Translated material
I don't go past the exhibition of Serov without jokes
There are many art exhibitions in Moscow, but the "Exhibition of Serov" is now not just one of them. From now on, this is a large socio-political event.
At least, so far no one has never explained how it should: why exactly Serov and why there are so many people.
If the Russian opposition acted a little more inventive, she would have long learned to conduct rallies in the form of queues at exhibitions of Russian and foreign artists.
"The turn for Serov" is such a brilliant news chronotope. I am waiting for the messages: "As a result of the shootout in the queue, three people died at Serov, five more were injured." "In line for Serov, the first birch bark in the season was found." "The truckers joined the line for Serov." "The Moscow authorities report the end of the line for Serov." And also, of course, refutations from Peskov and gifs with trawol.
Gifs with trawol? Please!
Well, the readers of Borzenko immediately began to offer their options for news headlines - the best of them carefully collected Medusa.
The notorious line continued to grow in jokes and jokes.
past the Serov exhibition, I don’t go without jokes, then the lilac in the window will be stuck in the window, otherwise I will show the peach
- r__l (@r__l) January 23, 2016 how on the Crimean on the shaft the horse police undress Ida Lvovna will be the exposition
- r__l (@r__l) January 23, 2016 the harmonicon plays well in the hands of a sweeter, it draws Serov well even better than Shilov
- r__l (@r__l) January 23, 2016 On the wall hangs a picture rides a woman on a bull Valentine's bull has an expression in a smear
- r__l (@r__l) January 23, 2016 on the mountain there is a cow hardly crippled, I do not replace the Serov even to Malevich
- r__l (@r__l) January 23, 2016 How to take the deceased to look at the sovereign in the uniform of the colonel at the exhibition of Serov
- r__l (@r__l) January 23, 2016 A cow floats along the river,
And on it is Europe.
Was at the exhibition Serov
Frozen his back.
Like at an exhibition of paintings
They broke the door.
Valya, Valya, Valentine,
What's wrong with you now? <...>
On Serova Valentine
All Rus' was going to watch.
Hey, Serova Valentina,
Wait for me and I will return!
But the liberals and Russophobes were choked. A powerful wave of protection of "ordinary Russian people at a meeting with the Beautiful."
How disgusting all these attacks are towards the boorish and stupid common people, who wanted to get to the Serov exhibition! As it carries from them with the most vile elitism, and the desire to distance himself from the Russian savage, whose compatriot you have the misfortune to be. And, of course, the remembrance of the belt of the Virgin, Orthodoxy, etc. A thousand times were right of Chekhov and Solzhenitsyn, who despised the Russian intelligentsia-education.
As for the exhibition of Serov - gygyking, of course, I would like it to be Shilov’s exhibition or, forgive the Lord, Sergey Andriyaki :).
The fragrant came out;)
Serov is still a cool man. He clearly proved that a crowd of bourgeois claims for the role of the rulers of the Duma, against which the last gopnik Vasya seems complex and deep, and even erudite in addition. /Reading the next comment "people with good faces."
Why did my friends of the liberals suddenly began to ironize amicably about the line for Serov? I would not want to think that Putin’s visit made Serov Persona Non Grata.
It is interesting that the same people who consider standing in line to the Serov exhibition very funny occupation - they completely did not consider the idea to go outside and stand up, holding the arms with each other, along the garden ring.
It was a terrible serious, important thing: to stand on a garden ring for ... Why was it there? For honest elections.
But standing at the exhibition of some kind of condo Serov is gygy and rzhak.
And the solution is one: their own and strangers.
Alien boy Vanya is a bad boy, from the street. He smells of slavery, do not play with him, he has lice.
But our jasper - well, gold, not a child, is it not visible? Soon it will go to the music school.
Thought to make a sludge from Kadyrov. Say, determine in relation to Kadyrov, Russian people! Combine around the Ukrov, only yesterday you demanded to burn you alive! Ukr agents are transferred to the Russian nationalist direction! Up, the glory of the authority!
