Igor Shevelev. Eighth letter to a virtual friend

Hello . Today without lyrics. Circle and so spring, and we must have time to report in a sober voice. I’ll start with the very sober - with the Academy of Arts , where the huge anniversary exhibition of Rudolf Khachatryan (born in 1937) is on the 65th birthday. He came from London. The whole Armenian diaspora is from Yerevan, Paris and Moscow. Darkness gained the people. The exhibition is from the student works of the 51st year, where the thoroughness of the drawing of details is already visible, to the last London series, monotonous, as a propagated fragment of Picasso, well, where the leg is claw. Here are so many, many claws-installations, black and white graphics, glued cardboard. I, like many, loved and love portraits that Khachatryan made in the 70s. Fascinating work in the spirit of the masters of the Renaissance - loved by him Leonardo and Durer. Moreover, without any stylization and lifting (sorry, I will not find a word), which is immediately felt. On the contrary, with some last sadness of stylistic anachronism. Therefore, when in the 89th year William Meiland put Khachatryan along with Shilov and Glazunov in the conceptual exhibition “Make us beautifully”, it somehow offended me.

By that time, Khachatryan, however, had already left the “Durer”, and at the current exhibition there are these series - “Manifestation of the image”, “Image and shadow”, where the visible image goes into a monotonous washing with geometric patterns. Friends came up to me on the vernisage and asked if I could explain such metamorphoses (also, by the way, the name of one of the series) of the artist. I could not. When I asked such questions, they made it clear to me that the matter is the sale of work. Then in the export salons it went with a bang like that. Today in London is different. May be. And also, looking at the 1999 Khachatryanovsky portraits, which are more similar, as is now accepted, with sketches, thought that the very flow of time had changed. Probably, as before, it is impossible to sit on the same work for months, bringing it to perfect perfection. There is something religious here. Was the former timeless time closer to eternity than the current market dynamics?

Thinking about the Khachatryans, I wandered into the photo center in Gogolevsky , where the next portion of exhibitions of photobiennale-2002 exhibitions opened. The integrity of my sensations there only intensified. Back, a crowd, someone gives an interview, someone grabs a glass of wine, someone swears for pornography, someone is looking for acquaintances, someone recalls yesterday’s show of hafing hafing’s work at the Bolshoi Theater, at the same time in a hurry with a plenty of red caviar, the table of the exhibition “Design and Advertising” for another hat in the museum of decorative creativity. In general, the roof goes from these crazy March hacks.

One thing is that I met the Seeds Faybisovich , who presented me with his book, which had just been released in Eksmo-Press, about which there are no things. There are two novels and a story. In the "Uncle Adika", printed, as you remember, a few years ago in the "Banner" and even received the "For Patriotism" award, there is something about the mechanics of the appearance of our "convertible" conceptualists in the western galleries in the early years of perestroika, among which Faibisovich was also clogged. But this book will be glorious in the sublunar world by another novel - "The history of the disease." Well, I will say photorealism. In prose, this, according to the most minimal estimates, is from two to five kilograms in TNT equivalent. Moreover, Semyon threw them into the most epicenter of parties.

The book, as usual, is about love. About the betrayal and care of the wife. Everything is called their names. All are called their names. Both Sergei Parkhomenko and Zinovy ​​Zinik , and the rest - from Misha Aisenberg and Timur Kibirov to Leva Rubinstein and, of course, the wife herself, with whom, as with the current director of the Foreigne Publishing House, I am in a state of constant e -mail correspondence about new books, and Lenchka, my youngest son, recently went to her with these books.

In the time of Prokhanov and Limonov , Sorokin and Erofeev, it is difficult to claim the title of the most scandalous book. But "things that will not" be about it. After writing, Semyon printed it on a computer and handed it out to interested parties. They twisted their finger at the temple and said that, fortunately, they would never be printed. Fortunately, printed. Now they will talk about ethics and the like. Photorealism with a flash of conscience. Run, buy, read, tell me, if you can.

And I went to the closure of the "feminine art" in the Tretyakov Gallery on the Crimean, and before that I looked at the "design and advertising" in the same place, but at the Central House of Artists . Yesterday's caviar, I think, ate, with advertising, my relationship is complicated. Since, when advertising agencies invite journalists to exhibitions, do not wait for good. As happened, for example, with the "unknown Peter Konchalovsky" in the Museum of Personal Collections on the Volkhonka. Personally, I got there for two days. Either no one approached, or sent to non -existent phones. This is instead of an invitation. Well, I spat. And a colleague, who nevertheless came to a press conference, at which in the end there were two and a half people, simply did not want to let go. He did not go out with his face, and in general - they are waiting for Deputy Prime Minister Kudrin. Well, wait.

