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V ØÈÐßÅÂÑÊÀß ÁÈÅÍÍÀËÅ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ V SHIRYAEVO BIENNALE OF CONTEMPORARY ART 27/07 – 25/08 2007

Ä Î Ì : Ì Å Æ Ä Ó Å Â ÐÎ Ï Î É È À Ç È Å É HOME: BETWEEN EUROPE AND ASIA


V ØÈÐßÅÂÑÊÀß ÁÈÅÍÍÀËÅ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ V SHIRYAEVO BIENNALE OF CONTEMPORARY ART 27/07 – 25/08 2007

ÄÎÌ: ÌÅÆÄÓ ÅÂÐÎÏÎÉ È ÀÇÈÅÉ HOME: BETWEEN EUROPE AND ASIA


V ØÈÐßÅÂÑÊÀß ÁÈÅÍÍÀËÅ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ V SHIRYAEVO BIENNALE OF CONTEMPORARY ART ÄÎÌ: ÌÅÆÄÓ ÅÂÐÎÏÎÉ È ÀÇÈÅÉ HOME: BETWEEN EUROPE AND ASIA 27/07 – 25/08 2007

ÌÈÍÈÑÒÅÐÑÒÂÎ ÊÓËÜÒÓÐÛ È ÌÀÑÑÎÂÛÕ ÊÎÌÌÓÍÈÊÀÖÈÉ ÐÎÑÑÈÉÑÊÎÉ ÔÅÄÅÐÀÖÈÈ

MINISTRY OF CULTURE AND MASS COMMUNICATION OF THE RUSSIAN FEDERATION

ÔÅÄÅÐÀËÜÍÎÅ ÀÃÅÍÒÑÒÂÎ ÏÎ ÊÓËÜÒÓÐÅ È ÊÈÍÅÌÀÒÎÃÐÀÔÈÈ

FEDERAL AGENCY FOR CULTURE AND CINEMATOGRAPHY

ÃÎÑÓÄÀÐÑÒÂÅÍÍÛÉ ÖÅÍÒÐ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ Ïðèâîëæñêèé ôèëèàë

NATIONAL CENTRE FOR CONTEMPORARY ARTS Privolzhskiy branch

îðãàíèçàòîð:

organizer:

ÑÀÌÀÐÑÊÈÉ ÐÅÃÈÎÍÀËÜÍÛÉ ÎÁÙÅÑÒÂÅÍÍÛÉ ÁËÀÃÎÒÂÎÐÈÒÅËÜÍÛÉ ÔÎÍÄ «ÖÅÍÒÐ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ»

SAMARA REGIONAL PUBLIC CHARITABLE FUND «CENTER FOR CONTEMPORARY ART»

Êîìèññàð áèåííàëå Ðîìàí Êîðæîâ Êóðàòîð áèåííàëå Íåëÿ Êîðæîâà Êóðàòîðñêàÿ ãðóïïà Õàííñ-Ìèõàåëü Ðóïïðåõòåð Ìàðëåí Ïåðîíåò Àëåêñàíäð Ïàíîâ

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Commissioner of biennale Roman Korzhov Curator of biennale Nelya Korzhova Curators Hanns-Michael Rupprechter Marlene Perronet Alexandr Panov

Ïðåäñåäàòåëü îðãàíèçàöèîííîãî êîìèòåòà áèåííàëå Àëåêñåé Ïðîêàåâ

Chairman of organisational committee Alexey Prokaev

Êîîðäèíàòîð ïî ñâÿçÿì ñ îáùåñòâåííîñòüþ Íàòà Ìîðîçîâà

Coordinator for public relation Nata Morozova


ÕÓÄÎÆÍÈÊÈ:

ARTISTS:

Þðèé Àëüáåðò

Juriy Albert

Ñåðãåé Áàëàíäèí

Sergey Balandin

Àííà Áðîøå

Anna Brochet

Áåðòðàí Âàëëå

Bertrand Vallet

Ãåðìàí Âèíîãðàäîâ

German Viogradov

Ãåðî øòöå

Gero Goetze

Äìèòðèé Ãóòîâ

Dmitriy Gutov

Ìàðè-Ýëåí Äþáðåé

Marie-Helene Dubreuil

Þëèÿ Æäàíîâà

Julia Zhdanova

Ðîìåí Æèáåð

Romain Gibert

Ìàðè Êàðòàó

Mari Kartau

Íåëÿ Êîðæîâà

Nelya Korzhova

Ðîìàí Êîðæîâ

Roman Korzhov

Àëåêñåé Êîñòðîìà

Alexey Kostroma

Âèêà Ëîìàñêî

Vika Lomasko

Äèàíà Ìà÷óëèíà

Diana Machulina

Ãåðò Ìåöãåð

Gerd Mezger

Íàòà Ìîðîçîâà

Nata Morozova

Ìàðëåí Ïåððîíåò

Marlene Perronet

Ñàáèí Ïôàéñòåðåð

Sabine Pfisterer

Ýëåí Ðåéí

Ellen Rein

Ýììàíóýëü Ðîäîðåäà

Emmanuel Rodoreda

Õàííñ-Ìèõàåëü Ðóïïðåõòåð

Hanns-Michael Rupprechter

Íàòàøà Ñàìêîâà

Natalya Samkova

Êðèøíà Ñóáðàìàíèÿ

Krishna Subramania

Ìàðå Òðàëëà

Mare Tralla

Àíôèì Õàíûêîâ

Anfim Khanykov

Èðèñ Õåëüðèãåëü

Iris Hellriegel

Ìàòòèàñ Õîëëàíä-Ìîðèòö

Matthias Holland-Moritz

Àëåêñàíäð Øèêîâñêè

Alexander Schikowski

Éîõàí Ãåðáåðò Øë¸äåð

Jochen Gerbert Schloder

Ãðóïïà Öâåòîôîð

ZVETOFOR GROUP

Ïðîãðàììà ESCAPE

ESCAPE PROGRAM

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Ïàðòíåðû áèåííàëå:

Partners of biennale:

Ïîñîëüñòâî Ôåäåðàòèâíîé Ðåñïóáëèêè Ãåðìàíèè â Ìîñêâå

Embassy of Federal Republic of Germany in Moscow

Ôîíä èìåíè Ðîáåðòà Áîøà

Robert Bosch Fondation

Íåìåöêèé êóëüòóðíûé Öåíòð èì. øòå

Goethe - Institut Moskau

Èòàëüÿíñêèé Èíñòèòóò Êóëüòóðû â Ìîñêâå Àâèàêîìïàíèÿ Äîé÷å Ëþôòãàíçà Àà Øòóòòãàðòñêèé ñîþç õóäîæíèêîâ Àäìèíèñòðàöèÿ ãîðîäñêîãî îêðóãà Ñàìàðà Àäìèíèñòðàöèÿ ãîðîäà Øòóòòãàðòà Ñàìàðñêèé Îáëàñòíîé Õóäîæåñòâåííûé Ìóçåé Ñàìàðñêèé îáëàñòíîé èñòîðèêî-êðàåâåä÷åñêèé ìóçåé èì. Àëàáèíà Ñàìàðñêèé ãîñóäàðñòâåííûé ýêîíîìè÷åñêèé óíèâåðñèòåò ÒÅÕÍÎÏÀÐÊ ÑÃÝÓ Ñàìàðñêèé Ãîñóäàðñòâåííûé Óíèâåðñèòåò Ñàìàðñêîå îòäåëåíèå Ñîþçà Êèíåìàòîãðàôèñòîâ News Outdoor Ñàìàðà

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Èíôîðìàöèîííàÿ ïîääåðæêà: Èíôîðìàãåíòñòâî ÊÓËÜÒÓÐÀ GIF.RU Æóðíàë ÀÐÒÕÐÎÍÈÊÀ Æóðíàë Íîâûé Ìèð Èñêóññòâà Ãàçåòà ÊÓËÜÒÓÐÀ

The Italian Institute of Culture in Moscow LUFTHANSA German Airlines Stuttgarter Kunstverein e.V.

Àðò ïîðòàë ART TIMES Æóðíàë Èíòåðüåð+Äèçàéí Ãàçåòà ÊÎÌÌÅÐÑÀÍÒ Ãàçåòà ÂÐÅÌß ÍÎÂÎÑÒÅÉ Æóðíàë Äåíüãè è áëàãîòâîðèòåëüíîñòü Åæåíåäåëüèê NewsWeek

Administration of Samara city district Administration of Stuttgart city

Åæåíåäåëüíèê ÐÅÏÎÐÒÅÐ Èíôîðìàöèîííûé ïîðòàë ÂîëãàÈíôîðì Æóðíàë ÃÎÐÎÄ

The Samara Regional Art Museum

Ãàçåòà Ñàìàðñêîå Îáîçðåíèå

The Samara regional historical study of local lore museum named after Alabin

Æóðíàë Ñàìàðà

The Samara state economic university TECHNOPARK of Samara state economic university

Æóðíàë Ïåðôîðìàíñ ÒÂ ÐÈÎ Information support: News agency CULTURE GIF.RU Magazine ARTCHRONIKA Magazine the New World of Art The newspaper CULTURE

The Samara State University

The art portal ART TIMES

The Samara branch of the Union of Cinematographers

Magazine Interior + Design

News Outdoor Samara

ÎÎÎ «ÀÏÐ – Ñèòè / ÒÂÄ»

«APR - City / TVD» Ltd.

ÎÎÎ «Âîëãà - Äîêóìåíò»

«Volga - Document» Ltd.

Ñòóäèÿ øèðîêîôîðìàòíîé ïå÷àòè «Àëüáàòðîñ»

«Albatross» Studio of a large-format print

The newspaper Kommersant The newspaper TIME of NEWS Magazine Money and charity Russian NewsWeek Weekly journal the REPORTER Information portal Volga Inform

Ñàìàðñêàÿ Ëèçèíãîâàÿ Êîìïàíèÿ

The Samara Leasing Company

Spiderprojects (Ìîñêâà)

Spiderprojects (Moscow)

Å.Ê.ÀðòÁþðî (Ìîñêâà)

E.K.ArtBjuro (Moscow)

Èçäàíèå êàòàëîãà îñóùåñòâëåíî ïðè ïîääåðæêå ÔÎÍÄÀ ÔÎÐÄÀ

The edition of the catalogue is carried out at support Ford Fondation

Magazine CITY The newspaper the Samara Review Magazine Performance Magazine Samara TV RIO


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Îðãàíèçàòîðû áèåííàëå âûðàæàþò áëàãîäàðíîñòü Ãîð Àííå Ìàðêîâíå, äèðåêòîðó Ïðèâîëæñêîãî ôèëèàëà Ãîñóäàðñòâåííîãî Öåíòðà Ñîâðåìåííîãî Èñêóññòâà Ïåòðîâîé Òàòüÿíå Àíàòîëüåâíå, çàìåñòèòåëþ äèðåêòîðà Ñàìàðñêîãî Õóäîæåñòâåííîãî Ìóçåÿ Ïðîêàåâó Àëåêñåþ Âëàäèìèðîâè÷ó, äèðåêòîðó Öåíòðà Ìåæäóíàðîäíûõ ñâÿçåé ÑÃÝÓ Êîðîáëåâîé Ñâåòëàíå, Ðîùóïêèíîé Íàòàëüå, Ñåìåíîâîé Äàðüå, ñîòðóäíèêàì Öåíòðà Ìåæäóíàðîäíûõ ñâÿçåé ÑÃÝÓ Ôèëèïïó Ìàéåðó-Ïëàòå, ðåãèîíàëüíîãî äèðåêòîðà Äîé÷å Ëþôòãàíçà Àà ðåãèîí Ñðåäíÿÿ Âîëãà Ôåäîòîâîé Òàòüÿíå Àëåêñååâíå, ðóêîâîäèòåëþ äåïàðòàìåíòà ìåæäóíàðîäíûõ è ìåæðåãèîíàëüíûõ ñâÿçåé ãîðîäñêîãî îêðóãà Ñàìàðà Íèêèôîð÷óêó Ñåðãåþ Èâàíîâè÷ó, ðåãèîíàëüíîìó äèðåêòîðó News Outdoor Íèêèòèíó Âàñèëèþ Íèêîëàåâè÷ó, äèðåêòîðó Ãåðìàíñêîãî Öåíòðà â Ñàìàðå

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Áåëåíèíîé Èðìå Âèêòîðîâíå, äèðåêòîðó Ñàìàðñêîãî Ðåãèîíàëüíîãî Öåíòðà Íåìåöêîé Êóëüòóðû «Íàäåæäà»

Ìîðîçîâîé Íàòå, ïðåäñòàâèòåëþ Ñàìàðñêîãî ÐÎÁÔ «ÖÑÈ» â Ìîñêâå

Phillip Maier-Plate, regional director Lufthansa German Airlines region Midle Volga

Ìîðîçîâîé Åëåíå

Tatyana Fedotova, the head of department of the international and inter-regional communications of city district Samara

Ñàìîðóêîâîé Èðèíå Âëàäèìèðîâíå, ïðîôåññîðó êàôåäðû ðóññêîé è çàðóáåæíîé ëèòåðàòóðû ÑÃÓ Ñàìîðóêîâó Èëüå Èãîðåâè÷ó, ñòàðøåìó ïðåïîäàâàòåëþ êàôåäðû èñòîðèè è òåîðèè æóðíàëèñòèêè ÑÃÓ

Sergey Nikiforchuk, regional director of News Outdoor Vasiliy Nikitin, director of the German Center in Samara

Òàðíàðóöêîé Ëèçå, Ñëóæàåâó Îëüãå, Åôðåìîâîé Òàòüÿíå, ñòóäåíòàì ÑÃÓ

Irma Belenina, director of the Samara Regional Center of German Culture «Hope»

Øóâàåâîé Ñâåòëàíå, Èäåÿòóëèíîé Ôàðèäå, Êîðæîâîé Àííå, ñòóäåíòàì ÑàìÃÀÑÓ

Nata Morozova, the representative Samara RPCF «CCA» in Moscow Elena Morozova

The organizers of Biennale express their gratitude to

Irina Samorukova, professor of faculty of the Russian and foreign literature of the Samara State University

Anna Gor, director of the Privolzhskiy branch of the National Centre for Contemporary Arts Tatyana Petrova, the deputy director of the Samara Art Museum Alexey Prokaev, director of the Center of the International communications of the Samara state economic university Svetlana Korobleva, Natalia Roschupkina, Darya Semyenova, employees of the Center of the International communications of the Samara state economic university

Ilya Samorukov, the senior teacher of faculty of a history and the theory of journalism of the Samara State University Liza Tarnautskaya, Olga Sluzhaeva, Tatyana Efremova, students of Samara State University Svetlana Shuvaeva, Farida Ideyatulina, Anna Korzhova, students of the Samara Architectural University


ÄÎÌ: ÌÅÆÄÓ ÅÂÐÎÏÎÉ È ÀÇÈÅÉ HOME: BETWEEN EUROPE AND ASIA


ÀÍÍÀ ÃÎÐ / ÐÎÑÑÈß Ïÿòü òåçèñîâ è îäèí âûâîä î ïîëüçå Øèðÿåâñêîé áèåííàëå.

1. Ñàìî ñëîâî «áèåííàëå» – íå áîëåå ÷åì óêàçàíèå íà òî, ÷òî ñîáûòèå ïîâòîðÿåòñÿ ðà ç â äâà ãîäà. Ñòî ïÿòü ëåò íàçàä îíî âîøë î â ìåæäóíàðîäíûé îáîðîò, â ñâÿçè ñ èçîáðåòåííîé èòàëüÿíöàìè òóðèñòè÷åñêîé ïðèìàíêîé äëÿ óìèðàþùåé â âîäàõ Âåíåöèè – âñåìèðíîé âûñòàâêîé íîâåéøåãî èñêóññòâà. Òàê ïîíÿòèå «áèåííàëå» è ñîâðåìåííîå èñêóññòâî ñîñòàâèëè ñ÷àñòëèâóþ ïàðó, êîòîðàÿ ñòàëà ïðîèçâîäèòü ìíîãî÷èñëåííûõ «ïîòîìêîâ» - ðàçíîîáðàçíûå ôåñòèâàëè è âûñòàâêè contemporary art â ðàçíûõ ÷àñòÿõ ñâåòà, ñòðàíàõ è ãîðîäàõ. Ðîññèÿ, ïî ïîíÿòíûì èñòîðè÷åñêèì ïðè÷èíàì, âû÷åðêíóâøèì íà 70 ëåò àêòóàëüíûå õóäîæåñòâà èç êóëüòóðíîé ïîëèòèêè, íå áûëà â ÷èñëå ëèäåðîâ áèåííàëüíîãî äâèæåíèÿ. Ïåðâàÿ «äâóõëåòêà» ïîÿâèëàñü òîëüêî â 1999 ãîäó, è íå áûëà íè ãîñóäàðñòâåííîé èíèöèàòèâîé, íè äàæå ãîðîäñêîé ïî ìåñòó ïðîâåäåíèÿ. Îíà áûëà ñåëüñêîé è, ÷òî ïðèìå÷àòåëüíî, ÷àñòíîé. 2. Ñåëî Øèðÿåâî íà Âîëãå, íåäàëåêî îò Ñàìàðû, èìååò õóäîæåñòâåííûé áýêãðàóíä: çíàìåíèòûé õóäîæíèê Ðåïèí (âìåñòå ñ èçâåñòíûì õóäîæíèêîì Ôåäîðîì Âàñèëüåâûì è ñâîèì ìàëîèçâåñòíûì áðàòîì Ñåðãååì) ëåòîì 1870 ãîäà ïèñàë òàì ýòþäû áóðëàêîâ äëÿ ñâîåé, âïîñëåäñòâèè êëàññè÷åñêîé, êàðòèíû.  ñóùíîñòè, ýòî áûëà ïåðâàÿ ðåçèäåíöèÿ õóäîæíèêîâ â Øèðÿåâî. Íî îòñ÷åò âåäåòñÿ íå îò íåå. 3. Äåâÿòü ëåò íàçàä ñàìàðñêèå õóäîæíèêè Ðîìàí è Íåëÿ Êîðæîâû, îäàðåííûå æèâîïèñöû, ñåðüåçíî çàíèìàþùèåñÿ òåìîé áåñïðåäìåòíîãî, íà÷àëè ñîçäàâàòü îáúåêòû, óñòðàèâàòü àêöèè è ïåðôîðìàíñû. Îäíàêî ñðåäà, áåç êîòîðîé íåâîçìîæíî ðàçâèâàòü èñêóññòâî òàêîãî ðîäà, â èõ ðîäíîì ãîðîäå îòñóòñòâîâàëà. Áëèæàéøàÿ áûëà â Ìîñêâå è Øòóòãàðòå, ïîáðàòèìå Ñàìàðû. Íî Êîðæîâû íå õîòåëè óåçæàòü, ïîýòîìó èì ïðèøëîñü äåëàòü õóäîæåñòâåííóþ ñðåäó ñàìèì. À îíè çíàëè, ÷òî îäèí èç ãëàâíûõ, ìåæäóíàðîäíî àïðîáèðîâàííûõ èíñòðóìåíòîâ åå ñîçäàíèÿ – áèåííàëå. Òàê ïîÿâèëàñü «…ìåæäó Åâðîïîé è Àçèåé». 4. Ñåëî Øèðÿåâî ïîìîãëî (è ïîìîãàåò!) ðåøàòü ãëàâíûé âîïðîñ – âîïðîñ ðåñóðñîâ. Îíî èõ â èçîáèëèè ïðåäîñòàâèëî êóðàòîðàì Êîðæîâûì: æèâîïèñíóþ òåððèòîðèþ, ñâÿçàííóþ ñ ëåãåíäàðíîé ñòðàíèöåé ðóññêîãî èñêóññòâà; äðóæåëþáíûõ (ïî ïðåèìóùåñòâó) ìåñòíûõ æèòåëåé, ãîòîâûõ ïðèíÿòü â ñâîèõ äîìàõ õóäîæíèêîâ èç ðàçíûõ ñòðàí; âîçìîæíîñòü ñîçäàâàòü ïðîèçâåäåíèÿ íå äëÿ ãåðìåòè÷íûõ ãàëåðåéíûõ ïðîñòðàíñòâ, à äëÿ îäíîäíåâíîãî ÿðêîãî ïåðåæèâàíèÿ ó÷àñòíèêàìè «íîìàäè÷åñêîãî øîó»; øêîëó è äåòñêèé ñàä – ëåòíèå ñêâîòû-ëàáîðàòîðèè äëÿ ìàñòåð-êëàññîâ è äèñêóññèé…. Ýòè ðåñóðñû ïîçâîëÿþò îáîéòèñü ìèíèìóìîì îñíîâíîãî ðåñóðñà – äåíåæíîãî (îí åñòü, íî ïî ìåðêàì áèåííàëå íåçíà÷èòåëüíûé), è îíè æå äèêòóþò æàíðîâóþ ëîãèêó ñîáûòèÿ. 5. Ïî æàíðó Øèðÿåâñêàÿ áèåííàëå - ýòî ìåæäóíàðîäíûé ëåòíèé ëàãåðü õóäîæíèêîâ, êóëüìèíàöèîííîé ÷àñòüþ êîòîðîãî ÿâëÿåòñÿ ïðåäñòàâëåíèå ïðèåõàâøèì èç Ñàìàðû (à â Ñàìàðó – îòêóäà óãîäíî) çðèòåëÿì ýôåìåðíûõ õóäîæåñòâåííûõ ïðîèçâåäåíèé, ñëèòûõ ñ íåîáúÿòíûì ïðîñòðàíñòâîì Æèãóëåâñêèõ ãîð è ðåêè Âîëãè, ñåëüñêèìè äîìàìè è óëèöàìè, ìåëîâûìè êàðüåðàìè è ïðóäàìè. Ýòî èñêóññòâî «çäåñü è ñåé÷àñ», ëèøåííîå ïðàãìàòèçìà è îòäåëåííîå îò õóäîæåñòâåííûõ ðûíêîâ, à ïîñåìó îáëàäàþùåå àáñîëþòíîé ñâåæåñòüþ è ïîäëèííîé èíòåðàêòèâíîñòüþ.  îòëè÷èå îò áîëüøèíñòâà ñâîèõ ñîáðàòüåâ – áîëüøèõ áèåííàëå, ñîáèðàþùèõ â ðàçíûå êîíòåêñòû óæå ãîòîâûå ïðîèçâåäåíèÿ, â Øèðÿåâî ëàáîðàòîðíûé ïðîöåññ ñàì ñòàíîâèòñÿ ðåçóëüòàòîì, îòêðûâàÿ äëÿ çðèòåëÿ îñòðîòó ïðÿìîãî, íè÷åì íå îïîñðåäîâàííîãî ÷óâñòâåííîãî ïåðåæèâàíèÿ. Äåñÿòèëåòíÿÿ èñòîðèÿ Øèðÿåâñê îé áèåííàëå, ïåðâîé áèåííàëå ñîâðåìåííîãî èñêóññòâà íà ðîññèéñêîì ïðîñòðàíñòâå, ñîçäàëà âàæíåéøèé ïðåöåäåíò: õóäîæåñòâåííûå ïðîñòðàíñòâà â ðîññèéñêèõ ðåãèîíàõ ðóêîòâîðíû. Ñîáèðàÿ ðàç â äâà ãîäà «ìåæäó Åâðîïîé è Àçèåé», â ñåëå Øèðÿåâî, êîìïàíèþ àâòîðîâ èç ðàçíûõ ñòðàí, ýòî ñîáûòèå íå ïðîñòî ðàñøèðÿåò ðîññèéñêóþ ãåîãðàôèþ contemporary art. Îíî îáåñïå÷èâàåò óíèêàëüíóþ âîçìîæíîñòü íàáëþäåíèÿ íå ñòîëüêî çà ñîáñòâåííî èñêóññòâîì, ñêîëüêî çà òåì, êàê îíî ðîæäàåòñÿ. È â ýòîì àáñîëþòíàÿ óíèêàëüíîñòü Øèðÿåâñêîé áèåííàëå.


