They do not catch the first that fell on the neck of a man, but take the fellow with an apparent joy, eagerly questioned about the news about mutual friends - who are alive who have died, where someone spotted what the situation in Moscow. I must say that in Moscow I was met with little Rabin, was never in his Lianozovo. We have seen only in exhibitions, I knew him and his work has always been interested and he and his creativity. Five times I was in Paris, and five visits to Rabin in the studio, as well as Tselkov, Zelenin, Zaborova, Roginsky.
I was impressed by his seriousness and thoroughness, his demands on himself, the height of his moral position.
When I saw him first, he seemed more like a scientist from Dubna - highbrow, very attentive, silent, concentrated. In the works of his had a lot of ridicule, irony. He himself was tall and thin, with a shiny shaved head.
His paintings were full of sarcasm. When he was deprived of his Soviet citizenship, no one was surprised. The position of the artist was not acceptable to the authorities. Rabin presented his counter, hidden enemies and detractors. He has not been established, and an honest artist, a man with a conscience, who with the help of his paintings spoke of his experiences of his life, about people and their plight.
When Rabin returned to the Decree of the President of the Soviet citizenship, again no surprise: the time came the others. Rabin was not an active human rights activist, a dissident, not protesting in the squares. He did his work focused, concentrated and persistent. In this was manifested in his character - gentle and noble, but persistent and intractable. Such as Oscar, it is easier to break than bend. It is easier to destroy than to subject and get to do what it disgusting. As an experienced navigator charts the course, given all the circumstances, and Oscar Rabin, long ago outlined a program of works for many years. He could only follow the chosen path. I strive to be heard by the people for whom he wrote his paintings. It was a lot for any creator, it was even too much for Oscar, who was orphaned at an early age. But he was not at home for orphans and street children, and found refuge in a house painter and poet Yevgeny Kropivnitskogo. Later he married his daughter Valentina, gifted artist and a man of great integrity.
The fate of Oscar Rabin was not smooth and cloudless, Luck gave way to grief. Soviet way of life did not promise a talented artist of the way up, but rather promised or jogging on the spot, or moving up the stairs leading down. And conscious of such an ascent, Oscar Rabin, wrote a landmark work "Passport". It caused a lot of noise, swept reproductions of foreign periodicals.
"Passport" to the best poster and not the extent of his journalistic malicious intent. The little man's face imprinted on a document so that immediately clear: the man does not mean anything more important than a stamp, stamp paper. Media passport - screw, fine detail of the public landscape. Irony and sarcasm directed artist smashing arrows in the heart of the state machine, in its punitive nature, in its inhumane ideology. Rabin gets on the note. Guardians of the purity of ideas Lubyansky remember the name.
Rabin learn the Riga Academy of Arts, at Surikov Institute. The system of formal teaching his little suit, rebellious student, too, was a burden. Rabin studied with more Kropivnitskogo there there were good artists, musicians, poets. Wednesday nourishes the artist better than any Academy. In 1968, Rabin had painted "Still Life with Fish and the newspaper" Pravda ". In his book "Three Lives" Rabin writes: "But my painting just realistic ... I was reproached for still lifes, for the vodka bottle and lying on a newspaper herring. But have you never drank vodka and ate herring?
On all holidays, and officials including, vodka drink, and nothing can do about it ... "holy simplicity! This allows Rabin himself more and statements regarding vypivok. Czerny our heroic reality mocks the central body of the party, compares the party, vodka and "truth" ... For such a little sedition get rid of it with light, so must be punished, that others teach it. In the fifty years of Rabin will understand that his stay in the country is not desirable. But this is still to be famous bulldozer exhibition 15 September 1974 in a vacant lot in Belyaevo. Painters and paintings crushed by bulldozers. And foreign correspondents and diplomats all fixed. The scandal has received worldwide publicity. The main energy unit of the exhibition was Oscar Rabin.
