Haim Sokol - new artist "Triumph", and this exhibition - the first experience of joint work for him and the owners of the gallery Yemelyan Zakharov Dmitry Hankina. According to Dmitry Hankina, a new exhibition is not quite like the fact that the gallery has done in the past year and a half: "It does not have unbridled figurativizma, or some wild English extremism" http://www.snob.ru/chronicle/entry/12072
Going to Haim Sokol, a man and artist, I felt that the Falcon would fall on me for the text of Kuzkin, one of his best friends and one of the best young artists. But on its own people, as you know, do not judge. That is, only by itself and judged, always, but not always, these opinions have some relation to reality. Haim Sokol took me friendliest manner. At first, he seemed a bit squeezed, and modest, but then revealed it is talking about his work and his studio.
Haim Sokol - a short, very nice and unpretentious in dress and behavior of people, the warning and open. In art, he had entered a man over thirty, and on this occasion several experiences, being surrounded by artists who are on the scene he was the same age, but the passport could be a senior fellow and learning to live and create, not to exhibit together. In vain is experiencing, in my opinion. Three years after the first event, he became a member of two biennials, in Thessaloniki and Moscow, for one only in 2009, and the active (according to some, too active) entrance to the art called a falcon (according, again, some ) tension. Do not begin to envy his former comrades, are still staying on the edge of contemporary art, despite the fact that they work as much, if not more?
I personally do not feel this tension. And even if it is (suddenly), it is also quite wrong. Of course, among the arts, where in addition to need some talent, luck, which of you does not always depend, for envy nutritious. And nothing can be done. Samodostachnym young artist to be at all difficult. And unambitious - bad. Lack of ambition has a negative impact on the index of references and sales. And if you're sufficiently ambitious but still somewhere lucky, both not far away.
Haim Sokol did not appear very ambitious. It is unlikely that he expected strong interest from critics (peer-reviewed, and very positive, were almost all exhibitions Falcon, which can be seen on his website). In my view, it is not waiting for invitations to the Biennale. The basic tension that was felt in it - an internal imbalance. Index mention high, the environment knows, and what not help with that now with all this done and do not understand it.
Читать дальше...
Workshop Sokol recalls a warehouse of all: work, polurabot, nedorabot, not working. Places little, alas. One room. At first I wanted to ask: "Of course, here you have the materials and ready-made clothes, this is all a work where you are?" And then it turned out that works Haim in the same place and all. We are eliminating things, frees himself and works a corner - as a real artist, in cramped conditions, a pair of triples (God forbid) square meters. To the table can be approached - and nothing more. On the threshold can stand up to talk - and nothing more. Other space is filled up with workers and processed materials: photographs, notebooks, bits of iron of unknown origin, suitcases ... Creative mess, somewhere bordering on materialism. This could be a museum of the Falcon - the inner world of the artist. Although excursions. What, in fact, the first part of our conversation was.
On the table:
- Above this work?
- Yes. This "mirror". A new series of works. I brought a beautiful piece of tin from Israel, who so beautifully rusted on time and on climate. Initially, they were brilliant. Here are impossible to find. Now I work with them. The man himself is reflected there, and so little crooked and blurry, as in muddy amalgam. That is why I specifically leave nezarzhavevshie pieces of clean, nezarisovannymi. I draw only where the rust. To a man himself could see.
Left at the wall - Cases:
- And there, in suitcases, - work?
- It does not work, there are different materials. What I find at flea markets or garbage dumps. So I today with garbage brought a suitcase full of goodness ... And Fleas - this is such a big rubbish dump, just more streamlined and money. There, notebooks, patterns, old school notebooks and diaries. I was particularly interested in notebooks and diaries. No school, and such human ».
Photos:
- A person in your works have real prototypes?
- This is a person with old photographs. Also with pomoek. When the picture comes to me, I did kserokopiruyu and Xerox have a blueprint for translating some surface. Thus we obtain a copy of a copy of a copy. Photography itself is a kind of a copy of a moment of reality, then I take a copy and make another copy. The process itself is no less important than the result. Someday I just expose themselves Copier, repeatedly outlined a blueprint - when we realize that I have to say. In the meantime, careful to keep them all. I have photos kserokopiruyu and give, because photography itself as such does not interest me. I was already interested in the prints. Image created for the memory, and I'm interested in oblivion.