1. The word “biennale” itself is just an indication that an event repeats every two years. Hundred and five years ago it became international due to invented by the Italians tourist attraction to dying in water Venice, which was a World Exhibition of Modern Art. In such a way “biennale” and contemporary art made happy lovers, which gave birth to numerous “descendants”: different festivals and exhibitions of contemporary art in different parts of the world, countries and cities. Russia due to obvious historic reasons, which deleted actual art from cultural policy for 70 years, was not among leaders of biennale movement. The first “two-year” appeared only in 1999 and was neither state initiative, nor even municipal one at its location. It was village one, what is particularly remarkable, it was private one. 2. Shiryaevo village on the Volga not far from Samara has artistic background: in summer 1870 famous artist Repin (together with a famous artist Fyodor Vasilyev and his little-known brother Sergey) made sketches of haulers for his subsequently classic picture. Basically it was first residence of artists in Shiryaevo. But this date is not the starting point. 3. Nine years ago Samara artists Roman and Nelya Korzhov, gifted painters who seriously engaged in the theme of non-figurative started to create pieces, arrange actions and performances. However, there was no environment necessary to develop such kind of art in their hometown. The nearest one was in Moscow and Stuttgart, a twin town of Samara. But the Korzhovs didn’t want to leave that’s why they had to develop artistic environment by themselves. And they knew that one of the main, internationally tested tools to develop it is biennale. That’s how “… between Europe and Asia” appeared. 4. Shiryaevo village helped (and still helps!) to solve the main issue, which is the issue of resources. It plentifully presented to the Korzhovs a picturesque area, associated with a famous period of Russian art; friendly (predominantly) inhabitants, ready to host artists from different countries; possibility to create pieces not for sealed-in gallery rooms but for 1-day bright experience of “nomadic show” participants; the school and the kindergarten which were summer lab squats for master classes and discussions … These resources help to do with minimum of the main resource, which is money (it exists but not enough for the biennale), and it imposes genre logic of the event. 5. As for the genre, Shiryaevo biennale is an international artist summer camp, which high point is presenting to spectators that came from Samara (and to Samara from elsewhere) ephemeral pieces of art melting into immense space of the Zhiguli mountains and Volga river, village houses and streets, chalkpits and ponds. This “here and now” art was devoid of pragmatism and detached from artistic markets, therefore having absolute freshness and true interactivity. As opposed to most of its counterparts, big biennales, which gather finished pieces for different contexts, lab process in Shiryaevo becomes a result itself while opening acuity of direct, non-mediated sensuous experience for spectators. Ten-year history of Shiryaevo biennale – the first biennale of contemporary art in Russia – created a fundamental case: artistic environments in Russian regions are man-maid. Gathering a company of authors from different countries “between Europe and Asia” in Shiryaevo once in two years, this event not simply expands Russian borders of contemporary art. It provides a unique possibility to observe not so much art itself as the process of its generation. And that is the absolute uniqueness of Shiryaevo biennale.

ANNA GOR / RUSSIA Five assertions and one conclusion regarding Shiryaevo biennale usefulness

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ÍÅËß ÊÎÐÆÎÂÀ / ÐÎÑÑÈß «Íîìàäè÷åñêîå øîó», èëè ÷òî äåëàòü, êîãäà íèêòî íå âèíîâàò.

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 ýòîì ãîäó Øèðÿåâñêàÿ áèåííàëå ñîâðåìåííîãî èñêóññòâà«: ìåæäó Åâðîïîé è Àçèåé» ïðîõîäèò â ïÿòûé ðàç, êàê âñåãäà - â àâãóñòå ïî íå÷åòíûì ãîäàì â âîëæñêîì ñåëå Øèðÿåâî è àðò ïëîùàäêàõ Ñàìàðû. Òåìû ïðåäøåñòâóþùèõ ëåò - «ïðîâèíöèÿ», «òàêòèëüíîñòü», «åäà», «ëþáîâü». Áèåííàëüñêàÿ òåìà 2007 ãîäà - «Äîì» - êàê ñïîñîá ïðîæèâàíèÿ, êàê ñóâåðåííîå ïðîñòðàíñòâî õóäîæíèêà. Î÷åð÷èâàíèå êîíòóðîâ ýòîãî ñàìîãî ñóâåðåííîãî ïðîñòðàíñòâà ïîçâîëèëî îáîçíà÷èòü êîíöåïòóàëüíûå ïðèîðèòåòû ñîáûòèÿ. Ñòàëî ïîíÿòíî, ïî÷åìó ýòî ìåðîïðèÿòèå äî ñèõ ïîð æèâî è àêòóàëüíî. Ñêîðåå âñåãî, ýòî ïðîèñõîäèò ïîòîìó, ÷òî Øèðÿåâñêàÿ áèåííàëå ÿâëÿåòñÿ ïðîòèâîâåñîì îáùåé äîêòðèíå «áåëîãî êóáà», ê ïîíèìàíèþ íåîáõîäèìîñòè êîòîðîãî ñêëîíÿåòñÿ õóäîæåñòâåííîå ñîîáùåñòâî.  ïðèíöèïå, ýòà ýñòåòè÷åñêàÿ äîêòðèíà, çàõâàòèâøàÿ âñå ïðîñòðàíñòâî ñîâðåìåííîãî èñêóññòâà, óñòðàèâàëà âñåõ: ïîêóïàòåëÿ, ãàëåðåèñòà, ìóçåéíîå ñîîáùåñòâî è çðèòåëÿ. È åñòü òîëüêî îäíà ïðîáëåìà – îíà ïåðåñòàëà óñòðàèâàòü õóäîæíèêà, ïîòîìó ÷òî ýòà òåîðèÿ çàñòàâëÿåò âåñü õóäîæåñòâåííûé ïðîöåññ îðèåíòèðîâàòüñÿ òîëüêî íà ðûíîê. Êîíå÷íî, ýòî áûëî áû ïðåêðàñíî, åñëè áû âñå ìîãëè ïîñòîÿííî ÷åðïàòü âäîõíîâåíèå è âûäàâàòü «íîâûé» õóäîæåñòâåííûé ïðîäóêò, îäèí ëó÷øå äðóãîãî… È òîãäà «áåëûé êóá» âîñïðèíèìàëñÿ áû êàê æåëàííûé ÷èñòûé ëèñò, à íå êàê áëàíê î ïðèåìå ÕÏ (õóäîæåñòâåííûõ ïðîèçâåäåíèé). Äà è íåò ýòèõ ñàìûõ «ÕÏ», ñïîñîáíûõ ïîòðÿñòè ìèð - âñå õóäîæåñòâåííîå êîìüþíèòè çàìêíóëîñü ñàìî íà ñåáÿ. Õóäîæíèê íàõîäèòñÿ âñå âðåìÿ «ìåæäó» - ìåæäó èíñòèòóöèÿìè è ãðàíòàìè, ãàëåðåèñòàìè è ïîêóïàòåëÿìè, èçìó÷åííûé âîïðîñîì - ÷òî äåëàòü, êîãäà íèêòî íå âèíîâàò? Ìîæåò áûòü, ïîïûòàòüñÿ ðàññëàáèòü ñèòóàöèþ, ñîçäàòü óñëîâèÿ, êîãäà ìåòîä ïðîæèâàíèÿ ÿâëÿåòñÿ õóäîæåñòâåííîé öåííîñòüþ, ñîêðàòèòü ðàçðûâ ìåæäó ñîçäàíèåì ïðîèçâåäåíèÿ è åãî ýêñïîíèðîâàíèåì, ÷òîáû äîêîïàòüñÿ äî ñóùíîñòè õóäîæíèêà: ÷òî îí òàêîå? ÷òî îí âíóòðè ñåáÿ? íóæåí ëè îí êîìóëèáî è ñàìîìó ñåáå, ïðåæäå âñåãî? Âñïîìíèòü çàáûòûå ñëîâà î «ñàìîñòè òâîðöà íåðàâíîãî ñàìîì ó ñåáå», ïîñêîëüêó áåç íèõ íåâîçìîæíî ñóùåñòâîâàíèå õóäîæíèêà êàê òàêîâîãî. Àêòèâíóþ ïîçèöèþ, îòíîñèòåëüíî ìåñòà õóäîæíèêà â ðåàëèÿõ ñîâðåìåííîé æèçíè îçâó÷èë íà øèðÿåâñêîé áèåííàëå ìîñêîâñêèé êîíöåïòóàëèñò Äìèòðèé Ãóòîâ, îðãàíèçîâàâøèé äèñêóññèþ-ïåðôîðìàíñ «Âûïðÿìèëà», ïî îäíîèìåííîìó ðàññêàçó ïèñàòåëÿ-äåìîêðàòà Ãëåáà Óñïåíñêîãî.  ÷àñòíîñòè îí ãîâîðèë î òîì, ÷òî áåäà ñîñòîèò â îòñóòñòâèè ðåàëüíûõ «çâåçä» â ñîâðåìåííîì èñêóññòâå. Îòñóòñòâèè èìåí, êîòîðûå áóäóò ïîäîáíû áîæåñòâó. Ïî ìíåíèþ õóäîæíèêà, ýòî äîëæåí áûòü îäèí «äåìèóðã», êîòîðîìó äîëæíû ïîêëîíÿòüñÿ âñå. Îí áóäåò äóõîâíûì ëèäåðîì, çà êîòîðûì ìîæíî ïîéòè, è ýòà ñèñòåìà áóäåò ïðîòèâîñòîÿòü ðûíêó, ïîñêîëüêó ìû óéäåì îò îòíîøåíèé êóïëè-ïðîäàæè, è áóäåì ðàáîòàòü ñ ïðèíöèïèàëüíî äðóãèìè öåííîñòÿìè. Ýòà òî÷êà çðåíèÿ áûëà òàêæå ïîäêðåïëåíà ìîñêîâñêèì õóäîæíèêîì Þðèåì Àëüáåðòîì, êîòîðûé ðåàëèçîâàë â Ñàìàðñêîì õóäîæåñòâåííîì ìóçåå ïåðôîðìàòèâíûé ïðîåêò «Ýêñêóðñèÿ ñ çàâÿçàííûìè ãëàçàìè». Ïðîòèâîïîëîæíóþ èäåþ âûñêàçàëè õóäîæíèêè èç Ãåðìàíèè è Àâñòðèè Õàííñ-Ìèõàåëü Ðóïïðåõòåð, Ãåðî øòöå, Êðèøíà Ñóáðàìàíèÿ, Èîõàí Ãåðáåðò Øëåäåð è äð., ïðîïîâåäóþùèå íåçàâèñèìîå ïîçèöèîíèðîâàíèå êàæäîãî. Ýòà òî÷êà çðåíèÿ ïðåäïîëàãàåò, ÷òî âñå õóäîæíèêè íóæäàþòñÿ â ñâîáîäíîì âûðàæåíèè, ÷òî õóäîæåñòâåííàÿ ïðàêòèêà ýòî ïðåæäå âñåãî âèçóàëüíîå âîçäåéñòâèå, «êàðòèíêà». È òî âïå÷àòëåíèå, êîòîðîå îíà ïðîèçâîäèò, áóäü òî ôîòî, ïåðôîðìàíñ èëè èíñòàëëÿöèÿ – ìîæåò «ñêàçàòü» áîëüøå ÷åì ñëîâà. «Î÷åíü âàæíî âñå ôèêñèðîâàòü, ñíèìàòü âèäåî, ôîòîãðàôèðîâàòü, - ãîâîðèò, íàïðèìåð, êóðàòîð íåìåöêîé ãðóïïû õóäîæíèêîâ Õàíñ-Ìèõàåëü Ðóïïðåõòåð - « è òîãäà ìû áóäåì ñâîáîäíû. Ñâîáîäíû îò ñëîâ». Ýòî áûëà èõ ïîñëåäîâàòåëüíàÿ ïîçèöèÿ, êîòîðàÿ âûðàæàëàñü â ïðîèçâåäåíèÿõ, êàê ðàìèðîâàííûõ ôèíàëüíûì ïîêàçîì, òàê è íåò. Íà íàø âçãëÿä, òåìà «Äîì» àêòóàëüíà åùå è ïîòîìó, ÷òî ñîâðåìåííûå õóäîæíèêè õîòÿò íåêîåãî óáåæèùà, äàþùåãî ñâîáîäó îò ÿðëûêîâ è ðàíãîâ. Âñå õîòÿò, ÷òîáû íàñòàëè âðåìåíà ñâîáîäû, ìîæåò áûòü, â äóõå 60-õ. Ñåé÷àñ âñå îñíàñòèëèñü ñðåäñòâàìè êîììóíèêàöèè, íî ýòà êîììóíèêàöèÿ íèêîèì


