culture, which subsequently will be known as the Moscow avant-garde ", originated in the atmosphere of the Khrushchev" thaw ". After all the horrors of the Stalinist terror, any portion of freedom intoxicated, to believe that the time had come, these long-awaited "best of times, it is now open and unprecedented, dazzling possibilities. At the same time, society began to speak aloud about the losses that have befallen the national culture, the first time trying to imagine the true scale of evil. Hiatus voids in the place of the destroyed cultural values (pool "Moscow" here - the perfect symbol) tormented consciousness of a "spiritual vacuum", which revealed a generation late fifties and sixties, and, of course, all "mired in a feverish need to fill it," to borrow expression Igor Dudinsky, who wrote about the time an article entitled "What is Moscow's idea. ... With his characteristic Russian intellectuals hysteria, mad sincerity particular, naive to the tragedy, maximalism underground elite Moscow headlong rushed to create new, unique, never and nowhere hitherto unheard of culture. This aspiration was food, air, every man in Moscow, which sent their views at least a little away from the teeth navyazshey ofitsialschiny.
Fermentation ideas seized the Moscow synagogue. It is hard to tell which part of its energy is transferred into an art, and which "burnt out" in conversations, but be that as it may, themselves, these gatherings were an integral part of culture, of the fertile soil from which grew the best that has appeared in the art of the late fifties and in the sixties.
Hangout serves mainly domestic Salon, where they met all sorts of people - poets, artists, musicians or scholars, but also all sorts of homegrown philosophers, mystics, and just people without a definite occupation. After so many years of silence and fear, Muscovites were possessed by a passion to communicate: Contact fastened on the fly, find like-minded people everywhere - in private concerts, poetry readings, a library and smoking rooms Leninki Istorichki - in the late fifties it was still possible to read the book later appeared in "Spetskhran." circle of communication could grow indefinitely, but the basis of his always been a close community of people braced creative, friendly, and sometimes kinship ties.
One of these centers of gravity of the Moscow intelligentsia has a small "colony" of artists and writers who settled in Tarusa. Here in the mid-fifties, after the return of Stalin's camps, came to the poet and artist A. Steinberg, which then also joined the camp who served B. Sveshnikov. Soon moved from Moscow to Tarusa A. Steinberg and his sons, Edward and Boris. Near the house the family moved Steinberg K. Paustovski and family translator E. Golysheva. Information about his life "Tarusa communities we find in the article by Galina Manevich, a remarkable criticism of the wife E. Steinberg:" ... the sixtieth year Tarusa became the center of cultural life ... N. Zabolotsky, Nadezhda Mandelstam, A. Efron, Tsvetaeva, and the core of the writer's generation of the sixties ... become regulars Tarusa. In Tarusa begins a pilgrimage of young artists and poets. In 1962 he settled in Tarusa D. Plavinsky. His frequent visitors will be VA Zverev and AA Kharitonov.
According to G. Manevich, poet and artist A. Steinberg "... performed at the time as the ideologue and educator of young. Former graduate VKhUTEMAS, who owned a painting technology, old masters, to the same well, who knew Russian poetry and philosophy, he was really able to convey his young entourage that knowledge, so lacking born in the thirties.
No less significant was the influence of B. Sveshnikov, affecting the young and most of his personality and his art. He miraculously survived the camp drawings AD SINYAVSKY called "white epic": "It must be aware of the skill and grace this strange property - the capture and storage time, B. Sveshnikov in the camp work has put together (what a difference, if the river is not interrupted ?) antiquity to the present hour, the new Russian watch and hard labor with the innovations Callot, Watteau, Brueghel, Durer, Goya, created as a result of very long length of time series. The situation at the score of history, allusions to the world of art, his drawings stretch, but the schedule in effect tempered by the nature of her abilities equate all ... This is a story about everything and about nothing in particular. Creatures living in the drawings, dreams themselves. At that time dreaming. "
Probably not by chance in 1962 to work then young E. Steinberg, will issue death - temporal and eternal. " By the seventieth year, is a metaphysical self-perception of reality will result in metageometricheskie arrangement existing on the verge of mystical ideas of Russian Symbolism and plastic ideas of Malevich.
Although the Sveshnikov, and then E. Steinberg will move to Moscow in the early sixties, batch Tarusa remain in their future work and let fairly strong roots.
