Artist of the week. Sixties Eduard Zelenin

Drawing on current bids of the Auction was an occasion to read about the fate and work of one of the most important artists in the history of the "new Russian Diaspora", participant "bulldozer" and Izmailovsky Park exhibitions, emigrated to France in 1975

"In a forest glade in Sochi recently hosted a screening of the works of the so-called artists-модернистов.... First impression from watching — diversity of directions. The abundance of different manner of perceiving the world and the art works of artists unwittingly triggered the question: why these artists together that they can combine?

This “Broken life” lamma: dim gray-зеленому canvas attached what-то wooden objects, crutches, Reiki. Next — “Butterfly-махаон” Zelenin: student primitively depicted Pokrovsky monastery in Suzdal, and at the bottom of the canvas — huge, just a picture of Brema, painted butterfly. Here ... and “Shirt” Rabin: on the background of the black city, the black rope — torn shirt for women, white with pink flowers. On anything new in these, I may say, works, no: there was the speak much, collagists and other formalists of the West... Professional and moral immaturity resulted in participants viewing a greater evil than the lack of his artistic style. Their paintings are spiritually weak, because there is in them a person."

"in General, that Sunday afternoon was shattered by Western propaganda myth of "unrecognized talent." The king was naked. Modernists brought to the public, and they put yourself throughout the misery, because as a phenomenon of art works of the modernists look is simply not serious. Seriously, there is just a reminder that our ideological opponents rise to shield their propaganda anything just to create the illusion of “protoobject” in our country, in the spiritual life of the people. When you analyze most of the work, unwittingly come to the conclusion about the spiritual crisis of their authors or, rather, certain of their intent, which is dictated by the hostile attitude to reality, to the Russian national culture".

Yes, it's from the heart. Great. Admirable. And most importantly, it's modern. Just change "modernists" on the "actionists" — and straight ready narration what-нибудь information evening-аналитической transmission on TV channel "Russia", REN or NTV. Congratulate yourself. Meanwhile, there are long quote 43. It is excerpts from two articles from the "Evening Moscow" — criticism forced the authorities permitted a "Second autumn viewing pictures outdoors" in Izmailovo, which was held on 29 September 1974. One of those publications that were not shamefully buried in a library file, and included in the textbooks and handbooks. Together with the names of the authors. Like these — quoted on 203-й page of the "Other art" published by the NCCA.
in addition to the aforementioned Lamm, Yitzhak Rabin, and Zelenin, zlopyhaniya in those articles the authors of "Vecherka" walked many artists — Valentin Vorobiev, Eugene Rufino, Hope Elskaya Kropiwnicki, not yet known to me the Zevin and Kalugin. But today, in the framework of the theme you are interested in Eduard Zelenin.

two weeks before the show in the Izmailovo forest Park, September 15, 1974 36-летний Eduard Zelenin came up with his picture on a vacant lot in Belyaevo. To participate in inconsistent with the authorities of the exhibition almost immediately dispersed and went down in history under the name of "Bulldozer exhibition". Zelenin came to the wasteland as the independent candidate, in the invitation card his name was not. He was connecting to the action on their own initiative, as Mikhail Fedorov-Рошаль, Michael Odnoralov, Valeriy Gerlovin, Sergei Bordachev and ten artists. The fact of participation to remain for an artist without consequences could not. After the outcry in the Western press and TV reports on the "votes" of Soviet power took into account the negative experience of open detention Rabin, Rukhin and others. They waited until the noise will subside, and then used a proven repressive Arsenal: who would — caused trouble at work, who-то threatened with a mental hospital (precedents, so the threat was taken seriously), and then brought under the article of administrative offences. By a strange coincidence, shortly after the "bulldozer" Zelenin was arrested for disorderly conduct. In General, it happened that in 1975-м — in a year when the artists were preparing for big shows at ENEA, — Zelenin emigrated. In the "Beekeeping" and "House of culture" he was not involved. The artist went on Israeli call, as did all who were badly need, including Russian.

Left nothing or no — to anyone in advance can not know, and not for me to judge. Then, because it is unclear how to live and where to go. Stay in Novokuznetsk or in Sverdlovsk — be doomed to obscurity. And to go to Moscow and Leningrad (where there is a chance to gain fame) — so, at least make tricks and humiliation of the status of Soviet "an artist without a permanent residence permit".

However, talented person to break even in the capitals gradually succeeded. Look at the chronology of exhibitions Zelenin. 1965 — solo exhibition in the cultural Institute of atomic energy imeni I. V. Kurchatov. Though not a Museum, but definitely a legendary meeting place of the "physicists" and "lyricists". A real man-to-man. But Zelenin only 27. In 1969-1972 — solo exhibition in Komsomolsk cafe "Blue bird". Densely patronized by secret services, but also a legendary place, where he had the rare opportunity to communicate with the public, the informal artists. There was opened the exhibition many of the current famous sixties — Kabakov, Bulatov, Bahchanyana and others. There were less legitimate, and certainly not welcomed by the authorities of the place. For example, in 1970-м Zelenin took part in the exhibition in the open air in the courtyard of the mansion of American journalist Stevens toRyleeva, 11. Along with Vechtomova Rohini, Plavinsky, Nemukhin and others. Countryman Ernst Neizvestny, man Shemyakin, Zelenin many years revolved in the circle of the artistic underground. Well, about the "Bulldozers" and "Izmailovo" in 1974 — we started with this.

