Exhibition of the artist, musician and photographer Herman Vinogradov opens in the Gallery of Elena Vrublevsky. It is called Introspection Black & White (1978-2008) and last until 31 January 2009.

«Art - you are, here you live, you have art» - these words, which are the vanguard of the formula, we can become epigraph to the work of Herman Vinogradov, or, if you like, Herman Bicapa.

Place Vinogradov on the Moscow art scene paradox. On the one hand, there seems to be an artist, who would have been so integral a part of the current field for over thirty years. On the other hand, all the time, but he survived and heroic eighties and nineties is brutal, and commercial zero, Herman remains as if in a parallel world, not vlipaya in fashion trends. On the contrary, he himself trend.

would venture to suggest that Vinogradov - this is the last Russian avant-gardist art, miracle dozhivshy before our time, it seems coelacanth fish, an error was preserved in the cultural space of the oil poisoned water. The researcher, treating, and divided the body of creative artists, accurately identify signs of a now extinct avant-garde. First of all, this extraordinary versatility Vinogradov: here not only installation, performance, video, which is the usual arsenal of current artists, but also poetry, inherited experiments Khlebnikov, hepeningi and, of course, the famous Bicapa - musically ambitious sculptural project, generating new and new creative acts.

Today, when contemporary art becomes more and more industry, few can afford such a wide range of expression - the market sets the author of more stringent conditions. In this sense, in terms of «relevance corrupt» (the term Viktor Misiano) Vinogradov practices may be submitted to dilettantism, but it is what dilettantism, which, according to Meyerhold, and can save the art. Saving it is the difference with the strategy of market logic of exchange.

And here we need to see another important feature to determine Vinogradov as «the last of the Mohicans» Avant-garde - the configuration of fate. For the avant-garde, as we do not recall the aphorism Zvereva, destiny is inseparable from creativity. Professional has a biography, a kind of attachment to their own artistic production. The artist, however, closes the border separating reality from its image, through the transformation of the world. But this transformation is only possible as the transformation itself, and this is the religious meaning of true avant-garde. How did the idea of destiny is intertwined, and the idea of an image in the work of Herman Vinogradov? In one study of German, among genres they practiced, mentioned the word «mystery». This, of course, the reservation (no mystery of authorship, it is not a genre), but a reservation is highly significant. In fact, Vinogradova be viewed not so much as an artist, but as the creator of a specific cult - the supreme and only priest who he is. This, perhaps, Herman inherits another great avant-garde magu - Michael Shvartsmanu .

Contradictions destiny and experience of German Vinogradov obvious. Can misterialny spiritual experience to be the art or practice, it will inevitably doomed to degrade into stilizatorstvo? The question remains open. But the value of its practice can not be overemphasized. After all, in the spiritual realm to a question, it may be the answer.

Source: vgallery.ru