But not only. There is a new revolutionary situation, when young artists to gain strength, so do not ask, but to dictate. Not paying attention to public reaction. The answer was followed by a balanced and predictable: violent misunderstanding, harsh criticism, accusations that "indecent way become bare before the public," and even the reputation of the "upstart" in a circle of colleagues. But there was no other way: the entry in the neo-expressionism was for some young people do not gorkomovskoy another creative experiment, and certain revelation, all-consuming sense. This impulse has undergone major changes not only the format of the painting (large size canvases, extended technique). What is more important - has changed the scale of ideas.
Victor Kazarin was not yet thirty when he began to exhibit in the halls of the city committee schedules, starting with the first exhibition in 1976. Legendary address - Little Georgia, 28 - at that time was synonymous with ideologically neutral outlet, an island of independent art. Under the auspices of the Committee of the scenic section of graphic artists could show anything beyond the scope of the official state doctrine. "For me the impetus to development has turned wild - says Kazarin gorkomovskih of times. - There were people that had to compete. I've seen artists, the technique and technology that I wanted - the same Zverev and Yakovlev. " In 1983 he joined the Kazarin gorkomovskoy group "21" (named after the usual amount of outstanding artists in it) and soon became a key figure in Moscow's neo-expressionism abstract.
Our conversation with Victor Kazarin held in his old apartment and studio on the Malachite Street. We had tea at the kitchen itself, where the plan was conceived "capture an arena" where was invented by a group of "Hammer" and where 26 years ago there was another clamshell, Anatoly Zverev.
- Victor S., I see in your photos is very different outlook on the artists, though, and all imprinted with the badge of "21." In this group spent seven annual exhibitions - by all accounts, he worked for a long time. What you then united?
- I once fell into this group. I was a year before that was expelled from the city committee, and then re-taken. It turned out that by the time I joined the "21", they have already passed an exhibition. In those days it was a young group: Vologzhanin, Beach, Naumets, Lepine, Tumanov, Vanya Novozhenov, Pavel Nikiforov, Valery Tkachenko and others. After a while I can say, went into the center of the group, which formed the five people - Bordachev, Mist, Beach, Lepine, and myself. The composition of "21" was not permanent: periodically exclude someone, and someone took. It is not formed with the flow. There were expressionists and surrealists, abstractionists - artists representing different directions. United by the fact that we were all young, we younger men were compared, for example, nemuhinskoy group "17." In 1985 when we became friends with Zverev, I agreed that his work is also included in the exhibition "21".
The group of "21." Drobitsky, Lepine, Tumanov, unknown, Tkachenko, Novozhenov, Kazarin, Beach, Lebedeva, Hayduk, Vologzhanin. Source: Archives VS Kazarina
- Why did you previously expelled from the city committee?
- There was an odd story. Someone broke a picture of Otari Kandaurova - can not remember who. But it is clear that as a result of a sharp dispute. And then by one activist began wailing: "It's an outrage, but what is possible?". And I take it, and say, "break - well, did the right thing." For then expelled. Then, even the prosecutor's office called. First, until he was expelled, I worked hard. Although opportunities to exhibit non-existent. And private buyers in those days was not. I bought the painting themselves as artists and students. So, I worked for 70-100 rubles a month, had to write slogans to contain the family.
- What is the impact on you had a friendship with Zverev?
- Zverev for me then and still is a very large quantity. It turned out that we did have one teacher, but with a difference of 17 years. We were taught Sergey Sokolov, a fine man, a disciple of Korovin. He instilled in us a love of nature with him, we often did sketches of animals, many painted at the zoo. We studied the home of pioneers in the area Zhuravleva. I hung a picture of Sergei Nikolaevich 13-year-old Zvereva "Sokolniki" and many of his sketches of animals. Zverev general outline of the unsurpassed master.
