Andrey Kovalev. Swedish exhibition # 8

Books bought in the Giley store

A.A. Kurbanovsky. Art of History as a type of letter: Sat. Art. - St. Petersburg: Borey -art, 2000. - 257 p.; circulation 500 copies.; ISBN 5-7187-0344-2.

Colleague Kurbanovsky is a very scientist and advanced in terms of understanding what art is and, in particular, modern art. Despite all these advantages, he, no matter how wildly, works in the Russian Museum, in the collection of contemporary art of Ludwig.

And this, if you think about it, is not so little, for a chronic drawback is felt. People who can quite reasonably talk about the classics of art history Henry Welflin and Erwina Panofsky or Vrubel and Tatlin at the same time judge Shemyakin and Timur Novikov. Personally, as an writer, firmly chained to the galleys of the present time, I really envy the pose of the impressive thinker Kurbanovsky. He, while he is trying to realize the creative ideas of Vladimir Tatlin, have time to open the works of Boris Vipper, Sigmund Freud or Lev Trotsky. It is for this reason that it is so pleasant to read a straightforward compiled collection of articles first published in different periodicals. The total and widespread censorship of the media, which requires a clear and clear presentation of the circumstances of the case, categorically taboo the possibilities of slurred murmuring thoughts that have not yet taken shape. These "dark places" in the works of Kurbanovsky colleagues attract, in truth, most of all.

Of course, a holiday will come on our street. And we will have everything like in America: artistic critics will, as now, will run, sticking out the tongue, by vernissages, and academics at good professorships - with a calm dignity to read and write highly intellectual scientific treatises.

So the only thing that is somewhat depressed in the works of the worthy art critic and theorist is almost a fatalistic and, in fact, a very worthy lack of fear of being banal. How else can you regard the desire to entitled the article “The Text of Stalin” if the work called Gesammtkunstwerk Stalin Boris Groys has already been written, or an annoying attempt to compare the “Theater of Cruelty” of Antonen Arto with the classic rock and roll (“no one will come out alive from here: Antonen Arto and aspects of performive art”)?

But even more ridiculous and even indecent, rash hyperctivity addressed to the valiant American post-Marxist-postmodernist F. Jamison ("Temptation by Marxism: Schizoculturology Frederick Jamison") . Of course, "Marxist discourse, which is fascinated by the university tradition, after the collapse of its material referent -" system of real socialism "looks ambiguous and absurd." But in this completely absurd situation, there is the main high and the only ray of hope. It is clear to any normal person that almost the only opportunity to maintain sanity in this world is to try to become a Marxist.

Quote: However, according to J. Lakan, the “father’s name” is primarily the phallus , the main thing meaning the law that the only one can fit a person into society and make it suitable for symbolic exchange. So the art in Russia, apparently, is hopelessly phallocentric and transgressive - and the banker does not get away from the couch the psychoanalyst.

• Report " The fundamental secondary of the Russian avant-garde: today " at the theoretical and practical seminar "marginal/academic thought and contemporary art: recognition strategies": "However, at a certain moment, the next artist who wants to go on a new path does not find free space for this: all the snow is trampled, the whole snow mountain has turned into a single big skis. This is exactly what the situation of the postmodern arises: the postmodern situation arises: the postmodern situation arises: the postmodern situation arises: the postmodern situation arises: The artist operates with various styles as a single whole, not having internal boundaries, freely constructs other (not new) styles from them, but he is forced to be on the surface, performing the functions of the combinator, not the creator: the creative space is completely occupied, there is no free space.
• List of articles - Bibliography of the timing 1997 (part 4)

Hans Zedlmair. Art and Truth: Theory and Method of History of Art / Per. With him. Yu.N.Popova; Postwell. V.V. Bibikhina. - St. Petersburg: Axioma, 2000 (series "Classics of Art of Art"). - 272 p.; The circulation is not indicated; ISBN 5-901410-03-3.

The book of Hans Zedlmayra “Art and Truth” has been published in recently for the second time (in 1999 it appeared in the “Art The Code” library, where the author was called Hans). Which is very fair: Zedlmair is part of the program of compulsory art history departments. It is difficult for me to evaluate which translation is better - Moscow or St. Petersburg - for the insufficient knowledge of the first -year -old. What is the discourse! German science, as you know, is not for the faint of all; Although any professional art critic is very necessary to periodically look into the works of such a variety in order to realize the final mesmeriality of the terms so firmly sown in the language as “style” or “artistic process” and especially “artistic will”.

It is only a pity that other humanities are not inclined to pay attention to our art history classics. If you carefully read this more than heavy treatise, then very amazing and unexpected things will be found. First, Zedlmair with purely German thoroughness builds a building according to a pre -drawn up plan. Everything is in the place - and gestalt , and a separate work of work , and genetic ties , and even artistic will . But in the end with the equally German inevitability, the roof goes somewhere, and it turns out that for the author in 1958, modernism is a pure product of Satanism and demonism. (This refers to Van Gogh and any cubism-expressionism that destroy the integrity of human worldview.) Many things are read as if they were simply rewritten from not realized at the time, that is, in 1935, the catalog of "degenerative art" or from the actual publications of the newspaper "Tomorrow".

But in every decent publication there should be a commentator, that is, V.V. Bibikhin. However, he, instead of unbearably clarifying the unprepared reader, what place was occupied by the art history classic in the general context of the era and the development of this “knowledge”, not without the share of masochism, agrees that the science of art “acquires ... an immense significance. It is participating in the apocalypse, understanding that the Last Court is now playing.”

Once again, I am convinced that even though the thinker Bibikhin is not an art critic, the art of art itself is a totalitarian occupation to the extreme. Such horrors are young people, with an unstable psyche, obviously should not read.

