Time large peremenok
ARTinvestment.RU   30 июня 2008

The recently appeared in Moscow, the Russian-German Dielh Gallery one Gallery opened an exhibition «Glasnost / Perestroika. Russian Art 1980-1992 years », made in conjunction with the London gallery Haunch of venison

At the opening ceremony guests were treated to a large aluminum tank on the rare authentic Compote. By the compote from the school cafeteria served pies with filling «bitten more». And although the Soviet people the taste of the restructuring is associated more with the first McDonald's hamburger, works in Dielh + Gallery feast fit as well as possible. Like the space itself and the gallery is located on the first floor of the house and save the Stalinist flamboyant Empire decoration.

Artists range Sots Art and the Moscow conceptualism (that is, they belong to many of the authors represented in the exhibition) has long made the main theme of his life, various studies of Soviet world - its mythology and aesthetics, ideological structures and the collective unconscious. On the other hand, all sorts of Soviet symbols, and was exactly what was waiting for our art western art market, which is hardly the first time do not face painters from the former USSR. This exhibition showing the adjustment of Western art collections , - too much evidence of that demand.

At chock-full of Soviet realities, and attributes, but they are no longer the sanctity of the hieroglyphic, which have under Soviet rule. Igor Makarevich on canvas 1989, writes the hammer and sickle in the heretical to the orthodox Soviet symbols of the green color - the color or the grass, which all porastet, whether noble patina, which are leaving nothing to the characters. The once-powerful myths go to rest. Sergey Mironenko, in 1989, is building an installation «Corner hero» barracks with a narrow bed, towering on a podium under the slogan «Imperialism - a source of military danger». And Maria Konstantinova creates «Beds» soft quilted blankets and pillows from the rag swastikas and five-stars. In the same innocuous, fun and cozy rag samostrokom become kumachovye Plush flags and banners with gold embroidery, which pereshivayut in the works of contemporary art Timur Novikov, Sergei Bugaev-Africa. And even the Russian avant-garde is privatized in the same way as the Soviet utopia. «Red cavalry» Kazimir Malevich Sergei Shutov (Work of 1987 «Horsemen») is close kopeechnyh toy soldiers under heaven in which Suprematist become psychedelic band Northern Lights.

The dissolution of the official picture of the world is changing very picturesque optics. In Soviet times kontseptualisty and sotsartisty mock state gladkopis socialist realism. Adjustment that artists tend to neoekspressionistskoy painting, by photorealism - whether «Queue for wine» times Horbachevsky pussyfoot with seeds are Faibisovich, «DOSAAF» Eugene Gorokhovskaya or «Bitsa» (at the time - spontaneous «preview» informal artists), Eduard Gorokhovskaya . And Leonid Brezhnev on canvas Dmitry Vrubel (1994-2001) is no longer the personality cult, and not even the hero of jokes, and one of the images of a global data bank massmediynogo.

adjustment avant-gardists are not those who first saw the post-Soviet future, but those who first bid farewell to the Soviet past. The main subject of the exhibition is the transformation of the Soviet desperate permanence frozen in signs of this very recent, but already past, the ideology of the dead - in the lucrative product of the collective mythology - in personal recollections, and even the subject of nostalgia. «And then we become afraid to change anything», - as sung while Viktor Tsoi in the song «Change».

Source: www.kommersant.ru