The first time I met him in 1981. And we were friends for two years before his death. He was happy to talk to me. Probably, I'm for it was an interesting man, and fit. Since 1985, Zverev was a frequent visitor in my studio, lived, slept on a cot in this kitchen, where we now sit. And then we worked together often.
- However, in the sense that you have worked directly together on some pictures?
- It is shared. There also is signed "KAZ": Kazarin - Anatoly Zverev. Typically, the larger work, meter and a half, we did together, and meter work - he is. In many ways it was. Three exhibitions of such collaborations, "Zverev - Kazarin" (in DC, "Meridian," Hall "Belyaevo" hotel "National". - VB), I organized in 1987, shortly after the death of Zvereva - in gratitude and in memory of other.
Despite the fact that Kazarin was different currents and things from different periods vary greatly, anywhere guessed special power. Thus, the work of the mid-1980s, when Kazarin created a Russian neo-expressionism, - these things openly rebellious, violent, the mood that best conveyed by means of abstraction. The invention Kazarin "postsuprematicheskom" direction increases the figurative character of geometric abstraction. And, in turn, expressionistic works of the 2000s have tended to be more decorative and figurative art. Perhaps only one property is securely integrates work Kazarina different periods: in every one feels that it is made in the same breath.
- In one of the documentaries about you is a fragment, which shows remarkably high speed. It depends on my mood, or speed - of the method?
- Inspiration - process transient, lasting 10-15 minutes. We must catch it quickly and implement it. Longer just a heart can not stand the strain. And much depends on the skill already. Hence, this method is rapid writing. But the skill - it is also an enormous capacity for work, and work with the surge. I used to draw and 18 gouaches in the day. Sometimes, all the obtained one by one. In those years, I was just filled with art. In 1987-1988, I could make up to five paintings a day. And it worked almost every day, until complete exhaustion. In those days, had, of course, use the "doping" in time to recover.
- Approximately every five - seven years, you're pretty sharp change styles go from the known and favorite themes and techniques. Why would a successful artist to take that risk?
- And without this there is a risk to become a "dumping" by the artist. I believe that the artist casts himself when he finds a good reception and only his life and exploits. If the person calms down, the soul ceases to work, the artist on itself begins to make plagiarism. I myself have passed many styles. My first show was during his studies at the HUDGRAF in 1969. By the way, I recently sold a picture of "Rusal", with the remainder of the exhibition. In those days I was fond of Van Gogh, Matisse, Vrubel. Abstraction, I started much later, in 1980. But it came to her not scholastically, not formally but smoothly. And when I was an abstraction (and symbolic forms, and lyrical, and Suprematism), then moved on to neo-expressionism. As part of its direction in 1984-1985, I created about a hundred works of size 2 x 3 meters.
Now I went in the direction of geometric abstraction, and earlier drippingi with recognizable spray is not writing. But no matter what style is my motto remains the same: use of color psychology, the psychology of rhythm, composition and psychology directed at identifying the image.
Among the artists that have had the greatest influence on him, Kazarin remembers first Theophanes the Greek, El Greco, Van Gogh, Cezanne, Pirosmani, Rousseau, Chagall, Pollock, Kandinsky. "They are all nearby - the image of people expressing their soul. Soul-then we are all given one, differs only in shades of psycho-physiological. And the stronger you are approaching to its depth, the more you know of an artist. "
With all the influences landmark Victor Kazarin fully remains a loner, "vnutriustremlennym" artist. The inspiration he draws not in the book theories, not in the external experience. Rather, it focuses on the immediate transfer of their own experiences - what he calls the psychophysiology. This state Kazarin assigns a central role: "When a man wants to be more reasonable, then from that eighty percent of it is the creative force loses. In art, the contact should take place through the heart. But this only happens when the artist and his audience both ready for it. "
Generally, such a "vnutriustremlennost" uncompromising and daring is often accompanied by people who have made themselves. Kazarin grew up in a working class family, far from the art, without the support of artistic dynasty and other social props by the age of forty he became one of the most successful and popular artists. His Arena in 1991, an exhibition of 600 canvases, still remembered as one of the most resonant events of his time.