Falcon works with oblivion I personally pleasing. All of these photos on the bottom-up, on a rusty tin, is still unknown to what these kopirochki, all these sentimental headlines: "It is their bitch, do not even read", "Slaaavik! Home! "," Bzhzhzhzhzh ... Tra-ta-ta-ta! "," Mama "... It all appealed to in some way, family, friends, not family. All if not touched, then left untouched. What a silly memories from childhood, which seemed to itself are meant, but when you see that "Slaaavik! Home! ", And your memories of this activated, recalls his:" Imyareeeek! Home! "And so on. "I do a sentimental man," - dropped the Falcon. I too mushy.
"Rizoma" (the main "hit" Haim, got on the Moscow Biennale) - cut and bound together with pieces of tin rewritten them from the hand of art manifestos of the twentieth century - seemed like kvinteessentsiey Sokolova work, a sort of physical memory, art, entangled itself in the itself. These programs are creative groups in which it is impossible to make out a line - so they slash the present state of culture and general human memory, entangled in itself, capable only of a single tear shaped as letters and pieces - I was recently a little longer to understand. Because one thing - my interpretation is one thing - the age-old excuse of artists "everyone will see in this something of their own, and another thing - that gives us the material itself. As one friend of the artist, the work should be a dead end, a limit of misunderstanding, after which you no longer remains possible to interpret that whatsoever, because you really do not understand the mind what is at stake. He cited the example of "finger" A. Monastery. Butting into the hole - is unclear. Butting in on itself - everything is clear.
In this sense, "Rhizome" is not "finger". Like most of the works Falcon. Easily reducible to understand, too open to interpretation, to simplify. They often leave no room for absurdity, too eager to be "spiritual" and often lack the necessary skills of strangeness, it is unclear idiocy. They appeal to human feeling, and not to the aesthetic experience. Have the Falcon of the above (in all senses): six-meter turnstile in Krasnoyarsk, a column with a mailbox, to which it is impossible to reach, the same mailboxes, hanging on a cliff in Shiryaevo. Joined them "Space" (aka "Sleeper") - a huge wooden beam "in the form of" computer space, suspended from the ceiling and Back Up (aka "backup") - keyboard with spikes sticking out of each buttons needles out. However, Back Up a few spoil the attached text that pen writer looks up into the sky, and the key striker for his crunching down toward Hell.
On the text accompanying the art of Chaim, or even form part of, it is worth special mention. Sokol calls them "more poetic". Viewer to the text of the exhibition is suitable as a kind of key to the work, but "more poetic" texts Falcon is that it contains the key is not always. Sometimes these texts seem quite so redundant. Suppose that from a literary point of view, they performed well, but as integral parts of the visual work is unnecessary, written in such a refined-intellectual style: "These grandmothers everywhere. With their carts, they walk the streets, begging in the subway, stand in queues, take part in the communist demonstrations. They - our past. They - the future of themselves. They - garbage, debris, rusty steel. And at the same time they - the ancient chorus. Reverberating in the puddles, as in the summer, they are about something warned. They Muses. Yellow lights memory, standing at the crossroads of time. " However, refined intelligence, plenty of allusions to events that "must know", sometimes suffer and objects Falcon ...
I find it interesting that Haim works in various genres, he has still not fully ordered, the language in the making (although the Falcon, this process is already in the final stage - so clearly at times his words), creative activity on the rise, a project to project ...
Back in the studio.
Letters: - Also with pomoek, from the street. People vybrasyayut bunch of letters. And, unfortunately, no longer write new.
Washstand: - Wash - just a historical object. This is a relic from a specific history. When I lived in the printing on Khokhlovskiy there in my studio, which in the past was just a warehouse, there were no basic amenities. In order to wash his hands, he had to go down and go through the yard. So I bought myself a bucket, just like this man bought a washstand.
Old mirror: - Mirrors I just love. This is not a tribute to Michelangelo Pistoletto ... I am currently working with the wrong side of photos, with captions that people put on them. For example: "It will take perhaps many years, and between us that is forgotten, let card leave a trail that has been experienced together. Here too, a brilliant piece: "Honey, let this dead look reminds you of my living soul". I translate these inscriptions on mirrors, that's so old, and engrave. This is the next stage, when it disappears, even those are only labels.