And Serov turned out to be a shebbole. There is no multinational man in my tape who would not post a stupid joke about Serov (or about Serov). Even people were noted, who were not listed in the official list of fools.
How bizarrely the deck is melted !;)))
And what do the "multinational workers" act and write?
There are a lot of funny jokes in the ribbon about the turn of Serov, but I, as a person who stood in line for Moscow-Paris and Picasso, quite understand those who stood.
And Zemfira well done, which used Putin as intended as an advertising agent for the exhibition.
And I also consider this queue an alternative to the queue for relics, and not likeness.
Although, of course, the fact of the line is a sign that in the building on the Crimean poor logistics. In Pushkinsky, even worse. We must learn from St. Petersburg museums.
I understand very well why the Serov exhibition is cool - it’s cool and it’s worth it to stand for many hours in the cold and even breaking the door (I actually stood for about 20 minutes and the door was quite calm; and if it was quite honest, then the need to stand even these 20 minutes prevented me from going on it 3 times as I would really like)
Firstly, Serov Genius, one of the coolest artists of the 19-20th century. Not in the sense of Russians, but in general ... it seems to me cooler than the coolest impressionists (well, maybe with the exception of Edward Mane)
Secondly, I have not traveled abroad for a long time, and after the young and energetic Marina Devil Horse stood in the place of the old women Antonova-they generally stopped bringing something cool and worthwhile to Moscow.
This is me .. and why people? Why stood in the cold, broke the doors and all that other.
Yes, then. Serov exhibition is a unique cultural event that Moscow is not spoiled at all. But Moscow is a very, very large city. With a Tuey cloud of millions of inhabitants, including a very large percentage of people educated and culturally oriented (from all over the country they gathered from all over the past 20 or even 50 years).
Everyone is mocking my beloved "girl with peaches."
Offe, here's a saying for you:
The dog barks, and the girl is with peaches!
All the same, this idea is that some Snob intelligentsia is unhappy with people who stand in line for Serov (ok, consider that I joked all the jokes here) is, in my opinion, specially thrown out is known where the idea is from.
Well, at least because it is absolutely not domestic exclusive to stand in line for art, but quite modern Western existence (that is, the very existence of such a line brings us closer to Western life, and does not move away from it). There were many hours of queues in Paris, even in comparison with what was happening in London, when Leonardo was at the Academy, Serov was resting.
Dissatisfied here can be two things. 1) The topics of this line became the subject of manipulation. And the HRC, silent about everything at the world suddenly at her expense, is all in white, and the TV was infuriated about our surpasses of all the others in the world of spirituality. 2) the way this exhibition is made, which would be more honest from “Serov” to “The beautifulness of the Russian Empire in the chosen paintings of Valentin Serov” and which, as a result, makes the following impression on people: “When you enter the exhibition, you see the bright world of that Russia where the Kosar peasant was not considered cattle, but considered the breadwinner.” (Review of Echo of Moscow).
So Serov, who just believed that Kosar (conditionally) in his country was considered and called the workers of the nine hundred and fifth year of a “majestic crowd” -now he turned out to be the main illumer of the empire. After all, there are already three portraits of Alexander III (written for the money) there, and let's say, “soldiers” written at the call of the heart is not there. And for him, for Serov, it’s a shame, yes.
In the tape I saw an explanation of what happened in the "line for Serov." From the participant. Emotions are clear, the situation is really crazy. But what is this?!
"... Heated the legs and entering the exhibition, with the sinking of the heart (albeit through the dense wall of the spin), you see the bright world of that Russia, where the Kosar peasant was not considered cattle, but was considered a breadwinner."
I write and wash, write and wash.
A man-kosar was not considered a cattle. This is in a country where in parks and entertainment gardens they did not let men in cartules and Russian boots, and women in scarves. Where the law on the cooks existed.
Lord, it’s good to live in an imaginary world.
