Being alms

The hero of the novel by Vladimir Tendryakov “A Date with Nefertiti” The Frontovik artist Fedor Maternius, visiting the exhibition of the Soviet master's 50s, leaves the laconic assessment in the book of reviews: “It is understandable as the palm extended for alms.” After the exhibition, Helia Korzhev, recently opened in the Tretyakov Gallery, is difficult to leave another review. Actually, this note could be completed.

But after visiting this giant project, a number of questions remain, which, although they are related to the activities of the already deceased artist, are actually going beyond the scope of the theme of fine art as such. Rather, they talk about changes that are quite important in the field of cultural policy.

Until recently, actively promoting pseudopatriotic trends and breeding numerous simulacra, the Ministry of Culture took a little care of the aesthetic component. Distributing grants, it rather pursued ideological goals. Actually, usually all the given trends are clear before watching a film or series, before the bedspread slips from the next bronze idol, or before you open the book of the writer-patriot, filled with “last truth”. Who is good now, and who is bad, where there is a conflict between the national and cosmopolitan, noble “getting up from the knees” and the disgusting “nobleperse” - it is clear even before familiarizing themselves with the next opus. Until recently, the inadequate interest of the venerable audience, although the creative artel of various “crossbreakers” was upset, but did not strongly excited the trends of managers. Yes, it’s a pity that our “real” cinema watches fewer people and it does not become an event, but some “Leviathan” alien to the people becomes; That at the stands of patriots writers at book fairs do not crowd and they, poor fellows, are forced to endlessly write the swinks, as if they were clamped ... Indeed, it is a pity. But we did everything correctly: we distributed the money, the goals indicated that the sessions in the cinemas were served, we take control of creative bonuses ... In general, what we could do. There is something to report. Well, that people do not crowd at the cash desk, that the bestsellers are still near Ulitskaya and Akunin-what can you do. Someday, the current steady line will lead to the victory of real national forces. Poprazing the classic: "Prokhanov and Prilepin will be carried from the bazaar." And it’s simpler - the consumer will not go anywhere, it will watch and read what they give.

In short, the aesthetic component has never been important for numerous state producers. They, one might say, almost deliberately ignored her. Hence, this unbearable falsehood, which, as a single genome, unites television series, historical research of recent years, and re -Soviet films, and the novels of “real” Russian writers, and kokoshniks converted from space materials on the main opera scenes.

And on this general dull background, an event that claims culture suddenly arises, to some aesthetic tasks. Moreover, these aesthetic tasks are again addressed to the past. But the very fact of their occurrence is interesting.

The meaning of any exhibition is primarily in the formation of the viewer. And, in fact, the Korzhev exhibition should set a new aesthetic bar.

Speaking about the Korzhev exhibition, the director of the Tretyakov Gallery and, apparently, the inspirer of the new approach of Zelfir Tregulov discusses the outdated interpretation of the art of the Soviet period, about certain common trends that were characteristic of all world art on both sides of the iron curtain. About some kind of artistic context. From here the goal follows - it is necessary to reinstall the artists. This will be done by the Tretyakovka. Actually, the exhibition "Romantic Realism", exhibitions of Tair Salakhov, Helia Korzhev are the first steps on this road in a thousand Lee.

Tregulova is a professional. And when she says that Soviet artists were more likely “melancholy” looked at the place of man in the modern world, it is impossible to argue with this. The real, sincere enthusiasm of the twenties in the 60-70s was impossible to resurrect, no matter how galvanized. The feeling of an alien, as in the famous picture of the artist Popkov, overcoat, tried on his shoulders, is the essence of the most welcome art of the next “beautiful era”. More was not required.

Moreover, the era was really so beautiful that such huge artists as Andrei Vasnetsov, Nikolai Andronov, Pavel Nikonov could exist quite officially and successfully in it. And not declarative, then, on the example of the work of these outstanding masters, it is much easier to illustrate the “unity of the world artistic context”. For in their work there is not only formal, based only on the similarity of the visual manner of “unity”, but the unity is deep, essential. Indeed, despite the absolutely national character, it is in the best sense cosmopolitan, truly subtle, culturally. Humanistly, after all.

