Work Avdyei Ter-Oganyan not allowed to be exhibited in the Louvre

[Кирилл Сызранский]

[QUOTE="Samvel; 1328291]-suffering exhibition at the Louvre was opened without pictures Ter-Oganyan [/QUOTE]

But what about [URL="http://forum.artinvestment.ru/showpost.php?p=1327911&postcount=11"]this[/URL]?

[Самвел]

This place is from an article I would like to emphasize ... It turned out that the pictures of Ter-Oganyan had previously been allowed to export to France, however, according to the director of the Russian State Center of Contemporary Arts (NCCA), Michael Mindlin, a gallery owner Gelman did not.

"I assume that this is necessary for the promotion of their own image and, of course, for the sublimation of the prices of these works," - said Mindlin RIA Novosti.

The head of the NCCA, co-organized the exhibition, says that other artists did not plan to refuse to participate in the exhibition and was not allowed to Gelman to make such statements.

[Кирилл Сызранский]

Samvel, here's how the author presents this situation:

AVTOKOMMENTARII TO THE REQUIREMENTS OF THE ARTIST Avdei Ter-Oganyan

I Avdyei Ter-Oganyan - Russian artist.
Doing art for over 30 years.
Russia has been prosecuted for his artistic activities.
12 years I was in exile. I live in Prague. I have the status of political refugee.
Today my work is represented in the exhibition "Russian counterpoint", held in the Louvre.
[SPOILER][FONT="Georgia"] On the eve of the exhibition Russian authorities banned the export of my work abroad. This censored due to the concerted efforts of many people quickly enough to surmount.

However, I demand to remove my work from the Louvre until a decision is even more acute given the problem to be addressed right now - the legalization of civil status of the Russian artist Oleg Mavromatti. He faces a prison sentence in Russia for the artistic action, done ten years ago.

Here are my comments on a number of issues that may interest you.

-What are my work, which the Ministry of Culture of Russia has tried to ban the export from Russia?
-Work selected by the French curator for the exhibition "Russian counterpoint", includes a series of "radical abstraction", created in 2004 and consisting of 14 digital prints.
Series is an abstract image, followed by the text of the Penal Code. The texts are in upper rows of articles of the Criminal Code, which can be used to charge the artists in the criminal work of art.
Series has a unique political nature and responds to a problem common in Russia practice prosecutions artists.

Four selected works have the following signature:
1. 'This work calls for the encroachment on the life of a statesman Vladimir Putin to end his public and political activities. "
2. 'This work is aimed at inciting religious hatred "
2. "This picture is aimed at the humiliation of national dignity of Russian and Jewish nationality."
3. "This work engages in prostitution."

-How did you manage to overcome the censored Russian authorities?
-When it became known that my work zarescheny for export, seven Russian artists - participants of the exhibition, said that participate in the exhibition will not be without me. It is very important artists. Therefore, the exhibition was in jeopardy.
To circumvent the official ban, the exhibition organizers offered to print a ban on work in Paris. This was possible because of limited edition, they are easy to reproduce. But I refused the offer and demanded an official permission to export my work from Russia.
Besides, I'm not limited to this requirement, and urged his fellow artists to try using the boycott to solve another thorny problem, which right now stand in front of one of our colleagues - the artist Oleg Mavromatti.
Meanwhile, the French side - the Louvre Museum Directorate, Ministry of Culture and the Ministry of Foreign Affairs of France, and influential person in Russia, putting pressure on the Ministry of Culture, demanding the lifting of the ban to export my work. The ban was officially lifted on October 7. Now my work is in Paris and presented at the exhibition "Russian counterpoint.
But my main requirement - a decision the question Mavromatti - ignored. Thus, the Louvre shows that he considers the question irrelevant.

-What is the "problem Oleg Mavromatti?
-More situation with Oleg described in a separate certificate. Here I will describe the problem completely dashed.
Mavromatti fled Russia after the institution against it of a criminal case under Article № 282 of the 2-I ("inciting sectarian strife", from three to five children in prison) in 2000 for an art event, "Do not believe your eyes." The case against Mavromatti was instituted on the initiative of the Orthodox fundamentalist organization.
Since 2000 Mavromatti lives in Bulgaria and the U.S. on Russia's foreign passport (he is married to a Bulgarian artist).
In August 2010 he returned to Sofia from New York for the extension of the passport. But was refused a Russian consulate in Sofia and was in the position of an illegal immigrant. This turn of affairs he had not expected, because Five years ago, this consulate with no problems granted him a new foreign passport. Now the Russian authorities, for whatever reason, decided to force him to return to Russia and brought to justice.
I'm with Mavromatti in constant contact. Our life situation is absolutely identical. But I am a refugee passport, Oleg now has none at all passports. If he is deported to Russia, even before the court would be in jail.
I encouraged fellow artists to continue the boycott of the exhibition at the Louvre up to address this problem. I still believe that if we did it, the problem Mavromatti eventually would be solved positively. Prior to the "Louvre Campaign" protest he did not have any chance of a successful solution to their problems. Now, thanks to the fact that I required his protection while in the visibility zone of the world ", against the backdrop of the Louvre, we have a publication in the world press and the support of some important people, including a U.S. senator. Now I actually keep this campaign support Mavromatti.

