Today Tretyakov Gallery opens a retrospective exhibition of Boris Messerer (1933). The exhibition has collected about 100 graphic works and paintings of the 1960s - 2000s, as well as installation of the 2000's - early 2010's

THG, April 10 - June 23, 2013
Corps of Engineers, Lavrushinsky Lane, 12

Today at the State Tretyakov Gallery opened a retrospective exhibition Asafovicha Boris Messerer ( 1933), a representative of a bright generation of the sixties, which "burst" in literature, theater, visual arts, to save them from the shackles of the official rules. Painter and book designer, master of etching, one of the founders of the legendary magazine "Metropolis" (1979), Messerer known as a brilliant theater artist, apply for dozens of performances at the Bolshoi Theatre, Moscow Art Theater, "Contemporary».

The exhibition in the Tretyakov Gallery, dedicated to the 80 anniversary of the master, demonstrates above all his easel and revealed Messerer as a versatile artist. The exhibition has collected about 100 graphic works and paintings of the 1960s - 2000s, as well as installation of the 2000's - early 2010's.

B. A. Messerer, representative of the famous theatrical dynasty, against the family tradition wanted to be an artist, but did not dare to enter the Surikov Institute with the architectural education. Yourself in the first place by the artist, along with the classes in the Institute of Architecture and after Messerer attended the studio of famous watercolorist A. B. Fonvizin (1882-1973). In the 1950s, the institute reigned cult watercolors. In times of ideological pressure on the art students appreciate this technique freedom of expression, the endless possibilities of painting maestro. Artistic method Fonvizin, its principles of "vision", the work with the material identified plastic language Messerer in watercolor, have enabled the installation later develop teachers.

The exhibition in watercolors are views Tarusa 2004-2009 's portraits, depicting the subtle beauty of the famous poetess Bella Akhmadulina, the artist's wife. Separate chamber hall set aside for this work - the most lyrical of the exposition. Here, during the exhibition in the recording will sound poetry Akhmadulina by its author.

• Boris Messerer
  Portrait Bella Akhmadulina with a scarf. 2000
  Watercolour. 64 x 49
  Source: Press Release THG
• Boris Messerer
  Old Tarusa. The urban landscape. 2004
  Watercolour. 49 x 65
  Source: Press Release THG

many years in the works Messerer get along, seemingly conflicting trends - the living, akin Impressionist, a vision of nature in watercolor landscapes and portraits and hard rationality in abstract paintings and etchings. These lines exist in parallel. The freedom to choose the method of artistic expression has become a feature of creative thinking Messerer.

Boris Messerer Large composition with metal forms. From the series "Big abstract still life." 1987 Color etching. 180 x 120 Source: Press Release THG

Boris Messerer Cancun I. From the series "Dancing in retro style." 1993-1994 Color etching, author technique. 129 x 107,5 Source: Press Release THG

The exhibition includes more than twenty large-format color etchings. Item number constituting the image - bottles, oil lamps, saws, table knives - reveals the artist's studio audience world filled with ancient instruments, paradoxical mechanisms - from irons, churns up the perfect beauty of gramophones, some of which are on display. Unique in size and technology of these etchings are of exceptional interest. They are made using the printing press created Messerer special design, which allows you to work with sheets of three-meter length and use the author's printing technology. This machine allows the artist to achieve impeccable picture quality and almost unlimited opportunity to work with color. Messerer and uses special paper that can withstand dozens of colorful runs. In pointless sheets ("Abstract Composition № 1-5», 1986, "Paper Landscape", 1994, all - property of the author) using this technology achieves the effect of subtle color vibration.

In special section highlighted a series of "White Nights" (1972), consisting of eight monochrome charcoal drawings dedicated to St. Petersburg.

Boris Messerer A view of the sink with the Song of the bridge. From the series "White Nights." 1972 paper, pressed charcoal. 77 x 105 Source: Press Release THG

Boris Messerer interior of the bed. 1974-1980 canvas. 160 x 200 Source: Press Release THG

painting landscapes presented Messerer sixtieth s ("Riga". From "Baltic." 1969 "Svaneti. Landscape with a tower and fields." From "Svaneti." 1966-1967, all - property of the author), and large-format abstract compositions of the 1970's - early 1990 - ies.

Boris Messerer The rhythmic composition I From "Big abstraction." 1960-1969 canvas. 240 x 180 Source: Press Release THG

Boris Messerer Klaipeda. From the series "Baltic." 1969 canvas. 110 x 130 Source: Press Release THG

central place in the space of two halls of the Corps allocated scale multi-disciplinary installations "Requiem for Benedict Erofeev" (2000) and "Search" (2011).

idea of ​​"Requiem" was born during the years in search of a new aesthetic, which would be allowed to adequately reflect the image of a unique writer. Installing repeatedly demonstrated at trade shows, but every time I took on additional items, shades of meaning. In the Tretyakov Gallery's "Requiem" on display at the new interpretation: it refers to the image of the mausoleum.

Boris Messerer Search. 2011 multidisciplinary installation wood, metal, paper, fabric, glass Source: Press Release THG

first appear before the audience "Search" (2011), a work dedicated to repression in 1937. Largely inspired by the drama of his own family, it summarizes the tragedy of the country, has lost over 1930-50-ies of the best representatives of the intelligentsia. This topic is covered in the model of the monument to victims of political repression in the Kirov (2011), a competition for the creation of which won Messerer.

Boris Messerer Toilet. 1974-1980 canvas. 160 x 90 Source: Press Release THG

Boris Messerer Interior with a ballerina. The cycle of "Ballerina". 1980 canvas. 160 x 200 Source: Press Release THG

B. A. Messerer life wanted to be a versatile artist who did not want to dwell on the theater. It so happened that in the Soviet era in the theater artist was less censorship and more opportunities for creative experimentation, so Messerer partly forced chose this path. At the same time at an exhibition in the Tretyakov Gallery and the easel works (Cycle "Ballerina." 1980, property of the author), and installations, and in addressing the exhibition space traced theater thinking Messerer. Becoming a universal artist, master continued theatrical tradition of his family.

Source : Press Release THG