Mikhail Bode. Diary-26

ON is more versed in a variety of painting brushes, spatulas, scrapers and brushes (sometimes he invents them itself), in impregnation and gluing canvas, in pastes and pigmented aggregates than in the theory and history of art. Yes, he does not need her. He once read and hardened somewhere that the first black square four hundred years ago was written by Rosicrucker, Jobe Fle, which means that all the followed black squares are repetitions. But on the duty of the artist-modernist of the 20th century, he respects Malevich , Rodchenko and Tatlin . He was restrained in relation to his contemporaries - American abstractionists Rotko , Pollock , Mazeruel and Klein , constantly and as if accidentally drops that they had successful moments in his work from time to time, and he had an incessant growth of skill from the very beginning.

About the growth of skill, you can argue. But indeed, the strap of an abstracter Pierre Sulazh is pulling for more than half a century. He reported on his successes in this field in front of the Moscow public (before that before St. Petersburg in the Hermitage ) his small retrospective "Black Lighting" in Tretyakov Gallery . I reported not only “in writing” - paintings, but also orally - at a press conference, as if pressing his old inner tape recorder at the “Play”: “The first black square wrote a rosencracker in 1610 ... In childhood, I loved to draw snow in black ink ... Black roofs and trees from my youth made an impression on me ... My work was on the exhibition about black work. Malevich ... "For those who did not understand that Monsieur Sulazh is the last of the remaining specialists in black, the master posed in black against his opuses with Napoleon hands with his hands.

Once upon a time, a perenced word "formalism", which our non-conformers, was easily broken from the languages ​​of the rabid Soviet critics. For the Sulaza Monsieur, “Formalism” is a balm to the soul, for he is engaged in without any back thoughts (and even without thoughts in general) exclusively artistic artisans: this is how it is very beautifully spreading and putting black paint on the canvases, admiring its masonry and overflowing. Once, in the post -war years, it looked like a radical gesture: such black and tarry sleepers and beams on white canvases denounced a stormy, but compressed artist’s temperament, compressed as a spring. In short, against the general background of the then French abstract smear, Sulazh looked like a true "harsh".

Over the years, the "spring" began to weaken and stretch. The canvases of the master began to stretch in different directions and the canvases of the master. Now they reach almost 3 by 4 meters. Probably, they will soon become the size of a firewall, and then the artist will need his proven painting tools. But apprentices will already work in the forests - the Metro has now been the 83rd year.

Compared to the almost designer, clamped abstraction of the Sulaf, our abstraction looks rather modest, if not poor. She does not yell about herself with huge formats, but quietly huddles in a book illustration. Such an art created in the light of a table lamp was shown by the Fire Art Gallery - the illustrations of the well -known artist Igor Vulokh to the collection of verses by the Swedish poet Tumas Transstirer, which, as it turned out, is known all over the world, but not to us. One way or another, the duet of the poet and the artist turned out to be successful. It is useless to compare the constructive translations of the Swedish poet and the illustration of the Russian artist hung nearby in the gallery in the gallery. To portray "The rebellious sound in the tube/ century century/ hung over bottomlessness" is simply impossible and ridiculous. Wolokh tried to translate the rustle and the murmur of a speech unfamiliar to him to the swimming knitting of his minimalist graphics. By the way, also black.

Against the background of "black" expositions, the colorful exhibition of Boris Anisfeld looks somewhat extravagant. The Alchemist of Color is represented by the Moscow Center for Arts and the American ABA Gallery Inc. , Which a few months ago brought the exhibition of David Burliuk to the MKI . That is, again the exhibition-sales and, probably, again dubious dating of work.

It is difficult to say how much the paintings of the former Mirisknik will be sold, which became the states with a designer of theatrical productions. Too much in his work, he went through various "Izm". A bit a lot of colorful decadent haze from Gustav Moro and Odilon Redon , there is enough open color from Matisse, drawing erotica from the German Ygentstil and even some kind of painted minting a la Lado Gudiashvili. It must be assumed that all this painting in Chicago, where Boris Anisfeld moved in 1918, considered a pan -European one. And as such - they were not too bought up too much. Otherwise, why was her American gallery brought to Moscow.

PS from October 3 at the Museum of Personal Collections of the Mlime of Museum of Sciences named after Pushkin opened an exhibition of graphics of one of the German "new wild" of the 1970-80s - Sigmara Polke - "Music of unknown origin." We guarantee a wild, grotesque drawing and absurd inscriptions.

The Moscow House of Photography shows the next “classic of Russian photography” by Viktor Akhlomov , the author of the famous picture of the motorist “gulls”, known as “memberships travel”.

In MDFA, the German Inge Verta is shown in bed - a series of photographs that demonstrates how the German essence (businessman, teenager, artist, pensioner, gay ...) in the alcoves is revealed.

On October 4, in the "New Manege" the vernisage of the exhibition from Israel "Russian-Israeli artists". The question is what exactly.

On the 4th, the CDH opens an exhibition "Ambiechent". In fact, the exhibition is industrial, but it will have a couple of art projects.

The 5th Gallery "Art Collegium" calls in Maly Vlasyevsky to the exhibition "Gennady Aigi and his friends". Friends of the poet were and are from the former undergrand - A. Zverev, V. Yakovlev, I. Vulokh, I. Voroshilov and others.

And on the 5th, in the Museum of Decorative Art in delegate, Leo Melikhov and friends will show how "photography saves the world." The name causes doubts, but the reception will be hot.