-For what I have been prosecuted in Russia?
-In 1998, under the artistic and educational project "School of the avant-garde" I spent the campaign "Young atheist", which his students hacked with an ax limited edition cardboard icons in the church purchased the shop, and also produces other ironic "profane" gestures using these icons . The action was carried out in the space of the exhibition hall.
It had two aspects.
Artistic dimension: the development of students the basic principle of the avant-garde, namely, profane dead sanctities.
The political aspect: the opposition to aggressive intervention of the Russian Orthodox Church in culture, politics, economy and social life of Russia.
In fact this action to me was a criminal case under Art. 282 ("inciting sectarian strife"), involving a term of imprisonment from 2 to 4 years. Initiator facie case made by Russian radical religious-nationalist organization "People's Cathedral". Having received no serious public support, in consultation with a lawyer in the summer of 1999 I left Russia. Three years I spent in waiting for refugee status in the Czech Republic. Was refused. And only after appealing to a specific Czech official with the world's most famous Russian human rights activist Sergei Kovalev, my case was settled favorably.

-How often do Russian artists prosecuted for their professional activities?
-My case was the first attempt of a Russian court to apply a specific criminal charges (№ 282) with respect to the artist directly for his work.
Subsequently, this paper has been applied in respect of culture on a regular basis.
The most high-profile criminal cases under this heading relate to the action artist Oleg Mavromatti "Do not Believe Your Eyes" (2000) and two Moscow art exhibition held in the human rights center named after Andrei Sakharov - "Caution, Religion!" (2002) and "Forbidden Art- 2006 "(2007). All the defendants in these processes, the artists and curators, but Mavromatti, who left the country, were convicted. The main figures of these processes have been, and other presledovniyam by the authorities. Immediately after the discovery of the criminal case was dismissed from office the Chief of Contemporary Art at the State Tretyakov Gallery, Andrei Erofeev. Was forced to resign from his post and the head of the Human Rights Center of the Sakharov Yuri Samodurov. One accused the curators of the exhibition "Forbidden Art" - artist and poet Anna Alchuk - disappeared in Germany, suffered a nervous breakdown and soon committed suicide.
Again, this is only the most high-profile cases, widely discussed in the Russian press.

-It right to the Russian practice of law the prosecution of culture?
-The paradox of this article with respect to cultural figures for their professional activity consists in the fact that the authors of the opposing orthodox fundamentalism and nationalism, are judged by an article on "inciting national discord and inciting sectarian strife", which originally was created precisely to deal with right-wing extremism , framentami of which are orthodox fundamentalism and nationalism.
Article 282 is applied by the Russian authorities not only in respect of culture, but also, more often, on the Russian political opposition.
This practice obviously requires application changes. There is no persecution of the "orthodox" or "Russian" in Russia.

-How often are granted political asylum criminally prosecuted by Russian artists in Europe?
-As far as I know, I - the only Russian artist persecuted for art and received in connection with the status of political refugee in Europe.
The problem of criminal prosecution of artists in Russia - the theme of a new, completely incomprehensible to the local competent agencies. The European system of protection of refugees, due to the absence of such precedents, it is not able to deal with such issues. That's why Mavromatti in 2000 in Bulgaria three times denied refugee status.

-How to respond to criminal prosecution of Russian artists of the very artistic community?
-Despite the obvious deterioration of the situation, the Russian artistic community has been trying, at best, a blind eye to this problem.
I have long been living in Europe and can not return to Russia, because I am a criminal investigation. The role of immigrant I do not like. I'd much rather for themselves and for the benefit of art lived in Moscow. I regularly raises difficult situations related to immigration. But no serious protest action art public on this occasion not to. The case was limited to individual articles in the press and collecting signatures for a letter of support. Never by any of my colleagues were not used at least understandable forms of protest such as boycotting an important exhibition or solidarity statements by Russian participants in major international venues such as "Documents", "Manifesta, Venice Biennale.
On the contrary. The artistic community is trying to "seek the face" to the church and join with her in "productive contact." In the midst of litigation with Erofeev and Samodurov, artist Oleg Kulik was made curator of the exhibition with the symbolic title "Believe!". The exhibition was attended by almost all artists are active on the Moscow stage of modern art. Exhibition "Believe!" Has become the largest group exhibition of recent years in Moscow. Each of its participants, indeed, witnessed his personal loyalty to encroachments of the Russian Orthodox Church in the role of public censor on contemporary art.