îáðàçîì íå ìîæåò çàìåíèòü ýíåðãèþ îáùåíèÿ, îíà ëèøü ôèêñèðóåò å¸. Äëÿ íàñ ýòî âàæíî. Èìåííî ïîýòîìó îñíîâíûì ñîáûòèåì íàøåé áèåííàëå ÿâëÿåòñÿ «íîìàäè÷åñê îå øîó», ê îòîðîå ïðîèñõîäèò â ôèíàëå äâóõíåäåëüíîãî ïðîæèâàíèÿ â ñåëå. Ýòî òàê îé «òðèï», êîòîðûé âûñòðàèâàåòñÿ ñîâìåñòíî è êàæäûé ó÷àñòíèê ìîæåò â òîé èëè èíîé ìåðå âûðàçèòü ñåáÿ. Ïîñëåäíåå çàâèñèò íå òîëüêî îò òîãî, íàñêîëüêî òû ïîäãîòîâëåí. Ñêîðåå - îò òîãî, íàñêîëüêî òû ýíåðãåòè÷åñêè çàðÿæåí â ýòî âðåìÿ è ãîòîâ çàðÿäèòü äðóãèõ. «Íîìàäè÷åñêîå øîó» íà÷èíàåòñÿ îò ïðèñòàíè Øèðÿåâî ñ ïðèáûòèåì óòðåííåãî êîðàáëÿ èç Ñàìàðû. Òîëïà, ñîñòîÿùàÿ èç ïóáëèêè, ïðåññû, õóäîæíèêîâ è ìåñòíûõ æèòåëåé, äâèæåòñÿ ïî ñåëó îò ïðîèçâåäåíèÿ ê ïðîèçâåäåíèþ, è çàêàí÷èâàåò ñâîé ïóòü âå÷åðîì íàâåðõó â ãîðíûõ øòîëüíÿõ.  ýòîì ãîäó øîó íà÷èíàë ôðàíöóçñêèé õóäîæíèê Ýììàíóåëü Ðîäîðåäà ïðîåêòîì «Âíóòðè \ Ñíàðóæè». Íà ïðèñòàíè îí ïðåäñòàâèë îáúåêò äåðåâÿííóþ äâåðü âåëè÷èíîé ñ ÷åìîäàí, êîòîðóþ ìîæíî íîñèòü ñ ñîáîé, îòêðûâàÿ â ëþáîì ìåñòå. Ýòà ñþððåàëèñòè÷íàÿ âåùü, èãðàþùàÿ ñ ïðîñòðàíñòâîì, íàâåâàëà âîñïîìèíàíèÿ î ñòðàøíîâàòîì ñíå, â êîíöå êîòîðîãî âñå-òàêè íàøåëñÿ âûõîä. Íåñêîëüêî ìèíóò ïóòè - è íàñ æäàë ðîñêîøíûé ïðîåêò ïèòåðñêî-íåìåöêîãî õóäîæíèêà Àëåêñåÿ Êîñòðîìû «Îïåðåíèå». Íåóìîëèìî-æàðêîå ñîëíöå, ñåëüñêàÿ äîðîãà, à íà ìåñòå îáû÷íîé àâòîáóñíîé îñòàíîâêè – íåîæèäàííûé ïàðàäèç – ïóøèñòûé îáúåì áåëåéøèõ ïåðüåâ. È êàê ïðîäîëæåíèå íåðåàëüíîé èñòîðèè, íàïðîòèâ â ñâåòëûõ êàìåííûõ ðàçâàëèíàõ, àâòîð óñòðîèë èãðó-ðàçâåí÷àíèå â ãîëüô. Ïåðâûå èìåíà ñîâðåìåííîãî ìèðîâîãî èñêóññòâà, íàïèñàííûå íà ïðåçåðâàòèâàõ, ðàçëåòàëèñü â êëî÷üÿ ïðè ìåòêîì ïîïàäàíèè çðèòåëåé. Òîëïà äâèãàëàñü ê Äîìó-ìóçåþ È.Å. Ðåïèíà. Íà ïîëïóòè ïóáëèêó îñòàíîâèëà ôîòî èíñòàëëÿöèÿ Ñàáèíû Ïôàéñòåðåð «Ðóññêàÿ ýâîëþöèÿ». Ïðîåêò, ðàçìåñòèâøèéñÿ íà çàáîðå äîìà 6 ïî Áèáëèîòå÷íîé, ôèêñèðîâàë õðåñòîìàòèéíûå èñòèíû ðóññêîé ðåàëüíîñòè ìàëåíüêèå ñíèìêè ñâèäåòåëüñòâîâàëè î æèçíè «ìàëåíüêèõ ëþäåé», áîëüøèå - î «íîâîðóññêîì» áûòèå. Íà ìóçåéíûõ ïîäìîñòêàõ íàñ æäàë íåìåöêèé ïåðôîðìàíñ Ýëåí Ðåéí è Èðèñ Õåëüðèãåëü «Äîì...çâåðèíàÿ êóëüòóðà ïîâñåäíåâíîñòè» â íåîíîâûõ òîíàõ ôóêñèè è ëàçóðè. Íåîáûêíîâåííî âàæíî ïîçèöèîíèðîâàíèå ýòèõ õóäîæíèö äëÿ øèðÿåâñêîé áèåííàëå. Èõ êîíöåïò ñòðîèòñÿ íà òîì, ÷òî «ñîâðåìåííûé òàíåö (ñîâðåìåííîå èñêóññòâî) ìîæåò âîçíèêíóòü òîëüêî â äåìîêðàòè÷åñêèõ ñîîáùåñòâàõ, òîòàëèòàðèçì æå ÷ðåâàò - ôîëüêëîðîì, ìàðøàìè è ïàðàäàìè». Èõ ïðîåêò âûðàæàåò èäåþ ñâîáîäû, çàëîæåííóþ â ôîðìàòå «íîìàäè÷åñêîãî øîó». Ýëåí è Èðèñ íå âñòóïàëè â ïðÿìóþ äèñêóññèþ ñ ïðåäñòàâèòåëÿìè ìîñêîâñêîãî êîíöåïòóàëèçìà, íî ýòî èäåîëîãè÷åñêîå ïðîòèâîñòîÿíèå áûëî î÷åâèäíî. Êîãäà èäåå âåðòèêàëè âëàñòè â èñêóññòâå, ïðîòèâîïîñòàâëÿåòñÿ ñâîáîäà èíäèâèäóàëüíîñòè.  ïðèíöèïå, è òå, è äðóãèå àâòîðû - ïðîòèâ êàïèòàëèñòè÷åñêîé êàáàëû õóäîæíèêà, íî îäíè âèäÿò âûõîä â ïîñòðîåíèè èåðàðõè÷åñêîé âåðòèêàëè ñî «çâåçäíûì» ëèäåðîì íà âåðøèíå, äðóãèå - â èäåå âíåñèñòåìíîãî æåñòà êàæäîãî. Ñïîíòàííàÿ ïëàñòèêà ïðîòèâîñòîèò ïðîòîêîëüíûì äâèæåíèÿì, êàê «ðîê- í-ðîëë» õîðîâîäàì è ïîëîíåçàì.  ïðîäîëæåíèå äèñêóññèè, çà ïîâîðîòàì çðèòåëåé æäàëà áåçóïðå÷íàÿ ðàáîòà Äèàíû Ìà÷óëèíîé «Ðóññêîå».  áðåâåí÷àòîì ïðîñòðàíñòâå äåðåâåíñê îãî íîâîäåëà, ìîñêîâñêàÿ õóäîæíèöà ñäåëàëà «æèâóþ ñêóëüïò óðó» èç 7 ìóæ÷èí – «… çðèòåëþ ïðåäëàãàåòñÿ îöåíèòü êîìïîçèöèîííîå ïîñòðîåíèå ïî÷òè ðåàëüíîãî çàêîíà æèçíè. Âåðòèêàëüíàÿ îñü, âûñòðîåíà èç òîðöîâ ëåæàùèõ äðóã íà äðóãå áðåâåí, ãîðèçîíòàëüíàÿ îñü - èç çàòûëêîâ ìóæèêîâ, ñèäÿùèõ ðÿäîì». Êàëüêà èìïåðñêîé èåðàðõèè âëàñòè áûëà íàëîæåíà íà äåðåâåíñêèé äîìîñòðîé. Íî òàê è íå ñòàëî ÿñíî - õóäîæíèöà êðèòèêóåò ýòó ñèñòåìó èëè âîñõèùåíà åþ? Îäíèì èç ëó÷øèõ ïðîåêòîâ ñòàë ïåðôîðìàíñ Ìàðå Òðàëëà è Ìàðè Êàðòàó (Ñèðàì) «Ìîå òåëî – ìîÿ êðåïîñòü». Íà áåðåãó ðåêè äâà áðóòàëüíî îáíàæåííûõ æåíñêèõ òåëà, èñïîëüçóÿ â êà÷åñòâå àññèñòåíòîâ 3 ìóæ÷èí «ðàçëè÷íûõ íàöèîíàëüíîñòåé», îáëà÷åííûõ â êîëãîòêè, ÷èòàþò èíñòðóêöèè íà òåìó èíòèìíîé ãèãèåíû â àñïåêòå «íåëüçÿ». Íàïðèìåð: ìåñÿ÷íûå áåç

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ÍÅËß ÊÎÐÆÎÂÀ / ÐÎÑÑÈß «Íîìàäè÷åñêîå øîó», èëè ÷òî äåëàòü, êîãäà íèêòî íå âèíîâàò.

òàìïàêñà – «íåëüçÿ», ñåêñ áåç ïðåçåðâàòèâà – «íåëüçÿ» è ò.ä. ×òåíèå ñîïðîâîæäàåòñÿ «ïðèìèòèâíûì» ïàíòîíèìî, êàê â ñàìîëåòå. Ïàðàëëåëüíî, åâðîïåéñêèå ìóæ÷èíû, «âñòàâëåííûå» â ðóññêèå íàëè÷íèêè, ÷èòàþò âûäåðæêè èç êîíñòèòóöèé íà ýñòîíñêîì, ôðàíöóçñêîì, è íåìåöêîì.  êîíöå ðå÷èòàòèâà îäíà èç äåâóøåê îêàçûâàåòñÿ îïóòàíà âàòîé ñ ãîëîâû äî íîã. Èäåÿ çàùèòû îáîðà÷èâàåòñÿ ëîâóøêîé. Ñáðîñèâ êîêîí, äåâóøêè óïëûâàþò â âîëæñêèå äàëè. Ïîëó÷àåòñÿ èðîíè÷åñêàÿ êàðòèíêà îòêðîâåííîé òåëåñíîñòè, «ðîäíîé ïðèðîäû», è «ñëîæíîñòåé ïåðåâîäà». Ïóñòóþùàÿ Øèðÿåâñêàÿ øêîëà ñ äàâíèõ ïîð áûëà îáëþáîâàíà ó÷àñòíèêàìè áèåííàëå êàê ýñòåòñêîå ïðîñòðàíñòâî ñ àóòåíòè÷íûìè ñòàëêåðîâñêèìè ëàêóíàìè. È âíóòðè, è ñíàðóæè ïîñòðîéêà àêêóìóëèðîâàëà âîêðóã ñåáÿ áóðíóþ õóäîæåñòâåííóþ æèçíü. «Ôðàíöóçñêèé ïàâèëüîí» íà ëóæàéêå ïîä êóðàòîðñòâîì Ìàðëåí Ïåððîíå ñâèäåòåëüñòâîâàë î «ìåãà àðòèñòè÷åñêîì» àñïåêòå ñóùåñòâîâàíèÿ ïðîèçâåäåíèÿ, äî òîãî, êàê àâòîðà íà÷èíàåò ïðåñëåäîâàòü ïàòîëîãèÿ, íàçâàííàÿ «ñèíäðîì Ñòåíäàëÿ». Äæîíè Âîêåð çàèãðûâàë ñ êîðîâîé, Ðîìåí Æèáåð â ñïîðòçàëå îáíàæèë äâîéñòâåííîñòü ðåàëüíîñòè, ïðåäñòàâèâ ôîòîñåðèþ ñ íåóëîâèìî óäâîåííûìè îáúåêòàìè. Éîõàí Ãåðáåðò Øëåäåð ïîâåñèë íà äâåðÿõ ìåä. êàáèíåòà «Ëèõîðàäî÷íûé áðåä», èðîíè÷íûé ïàññàæ íà òåìó âæèâàíèÿ â äðóãóþ êóëüòóðó. Àííà Áðîøå èçÿùíî èíñòàëëèðîâàëà «Øêîëüíûé ïàíòåîí. Ñâÿçè» - ÷åðåäó ïîðòðåòîâ âåëèêèõ ëþäåé øêîëüíîé ïðîãðàììû, ïåðåîñìûñëåííûõ â äóõå êëèïîâîãî ñîçíàíèÿ ñîâðåìåííûõ ó÷åíèêîâ. Íàòà Ìîðîçîâà â ïåðôîðìàíñå «Ïîä þáêîé», ïðåäñòàâèëà ñâîþ ìàøèíåðèþ ìèðîçäàíèÿ, êîãäà ïîä òðåõìåòðîâûì êàðêàñîì æåíñêîãî êðåíîëèíà íàøëîñü ìåñòî äëÿ âñåõ èëè ïðîñòî çàøåäøèõ íà ÷àé. È êàê âñåãäà âñåì «äàë îòîðâàòüñÿ» êîðîëü æèâîãî èñêóññòâà - ÕàíñÌèõàåëü Ðóïïðåõòåð.  ïàìÿòü î ïîãèáøèõ äðóçüÿõ, îí ðàçáèë î ñâîþ ãðóäü îãðîìíóþ ïîìèäîðèíó, è, ðàçëîæèâ íà ñòàðîì ñèíòåçàòîðå êàìíè, èñïîëíèë ñàðêàñòè÷åñêóþ ïåñíþ «Äîì ïèàðùèê à - áèçíåñìåíà», â êîòîðîé ïåðå÷èñëåíèå «çà ÷òî óãîäíî» ñìåíÿëîñü ãîòîâíîñòüþ «íà ÷òî óãîäíî».  ýòîé ïåðâåðçèè îùóùàëñÿ ñèëüíûé çàðÿä ñâîáîäû - êîãäà ïðîèñõîäèò ñìåíà ïîçèöèé, è õóäîæíèê èç ðàíãà «ïðèìå÷àíèé íà ïîëÿõ ðûíêà è ãåîïîëèòèêè» ïðåâðàùàåòñÿ â ñàìó æèçíü.  òîò ñàìûé èñòî÷íèê, èç êîòîðîãî ïîäïèòûâàåòñÿ âåñü ïðèöåïíîé ñîñòàâ ôýøí, äèçàéíà, ïîëèòè÷åñêîãî èìèäæìåéêåðñòâà. Óòîìëåííàÿ ñîëíöåì ïóáëèêà ïîäíÿëàñü â ãîðû – ïîñìîòðåòü íà ïîæàð â äîìå, óñòðîåííûé õóäîæíèêîì Áàëàíäèíûì, à òàêæå âïàñòü â òðàíñ â ïðîõëàäíûõ øòîëüíÿõ ðÿäîì ñ øàìàíñêèì ïðîåêòîì Ãåðìàíà Âèíîãðàäîâà. È õåïïèíèíãîâûå ïëÿñêè Êðèøíû Ñóáðàìàíèÿ çàâåðøàëè îáùèé ðèñóíîê «íîìàäè÷åñêîãî øîó».

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T h i s y e a r ’s S h i r y a e v o b i e n n a l e o f c o n t e m p o r a r y a r t “ b e t w e e n Europe and Asia” is held for the fifth time, as always in August of odd years in a Volga village of Shiryaevo and Samara art galleries. Previous years’ themes were “province”, “tactility”, “food”, and “love”. The theme of 2007 biennale is “Home” as a means of dwelling, as an artist’s independent space. Outlining this independent space allowed to define event’s conceptual priorities. It became clear why this event is still alive and is of current interest. Most likely it happened because Shiryaevo biennale is a counterbalance to the common doctrine of “white cube”, which necessity is tended to be understood by artist community. Basically, this aesthetic doctrine, which captured the whole field of m o d e r n a r t , s u i t e d e v e r y o n e : b u y e r, g a l l e r y o w n e r, m u s e u m community and spectator. There is only one problem: it no more suits an artist because this theory makes the whole artistic process orientate to the market. Of course, it would be fine if everyone could continuously derive inspiration and create “new” artistic product, one better than another… Only then “white cube” would be perceived as a desirable clean sheet and not a PA (Piece of Art) acceptance form. But there are n o t h e s e PA - s c a p a b l e o f a s t o u n d i n g t h e u n i v e r s e : a l l a r t i s t i c community is locked into its own world. An artist is all the time “between”: between institutions and grants, gallery owners and buyers, exhausted by the question – what to do when there is nobody to blame? Maybe it is better to relax the situation, create conditions when method of dwelling is an artistic value; to shorten the gap between creating and exhibiting a piece of art to dig deep to an artist essence: what is he? what is he inside? does anybody and, p r i m a r i l y, h e h i m s e l f n e e d h i m ? To r e c a l l f o r g o t t e n w o r d s a b o u t “selfness of a creator unequal to himself”, since an artist as such cannot exist without them. Moscow conceptualist Dmitry Gutov voiced a pro-active stand as to an artist’s place in modern reality by organizing “Straightened” performance discussion by the so named democrat writer Gleb Ouspensky story. Particularly, he said the problem is there are no real “stars” in modern art. Lack of names similar to a deity. In this artist’s opinion that should be one “demiurge’ whom everyone should adore. He will be the spiritual leader whom one can follow, and this system will resist the market, since we will escape purchase and sale relations and will work with fundamentally different values. T h i s p o i n t o f v i e w w a s a l s o s u p p o r t e d b y a M o s c o w a r t i s t Yu r y Albert, who implemented “Blindfold Excursion” performance project in Samara art museum. An opposite idea was expressed by German and Austrian artists – Hans-Michael Rupprechter, Gero Goertze, Krishna Subramanian, Johan Herbert Schleder, etc., who advocate independent positioning of everyone. This perspective assumes all artists need free expression; art practice is, primarily, a visual impact, a “picture”. And the impression it makes, no matter whether it is a photograph, performance or installation, can “say” more than words. “It is crucial to record everything, shoot videos, take photos,” says, for instance, Hans-Michael Rupprechter, a supervisor of German group of artists, “and then we will be free. Free of words”. That was their consistent position, which was expressed in pieces both, framed by the final show, and not framed ones. According to our reckoning the theme of “Home” is vital also because modern artists want a kind of shelter, which will give them freedom of stamps and ranks. All want age of freedom to come,

NELYA KORZHOVA / RUSSIA Nomadic show or what to do when there is nobody to blame

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NELYA KORZHOVA / RUSSIA Nomadic show or what to do when there is nobody to blame

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perhaps in a spirit of 1960-es. Nowadays, everybody is equipped with means of communication but these means in no way can replace energy of contact, it just captures it. It is important for us. That’s why the main event of our biennale is “nomadic show”, which takes place in the final part of our two-week residence in the village. It is such a “trip”, which is jointly built, and every participant can express himself in a varying degree. The latter depends not only on to what extent one is ready. Rather on to what extent one is charged with energy at that time and is ready to charge others. “Nomadic show” begins from Shiryaevo quay with arrival of a morning ship from Samara. Crowd, consisting of audience, press, artists and inhabitants move along the village from piece to piece and finish their way atop in mountain drifts in the evening. This year, the show started a French artist Emmanuel Rodoreda with a project called “Inside / Outside”. He presented an object at the quay – a wooden door of a suitcase size, which can be carried by one and opened in any place. This surreal thing that plays with space called up recollections about chilling dream at the end of which there finally was found a way out. Several minutes walk – and a magnificent project of a St.Petersburg and German artist Alexei Kostroma “Plumage” waited for us. Inexorably hot sun, village road, and, instead of usual busstop, – unexpected paradise – downy bulk of the whitest feathers. And as a continuation of a delusive story in front of it in light stony wrecks the author arranged debunking game of golf. Main names of worldwide contemporary art written on condoms went all to pieces at well-directed spectators’ hits. The crowd moved on to I. Repin’ s museum. H a l f - w a y t h e p u b l i c w a s s t o p p e d b y S a b i n e P f e i s e r ’s “ R u s s i a n evolution” photo installation. The project placed on Bibliotechnaya street 6 fence snapshoot textbook truth of Russian reality – small shots gave evidence of “little people” life, big ones were about “newRussian” being. At the museum scaf fold we were awaited by German performance “Home… animal culture of humdrum” of Helen Rein and Iris Helrigel in neon shades of fuchsia and cerulean. Positioning of these artists for Shiryaevo biennale is of utmost importance. Their concept is based on assumption that “contemporary dance (contemporary art) can emerge only in democratic communities, totalitarianism is fraught with folklore, marches, and parades”. Their project expresses idea of freedom implied in the format of “nomadic show”. Helen and Iris did not enter into direct discussion with representatives of Moscow conceptualism but this ideological opposition was obvious. When idea of power vertical in art is opposed to freedom of individuality. Basically either of the authors are against capitalistic serfdom of an artist but some of them see daylight in constructing hierarchic vertical with a “star” leader at the top, while others see it in idea of extrasystemic gesture of everyone. Spontaneous plastic arts are opposed to ceremonial moves, like rock-n-roll is opposed to roundelay or polonaises. In the course of discussion behind a turn the spectators were awaited by irreproachable work of Diana Machulina “Russian”. In timbered room of a village remake Moscow artist made “living sculpture” of 7 men – “… a spectator is invited to appraise compositional structure of a next to real law of life. Vertical axis is built of beams lying one on another, horizontal axis is made of napes of boors sitting close to each other”. Template of imperial hierarchy of power was superimposed to village housebuilding. But it is still not clear: does the artist criticize this system or she admires it? One of the best projects was Mare Trall’s and Mary Kartau’s (Siram) performance “My body is my castle”. Two brutally denuded women


bodies on the river bank using as assistants 3 men “of different nationalities” dressed in stockings, read instructions on intimate hygiene in terms of “not allowed”. For instance: periods without tampax – “not allowed”, sex without condom – “not allowed”, and so on. Reading is accompanied by “primitive” pantomime like in a plane. European men “inserted” into Russian weather strips read quotations from constitutions in Estonian, French, and German in parallel. At the end of recitative one of the girls turns out to be enlaced with cotton wool from head to foot. The idea of protection becomes a trap. Discarding the cocoon the girls swim away into the Volga distances. It turns out to be an ironic picture of open corporality, “native nature”, and “difficulties of translation”. Empty Shiryaevo school has taken fancy of biennale participants for a long time, as an arty space with authentic stalker-like lacunas. The building accumulated stormy artistic life around it both from inside and outside. “French Pavilion” on a glade under Marlene Perronet supervision evidenced “mega artistic” aspect of a piece of art existence before an artist starts to be chased by a pathology called “Stendhal syndrome”. Johnny Woker made advances to a cow; Romain Gibert bared duality of reality in a gym by presenting a picture series with elusively duplicated things. Johan Gerbert Schleder hanged on a door of a sick-room “Feverish delirium”, an ironical passage about fitting into other culture. Anna Broche gracefully installed “School Pantheon. Relations”, a series of portraits of school program great persons rethought in a manner of clip perception of present-day pupils. Nata Morozova in “Beneath Petticoat” performance presented her universe machinery when under three-meter frame of women crinoline there was enough space for everybody or those who just came to have some tea. And as always Hans-Michael Rupprechter, the king of living art, “let get off”. In memory of died friends he broke a huge tomato against his chest and placing stones on old synthesizer he played sarcastic song “House of PR Businessman” in which sequence of “for anything” turned into “to anything”. Strong charge of freedom was felt in this perversion - when change of positions takes place and the artist of “notes on market and geopolitics margins” rank turns into the life itself. Into the very same source which feeds the trailing cars of fashion, design, political image making. Wearied by the sun spectators ascended into mountains to see a house on fire set by an artist Balandin and fall into a trance in chilly drifts alongside of German Vinogradov’s shamanistic project. And Krishna Subramanian’s happening saltations completed the overall picture of “nomadic show”.


