Kirill Kirill Alekseyev Fireflies and advise how to correctly construct the artist to work with major museums in the country

not reveal a secret, saying that in an art medium there exists a stable set of stereotypical representations of the Tretyakov Gallery with contemporary artists. Structure - state. Therefore, further to all believe it is easy to say: Mahin, highly bureaucratized, about his show does not even come close to it, and on any initiative impossibly artists need money. Dispel these notions was intended press conference of the Division of Contemporary Art, which took place the day after the Night of Museums ". On the general part of the principal men of the Division - Cyril Fireflies and Kirill Alekseev - explained the policy of opening up the Tretyakov Gallery. And later in a separate interview for ARTinvestment.RU Kirill Alekseyev elaborated on the possibilities of practical interaction between the main museum of the country with artists and with the driving forces of modern art.

ARTinvestment.RU: fairly widespread view that the Tretyakov impregnable to any external initiatives and modern artists get into it over a large projects only through connections.

Cyril Fireflies: I sometimes faced with a completely cave representations: say we have an impossible bureaucracy and all that. In fact, the representation of a system that is opposed to artists, is completely wrong. Decision is taken literally two or three people. I will say more. We no longer functions even show advice. It used to be such an archaic form, when the heads of all departments together and discuss, say, an exhibition Rokotov . It was, on the one hand, interestingly, on the other - is senseless. What is a connoisseur of the XVIII century can be said about modern art? Do not like him and everything. So now the decision is made virtually no fair board, there is endless approvals.

AI: As a young artist to catch the eye of the curators of the Tretyakov Gallery?

Kirill Alekseyev: We have a department of such option, when the artist with the work, and often with photos comes to the door. And the administrator most often causes us to look at. Responsibilities of this we do not, but we do it.

Cyril Fireflies: Once or twice a week, usually someone comes. It is not always the artists, sometimes just people with a will to art ". Bring and ask: tell what I am doing?

AI: Is this a spontaneous "bottom-up approach" welcome?

KS : Yes, absolutely. Some in this case for some reason, link to Lidia Ivanovna Iovleva. Like, I met the "Lidia Ivanovna, and she told me to come to you. Next is the name pronounced once more for greater credibility. But in reality everything is much easier to do.

KA : The second window of opportunity to the young artist to catch the eye of the curator - a period when preparing the "Night of Museums". We attend workshops, and dedicate a lot of time working with the authors.

KS : I note that a number of career-oriented artists believe that participation in the Night Museums them to put it mildly, not by status. For this reason, all the time "off" "Stop! Who goes there? "(" Stop! "Who goes there?" - Moscow International Biennale for Young Art-deficient big names. - AI .). Often the 30-year-old artist, whose behind 10 exhibitions, believes that exhibited the "pioneers" - it is beneath his dignity.

KA : How do we cope with this situation? We attract well-known authors (like this time at the exhibition "Forms of Life" were Umnov, Jikia , Ostrecov ), which act headlining. Although it is not necessary. It often happens that young adults are working even harder than recognized artists. Therefore, the project for us, "Night at the Museum" - it is also an interesting experience in checking the quality of the product.

AI: What's better: if you offer just an idea or a ready curatorial project

KS : Depends on the project. Well, if the curator came up with the idea and money. But if the curator of the gallery-oriented, commercial, we try to prune those. Because he often pursues other interests, even if it came up and pulled on a concept for the products that you want to "scroll" through the Tretyakov Gallery. I must say that now, these features are much smaller than it was in 2000-ies. On the other hand, if we are talking about the "branding that adds something to the museum and the curator came up with this idea, such a project can be done.

KA : add about money. Often interested in the costs to exhibitions. For example, running now exhibition Anton Olshvang cost of about $ 600 thousand rubles, of which more 400,000 was spent on technical manufacturer exhibits themselves. Costs on future projects, "Prisoners of emptiness" in the 4-th Biennial of around three million rubles. Generally, any exhibition - it is quite costly. For example, if the installers museum about $ 600 per shift are asked, it's good. And ask a thousand and two. Custodians are working overtime, sometimes even sleep in the gallery.