I was not invited to "design and advertising" either. The caviar remained unnoticed. Well, I think I'll go along the road. However, he was dumbfounded. I have never seen this. Absolutely cool, nervous, brains, vision, an exhibition. He meets, say, at the entrance, a policeman with a rod, gives the rules of movement in the exhibition, if you go correctly, you will come somewhere, where they will give a annual set of something at half the price. I only touched him. "Real?" - I ask. - "And then yak!" And about the captain's epaulettes to ask, he was ashamed. Since, having taken two steps to the left, he ended up in the hospital ward. Four beds with muddy and bandaged people, nurse. It is necessary to all this posters about the affected advertising. Seeing my open mouth, they immediately gave me a medical card and launched a referral for psychological rehabilitation. Then he ended up in a real dash, where those who wanted to shoot an advertising apple. Christmas trees! My mouth did not close to the very end. Girls dumped advertising avenues, calendars, T -shirts, caps, bags. All this modern sloping design of the brightest colors sucked into himself, throwing me in the form of a poster, a calendar and a bad smiling physiognomy on his own logo. Well, I think ... It’s a pity that all this ended on Saturday, and I can only invite you to the next year.

And quickly around the corner, where the Soros Foundation , which organized the exhibition "The Art of the Women's Family" , invited it to the closure and distribution of a luxurious catalog dedicated to it. Furely, with a glass of French wine, surrounded by the best people of the diplomatic corps, to whom all the chiefs of the Tretyakovyk were assigned to clarify, I flanked the spacious halls and looked at the bas -relief of the Grand Duchess of Elena Pavlovna, then the internal appearance of the female department of the St. Petersburg rice -aval school for the voluntary brush of Ekaterina Khilkova, then the pair of the Partus of Nikolai Gumilyov and Anna Akhmatova Hand of Olga Della-Vos-Cardovskaya. The computer already gives a sign to finish such a long phrase. And I just started. Here, the "Malevich" figures of his student Anna Leporskaya, and the "wind" of Vera Mukhina, and the full naked postmodernism of Anna Alchuk , and the installations of Ira Nakhova, and the famous "Saspens" Aidan Salakhova. That is, from the sewing of the "air" of the 16th century to the naked girls who saddled the barrel of the tank. From Goncharova, Exter and Udaltsova to the plywood figures of the museum "transition" of Tatyana Nazarenko. And the catalog, I’ll say, is powerful - with large articles for each period, good printing and reference apparatus, and everyone got it, despite the fear that they would distract with a buffet, and then remember what they called. No, all the rank is for the rank.

Tired, but satisfied, Galya and I, who just raked to the demonstration of some luxurious female outfits with tournaments (not to be confused with tournaments), went with Tanya Nazarenko and her husband Sasha - to the Arbat gallery, which is located in the extreme house with the globe on New Arbat, the current casino. There is an exhibition of Alexander Arkhutik , artist of the journal "Person", where I just printed an article about Mikhail Romadine. And the archutic, who finished the polygraph at one time, where he studied, apparently, from Vladimir Dobrovinsky (I did not have time to ask), - gave the Person such a light "japanism" with his hieroglyphic -letter design. And in general, I like the gallery. It seems to be a frank place below, and at the top - on a real gallery, enveloping something like steamer pipes - soaring the spirit and the noise of the spiritual surf. Fine.

But everything is good, as you know, does not happen. And the very next day, this was confirmed by the press conference of Irina Antonova in the Pushkin Museum regarding the Earth’s surrounding museum of the surrounding museum of the surrounding day. Shilov’s gallery, actively supported by the Moscow mayor, which was purely specific in artistic matters, entered into a intercourse with a certain company, led by former Deputy Prime Minister Oleg Lobov, before, if I am not mistaken, very fond of the promotion of the teachings of Asahara’s seconds on Russian soil. The Russian person is wide. He needs a lot of space. Where is Cezanne with Utrillo to pierce. At the same time, by the way, in an allegedly reconstructed house and the apartment of a wonderful Russian schedule Nikolai Nikolaevich Kupreyanov (1894-1933), a friend of Favorsky, Tyshler, Leo Bruni, perishes. According to the decree of the Moscow government, in the real back in February, the investor had to restore the apartment. But already in March it turned out that instead of an apartment with stucco molding, which, incidentally, had to be specially rented, would be entering the underground garage. Polodoma in Znamensky Lane behind the Pushkin Museum has already been demolished, there was little left. But new apartments will be each at 300-400 square meters. There is no to the legacy. By the way, it was Kupreyanov’s apartment that was a monument of history protected by the state. But the state, as you know, is not me and not you, my dear, but - it. By neither the Pushkin Museum, nor N.N. Kuranov, by definition, are not. And Shilov-Glazunov-lobes, twisted under the side of the Kremlin, is the most natural it. With which I congratulate us all.

Your Igor Shevelev.