Marcel Marso in his pocket

Another exhibition of Anatoly Zverev is a small edition, accompanying the next exhibition of graphics by Anatoly Zverev (1931-1986) in the Gallery "Kino", was made in the style of the artist’s pocket notebook. Today, people who are furiously stirring with a pencil, pen or felt -tip pen in such notebooks, from time to time taking off their eyes from the next page in order to grab the most important thing in the surrounding world, rarely meet in the subway or on a bench of the Moscow Boulevard. But there was a time when the practice of daily and widespread drawing united the “left” and “right”, zealots of the socialist tradition and desperate non-conformist experimenters.

It turns out that the modest “notebook”, full of faxedly reproduced Zverevsky handwriting, saw the light with the support of the French Embassy in Moscow. The reason for this enthusiasm is simple. The drawings are dedicated to the Moscow performance of the famous Mim Marseille Marso, seen by Zverev in 1957 with the presentation of the collector Alexander Rumnev and conductor Igor Markevich. In the creative heritage of Zverev, images of such status, world -famous characters are rarely found, and it is unlikely that he immediately experienced enthusiasm about this improvised cycle. But, judging by the drawings, the artist’s work was then really carried away.

The organizers of the exhibition had a difficult task: the pocket format of Zverev drawings, unlikely to be expected by the author himself for public show, could make the exposition of unreadable. They decided to get out of the situation as follows. Firstly, a significant part of the work is combined by several sheets in one dark paspartm; Most of all, it resembles the drawn phases of the characters of some animated film. Another part of the sketches from the Marso concert is designed by the organizers in a piece, but combined on the wall in the blocks. Secondly, the five most, so to say, various sketches are significantly increased and reproduced by black on transparent plastic; They are intensively illuminated and posted opposite the small originals. Finally, a soundless black and white newsreel, endlessly projected onto a large screen, offers to look at Mima Marso not through the eyes of the artist, but, so to speak, objectively.

Over the past few years, Zverev has become a familiar, almost duty figure of metropolitan everyday life; The Gallery "Kino", which has already arranged more than one exhibition with the presence of his works (including a fundamental exposition in the engineering building of Tretyakov Gallery), is one of the main propagandists of his reckless art. The invitation to the next show of Zverev could not but cause some skepticism, which was completely in vain: the exhibition was rather successful. The luck of the curators of Elena Yureneva and Polina Lobachevskaya can be discussed, even preserving the claims to the superficiality of the visual material they presented: one thing is the advantages and disadvantages of the drawings of the twenty -six -year -old Zverev, the other is a successful drama of the chamber art project. About the past and future fate of these drawings, until the end of this April, united at the “Stenogram” exhibition, the majority of those gathered for the vernissage was unknown. It is only known that since the creation, they are first demonstrated so publicly. In addition, there are already flashes next to many drawings, indicating the sales. Zverev would probably be happy about this.

04/05/2006 / Sergey Safonov, the material was published in the newspaper No. 59 dated 06.04.2006.