Another place of pilgrimage Muscovites approximately the same years was Lianozovo. At the station Dolgoprudnaya on Savelovskaya railroad, lived a poet, painter and teacher EL Kropiwnicki. In his house - Kropiwnicki with his wife, artist O. Potapova, and daughter Valentina occupied a small room in a crowded one-story barracks - is regularly going to the youth: former pupils came Kropivnitskogo (he led the children's poetry and art studios in the houses of culture), which brought with is the same as they are, young poets and artists. Interestingly, the young environment Kropivnitskogo subsequently presented an entirely different line of poetry, than their more famous contemporaries, directly from the walls of the Literary Institute took the stage at the Polytechnical Museum. In the literary circles of followers Kropivnitskogo then became known as Poets Lianozovo School "(I. Holin, G. Sapgir, V. Nekrasov).
On the other side of the railroad tracks in the village Vinogradova, N. Vechtomov artist lived and rented part of the house O. Rabin, as well as H. Sapgir, a longtime student Kropivnitskogo and a close friend of his family. In the early fifties, O. Rabin, marries Valentina Kropiwnicki, they receive Lianozovo room in one of the huts, owned by the Railway authority (for that Rabin was forced to go to work on the railroad).
Shortly thereafter, is familiar with the artist O. Rabin B. Nemukhin, his wife and D. L. Masterkova Plavinsky. In 1956 he returned from the camps Kropyvnytskyi son Leo, "odnodelets" B. Sveshnikov. All of these artists later became known as "Lianozovo. In the fifties, almost all of them exhibited at the official youth fairs, where, although the scandal, but still took the work of artists who were looking for some unorthodox ways in art. These searches proceeded painfully.
All the traditions have been irrevocably disrupted, "no one even tried to create a belated reminiscence futurism or cubism ... on the current state of world art as there was almost no information." However, in the summer of 1957, during the famous VI World Festival of Youth and Students was set up international exhibition in Gorky Park Gorky. "Meeting with Non-figurative painting at the International Festival in 1957, visiting pavilions of culture in the most heartwarming shows on the U.S. and France, launched a personal retrospective of Pablo Picasso's revolution in the minds of generations of the sixties.
The very possibility of the existence of different visual models of the world, on the one hand, on the other - emotional moral revolt against a single, a priori imposed on the plastic system and, of course, a sense of solidarity with the fact that forcibly expelled from the living national art of four decades in a row, returns the artists a sense of personal freedom "- writes G. Manevich.
As remarked A. Erofeev, "... out in the vanguard is above all an ethical act ... Collective impersonal semi-official making art was opposed to any, including traditional, but certainly individualized form. By the mid-sixties, almost all "lianozovtsev" (and not only them) has developed its own, individual style, which precludes the possibility to remain among those who could be then admitted to the stage of official art scene. There attitude to avant-garde was unequivocal: it should not only recognize, but resolutely eradicated. The avant-gardist - that person is declared outside the law that exists in the culture of an illegal situation. "In the underground," no one came voluntarily, it fell like a trap, those who for various reasons, are cut off from official channels of the creation and dissemination of art - we read in A. Erofeev .- ... Aggression environment soldered .. . opposed to the outlook of artists in a form of brotherhood, a union of a common destiny. "
Interestingly, this period no one spoke as a time of new trends in art (what in the seventies will Conceptualism and Sots Art), although formally, many artists, including "lianozovtsev, worked in the field of abstract painting, for example. This is no accident. Artists came to her quite different ways: for example, L. Kropyvnytskyi endured his idea of "dramatic abstract" back in Stalin's camps. O. Potapova turned to abstract art in sixty-five years as a realm of pure art, D. Plavinsky abstraction has led to interest in organic structures ...
In other words, each abstract painting got its own slightly different, interpretation. Each based on his vision, attitude, experience.
Any language arts while the least was perceived as a universal style, which allows to allocate a certain circle of his adherents and followers. Rather, it opens as a kind of knowledge, personally conquered by the artist and owned by him alone. "Artists with some surprise to see the world - writes L. Kropyvnytskyi .- ... If previously it was one for all, now it has become for each individual. Every created this world for ourselves ..."
By the style of not trying - it arose, reflecting the life of the individual consciousness in the world of ideas and forms.
And it is hardly worth trying to classify all this art, resorting to such conventional definitions such as "realism," "abstract," "surrealism" and so on.
One autumn day in 1958 the newspaper "Moskovsky Komsomolets" rolling "in the department of criminal chronicles creativity Oscar Rabin, abusing an unknown artist, priest of a bin number eight." In the village Lianozovo, where among the filthy huts, dogs and locomotives lived a hero, threw people. This was the beginning of a strange world fame Rabin.