But these artists are in no hurry to reduce it again. For the sake of propaganda of their work, efforts are not made and funds are not spent, comparable to the Museum spent by the Museum for the presentation of Korzhev or to the exhibition of the outstanding Soviet master Tair Salakhov. For the sake of Korzhev, as in the case of “romantic realism”, the most famous masters of painting exposure in Russia are invited, innovative, the architectural principles of the exposure is imported from the West are used. If the Salakhov exhibition is very modest, although there are simply wonderful work, then the other two exhibitions are submitted on the maximum scope, it is a bet on them (rather, Salakhov is mentioned in an interview with Tregulova so that it could be said that Korzhev was chosen in a common row. But this is obviously cunning). When you get to “romantic realism” or Korzhev, the disgusting imported word “promotion” is recalled by itself. All modern technical means are applied to literally impose on the viewer these artists and their view of the world ...

So why Korzhev? The answer was formulated - and brilliantly - Vladimir Tendryakov, a quote from which I already cited. His paintings are understandable, understandable and understandable. They, like the paintings from “romantic realism” or “after the rain” by Alexander Gerasimov (whose personal exhibition even in the USSR hesitated to do so since 1956, but now they did, however, not in the Tretyakov Gallery, but in the Historical Museum), can be easily presented as illustrations for the textbook “Native Speech” for the third and fourth classes. These paintings are available, they replace the complex - simple, content - form, didactic and "easily digestible, like rabbit meat."

If you look at Korzhev’s exhibition is uncredited, it is completely clear that the same Andronov, Vasnetsov, Salakhov, Nikonov or “non -conformists” Eric Bulatov, Oleg Vasiliev, Viktor Pivovarov are artists of a completely different level. Compared to them, he is not a culturally developed artist. Not intellectual enough. Masters, but remaining at the level - in fact - an art school. Because the artist is not only the skill of “like and pasto” to portray. This is, first of all, what is in the head and heart. One cannot but pay attention that there is no graphics at Korzhev’s exhibition. There is not a trace of the theater, music, and women existing in the world. No handwriting that every artist has millions. Everything is served on animal seriousness. There are only very smug self -portraits. He also has a bright kumach used almost everywhere like a color spot, a photorap and a complete lack of reflection. The same lyrical hero at the beginning of the creative path-the year in 1959-raises the red banner, and in the late 90s lies a drunk under the fence. The large, but unwritten picture “During the War”, conceived in 1954 (the sketch was neatly represented) could logically complete the ideological search for the master. A man in an officer overcoat-for some reason not on the advanced, but in the art workshop-heroically draws a huge portrait of Stalin (imagine how inconvenient to write a picture in the overcoat thrown over the shoulders?). But Korzhev, unfortunately, did not have time to finish the canvas, the time was leaving. We have to be content with only a sketch. It's a shame, of course. The cycle of disappointments and the acquisitions of the painter - from Stalin to Christ - albeit somewhat banal at the present time, but absolutely obvious to any viewer of the main television channels, remained incomplete. But there is much more at the exhibition: both the animated Don Quixote, and the disgusting skeletons wrapped in red banners, which the hero of his first premised picture raised; There are vile creatures that eat people still preserved in the 90s,-one might say, the Bosch of the domestic spill ... In general, each creature in pairs ...

Imagine a straightforward mental experiment. Nearby, in the next room, an exhibition, say, Picasso, was organized. What a blind, uninhabited and not free will Korzhev will immediately turn out to be!

It cannot understand this professional art. It simply cannot, no matter what he said. But why is the Tretyakov Gallery trying to jump above his head in order to present Korzhev?

The meaning of any exhibition is primarily in the formation of the viewer. And, in fact, the Korzhev exhibition should set a new aesthetic bar. From the past, and even what - directly from the textbook for the third grade, the new name arises in essence. The past sets a new standard. The present is replaced by false (here the general genes of our time are obvious). The audience is inspired that what they understand at first sight is good.

In fact, this unfortunate, who wants, nevertheless, in spite of everything, is separated from the world context to touch the beautiful viewer. It is claimed that everything is one: that the paintings with the “ideology of potatoes”, that, for example, Lucien Freud, for example, is all the same. "Potatoes" is even better - it is more understandable! But there are no clear criteria. This is closer to you - and normal! So, it is it that is a first -class art that meets the world quality. Hare as much as you want.

But if a new bar is set, then in the next step it is possible to create a new one - “final” - the history of art. The new hierarchy of artists and artistic values. It is possible to create quancticity, allowing dawn disrespectful in the professional environment to not only feel like the salt of art, but also “formally” to fix it within the world's largest state.

To replace here, on a purely aesthetic field, the present is false - this is the heroic super -task of such projects.

This task is interesting and funny. To solve it - albeit at least for a short time - can only supra -professional. Just the rest should not be mistaken about this. The palm is already extended. And the alms will be put in it. More precisely, it is already placed.