But the diary any: - Yes, it's all notebooks. That's "Album for the verses. The poem here:
If you wish to go to visit,
Or maybe a friend far away live
Walking two or three hours stride,
Tram get there in 40 minutes.
- Here is a wonderful phone book, there are many schemes some of squiggle. Your pictures here ... That I was experimenting, but I feel that these pages have to remove the portraits and leave everything as is for now. This is a master of art books. A man sits on the phone said something doing there ... This thing is absolutely human. I made a couple portretikov and stopped. I have such a principle - to go over the material, it does not spoil. If I have something is not broken, I have it and not break. Because the material he knows where he is to break, and where not to break.
And this board dining room: - Facilities. Now she just lies. Some things are biding their time. Some have become some objects. But I do not know what it is and how.
And here the wire: - This I found a wire, she somehow visually twisted. I like it, but I will not use it, because it uses Dima Gutov. Some things I am taking, is not planning to bring into work. As adornments, if I may say so.
Despite a couple of critical remarks made above, I like the art of Chaim - maybe because of my own sentimentality. But people are less sentimental about it may take a different view.
Namely:
1. «Sokol - the artist without principles. In a sense - each barrel plug. He started in squat, and then exhibited at Pyrkin have Kuprina exhibited ... Now that's "Triumph" invited him, and he went there. He absolutely does not matter where who have exhibited. He has no clearly articulated position that the young artist is a must. And the fact that he works in various forms - a bright sign of a young artist who did not yet know what to do, looking for has not yet been formed ».
2. «When I come to the exhibition Falcon, I do not really understand his art. What does it do? How would any contours of something. But nothing particularly interesting in that I do not feel. These "how to" work - neither here nor there. Neither fish nor flesh ».
3. «Sokol stupid. It is for us in many ways working for the critics. To us it was easier to say: here is, here behold, here such a hint, here, such a fine thought ...».
4. «Sokol very conservative artist, he is very reminiscent of the sixties type Krasnopevtsev, he protects" high art "and everything connected with it. It is interesting that it came from the Israeli context, where Russian is traditionally occupy just a very conservative, if not the reactionary position. But it's all okay, but if he starts to communicate with such a gallery as a "triumph", this is a disturbing symptom ...».
I bring this all on the Rights of honesty and complete anonymity for the sake of information. Therefore I will not even comment on. Consider frame.
In the corner lies the keyboard needles out - part of the "Backup". Already about dusty, with broken spines ...
- I thought it more prepared for a happy fate than the gradual erosion in the corner shop. What sold, already in the collection of someone's ... What, with sales that bad?
- I am now at a stage when we check if the copper pipes. All of you know, but - what next? At some point, I thought that I'm such a cool, now all sides sprinkled proposals, but no fig. No one called so far. You've got yourself to go to the gallery and a job offer, rather stringent conditions. They, of course, listen, I'm not from the street. They themselves do not offer.
There is theoretically a temptation to submit to the market. However, for this too must be the original capital. And it is not.
- It is strange that no sales.
- The Nineties have given Russia a layer of collectors. Someone told me this is so: two days ago, they still wore red jackets, yesterday bought Mercedes cars and houses, and today bought the pictures to fill these houses. They buy a certain kind of art. Collectors who collect art is not itself a villa in Russia is very little, if any. On the other hand, there are simply wealthy "Middle class" citizens, for which 2.3 thousand euro is not such a big amount, they understand the art and have something to afford to buy.
Gallery of young artists are usually not very profitable. Therefore, often say that young - greedy. What is not so. To say that the young greedy, funny. To say that they do not want to sell - too true. The artist does the work, and what he wants to get money for it - this is normal. But those who can and want to buy this work, a little. We are now at the stage where the production outstrips consumption. So it remains only to do what is possible to do. Make and save up the idea of big projects as long as they are not in demand.
Well, well, when an artist has the desire to accumulate ideas and do the work, there is motivation, strength and desire.
We would like the art of the Falcon a little bit "stupid", freed from the allusions, would reduce the percentage of spirituality and increase the percentage of incomprehensibility, to wit aesthetic experience. To formed gap. Until that Falcon is the "pit" and a "horizontal bar." But I would like to see and "pit", and "horizontal bar" within a single work. At that Sokol, as I see it, is capable of.
28.01.2010, 19:27
Haim Sokol Gallery "Triumph"
Линейный вид
Похожие темы