After the emigration of Edward Zelenin his works included in the exhibition cage, "Museum of contemporary Russian art in exile" Alexander Glezer, as well as numerous fashionable exhibitions of the format la Nuova arte Sovetica (i.e. new Soviet art): Russian art, which well could not be called socialist realism, in 1970-х was interesting as a phenomenon around the world. In November 1977-го work Zelenina, along with other paintings of unofficial artists (including those who remained in the USSR) showed at the Biennale in Venice. The exhibition "New Soviet art", which is called "Biennale of dissent", took in the West with indignation and — at the official level in the Soviet Union. Power with persistence, worthy the best application, looking for treason is not where she matured. And once again doing what-то foolishness. For example, artists who worked in Moscow under the auspices of the municipal Committee of artists-графиков, was forced to sign a collective letter to "Literaturnaya Gazeta", in which those, of course, strongly delimited with the "organizers of such gatherings". The long newspaper quotes it for now, so just trust me on word: composition of participants in the Venetian "gatherings" today would have done honor to any Russian Museum of modern art.

As happened in France? Information is contradictory, it is well known sketchy, subjective memories of friends. Write that in Paris, the apartment Seleninic was famous for the hospitality of the owners. The artist himself at one time for many was the soul of the burgeoning Russian art community. Friends say that Zelenin has always worked hard, preferred to work at night, created a lot of exhibition material. Not without the help of friends, the artist began to cooperate with the French galleries — sometimes more successfully, sometimes less. On the one hand, in comparison with Russia, France Zelenin exhibitions was much more. But rich, the most expensive and successful among French collectors to become he was not destined. Did not, did not work — so happens, the card will not lay down.

In the early 1990@PR. ndashх paintings were sold at the French auction in the neighborhood of $ 600-1 200. In creative and everyday terms are the hardest to handle was, oddly enough, after the beginning of Perestroika. Premature and sudden departure from the life of St. in 2002, some associated with high emotional fatigue on the background of organizational failures with exhibitions. Edward L. Zelenin was 64 years old.

What is the situation with the recognition, the evaluation of the role of the artist in the postwar history of unofficial art in Russia today? The iron curtain contributed to the fact that in the USSR artist managed to forget. The Restructuring began to feel that there is a chance to catch up. So, in 1988, the artist was flown to the USSR for a solo show in his hometown of Novokuznetsk, organized under the auspices of the Soviet culture Fund. In 1989-м "Mail of the USSR" issued a stamp with a picture of Edward Zelenin, "the Lady in the hat". Then, the country has become not toart and exhibitions in Russia again there was a long pause. In mid-2000-х and early 2010-х people had again a long time to explain who Zelenin. The name was not at the hearing. Now there have been positive shifts. In particular, after a very long pause this year finally-то in Kazan "Arena" held an exhibition of the artist's work. It is very good. Nevertheless, the question of information and creative rehabilitation of Edward L. St. we are probably only at the beginning. A noticeable effect will come only with significant mobilization of motive forces: need a exhibition in Moscow — gallery and museums, and catalogs, monographs, the Foundation of the creative heritage — all the usual complex of measures for promotion of the artist.

That market? Good news for potential collectors is that the auction market works St. there are quite developed. In our database was auction more than 70 episodes, including 50 paintings. The current auction record for creativity Edward Zelenin was set at auction in Monaco in 2010. Large (over five feet in height) canvas "Chardonnay with Apple" was sold for a fantastic $45 000. With this result, the answer today is in the middle of top-100 artists-шестидесятников. At the price peak for Russian art, closer to 2008, Zelenin was another sale at $10 000-30 000. But these were exceptional cases, today those prices are not market benchmark. After two crises they are strongly corrected downward for all of the sixties, without exception. Today at Russian and foreign auctions paintings Edward Zelenin medium size sold between $1 000 200-6. Graphics — $500-2500. Prices vary depending on size, specificity of the plot, and generally are in the range that is comfortable for emotional purchases.

Represented at the present auction a watercolor Zelenin — thing affordable, inexpensive, very expensive for many. While definitely pleasant and, most importantly, very distinctive, surreal air, i.e. accurately zeleninskie. It is strikingly embodied all the things for which the artist some love, and others Vice versa. Why? Today we are at a moment when art is not afraid of the word, not in fashion. Try it today-то to sell at the intersection of surrealism — will be surprised how hard it is. Abstraction, metaphysics, conceptualism — that's what won the market in 2010-х. Maybe not completely and not forever, you never know. But in any case, arguing about the role of ideas, values, styles and genres, there is no doubt that Zelenin — is an important part of the history of Russian post-war non-art, artist with dozens of references in the "Other art", and even with personal the head of the "Leftists".

Vladimir Bogdanov, AI

Sources:zerkalo-litart.com, ru.wikipedia.org

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Artist of the week. Sixties Eduard Zelenin

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Artist of the week. Sixties Eduard Zelenin

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