 1940 - mid 1950's. Today, it need rehabilitation, and rehabilitation of this contributes to changing the current social background: Russia is once again ready to open more style, appreciating each episode of its history, as seen in the natural cultural manifestations: from the "old songs about the main thing" to direct and neglumlivyh "Soviet" quotations in the works of contemporary artists ("Brothers and Sisters" Belyaeva-Hintaŭta, winner of the "Kandinsky Prize", 2008).
Thus, we can formulate the aim of this exhibition - look at the historical era and the art of the 1940 mid-1950 not only as to the amount of ideological and event connotations dark ambition embodied retrospective and eclectic art sredstavami, but as a complete historical style, an original , solemn and majestic. It is important to art criticism and kulturoloichesky, but not simplistic, opportunistic, journalistic look at, in general, little known in modern Russia and in Europe the material.

The problem is - to show art-historical style of the 1940-mid 1950's complex: through architecture, monumental-decorative art and theatrical decorative art, painting, sculpture, poster graphics, through the tangible world (china, glass, clothes, furniture , orders, medals, banners, ceremonial vase), through theater and music, archival documents, photographs and films, through ornamental and decorative arts as "core" stileoobrazuyuschie elements, to show his unique and at the same time, the typical features . Present not from the standpoint of borrowing and recycling of plastic European motifs, and with TZ its artistic quality, scale, age, organic-entry into the world around us, interconnectivity with human existence, as a result of the combination of creative innovation with historical and cultural heritage. In general, all linked into one, to actualize latent, call a spade a spade.
Another objective of the exhibition - the scientific and educational. To solve it, the organizers have to, first, to find a harmonious combination of the presence of things (their disclosure would itself cause the information) and their kontsenptualnosti, secondly, to fill the exhibition sections authentic materials and documents of the time, contemporary artists, which will create a the viewer a sense of empathy, interactive with the times. Indeed, presented works of fine art, sounds in the halls of classical and popular music of the 1940 broadcast films and theatrical productions, finally, the confident voice of Yuri Levitan with advertisements on the war's end and the celebration of Victory Day parade, as well as posted in all rooms, archival documents, will help visitors to immerse themselves in a distant post-war world of art and life, to become engaged in it the pulse of Victory. Thus, the exhibition will be on the one hand, consist of scientific and historical-artistic part, on the other - wear Information репортажный character.

Unprecedented museum material (guaranteed museums partner exposure), небанальное curatorial decision and, importantly, modern-oriented, including young people "feed" will ensure that the broad resonance of this exhibition, falling into the most "nerve" of actual ideological goals of the State including anti-counterfeiting of our history. "

The developer of the concept
Ph.D.,
Honored Worker of Culture TL Astrakhantseva