Mikhail Bode. Diary-9

And with the book "Philosophy of Andy Warhol": "Any space that contains art is in vain." (I apologize for someone else's bad translation.) It would be worth adding: "Art also disappears. Including - and Warhol himself." The foundation for this conclusion is given by the exhibition of the famous pop artist in Pushkin's Mlime . I repent, I called it myself.

If you can kill Warhol, then only in such a museum-methodical way: to hang on marble walls among the marble columns a picture behind the picture (from each series of one or two little things) with the right pauses, without thinking that you show not an old Dutch engraving, not masterpieces, but a diverse art production-silk-dumper, which are needed. Stupidly drive in series, meter meter. After all, this is one of the principles of Warhol - to finish the viewer with a monotonous enumeration of banalities and stamps, whether it be banks “Campbell's, Coca -Cola”, “dollars”, “electric chair” or “Mao”, “Elvis Presley” and “Merilin Monroe”. The countless films of Warhol and his famous novel from telephone conversations and “Diaries” are filled with the same visual and text garbage - an apotheosis of the highest boredom and indifference.

The apotheosis of the museum exhibition was some kind of monstrous mourning and commercial chapel with silk-films and an iconostasis of the Crosses of the Black-Red Automobile Self-portrait, which needs to be approached, bypassing the “dollars” and the Campbell's soups. In short, they were awkwardly remembered. "Wow!" - Warhol would exclaim if he were alive.

It is difficult to imagine what Warhol would say by examining the exhibition of Russian relevant artists “Warhol Connections” in the “L-gallery”. Maybe one more banal "uau!". This would be a correct assessment of the banal concept of the concept, the essence of which (according to the press release) is that "the exhibition includes works directly devoted to the classics of the American pop art; works that see direct quotes and borrowing from the work of Warhol, as well as the practice of copying by Russian artists of various Warhol art strategies." Do not feed bread, they like to devote to celebrities flock exhibitions. There were once "contemporary artists - Malevich", "we are Raushenberg." Now "we are Andy Warhol" (I am not joking, this is the subtitle of the exhibition). It seems that the quite consisted Moscow and St. Petersburg artists suddenly fell not only in childhood, but, say, in adolescence and reached out, like applicants, to the admission commission of Professor Pop-Art: they say, look, this sketch, this sketch, like you? And with this jar, I didn't really overdate the soup? Is it true, this silkography is like yours? Perhaps the only one who fought off this team that made Warhol the collective Kiss or Blow Job was Avdey Ter-Oganyan. With the simplicity of the pureliness of the Provincial, he stepped on the professor on his leg, giving the master of circulation products by a super -steaming device - the Merilin stencil.

But actually, in order to adequately and in a modern way to meet the exhibition of Warhol in Moscow, local artists would just have to kill Papash Pop-Art (of course, in a creative sense). As the French of a new generation - Io's Gilles, Eduardo Aruyo and Antonio Rakalkati, killed Marseille Dyushan - stuffing his face, letting him down and buried him under a starry flag (all, of course, in the pictures). Alas, this is not necessary to hope. The other day, an exhibition of one of the fathers of the French post -war abstraction of Pierre Sulazha opened in the St. Petersburg Hermitage. In September, the exhibition will move to Moscow. Rumor has it that Moscow abstractionists are preparing for the collective majesty of the master. There will probably be "we - Pierre Sulazha."

Another important milestone of the exhibition week is Pavel Filonov Formulas in the Moscow Center for Arts on Neglinka. And again the exhibition is from St. Petersburg (from the Russian Museum). It seems that all artistic weather comes to the capital from the north. Well, okay. The exhibition is designed for those who are tired of running around the galleries, boutiques and cinema halls of the Warhol Week, who likes to stand thoughtfully in front of the picture, who stagnated with masterpiece, by unhurried pewing into the mosaic of strokes and spots. In short, this exhibition appeared successfully - in contrast with Warhol. Filonov is a martyr of his “analytical art”, a vivisector of a shape with a heavy arm, a recluse and ascetic, who barely allowed students to be in his laboratory and did not release his works from it. Filonov - a pillar of non -profit art, never in his life he did not sell a single job. Repeating such an artist is stupid and ridiculous. The exhibitions "We are Filonov", thank God, will not wait.

PS: Summer. The exhibition run slows down. The last exposition crumbs are selected. And yet. Until June 30, in the Gallery "New Collection" you can look at the exhibition-ITOG of the project of the Fenso group (Vasily Smirnov and Anton Smirnsky). The essence of the exhibition is not in the pictures, but how they are funny framed.

On June 5, an exhibition of graphics of a certain Babrushev opens in Rosiso. In a word, a cat in a bag. The organizer is the periodically disappearing Gallery "Velta".

Since June 9 at the Pushkin Museum. Pushkin exhibition "Art of the Victorian era. From the collection of the London Royal Academy of Arts." There will be salon painting of the 19th century, but, they say, "pre -Raphaelites".

On June 7, a mysterious exhibition of foreign artists seems to be opening on the Big Horde in the Kreisler office.

Finally, on June 9, the Venetian Biennale opens. Our pavilion is occupied by Olga Chernysheva, Sergey Shutov and Leonid Sokov, living in the USA. In subsequent reviews, we will definitely tell you what came out of all this.