Translated material
Mihail Bode. Diaries of Mihail Boda
Although the main opening day calibers fired a friendly salvo last week at the Tretyakov Gallery , the Museum of Personal Collections and the House of Photography , from the 27th to the 30th there will be something to see and something to ferment in the capital. With vodka for lovers of “naive art”, with champagne for art critics and collectors of the avant-garde. But everything is in order.
I will start my opening day marathon on the 27th from Arbat, from Starokonyushenny, from the A-3 gallery. It’s not that I was particularly intrigued by the annotation for Igor Shirshkov’s exhibition “Immersion in the Alphabet,” written by our venerable art critic Vitaly Patsyukov. No. To passages like: “... art that manifests the birth and limits of human consciousness, generating primary schemas of history and existence and bringing together in our postmodern consciousness the signs of Kabbalah, the geometry of Plato and the Suprematism of Kazimir Malevich ... the ideal of the unity of the Spirit ... in magic mirrors. .. in the destinies of the world and humanity..." , - I got used to it a long time ago and learned to read them diagonally. I just live next to "A-3". And I also want to kick sclerosis: eight years ago, it seems (well, it’s begun), I opened a collective plein air exhibition of Irkutsk, Moscow and French artists “Purity” on Lake Baikal. It seems that Irkutsk was also there... no, Igor Shirshkov from Irkutsk. Well, I remember everything - how Rostislav Egorov painted rusty longboats with fish, how they laid out “Aphrodite’s Eggs” (installation by Valera Eisenberg) on the shore, almost choking them, how the French women almost missed a raft with birches into Baikal (also an installation), as noted with the locals VIP vernissage on the shore, then in the dining room, then again on the shore. I don’t remember what Igor Shirshkov did. It looks like paintings. Now there will be an opportunity to mend the memory. I'll come and say: "Well, how..."
The individual marathon will resonate with the curated marathon. For more than a year now, Yuri Avvakumov has been pursuing his photo project “24 frames”. Everything about architecture, everything in the Museum of Architecture on Vozdvizhenka, always 24 photographs. They show photographs of photographers photographing architecture, architects taking photographs, and those who, having nothing to do with either one, go out to hunt with a “soap box” the sights and ruins of our capital. At the Museum of Architecture we saw the “pros” - the Palmins (both senior and junior), architect Utkin, painter Faibisovich, graphic artist Orlov, designer Ermolaev. We looked at Art Nouveau, residential areas, ruins of palaces, garbage dumps and slums. Now there will be “Hero City” by Oleg Smirnov. On the invitation there is a burnt house and a gnawed poster “Peace to all!” There are no illusions.
On Wednesday 28th, you need to start from the Moscow Art Center on Neglinka. Its director Marina Loshak will show foams taken from the rich exhibition of the Russian Museum " David Burliuk ". This is not the first time that the MCI has put a slotted spoon into the cauldron of the State Russian Museum - in February they had “Game and Passion” (that is, gambling and quite innocent children’s games in Russian painting). Ms. Loshak owes the secular, theatrical and aesthetic success of her exhibitions to extensive connections both with people from the state and diplomatic corps, and with reputable collectors and museum workers. She also gives extra work to students of theater institutes, who act out funny skits at opening days. We must assume that this time there will be a fashion show of futurists with spoons in their buttonholes, yellow jackets and cries: “Poetry is a tattered girl, beauty is blasphemous rubbish!” As for David Davidovich’s opuses, perhaps not all of them will correspond to Khlebnikov’s description:
... Heavy and gloomy crimson and green canvases hung nearby.
Others walked lumpy like black sheep, worried
Its surface is rough, uneven...
Some of the things of the author of “A Slap in the Face of Public Taste” and “Roaring Parnassus” were brought from American private collections. And this painting by the “distributor of slaps”, who has lived in New York since ’22, is quite subdued and comfortable. But you still need to look - after all, it’s not every day that we pour “mares’ milk.” And not just milk.
Why do you need to go to the Moscow Art Center first? But because then part of the party will move to Malaya Polyanka, to the “Dar” gallery. Some will go for the continuation of the buffet - to increase the degree, from champagne to vodka, others - to aesthetically decrease - look "naive". However, one does not exclude the other. The Gift will feature Vladimir Makarov, a longtime favorite of the gallery. The 70-year-old resident of Odintsovo will show how passionately and colorfully he loves the life, customs and appearance of the villagers near Moscow. The traditional “Zavalinka” will lead the vernissage to the traditional finale.
On Thursday 29th, I will definitely go to Delegatskaya, to the Museum of Decorative and Applied Arts. I want a beautiful life! magazine Mezzanine , the organizer of the Decor Week exhibition, promised it to me. They say that they will show you how to select armchairs, sofas, upholstery and tapestries in order to feel like under Louis XV or XVI. They say that everything is from Paris, and what is not from Paris, then at least from Lyon, if not from Versailles, then from antique galleries. At the same time, the French will teach us how to equip our “Russian salons” using Russian hardware. Although all this is alarming, I still trust the French. I don’t believe the Russian re-design. They said that there would be “conceptual” interiors, such as an army bivouac within four walls and a bathroom upholstered in crocodile skin. In short, an apartment for Gumilyov.
On the 30th the vernissage circle will close - again gallery "A-3". And again, oh my God, photography. The poet Alexander Karpukhin will comment on Yulia Orentlikherman filming. The ambiguity of the title of the project is intriguing: “There is too much between us to be together.” I saw the only photograph: him and her with their legs intertwined in a dance. I would like to know how this ends. I'll go, and the house is nearby.