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ÄÈÀÍÀ ÌÀ×ÓËÈÍÀ / ÐÎÑÑÈß Ôðàãìåíò îáçîðà "Ïðîâåðêà íà ïðî÷íîñòü: Øèðÿåâñêàÿ áèåííàëå" 30.08.2007 Èíôîðìàãåíòñòâî ÊÓËÜÒÓÐÀ GiF.Ru

Ñàìóþ ïðîâîêàöèîííóþ ðàáîòó íà áèåííàëå ñäåëàë Äìèòðèé Ãóòîâ. Îí, ïðàâäà, íå ñòðåìèëñÿ íèêîãî øîêèðîâàòü, íî âûøëî íåîæèäàííî. Ýôôåêò íåóìåñòíîãî äðåññ-êîäà: â êóïàëüíèêå èëè äåëîâîì êîñòþìå ñàìîì ïî ñåáå íåò íè÷åãî çàçîðíîãî, íî äåâóøêà â áèêèíè â áèáëèîòåêå ïðîèçâåäåò ôóðîð, à ÷åëîâåê â êîñòþìå íà ïëÿæå áóäåò ñî÷òåí ñóìàñøåäøèì. Òàê è Ãóòîâ ñòàë ïðè÷èíîé æàðêèõ ñïîðîâ, òàê êàê ïðèåõàë ðàáîòàòü òóäà, ãäå âñå îòäûõàþò, è áûë ñåðüåçåí ñðåäè áåççàáîòíûõ. Ãóòîâ âñåãî ëèøü õîòåë ðàññêàçàòü î òîì, ÷òî "îí ÷óæîé íà ñîâðåìåííîì ïðàçäíèêå æèçíè" è åãî äîì – àíòè÷íîñòü. Îí ïîñòðîèë âûñîêî â ïðèáðåæíûõ ãîðàõ ïîäîáèå ãðå÷åñêîãî àìôèòåàòðà, ñ âèäîì íà Âîëãó, à íà îäíîé èç áåðåçîê, îêðóæàâøèõ "ñöåíó", ïîâåñèë ðåïðîäóêöèþ ñî ñòàòóåé Âåíåðû Ìèëîññêîé. Óñòàâøèì îò äîëãîãî ïîäúåìà íà ãîðó çðèòåëÿì îí ïðî÷èòàë ðàññêàç Ãëåáà Óñïåíñêîãî, ðóññêîãî ïèñàòåëÿ-ðåàëèñòà 2-îé ïîëîâèíû 19 âåêà. Ñáîðíèê åãî ïðîèçâåäåíèé îí êóïèë ïî ïðèåçäå â Ñàìàðó â áóêèíèñòè÷åñêîì ìàãàçèíå çà 10 ðóáëåé. Íåäîðîãî îöåíèëè åãî è ïðåäñòàâèòåëè ñîâðåìåííîãî èñêóññòâà. À çðÿ, ñþæåò óäèâèòåëüíî ïîäõîäèë ê ïåðåäâèæíè÷åñêîìó ïðîøëîìó Øèðÿåâî, ãäå Ðåïèí äåëàë ýñêèçû äëÿ "Áóðëàêîâ". Ðàññêàç íàçûâàåòñÿ "Âûïðÿìèëà". Íàïèñàí îí îò ëèöà óåçäíîãî ó÷èòåëÿ, "ìàëåíüêîãî ÷åëîâåêà", ïðèäàâëåííîãî áåçûñõîäíîñòüþ æèçíè è ïîïàâøåãî â Ïàðèæ â êà÷åñòâå ãóâåðíåðà. Òàì îí ïîñåùàåò Ëóâð è, óâèäÿ Âåíåðó, ÷óâñòâóåò, ÷òî îíà âûïðÿìèëà åãî ñîãáåííóþ äóøó. Ïîñëå ÷òåíèÿ ðàññêàçà Ãóòîâ ñêàçàë, ÷òî ñîâðåìåííîå èñêóññòâî ïåðåä êëàññèêîé íè÷òîæíî, ïîòîìó ÷òî íå ìîæåò òàê âîçâûñèòü ÷åëîâåêà. Äàëåå – ÷òî ñîâðåìåííîå èñêóññòâî çàâèñèò îò êîíòåêñòà, à êëàññè÷åñêîå îò íåãî íåçàâèñèìî. Èíîñòðàííûå ó÷àñòíèêè ôåñòèâàëÿ, íå ñáåæàâøèå åùå âî âðåìÿ ÷òåíèÿ, ñòàëè âîçìóùåííî ðàñõîäèòüñÿ. "Æèâîé ôëþêñóñ" ïîñ÷èòàë, ÷òî åìó ïðîïèñíûå èñòèíû î êîíòåêñòå è åãî îòñóòñòâèè ñëóøàòü îñêîðáèòåëüíî, è îíè îòïðàâèëèñü äàëåå âíåäðÿòüñÿ â êîíòåêñò. À çðÿ – âûïðÿìèòü ìîæåò òîëüêî òî, ÷òî íå èñêðèâëÿåòñÿ ïî ëåêàëàì ñèòóàöèè, íî ìîäåëèðóåò åå. Ñòîëü ñàìîäîñòàòî÷íàÿ ïóáëèêà Ãóòîâà íå îñòàíîâèëà, îí âûñêàçàë ñâîè ìûñëè äî êîíöà è âñòóïèë â äèñêóññèþ ñ îñòàâøèìèñÿ, òåìè, êòî áûë ãîòîâ ïîðàçìûøëÿòü. Ïîñëå ÷åãî, óçíàâ, ÷òî â Øèðÿåâî ñîáèðàåòñÿ õóäîæíèê Þðèé Àëüáåðò, êîòîðûé ïëàíèðóåò ñäåëàòü ñ íèì ñîâìåñòíûé ïðîåêò, à èìåííî – çàïðÿ÷ü Ãóòîâà êàê áóðëàêà è çàñòàâèò òàùèòü êîðàáëü, Ãóòîâ èçâèíèëñÿ, ñêàçàë, ÷òî åãî æäóò ñðî÷íûå äåëà â Ìîñêâå, è îòáûë, íå äîæèäàÿñü êîíöà áèåííàëå. À èíîñòðàííûå ãîñòè íå óòèõàëè åùå äîëãî, ãîâîðÿ, ÷òî åñëè áû çàðàíåå íå áûëî îáúÿâëåíî, ÷òî ýòî ïåðôîðìàíñ, à ñðàçó ñêàçàëè áû, ÷òî ýòî ëåêöèÿ, îíè áû íå âîçìóùàëèñü òàê ñèëüíî. Èíòåðåñíî, ÷òî ïîäîáíàÿ ôîðìàëüíîñòü ìîãëà áû èõ óñïîêîèòü. Âîò òàêàÿ áîðüáà çà ñâîáîäó òâîð÷åñòâà: ïåðôîðìàíñ äîëæåí âûãëÿäåòü òàê, êàê îíè ýòî ñåáå ïðåäñòàâëÿþò, à âîò êàê ëåêöèÿ îí âûãëÿäåòü íå ìîæåò.

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The most provocative work of the biennale was done by Dmitry Gutov. Although he didn’t mean to shock anyone, effect was unexpected. Effect of inappropriate dress code: there’s nothing shameful in a swimsuit or a business suit by itself but a girl in a bikini in a library will cause a furor and a man in a suit on a beach will be considered a lunatic. The same was with Gutov. He became the reason of hot arguments since he came to work where everyone recreates, and he was the serious one among the careless. Gutov just wanted to say he is “out of place in all this contemporary festivity” and his home is antiquity. His built high in riverside mountains a similarity of a Greek amphitheatre, with a waterscape and hanged a reproduction with the statue of Venus of Melos. He read to spectators tired after long ascend to the mountain a narration of Gleb Ouspensky, who was a Russian actualist writer of the second half of 19th century. He bought his selected works as soon as he arrived to Samara in an old book store for 10 rubles. The representatives of contemporary art also didn’t put much value on it. Although they should have: the plot amazingly fit the Itinerants past of Shiryaevo where Repin made sketches for his “Haulers”. The story is called “Strengthened”. It is written on behalf of a district teacher, a “little man”, pressed down by hopelessness of life who got into Paris as a tutor. There he visits the Louvre and having seen the Venus feels she strengthened his crooked soul. Having read the narration Gutov said that contemporary art is nothingness compared to the classic one because it cannot sublimate a man in such a manner. Then that contemporary art depends on a context but classical one is independent of it. Foreign participants of the festival, who did not escape while reading, began to disperse indignantly. The “living fluxus” considered it is offensive for him to listen to copybook maxims about context and its absence, and they beetled off to continue to penetrate the context. Although they should not have because only that can strengthen that does not crook under templates of a situation but models it. Such self-sufficient public did not stop Gutov, he fully expressed himself and got into discussion with the remaining ones who were ready to reflect. After that, having learnt that an artist Yury Albert is going to Shiryaevo, who was going to make a joint project with him, namely, to harness Gutov as a hauler and make him draw a barge, Gutov apologized, said he had got some pressing business in Moscow and left, not waiting till the end of the biennale. And foreign guests could not calm down for a long time saying that if they were told in advance that it is going to be a lecture and not a performance they would not boil over that much. It is interesting that such a formality could have calmed them down. That’s the fight for freedom of creative work: performance should look like they picture it to themselves, and it cannot look like a lecture.

DIANA MACHULINA / RUSSIA Fragment of the review «Check for durability: Shiryaevo biennale» 03.09.2007 News agency CULTURE GiF.Ru

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ÄÌÈÒÐÈÉ ÃÓÒÎÂ / ÐÎÑÑÈß DMITRY GUTOV / RUSSIA

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«Âûïðÿìèëà» ïåðôîðìàíñ (íà ãîðå, Øèðÿåâî)

«Has straightened» performance (on mountain, Shiryaevo)


ÀËÅÊÑÅÉ ÊÎÑÒÐÎÌÀ / ÐÎÑÑÈß ALEXEY KOSTROMA / RUSSIA Ïðîåêò «Big Play / Äîì. Ïåðî. Îòå÷åñòâî» Project “BIG PLAY/ Home. Feather. Fatherland»

«Îïåðåíèå», îáúåêò (àâòîáóñíàÿ îñòàíîâêà) "Plumage", object (bus stop)


«Èãðà â ãîëüô» (ðàçâàëèíû êàìåííîãî äîìà) «Game in a golf» (ruins of a stone house)


ÝÌÌÀÍÓÝËÜ ÐÎÄÎÐÅÄÀ / ÔÐÀÍÖÈß EMMANUEL RODOREDA / FRANCE «Âíóòðè / Ñíàðóæè» ñêâîçíîé ïðîåêò (ïðèñòàíü) «Inside / Outside» the through project (quay Shiryaevo)

Êîãäà ÿ äóìàþ î äîìå, ïåðâîå, ÷òî ñíà÷àëà ïðèõîäèò íà óì ýòî äâåðü. Áåç äâåðè Âû íå ìîæåòå èñïîëüçîâàòü äîì / æèëèùå. Èòàê, ýòî - ñàìûé íåîáõîäèìûé èíñòðóìåíò. Ýòî ìîæåò äåðæàòü, çàùèùàòü è ñ îõðàíÿòü. ß âûáèðàþ ýòî ê àê ñèìâ îë äîìà-æèëèùà. Òàêæå, äóìàÿ î ìîáèëüíîñòè, ìîÿ äâåðü ïîðòàòèâíàÿ äâåðü. Ýòî äàåò ìíå ñâ îáîäó - èäòè âåçäå, ãäå ÿ õî÷ó, ïåðåñåê àÿ ëþáóþ ãðàíèöó. Âõîä è âûõîä âåçäå, ãäå Âû õîòèòå. When I think about home, what first comes to mind is the door. Without a door you can not use the house/home. So, it is the most necessary instrument. It can keep, protect and conserve. I choose it as a symbol for house/home. Also thinking of mobility, my door is a portable door. This provides me with a freedom to go wherever I want, cross any border. Going in and out wherever you want.

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ÀËÅÊÑÅÉ ÊÎÑÒÐÎÌÀ / ÐÎÑÑÈß Ïðîåêò «Big Play / Äîì. Ïåðî. Îòå÷åñòâî»

Êîðîòêî î çàäóìàííîì è ðåàëèçîâàííîì Èäåÿ õóäîæíèêà áûëà íå íîâà, è êàê åìó êàçàëîñü, êðèñòàëüíà ÿñíà: «Íàäî íåñòè êóëüòóðó â ìàññû». Êîíöåïòóàëüíî âñå âûãëÿäåëî ëîãè÷íî: 1. Æèâåøü â äåðåâíå – ðàáîòàåøü ñ ìåñòíûì ìàòåðèàëîì. Âûáðàëè ïåðî. 2. Æèãóëåâñêèå ãîðû – ñâÿçü ñ åâðîïåéñêèìè ãîëüô-ïîëÿìè. Ïðèâÿçàëè ðåàëüíîå ê íåìûñëèìîìó. 3. Ðåïèí íåñ êóëüòóðó â ìàññû. «Íàëåòàé, òîðîïèñü, ïîêóïàé æèâîïèñü». Íà ýòèõ òðåõ êèòàõ è áàçèðîâàëàñü ïðîñòàÿ ìûñëü õóäîæíèêà. Ðåàëüíî æå âñå âûãëÿäåëî òàê: 1. Ïàëÿùåå æèãóëåâñêîå ñîëíöå ïîñòåïåííî ñíîñèëî êðûøó.  ïîèñêàõ îáúåêòà äëÿ îïåðåíèÿ äîìà áûëà âûáðàíà îñòàíîâêà, ãäå îáäåëàâøèñü îò æàðû ñïàñàëèñü êîðîâû. Çà áóòûëêó õîëîäíîé ïåïñè, ïðîõîäèâøèå ìèìî, äåðåâåíñêèå ìàëü÷èøêè ðàäîñòíî ñîãëàñèëèñü ïîìî÷ü. ×åðåç òðè ÷àñà, ÷èõàÿ è êàøëÿÿ, îíè èçìåíèëè îáúåêò äî íåóçíàâàåìîñòè. Îñòàíîâêà îáåùàëà áûòü ïîïóëÿðíîé íå òîëüêî ó äîìàøíåãî ñêîòà, íî è ó ìåñòíûõ æèòåëåé, íàáëþäàâøèõ çà ïðîèçâîäñòâîì è ñìåêíóâøèõ, êîìó ñêîëüêî ïîäóøåê ïðèíåñåò â äîì ýòî «ñîâðåìåííîå èñêóññòâî». Îíè æå, äàáû ñáåðå÷ü äîáðî äî óòðà, íàìåêíóëè õóäîæíèêó, ÷òî áûëî áû íåïëîõî ïðèñòàâèòü íà íî÷ü îõðàíó. Ýòî è áûëî ñäåëàíî. Âåðíèñàæíîå óòðî íà÷àëîñü íåòðàäèöèîííî. Ïåðâûì, ðàçáóäèâøèì âñå äåðåâíþ, ïðîì÷àëñÿ ñëóõ î òîì, ÷òî íî÷üþ ñïàëèëè îñòàíîâêó. Ïüÿíûé îõðàííèê îñòàëñÿ æèâ, òàê êàê ñïàë íà îáî÷èíå. Òåì âðåìåíåì, ôàíôàðû íîìàäè÷åñêîãî øåñòâèÿ óæå ðåçîíèðîâàëè ìåæäó äâóìÿ õîëìàìè. Ñòîëè÷íûé ïàðîõîä èç Ñàìàðû ïðèøâàðòîâàëñÿ. Ñîøåäøèì ñ íåãî õîòåëîñü ñêîðåé ïðèêîñíóòüñÿ ê ñîâðåìåííîìó èñêóññòâó, ïðèâèòîìó ê îòäåëüíî âçÿòîé äåðåâíå. Íåäîóìåííî îñìàòðèâàÿ íàïîëîâèíó îïåðåííûé, íàïîëîâèíó ñãîðåâøèé îáúåêò èñêóññòâà, æàæäóùèå êóëüòóðû, çðèòåëè âíèìàòåëüíî ñëóøàëè õóäîæíèêà. À ìåñòíûå æèòåëè ïðèâåëè êîç, ÷òîáû ïîêàçàòü èì èõ îáíîâëåííîå ìåñòî îáèòàíèÿ. 2. Ãîëüô. Ïî çàäóìêå àâòîðà, õîëìû Øèðÿåâî, îòäàëåííî íàïîìèíàâøèå ïîëÿ äëÿ èãðû â ãîëüô, ìîãëè ñòàòü ïðèìåðîì äëÿ èëëþñòðàöèè èäåè «èñêóññòâî êàê ýëèòàðíûé âèä ñïîðòà».  ñîðåâíîâàòåëüíîì ñîñòÿçàíèè äîëæíî áûëî ïðîèçîéòè ðàçâåí÷àíèå êóðàòîðîâ è õóäîæíèêîâ, ñòîÿùèõ íà îëèìïå àêòóàëüíîãî èñêóññòâà. Íàïèñàííûå íà ñòåíå ñòàðûõ ðàçâàëèí èìåíà: ×àðëüç Ñààò÷è (Charles Saatchi), Äýìèàí Õåðñò (Damien Hirst), Òîìàñ Êðåíö (Thomas Krens), Äæåô Êóíñ (Jeff Koons), Ðîáåðò Ñòîðð (Robert Storr), è äðóãèå; äîëæíû áûëè áûòü çàëèòû êðàñêîé, îáðàçíî îñâîáîæäàÿ äîðîãó íîâîìó èñêóññòâó. Íî ñëó÷èëîñü îáðàòíîå. Ïåðâûì æå óäàðîì òèòàíîâîãî øàðèêà áûë âûáèò èç èãðû ïåðâûé çðèòåëü. Ìíîãîëþäíàÿ òîëïà, êàê â 1905, îòõëûíóëà íàçàä. Øåïîò ñîìíåíèÿ ïðîíåññÿ íàä Øèðÿåâî. Âèäíî ÷òî-òî íå ïîíðàâèëîñü.  âîçäóõå ïîâèñ âîïðîñ «×òî äåëàòü?». Íåîæèäàííî äëÿ âñåõ ê àêöèè ïîäêëþ÷èëèñü ìåñòíûå ìàëü÷èøêè-ñåïàðàòèñòû, çàñåâøèå â êîëþ÷êàõ. Îíè åäèíñòâåííûå çíàëè, êàê íàäî çàâåðøèòü çàòÿíóâøóþñÿ ïàóçó. Êóìèðû áûëè ïîáèòû êàìíÿìè. Óòîìëåííûå îò æàðû è àêòóàëüíîãî èñêóññòâà æèòåëè ïîïëåëèñü äàëüøå.

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3. Ðåïèí áûë ïðàâ. Èñêóññòâî íå ïðèíàäëåæèò íàðîäó.


The forethought and the actualized – in brief

ALEXEY KOSTROMA / RUSSIA

The artist’s concept was not new, and it also looked transparent like glass: “One has to communicate culture to the general public”. Conceptually all looked logical:

Project “BIG PLAY/ Home. Feather. Fatherland»

1. While you live in a village – you work with the locally available material. Feather was chosen. 2. The Zhigulyovskiye Mountains – kind of correlation with the European golf courses. Substantial was linked to unthinkable. 3. Repin was involved in communicating culture to the general public. “Rush, pierce, buy the masterpiece”. These were the three foundations, on which the simple artist’s idea was based. In reality all looked as follows. 1. The baking Zhigulyovskiye sun gradually made crazy. In search of the object of feathering the home, selection was made in favor of the bus stop where cows found rescue after shitting in the hot sun. Rewarded with a cold Pepsi bottle, the village boys who strolled by, happily agreed to help. In three hours, sneezing and coughing, they modified the bus stop beyond recognition. The stop pavilion promised to become popular not only among the cattle, but also among the locals who were watching the creative production and realizing how many cushions would bring to the households that sort of “modern art”. The local guys, in order to conserve the junk property till morning, made a hint to the artist, that it would be great to post a sentry for the night. And it was done. The opening show day started untraditionally. The early rumor that awakened the whole village was that the stop pavilion was burned down. The tipsy sentry had a narrow escape because he slept on the roadside. Meanwhile, the blare of the trumpets of the nomadic procession had been already resounding between two hills. The metropolitan boat from Samara moored to the pier. The landed persons were eager to become aware of modern art that was implanted in one single village. Perplexedly gazing at the half-burnt-half-feathered piece of art, the eager spectators were listening to the artist attentively. And the natives took their goats to show to them their new habitation area. 2. Gulf. Under the author’s concept, the Shiryaevo hills – that had a slight resemblance to the gold-courses – could serve as an illustration of the concept “art as an elite sport”. In a competitive contest, dethronement of curators and artists, who were standing on the Olymp of the actual art, was to take place. The names written on the walls of old ruins (Charles Saatchi, Damien Hirst, Thomas Krens, Jeff Koons, Robert Storr, and others) were to be stained with paints, thus giving way to the new art. The opposite happened though. The first stroke by the titanium globule sidelined the first spectator. The dense crowd, like in the year 1905, surged back. Whisper of doubt spread across the village of Shiryaevo. Evidently, something went wrong. The notorious question was in the air: “What is to be done?” Quite unexpectedly, the local boys-separatists (who took shelter in the thorn bushes) joined the campaign. They only knew how to terminate the long pause. The idols were beaten with stones. Fatigued by heat and actual art, the dwellers dragged themselves along. 3. Repin was right. Art does not belong to the people.


