Mikhail Bode. Painting endlessly

P the rowing week turned out to be completely picturesque. Wherever you go, everywhere canvas and oil (or acrylic). In the exhibition hall on Kuznetsk, 20, an exhibition of the collection of the artist Annamuhamed Zaripova. This is an almost forgotten case in the history of domestic art, when the artist acquires the works of his colleagues, and even in such quantities: in the Zaripov collection of more than 150 artists. Only Ilya Ostroukhov is a memorial - a merchant, a philanthropist and a jerking collector of Serov , Korovin, Levitan and all sorts of things. But that was the case at the end of the century before last and at the beginning of the past. And here is the case with the "Moskhov" artist. Since the 1950s, Zaripov collected (bought or exchanged for his work) the creations of artists who did not fit too much into the official "Soyuznocudic" register. His first acquired picture is the composition of Robert Falk. Then other "leftists" followed - Max Birshtein, the brothers Smolina, father and son of Tabenkina, Evgeny Vakhtangov, Tatyana Nazarenko , Natalya Nesterova . And then the creators of the "youth art" of the 1980s - Nikolai Filatov, Evgeny Dybsky , Boris Markovnikov , Nikolai Sysedkin , Valery Isenberg, etc. Slowly, the Soviet antiques was also acquired - the work of artists of the 1930s. In the collection, dozens of canvases and graphic sheets of Zefirov, Sofronova, Tyshler, etc. Annamuhamed gathered high -quality Soviet modernist painting and even tried to promote it. He fought as he could with the prohibitions of the then exhibitions, with the directors of the exhibition halls. He walked a nostril in the nostril with the protagonists of the "other art", Nonconformist, noted by scandalous expositions in Izmailovo Park, at Malaya Georgian and Running. But they did not particularly intersect with them. What will do with his huge collection of Zaripa is not yet too clear. It is quite difficult to sell it - a boom on the “left” Soviet art has long passed, and the next boom will have to wait quite a long time. Opening a private museum of such art is invoice. It remains - transfer or sell at gentle prices of the Tretyakov Gallery. There is every reason for this, since the post of scientist secretary of this museum (and this is almost the supreme referee of the "Tretyakovsky" taste) is occupied by Vladimir Ilyich Morozov, a long -time propagandist of the "Levomokhov" creativity.

On the Kuznetsk bridge, a little lower, in house 12, known as the artist’s house (not to be confused with the Central House of the Artist, in the Crimean Val), the exhibition "Russian Impressionism" was opened. Actually, the exhibition would have to be called "Soviet impressionism", since we are not talking about the circle of artists of the line of the XIX-XX centuries (what he loved and collected the same Ostroukhov), but about the epidium of the Soviet artistic professors and students of the 1930s and the 1930s, who searched the Igor Grabar "in the heaps" in the heaps of the artist-artist. And the fields of the Moscow Region and in the rocks and vineyards of Crimea. In those days, Soviet "young -murals" considered themselves almost avant -garde: they wrote relaxed and sweeping, they wanted to spit on the Soviet thematic picture, read Vollarus and Canweieler, "letters of Van Gogh", clumsy in the still abolished museum of the picturesque culture and leafed through the poor reproductions of paintings by French impressionists. They leafed through and wrote in the 30s, in the 40s (being during the war in evacuation in Central Asia with the Art Institute) and in the 50s, 60s, 70s, etc. From time to time, they managed to sell something through a network of art salons or through an artistic lottery. Now nothing succeeds at all. Hence the resentment. "Why are we not needed? Where are the orders? Where is the buyer? Is it no longer needed painting?" - refrains of the vernissage "Russian impressionism." What can I say? Sorry.

Meanwhile, the painting of a different kind - let's say, postmodern - is in demand. And in demand at a high level. The Moscow Interbank Currency Exchange celebrated her 10th anniversary in the New Manege with the exhibition "Actual Russian Painting. 1992-2002". The organizers of the exhibition equated a decade of development of the modern economy with a decade of free development of contemporary art. A large business and business is small (that is, art business) looked at each other with pleasure.

Two superpopted curators - Elena Selina (director of the XL Gallery) and Maria Popova - showed the Best Twenty Modern Russian Artists to Birzha Commonwealth: from the "veterans" of Ivan Chuykov and Igor Makarevich to more or less young Avdeya Ter -Oganyan, Vladimir Dubosarsky and Alexander Vinogradov and Stas Shuripa. The curators did not want to scare the exchanges with installations, objects and promotions and showed contemporary art in the "wall" format - that is, paintings. And they convinced the “customers” so much that the General Director of the MMEVB Mr. Zakharov expressed: “One of these directions has become relevant painting, what is called Contemporary Art in the West.” Well, let the exchanges believe themselves that contemporary art lies only in canvas and a subframe. If only they bought. And this is necessary for both the galleryists and us, critics: what will write about. Contemporary art, even in this form, needs to be promoted. Yes, in this form it looks quite good. For those exchanges who did not quite understand the value of this art, a richly illustrated catalog was released with the texts of Elena Selina, explaining on the fingers, which is interesting to this or that artist. In order not in words, but in practice to convince a wealthy audience of the values ​​of the works of contemporary art, an auction was arranged. Of the 14 lots from the hammer it took 6. That is, almost half. Not very bad. Most with excess of "eastyite" (preliminary assessment) by a third. True, prices "dangled" from 1000 to 2000 cu, but this is their real value. Bye. We will wait for the new boom on the "Russian". And the painting does not end. Also so far.

PS Exhibitions in the week are expected and open almost entirely female.

On January 22, the exhibition "Female Art" is opened in the halls of the Tretyakovka on the Crimean shaft. Demonstration of female needlework: from the Zlatoshwi of the "Tsarokh workshops" of the times of Godunov and Alexei The Tishals, the artists-dilents of the 19th century and to the "avant-garde" of the beginning of the XX century and the avant-garde of the same century. The Russian Humanitarian University made in the Pandan to the Tretyakov exhibition the exposition of domestic artists - "Actual" - Hanngsler, Antoshin. Martynova, etc. So you can make an aesthetic mileage from Novoslobodskaya to Gorky Park. There is no harm, but also ...

On the 22nd, an exhibition of Ekaterina Golitsyna will open in the Moscow house of photography . Within the framework of the project "24", supervised by Yuri Avvakumov.

And the 22nd in the Gallery "Fain Art" exhibition Farid Bogdalov. Probably postmodern pictures.

On the 24th, in the OGA Piroga (club-restaurant and exhibition hall), the vernissage of the exhibition of the Hungarian photographer Andrash Fecte "Passage". In any case, excellent pies are guaranteed.

On the 25th, in an almost completely forgotten exhibition hall "Trade Union 100" an exhibition of Sergey Chernov will open. I don’t really remember who he is.

On January 29, the Museum of Decorative and Folk Art will open an exhibition "Ret-Evolution". More than 30 artists will show works. Two works will be exhibited from each - early and late periods. The audience’s case is to understand how evolved by this or that artist.