Authorities so obmishurilas, shame and embarrassment that had to allow nonconformists and all sorts of leftist, formalists, curves and diagonal exhibition in Izmailovo Park. The spectacle was unique, memorable, rare. On one side of the park were artists with paintings in hand or on easels, and above them on the dais stood rows of police officers and plainclothes men. They silently watched the rioters, who with impunity is something obscene in their view. I stood on this show next artist Alexei Tiapushkin, my friend, a war veteran, hero of the Soviet Union. Chairman of the Moscow Artists' Union was then known cartoonist Boris Yefimov - brother shot journalist Mikhail Koltsov. Boris Yefimov was trying to complain Tiapushkin to the Committee of War Veterans. - "What do you want - ask him - a free ticket to a sanatorium, economic assistance?" - "No, - replied Efimov - I want you on my line influenced the veteran Tiapushkin!" - "Well, you yourself and impact! "-" So I did a small, weak, and he was one of eight tanks knocked out! "
Laughter with laughter, but this exhibition powers that be remembered for a lifetime. It was their shame of their defeat. And it was a victory of Oscar Rabin and his friends and colleagues. Winning, of course, gave the price of strong emotions, persecution and bitterness. Rabin has tended to truly, openly and brazenly. The pastors were holding him literally under house arrest, and after, and sent to prison for real. "I'm not afraid of prison, now I know for sure. And I know that I never emigrate! "The words of Rabin. He still blustered, but somewhere in the closed, highly secret offices has long been settled the question of his expulsion from the country. Andropov belongs to the wise, deeply informed by Marxism-Leninism, a practical solution to the issue of harmful elements to the authorities: where they do more harm to us - at home or in the west, being deported? Clearly, the farther they are - so we are better. And there will be zealous - will remove!
Oscar and Valentine were allowed to travel to the West. During the trip they were deprived of citizenship. We had to start a new life, which opposed the Oscar. In fifty years as a little late to restructure ... Rabin himself lived with his family at Moscow station Lianozovo that the Savelovskaya rail, but all and end!
Lianozovo - is not just a name. A symbol. Sign. Designation of another age, another art. It should open parenthesis, to explain to those who seem to be the sixties era Komsomol idiocy. Oscar Rabin rightly regarded as the leader of the Moscow "underground". There were no printing presses, militants, counterfeiters, expropriators. There were poets, painters, musicians. About them wrote feuilleton - Loafers climb to Parnassus. Nobody is in a climb. People worked with might and main. Their shops were swamped with work. Time was terribly interesting. It ended the era of fear and odnomysliya, passed thaw, Khrushchev denounced the cult. Festival of Students and Youth in 1957 strongly pushed young brains: lianozovtsy hotly debated - where row? Who participated in the discussions? Kropiwnicki, Nicholas Vechtomov, Volodya Nemukhin, his wife, Lidia Masterkova. This artists. But there were poets - Igor Holin, Henry Sapgir, Vsevolod Nekrasov. They were disciples of Eugene Kropivnitskogo.
Oscar Rabin, and Igor Holin, the last war, were formed under the influence of the poetry of the absurd, shot under Stalin, but not dead. Mythology barrack world owes its birth not only Rabin and choline, and Harms, Vvedensky, Nikolai Oleynikov.
The noble knights, knight XX century took over the tradition of moral relations, not only to their own creativity, but to the whole being. In the arts has always existed solidarity, camaraderie, brotherhood. In this regard, the West is fundamentally different from Russia: the European people are most concerned about the principle itself - none of my business. We have now become fashionable phrase "your problems!" The measure of cynicism surpasses the red line. Thought about any sense of the elbow and can be no question.
What to Rabin, he stayed in Paris just as it was in Moscow. This can be seen immediately, at first glance. Twenty years spent in Paris, did not have Oscar Rabin stranger, who only cares about its own problems. And the theme of conversation is not about money in any case. And how many times I have bitterly pointed at his friends and associates for a long time living in the West, is not peculiar to them before the world view when the money come to the foreground. They are cowardly, fearing that now they have asked to borrow or, Gd forbid, would be asked to put to sleep. These people are drawing the head into his shell like a turtle. You can knock on their armor protection with a hammer, except the deaf echo nothing more is heard ...
Now it is assumed that the sixties are boring their social orientation, its pathos, its themes and subjects. Rabin does not think so. He is social and in Paris, and Paris, he draws his Moscow, just as Marc Chagall in France with relish writing his Vitebsk, making it close, not only for France but for the whole world. And Lianozovo Rabin also became clear, Americans and Japanese, and Swiss.
Pictures Rabin has often been a reproach to people, they always have a disturbing note.
Mitterand himself, seeing the work of Rabin, gave the phrase which immediately went around all the newspapers: - "This picture I would be happy to hang at home!"
Once in Paris, Oscar, with his characteristic irony casually asked me: - "How do you think someone had the idea to organize an exhibition in Belyaevo, in the open air?"