AI: How Tretyakov Gallery works with private sponsors? There, too, there are legal obstacles.

KA : If the sponsor lists, for example, two million rubles for the exhibition of a particular artist, then this raises several problems. For all that more than 99 thousand, we must declare a tender. Let's say production costs 220 rubles. What do we do now? Declare a tender to an artist who has done his work? Marasmus. As we emerge from this situation? Signed by the partnership agreement, non-monetary agreement under which the sponsor provides the creation of some things. In other words, comes to us an artist. We put management on notice that we are interested in his project. Then Managing Director and Chief Curator, all looking, we are presenting them to the project. And then we ourselves begin to look at him money.

AI: In terms of looking not for you, as sponsor department?

KA : No, often we do. Because the sponsor department - it's only 5-6 sponsors, the money which claimed 20 exhibitions. Therefore, the sponsor department will always find a sponsor for the exhibition Antokolsky and Bryullova , and the contemporary art of our sponsors do not give money. So our department, "purple" that among the sponsors of the Tretyakov Gallery is Severstal or someone else. We have never seen them, and nothing they do not help us. We probably will help a small gallery as an exhibition of Art Ru Olshvang. More useful would be a major sponsor of a private collector, who will find and bring the right thing for us Biennale.

AI: What do you do for himself explains the reluctance of large Russian sponsors to work with Russian contemporary art? The fact that they brought up on classic works from the book "Native Speech»?

KA : lack of education.

KS : No, it immediately affects the organization of the reporting system. Sponsor up to the show needed a portfolio of publications. Of course, you can make a scandal, then the portfolio is now so thick, even though all the publications will be in it the same. But, by and large, the sponsors are looking Ratings: which attendance at and what is everyone else. So, of course, money is allocated Levitan, and not to some unknown names. That is, sponsors are often not guided by personal taste, but only ratings and the amount required to pay. I think that they do not even read the curatorial text - they do not need to make a decision.

KA : It is curious that West, the situation is reversed. There is little knowledge of the old artists, but like modern and young.

KS : In short, there prefer to live in the present, we live in the past. This is a moment of nostalgia sucking. The more we live in the past, the less we have today. Artists today know this and feel. Not random thoughts of many are already pointing to the West. Need to recognize this situation and do something together.

AI: How today can compete with modern classics in attendance?

KS : You can judge for yourself. Now the museum lives by exhibition Isaac Levitan , which was attended by about half a million viewers for three months . And live on it yet, probably six months. Perhaps now more "Holy Russia" will help. Prior to this exhibition have been champions Briullov (900,000 visitors, but in six months) and Malevich in 1988, which was attended by 300 thousand. Even Andy Warhol is ranked among the champions. Rating of attendance of exhibitions of contemporary art yet is extremely low: this happens now, and it was at the time Andrei Erofeev. To the exhibition on average 10,000 people for all time. Even a large project "Sots Art" has collected a total of 15 thousand visitors in three months. It's not a lot. Of course, our problem - that people would come on contemporary art. And then you need something to change, including the audience.

AI: In addition to the famous hall of special projects number 38 and "Museum Night", which is still room for young Artists exhibited under the wing of the Tretyakov Gallery?

KS : You can also recommend participation in major group exhibitions, which we plan to do once in two year. Group exhibition - it is a good opportunity, because are not going to name (the name few people know), but on the topic.

AI: Maintain a separate search for sponsorship for future projects, the authors were would be much easier with the official support of the Tretyakov Gallery. In this issue you can somehow count on you?

KA : We can provide reference letters for sponsors to help people exhibit. We do, we have this option. But it is important to understand that this must be done very early. If you go for two weeks before the opening, then it is a dead number. An email sent from an official business address with tretyakov.ru, has the status of electronically signed. Organizations can consider it as an official paper. In addition, we can prepare a paper and a letter saying that we are interested in the exhibition of a certain author. This can be useful when the artist turns to the specific businesses for support.

