Mikhail Bode. Diary-5

A certain character of Yevgeny Schwartz , reasoning on an intimate topic, said: "This is a little nice, a little ashamed and a little funny." With such feelings, a numerous audience scurrys around the exhibition " Memory of the body. Lower linen of the Soviet era ", which opened in the Central House of Artists. Dick in other people's linen, of course, is ashamed. To consider bras, panties and stockings of someone’s grandmothers and mothers, of course, funny. But at least in such an awkward way (as if spying through the keyhole) it is pleasant to remember the past-the 50s and 60s. Not because this time was so beautiful, it was by no means, but because it was, and you lived in it, it was - and it left irrevocably. Taking through the eyes of the old linen, you remember the former communal life, when the cuisine turned into a battleship, colored with flags: stretched ropes, fishing lines and wires, rags, rags, rags on them. In short, linen. Despite the external monotony, each rag carried the seal of individuality, everything washed off about its owner.

So I remember. The pajama pair of old man Vasilievich hangs: one sleeve is sewn with a kind of epaulet on his shoulder (and why is he to one -handed?), The other half neatly cut off by the wife’s hand (so as not to get wet when the old man touched the cabbage from other people's cans), the pants in the saddle were ruthlessly lined with tarpaulin (Vasilievich opened an eternally spinning bottle, clabbing, clamping her between the legs). The underpants of the grandmother of faith with an internal, secret pocket for retirement (even under Khrushchev was afraid that she would be taken out). A dense, long and disgustingly dried -dried -up aunt Natasha with rows of safety hooks (by that time, the aunt exchanged the seventeenth ten kilos). This was sewn to order. The defile of sewing ingenuity, sprinkled with poverty, a parade of self -building Lingerie, once delighted with domestic and loved ones and laughter in those who witnessed revealing embarrassments. Now with the samples of this linen front - and this was indeed a kind of opposition to Soviet unification, a domestic struggle with GOSTs - it would be worth it, as with museum exhibits. You can only smile a little. After all, the archaeologist does not gnaw, excavating the ancient night vase: after all, evidence of the bygone civilization. And therefore it is wonderful to see the "memory of the body" in the Central House of Artists. If we remove the supposedly reflective opuses of contemporary artists from the exhibition, which look as appropriate as the stocking sewn to tights, the "lower underwear of the Soviet era" would be the very place in the wardrobe of the historical museum.

In a sense, the Tretyakov Gallery also tells about the memory of the body, which presented the exhibition of the Kursk Regional Picture Gallery in the endless exposure cycle "Golden Card of Russia". Prior to this, all provincial museums living in Moscow showed their "gold" funds - the best, selected works. The chickenians distinguished themselves, as in the old Jewish joke, when Rabinovich brought a friend to a golden wedding, recommending him - a "golden man". In short, they brought one Alexander Deinek . More precisely, about a hundred of his works. There are no words - an eminent fellow countryman, but there is something in the regional gallery except his creations. Deinekami, on the other hand, is loaded from the Tretyakov Gallery to the metro stations itself. But one way or another, the exhibition fell into the current exposition suit - after all, Alexander Deineka all his life with knowledge of the matter and with understanding the current moment depicted Soviet bodies. In the 1920s, he was so drew them with hard labor at the construction sites of new workshops that anatomy could be studied according to their epidermis and protruding bones. In the 30s, he began to feed, take it to sunbathing and taken to the sea, preparing them for work, and more for defense. Pioneers-Spartans, not afraid to burn in the sun, peered for a long time in flying hydroplanes, male and female labor reserves of an older one without a shadow of erotica admired each other. In the late 40s, the bodies (like the body of the master itself) were slightly twisted with fat, but did not lose their sports form.

Alexander Deineka. Self -portrait

So the artist was depicted on the eve of the fiftieth anniversary on self-portrait, the iconography of which could be defined as "well, come up!". So he steps on the viewer - an artist -boxer (Deineka, really boxing) in an open robe and sports slippers. Probably, then I liked it - the post -war country stared "the first glove." Differing in a good reaction, Deineka felt a change in advance and already in the 53rd tried to eat and poem. In the female half of his work, piercing pink nude a la Matisse and a brand, socialist Venus a la Velazquez and naked "dumplings" a la Steinlen appeared. Something human began to arise in his art. It was also destroyed the artist Deinek, who made himself a name on the sculpture of heroic torso.

In a strange way of humanity and humanity, it resembles the monumental project "Tower" of contemporary artists of Nikolai Polis and Konstantin Batynkov. Actually, contemporary art is not too humane: corrugatedists either cut pigs, then they let their own blood, it happens that people are rushed into people. But you need to know the authors of the project. Polis and Batynkov - Mitki. And, as you know, Mitki do not want to defeat and offend anyone - they pity people and, on occasion, are being used to him. So when they decided to sweep out the twenty-meter “tower” from the hay, I also probably thought about Babylons-shumers and tatlin-iopans, but about the Kaluga peasants and women, over the unclaimed ingenuity and dexterity of which were ready to click the sivuish waves. Artists with Godunovs called for summer-autumn public work a hundred villagers, determining them payment, a chicken, dry law and the title of "co-authors" (indeed, everyone is mentioned in the catalog). And the green serpent and his servant - unemployment were shameful. Another thing, how long?

And what about the tower? What is with a monument to revived communal work? It turned out to be tall, enormous, charming and absolutely useless: nevertheless, a work of art was shoved.

Nb curious people can get acquainted with the history of creating a tower on a photo exhibition at the Central House of Sciences, where you can also be submitted to the following communal and artistic works.

PS What is the current week preparing us? Interest in rags will not weaken. Luxurious rags can be seen at exhibitions of famous fashion photographers Gerard Yufer (in Gum from the 23rd), F.K. Gundlah (Gallery "On Solyanka" from the 26th), the fashion in the photographs will be scored "New" and "Big Manege" (from the 25th and 26th). It is clear that we are talking about the festival "Fashion and style in photography", which is traditionally collected by Olga Sviblova in the spring. If your eyes no longer look at long legs and flat busts, you can not without pleasure look at old Paris, shot by the Men Egen Aus and Robert Duano.

Rags, which are absolutely impossible to wear, will show the 27th at the exhibition "Defile of the wardrobe" in the "L-gallery" on Oktyabrskaya Street. The artistic self -building will be demonstrated by domestic radical artists. High-luminous western art critics will come to discuss the show.

From the 24th, the Central House of Arts has also been held by the traditional art fair "Art-Moscow" . There will be a lot of funny art-attractions. So you can bring children.

We categorically do not advise the 26th to come with the children to the Helman Gallery. The St. Petersburg Patriarch "New Classicism" Timur Novikov will create an autoDafe with objectionable publications on modern art.

It is better to come to the Ridgin Gallery without its own half. Andrei Bratkov will show how "they go." We know him.