Íà ïåðâûé âçãëÿä, ñëîâî "äîì" êàæåòñÿ ÷åì òî ïðèâû÷íûì è åñòåñòâåííûì. Íî ýòî ïîíÿòèå áîëüøå óòîïè÷åñêîå, íåæåëè ìàòåðèàëüíîå. Ìû âñåãäà ñòðåìèìñÿ ê ñïîêîéñòâèþ, ñ÷àñòüþ, ñòàáèëüíîñòè è êîìôîðò ó, âñåìó òîì ó, ÷åì êàæåòñÿ íàì äîì, íî ðåäêî íàõîäèì ýòî ïî íàñòîÿùåì ó.. È â êîíöå êîíöîâ îêàçûâàåìñÿ â ïëåíó ó íàâÿçàííûõ îáðàçîâ è ôàíòàñìàãîðèé, çà êîòîðûìè êðîåòñÿ ãðèìàñà óæàñà è áåñïîìîùíîñòè ïåðåä áóäóùèì. Ãëÿäÿ íà äåâî÷êó - ïèîíåðêó, êîãäà-òî èçîáðàæàþùóþ ñàìîå ñâåòëîå áóäóùåå, êàêîå òîëüêî ìîæíî âîîáðàçèòü, ìû çàìå÷àåì â åå ðóêå øïðèö è ïîíèìàåì, ÷òî íàøè íàäåæäû ýòî âñåãî ëèøü óòîïèÿ, à ðåàëüíîñòü ýòî òî, ÷òî æäåò íàñ çà ïðåäåëàìè íàøåãî èäåàëüíîãî äîìà.

ÞËÈß ÆÄÀÍÎÂÀ / ÐÎÑÑÈß JULIA ZHDANOVA / RUSSIA "Ïèîíåðêà ñî øïðèöåì" Ðèñóíîê íà ñòåíå óãëåì Ðàçìåðû 1ì íà 1ì «Pioneer with a syringe Drawing on a wall with a coal. Dimensions 1m. per 1m.

At first sight word “home” seems to be habitual and inartificial. But this notion is likely to be more Utopian than material. We always strain for peace, happiness, stability, and comfort; all those things that appear to us as home, but actually, rarely find them. And after all find ourselves captured by imposed patterns and phantasmagoria, which cover a mow of horror and helplessness of future. Looking at the pioneer girl, at one time representing the brightest future one can ever imagine, we see a syringe in her hand and realize that our dreams are merely Utopia and reality is what waits for us outside our perfect home.

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Ðîññèÿ íàõîäèòñÿ â ïîñòîÿííîì èçìåíåíèè. Îíà âûãëÿäèò ïðèìåðîì ýêñòðåìàëüíîñòè âî âñåõ ñôåðàõ, íà÷èíàÿ ñ òåìïåðàòóð è ãèãàíòñêèõ ðàçìåðîâ ñòðàíû, çàêàí÷èâàÿ ìîùüþ è ïîäàâëåíèåì îòäåëüíî âçÿòûõ ëþäåé è ðåæèìàìè áåäíîñòè è ïðîöâåòàíèÿ. Ïðîöâåòàíèå è ðîñêîøü äåìîíñòðèðóþòñÿ âíåøíåìó ìèðó êàê ïðåäìåòû ïðåñòèæà. Ïðè òîì, ÷òî ðîñêîøíûå àâòîìîáèëè êóðñèðóþò ïî óëèöàì Ìîñêâû, îñòàþòñÿ «áàáóøêè» â òðàäèöèîííûõ îäåæäàõ, ïðîäàþùèå íåáîãàòóþ ïðîäóêöèþ ñâîèõ äà÷ íà óëèöàõ. Ñ îäíîãî âçãëÿäà ìîæíî óâèäåòü, ÷òî ìîùíàÿ öåïü âëàñòè ïðàâîñëàâíîé öåðêâè áûëà íèñïðîâåðæåíà ñòàëèíñêîé/ñîöèàëèñòè÷åñêîé ñôåðîé âëèÿíèÿ. Àíàëîãè÷íî, òîòàëèòàðíûì îáðàçîì çàïàäíàÿ ïîòðåáèòåëüñêàÿ êóëüòóðà çàâîåâûâàåò ãîðîäà. Êàêàÿ æå ñèëà ñïëà÷èâàåò ýòó áîëüøóþ ñòðàíó? ×òî äàåò åå æèòåëÿì òàêîå ñèëüíîé ÷óâñòâî äîìà ïîñðåäè âñåõ ýòèõ ïåðåìåí, òÿæåëîé æèçíè â ìîðîçíûå çèìû è æàðêèå ëåòà, à òàêæå íà ïðîòÿæåíèè èñòîðèè ïîäàâëåíèÿ?

Russia is submitted to permanent changes. It reminds as an example for extremes in all areas, starting from the temperature and the size of the huge country, followed by power and suppression under single man and regimes of poverty and wealth. Wealth and luxury are shown to the outside as prestige objects. However, whilst luxury cars line the streets of Moscow. the picture of "babushkas" in traditional cloths selling little things from the Datcha on the streets still remains. In one glance you can see that the strong chain of power of the orthodox church was overturned by stalinist/ socialist sphere of influence. Similarly as in totalitarian way western consumer culture nowadays conquers the cities. What is the force that holds this big country together? What gives the inhabitants this strong feeling of home, midst all this changing, hard lives in freezing winters and hot summers and a history of suppression?

ÑÀÁÈÍ ÏÔÀÉÑÒÅÐÅÐ / ÃÅÐÌÀÍÈß SABINE PFISTERER / GER MANY

Íåêîòîðûå èäåîëîãèè ïîòåðÿëè ñâîå «àëüôà-ïîëîæåíèå». Èì íà ñìåíó ïðèøëè íîâûå, çàíèìàÿ îñâîáîäèâøååñÿ ìåñòî. Íî ñòàðûå íå ïðîñòî èñ÷åçëè, îíè îñòàþòñÿ, ïðåâðàùàÿ ðîññèéñêîå îáùåñòâåííîå ïðîñòðàíñòâî â òåìàòè÷åñêèé ïàðê äëÿ âåëèêèõ ñîöèàëüíûõ è òåõíîêðàòè÷åñêèõ óòîïèé 20-ãî âåêà. Ïðîèñõîäèò ÿâíàÿ èíòåðâåíöèÿ â ìàññû òîòàëèòàðíîãî ðåæèìà, â îòëè÷èå îò ñêðûòîé èíòåðâåíöèè ñðåäñòâ ìàññîâîé èíôîðìàöèè â çàïàäíûõ îáùåñòâàõ. Ëèøü ïîëíàÿ èçîëÿöèÿ îò êèñëîðîäà ìîæåò ïðåäîòâðàòèòü ïðîöåññ êîððîçèè. Òîòàëèòàðíûå ïðàâèòåëè ïûòàþòñÿ óäåðæàòü ñòàòóñ ñâîåé èäåîëîãèè, îñòàíàâëèâàÿ âëèÿíèÿ èç-çà ðóáåæà. Ïðèñîåäèíèòüñÿ ëè Ðîññèÿ ê ãëîáàëüíîìó çàïàäíîìó ìåéíñòðèìó, èëè îíà îòûùåò ñâîé ñîáñòâåííûé ïóòü ðàçâèòèÿ? Äàâàéòå ïðèñìîòðèìñÿ – ïðîöåññ èäåò!

Some ideologies have lost their alfaposition. Some new have become occupying those vacant places. But the old do not just disappear, it remains and makes Russian public space into a theme park for great social and technocratic utopias of the 20th century. It also refers to the explicit intervention on masses by the totalitarian regime in contrast to the implicit intervention by medias in western societies. Only a complete isolation from oxygen can avoid corrosion processes. Totalitarian rulers are trying to hold the status of their ideology by stopping influences from abroad. Will Russia join the global western mainstream or will it find it's own development? Let's have a look - the process is going on

ÌÀÒÈÀÑ ÕÎËÀÍÄ-ÌÎÐÈÒÖ MATTHIAS HOLLAND-MORITZ

Ïðîåêò «Ðóññêàÿ ýâîëþöèÿ» Russian Evolution project

Ïðîåêò «Êîððîçèÿ öåííîñòè» Corroded Values project


ÀËÅÊÑÀÍÄÐ ØÈÊÎÂÑÊÈ / ÃÅÐÌÀÍÈß ALEXANDER SCHIKOWSKI / GER MANY


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Íàãîðíàÿ ïðîïîâåäü «Íàøà Çåìëÿ - Âàøà Çåìëÿ, Âàøà Çåìëÿ - Íàøà Çåìëÿ“

Sermon on the Mount „Our Land is Your Land and Your Land is Our Land“

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ÄÆÎÍÍÈ ÂÎÊÅÐ (ÃÅÐÄ ÌÅÖÃÅÐ) / ÃÅÐÌÀÍÈß JONNY WOKER (GERD MEZGER) / GERMANY «Äàâàé» ïåðôîðìàíñ ó øêîëû, Øèðÿåâî «Common» performance near school, Shiryaevo


Èäåàëèçèðîâàííîå ïîíÿòèå Äîìà âîïë îùàåò â ñåáå ÷óâñòâà çàùèùåííîñòè, áåçîïàñíîñòè, íàäåæíîñòè, óåäèíåííîñòè, èíòèìíîñòè è ïð. Ýòî ñâîåãî ðîäà ïåðñ îíàëüíûé çàïîâåäíèê, îòãîðàæèâàþùèé âàñ îò âíåøíåãî ìèðà, íå òîëüê î ïðîñòðàíñòâî, íî òàêæå è îòíîøåíèÿ. Ëþäè â ñîâðåìåííîì çàïàäíîì îáùåñòâå ïîìåøàíû íà íàäåæíîñòè è çàùèùåííîñòè. Ýòî ïîìåøàòåëüñòâî ñðîäíè êîøìàð ó. Íåîáõîäèìî áåñïîê îèòüñÿ, âî-ïåðâûõ, î ñâîåì ìàòåðèàëüíîì äîñòàòêå, âî-âòîðûõ, î ñâ îåì áëàãîäåíñòâèè è î áëàãîäåíñòâèè ñâîèõ áëèçêèõ, äàëåå – çàáîòà î çàùèò å ñâîåãî ôèçè÷åñê îãî ò åëà îò ê àêîãî-ëèáî âðåäà ïîðîé âåäåò ê òîòàëüíîé ïàðàíîéå. Áóäó÷è çàíÿòûìè âñåì ýòèì, îíè ïîëàãàþò, ÷òî ãîñóäàðñòâî ÷åðåç íîðìû, ïðàâèëà è ñðåäñòâà äîëæíî âûñòóïèòü ãàðàíòîì çàùèòû ñâ îèõ ãðàæäàí è èõ äîìîâ, íå çàäàâàÿ íèê àêèõ âîïðîñîâ. Îäíîâðåìåííî ñ ýòèì íèêòî íå òðåáóåò çàùèòû óìà è äóøè èíäèâèäóóìà, äà è, ïîõîæå, íå îçàáî÷åí ýòèì.

Idealised notion of Home embodies feelings of protection, security, safety, privacy, intimacy and so on. It should be a personal sanctuary from the world outside, not only as a space, but also as relationship. People in contemporary western society are obsessed with being safe and protected. That obsession is nightmare like. One needs to worry, firstly about their material possessions and then about their own and close ones well-being, further the concern to protect their physical bodies from any harm sometimes leads to total paranoia. Being occupied with this they believe, that the state should guarantee with regulations, rules and means the protection of it's citizens and their homes, without asking questions. At the same time no-one demands, neither seems to be concerned with, protection of individual's mind and soul.

ÑÈÐÀÌ & ÌÀÐÅ ÒÐÀËËÀ / ÝÑÒÎÍÈß SIRAM & MARE TRALLA / EASTLAND Ìîå òåëî - ìîÿ êðåïîñòü ïåðôîðìàíñ, Øèðÿåâî ìåñòî: ïëÿæ, îêîëî ìóçåÿ My Body is My Castle performance, Shirayevo, place: beach near the museum


ÝËÅÍ ÐÅÉÍ & ÈÐÈÑ ÕÅÉËÜÐÈÃÅËÜ / ÃÅÐÌÀÍÈß ELLEN REIN & IRIS HEILLRIEGEL / GERMANY «Äîì ýòî...çâåðèíàÿ êóëüòóðà ïîâñåäíåâíîñòè» «Home is…the animal culture of everyday life»

Ïðåäñòàâëåíèå ñîâðåìåííîé æèçíè â äîìå ñ äîìàøíèì ëþáèìöåì. Èíòåðåñ ñîñòîèò â òîì, ÷òîáû ïîêàçàòü îòíîøåíèÿ ìåæäó ÷åëîâåêîì è åãî êîòîì, îñîáåííî â ðåçóëüòàòå îùóùåíèÿ îäèíî÷åñòâà â âûñîêîèíäóñòðèàëüíîé è áîãàòîé ñòðàíå. Äåìîíñòðèðóþòñÿ ðàçëè÷íûå ïñèõîëîãè÷åñêèå àñïåêòû îòíîøåíèé: êîò «Ïóññè» êàê ñóáñòèòóò ïàðòíåðà, ðåáåíêà, âîñõèùåíèÿ â ãëàçàõ è äèêîé ïðèðîäû. Êîò ñèìâîëèçèðóåò ÷óâñòâåííîñòü, ñåêñóàëüíîñòü è ñâîáîäó. ×åëîâå÷åñêàÿ äåÿòåëüíîñòü â äîìå ñî÷åòàåòñÿ ñ äâèæåíèÿìè êîòà ïîä âëèÿíèåì ñîâðåìåííîãî òàíöà. Îò÷óæäåííàÿ ýêèïèðîâêà íàëåãàåò íà Ïîï-Àðò. «Òàíåö è ïîëèòèêà. Íåò äðóãîé õóäîæåñòâåííîé ôîðìû, êîòîðàÿ òàê óçêî ñâÿçàíà ñ îäíîâðåìåííîñòüþ (ñîâðåìåííûé, ïîñòñîâðåìåííûé, àêòóàëüíûé) è ñâîáîäîé ïîäîáíî òàíöó. Òàíåö, êàê õóäîæåñòâåííàÿ ôîðìà âñåãäà ñìîòðèòñÿ êàê ÷àñòü äåìîêðàòè÷åñêèõ ñîîáùåñòâ. Ýòî õóäîæåñòâåííàÿ ôîðìà ïðåèìóùåñòâåííî ïåðâîãî ìèðà. Íå óäèâèòåëüíî, ÷òî òàíåö íåäåìîêðàòè÷åñêèõ îáùåñòâ íå óïîìÿíóò â îôèöèàëüíîé èñòîðèîãðàôèè ñîâðåìåííîãî òàíöà. Âìåñòî ýòîãî, áûë òàíåö íàðîäà, áàëåò è âîåííûå ïàðàäû âñå ôîðìû ïðåääåìîêðàòè÷åñêèõ ðåæèìîâ. Ìû ñìîòðèì íà ìåòîäû òàíöà â Ðîññèè êàê íà ñòðàòåãèþ ïðîðûâà ÷åðåç ñîöèàëüíóþ õîðåîãðàôèþ, è àíàëèçèðóåì ïîä ýòèì àñïåêòîì ðàçëè÷íûå ìîäåëè îáðàçîâàíèÿ è ïðîåêòû, êîòîðûå ïåðåâîäÿò àðòèñòè÷åñêóþ ïðàêòèêó â ïîëèòè÷åñêóþ èëè âåäóò â àêàäåìèè èñêóññòâ.» Íåìíîãî èçìåíåííàÿ öèòàòà òåêñòà documenta Êàññåëü 16/06-23/09 2007, Óòðåííÿÿ Ëåêöèÿ - Æóðíàëû è Îáðàçîâàíèå: Âîñòî÷íàÿ Àêàäåìèÿ Òàíöà, ïðî÷èòàíî íà ðóññêîì è àíãëèéñêîì ÿçûêàõ ïåðåä íà÷àëîì íàøåãî ïåðôîðìàíñà.

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Performing modern living in a home with a pet. The interest is on showing the relationship between a human being and his cat especially as a result of feeling lonely in a highly industrialized and rich country. Different psychological aspects of the relationship will be shown: the cat “Pussy” as a substitute for a partner, a child, a delight of the eyes and wild nature. The cat symbolizes sensuality, sexuality and freedom. Human activities in a home are combined with cat movements influenced by contemporary dance. The alienated outfits are leaned on Pop Art. «Dance and politics There’s no other art form which is so narrowly associated with simultaneousness (modern, post modern, contemporarily) and freedom like dance. The dance as an art form is always looked as a part by democratic societies. It is the art form par excellanze of the first world. It is not astonishing that the dance of the non-democratic societies is not mentioned in the official historiography of the contemporary dance. Instead, there was folk dance, ballet and military parades all forms of predemocratic regimes. We look at dance methods in Russia as a strategy to break through social choreography, and will analyze under this aspect different education models and projects which translate artistic practise into the political or introduce in the academy of arts.» Slightly changed text extract of the documenta Kassel 16/06-23/09 in 2007, Lunch Lecture – Magazines and Education: East Dance Academy, read into Russian and English at the beginning of our performance


Òàíöåâàëüíî-òåàòðàëüíûé ïåðôîðìàíñ Åëåí Ðåéí è Èðèñ Õåëüðèãåëü Ìåñòî: Ìóçåé Ðåïèíà, Øèðÿåâî

A dancetheatreperformance by Ellen Rein and Iris Hellriegel Place: Repin Museum, Shiryaevo


ÑÈÐÀÌ & ÌÀÐÅ ÒÐÀËËÀ / ÝÑÒÎÍÈß SIRAM & MARE TRALLA / EASTLAND

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Ìîå òåëî - ìîÿ êðåïîñòü ïåðôîðìàíñ, Øèðÿåâî, 2007 ìåñòî: ïëÿæ, îêîëî ìóçåÿ

