Gallery «Daev 33» opens the exhibition «Unofficial Art in the USSR 1970». The exhibition presents works by more than fifty representatives recusancy

July 19, opens exhibition «Unofficial Art in the USSR 1970». Currently, an informal art 1970's became increasingly attract the attention of collectors and researchers, and discouraging those and other publications as the lack of content, and a lot of myths that grew up on the grounds of misleading and sometimes deliberately distorted information emanating from the subjective preferences of the artists , art critics and collectors. The era of Khrushchev defeat left-wing MOSHa the Manezh in 1962 to «Bulldozer Exhibition» 1974, brought together a small group of Sixties nonconformist, the initiators of the exhibition shares ending Bulldozer defeat.

Subsequent «Bulldozer Exhibition» turbulence and scandal in the western media had forced the Soviet ideologues little to ease pressure on some of the artists, and to permit, under the watchful care of the «body», «dose» exhibition in a small room. This place was the union graphic artists on Malaya Gruzinskaya, 28, which was established by Section of Painting and includes this group of artists of unofficial art. The first exhibition was held in March, Section 1976. Until then, there have been two exhibitions of unofficial art: in February 1975 in Hall «Beekeeping» and in September the same year in Hall «The House of Culture» to VDNKh.

Decision on short breaks to narrow groups of recalcitrant artists was not an act of goodwill, but forced to retreat under the onslaught of accusations of barbarity, shedshih with the West after the unprecedented scandal, the destruction of paintings in the exhibition, called «Bulldozer». Thus, proactive pressure from within, from the asset group of artists, nonconformists, and outside of the Western ideological propaganda, set a precedent: the authorities opened the exhibition space, well-monitored and significantly reduces the rise to criticism from the previously mentioned vectors pressure. This is the beginning of history «Small Georgian», is the most striking exhibition opening until 1980. At the authorities' decision was influenced not only the above events, but the facts of the housing exhibition in 1960 - early 1970's, as well as the activities of several apartment interiors, such as salon Sychev at Christmas or the Boulevard Salon Niki Scherbakova on Sadovaya-Karetnaya street. Here, there, and foreign diplomats who met with dissidents, bought the painting, thus maintaining an informal art. There is a view of contemporaries described the events that create a «device» for exhibiting artists, rebels, the KGB itself simplified the task of controlling the situation and the possible suppression of certain ideologically colored provocation by nonconformists. However, the declining role of flat displays, which require the tracking of more complex operations. Also, a perception that the KGB tried to dismember the informal group of artists, not allowing them to develop a unified position, the maximum skovyvaya their initiative and creative experiment.

It is no coincidence that generation of artists, nonconformists started his creative path, at the dawn of the 1970's, sometimes referred to as generation «excluded». Contempt and hostility on the part of the official representatives of the arts left them little cause for optimism. Rigid ideological unacceptability identified unique features of the artist nonconformist 1970, with the exception of protest art, it could not be focused on important social resonance, reflection, discussion, or broad commercial success. At best, the audience was a small circle of friends, admirers. Work «on the table», «in corner shop» someone opens the way for freedom of the experiment, the development of the internal space of consciousness and its expansion; other is driven to despair, in deeply. Place a small group of nonconformists bundle: some chose a formal experiment on syntax, composition design, technology and style component. Another, smaller part, went into a spiritual search, deep into the metaphysical content of the picture, the study of the image as a transformer and sublimatora consciousness and the creator and the viewer. It is this aspect of creative search in the semantic space of the painting has led some artists of this group to the theoretical reflection, and then a practical exploration of religious experience.

Lack of direct contact with modern Western art and the inaccessibility of information on the domestic front 1920's created an atmosphere of vacuum, «jam in its own juice», giving creative nonconformists 1970 certain specific characteristics. Snatches of the western front came through the magazines on the art of the socialist camp and rare editions «Skira», arriving through the cordon. This stimulated the process of setting up some myths, both individual and group, about creativity and living artists. It is no coincidence semidesyatnikov sometimes called the «personal mythology». Despite all the difficulties, poor metered exhibition activities at the Little Georgian, 28 became the creative artists in the laboratory experiment, style and technology, a field of mutual exchange of professional experience, creativity and the search for growth. Conceptualism Sixties enriched by new discoveries in the field of shaping, deepening of the content. Developed line of students Vasily Yakovlevich Sitnikov" Sitnikova , moving towards the development of metaphysical and mystical levels of the composite measure. Developed an original line of neo-naive art, as well as neo-and postsimvolizma. Developed a personal version of surrealism, minimalism and hyperrealism. There is the original direction in painting religious subjects. Materialized performance and group meditation, and experimentation in the field of stage movement and avant-garde Scenography; to dawn creativity «One painting» Anatoly Zverev ; formed a line of neo-expressionists. Advanced neo-historic paintings, metaphysical landscape, and even the new version of genre painting.