Indeed, Rabin's house on Sundays long ago were public displays of works, which gathered a lot of people. Among them were Ehrenburg, S. Richter, B. Slutsky, A. Volkonski, poets smogisty, not to mention the artists and art. Here were shown the work of almost all "lianozovtsev", and this Sunday's opening days, in fact, turned Lianozovo, according to G. Manevich, in a kind of cultural center.
Private exhibition in the late fifties - sixties, whilst in a few. Several personal exhibitions - D. Plavinsky, V. Nemukhin, L. Masterkova, excluding M. Kulakov, whose works were a permanent exhibition - organized in the apartment of art critic J. Tsirlina, he shot her in the former mansion Shalyapin on Novinsky Boulevard . Around the same time, the director A. Rumneva exhibited Moscow artists VA Zverev and AV Kharitonov.
These, the latest, deserve special discussion. The fact that no beast or Kharitonov formally were not associated with any particular group, and Plavinskiy, although friends with "lianozovtsami, apparently, do not identify themselves with their terms. But if for this reason to avoid them, a portrait of the Moscow "underground" appear too simplistic. After all, in this environment, there were not only different communities of like-minded, it stood out and their leaders, its bohemian and, accordingly, their patrons. And the form of philanthropy is thriving quite meet the character and style of life of representatives of the metropolitan bohemia. But in the view of the same Galina Manevich, it Zverev, Kharitonov and Plavinsky made to the Moscow atmosphere "spirit of Montparnasse and the Moulin Rouge, revived them in the Arbat basements and courtyards. Distinguished by "fantastic natural endowment multiplied by the addiction to alcohol, they are destroyed by their presence, stiffness, and multifunction seriousness."
"Zverev Plavinsky, these two very early formed artist, impressed with their works not only Moscow's elite, but also foreign judges - from the Siqueiros and Markovic to Sartre." Duet "Zverev Plavinsky was the living embodiment of the Moscow legends. Myths about them antinomical combined the history of the creation of masterpieces and the most extravagant and comic anecdotes of their adventures, "- writes G. Manevich.
No less vivid sketch Zvereva gives V. Vorobyev: "... Sick of the underground culture and put forth his apostles - perfect examples of eternity and majesty of free creativity. Such was Anatoly Zverev, Moscow vagabond, who wrote" dripingom on leaky bags, pieces newspapers and wrapping paper. In 1957, during the International Art Exhibition in Central Park, he was in front of crowds of alien paint it the plywood wall in one hour and won the Gold Medal of the festival. The distinguished abstractionists the West were shocked by the perfection of painting technique and fierce temperament of the Russian master. "
Zverev exhibited host and Moscow collector G. Kostaki, brought together an excellent collection of Russian avant-garde turn of the century, and well-known musician and composer Andrew Volkonsky, who was a close friend of J. Tsirlina. At the apartment Volkonsky regularly showed his paintings and other fine artists - Vladimir Yakovlev, who took on the others seems almost blissful: half-blind, suffering from severe depression, he found in painting, the only way out for his lonely, naive and tragic soul. "Almost devoid of visual correspondence with the outside world, Yakovlev - according to G. Manevich, - create your own tragically expressive, and filled with self-contained world ... a special energy combustion, unanalyzable, richness of color images created by Vladimir Yakovlev ... attracted people to himself. Among them - and the poet G. Aigi, and film scholar Sveshnikov, who later became a priest, and N. Kotrelev, now a renowned expert on Russian Symbolism, and all those artists who are among the bohemians absolutized madness as a form of naked suffering, such as IV Voroshilov, and those who gradually drove himself from a life tragically concluded her as Babichenko A. or B. Pyatnitskii. Or, finally, from time to time BEFRIENDED them all in his Grobman, not without spirit of gathering, one of the first in the era of Brezhnev left the emigration from the USSR. "
So, what is in question - "absolutisation madness" - requires explanation, because it's rather an important component of underground culture, without which much of it remains unclear. But to keep talking about it, you need to return to the top, because, according to I. Dudinsky, "it is in pre-vacuum to seek an explanation of the phenomenon of the sixties ... bizarre and fantastic nature of what occurred." The floor.