My Body is My Castle performance, Shirayevo, place: beach near the museum

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Æàíð ïðåäëàãàåìîãî ìíîé ïðîåêòà ìîæíî áûëî áû íàçâàòü “æèâîé ñê óëüïò óðîé”.  ê à÷åñòâå ðàáîòû ÿ ãîòîâà ïðåäñòàâèòü ñöåíêó íà óëèöå äåðåâíè ñ ìèíèìóìîì ñàñïåíñà, êîòîðàÿ ìîãëà áû ñëó÷èòñÿ è áåç ìîåãî ó÷àñòèÿ, íî ïðè òîì – ýòî òùàòåëüíî ñðåæèññèðîâàííàÿ ïî çàêîíàì ïîñòðîåíèÿ êàðòèíû ðåàëüíîñòü. Äåêîðàöèè – ðåäèìåéä, ê àñòèíã ñòàòèñòîâ ïðîâåäåí íà ìåñòå. Ïðîåêò ïîñòðîåí íà ïàðàëëåëè ìåæäó ñòðóêòóðîé òðàäèöèîííîãî äëÿ Ðîññèè æèëèùà – èçáû è èäååé ðóññêîé “ñîáîðíîñòè” ê àê ñïîñîáà ãîñóäàðñòâåííîãî ñòðîèòåëüñòâà. Ñòåíà ñðóáà èç áðåâåí, ñòåñàííûå êðóãëûå òîðöû ïåðïåíäèêóëÿðíîé ñòåíû ñìîòðÿò íà íàñ ðàäèóñàìè òðåùèí, ïåðåñåêàþùèõ ãîäîâûå êîëüöà. Ïåðåä ñòåíîé – äåðåâÿííàÿ ëàâêà, íà êîòîðîé ñèäÿò íîðìàëüíûå ïàöàíû, âñå êàê íà ïîäáîð ïëå÷èñòûå è êîðîòêî ñòðèæåííûå, ëèöîì ê ñòåíå èçáû è ñìîòðÿò íà çðèòåëÿ îäèíàêîâûìè êðóãëûìè çàòûëê àìè. Õîðîøàÿ èçáà ìîæåò áûòü ïîñòðîåíà òîëüêî èç êà÷åñòâåííîãî ñòðîåâîãî ëåñà, ñòàáèëüíîå ãîñóäàðñòâî – òîëüêî èç ïîäõîäÿùåãî, ñòàíäàðòíîãî ÷åëîâå÷åñêîãî ìàòåðèàëà. Ñòàíäàðò êà÷åñòâà, êàê â ñëó÷àå èçáû, òàê è â ñëó÷àå “ñîáîðíîñòè”, íèêàê íå îòìåíÿåò èíäèâèäóàëüíûõ îñîáåííîñòåé îòäåëüíîãî ýëåìåíòà.  ê àæäîì âåðõíåì áðåâíå ñðóáà âûáèðàåòñÿ æåëîá, òî÷íî ïîâòîðÿþùèé êîíôèãóðàöèþ âñåõ âûïóêëîñòåé íèæíåãî áðåâíà. Òàê è â èåðàðõè÷åñêîé îáùåñòâåííîé ñòðóêòóðå êàæäûé íèæåñòîÿùèé ñìèðÿåòñÿ ñ õàðàêòåðîì âûñøåãî çâåíà è ïðÿ÷åò ñâîé õàðàêòåð, ïîìíÿ î âîçìîæíîñòè ïðîÿâèòü åãî ïåðåä òåì, êòî îêàçàëñÿ åùå íèæå. Èçáà ñõîæà ñ ãîñóäàðñòâîì è â òîì, ÷òî èçáðàííûå áðåâíà äëÿ ñòðîèòåëüñòâà èçíà÷àëüíî ðàâíîöåííû, íî âîëåé ñëó÷àÿ îêàçûâàåòñÿ, ÷òî îäíî áóäåò áëèæå ê çåìëå è íåñåò íà ñåáå îñòàëüíûå, ñãíèâàåò ðàíüøå è áóäåò çàìåíåíî àíàëîãè÷íûì, äðóãîå æå îê àçûâàåòñÿ áëèæå ê “êðûøå”, íàãðóçêà íà íåãî ìåíüøå è íàçûâàåòñÿ òàêîå áðåâíîì “ñàìöîì”. Âåí÷àåò êðûøó “êîíåê”, âûøå íåãî òîëüêî òîò, êòî ñóìååò åãî îñåäëàòü, ÷òîáû ïîäòâåðäèòü åãî ñòàáèëüíîñòü, ïðîâåðèâ ïðî÷íîñòü ñîîðóæåíèÿ ñâîèì ãðóçîì. Ïðàêòèêà ñîîòíåñåíèÿ àðõèòåêòóðíîãî, æèâîïèñíîãî ñòèëÿ ñ èñòîðè÷åñêîé ñèòóàöèåé ýïîõè â èñêóññòâîâåäåíèè ñóùåñòâóåò äàâíî. Íîâîââåäåíèå íàøåãî âðåìåíè - ðàññóæäåíèÿ î âåðòèêàëÿõ è ãîðèçîíòàëÿõ, óìåñòíûå ïðè àíàëèçå ïðîèçâåäåíèÿ èñêóññòâà, äîïóñòèì, êîìïîçèöèè êàðòèíû, îáðåòàþò ïîëèòè÷åñêèé õàðàêòåð. Ïîíÿòèÿ, îïèñûâàþùèå äâóõìåðíîå ïðîñòðàíñòâî, òåïåðü ïðèìåíÿþò äëÿ ïðîåêòèðîâàíèÿ îáúåìíîé ðåàëüíîñòè. Ðàçãîâîð î æèçíè íàïîìèíàåò àðò-êðèòèêó.  ìîåé ðàáîòå çðèòåëþ ïðåäëàãàåòñÿ îöåíèòü êîìïîçèöèîííîå ïîñòðîåíèå ïî÷òè ðåàëüíîãî ýïèçîäà æèçíè. Âåðòèêàëüíàÿ îñü, âûñòðîåííàÿ èç òîðöîâ ëåæàùèõ äðóã íà äðóãå áðåâåí, ãîðèçîíòàëüíàÿ îñü èç çàòûëêîâ ì óæèê îâ, ñèäÿùèõ ðÿäêîì.  ýòîé ñöåíêå âñå ñèñòåìàòèçèðîâàíî. Íî ÷òî æå ñòàíîâèòñÿ ñ äåðåâîì, ïðèçíàíûì íåãîäíûì äëÿ ñòðîåâîé ñëóæáû? Îíî ïðîäîëæàåò ðàñòè. Ñîõðàíÿåò èíäèâèäóàëüíîå âåðòèêàëüíîå ïîëîæåíèå, íå ëîæàñü ïîä äðóãèå äåðåâüÿ, ÷òîáû ïîñòðîèòü îáùóþ âåðòèêàëü. ×åëîâåê èñêóññòâà ñ åãî ïðèõîòëèâîé êðèâîé òâîð÷åñêîãî ðîñòà – òàêæå íåïîäõîäÿùèé ìàòåðèàë è îñòàåòñÿ â ñòîðîíå îò ïîñòðîåíèÿ ãîñóäàðñòâåííîé âåðòèêàëè, ÿâëÿÿ ñîáîé àëüòåðíàòèâó ñòàíäàðòàì. Îí íå ìàòåðèàë äëÿ ìîäóëüíîé ñòðóêòóðû âðîäå äîìà, ïîòîìó áåçäîìíûé. “Áåñ äîìíûé” èñêóøàåò çðèòåëÿ ïîñìîòðåòü íà ðåàëüíîñòü äèñòàíöèðîâàííî, èäåíòèôèöèðîâàòü åå ê àê ïðîäóê ò ÷óæîé âîëè è âûáðàòü äëÿ ñåáÿ ðîëü âîëüíîãî ÷åëîâåê à, à íå ñòðîèòåëüíîãî ìàòåðèàëà.

ÄÈÀÍÀ ÌÀ×ÓËÈÍÀ / ÐÎÑÑÈß DIANA MACHULINA / RUSSIA Ðóññêîå æèâàÿ ñêóëüïòóðà, Øèðÿåâî, 2007 ìåñòî: îêîëî ìóçåÿ Russian alive sculpture, Shiryaevo, 2007 place: near museum

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ÄÈÀÍÀ ÌÀ×ÓËÈÍÀ / ÐÎÑÑÈß DIANA MACHULINA / RUSSIA Ðóññêîå æèâàÿ ñêóëüïòóðà, Øèðÿåâî, 2007 ìåñòî: îêîëî ìóçåÿ Russian alive sculpture, Shiryaevo, 2007 place: near museum

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The genre of the proposed by me project could have been called “living sculpture”. As my work I’m ready to present a turn in a village street with minimum suspense, which could have happened without my participation; but thereat it is thoroughly directed based on picture arranging law reality. Scenery is ready made, dummy casting is done on-site. The project is built on parallel between a structure of a usual Russian dwelling, which is izba, and the idea of Russian “collegiality” as a way of state construction. A wall of a log-house made of logs, surfaced round wood blocks of a perpendicular wall stare at us with crack radiuses crossing growth rings. In front of the wall is a wooden bench, usual lads sitting on it, all of them deepchested, close-cut, facing the wall of the izba looking at spectators with similar round napes. A good house can be built only of high-quality timber; stable state can be built of suitable human stuff. Quality standard, both in izba case and in “collegiality” case, never cancels individual specialties of a single element. In each upper log of a log-house they choose a grove, which accurately copies configuration of all lower log bosses. The same is with hierarchic social structure: the each lower standing humbles with mettle of a top echelon and hides his mettle keeping in mind a possibility to show it to the one, who stands even lower. Izba is like a state also in that chosen logs for building are originally equal but due to the long arm of coincidence one of them will be closer to the ground and will bear the rest, rots earlier and will be replaced by a similar one; the other one turned out to be closer to the “roof”, load on it is less and such log is called the “male”. “Fastigium” tops the roof, above it only that who can sit on it to prove its stability, test durability of the building with his own weight. Practice of correlation of architect, painterly style with historic situation of an epoch is used long ago in art history. Nowadays innovation is that reasoning about verticals and horizontals, appropriate while analyzing a piece of art, let’s say, the composition of a picture, discover political character. Notions once used for depicting 2D space now are applied to design 3D reality. Talking of life reminds of art criticism. In my work spectators are invited to evaluate a compositional structure of a next to real episode of life. Vertical axis is built of logs lying one on another, horizontal one is built of napes of men sitting in a row. Everything is systemized in this turn. But will happen with the tree found useless for construction purposes? It continues growing. It maintains individual vertical position not lying under other trees to construct common future vertical. An art man with his freakish curve of creative growth is also useless material and stays apart from constructing a state vertical, presenting an alternative to standards. He is not stuff for module structure like a house, that’s why he is homeless. “Home-less” tempts the spectator to look at reality from a distance, identify it as a product of foreign will and choose a role of a free person and not of construction material for himself.


Âòîðæåíèå (î÷åðåäíîå, ïÿòîå ïî ñ÷åòó) âòîðæåíèå ñîâðåìåííîãî èñêóññòâà â ðàçìåðåííûé ìèð ñåëà Øèðÿåâà, îñåíåííîãî õóäîæíèêîì Ðåïèíûì (îí òóò íàêèäûâàë ýñêèçû ê «Áóðëàêàì») è ïðåçèäåíòîì Ïóòèíûì (îí ò óò õîòåë ãîðíîëûæíûé ê óðîðò â çàïîâåäíîé çîíå óñòðîèòü), ïðîèñõîäèò ïîä ðàäèê àëüíûì äîìîñòðîåâñêèì çàãîëîâêîì «Äîì». Òèïà, äîâåäåì íàöèîíàëüíóþ èäåþ äî áåçóìñòâà: «Äîì Ðåïèíà» -- äëÿ âñåõ. Êðåñòüÿíñêèå äîìà, ïðèíèìàþùèå èíòåðíàöèîíàëüíûé contemporary art, îáîçíà÷àþò ñîáîé àêò ãðàæäàíñêîãî ñ îãëàñèÿ è ïðèìèðåíèÿ. Ïîñêîëüêó ñîâðåìåííûå õóäîæíèêè åñëè è íå «àçèàòû ñ ðàñêîñûìè î÷àìè» (Áëîê), òî ÿâíî áåñû ñ òðàäèöèîííîé òî÷êè çðåíèÿ . Îäíàê î âñïîìíèòå Ïóøêèíà: «Äîìîâîãî ëè õîðîíÿò, âåäüìó ëü çàìóæ âûäàþò?!». Áåñîâùèíà â íàöèîíàëüíîé òðàäèöèè óê îðåíåíà äî âñÿêèõ ýêñòðàïîëÿöèé Äîñòîåâñêîãî. Äîìîâîé è âåäüìà ìîãóò óñòðàèâàòü ñâîè áðàêè ïîñðåäñòâîì Àëåêñàíäðà Ñåðãååâè÷à, êîé òîæå ñòàë ÿçû÷åñêèì áîæåñòâîì ðóññêîãî ëèòåðàòóðíîãî êóëüòà. Êîðî÷å, õîòåëîñü ñîåäèíèòü àíàëèòè÷åñêèé ïîäõîä ê íàöèîíàëüíîé òðàäèöèè, íîâûé ðóññêèé êîñìîïîëèòèçì, íàøó íåîáúÿòíîñòü äóøè – è ïðåäëîæåíèå àíàëèçà. À äîì âñå ñòåðïèò. Ïðèõîäÿò – è ñïÿò. Ìàòåðèàëîì æå ìîãëè ñòàíîâèòñÿ âåùè âðîäå áû íåñîåäèíèìûå. È âîò òóò íåîæèäàííî èçáàâëÿåøüñÿ îò ïðåñëîâóòîé äèõîòîìèè «äîì- âðàã». ×òî áóäåò äàëüøå - ÷îðòó âåäîìî. À êîììåíòàðèè ïîñëåäóþò. Invasion (regular, fifth) invasion of contemporary art into hasteless world of Shiryaevo village blessed by artist Repin (here he made sketches to “Haulers”) and by president Putin (he wanted to arrange a ski resort in the preserved area) takes place under radical patriarchal title of “Home”. It appears like, reduce national idea to absurdity; “Repin’s house” is for everybody. Peasants’ houses which put up international contemporary art symbolize act of civil agreement and reconciliation. Since contemporary artists if not “Asians with slanting windows” (Blok), then obviously demons from traditional point of view. However, remember Pushkin: “Whether goblin’s being buried, whether witch is being married”. Devilry is enrooted in national tradition till all kind of Dostoyevsky extrapolations. Goblin and witch can be married with Alexander Sergeyevich’s help, who also became a pagan deity of Russian literature cult. In brief, they wanted to combine analytical approach to national tradition, new Russian cosmopolitanism, our immensity of heart – and proposal of analysis. And as for home, it will endure everything. They come in – and go to sleep. As for material, sometimes a sort of uncombinable things could play that part. And here all of a sudden you can get rid of notorious “home-enemy” dichotomy. What is going to happen – God knows. As for comments – they will follow.

ÏÐÎÅÊÒ «ÁÅÑ – ÄÎÌÍÛÅ» Êóðàòîð: ÀËÅÊÑÀÍÄÐ ÏÀÍΠ«IN-HOUSE HAUNTED-LESS» PROJECT Curator: ALEXANDER PANOV Ó÷àñòíèêè: Þðèé Àëüáåðò Àííà Áðîøå Ãåðìàí Âèíîãðàäîâ Äìèòðèé Ãóòîâ Âèêòîðèÿ Ëîìàñêî (ïðè ó÷àñòèè Íàòàëüè Ñàìêîâîé) Äèàíà Ìà÷óëèíà ãðóïïà «Öâåòîôîð» Áîíóñ: àóäèî-èíñòàëëÿöèÿ ïðîãðàììû «Escape» Untitled Participants: Juriy Albert Anna Brochet German Vinogradov Dmitriy Gutov Victoria Lomasko (with the participation of Natalia Samkova) Diana Machulina Groupp «Zvetofor» Bonus: audio installation of «Escape» programme Untitled

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ÂÈÊÒÎÐÈß ËÎÌÀÑÊÎ / ÐÎ Ñ Ñ È ß VICTORIA LOMASKO / RUSSIA

Ïðîåêò áûë ðàññ÷èòàí íà ìàêñèìàëüíûé êîíòàêò ñ ìåñòíûì íàñåëåíèåì. ß õîäèëà ñ ýòþäíèêîì ïî ðàâíîäóøíîé, ÷óæîé ìåñòíîñòè è ðèñîâàëà ðåàëèñòè÷íûå êàðòèíêè, èçîáðàæàÿ òðàäèöèîííîãî õóäîæíèêà. Ïðåäïîëàãàëàñü ñåðèÿ âèäîâ äîìîâ (äîì ñíàðóæè), à òàêæå çíàêîìñòâî ñ èõ õîçÿåâàìè, ñ ïîñëåäóþùèì ïðîíèêíîâåíèåì â äîìà (äîì âíóòðè). Ïëàí áûë òàêîâ: âûñëóøèâàòü è çàïîìèíàòü õîçÿéñêèå èñòîðèè, ôîòîãðàôèðîâàòü èíòåðüåðû, ïðîñèòü â ïîäàðîê íàèáîëåå ñìåøíûå âåùè è ò. ï. — ñîáèðàòü ìàòåðèàë. Îäíàêî ðåàëüíîñòü îêàçàëàñü èíòåðåñíåé, à æèòåëè Øèðÿåâî íå òàê ïðîñòû. Òîëüêî ðèñêóÿ ñîáñòâåííîé æèçíüþ, ìíå óäàëîñü äåðçêî ïðîíèêíóòü â äîì ìåñòíîãî æèòåëÿ è ïîêàçàòü, êòî è ÷òî ñêðûâàåòñÿ çà óçîð÷àòàìè ñòàâíÿìè èçá. The project has been designed for the maximal contact to local people. I went with an easel on indifferent, another's district and drew realistic a picture, representing the traditional artist. A series of kinds of houses (the house outside), and also acquaintance to their owners, to the subsequent penetration into houses (the house inside) was assumed. The plan was those: to listen and remember master's histories, to photograph interiors, to ask in a gift the most ridiculous things, etc. - to collect a material. However the reality appeared more interestingly, and inhabitants Shiryaevo not so are simple. Only risking own life, I managed to penetrate impudently into the house of the local resident and to show, who and that disappears behind the decorated closed windows of wooden houses.

Ïðîåêò Äîì: ñíàðóæè/âíóòðè øêîëà, Øèðÿåâî

Project Home: inside/outside Shiryaevo school


1. I began to do the own project, but have drawn only one house and could not with anybody will get acquainted. 2. It became sad, I have strongly got drunk with local guys 3. And I have got acquainted with them and could penetrate into the house. But what it was for the house? I do not remember... 4. In the house acquaintance has proceeded by a story... 5. I have broken a window and have escaped. 6. I very for a long time searched for the house, was the homeless. 7. From darkness there was a Trinity. 8. - Who are you? - I am contemporary artist. 9. They waited at home. - Be cool. I am in project process. 10. I so have strongly cut a finger that could draw only these of a pictures. 11. But I am very glad, that could penetrate into the house, hear a fascinating story and carry out the own project. Anything you like for the sake of the contemporary art.

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ÀÍÔÈÌ ÕÀÍÛÊÎÂ / ÐÎÑÑÈß ANFIM KHANYKOV / RUSSIA

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Ïðîåêò Ýêîëîãè÷åñêèé àòòðàêöèîí Íà óëèöå, Øèðÿåâî

Project Ecological attraction On street in Shiryaevo

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ÌÀÐËÅÍ ÏÅÐÐÎÍÅÒ / ÔÐÀÍÖÈß MARLENE PERRONET / FRANCE

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Äîì: ìåæäó Åâðîïîé è Àçèåé. Êëþ÷åâîé êîíöåïò ýòîãî ãîäà, äîì, êàæåòñÿ ñîâñåì íå ñâÿçàí ñ òåìîé – ìåæäó Åâðîïîé è Àçèåé. Êîíå÷íî, êàæäûé ìîæåò âñåãäà ïîèãðàòü ñî ñëîâàìè è ïðîàíàëèçèðîâàòü êàæäîå çíà÷åíèå ñëîâà «äîì». Äëÿ íàñ, ýòè ñëîâà ýêâèâàëåíòíû ôðàíöóçñêèì «äîì», «äîìà». Êàê ìîæíî ðàññìàòðèâàòü òåìó Áèåííàëå è ðàçìåùàòü íàø äîì òî÷íî ìåæäó Åâðîïîé è Àçèåé? Äàæå áóäó÷è æèòåëÿìè ýòîé ïëàíåòû, íàøà òî÷êà çðåíèÿ âñåãäà áóäåò ãåîãðàôè÷åñêè ðàñïîëàãàòüñÿ: «Äîì=ìåæäó ïðîëèâîì Ëà-Ìàíø, Ñðåäèçåìíûì ìîðåì è Àòëàíòè÷åñêèì îêåàíîì». È ýòî òîëüêî åñëè óïîìèíàòü ìîðÿ. Áóäó÷è çàïàäíûìè åâðîïåéöàìè, ìû ìîæåì ïðåäëîæèòü ïðåäñòàâëåíèå òîãî, ÷òî çíà÷èò ïîíÿòèå «äîì» äëÿ íàñ è ïåðåíåñòè åãî íà Ñàìàðó. Ìû ìîæåì èçó÷èòü ñèòóàöèþ â Ðîññèè ÷åðåç ñðåäñòâà ìàññîâîé èíôîðìàöèè, êîòîðûå äîñòóïíû âî Ôðàíöèè, è îáðàòèòü âíèìàíèå íà äðóãîé êîíöåïò: æèëîé äîì (æèëèùå). Ìû íàõîäèì äàííîå ïðåäëîæåíèå áîëåå èíòåðåñíûì, òàê êàê ìû íàõîäèëèñü íà äà÷àõ, è ýòîò ôåíîìåí çàãîðîäíîãî äîìà ñóùåñòâóåò â äðóãèõ ôîðìàõ â çàïàäíîé Åâðîïå. Íàêîíåö ìû ïîäóìàëè î «ìåòààðòèñòè÷íîé» ïåðñïåêòèâå îáîãàùåíèÿ òâîð÷åñêîãî ïðîöåññà äî òîãî êàê íà÷èíàåò ïðåñëåäîâàòü ïàòîëîãèÿ íàçâàííàÿ «ñèíäðîì Ñòåíäàëÿ». Ñîäåðæàíèå âûñòàâêè âîîäóøåâëÿåò íà óãëóáëåííûé òâîð÷åñêèé ïðîöåññ. Òàêèì îáðàçîì, ñîñðåäîòà÷èâàåì ñâîå âíèìàíèå íà èçó÷åíèå òâîð÷åñêîãî ïðîöåññà ÷åðåç ïðèçìó èñòîðèè «áåëîãî êóáà». Äåáàòû âîêðóã òåððèòîðèè ïðîèçâåäåíèÿ èñêóññòâà ïðåîáëàäàëè â òå÷åíèå ïðîøëîãî ñòîëåòèÿ. Ôèãóðà áåëîãî êóáà, âîïëîùåííàÿ ìóçååì è ãàëåðååé, áûëà çàäóìàíà òàê, ÷òîáû ïðèíÿòü ïîñåòèòåëåé çà ïðîèçâåäåíèÿ èñêóññòâà. Ïðèçâàíèå áåëîãî êóáà ñîñòîèò â òîì, ÷òîáû áûòü íåéòðàëüíûì ìåñòîì, â êîòîðîì ðàáîòà ìîãëà áû áûòü âûñòàâëåíà áåç ëþáîãî âìåøàòåëüñòâà.