Becoming artistic language nonconformists-semidesyatnikov occurred on the background and in opposition to the official line of the Union of Artists, with its professional attitudes, norms, taboos and stamps. By mid-1970's happening sunset «severe style», and «left-wing» MOSHa trying to find new plastic language within permissible. Basically this interpretation «cost» of fashion in the west of styles that can be adapted to the «general line» of socialist realism. This, for example, the line of variations on the theme of «naive art», that «plant on» under ideologue «folk, native», or the line «neoklassiki», starting from monumentalistov Italian protorenessansa. Or, for example, the Soviet version of American hyperrealism, to hedge themselves ideologically as «documentary story», and «-designed realism», and presented themselves as modern and innovative line of socialist realism. A separate line of the left MOSHa by the end of 1970 to adapt to socialist realism became a variation of German expressionism 1920's, combined with the technological innovations of American neoekspressionizma 1940-1960's, the line Pollack and his followers. Thus, in the 1970's, the official art has expanded to include some of the plastic works of Western mainstream, according to the national ideology and mentality of the art functionaries engaged in the distribution of orders, purchasing policy of the Ministry of Culture, hudfonda, the Union of Artists.

separate plastic line on the background of the artistic life of the 1960's and 1970's, a school Eliya Belyutina , as well as closer to beginning of the 1980's, the school Zubareva .

These were attempts to «legalize Avantgarde», through the methodology of teaching the fine arts, design and build a song. Experiment «legalized» in these schools in the plastic method of learning the language, considering the language as a formal pattern. These methods though implemented in a purely local part of the pedagogical process, but have had an impact on consciousness and the formation of artistic language of a number of artists nonconformist. In the course of exhibition activities in the 1970's basement on Malaya Gruzinskaya, individual members of the «left» MOSHa participated in several exhibitions, but in general, the artists of the wing were in opposition nonconformist artists, not to mention the majority of the members of the Union of Artists, and jealously hostile to their creativity. A feature of the exposition of life on Malaya Gruzinskaya cellar was that it exhibited artists from different generations, marginalized from the formal art or openly contrasted himself to it.

By 1980, some of these artists left the Soviet Union. In 1981, the leadership of the union was «cleaning» series section of painting and then have to drive, under the pretext of lack of information about off cooperation with the publishers, a number of unwanted artists opponents.

Exhibition activity continued in 1980, but by the beginning of restructuring time recusancy increasingly marginalized different versions salon, Kicevo Art, imitations, variations psevdoavangarda that by the end of the 1980's began to dominate, creating, alas, the negative view paintings, exhibited in the basement, which has become famous.

Unfortunately, being mercilessly massacred legacy nonconformists 1970. Recreate, at least in approximation, a complete picture of the creative process at that time was not possible. First, because of the physical death of many participants in this era, and trace the disappearance of their operations abroad. Secondly, the absence of exhibitions, debates, publications about the phenomenon of informal art of 1970's, not to individual staff, but about the process as a whole, has led to much missing from the social memory, and the remaining obroslo mythology, self - and a group of ill, and the surviving participants of the events.

Proposed small exposure poses a modest goal - to identify opportunities and to introduce art lovers and collectors, at least part of nonconformist artists of the «first appeal» exhibiting hall at the Little Georgia 28, in their ranks before the start of the 1980's years. Most of the artists participated in the exposition of the first section of the exhibition of paintings in March 1976. The projection for the future lies in the fact that more fully, on a personal level, to acquaint visitors with the work of these artists.

This exhibition - a tribute to honor and respect for the great American Soviet unofficial art collector Norton Dodge (Norton Dodge) - author of the term «Soviet recusancy». We would like to mention the fact that this extraordinary explorer, discoverer and patron of the arts not only drew attention to protest the political aspect of this cultural phenomenon, but also on the uniqueness of it as artistic events of XX century. As part of the history of world art H. Dodge, thanks to its museum collection, preserved and transmitted to subsequent generations of the page of national history, which is committed intentionally wanted to silence domestic critics and contemporary detractors - «aktualschiki» and co-workers of the globalization of culture

Exposition «Unofficial Art in the USSR 1970» represents the work of more than fifty authors nonconformist: Eliya Belyutina , Igor Voroshilov , Nutt Konyshevoy , Aron Lyumkisa , Igor Snegur , Vladimir Yakovlev and others.

The exhibition is open from 19 July to 27 September 2008.
Weekdays: from 12.00 to 19.00.
Saturday: from 12 to 18.00.
Sunday: Closed.
Admission is free.
Moscow Daev Lane, 33
Metro station: «Sukharevskaya», «Turgenevskaya», «Clean Ponds»
Phone: (495) 608-77-75

Source: www.daev - 33.ru