"Ghost snatches of all sorts of ideas, falling into the brains of the virgin, performed the function of yeast. All fermenting, filling the intoxicating vapors Moscow atmosphere. Visiting the then Moscow's" gathering "is not the feeling that he is in a madhouse. Of course, the exalted, and just emotional man keep in mind these conditions, it is difficult to wonder ... a phenomenon that crystallized from the mash, now called "schizoid culture" ... Sadly, the whole appearance of schizoid culture did not reach us. Its creators were people not of this world which, by itself, the least cared about the fate of their heritage ... The only solid source for studying the legacy of "schizoid" is creativity Yuri Mamleeva. He has concentrated the focus of a cultural formation ...
It was his salon in Yuzhinskom Lane became the main gathering place of "schizoid". They all united by delusions, which is deliberately cultivated. Gradually became delusional form of communication, and gradually from the race in the madness born conglomerate paradoxical views of that and went into the idea of Moscow, the term "schizoid culture" ... "Stretched" it is only because that was initially focused on the irrational. "Schizoid" remarkably accurately sensed that reason has failed and that to survive in the surrounding absurd need completely different tools. However, the element of pure insanity, fortunately, not an end in itself for professing it. Failure of reason used "schizoid" only as a method ...
"Schizoid culture" fructified Moscow's idea of the three major discoveries. The first discovery - any existing thing, any idea, any category - absolutely not something for which they say they are ... The second - every thing there is a completely separate and distinct from all, and our reality - this set does not mutually contacting worlds ... Nothing of anything does not depend, and therefore nothing has advantages ... And third - this idea that does not exist otherwise. Reasoned way. Since everything that exists can be destroyed, and consequently, is not more than a basic illusion, which should not be taken into account, it really is that there is no ... "Above" God is different, or the fantastic existence, which did not exist, is the only reality to be reckoned with, and which is regarded as the only redeeming landmark.
Not so seemingly dumbfounded ideas, and what the prospect for the esoteric, writers and artists! "Indeed," schizoid culture "has struck deep roots in the Moscow underground, referring to it, if not all, the lot, although in its pure form to eighties, it has not come down. Of all the "schools" that have arisen in the heart of alternative culture, "school Mamleeva" was the only that has created in her a kind of tradition. Home is art "academy" or "studio", which staged E. Belutin, M. Schwartzman, B. Birger, Grobman, B. Weisberg, did not leave any significant followers "system".
A notable feature of the culture of the sixties lies in the fact that in it, each went his own way. So effective was only a system that is not at the establishment of schools of art.
Such a system, apparently, followed Vasily Yakovlevich Sitnikov, who created the first underground academy in 1951. According to Vladimir Vorobiev to Sitnikov, "... an art lover, forty years old, endowed with an innate gift of a teacher, a despot, a hypnotist, stretched disadvantaged draughtsmen with flashes of genius. In the classroom was dominated by absolute freedom of creativity and iron discipline in the ... end of 1956 a school for the first time demonstrated their achievements in the student club at MSU Moss. The exhibition was entitled "Occupational Health" and it had full vsemoskovsky success. Son of world famous painter, journalist Henry Ernst, announced in America on an extraordinary laboratory of the Moscow art and vibrant personality of its all-powerful leader. From the "Academy of Vaska-lamplighter" came into the great world gifted artists - Weisberg, Birger, Yakovlev, Plavinsky, Kharitonov, Vedernikov, Titov, and it is only a fraction of pet first call.
Despite the fact that each stage of "Moscow ideas" (represented around Mamleeva, lianozovtsami "," Mayakovsky ", various intellectuals" gatherings "such as salon L. drill, smog) existed in its clearly identifiable boundaries, all together it is primarily was metropolitan bohemia, which the participants interacted with each other daily. Converges not only in the "salons" or workshops to see at once "everyone should" go to a cafe "artistic", which served as a sort of club for a particular circle of Moscow's artistic elite. Communicate only within their scope, although this range was quite wide. For example, those who have served time in SMOG - poets Vladimir Aleinikov, Alexander Velichansky, Leonid Gubanov, Yuri Cublanovskii, Vladislav Linen, Vladimir Batashev who immigrated later writer Sasha Sokolov's novels which now enjoy great fame, and many others - knew poets "Lianozovo school" with which they were printed in the same samizdat collections: "Syntax", "Studio", "Phoenix", "Sphinx" ... (in those same collections, and sometimes attended Leningrad poets, including Brodsky). Through Choline, Sapgir and Nekrasov many smogisty rendezvoused with Rabin and Kropiwnicki.
