The anti-war art, or current artists

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Another work

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Ironically, the Soviet Apt-Art struggled with socialism, but in the West, like apt-art or underground struggles against capitalism and imperialism.

                                APT-ART
Write, however, as necessary: and the Apt-Art, and Apt-Art, and APT-ART, and even the APT-ART.
According to witnesses, these things controversial combination of letters (one of many ironic paraphrase of the English terms, popular in Russian artistic underground) emerged in 1982 in a conversation, Mikhail Roshal, Nikita Alexeev and Sven Gundlaha and comes from the merger of English words: "apartment", "apt. " - Apartment, "art", of course - the art; respectively "Apt-Art" - a "private art". Rather, the arts, adapted to apartment exhibitions, often even produce it with the expectation of such, and only this way of exposure: in the early and mid-eighties (renaissance APTART) informal artists for obvious reasons could not count on any other exhibition spaces.

The name "APTART" wore a gallery, located in the apartment of Nikita Alexeev, also known as the first exhibition. Later the term acquired a broader meaning, as the name of a separate stream of Moscow Conceptualism. In the absence of any one style, participants APTART combined, as I (and by almost twenty years later) it seems particularly ironic attitude toward art and spirit - not the heroic frivolity, not something frivolous heroism. Conceptualism APTART - it was a "frivolous" is not burdened with the philosophy of the game conceptualism.

Apartment exhibitions "unofficial" artists, and arranged to APTART, nothing fundamentally new in this method of exposure there. But it is apartment Gallery Nikita Alexeev from the beginning was not just a "free hut, where you can" hang a picture, "and a" power spot "for the artistic underground of the first half of the eighties. APTART - this creative environment, generate new ideas and the transformation of old and kind of elite club of like-minded, and "expert advice" - a unique, incidentally. That is APTART replaced its participants a normal artistic process. All that was done under APTART, and was the artistic process.

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And to do, I should say a lot of things differently.

Exhibited in the gallery APTART Abalakova & Zhigalov, Nikita Alexeev, Yuri Albert, Vadim Zakharov, Amanita (and jointly and severally), Andrei Filippov ... No, this is not the case, the list is too long will turn out. It is important here is that: it usually was not just the exhibition (ie, not just hanging paintings on the walls), and, as one would say now, "projects". That is declared theme of the exhibition and the participants especially for this occasion did the work.

For some reason I sunk into the soul APTARTovskaya idea of "zero waste art: ie works for this exhibition suggested that you make from waste: trimming the canvas, pieces of paper, empty tubes from under the paint - what else are waste of artistic production? - All this was to be the material for new art objects. And after the exhibition I was not, do not even know she was held or not - but as a memory etched! Because of the desperate youth poverty must.

And for the talented provincials exhibition at the apartment of Nikita Alexeev (sort of baptism APTART) often becomes a kind of a pass in the "contemporary art". The "art" that is. At least, later famous Odessa (Sergei Anufriyev, Yuri Leiderman, Peppers, Larissa Rezun-Zvezdochetova) entered into the history of modern art through these gates. The exhibition, incidentally, was entitled: "Moscow - Odessa.

The communion of Odessa to APTART, among other things, led to the fact that in Odessa (now in the mid-eighties) broke a real epidemic apartment exhibitions. As a witness can testify with regret that the cultural phenomenon similar APTART, for obvious reasons did not happen. But here's the spirit APTARTovsky, heroic frivolous, caught on for many years that, in general, more than compensated for the lack of a full-fledged artistic process, and bright prospects.

As far as the movement itself APTART, then in 1992 (the classic "ten years later) it has acquired a new impetus when the program Apt-Art International Slovenian group of artists IRWIN conducted in Moscow project NSK Embassy. The project marks the beginning of a new creative phase and themselves, "Irwin" and for the whole galaxy of friends with them during the joint work of Moscow artists: Vadim Fishkin, Yuri Leiderman, Anatoly Osmolovsky, Dmitry Gutova, Oleg Kulik.