-How to relate to the issue of prosecution of artists in Russia, those artists who participated in the exhibition "Russian counterpoint?
-The exhibition of contemporary Russian artists of all generations. Then there are "real classics, international stars, who live in New York (Ilya and Emilia Kabakov, Vitaly Komar and Alexander Melamid) and Paris (Eric Bulatov), and most young artists, while living in Moscow (for example, Diana Machulina) . In fact, this exhibition - a microcosm of the entire Russian artistic community. Of course, determining in this plot are the voice and position of the "classics" - their important contribution to the art of no one being called somneniyae, they belong to the world's artistic elite, and thanks to his connections and position can be done.
But these "opinion leaders" only Vitaly Komar joined a group of artists protesting the ban on export of my work. Other "Classics" have not made any public statements, completely ignoring caused by the Russian government censorship conflict.
Such a reaction on their part to the acute problems of the Russian stage shows ever.
Several years ago Russia was the world's largest retrospective of Ilya and Emilia Kabakov. This exhibition took three most significant area of Moscow. Its main part was held in the center of modern art "garage", owned by Russian oligarch Roman Abramovich. At the exhibition Kabakov in Moscow for the first time brought together the most influential international artists, critics, curators and collectors.
A parallel to the preparation and passage of this ambitious exhibition in the same city was turning the loudest process for the article on fomenting sectarian strife - the trial of the curators of the exhibition "Forbidden Art" by Andrei Erofeev and Yuri Samodurov. In this exhibition, among other works by famous Russian artists, was presented and the work of Ilya Kabakov. She was listed in the criminal case.
Having a lot of opportunities to influence the situation, to draw attention to it the world's real actions - for example, refuse to show or even move it a few days, Ilya Kabakov, is limited to 10-minute speech at the press conference.
Another classic - Erik Bulatov - during his big retrospective at the main National Gallery of Russia - the State Tretyakov Gallery - allowed himself a few interviews to the press to criticize the exhibition Erofeev and Samodurov.

In the same exhibition was attended by Erofeev works of famous authors of Sots Art - Mikhail Roginsky, who died a classic, the forerunner of Russian pop art and social art, as well - Alexander Kosolapov Vagrich Bakhchanian, Mikhail Roshal. All of this - close friends and colleagues in the social-art leadership in this direction Komar and Melamid. But no public action, or at least statements on their part to protect the curator of the exhibition has not been noticed.
But immediately after the opening of criminal proceedings curator Andrei Erofeev really hurt - he was dismissed from his post as head of the latest trends Otlelom Tretyakov Gallery. And this despite the fact that virtually the entire collection of contemporary art, now located in the largest Russian Museum (except for the first avant-garde and Socialist Realism) was collected just Erofeev. This summer, Andrei Erofeev and Yuri Samodurov were convicted. Their last an appeal rejected by a Moscow court in April oktyabryayu Ie sentence has come into force on 9 days ago. On this too is no reaction from the "classics" do not.

Special cynicism of the situation is that the success of the "Moscow Conceptualism and Sots-Art in the West due to the fact that these artists were seen here as political. Critics have certainly noted that the victims of totalitarianism, Russian artists are very deep and subtle work in the field of art and political analysis and deconstruction of the Soviet ideology. In wider circles of the Western public, these artists are known simply as anti-Soviet dissidents and freedom fighters.
People with such a reputation does not have the right not to see or do not pay attention to what is happening in Russia. Their liberal position "fighters against totalitarianism" long is more than disingenuous. In Russia today, artists condemned by much more than during the 60-80's, when our classics fought for freedom. And for ordinary citizens freedom was significantly less than it was in the Soviet Union, which they so hated.

"Why, in my opinion, did not support me until the end of seven artists - participants of the exhibition?
-As for the boycott of Seven, their solidarity with me over as soon as I started talking about Mavromatti. It is generally understood. The problem of censorship faced by virtually all artists living in Russia. But the issue of criminal prosecution, they are still perceived as something to do with them. Now, when the problem with censoring this show is allowed, it becomes clear that a much greater extent they are in solidarity with the status "classics", the Louvre and the directorate general of the international art elite. Own progress toward this world "system of elites" excites them is incomparably greater than what is really happening with art in Russia, not to mention the specific fate of artists who have been thrown out of religious fans not only of Russian art system, but also Russia itself . These artists are known for their intellectualism suddenly begin to make such as would be naive comments - say, that sympathy Mavromatti; promise to speak in support of him at a press conference and to write letters to the court, expressing confidence that with Mavromatti nothing bad will happen, because

[SergeiSK]

Today's "Kommersant":
Since the Louvre is no exhibition space for contemporary art, temporary exhibitions every time implanting in the permanent exhibition. Russian art identified in the medieval ditch, which runs around one of the towers. Vadim Zakharov, projected on a stone wall videoispoved freezing in the snow contemporary artist ("The End"), and Igor Makarevich, Elena Elagina turned it into a neon ray, to rush dozens of pairs of worn shoes ("irrational forces unknown"). Fortress made a part of its installation and Alexei Kallima, hiding it behind a massive shield, on which work is still mounted an exhibition ("Excuse us, please, but for technical reasons, delayed exposure). Layouts and designs of Ilya and Emilia Kabakov (Vertical - Opera "," Springboard for Icarus, "" The five stages of life ") is perfectly located around a small tower, just repeating their own sketch of the" Design for a tower. " But "Suprematist Saturday" "Blue Noses," "Poetry" Vinogradov and Dubossary, canvas "Black night white snow" by Eric Bulatov and finally "radically abstract art" Avdei Ter-Oganyan allocated a small room.