No less willing than "lianozovtsev, poets visited artists' studios, which later became thought of as" a group Sretensky Boulevard. Was it really a group in understanding what we are accustomed to give to this word, and who it includes, is not entirely clear. But be that as it may, those who belong to it, those who belonged to the magazine, "The knowledge - force, and those who sat in the cafe" artistic ", was approximately the same range of artists: Yu Sooster, Neizvestny, Y. Sobolev, V. Yankilevsky, N. Kabakov, V. Pivovarov, A. Brusilovsky, E. Steinberg.
Soul of the circle was Hulot Sooster. Before the war he graduated from the Tallinn Art Institute (it is noteworthy that his teachers treat yourself to a French school of painting). He was arrested and served time in the Karaganda camp and after rehabilitation in 1955, arrived in Moscow. In 1956, it met with Yuri Sobolev, with whom they then withdraw the studio. At the time of their unifying idea of a practical study of the history of art of XX century by the "assimilation" in his style. So they "live" cubism of Picasso, Ozanfana, surrealism of Magritte, is already moving to their own style.
Soon, next to Sooster starts I. Kabakov, taking first at the next workshop Mayakovka, then Sretenke, in the former home of the insurance company "Russia".
In 1959, with Sooster and Sobolev approaches Ernst Unknown. He began as a successful official artist: the end Surikovsky Institute was immediately adopted by the Union of Artists, one of his works acquired Tretyakov ... However, further experiments the Unknown is not foreshadowed his success in the official art scene.
Around this time, Sobolev joined the publishing house "Knowledge", which publishes scientific brochures, and their design Sobolev has attracted many artists, including the then graduates of the Moscow Polygraphic Institute Yankylevsky V., V. Pivovarova, N. Popova, and others.
Note: design activity was the only area where all these artists have official status. In this respect very revealing was the famous exhibition "30 th anniversary of Moscow Artists" in the Manege (December 1962), where he was invited, along with the Studio E. Belutin. He invited her to participate in Sooster Yu, V. Yankilevsky, Y. Sobolev, E. Unknown. The works were hung by night on the eve of the visit of Khrushchev, and the place was given to them not in the total exposure, and on the second floor, closed to the public spaces. As we recall, the visit of Khrushchev to the exhibition ended noisy rout "abstract".
In 1970 died Yu Sooster. In 1974 he emigrated Neizvestny. By this time, art itself has changed and the situation. A look at art as a special kind of metaphorical language with which the artist presents his very specific concepts (representing the opposite pole of the idea of spontaneous, impulsive creativity, making art that is "similar to the science area of knowledge), it was typical for the sixties. As later recalled Yuri Sobolev, scientist and artist at the time more than anything in common is that they both put on a mission preachers who carried his revelations world. "The idea - he admits - entirely from my present point of view unnatural. But then it was in keeping with the spirit of time.
When won by philosophical contemplation, the paintings exhibited objectified, "metaphysical" worlds V. Veisberg, D. Krasnopevtsev, M. Schwartzman, D. Plavinsky, Yu Sooster. The predominance of the second element gave rise to exalted narrative Zvereva, V. Yakovlev, O. Rabin, V. Pyatnitskiy, V. Kalinin. But typical of the art looked a desire to combine within a single work of esoteric philosophical meditation and its active author commenting. In this way, having perhaps the most typical product of those years, recounted the emotional language of expressionism regulatory sign systems. They are a shining example of VA Yankylevsky and E. Unknown. "
By the beginning of the seventies the situation was already in the culture is different than a decade ago. That state of euphoria, which experienced the sixties, opening the way to every free-thinking, was - was a sense of social despair: not only the dangers, but also doomed attempts to establish an independent art in open rebellion.
If the avant-garde of the sixties return the lost values of a culture, that is, to quote Erofeev, "in the best traditions of conservatism, spoke of the Spirit, searching for truth, extolled the beauty, simply ignoring the social space, which merged the local way of life, ideology and art, as Area dead language, then in the seventies, she is "divorced artist as a man, a resident of this country, immersed in her life, language, reality and drama, and the artist as creator, the casting out of the creative scope of any signs of life" (D. Prigov) applied to the problem must be solved.
Resolution of this came in the form of a new direction, "which - according to B. Groys, - not without the influence of American poparta receptive to Soviet ideology and the Soviet way of life as an aesthetic phenomenon, that is, changed the ethical-political setup in the aesthetic and artistic, Instead of appealing to the inner freedom to engage in serious creativity. Actually, while there were two directions - Sots Art and Conceptualism. But this is a topic for another period of history of the Soviet avant-garde.
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30.09.2008, 13:45
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