If the program Apt-Art International has been a conscious attempt to revive the spirit of brotherhood APTARTovskogo should mention another interesting precedent: a return to APTARTovskomu method of exhibiting works. The author of these lines happened to be one of the organizers of the exhibition "The House of Art", held in Moscow in autumn 1999 in the premises of the hostel students of the Literary Institute. Seeing the result of the invasion of objects of contemporary art in the deformed long-term human presence of the space of residential interiors, I was able not only to indulge in sentimental reminiscences of apartment exhibitions (similarity was really quite large), but also to appreciate some of the obvious advantages of "Apt-Artovskogo" approach to organization exhibition space.

Placement of works by contemporary artists in the living room creates an amazing (for Russia - so easy phantasmagoric) the illusion of social relevance and appropriateness. It is curious that, as the hanging of gradually changing perceptions of residents themselves: as strange and incomprehensible ", in their view, the objects and paintings became an organic part of the usual interior apprehension gave way to curiosity, lack of understanding - a willingness to accept the rules while a strange game. Many of them have since become regular visitors to exhibitions of contemporary art, which in itself - a wonderful and highly optimistic fact.


The author of the article: Max FREY

[Fed]

Сообщение от Posav

An introduction to the Odessa APTART, among other things, has resulted in Odessa (now in the mid-eighties), this epidemic has broken out of apartment exhibitions. As a witness can testify with regret that the cultural phenomenon similar APTART, for obvious reasons could not

Thanks, of course Moscow for the "development" "provincials, though had been in 2 cities in the 70's and 80's could argue about the location of the province (to the great money-boom).

   But in general has become a historical site that in Odessa, "a special activity came in the 1974-75 years. At the same time the exhibition came at the apartment of Vladimir Asriev, Alexandra and Rita Anufrieva, Victor and Ludmila Marinyuka Hawk, collectors Zlotina Vladimir and Victor Salnikov, athlete Evgeniy Suslov and artists Victor and Valentina Risovicha Khrushchev.
At the home of Alexander Anufrieva, enthusiastic Van Gogh and Cezanne, Futurists, gathered his supporters, rallied in the informal group, which Luda hawk gave its name - "Nonkoformisty. Of course, the ringleader in this company was a couple of Shura and Rita Anufriev! Without their activity, energy, charm, hardly would have been a group of fellow artists, which we now call the core of the Odessa School 60-x-70-ies. "Sergei Knyazev," ODESSA APT-ART: THE HISTORY OF THE PHENOMENON.

This article details the history of Odessa "Apt-art, long before the 80's. While Stepin and Martynchik born after the beginning of the movement "apartment exhibitions", but then read the primary sources is necessary. And then will think that the history of the movement began in 1982., But still had a strange podangliyskoe sound, but not a specific for-Sovdepiia "apartment exhibitions".

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... Nick Bygon

[Posav]

work of the author George Maciunas (Jurgis Mačiunas), movement Fluxus

Of Eng. fluxus, flux - flow, flow, motion - the direction in art 60, which brought together a group of artists from Europe and the United States to abandon their traditional art forms. Participants performed flaksusa happenings, performances, engaged in video art, avant-garde poetry, and worked in the aesthetics of the "thing", "object". The movement's leader - a friend and colleague George Machyunas Cage, among the participants - Yoko Ono and others Flaksus combined aesthetic principles of Dada, pop art, happenings specifics, used the technique of collage and random factor. Cage and Korean musician, conceptualist We Yoon Pike were the figures of the first magnitude in the development of a conceptual music (Cage) and video installations (Pike). In flaksuse a work of art does not understand the result of creative activity, but a process, concept, idea.