Quote: A brief look at the genesis of a separate art work allows you to distinguish several main groups of "factors". A work of art arises as if in the voltage arc between the "views" of the artist (in the data of the moments of his work) and the task set by him, within the framework of which he creates; This does not have to be done in the form of the task itself. On both poles of this arc, in addition to individual factors, common ones also operate. They belong - in the first, coarse approximation - in essence, like man himself, three spheres of being: biological, social and spiritual. To establish their nature and way of interaction in each individual case is the task of empirical art history research.

• Alexander Lucy. Mom therapy (review of the “Moscow” translation of art and truth ”): “ Drawing healing in such concepts as the style and motive of works of art, the scientist develops the methodology for their feedback to achieve their true present, synthesizing the typological and teleological (target) concept, complementing the terminology of terminology. The key concept of "artistic will"

Tatyana Nikolskaya. "Fantastic city": Russian cultural life in Tbilisi (1917-1921). - M.: Fifth Country, 2000. - 192 p.; circulation of 1000 copies.; ISBN 5-901250-07-9.

The one who is curious, what kind of new interesting publishing house “The Fifth Country” this is, should carefully look at the weekend, which says that the book was published with the participation of the Giley publishing house and its editors were made by a certain S.V. Kudryavtsev, not to mention the general version by A.E. Parnis himself . Then all doubts will disappear, and everyone will understand that the publication was carried out by one of the clones of the most avant-garde store-store. By the way, the great work of Gilei on the printing of the great works of Casimir Malevich continues, the third volume of the “Assembly” was already ripening. But I will tell about him at the next “Swedish exhibition”.

As for the "Russian Tiflis", it was a very cheerful and rich place, in many respects even more fun than "Russian Paris" or "Russian Berlin". Suffice it to say that in Tiflis, under the wing of the soft -bodied Georgian Mensheviks, all Russian futurism, led by the delightful Alexei Krushenihs, moved. Thus, the guys, among whom were the Brothers Zdanevichi and Ivan Terentyev, not only looked for more magnificent bread, but also politely removed from the comrades of manic Bolshevization. We note, however, that there was a great benefit in the Bolshevization - otherwise how would the golden line of Russian poetry be written "nowhere other than in Moselprom"? But the continuation of the great futuristic experiment had its great meaning. Kruzheny, for example, composed a remarkably ugly verse in Georgian:

Mcekh
Khini
Flies
C l
Lam
Ma
ZKE

Even in Tiflis, the poet -Aviator Vasily Kamensky, the most sophisticated Nikolai Jewish, entered Tiflis ... There, even once, Osip Mandelstam was arrested.

In general, the story is funny. It’s only a pity: the long -term work of a respected researcher, so deeply immersed in the reality of the era, does not pull in scientific qualities even a good diploma and consists mainly of voluminous quotes. It would be much more reasonable, since it is impossible to draw any coherent text, generally abandon the ligaments between quotes and arrange the collected material in an anthology or some reference. It would have been fun. But in this option, the book is useful and necessary - for those who understand who the twisted are and who is the poetess of the evening.

Quote: In this book (“Little Kapot”, 1918. - A.K. ) , Kruzhenykh disagreely analyzes “The Proking Shifts” or “History as anal Erotica, Akakim Akakievich Gogol began and ended with Zdanevich”; "hiccup" shifts - "and who", "and cat"; “Osline shifts” - “oh, merge, merge with him rather” (S. Gorodetsky) and “and we buried your earth” (V. Bryusov); The “History of the Yamudia” is a hearing typo “Stand up and from this moment” (G. Robakidze in the alteration of the village of Gorodetsky, “Ishi” is printed together). As a result of observations, he comes to the conclusion that "cocoon and yumodyo shifts and words reveal the love of Russian writers for the game with as well as ... it is, which is obvious in cases with the ubesecakes, windbreaks, etc.." Proclaiming himself the creator of the doctrine of anal (“rear-pass”) and “verbal-humid” erotica, twisted sarcastically adds: “If the caches of Russian writers are explained by deafness, then all the worse for them!”

Vasily Rakitin. Ilya Chashnik: Artist of the New Age. - M.: Literary and artistic agency RA "Russian avant -garde", 2000. - 162 p.; circulation of 2000 copies; ISBN 5-85164-077-4.

The publication of monographs about such artists of the second row as Ilya Chashnik is more than an impressive phenomenon. The student of Malevich is still in Vitebsk, persistent and stubborn by the Suprematist, and then the constructivist simply did not keep up with the speed of running after his teacher and therefore there was constant counterattacks with him. In terms of infinite metaphysics and departure to the Suprematic lawlessness, he also did not keep up with. The book, which also added the texts of Ilya Chashnik, part of the archival, would be very useful and necessary, if not for the inflamed manner, for some reason adopted by the German art forces Rakitin. He is undoubtedly knowing a person, but why write so completely calm, even household monographs? And then it turns out something like a book of memoirs, written half a century ago, who survived the contemporary of great events from the mind. Or a fair brown.

That is why I can’t recommend all the segonniks, which are equipped with the mark “Private Meetings in Germany”, without exception, as unconditional originals.

Quote: Malevich loved to talk with apprentices. Dnovis wants not proletarian, but universal art. That is, art is not class, but universal. This is a fact, not a hypothesis.

Malevich includes the UNOVS in the tradition of will be, Russian futurism - we stand on the block of the word "we".

Lisitsky specifies: only together you can come to inventions standing "in front of life, for only such art can be such."

However, is the art of what is doing in the workshop of a unified audience of structures, or is it overcoming art on the way to the "vivid architecture?