At the official opening of the press did not appear any statement, the Minister of Culture of France Frederic Mitterrand, and any Louvre director Henri Luarett . Curator Marie-Laure Bernadac preferred to limit the general words about the artistic value of the works, and the Director of the NCCA Michael Mindlin tried to avoid saying too much even in the acknowledgments. At the request of the "Y" comment on the ban of export of works of Ter-Oganyan Ms. Bernadac said: "The position of the Louvre from the outset was clear: no pictures - not the exposure. The Ministry signed a contract with a list of all the works, so they had to come Whatever the political reason. " Politically motivated to delay paintings Ter-Oganyan in a conversation with Kommersant rejected Mr. Mindlin, outlining a new version of what is happening: "The problem with any Rosokhrankultura, nor with the Ministry of Culture was not. Censorship was not. It's not a conflict of artists with the authorities, this situation is artificial, provoked and inflated Marat Gelman because of his personal ambition and personal business interests. " Sam Gelman commented, "b" is: "My only ambition and my only interest in this story was that censorship was canceled and that we should not be ashamed for our country, which made such stupid things."

Came to the exhibition, as he kept repeating, "their own money" from Prague Avdyei Ter-Oganyan gave a vivid performance. Straight in a dungeon surrounded by reporters, he did not hesitate in expressions, swore to was worth and the Louvre, and fellow artists, and Russian corruption, and even Roman Abramovich, demanded withdrawal of their work and fought for the fate of the artist Oleg Mavromatti that just as he is being persecuted in Russia for inciting religious hatred. " "This exhibition is about how a Russian art in Russia is zae ... camping supposedly exhibited in the Louvre, but it is still in the Kremlin, My colleague passed, I will not be supported. They are more in agreement with Kabakov and the international establishment than with the artists as I Mavromatti that behind ...".
Artists held by Ter-Oganyan aside. "At the initiative of Yuri Albert, we all, Leiderman, Makarevich and Elagina, Monastic, Machulina, Komar and I - explained to Kommersant Vadim Zakharov - supported Avdei. It was a reaction to the ban, which is unacceptable to us. But then the situation has become a funnel, which got a lot of questions that require a separate decision and should not be confused with an exhibition at the Louvre. Avdyei fled ahead of the engine, the claimant, he made statements without consulting with us, all lumped together, which has acquired galereynymi intrigue, and this was very unpleasant. "

Compared with the spring's beautiful and ambitious "Holy Russia," the first art event in the Year of France and Russia, this autumn exhibition, of course, looks modest. More surprising that talk of "Counterpoint" was almost more. as it may be treated with the history of prohibition and permission, it must be admitted that the painter Ter-Oganyan eventually defeated and our timid and slow-moving bureaucracy, cultural, and artistic community, turning a group exhibition in personal performance. A useful lesson for them and for us.
Maria Sidelnikov
The newspaper Kommersant »№ 192 (4492) on 15.10.2010
Normally zapiarilsya. After several years of him as an artist, no one will remember. Therefore it is necessary to break everything today.

[Кирилл Сызранский]

Сообщение от "SergeiSK

A few years later he, as an artist, no one will remember.

After "several" is a much, sorry?

[Евгений]

on October 14 at the Louvre exhibition "Counterpoint. Russian art from icons to avant-garde. " During the 20 days before the scandal broke, the center of which were works from the series "The radical abstraction" Avdei Ter-Oganyan, which the Russian side at first did not want to let out of the country for exhibition in Paris. As the scandal became involved, and the exhibition curator Marie-Laure Bernadac from the Louvre, and the Ministry of Culture of Russia, and gallerist Marat Gelman, and other artists. Although the conflict was resolved seemingly well - the exhibition opened at full strength, the scandal continues.
 
Вложение 1013351
Artist Avdyei Ter-Oganyan at the opening ceremony Counterpoint in the Louvre. PHOTOS: Maria Sidelnikov