Spectators in the Arena could hardly imagine that all those charged giant paintings were not written in the studio with high ceilings, a ten-floor room in the then kazarinskoy "Khrushchev." "The huge paintings, two by three meters, I drew no escape. I went to him and he could only watch from the corner, which eventually happened. In such a situation is only a particular image. After doing almost blindly. " It is necessary to clarify that in this case is not about uncontrolled improvisation. "Usually, each preceded by a series of large canvas works of size 50 x 70, which was worked out on the psychophysiology of the image - says Kazarin. And when the image was sharpened, I could tolerate it on a large format. " But even if such training had to finish some work on the street - to make pictures of the apartments close to cover the entire look and compare the complex large-scale compositions.
Today Kazarin works in the same apartment in the Moscow region Rostokino, only now it is fully reserved for the workshop. As before, paints, placing the canvas on the floor, as in the eighties. So familiar, and in another just does not razverneshsya. This double-dyed 30-year-old is now the floor itself is a monument of time, the cultural layer.
Pictures of Victor Kazarin now writes only in the winter months. And with the coming of spring, the artist for half a year went to a favorite Ferapontovo to the frescoes of Dionysius. Fishing, communicates with the hospitable people, gaining experience and is engaged primarily graphics. This routine wound up more than twenty years ago.
- True what they say, that you Ferapontovo bridge built?
- Many people think that fiction. But the bridge - true. In the years 1987-1991, I began to buy pictures and I had saved money. The center runs Ferapontovo river, which connects the two lakes. A bridge over this river was a hole one: that a cow had fallen, the people, everything was falling apart. I loved those places. How much do you want? 32 000 rubles? We Lida (wife, artist Lydia Kazarina-Small. - AI.) Consulted and gave the money. Then we were told that the project should be more - about 58,000. They brought them all. Those still, Soviet money. And they also plundered. In the end I still got them to put the bridge: and cursed and threatened by the court, there was a particular struggle. As a result, the state has found a team, the bridge turned out not so much. According to the project he was supposed to be with the lights - beautiful, as befits a bridge to the temple. And turned out strong, but ordinary: inside the concrete and wooden top. But be that as it may, the bridge stands. Among themselves the people really call him Kazarinskim bridge, visitors show.
Kazarin shows new geometric abstraction. June 2011. Photo: Vladimir Bogdanov, AI
After the rapid success of the 1990 Kazarin gone on for years in the shadows. Perhaps overlapped and fatigue, and many disappointments. Yes, and now rapidly changing. It was rumored that Kazarin and left the country altogether, as did many artists of his circle. However, believe it could only ones who knew little of his as a person. Russian artist to the bone, drawing inspiration from the history, culture and the traditions of his people, he certainly is not anywhere left. And it is not going to. Neither the wave of emigration of tuning, or later.
Moscow neo-expressionism, as in the whole art of the 1990s, now greatly undervalued. He was known and loved by savvy collectors. But the direction of mass collecting, promoted the same brand as the sixties, he still did not. "Late City Committee" and all this fighting between the late 1980s - mid 1990s for various reasons, was not particularly systematic. The times, as we know, soon came, such that it became not much to the scientific work of art, and generalizations. However, I have no doubt that some time during this period will begin to clear as a special cultural layer: with emphasis, the isolation of their first names and the alignment of the picture. As often happens, after which time will start to reconstruct the era through exhibitions, memoirs, and scientific publications.
Two years later, Victor Kazarin turn 65. He was full of energy, happy to work and still able to surprise the daring artistic experimentation. By the date of the anniversary will be a large-scale project. In any case, asked, if there are thoughts to make a show with friends and colleagues in the group "21"? Fortunately, guessing: the idea of this is. "People are, of course, is hard to climb, but at the exhibit would be interested" - smiles Kazarin.