- In my opinion, this idea has come Oscar Rabin - in the same tone I said, and we laughed.
- And some argue that it is they are all staged! - Good-naturedly added Rabin.
We look together with Oscar his new work. - "You know - he says - one time I somehow failed to write Lianozovo. Subject Russia slipped from me, did not come easily. There, I wrote constantly at home, cats, people. Here I want to write a cherry, I have appeared in papers wolves. Where did they come from - do not know. Writing and French landscapes. Language Valley, we have not learned, treat small. We have relatives in America, who they go to see, but we love Paris and not going to leave him. We live that gives us creativity ... "
I asked Oscar Rabin, as it relates to the conversations of some of the art, that art came to an end soon cease to paint, here and in Venice at the Biennale of Russia were taken to the installation of minor artists, giving them a new word for most of Russia. Country of great culture, tested by centuries of traditions, a country of great professional conscientiousness appears in the form of installations and conceptualism questionable.
- I am always with great hesitation, - says Rabin - treated napravlencheskim principles that are not from the depths, but from a small handful of art historians, received Soviet diplomas. They proclaim the death of painting. They like the installation. And I like it, as they say, the drum, I am against any hermetism. Exactly eighty years ago were written the words, which even today is not obsolete: "Russia - the young country and its culture - a synthetic culture. As well as inseparable in Russia, painting, music, prose, poetry, neotluchimy from them and from each other philosophy, religion, society, even - politics. " These are the words of Alexander Blok in his article "No god, no inspiration." It has always been in the art of clowning, affectation, clowning. And there was Russia Levitan, Savrasov, Chagall. It was the official Soviet art, Socialist Realism. He generously paid. A Union of Artists, procurement, contract. And the art was prosecuted, informal - before it was Filonov, Malevich, Tyshler later - Tselkov, Rabin, Plavinsky, Nemukhin, Kropiwnicki, Rukhin, Weisberg, Zverev, Yakovlev. Those opposed to the huge and all-powerful Soviet power. They destroyed and crushed, just as once Filonov, Malevich, poets Harms, Oleinikova and Vvedensky. So there was a bulldozer exhibition. Authorities wanted under the guise of green suppress dissent. Suffered a disgrace to the whole world. Artists celebrate the victory. And the empire collapsed. And I would not want someone again imposed on us by a new party, wherever it was not - from City Hall, perii, the Ministry of Culture or Gazprom. The artist is free, and the Russian artist, a native of Russia, has the advantage: he has in stock the makings of mental health. Marc Chagall lived almost a century, like Titian. And he will always be a Russian artist, of whatever region he or attributed.
- Oscar, you live third decade in France, Frenchified, yet Paris is not Lianozovo. What you are feeling, so to speak, the mood, when you open your eyes in the morning?
- Good question. And I can answer briefly: as an artist, I was formed in Russia. Effect on a test, did not change the style, the creative credo of mine, too, remained unchanged. Of course, I like the fact that society is softer, more humane. Here no one will push bulldozers artists. Diversity of Russia's life, I could not pass through the character - herring in the newspaper Pravda, a bottle of vodka, a passport - that everyone is clear. Or I wrote Lianozovo cemetery and now called the "Cemetery of Leonardo da Vinci. In my art, in my opinion, nothing new has appeared, new-fashioned, superficial. What I was - this was left as in the song. I do not have a gallery, which nurtures and directs me to my creativity. I would not want to be domestic rabbits. I prefer to be free hare. I run where I want! I did not really offered.
In March 2001, Oscar Rabin simultaneously opened two exhibitions - in Paris and New York. It was a coincidence. The artist himself reacted to them as workers look. "Frankly, I can not spend their time and energy to the device, press, print catalog and so on. I'm waiting for me that someone will offer. So it was with the gallery "Le Monde de l, ar. Its owner Rafael Dueb all organized and paid me a whole year, so I can work peacefully. Then in the Russian Museum Yevgeny Petrov and Joseph Kiblitsky staged a major exhibition of Valentina Kropiwnicki and mine.