The line is Serov, for Serov - this is the line for identity. Right? There were queues for Levitan. At the exhibition about the Romanovs. There was also a queue for Nesterov. The Russian people have a deficit of identity. In the sense of vertical identity - where does it come from, what is "we", in which tradition, where the roots are vertical in this sense. The neighbors are simple - they can always support their identity by the fact that they are "non -Russia." And the remnants of the folklore-romantic understanding of identity (skeleton songs-ultrasounds) also help. The Russian person does not have a powerful antithesis, from which I will push away and say “non -American” or “non -decay” (although it is clear that political management is trying to attract this and use it as a crutch for spanking identity). There is no folklore identity. But there is no special horror in this situation. Our fathers and grandfathers - completely literally - the whole twentieth century, not fingering hands and weapons, expelled carriers and guardians of traditions, attitudes, the cultural of this very "code" that they love in the Kremlin, and broke the mechanisms of transmitting these things. Even among the Germans, for example, these things have been preserved, despite terrible regimes, and the Russians coped, they destroyed everything. This must be realized, honestly discovered the void at the site of identity, to think about it. Maybe this void is some kind of basis for openness, openness to another. Maybe in the future, therefore, Russia can take many different refugees. After all, where a large tradition can strangle it, a mole can start in it. But first you still need to be honest with yourself
In Rossiyskaya Gazeta, he stumbled upon such curious numbers (to fashionable conversations that in line for Serov stands for some identity):
More than 400 thousand people visited the exhibition of Valentin Serov in 3.5 months (GTG, 2015-2016)
632 352 people - Festival "Fashion and style in photography 2015" (MMAM and other sites, 2015)
444 600 people - to the exhibition "Pre -Raphaelites: Victorian avant -garde" (JMM named after A.S. Pushkin, 2013)
363 800 people came to the exhibition "Titian from the museums of Italy" (MihMI named after A.S. Pushkin, 2013)
270 thousand people visited the exhibition of Salvador Dali (Mlime named after A.S. Pushkin, 2011)
291 thousand people - at the exhibition of Isaac Levitan (GTG, 2010)
236 thousand people - exhibition Pablo Picasso (Mlime named after A.S. Pushkin, 2010)
215 thousand people visited the exhibition of Konstantin Korovin (GTG, 2012)
167 948 people were at the exhibition of Julia Margaret Cameron (MMAM, 2014)
157 863 people visited the exhibition "Design 007: 50 years old James Bond style" (MMAM, 2014)
Natalia OSS analyzes the phenomenon of the exhibition on tape.ru:
Are visitors to the exhibition in search of a chauvinist Sevryuzhin with horseradish, glossy empire, where the ruddy Romanovs were fattened? After all, the truth is that the exposition does not have a “soldier” denouncing the autocracy. Of the people there is only a soldier, a woman with a horse, several cows, a cat, peasant children, fields, meadows, sun, hut. But political in the paintings - no. Political is brought with them by visitors, becoming the actors of the exhibition.
Serov now is our everything. Especially after the removal of the doors, similar to which intellectuals did not do for twenty years. Pushkin of Russian painting. And where Pushkin is true.
Someone sees in Serov an attempt to assemble a new imperial concept of the history of Russian art, and someone is the image of the lost homeland, which is unsuccessfully looking for on the streets and in the museums of Paris and Rome. Toisselessly - because you can find someone else's, you cannot assign. Serov - his own, personal, family. Take and use it. Serov is a textbook artist from a textbook. It turns out that in the textbook some pages were glued as secret documents in archival.
At some point, standing in a round dance of portraits, you understand: and this is “people with good faces”-nobles, entrepreneurs, geniuses of Russian art, doctors, composers, singers, peasants, philanthropists, mothers of families, young men, children. For many years it was supposed to go to see in a girl, lit by the Sun, herself, and not someone else's young lady of another class in a girl. Botkin’s children and small great princes are children from a neighboring street, now all the children look like this.