Fluxus - (English Flux - flow, flow, constant change, constant motion) art movement, which appeared in 1950, took shape in the early 60's and came into disrepair by 1969. Founder - George Makkinas (New York, the mind. 1978). The projects the movement originally was a representation of domestic, everyday acts and ordinary objects in an artistic and aesthetic environment in order to change and broaden their perception of (simple and whimsical, harmful, bizarre sense of humor). Organized in Europe, several festivals and concerts (among participants artist Wolf Fostell, etc.).
Fluxus (Lat. fluxus - flow, stream) - the international avant-garde movement that emerged in the early 1950's. in the U.S. and took shape in 1962 at the initiative of the West German artist Joseph Beuys. The purpose of Fluxus - merge into one "stream" of different ways of artistic expression and communication: a concrete and electronic music, visual poetry, movement, symbolic gestures. The basic principle - absolute spontaneity, randomness, the rejection of any restriction, which was achieved by such forms as happening, dekollazh, various street actions and representations, antitheater. Fluxus festivals were held in Paris, Amsterdam, Copenhagen, London and New York. In the Fluxus movement participated Wolf Fostel Matsyunas George, Robert Filho, George Brecht, Ben Rub, Yoko Ono, Henry Flynt, Robert Watts.

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"F" - one of the most amusing letters of our alphabet. In addition to the ceremonial flag drily factual and depressive lantern, we have a ficus, hocus-pocus, fildepers, phlox, Frou-Frou, Mr. Fix ... George Makkinas clearly not lost by going for a new art course, the essence of which - the game is a joke, a funny and complicated name "Fluxus." It is hard to imagine a more appropriate (and not a non-binding) name for one of the most hopelessly ironic, absurd, and at the same time meaningful trends in the art of the second half of the century. Flux (English) - current, flux, constant change, constant motion. This term defines the relation of genius artists of this school for the arts, to his subjects, objects, and personal creations, one of which is their own lives.

Usually defined as the Fluxus art movement, which appeared in the 50's, took shape in the early 60's and came into disrepair by 1969. Denying the same to each other's attempts to analyze later in life Fluxus (Fluxus in the 70's, northern, eastern and F, etc.) are based more on personal preferences, actions and ambitions made by their artists and art, than on actual facts. Although the joint use of the concepts of "Fluxus" and "real fact" there is a considerable proportion of obscenity. The official date of birth is 1961 F, and the founder - George Makkinas (d. 1978).

It was in 1961, he sent the tickets to the exhibition gallery AG, writing on them that the money raised from the sale ($ 3 per piece) will go to the publication of "Fluxus." But it would be a mistake to believe that Makkinas was the creator of the concept of school. Artists who later united under the name invented by them, worked in Germany, Japan, Britain and the United States since the mid 50's, and bright individual nature of their work has not undergone significant changes since gaining formal notation and theoretical basis.

F-Maitre rather can be regarded as John Cage, whose workshops at the New School for Research in New York and the Institute for New Music and musical education at Darmstadt visited many future artists of Fluxus as: Dick Higgins, Jackson Mucklow, George Brecht, Al Hansen , Alison Nouelz and Nam June Paik. Without exerting direct pressure, Cage helped to understand and justify personal devices each claiming new compositional principles: inclusion of the viewer, listener and quiet. Makkinas, living and working in New York, was able to conceptually unite a number of European and American artists, and, regardless of the founder of Fluxus, in fact was a freshman in the circle of people who have long done until some time untitled F. indicative and simple story of initiation to F Wolff Fostella, the famous German artist: organized its first happening, and a solo exhibition in 1958, Fostell met with Nam June Paik, who introduces him to Makkinasom, which in turn introduces him to the idea of F.

The first season of F was opened in 1962, a series of organized Makkinasom festivals and concerts, which gave Europe a new name "Fluxus" group of experimental artists. Similar representations were held from 1962 to 1969, constantly excites the audience unorthodox ways playing musical instruments using (in the usual representation) are not suitable for this subject, shocking normal (here abusive sense) consciousness. Makkinas, acting as impresario, in fact, being an ideologue Fluxus has also played the role of the publisher.