Òàêèå âûñòàâî÷íûå ïðîñòðàíñòâà áûëè òîãäà îòâåðãíóòû ïî ïîëèòè÷åñêèì, ýêîíîìè÷åñêèì, à òàê æå ïî ýñòåòè÷åñêèì ïðè÷èíàì. Íî íèêòî íå îòðèöåò, ÷òî àðõèòåêòóðà îñíîâíûõ âûñòàâî÷íûõ ïðîñòðàíñòâ âñå åùå óâàæàåò ýòó ôîðìó “áåëîãî êóáà”. Åñëè èäåàëüíûìè óñëîâèÿìè âûñòàâêè ÿâëÿþòñÿ óñëîâèÿ «áåëîãî êóáà», ÷òî òîãäà ìîæåò áûòü ñäåëàíî â Øèðÿåâî? Ñ òî÷êè çðåíèÿ äàííîãî êðèòåðèÿ, Áèåííàëå â Øèðÿåâî ïðîâîçãëàøàåò àëüòåðíàòèâíûé ñïîñîá ïðîâåäåíèÿ âûñòàâêè. Ýòî ìåñòî æèòåëüñòâà õóäîæíèêîâ ñî âñåãî ñâåòà äëèòñÿ îäíàæäû ëåòîì. Âñå êðîìå áåëîãî êóáà. Ïðèñóòñòâèå ëþäåé, æèâóùèõ â äåðåâíå ñòîëü æå âàæíî êàê áëèçîñòü äðóãèõ õóäîæíèêîâ â àòìîñôåðå ñîçèäàíèÿ. «Íîìàäè÷åñêîå øîó», êàê ñîñîá ýêñïîíèðîâàíèÿ, ñîçäàåò ìíîãî îãðàíè÷åíèé äëÿ ïîêàçà ðàáîò, êîòîðûå êñòàòè, áûëè ñîçäàíû íà ìåñòå, â òå÷åíèè 2-õ íåäåëü, èç ñàìûõ ïðîñòûõ ìàòåðèàëîâ. Êàæäûé õóäîæíèê äîëæåí ðåøàòü, êàê îí áóäåò íàõîäèòüñÿ â Øèðÿåâî. Åñòü òîëüêî îäíî òðåáîâàíèå: áåçîòíîñèòåëüíî ôîðìû, ÷òî-òî äîëæíî áûòü ïðåäñòàâëåíî â êîíöå ýòîãî îïûòà, è òà âåùü äîëæíà, ïîñêîëüêó áèåííàëå ïðîâîäèòñÿ êàæäûé ðàç, ðàäèêàëüíî ìåíÿòü íåêîòîðûå ïðèâû÷êè.


Home: between Europe and Asia. This year’s keyword, home, seems difficult to associate with the theme, between Europe and Asia. Of course, one can always play with words and analyse every meaning of the word “home”. For us, they are quite the same as those of our French equivalent: “maison”, a la maison. How can we consider the theme of the biennial and place our home precisely between Europe and Asia? Even as citizens of the World, our point of view will always be geographically located: “Home=between the English Channel, the Mediterranean Sea, and the Atlantic Ocean.” And that is, only mentioning seas. As western Europeans, we can then offer an intimist interpretation of what “at home” means to us, and transfer it to Samara. We can also study the Russian situation through the media available here in France, and focus on another concept: the dwelling. We find this proposition all the more interesting as we would be staying in dachas, and that the country house phenomenon exists in other forms in western Europe. Finally we have thought about the “meta-artistic” perspective. To inhabit a work of art, until being haunted by it is a pathology named “syndrome of Stendhal”. The context of exhibition encourages such an immersion into the work of art. Thus, we focused our reflection on the work of art’s accommodation through the history of the “white cube”. The debate around the work of art’s territory predominated during the last century. The figure of the white cube, incarnated by the museum and the gallery, was conceived to host works of art. The vocation of the white cube was to be a neutral space in which the work could be exposed without any interference. Such exhibition spaces were then discarded for political, economical as well as aesthetical reasons. There is no denying that the architecture of the main exhibition places still respects this “white cube” form. If the ideal conditions of exhibition are those of the white cube, what can be done in Shiryaevo? From its

creation, Shiryaevo biennial claims an alternative way of creation and exhibition. This residence of artists from around the world lasts one summer. Everything but a white cube. The presence of the people living in the village is as important as the proximity of other artists in an atmosphere of creation. The “nomadic show”, as a mode of exhibition, involves many constraints for showing works that have been besides created in two weeks on-site with rudimentary material. Every artist should decide how he will inhabit Shiryaevo. There is only one requirement: whatever the form, something has to be presented at the end of this experience, and that thing should, as the biennial does every year, radically change some habits.

ÌÀÐËÅÍ ÏÅÐÐÎÍÅÒ / ÔÐÀÍÖÈß MARLENE PERRONET / FRANCE


ÁÅÐÒÐÀÍ ÂÀËËÅ È ÌÀÐËÅÍ ÏÅÐÐÎÍÅÒ / ÔÐÀÍÖÈß BERTRAND VALLET AND MARLENE PERRONET / FRANCE «Íàø äîì, ìåæäó Åâðîïîé è Àçèåé» çâóêîâàÿ ïüåñà «Our home, between Europe and Asia» sound piece

 2005 è â 2007 ãîäàõ ÿ æèëà ó æåíùèíû, ê êîòîðîé ó ìåíÿ ÷óâñòâî âçàèìíîãî ïîíèìàíèÿ, íåñìîòðÿ íà òî, ÷òî ìû ãîâîðèì íà ðàçíûõ ÿçûêàõ. ß âûó÷èëà íåêîòîðûå îñíîâû ñ ïîìîùüþ ìåòîäà ASSIMIL äëÿ Áüåííàëå â 2007 ã. è èñïîëüçîâàëà ïåðâûé óðîê, ÷òîáû ïîñòðîèòü ñ íåé äèàëîã. Âñå øëî êàê ïî óðîêó äî âîïðîñà «êàê ïîæèâàåòå?»: îíè îòâåòèëà ñâîèìè ñëîâàìè, êîòîðûå ÿ åäâà ïîíèìàëà, íî ìû äàëè åé ñêàçàòü òàê, êàê åé áîëüøå íðàâèòñÿ, è îíà â îñíîâíîì ãîâîðèëà î òîì, êàê õîðîøî áûòü äîìà. Ìàðëåí Ïåððîíåò I stayed in 2005 and 2007 by a woman by whom I feel a particular wellunderstanding, despite we don’t speak the same language. I learnt some bases with the ASSIMIL method for the 2007 edition of the Biennial and used the first lesson to build a dialog with her. Everything follows the lines of the lesson till the question “how are you?”: she answers then with her own words I hardly can follow but we let her tell what she likes, and she mainly speaks about her wellness being home. Marlene Perronet


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ÌÀÐÈ ÅËÅÍ-ÄÞÁÐÅÉ, ÐÎÌÝÍ ÆÈÁÅÐ, ÝÌÌÀÍÓÝËÜ ÐÎÄÎÐÅÄÀ È ÁÅÐÒÐÀÍ ÂÀËËÅ / ÔÐÀÍÖÈß MARIE-HELENE DUBREUIL, ROMAIN GIBERT, EMMANUEL RODOREDA AND BERTRAND VALLET / FRANCE "Ôðàíöóçñêèé ïàâèëüîí" èíñòàëëÿöèÿ, ïåðôîðìàíñ äâîð øêîëû, Øèðÿåâî "The French Pavillion" Installation, performance Shiryaevo school

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 2007 ã. âïåðâûå áûëà ïðèãëàøåíà ãðóïïà ôðàíöóçñêèõ õóäîæíèêîâ, ÷òîáû ïðåäñòàâèòü ñâîþ ñòðàíó íà Áüåííàëå â Øèðÿåâî. Ïî ïðèìåðó øèðîêî èçâåñòíîãî Âåíåöèàíñêîãî Áüåííàëå ìû ñîçäàëè ôðàíöóçñêèé ïàâèëüîí. Âñå íàøè èíäèâèäóàëüíûå ðàáîòû áûëè ïîêàçàíû çà ïðåäåëàìè ýòîãî êóáà, êîòîðûé ìû èñïîëüçîâàëè êàê êàôåòåðèé äëÿ çðèòåëåé. Ïîñòðîåííûé èç ñòàëüíûõ òðóá è ñîåäèíåííûé ñ ñàíÿìè èç òîãî æå ìàòåðèàëà, ýòîò ïàâèëüîí áûë óêðàøåí ñòåíîé èç ïëàñòèêîâûõ áóòûëîê, ðåêëàìèðóþùèõ ïàðèæñêóþ ïàðôþìåðèþ, è ôëàãîì. Òàì ìîæíî áûëî áåñïëàòíî âûïèòü òóðåöêèé êîôå.

In 2007, for the first time, a group of French artists was invited to represent their country at the Shiryaevo Biennial. On the exemple of the famous Venice Biennial, we realized the French Pavillion. All our individual pieces were shown outside of this cube we actually used as a cafeteria for the spectators. Built with steel pipes and liked to a toboggan using the same facture, this pavillion is decorated with a wall of plastic bottles, advertisings for Parisian perfumes and a flag. One can get there turkish coffee for free.


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ÐÎÌÅÍ ÆÈÁÅÐ / ÔÐÀÍÖÈß ROMAIN GIBER / FRANCE «Áåç íàçâàíèÿ» ôîòîñåðèÿ â ñïîðòçàëå øêîëû, Øèðÿåâî «Untitle» A photoseries In a sports hall of school, Shiryaevo


«Âîäà-Êàñòðþëÿ-Òåëåôîí» «Water-Boiler-Phone»

ÌÀÐÈ ÅËÅÍ-ÄÞÁÐÅÉ / ÔÐÀÍÖÈß MARIE-HELENE DUBREUIL / FRANCE


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ÍÀÒÀ ÌÎÐÎÇÎÂÀ / ÐÎÑÑÈß NATA MOROZOVA / RUSSIA

«Êîêîí» èíñòàëëÿöèÿ â àêòîâîì çàëå øêîëû, Øèðÿåâî

«Cocon» Installation in the assembly hall of school, Shiryaevo


ÉÎÕÀÍ ØËÅÄÅÐ / ÃÅÐÌÀÍÈß JOCHEN SCHLODER / GERMANY «Ëèõîðàäî÷íûé áðåä» ìåäêàáíåò øêîëû, Øèðÿåâî «Feverish delirium» Medical cabinet of school, Shiryaevo

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ÐÎÌÅÍ ÆÈÁÅÐ / ÔÐÀÍÖÈß ROMAIN GIBER / FRANCE «Áåç íàçâàíèÿ» ôîòîñåðèÿ â ñïîðòçàëå øêîëû, Øèðÿåâî «Untitle» A photoseries In a sports hall of school, Shiryaevo

Âî âðåìÿ ïðåáûâàíèÿ â Øèðÿåâî, Ðîìåí Æèáåð äåëàë ôîòîãðàôèè òîãî, ÷òî áûëî íàèáîëåå ïðèâëåêàòåëüíûì äëÿ íåãî: òàê íàçûâàåìûå "òèïè÷íûå" ïåéçàæè, æèòåëè, çäàíèÿ, æèâîòíûå, àâòîìîáèëè... Êàæäàÿ ôîòîãðàôèÿ óêðåïëÿåò íàøå çàïàäíîå ïðåäñòàâëåíèå î ðîññèéñêîé ñåëüñêîé ìåñòíîñòè: î÷àðîâàòåëüíîå "ïîñòñîâåòñêîå" îêðóæåíèå. Îäíàêî êîå-÷òî ñïåöèôè÷åñêîå íàðóøàåò ýòè îáðàçû: îäèí ìãíîâåííî çàïå÷àòëåííûé ïðåäìåò è åãî êîïèÿ. Ýòî íåîáû÷íûå ÷åëîâå÷åñêèå êîíñòðóêöèè (äà÷è, èìåþùèå îòìåòêè âðåìåíè, âåòõèå Ëàäû, áèòûå ÷àøêè, îòêëååâøèåñÿ îáîè) èëè æèâûå ñóùåñòâà. Èäåíòè÷íûå ýëåìåíòû, êîòîðûå ïîÿâëÿþòñÿ îäíîâðåìåííî â ïðåäåëàõ îäíîãî èçîáðàæåíèÿ, ïðîèñòåêàþò èç âèçóàëüíûõ óëîâîê èñêóññòâ. Îíè îòðàæàþò èíîãäà áåñïîêîéñòâî (ïîòåðÿ èäåíòè÷íîñòè), èíîãäà ïîäòâåðæäàÿ ýòó îòãîâîðêó (ïîèñê àëüòåð ýãî).  ðîññèéñêîé âñåëåííîé Ðîìåíà Æèáåðà, êàæäûé äåðæèò êîìïàíèþ ñ ïîäîáíûì, ïðèñóòñòâèå ýòîãî äâîéíîãî êàæåòñÿ çíàêîìûì åìó.  ñëó÷àå íåîäóøåâëåííûõ ïðåäìåòîâ, ñòåðòûõ ãîòîâûõ ÷àñòåé, èõ ïîÿâëåíèÿ ñòàíîâÿòñÿ èñêëþ÷èòåëüíûìè. ×åëîâå÷åñêèå (æèâûå) ñóáúåêòû íå ñòîëü æå ñîâåðøåííû êàê êëîíèðîâàííûå àíäðîèäû â êèíî íàó÷íîé ôàíòàñòèêè. Íèêàêîé êàíîíè÷åñêîé êðàñîòû, íî ëþäè - â ñâîåé ïîâñåäíåâíîé ðàáî÷åé îäåæäå. Ñîãëàñíî êëèøå ðîññèéñêîãî ãîñòåïðèèìñòâà, êàæäûé ýëåìåíò, ñ åãî ïðîñòîòîé è óìîë÷àíèÿìè, ïðèãëàøàåò è ÿâëÿåòñÿ äðóæåñòâåííûì. Åùå è äâàæäû, ýòî êàæåòñÿ ñòðàííûì. Ìàðëåí Ïåððîíåò During the residence in Shiryaevo, Romain Gibert took photographs of what was the most attractive to him: so called "typical" landscapes, inhabitants, houses, animals, cars... Each photograph reinforces our occidental view of the Russian countryside: the charming "post-soviet" ambiance. However something peculiar disturbs these images: one immediately notices a subject and its copy. It is an uneven humanconstruction (dachas bearing the marks of time, decrepit Ladas, cracked cup, unsticking wallpaper) or a living creature. Identical elements that appear simultaneously within one image proceed from visual arts tricks. They reflect sometimes anxiety (loss of identity), sometimes reassuring pretence (looking for an alter ego). In Romain Gibert's Russian universe, one keeps company with a similar one, the presence of this double seems familiar to him. In the case of inanimate subjects, manufactured parts, their worn out appearances makes them singular. Human (living) subjects are not as perfect as the cloned androids in science fiction movies. No canonical beauty but people in their every day's life working clothes. According to the cliche of the Russian hospitality, each element, with his simplicity and defaults, is friendly and welcoming. Once double, it seems uncanny. Marlene Perronet

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"Îáå ôîðìû ÷àéíèêà è òåëåôîíà, äâà îáúåêòà, òàéíî èç÷åçíóâøèå, è ÷àñòàÿ ìå÷òà (ïðàêòè÷íî-ìóäðî) â äåðåâíå, íåìåäëåííî ïîÿâëÿþòñÿ êî ìíå â âèäå ñòàðîé äåðåâÿííîé îêîííîé ðàìû, íàéäåííîé âî âðåìÿ áëóæäàíèÿ ïî Øèðÿåâî. ß ðåøèëà òîëüêî âûäåëèòü ýòè äâå ôîðìû ÷åðíîé êðàñêîé, îñòàâëÿÿ öâåò ñëèâîê, (÷àñòü ïåðâîíà÷àëüíîãî îêíà) çàïîëíÿÿ èõ: Äîìàøíèé îáúåêò "âñå â îäíîì" ðîäèëñÿ ïîäîáíî ìå÷òå, îñóùåñòâëÿþùåéñÿ â ñîëíå÷íîì Øèðÿåâî ... Âîäà-Êîòåë-Òåëåôîí."

ÌÀÐÈ ÅËÅÍ-ÄÞÁÐÅÉ / ÔÐÀÍÖÈß MARIE-HELENE DUBREUIL / FRANCE «Âîäà-ÊîòåëÒåëåôîí» «Water-BoilerPhone»

"Both shapes of a kettle and a phone, two objects secretely missed, and often dreamt of (practicly-wise) in the village, immediately appear to me through an old wooden window frame, found while wandering around Shirjaevo. I decided only to outline these two shapes with black paint, leaving the cream colour, (part of the original window) filling them up: Like a dream coming true in sunny Shirjaevo, an "all in one" Home object was born... a Water-Boiler-Phone."

Ýòî - ïîðòðåò Îêñàíû, íàøåé õîçÿéêè â Øèðÿåâî. Îêñàíà âñåãäà ïîìîãàëà íàì ñ ïåðåâîäàìè è îðãàíèçàöèåé, â òå÷åíèå áîëüøèíñòâà íàøåãî ïðåáûâàíèÿ íà åå ñåìåéíîé äà÷å. Îíà áûëà î÷åíü îñâåäîìëåíà î íàøåé ðàáîòå, íàøåì îáðàçå æèçíè, è âîîáùå î÷åíü õîðîøà è ïðèâåòëèâà. ß ðåøèëà íàïèñàòü Îêñàíó ñ íåìíîãî íàêëîíåííîé ãîëîâîé, êàê áóäòî â ìå÷òàõ î áóäóùåì. Îêñàíà ïðåäñòàâëåíà êàê ñâÿçü ìåæäó å¸ è íàøèìè äîìàìè. This is a portrait of Okcana, our landlady in Shirjaevo. Okcana always helped us with translations, and organisation,during most of our stay in her family Datcha. She was very keen on knowing about our work, our way of life, and generally very nice and encouraging. I decided to paint Okcaha with her head slightly inclined, like dreaming of the future. Okcaha is represented as a bound between her and our homes.