“Some not very arranged women mainly, of course, stand and admire this beauty of the court,” says philosopher Mikhail Yampolsky, who visited the exhibition. Everything is exactly the opposite. Not strangers, but their own. Beauty is assigned to the heirs, although not in a straight line. The descendants of the village women who are blown up in the paintings of Serov, in the same biting frost.
The descendants and ancestors met in the Tretyakov Gallery. And this is the most interesting in the exhibition: you look not at the paintings, but at people looking at the paintings. Portraits spoke.
The most patient at the exhibition is explanatory signatures. It was - it became. It was: king, prince, entrepreneur, artist, musician, art critic, family member. It became: shot, arrested, further fate is unknown, emigrated, lived in Britain, Serbia, the USA. Almost all the heroes of Serov’s paintings disappeared, torn with the root, lost by Russia. Or died in time. In 1916. This knowledge of what was later makes us, contemporaries, wise. Older than venerable elders in Serov's paintings. Older than the elderly Leskov. We know how it ended.
Return to Europe needs to be defended. For a long time, in the cold, to defend to yourself.
And Alexander Arkhangelsky writes on the same topic for the site "Orthodoxy and the world":
I'll try to speak delicately. Serov, I repeat, is a wonderful and in their own way a complex artist, but many experience the illusion as if he is very understandable, the same as Shilov or Andriyaka. Only better, because he lived before. And before - everything was better. Therefore, they go to a seemingly understandable and public art, simultaneously recognized by the great. And this always flattes: I join the great, which means that I am also a little great.
But besides this “introduction to the great” there is another important thing. Nothing, in fact, unites us: neither in the present, nor in the past. This is a cruel and extremely unpleasant truth that you want to hide from. Instead of giving yourself a fundamental answer: if nothing unites us either in the present or in the past, then let's work on the fact that we can unite us and our children in the future, we begin to look for illusory replacements. Serov turned out to be such an illusory replacement. He himself and his work have nothing to do with it, it turned out that he gives the illusion of community through belonging to Russian great art. The avant -garde is too complicated, the icon painting is too long ago, and Serov is like in the past and recently, great and seemingly understandable.
Why, for example, did not go to the Levitan exhibition so massively? Because Levitan is about love for the dim Russia, and Serov is about love for bright Russia. This bright Russia, which we lack in the world around us, which we, in fact, have not remembered the historical past, attracts people. And they, coming to the exhibition, not only and, maybe, are not so much looking at the paintings as they are “communed” by this brightness, to the Russia that they have never seen. But they want to see. And it is impossible to judge them for this. But it is also impossible to rejoice at the fact that such madness is happening at the exhibition.
The second day the tape discusses wild queues for Serov.
5 hours of standing in the cold, the broken doors of the Tretyakovyk (sounds like!) ...
Someone is touching. Someone is perplexed. Someone directly says that the citizens were crazy.
I believe that we are dealing with the manifestation of the phenomenon that any people have - collective overcoming to gain a sense of collective and individual harmony, to enhance the sense of community of the people.
Somewhere this is walking on coals, somewhere-running from bulls, somewhere else.
Well, since we live in Russia, it is not surprising that our frost is a key factor in overcoming.
The line for Serov is exactly from the same series as the line to the belt of the Virgin and bathing in the Epiphany Haze.
By the way, we have a business not only in culture, but also in genetics. Because when hundreds of thousands (or even millions) of unprepared people plunge into ice water, and the vast majority of them do not receive the slightest negative effect on their health, this says something about the genetic type of these people.
Well, and I also believe that a collective test of cold is for us - even if we do not realize this report - to give a symbolic tribute to our ancestors and other winters. For example, winter 1812-13. Or near Moscow winter 1941-42. Or the Stalingrad winter 1942-43.
Pay tribute - and at the same time remind ourselves that we are the same. The same blood flows in us that flowed in the veins of those people.
I also believe that such things work at a higher and thin, if you want - mystical level. And they work very correctly.