Thus, Fluxus - is an international association of artists, architects, designers, composers, poets, critics, dancers, filmmakers, mathematicians and politicians, often described as the most radical and experimental post-war trend. The unifying factor here was the desire to break down the boundaries of art. Fluxus was a way of seeing life and society, a way of social behavior and biological activity. Theorists F claimed that the art does not exist outside the game. Severity stoned. New school to claim the role of catalyst in the reaction of a merger of art and life, their interpenetration. Fluxus took up the hitherto unexplored areas between the existing traditional forms of art and media. He destroyed the boundaries between art, philosophy, design and banality. His actors were in love with experiment. That F contemporary art is obliged to the emergence of such forms of artistic practice, as a happening, performance, action, invayronment. It was during this marked the beginning of the use of art of various technologies, including video and television. The purpose of Fproektov originally was a representation of domestic, everyday actions, and everyday objects into an artistic and aesthetic environment in order to modify and expand their perceptions. Its shares have been different - from salads to the scene and the destruction of the piano during the performance to offer the audience leave the theater. In the end, in Fluxus were two main features - simple and fancy, harmful, bizarre sense of humor. Then his contempt for the art market. Now, he - mother of, an idol, an archetype.

"Fluxus - this is not the time and not history of art is a way of doing things, tradition, way of life and death" - the famous definition of the famous Dick Higgins.
"Fluxus - a mixture of vaudeville, lies, children's games and Duchamp" - statement by George Makkinasa.
"Fluxus - is not professional, not production, even art. Fluxus - this campaign: put a vase with flowers on the piano. It's anti-art, non-self, this is not art. After Fluxus - it was a joke, but when I think about art, I'm not kidding, do not feel like joking. "Fluxus - imponderable. Humor. Husky can come in Fluxus and say:" I've Eskimo Fluxus - Reflections Ben Vautier.

And here is a quote from the manifesto Makkinasa: "Clear the world from the bourgeois toshnotiny, intellectual, professional and commercial culture, cleanse the world of the dead, artificial, abstract art! Fight for revolutionary flood and order in the arts, to develop life-art, anti-art! Create a reality that will not hog all the critics, amateurs and professionals! Rafting cultural, social and political revolution in a single share!

In contrast, frightening cries of the above manifest in glowing memories of his contemporaries Makkinas appears very romantic: "He wore round glasses in an iron frame, and their thick lenses gave his unusual look. He had a strange sense of humor, and most of all he seems to like to watch reaction to his actions. George lived in an old dilapidated house. He was mad doorbell and a collection of spaced metal cans everywhere from the gasoline-filled with water, the label "not to smoke." George loved to create new culinary habits. For example, he loved to eat frozen strawberries with a rustic cheese. His favorite color was white. His entire apartment was painted white. The door to the bathroom served as a watertight door from the submarine. Generally speaking, every inch of his apartment was a manifestation of his eccentricity. But it is not a madman. He simply was the only one ".

[Posav]

Jurgis Machyunas - People's conceptualism.
 
About his artistic direction, he said it - folk art because it does not need to learn, not elected, and each "national" artist can create it.
 
Machyunas in 1963 created a manifesto of the movement Fluxus. In the manifesto he emphasized such concepts: clean, flood, or melt. Cleanse the world of bourgeois weakness, intellectual, professional and commercialized culture, purify the world of the dead art, imitation, artificial, abstract, art ... illyuzionisticheskogo support the revolutionary flood in art! Donate to living art, anti-art, not to support artistic reality, an understanding of all people, not just critics ... Revolutionaries in the culture to fuse with the social and political revolutionaries into united front and action [6]

Another member of the movement, Jonas Mekas wrote the book "Three friends: Jurgis Machunas, Yoko Ono and John Lennon."
Yu Machyunas. I was born and spent his childhood in Kaunas, Lithuania. After the arrival of the Soviet army had emigrated to Europe and then to the U.S. where he lived and worked.

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And yet Mr.
Fish Power!

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More of Mr.
Fish

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Parody posters, propaganda, anti-propaganda: