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It is pointless to ask who these hundreds from the melikhopoptoets are an exhibition in the “arena” and who fell into the album catalog. Although, as always, everyone did not have time to finish the vernisage to the vernisage and the labels with signatures with the names of the characters and dates were not pasted, their faces and times are recognizable. At least for those who watch TV, visit literary evenings, and most importantly - goes to the vernisages (Leo Melikhov likes to shoot artists most). Another thing is that artists, art historians, writers, politicians and merchants hang interspersed - Anatoly Rybakov next to Ilya Kabakov, and Heydar Aliyev - with Oleg Kulik. If you do not want - you will get confused.

Melikhov also removes the “imperishable”, as he calls his landscapes (mainly Moscow) and still lifes (at the exhibition - with terrible fish heads). But in the grateful memory of the descendants, he will remain a master of the photo portrait and the chronicler of the life of Bohemia. Not as salon aesthet as Valery Plotnikov, and not as pathos sixties as Yuri Rost. Melikhov is more democratic, more concise and calmer than the model “puts it”, but without bursting and special effects. It seems like in life, but with a light and unrequited taste of art. And Melikhov is a master of view: it is very expressive and naturally everyone looks at his lens or aside.

And the latter is an exhibition in the "Manege" anniversary. Leva Melikhov turned fifty. ■ Alexander Panov