  And how could there not be a scandal? Put yourself in the place of an official from the Ministry of Culture, or even a department responsible for Cultural Relations with Foreign Countries. You got the budget for the year of Russian culture - France and trying my best not to hit the dirt, to submit our homeland to foreigners at its best: there are performances, and dolls in the Grand Palais, and the beauty of "Holy Russia" in the Louvre, which was taken almost all national treasures. But the other side wants more of something fresh, modern and progressive. Brewing exhibition of the top Russian (no matter that half had already been living not in Russia), artists, and not just anywhere, but all the same the Louvre, which his then-new artists do not often lets the threshold. Excellent! And now French kuratorsha sends the list of participants, and in it - oh, horror! - Name prosecuted in a criminal case for "inciting" the character of a political refugee. Somehow wrong turns: in Russia such condemnation, the patriarch himself against such art, and we did an exhibition at the Louvre? Well, to hell with it, thinks an official, we have a country tolerant, democratic and want so wish, any dissident can always find something lyrical. But no, ask to see such that even the language does not turn again - this picture is called for encroachment on the life of a statesman VV ... "- he was that fun? No profane power for the state account, we will not allow. In Paris flies the electronic dispatch - Find other works by the same author, if you are so dear. The French stand on its: we want these, "political." Urgently convene the council - what to do? And ask them to print the prints themselves with these works on the spot advice of experienced nobleman, and the French will be happy, and you sort of do with it, no signatures to paper on export do not leave. (Just so came in 2007 when there was a similar scandal with an exhibition of Sots-Art in Paris.)
Вложение 1013361
  While all this was ground, reporters already raznyuhali scandal, waiting for comments. This unknown bureaucrat decides to honestly tell the press what is happening and how the ministry is struggling with sedition. Case trust the director of state art institution, which hastened to declare that the disputed works really someone "insulting" and therefore can not carry in Paris. The art community is shocked by the "Judas" (as these works he himself, and presented in its institutions a few years ago - as deserving State Prize!). But understand, and it - the ministry has promised to build on the base of the institution the museum of modern art, and this is due to the rowdy one can fail is important for all business.
  Culprit commotion among those written an open letter to the curator of the Louvre, where he staged an ultimatum - no prints, down with hypocrisy, and otherwise - the boycott. Then he thought, and added: demand more and solve the problem with my friend and colleague, who had fled from Russia, from the same "razzhigatelnoy" article and found themselves without a passport and status. This poor guy went so far as he was ready to inflict self-destructive performance is a live internet, but would not return to their homeland, where he almost certainly will be planted, and then crucify a share of almost a decade ago, where he had himself crucified on a cross. Initially, boycott the exhibition in Paris were ready to support some of its members - how is it violated the sacred right of the artist's exhibit! But then they somehow snikli - it became apparent that their friend needs is almost impossible: issuance of passports is not within the competence of the Ministry of Culture and the more the Louvre, and we, the artists are not political, why should be held hostage to this story?
 Meanwhile, apparently unknown to the official hinted that actually censorship in our country there is no need to somehow come out of the situation - why give more reason to ill-wishers from behind a hill to say that in Russia, the persecution of artists, we have not in 1974 and bulldozed nobody pressed. The French hesitated, too, made a statement that all or nothing. And here is a new official version of what happened.
 Minister of Culture announced that it was all just a misunderstanding, and the noise picked up someone who is interested in, that together with the noise and raise prices for the work. Peak was sent to a member of the Public Chamber, a regional director of the fashion museum, which trains the theses of the new cultural policy and is ready to implement it together with the party "United Russia", but the old merit computed gallerists. Indeed, the scandal created works belong to them, along with Sen. edge fund from which purchases are made in a fashion museum and other regional museums. Although the accusations against the Minister for such an ambitious person sound like a convincing - rather gallerist would be interested in that scandalous exhibits still got to the Louvre, we assume the Minister of rights. But if you follow his logic, the mercantile interests and pursue those who file a lawsuit against the artists, curators and art (criminal cases "to foment" have far greater resonance than a simple ban), and those who render their convictions. So that is why all this is necessary: statements by the prosecutor - the best way to raise the Russian art in the world market!
Вложение 1013371
Erik Bulatov.Freedom. 1992. Oil on canvas. 155h295. Collection Olivier et Bertrand Lorquin © Adagp, Paris 2009
This picture became the official emblem of the exhibition Counterpoint

Читать дальше... 

 In any case, cultural superiors time to somehow decide who place in the Louvre, and to whom - on the benches. Or, say, Ilya Kabakov - the star and our cultural heritage (which makes it in the Louvre). Or is he - the creator of extremist works (if you believe Roskomnadzora, pronounced the "ArtChronika" warning for the publication of works from the criminal case about the exhibition "Forbidden Art" as an extremist, which featured him and, Ilya Kabakov Iosifovicha, work). But it can not be both, both. Here Avdyei Ter-Oganyan made my choice. He prefers to be a political refugee - and asked to remove their works from the Louvre to the state of the Russian exhibition.
  WORD & Cases
  24.09.2010
Mikhail Mindlin,
Director, National Centre for Contemporary Art, Moscow:
- We submitted a list of products ... in Rosokhrankultura for clearance work on export from Russia, and representatives of service notice ... in the texts of works of Ter-Oganyan, citing concerns about the unpredictable consequences of exhibiting these works in the Louvre. Works were unfriendly, provocative nature. It is not only insulting to Russian authorities, but there still was work to incite sectarian strife: there was an abstract image of a green background, and it can be read as a negative statement against Islam.
  26.09.2010
Gelman,
Museum Director PERMM:
- The seven artists who were to take part in the exhibition along with Ter-Oganyan, in protest against the exclusion of his works refuse to participate in the "Counterpoint". This is Yuri Albert, Andrew Monastery, Igor Makarevich, Vitaly Komar, Vadim Zakharov, Yuri Leiderman, Valery Koshlyakov.
  27.09.2010
Avdyei Ter-Oganyan,
Artist:
- Yesterday, I learned that my works are not allowed to leave Russia. And then he got the e-mail from a gallery Gelman with a proposal to print in Paris and put other works from this series ... a long time without thinking, I agreed. ... Today the whole day thinking about it. And he came to the conclusion that somehow all-too-cleverly leaves. I had a great pro-PR in the press and now I can safely remove the cream. <...> The last time I am in constant telephone contact with Oleg Mavromatti, who is now a Russian passport was not extended to Bulgaria and threatened extradition to Russia. The situation there is very serious. I thought about what really turns ugly. My situation is similar to the situation of Mauritius. But if my work can be left in Moscow and print new ones in Paris, then print the new Mavromatti in New York, placing the old prison, just can not. In short, I decided to demand that my works have been brought from Moscow. And to produce the second requirement - to extend the Russian passport Oleg Mavromatti ... Without meeting these quite realistic, in my opinion, the requirements, I refuse to participate in the exhibition.
  27.09.2010
Gelman:
- Call Nicolas Shibaev, who directs a project Year of Russia in France. Promised within days to resolve the issue with sending work to the Louvre. I think that will fulfill the promise.
  28.09.2010
Andrew Monastery,
Artist:
- I supported Levon Ter-Oganyan, but only the first stage of the conflict. Now, when Avdyei made demands that go beyond the history of the exhibition, I can not support him, believing that his colleagues Ter-Oganyan can now become a "hostage situation".
  29.09.2010
Michael Mindlin:
- The exhibition curator Marie-Laure Bernadac asked the NCCA to provide other work Avdei Ter-Oganyan to replace those that have been banned.
  29.09.2010
Andrei Gagarin,
Deputy Minister of Culture of Russia:
- These works are abstract images with captions that can be interpreted as appeals to violent change of the constitutional order, incitement to ethnic and religious strife.
  30.09.2010
Press Service of the Louvre:
- The Louvre familiar with the decision of Russian authorities to ban the shipment to France of the works. Currently, we assess possible reactions to this decision.
  01.10.2010
Alexander Kibovsky,
Head Rosokhrankultura:
- There is no ban on the export of works of Ter-Oganyan no overlap. The legislation does not contain any obstacles to the export of these or any other works by contemporary artists.
  01.10.2010
Gelman:
- Work is already on his way to the Louvre. All the formalities are met. Avdyei may withdraw or not withdraw that portion of their claims that the Louvre can not do (to issue a passport), Marie-Laure can hear or not hear Avdeev, as now formally sewn-open. No censorship, all the contracts on hand.
  03.10.2010
Alexander Avdeev,
Culture Minister:
- There was no problem. Rather than deal with the rules of the export exhibition, were engaged in the content of these paintings are those who are interested in twisting their prices.
  03.10.2010
Gelman:
- With the French side, I managed to convince the Ministry of Culture of Russia, that it lifted the censorship.
  08.10.2010
Official website of the Ministry of Culture:
- Press Center Russian Ministry of Culture announced that on Oct. 7, 2010 Rosokhrankultura issued "export certificate from the Russian Federation (MK number 00077862)" four works by the artist Avdei Ter-Oganyan to participate in the exhibition "Counterpoint: contemporary Russian art."
  14.10.2010
The exhibition opened at the Louvre, the works Avdei Ter-Oganyan took their place in the exhibition. The artist needs to remove them.
   on materials of news agencies, the media and blogs Marat Gelman and Avdei Ter-Oganyan
http://www.artchronika.ru/item.asp?id=2159

[Fed]

Funny cabal involving the Louvre
October 4, 2010 Helen Tokarev

It is widely known that the so-called contemporary art, which is manufactured in Russia, has the same relation to cultural values, as plastic chairs Baturina and her own bowl. That is, it is possible, and the facts of culture, but certainly not the value of art. Because the art in them - zero.

Why do all these conceptualists ryadyatsya in clothing art? Then, in the modern world so it is accepted: the commercial interests of camouflage for social values and political provocations exhibit as art. Then the art is holy, and it can not hurt. Under this sauce you can smuggle into the world of all propaganda. But the main thing - it profitable to sell.

Modern art - it's commerce, spiced with sharp political sauce. Without the sauce from the policy it can hardly be consumed as completely helpless in the aesthetic sense. Is targeted for Russian art commerce to a foreigner who has a lot of money and who is afraid of "scary ryusski KGB."

Therefore, the provenance of each "a plastic basin, which is presented as art, must be flawless, scandalous, dirty-dirty. To a happy foreigner who bought this revolutionary artifact could proudly tell your guests what booty he brought in his collection, as this production is not long released from the clutches of the terrible Russian. In short, that all may believe that a rich idiot lucky enough.

It's very sad when such wiring is involved dirty state.

Now we just litsezreem such wiring. In Paris on Oct. 14 will open the exhibition "Counterpoint," which must be presented contemporary Russian art and its "best representatives". The event will be the Year of Russia in France and is funded by our state out of our pockets.

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The event is purely political in nature. No serious issues of art it can not be solved. Everybody knows it, and, above all, those conceptual artist who are selected to represent Russia for foreigners, the West. One of them, Ter-Oganyan, cynically wrote about this in his open letter, suggesting to blackmail the Russian authorities in connection with this exhibition. Ter-Ohanyan need to be shut against him criminal case for inciting religious hatred. In the year 2000 this conceptualist chopping ax icon to become famous. Since then, living in Prague. Rather poor.