Gallery Mimi Furst "in New York showed our work with the Valley, and in March of this year's gallery, Erik de Monbel" showed great exhibition. Mark and Michelle Ivasilevichi put a lot of energy and enthusiasm, for which I am extremely grateful. Judging by all these exhibitions, Oscar Rabin, has changed little, - says the artist - though I thought that the impact on me, of course, a new life take on a momentum. After all, a true artist, wherever abandoned his fate remains himself. This is a happy opportunity to talk about what excites you most. And if your means of expression and the possibility of reaching such a level that other people share with you your joy, your love, sadness, or reverie, - then you can be quite calm. "
I listen to Oscar Rabin and see in the window of the Paris lights, crowded streets are noisy, talking, laughing, cars urchat and angry at the delay. Before me there are other pictures, reviving oppressive and depressing reality of our lives, which is irretrievably gone. In the past, and remained bulldozer exhibition, and Lubyanka guys, pretending that they are ordinary Soviet colleagues. In the past, left, and hard work of Oscar Rabin, which was inconvenient and unpleasant truth. But it was the truth and not just a moral act of the artist, when he claimed it on his canvases, but the courageous step of the wizard in a totalitarian regime, who may have their own way to settle accounts with daredevil. Rabin knew that. I wrote as dictated by his conscience.
He became the largest member of the Moscow unofficial art, underground, has gained international name. Just as the music of Schnittke, like songs and poems Okudzhava and Galich, as prose Dombrowski, Shalamov, Solzhenitsyn, like Sakharov human rights activities - all this happened to us, everything becomes past, but it did not go away forever, but remained with us.
High symbolism of images based on Rabin eerieness realities and differs from the Vitebsk Art of Marc Chagall, who is often remembered in connection with the works of Oscar. It is possible that Rabin himself was searching for some of its points of contact with Chagall, but more about that we had never spoken. The topic I have in the future will not affect: Chagall - a step, and Rabin - Rabin is. They lived differently, writing each his own and could not switch fate. Although both - the exiles, one on his own, another - on the imposed.
When Marc Chagall came to Moscow, he visited the actress Granovsky. On the wall in the room hung a reproduction of: - Who is the artist? - Asked Chagall. - This is a picture lover, - said the landlady.
- This drawing artist! - Cried Chagall. - I can see! Artist - is not a profession, an artist - it is fate! I know in this sense, believe me!
Oscar Rabin at the exhibition stands of any particular strength of his painting. His palette reminds me of flayed, and his paintings have never ironed, no pat on the shoulder. They scratched and bleeding.
In modern criticism of Oscar Rabin
tnosyat to Sots Art, fantastic realism, postekspressionizmu, conceptualism. Art historians, it is important to determine the place of the artist, as if absolutely necessary to attach the tag to the leg or outline plot in the cemetery. I do not know the exact definition of the school, the flow direction, which can be attributed Rabin, his creativity, his special style. He sees his duty and his mission to tell people: Look, what the world where you live! Take a look at yourself!
Rabin - a rebel. Rabin - a fighter with a lie. Rabin - a gentle artist of the twentieth century in the sixties. Rabin - a thinker and philosopher, who saw what others were indistinguishable. In Rabin's not a special viewer. People in different countries at once see and understand what he wants them to say the artist. His language they could understand, his allegory does not need to translate into Japanese, Tibetan, or Spanish.
For me creativity Oscar Rabin did not overshadow him. In Moscow, he was an active member of the artistic life. In Paris, he lives as if from the whole of what lived before.
His art is devoid of pathos, subtle elegance, but it remained a majestic serenity and inner combustion. Perhaps, Rabin became more withdrawn and is not the key figure, which was Lianozovo period. In life - his rhythm. This does not detract from the artist. The identity of the creator still life - with his handwriting and style. Works Rabin represent a victory of humanity, the triumph of spirit over all ephemeral, commonplace, petty and insignificant.
It would seem that Rabin had never taken a global theme, the eternal, which worry many people. He is a native of Russia, retained attachment to the embodiment of his feelings, expressed by the modern plastic language. He is a lyricist. Symbols Oscar Rabin understood, his characters often have a magical meaning. Self-affirmation of his artistic images indisputable. They continue to live a special charge of the spiritual energy of a true artist - the former, Moscow Rabin.
In the creative experience of Oscar Rabin, one can conclude that Russia has never been the artistic colony of Europe, especially its province. Kandinsky, Malevich, Chagall, Archipenko, Naum Gabo, El Lissitzky, Ossip Zadkine, Nathan Pevzner, Jacques Lipchitz, Chaim Soutine have its say in the art of XX century. Do not get lost and Rabin.
Interest in his art at home does not fall.
http://www.lechaim.ru/ARHIV/113/anisimov.htm
28.08.2008, 13:47
Tomorrow evening creative Alexander Yulikova
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