Translated material
In St. Petersburg, the ICONS exhibition Marat Gelman finally opened
In the St. Petersburg art center “Weaver”, an exhibition of Marat Helman ICONS, overgrown with scandals long before the start of the vernissage, was opened. In fact, it was supposed to take place in the Rizzordi Art Foundation Loft in November last year, but then the Orthodox activists stood standing at the Alexander Nevsky Lavra, gathering 3,000 signatures against Helman and his ICONS, so that the loft leadership refused the exhibition due to the "unfavorable situation." About two weeks ago, opponents of the project again called to ban the exhibition - the chairman of the St. Petersburg branch of the People’s Cathedral movement Anatoly Artyukh, a member of the Central Council of the Organization of the “Trade Union of Citizens of Russia” Nikolai Starikov and the head of the regional branch of the Rodina Party, Andrei Petrov, requested this to co -owners “SMP Bank” Arkady and Boris Rotenberg, whom they believe sponsors of the exhibition. In their appeal, activists called Marat Gelman a pseudoculture as an organizer of many immoral and blasphemous actions, including even the famous Pussy Riot dance. For his part, Marat Gelman announced in advance that he was counting on success, noticed that the exhibition would disappoint those who expect to see provocations, which simply are not there.
The ICONS project - a collection of paintings and sculptures of twenty -five famous Russian artists - appeared on the basis of the Permm Museum of Modern Art, but the St. Petersburg exhibition is supplemented by several more works. Among the authors of the exhibition are Damien Hurst, Evgenia Maltseva (in the fall to the wineswright, the bonus of the enraged Cossacks), Irina Zatulovskaya, Dmitry Vrubel, Evgeny Semenov, Victor Khmel, Konstantin Khudyakov and the RECYLE group, Gore Chakhal, Georgy Ostretsov, Vladimir Kupriyanov, Mikhail Shpvartsman. At the opening of the exhibition, Marat Gelman was introduced by its participants as Aleladin Garunov and young artist Pasha Brother, whose work - just among those who are added to the St. Petersburg version of ICONS. According to Marat Gelman, he selected all the works for the project himself, turning to a huge catalog of contemporary art, which is in his head.
Marat Gelman spoke about the work of Mount Chakhal “The name of God”, where all the names of God in the Old and New Testament are collected and calculated how often every name is used, about the attempt by Konstantin Khudyakov to reconstruct the appearance of Christ, Maria, Adam, Andrei Rublev, about the diagram of Damien Hurst The Holy Trinity, which shows that you cannot understand the sacred texts, literally, literally. About the "iconostasis" of Ilya Gaponov and Kirill Koteshov, about the project of Aleladin Garunov - generalized figures, the prototypes of which were the frescoes of Theophan Greek, about the works of Goshi Streltsov, using the text of the gospel as a historical literary monument, about the project of Vladimir Kupriyanov "Russian Antiquity", dedicated to works of art transmitted to the monasteries and Often there are perishing. According to Gelman, these works are not a provocation, but an attempt to draw a line between the concept of an icon and icon, that is, a sign, to trace how the icon turns into a sign.
You can probably calculate the long -standing and well -known work of Rauf Mamedov, where people with Down syndrome, or the work of Aleladin Garunov, a trinity in the form of empty hairs against a black background, are photographed as a secret party. During the opening, the air in the spacious halls of the "weavers" was electrified by the expectation of the so -called "Cossacks" and other "zealots of Orthodoxy", but they were not - only some unidentified activists glued a provocative piece of work to the work of Evgenia Maltseva "Trinity", but the guard tore it so quickly that the content of the leaflet for all remained a secret. Just in case, at the door of the art center there were people in single pickets with posters "Museum-not a mosque, the exhibition hall-not the Church", "Freedom of creativity-yes! Religious fanaticism-no!", "How to be insulting the feelings of unbelievers?"
The ICONS project - a collection of paintings and sculptures of twenty -five famous Russian artists - appeared on the basis of the Permm Museum of Modern Art, but the St. Petersburg exhibition is supplemented by several more works. Among the authors of the exhibition are Damien Hurst, Evgenia Maltseva (in the fall to the wineswright, the bonus of the enraged Cossacks), Irina Zatulovskaya, Dmitry Vrubel, Evgeny Semenov, Victor Khmel, Konstantin Khudyakov and the RECYLE group, Gore Chakhal, Georgy Ostretsov, Vladimir Kupriyanov, Mikhail Shpvartsman. At the opening of the exhibition, Marat Gelman was introduced by its participants as Aleladin Garunov and young artist Pasha Brother, whose work - just among those who are added to the St. Petersburg version of ICONS. According to Marat Gelman, he selected all the works for the project himself, turning to a huge catalog of contemporary art, which is in his head.
Marat Helmann ICONS exhibition
Marat Gelman spoke about the work of Mount Chakhal “The name of God”, where all the names of God in the Old and New Testament are collected and calculated how often every name is used, about the attempt by Konstantin Khudyakov to reconstruct the appearance of Christ, Maria, Adam, Andrei Rublev, about the diagram of Damien Hurst The Holy Trinity, which shows that you cannot understand the sacred texts, literally, literally. About the "iconostasis" of Ilya Gaponov and Kirill Koteshov, about the project of Aleladin Garunov - generalized figures, the prototypes of which were the frescoes of Theophan Greek, about the works of Goshi Streltsov, using the text of the gospel as a historical literary monument, about the project of Vladimir Kupriyanov "Russian Antiquity", dedicated to works of art transmitted to the monasteries and Often there are perishing. According to Gelman, these works are not a provocation, but an attempt to draw a line between the concept of an icon and icon, that is, a sign, to trace how the icon turns into a sign.
You can probably calculate the long -standing and well -known work of Rauf Mamedov, where people with Down syndrome, or the work of Aleladin Garunov, a trinity in the form of empty hairs against a black background, are photographed as a secret party. During the opening, the air in the spacious halls of the "weavers" was electrified by the expectation of the so -called "Cossacks" and other "zealots of Orthodoxy", but they were not - only some unidentified activists glued a provocative piece of work to the work of Evgenia Maltseva "Trinity", but the guard tore it so quickly that the content of the leaflet for all remained a secret. Just in case, at the door of the art center there were people in single pickets with posters "Museum-not a mosque, the exhibition hall-not the Church", "Freedom of creativity-yes! Religious fanaticism-no!", "How to be insulting the feelings of unbelievers?"
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Marat Gelman