The main beneficiary of the French event will be a brilliant political strategist, Marat Gelman, who in Russia has to be the main curator of contemporary art. Since then, both from the exiled head of the Tretyakov Gallery of Modern Art direction by Andrei Erofeev and sent him on trial, only Marat Gelman, who can hide behind others' backs, and is the mainstay of this business.

Gelman few years ago he bought on the cheap as it works with their buddies, contemporary artists who have signed the picture takes up more space than the image itself. Because no signature to understand what the artist wanted to say - impossible. He bought it, a clear pepper, not to hang in his living room. And to sell a wealthy boor.

And so, on the taxpayers' money the Ministry of Culture pretend that we have a modern, upscale politicized art. Which is not afraid of anything and cut the truth-the uterus. Naturally, Marat Gelman, who has long trades in this market and is the holder of the shares - in the forefront, he puts on display is a thing which is bought. Chief tsimes covered in canvas Avdei Ter-Oganyan, known to the public the fact of felling ax icons and participation in anti-religious trade fairs. At this time Avdyei daubed red box in the corner of which an oblique black line. Signed under the blanket reads: "This painting is called for encroachment on the life of a statesman, VV Putin to end his public and political activities. "

Preparations for the scandal conducted.

Now the main thing - it arranged.

French media suggest that the French curator of the Louvre, the director of the Louvre Museum of Modern Art, Marie-Laure Bernadac personally selected canvas titled "This painting is called for encroachment on the life of a statesman, VV Putin to end his public and political activities "in Moscow for an exhibition in Paris and was very insistent on painting Ter-Oganyan. It is said that her aunt does not know Russian and do not understand what is written under the so-called picture of Ter-Oganyan, but "the boy she likes." She liked the Ter-Ohanian. He is such a fighter against tyranny!

But why is this spotting? Have we not in Russia talented artists who just live in Russia and Russia? Yes there is, of course, but they are also realists and therefore do not need anyone. Do not fit into the concept. At this dirty market steers is not art, and curators. They point out that writing and how to write an artist. They have long proclaimed that "Shishkin - it's bad, and Ilya Kabakov - is ochch Karash-ry!"

So, the conceptual picture of the Ter-Oganyan - scandalous underpainting, which is valuable facilitators "Russian Art" only antiputinizmom, Ministry of Culture did not want to let the Louvre. Artist sewed "razzhigalku, like us, it is found. And Ter-Ohanian was ready to provide the Louvre some other works, but ...

September 29 deputy culture minister Andrei Gagarin gave Interfax official comments about why the artist Avdei Ter-Oganyan a series of "radical abstraction, which are abstract images with captions, will not be released Ministry of Culture and Rosohrankultroy from Russia. He bluntly said that the pictures can be found appeals to ethnic and religious hatred, and incitement to violence.

The reason, of course, was found tupeyshaya!

Instead of saying that this is simply not an art, an official zadubelo confirmed that this is extremism.

For which he received on the tinsel.

That is figurant became a scandal that so thirsty Marat Gelman, to make the provenance (history) to its collection. Without provenance daub is not going on the market.

One Russian official from the culture we have suggested: "The curator was not going to show such provocative work, it was interested in Ter-Ohanian as a figure. It just did not understand the lyrics, because I do not know Russian."

What is there to argue? If a lady interested in a man, let him be to invite him to tea! Why pollute the Louvre?

But the provocation failed.

Uniform hysteria in the media gave protalkivatel whole daub Marat Gelman, a member of the Public Chamber. Because he is the owner of all this "painting". Gelman said in his diary about the upcoming boycott of the exhibition at the Louvre. To scare to death, and so cowardly officials from the Ministry of Culture. Four revolutionary painter of this company, nauskannye Gelman, refused to go to the Louvre to the exhibition, if there does not tolerate illegal working.

Ter-Oganyan, who lives in Prague and Russia does not go by the prosecution, wrote an open letter to his comrades in the shop:

"It seems to me that the Louvre - it is a good lever. If the eight press in Paris, Ministry of Culture can be shaken so moved. We are constantly confronted with similar problems when it's too late - when Erofeev already tried, but Mavromatii already was illegal. I know it myself. And we always put the understated "realistic" problem. And when it becomes "normal", we quickly forget about it.

In this exhibition at the Louvre does not solve any serious issues of art. It is simply a demonstration of how everything is great with modern art. Actually, it is strongly wants to refute. I think that a boycott of the exhibition - is a case to be adequately perceived and artists, and the general public in Russia. We can demonstrate their attitude to the whole of the monstrous garbage that is happening here. It would be very nice if you support me, even after this psevdorazresheniya conflict. Of course, I understand what his gesture force you to new reactions. But nothing, in fact, has changed. "

As the Russian Ministry of Propaganda Ministry of Culture as well bezdaren, like its predecessor - the Soviet Ministry of Culture.

But Gelman as a trader with a cloth, almost a genius. Sometimes it seems to me that he Surkov brilliant in terms of provocation. He wrote in his blog: "Yuri Albert, Monastic, Makarevich and Vitaly Komar - refuse to participate in an exhibition at the Louvre without Avdei Ter-Ohanian."