From Serov to Serov. From pop popping to saving classics. Television intoxication, the desire to cleanse through familiarization with the ideals, the act of self-justification due to acute guilt, longing for the communal past-the socio-psychological reasons for demonstrations in the Crimean (!!!) shaft. In vain, they feed a cultural opposition porridge.
By the way, about the cultural (or not so) opposition. Already at the weekend I made a big commotion here such a post:
This is not the first time I think about her. Since I myself - from the generation of queues. И не только за колбасой и туалетной бумагой. За "духовкой" советские люди тоже стояли часами: на выставку Глазунова в Манеже, на выставку достижений американского хозяйства за значками, пакетами и стаканом кока-колы, за билетами на Таганку и в Ленком.
У меня в семье очереди презирали, из всех видов очередей признавались только очереди в поликлинике ( с книжкой в руках, надолго, как неизбежное) и очередь на елочном базаре ( такая была у нас прихоть - елка только живая и высокая в потолок).
Ну , еще очередь к гробу. Это уж совсем иная история.
Больше ни в каких очередях мы не стояли. Это стойкое отвращение к самой мизансцене - упираясь друг другу в спины, угрюмо топтаться в течение нескольких часов , да еще и отмечаться , да еще и номер записывать - невозможно объяснить ничем, кроме как эстетическим неприятием, ничем не мотивированным) я только потом, повзрослев, поняла, что мои родители, мои бабушки и дедушки не могли принять этой унизительной формы , которую так культивировало государство: чтобы получить что-то , надо попросить это, поваляться в ногах. Этой формулы моя семья не принимала. И как-то справлялись. Не голодали. И газетами не подтирались.
У меня до сих пор сохранились талоны на питание - на масло, на спиртное, на сигареты, на сахар - я ничего не "отоварила", потому что было противно стоять в этой очереди на "отоваривание".
Все что угодно, только не очереди.
Но было и исключение, в котором признаюсь без стыда: я стояла в очереди в Макдональдс, в той самой, в первой очереди, зимой 90-го года! И поверьте, дети, это была не давка за гамбургерами, не очередь за американской хавкой -это была очередь за свободой) Открытие Макдональдса в мрачной, холодной, голодной Москве - это была акция не столько гуманитарная, сколько гуманистическая, нас включали в свободный цивилизованный мир, признавали нас его полноправными гражданами, и это событие было куда важнее самого факта еды)
Это была самая прекрасная, самая духовная и самая беспонтовая очередь в моей жизни)
"Очередь ужасна. Очередь унизительна. Стоять в очередях - удел быдла. Вот в нашей семье никогда не стояли в очередях! Ни в магазине, ни в музее, ни в театре (театры, видимо, вообще не посещали, чтобы не оскверниться). У нас это было просто не принято. Даже в голодные годы перестройки. Скорее умерли бы от голода, чем опозорили себя стоянием в какой-нибудь поганой очереди!
Но есть одно исключение. Это ОЧЕРЕДЬ В МАКДОНАЛЬДС.
Она была прекрасна и светла. Люди давились не за резиновыми гамбургерами - они унижались в ОЧЕРЕДИ ЗА СВОБОДОЙ. Нас приняли в Цивилизацию, нам позволили, отстояв четыре часа, причаститься кока-колой и картошкой фри - о, как же это было духоподъемно!" (с)
"Очередь за свободой" - это буквальная цитата.
Че-то прямо жалко ее стало.
Совки за "духовкой" стояли на Таганку, а будущий театральный критик Ксения Ларина за "духовкой" стояла в Макдональдс.
Показательно и само слово "духовка" в данном контектсте.
Они там что - сговорились? Совсем без работы и куска хлеба хотят оставить нас, их разоблачителей? Мы совсем, совсем не нужны (понурившись, уходит)
Когда мне было 14 лет, я стоял много часов на морозе ради прощания с академиком Сахаровым.
Надо как-нибудь искупить этот грех и постоять на Серова или к святыням каким.
А то стыдно... Очень стыдно.
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Ivan Belyaev
Social Networks Editor Radio Liberty