AI: Is it possible to private exhibition project in some way to get the status "With the support of the Tretyakov Gallery?

KA : It's real. But the selection criteria for this will be more than tough. We must influence the whole project. Indeed, in this case, we share our reputation, and thus will control the process even more harshly than their own.

AI: Do I understand correctly that if such participation Tretyakov could, through its press office to invite journalists and critics? That is, you will provide a powerful pr-support?

KA : Yes, absolutely. And it fits into a new strategy for the Tretyakov Gallery, which will soon see the light. One of its provisions - is the work of the Tretyakov Gallery outside the Tretyakov Gallery. There are several private galleries, which to us have already turned over cooperation, but for whatever reasons they were denied.

AI: In the youth network exchange experiences and sharing photos - an important part of cultural communication. On platforms MMSI, in galleries Winery, even in the Pushkin Museum allowed to photograph (even without flash). Do you also still not allowed?

KA : Not allowed. But we're working to make this situation easier. The new strategy of the museum this time, too, will be appropriately lit and laid out. The ban contradicts the policy of openness. People take pictures, get quality printing, and the Tretyakov something to lose from this? Or maybe someone is afraid of shots with my phone? After all, nobody of those present did not believe in the tale of the outbreak, which spoils the painting? Hopefully, next year the situation will be resolved in a positive way.

• Matris. 2011. Exhibition "Forms of Life. Return to reality ".
  Source: Forum AI

Upon completion of the total press conference conversation was continued with Kirill Alekseev. Interest were mainly applied aspects of the Tretyakov Gallery with the artists: procurement, exhibitions, procedures, money, time.

AI: Honestly, the department was surprised his willingness to consider works that bring to the guard post. It is fraught with the siege by the people "will to art". Are you ready for what you have at the bottom will be a crowd?

KA : And well, if there are crowds. In fact, the competition and so we get a lot of applications. And we really do with all these people communicate. If you absolutely unacceptable, then we are talking about it and arguing why we can not accept. We have several employees who are engaged. Things are looking not just us with Cyril. The Division consists of eight people. And yet discovered the secret. In fact, there are not many artists working at the site of modern art. I think, no more than 700 people. In fact, the entire field of contemporary art works at least 5000 people, including all the artists, curators, journalists and installers. This is a fairly closed area, to the point that I know of only three teams of installers that can install some things on the scale of the museum professional, to implement them according to the idea of ​​the artist. Most installers simply can not do this.

AI: The presence of the artist in the collection of the Tretyakov Gallery - a factor that increases the capitalization of creativity. Many are interested to sell and donate the work. As these initiatives regulates Tretyakovka? What you need to take work?

KA : This issue is addressed by the Commission for the gifts and purchases, which includes representatives from several departments . This is not the most conservative structure. Year by year, the procurement is becoming more and more. This year we have purchased nearly 6 million rubles last year - at 4.5 million. This information is open - in the pr-department can request what works bought the Tretyakov Gallery.

regard to the criteria, the Tretyakov bought works by artists that are important for the formation of a permanent exhibit. It is important that the product reflects the course of history of art and the artist was a landmark. For example, the work of "first teeth" George Ostretsov, which was shown at our exhibition "Forms of Life", probably some time going to purchase. We paint the commission for the work, explain why we need it, what part of the exhibition closes, why the work needed in the permanent exposition of why this author is right, what are its merits. The author should be honored. We take, of course, the only tested material.

• first teeth. 2005. Exhibition "Forms of Life. Return to reality ".
  Source: Forum AI

AI: That a young artist without a major ground under their feet to get into the plan can not purchase?

KA : We are certainly open up new names doing this, but not put questions to the level of purchases. Young get chance to purchase a minimum. Because the queue is still a lot of things since the late 1990's.