Of course, no political idea, nor art would suffer heavy losses in connection with this refusal. But it seems that Marat Gelman is on that field is not one: it helps the Ministry of Culture, pretending to be a hindrance. Political technology piece is played without a hitch.

For their loot to be fought. Even at the cost of reputation lyubimenkogo Prime Minister Putin! That's really on anyone cares!

An official from Rosokhrankultura admitted that wacky works selected inadequate kuratorshey from the Louvre, in fact, no one was going to hold in Moscow. This Gelman gave the provocation, in its spirit to raise interest in this stuff:

"These works are in private ownership, and taking place around them the noise is well within the spread in the contemporary art market technology to improve the commercial attractiveness of work," - said the head of Rosokhrankultura Alexander Kibovsky .- He also added that for export may be banned valuable works of art and not that ... shorter, but Mr..

But it was mobilized, "the progressive public, various loudmouths from LJ, who wrote the ridiculous cheap agitation like this:

"It turns out that the ban by the FSB to show pictures of a large Russian master was summoned to the canvas, on which a red background shows a black rectangle, which is below the white dot.

Linen is provided with the following arhikramolnoy (for the conditions of tyranny KGB in Russia), inscription:

"This painting is called for encroachment on the life of a statesman, VV Putin to end his public and political activities. "
Lovers of contemporary art and nelyubiteli executioner Putin may also view photos pictures on the website of the Moscow galereyschika Gelmana.Ostalnye three paintings KGB banned "for blezira, only for the public to not focus on the appeal to the popular master of broad masses Russia dunk finally , in the outhouse Vovka Putin.

Paris Louvre Museum, where Chekist Russia intended to hold his exhibition, expressed the Agence France-Presse "confusion" flagrant assault on the Russian FSB creative freedom and freedom of speech in Russia.

Since all of the exhibits on display were the emerging pre-approved and specified the French and Russian sides at the state level, the arbitrariness of Russian KGB gives grounds to deny the French side of the Russian side in the exhibition of the French capital, which opened KGB planned for Oct. 14.

Widespread protests of French intellectual elite against the suppression of artistic freedom in Russia will strengthen the French side in this decision. "

Here's a gee-gee.

"The boycott of the exhibition will emphasize the absurd conflict between art and power. To do this, and were created by my work, and they illustrate the idiocy of idiots ", quoted by Le Monde of Paris Inspired by the success Avdei Ter-Oganyan. His open letters Ter-Oganyan recognizes that the artistic value of his works - no. It makes no sense to take out in Paris - they can pass on email. A whole scandal personally it was started, unlike Marat Gelman, in order to extend the Russian passport the same as he outcast - Mavromati artist, who had fled from prosecution for anti-religious propaganda, as many as in Bulgaria.

So, for the Ter-Oganyan importantly - it otbrehatsya himself and repel one another Oleg Mavromati from persecution by Russian authorities. For Gelman importantly - take the picture in France and sell the most expensive in the wake of the scandal. And then Ter-Ohanian shows weakness: "I did not give Marat Gelman no written permission for participation of these works in the exhibition, and despite the fact that Gelman is the owner, the Louvre does not have the right to exhibit them without my permission" - wrote a conceptualist, showing that he is prepared to donate an exhibition at the Louvre, just to get rid of the prosecution authorities and attract the attention of world public opinion. " These are long-term interests of Ter-Oganyan. After break in Prague, as well as in Paris, it is very difficult. There are many good artists.

That's really it does not coincide with the short-term commercial interests Marat Gelman!

As a result of all this rat race is another Paris newspaper Liberation, in an article entitled "Russia does not want to send pictures to the Louvre, aimed at Putin, pointed out that the repressive regime of Putin in Russia, an increasingly tougher.

Now Avdyei Ter-Oganyan in Paris known as a persecuted person. Le Monde recalled that Ter-Oganyan forced to live in exile in Prague, already in 2000 because of religious persecution, collapsed on him by Putin's FSB on a tip from her religious FSB-ROC, after he was in a public place cut the number of its own icons.

Here it is, the modern art "plastic basins.

This scandal could go to Russia on the front pages if it had not happened now - with the removal from office of Moscow Mayor Yuri Luzhkov.

Newspapers and television have switched to Luzhkov, and a funny story with a funny and silly Louvre curators relegated to the third plan.

This means that less money will earn Gelman ...

[Кирилл Сызранский]

Main tsimes covered in canvas Avdei Ter-Oganyan, known to the public the fact of felling ax icons and participation in anti-religious trade fairs. At this time Avdyei daubed red box in the corner of which an oblique black line. Signed under the blanket reads: "This painting is called for encroachment on the life of a statesman, VV Putin to end his public and political activity ».

Voobscheto on the show were presented printed versions - 4 in a series of "radical abstraction."
There, in that article, so much nonsense been written a frank, the question arises, why are you Mr. **** is located here, as ever with the lack of participation /involvement of works by this author can be found in his LJ.

[Seriy]

annoying PR.
No one except the participants PR campaign, the issue is not interested.

[fabosch]

Article - perfect example of a vulgar, vulgar journalism