«Îêñàíà» æèâîïèñü íà æèâîïèñè «Oxana» paint on the paint


ÁÅÐÒÐÀÍ ÂÀËËÅ / ÔÐÀÍÖÈß BERTRAND VALLET / FRANCE Ñîöèîëîãè÷åñêèé âçãëÿä íà áèåííàëå ìåæäóíàðîäíîãî ñîâðåìåííîãî èñêóññòâà â Øèðÿåâî, èëè Ïîãðóæåíèå èíîñòðàííûõ õóäîæíèêîâ â æèçíü òðàäèöèîííîé ðóññêîé äåðåâíè: ìåæäó óëüòðàñîâðåìåííîñòüþ è òðàäèöèÿìè A sociological view on the international contemporary art biennial of Shiryaevo or Immersion of international artists in a traditional Russian village: between hypermodernity and tradition

Øèðÿåâñêîå Áüåííàëå ïðîâîäèòñÿ âîò óæå 8 ëåò â òðàäèöèîííîé ðóññêîé äåðåâíå Øèðÿåâî, ðàñïîëîæåííîé â Ñàìàðñêîé îáëàñòè. Öåëüþ ýòîãî áüåííàëå áûë î èñïðîáîâàòü Ñîâðåìåííîå Èñê óññòâî â òàêîé ñïåöèôè÷åñêîé îáñòàíîâêå. Õóäîæíèêè èç Ðîññèè, Ãåðìàíèè, Ôðàíöèè, Ýñòîíèè è Øâåéöàðèè óæå ïðèíèìàëè ó÷àñòèå â ýòîì Áüåííàëå. Òåìîé 5ãî âûïóñêà ýòîãî ãîäà ñòàëî: «Äîì: ìåæäó Åâðîïîé è Àçèåé». Êàê ïîä÷åðêèâàåòñÿ â ïðåññ-ðåëèçå, ýòî ñîáûòèå «ïîìîãàåò óñòàíîâèòü ñîâðåìåííûå òåíäåíöèè â êóëüòóðíîì äèàëîãå ìåæäó Åâðîïîé è Àçèåé». Ýòî ïðåòâîðÿåòñÿ â æèçíü, ïîñêîëüêó îñíîâíîé ñîñòàâëÿþùåé ýòîãî Áüåííàëå ÿâëÿåòñÿ õóäîæåñòâåííàÿ ìàñòåðñêàÿ.  òå÷åíèå ýòîãî ýòàïà, ñîñòàâëÿþùåãî äâå íåäåëè, õóäîæíèêè æèëè â äîìàõ ìåñòíûõ æèòåëåé, è ýòî ïîëíîå ïîãðóæåíèå â èçîëèðîâàííóþ äåðåâíþ íàêëàäûâàëî ìíîæåñòâî îãðàíè÷åíèé íà õóäîæíèêîâ.  êîíöå ýòîãî ïðåáûâàíèÿ âñå ðàáîòû âûñòàâëÿëèñü íåîáû÷àéíûì ñïîñîáîì: «êî÷åâîå øîó». Çðèòåëè ñàäÿòñÿ íà òåïëîõîä èç Ñàìàðû è â òå÷åíèå îäíîãî äíÿ îíè ïðèñîåäèíÿþòñÿ ê ó÷àñòíèêàì Áüåííàëå â èõ ïðîãóëêå ïî äåðåâíå, ñëåäóÿ ïî ìàðøðóòó îò îäíîãî ïðîèçâåäåíèÿ ê äðóãîìó. ß ïðèíèìàë ó÷àñòèå â ýòîì Áüåííàëå â êà÷åñòâå «ãîðîäñêîãî ñîöèîëîãà»: ÿ çàíèìàþñü ïëàíèðîâêîé ãîðîäîâ è æèëèùíûì âîïðîñîì. Öåëü ýòîé ñòàòüè – ïðåäñòàâèòü ñîöèîëîãè÷åñêèé âçãëÿä ïîñëå 2 íåäåëü ó÷àñòèÿ â íàáëþäåíèè, ïîñðåäñòâîì îò÷åòà î íåêèõ çíà÷èìûõ ñîñòàâëÿþùèõ. Îáëàñòü ñîöèîëîãèè, â êîòîðîé ÿ ðàáîòàþ, çàíèìàåòñÿ âçàèìîäåéñòâèåì ìåæäó óñëîâèÿìè ïðîæèâàíèÿ è ñîöèàëüíûì ïîâåäåíèåì. È äåéñòâèòåëüíî, ìåíÿ ïîðàçèëî òî, ÷òî ýòî ñîáûòèå èìåëî î÷åâèäíûå ñîöèàëüíûå ïîñëåäñòâèÿ è ÷òî óñëîâèÿ ïðîæèâàíèÿ õóäîæíèêîâ îêàçàëè çíà÷èòåëüíîå âëèÿíèå íà èõ õóäîæåñòâåííîå âûðàæåíèå. Âíà÷àëå, ÿ êîðîòêî îïèøó äåðåâíþ Øèðÿåâî è æèçíü äåðåâíè. Çàòåì ÿ ïîïûòàþñü ïðîàíàëèçèðîâàòü ñîöèàëüíîå âçàèìîäåéñòâèå è âëèÿíèå óñëîâèé ïðîæèâàíèÿ íà ðàáîòû õóäîæíèêîâ. Øèðÿåâî: «òðàäèöèîííàÿ» ðóññêàÿ äåðåâíÿ? Øèðÿåâî – ýòî äåðåâíÿ, ðàñïîëîæåííàÿ íåäàëåêî îò Ñàìàðû, øåñòîãî ïî âåëè÷èíå ãîðîäà Ðîññèè ñ 1,5 ìèëëèîíàìè æèòåëåé. Ðàñïîëîæåííàÿ â 900 êì íà þãî-âîñòîê îò Ìîñêâû, Ñàìàðà áûëà îñíîâàíà â 1586 ã. êàê êðåïîñòü è ïîçæå ïåðåðîñëà â êðóïíûé ñîöèàëüíûé, ýêîíîìè÷åñêèé è ïðîìûøëåííûé öåíòð åâðîïåéñêîé ÷àñòè Ðîññèè. Ñàìàðà ñòàëà îäíèì èç ãëàâíûõ ãîðîäîâ Ðîññèè, ïîòîìó ÷òî ýòî âàæíûé ðå÷íîé ïîðò íà Âîëãå, ãëàâíîé ðå÷íîé ìàãèñòðàëè òðàíñïîðòèðîâêè òîâàðîâ â Ðîññèè. Ãîðîä èñòîðè÷åñêè ñâÿçàí ñî Øòóòãàðòîì (Ãåðìàíèÿ), ÷òî îò÷àñòè îáúÿñíÿåò áîëüøîå ïðèñóòñòâèå íåìåöêèõ õóäîæíèêîâ íà ýòîì áüåííàëå. Ñàìûé ïðîñòîé ñïîñîá ïîïàñòü â Øèðÿåâî èç Ñàìàðû – íà òåïëîõîäå: ïëàâàíèå äî äåðåâíè çàíèìàåò 2-3 ÷àñà. Äåðåâíÿ ãåîãðàôè÷åñêè îãðàíè÷åíà Âîëãîé è Æèãóëåâñêèìè ãîðàìè. Ïðèñóòñòâèå ýòèõ ïðèðîäíûõ ñîñòàâëÿþùèõ ïðèâëåêàåò ìíîæåñòâî æèòåëåé Ñàìàðû, æèâóùèõ â Øèðÿåâî ëåòîì. È â ñàìîì äåëå, â Øèðÿåâî ýòèì ëåòîì ìíîãî ðóññêèõ, èìåþùèõ âòîðîé äîì â äåðåâíå, êîòîðûé íàçûâàåòñÿ «äà÷à». Èäåÿ âëàäåíèÿ äîïîëíèòåëüíûì æèëüåì ñåé÷àñ äîâîëüíî ïîïóëÿðíà è äåðåâíÿ òåïåðü ñîñòîèò â îñíîâíîì èç ñèíèõ è çåëåíûõ äîìîâ, ïîñòðîåííûõ ñàìèì õîçÿåâàìè. Ïðèðîäíûå ñòèõèè (Âîëãà è ãîðû), à òàêæå ñîñåäñòâî ñ ýòèìè ñòàðûìè ðàñêðàøåííûìè äîìàìè ïðèòÿãèâàåò ê äåðåâíå è ñîçäàåò îñîáóþ àòìîñôåðó. Ýòè äà÷è òðàäèöèîííî ñäåëàíû èç äåðåâà, íî ñàìûå ïîçäíèå èç íèõ ïîñòðîåíû èç ñîâðåìåííûõ ìàòåðèàëîâ. Äåðåâíÿ ñèëüíî èçìåíèëàñü çà ïîñëåäíèå íåñêîëüêî ëåò, è ñåé÷àñ â íåé ñîñóùåñòâóþò äâà òèïà æèëèù: òðàäèöèîííûå êðàøåíûå äà÷è, èìåþùèå âîäó è ýëåêòðè÷åñòâî (íåêîòîðûå äîìà ïîäñîåäèíåíû ê ãàçîâîé ñåòè), è ñîâðåìåííûå äîìà ñî âñåìè óäîáñòâàìè, ïðèíàäëåæàùèå âûñøèì ñîöèàëüíûì ãðóïïàì. Ñîâðåìåííûå äîìà ðàñïîëîæåíû â îñíîâíîì ó ðåêè. Àãëîìåðàöèÿ äîâîëüíî îãðàíè÷åíà, ïîýòîìó äåðåâíÿ îòíîñèòåëüíî êîìïàêòíàÿ. Êàæäàÿ äà÷à ðàñïîëîæåíà íà ó÷àñòêå çåìëè ñ ñàäîì, ïîýòîìó â äåðåâíå ìíîæåñòâî çåëåíûõ çîí. Íå òàê äàâíî ñòðîèòåëüñòâî ãàçîâîé ñåòè íàðóøèëî ãåîãðàôèþ äåðåâíè. Òåïåðü åå ïåðåñåêàþò ãàçîâûå òðóáû âûñîòîé 2,5 ì.  äåðåâíå ïðèñóòñòâóåò íåñêîëüêî îáùåñòâåííûõ çäàíèé: çàáðîøåííàÿ øêîëà è ïî÷òà. Åñòü òàêæå ïàðà ìàãàçèíîâ, ãäå ìîæíî íàéòè ïðîäóêòû ïèòàíèÿ è äðóãèå òîâàðû. Êðîìå òîãî, â äåðåâíå íåäàëåêî îò Âîëãè åñòü


ìóçåé. Äåéñòâèòåëüíî, Øèðÿåâî ñâÿçàíî ñ î÷åíü ñèëüíîé òðàäèöèåé Øêîëû Ðåàëèñòîâ.  ñîâåòñêîì ïåðèîäå çäåñü ðàáîòàëè õóäîæíèêè Ðåïèí è Âàñèëüåâ, è îíè ñîçäàëè îáû÷àé ïîêðàñêè äîìîâ. Äîì Ðåïèíà áûë ïðåîáðàçîâàí â ìóçåé. Ýòè íåñêîëüêî ýëåìåíòîâ îïèñàíèÿ ïîä÷åðêèâàþò, ïî÷åìó ýòà äåðåâíÿ áûëà âûáðàíà äëÿ îðãàíèçàöèè áüåííàëå ñîâðåìåííîãî èñêóññòâà (êðàñîòà äåðåâíè, óñëîâèÿ ñîöèàëüíîé èçîëÿöèè, íî äîñòóïíîñòü Ñàìàðû, ñîñåäñòâî ïðèðîäíûõ ñòèõèé, èñòîðè÷åñêàÿ òðàäèöèÿ èñêóññòâà â äåðåâíå, äà÷è, ãäå ìîãóò æèòü õóäîæíèêè…). Ê òîìó æå ýòî ïîìîãàåò ïîíÿòü óñëîâèÿ æèçíè â äåðåâíå, êîòîðûå áóäóò îïèñàíû íèæå. Æèçíü â äåðåâíå Îäíà èç îñíîâíûõ õàðàêòåðèñòèê Áüåííàëå â Øèðÿåâî – ýòî ïðîæèâàíèå: õóäîæíèêè æèâóò è ðàáîòàþò â òå÷åíèå äâóõ íåäåëü â äåðåâíå. Îíè ñïÿò íà äà÷àõ îäíè èëè ãðóïïàìè. Áîëüøèíñòâî õóäîæíèêîâ, ó êîãî áðàëè èíòåðâüþ âî âðåìÿ ìåðîïðèÿòèÿ, ïîçèòèâíî âûñêàçûâàëèñü îá óñëîâèÿõ ñâîåãî ïðîæèâàíèÿ, äàæå åñëè ó íèõ íå áûëî äîñòóïà ê ñîâðåìåííûì óäîáñòâàì.  áîëüøèíñòâå äà÷, ãäå æèëè õóäîæíèêè, íå áûëî ãîðÿ÷åé âîäû, òóàëåòû áûëè â ñàäó, è íåêîòîðûå äà÷è íå áûëè ïîäêëþ÷åíû ê ãàçîâîé ñåòè.  îñíîâíîì õóäîæíèêè ðàññìàòðèâàëè óäîáñòâà â Øèðÿåâî èëè îòñóòñòâèå òàêîâûõ êàê íå÷òî «ýêçîòè÷íîå».  ýòîé îòíîñèòåëüíî èçîëèðîâàííîé äåðåâíå ñîøëèñü ìíîãèå ïðèçíàêè ìåñòà, íàõîäÿùåãîñÿ «ãäå-òî òàì äàëåêî»: íåïðèâû÷íîñòü, äðóãîé ÿçûê, äðóãîé îáðàç æèçíè. Êàæäûé äåíü õóäîæíèêè îáíàðóæèâàëè êóëüòóðíûå, ñ îöèîëîãè÷åñêèå è àíòðîïîëîãè÷åñêèå ðàçëè÷èÿ. Åæåäíåâíûé ðàñïîðÿäîê ñâîáîäíûé, íî îðãàíèçàöèÿ ïèòàíèÿ ñîçäàâàëà îïðåäåëåííûå ðàìêè. Õóäîæíèêè åëè âìåñòå â ñòîëîâîé, ñïåöèàëüíî ðàçâåðíóòîé íà ïåðèîä èõ ïðîæèâàíèÿ. Ïèòàíèå áûëî îðãàíèçîâàíî äâàæäû â äåíü â 13:00 è 19:00. Òàê îé ðèòì ñîçäàåò âðåìåííîé èíòåðâàë, îïðåäåëÿþùèé òå÷åíèå âðåìåíè. Ê òîìó æå íåêîòîðûå äà÷è áûëè ðàñïîëîæåíû âäàëè îò ðåñòîðàíà, è ýòà ïðîãóëêà ñòàëà ÷àñòüþ æèçíè, îñîáåííî êîãäà ïîãîäà áûëà ïî-íàñòîÿùåìó òåïëîé. Êàê ìû óâèäèì, äàëüøå òàêàÿ îðãàíèçàöèÿ ïîçâîëÿëà õóäîæíèêàì åæåäíåâíî îáìåíèâàòüñÿ ìíåíèÿìè.  ýòèõ ðàìêàõ õóäîæíèêè îðãàíèçîâûâàëè ñâîþ ðàáîòó òàê, êàê õîòåëè. Îíè ìåíÿëè âðåìÿ ñîçäàíèÿ, îáäóìûâàíèÿ ñâîèõ ïðîèçâåäåíèé è îòäûõà, íàïðèìåð, êóïàíèÿ â Âîëãå… Ñàäû èñïîëüçîâàëèñü êàê ñòóäèè õóäîæíèêàìè, êîòîðûì íóæíî áûëî ïðîñòðàíñòâî. Íî óñëîâèÿ ïðîæèâàíèÿ áûëè òàêîâû, ÷òî ó õóäîæíèêîâ ÷àñòî ñîçäàâàëîñü âïå÷àòëåíèå, ÷òî «âñå çàíèìàåò ìíîãî âðåìåíè».  äåðåâíå èíòåðâàë ìåæäó ïðèåìàìè ïèùè, äâèæåíèÿ ïåøåõîäîâ, êîíêðåòíûå çàäàíèÿ çàñòàâëÿëè õóäîæíèêîâ ÷óâñòâîâàòü, ÷òî îíè «ïîòðàòèëè ìíîãî âðåìåíè íà òî, ÷òîáû ñäåëàòü ÷òî-òî». Ðèñêíåì ïðåäïîëîæèòü, ÷òî, íåñìîòðÿ íà ýòè îãðàíè÷åíèÿ, õóäîæíèêè îïðîáîâàëè íîâóþ ôîðìó äåÿòåëüíîñòè, îáùåíèÿ è åäèíåíèÿ. Îíè ïðèñïîñàáëèâàëè ñâîþ ðàáîòó êî âñåì ýòèì ñîñòàâëÿþùèì îêðóæàþùåé îáñòàíîâêè (òðóäíîñòè îáùåíèÿ, óäàëåííîñòü îò ãîðîäà, ñåëüñêèå óñëîâèÿ æèçíè…). Áîëåå òîãî, õóäîæíèêàì âî âðåìÿ èõ ïðîæèâàíèÿ â äåðåâíå íóæíî áûëî ÷àñòî åçäèòü â Ñàìàðó, ÷òîáû äîñòàòü ìàòåðèàëû èëè ÷òîáû ïðîÿâèòü ôîòîãðàôèè. Ýòè îäíîäíåâíûå ýêñêóðñèè âîñïðèíèìàëèñü õóäîæíèêàìè êàê ïîáåãè èëè, íàïðîòèâ, êàê òðóäíûå ýêñïåäèöèè, â çàâèñèìîñòè îò óðîâíÿ óäîâëåòâîðåííîñòüþ æèçíüþ â Øèðÿåâî. Âå÷åðàìè õóäîæíèêè ÷àñòî ñîáèðàëèñü âìåñòå â äà÷íîì ñàäó èëè íà ïëÿæå. Îíè ðàçâîäèëè êîñòåð è ðàçãîâàðèâàëè ó íåãî. Ïî ìåðå ïðîæèâàíèÿ ýòî ñòàëî îáðÿäîì, èìåþùèì íåêîëåáèìûé öåðåìîíèàë. ×àñòî ñîáðàíèÿ ïðîõîäèëè íà îäíîé è òîé æå äà÷å. Íåêîòîðûå õóäîæíèêè øëè ñîáèðàòü äðîâà, â òî âðåìÿ êàê äðóãèå ðàçæèãàëè êîñòåð.  òå÷åíèå âå÷åðà äðóãèå ïðèõîäèëè ãðóïïàìè, ïðèñîåäèíÿëèñü ê ñâîèì êîëëåãàì âîêðóã êîñòðà. Îáúåäèíÿÿñü ïîíà÷àëó ïî íàöèîíàëüíîìó ïðèçíàêó, îíè ðàññàæèâàëèñü íà îñíîâå ñîöèàëüíîãî èëè ïðîôåññèîíàëüíîãî ñõîäñòâà. Ñîöèàëüíàÿ ôóíêöèÿ ýòîãî ðèòóàëà áóäåò îïèñàíà íèæå. Ïðîæèâàíèå â äåðåâíå çàêîí÷èëîñü êî÷åâûì øîó.  òå÷åíèå 8 ÷àñîâ õóäîæíèêè è çðèòåëè ãóëÿëè ïî äåðåâíå, ïåðåõîäÿ îò îäíîãî ïðîèçâåäåíèÿ èñêóññòâà ê äðóãîìó.  ýòîì ãîäó ìàðøðóò íà÷àëñÿ îò ïðè÷àëà è çàêîí÷èëñÿ â ãîðàõ. Îíè îñòàíàâëèâàëèñü ó êàæäîé ðàáîòû, ÷òîáû ïîñìîòðåòü

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ÁÅÐÒÐÀÍ ÂÀËËÅ / ÔÐÀÍÖÈß BERTRAND VALLET / FRANCE Ñîöèîëîãè÷åñêèé âçãëÿä íà áèåííàëå ìåæäóíàðîäíîãî ñîâðåìåííîãî èñêóññòâà â Øèðÿåâî, èëè Ïîãðóæåíèå èíîñòðàííûõ õóäîæíèêîâ â æèçíü òðàäèöèîííîé ðóññêîé äåðåâíè: ìåæäó óëüòðàñîâðåìåííîñòüþ è òðàäèöèÿìè A sociological view on the international contemporary art biennial of Shiryaevo or Immersion of international artists in a traditional Russian village: between hypermodernity and tradition

ïåðôîðìàíñ èëè ýêñïîçèöèþ. Ïîòîì ñäåëàëè ïåðåðûâ ó øêîëû, ãäå áûëî ïðåäñòàâëåíî î÷åíü ìíîãî ðàáîò. Èäÿ, ïî íà÷àëó, ãðóïïàìè, çðèòåëè ïîñòåïåííî ñòàëè îòñòàâàòü, óòîìëåííûå õîäüáîé è òåïëîì. Ñîöèàëüíîå âçàèìîäåéñòâèå Êîíöåïöèÿ ïðîæèâàíèÿ íà ñàìîì äåëå ñîçäàåò ìíîãî ñâÿçåé ìåæäó õóäîæíèêàìè ðàçëè÷íûõ íàöèîíàëüíîñòåé. Ìàòåðèàëüíûå îãðàíè÷åíèÿ íàñòîëüêî âàæíû, ÷òî õóäîæíèêàì ïðèøëîñü îáúåäèíèòüñÿ: íàïðèìåð, íåêîòîðûå îäàëæèâàëè ñâîè íîóòáóêè, ôîòîãðàôû îáìåíèâàëèñü ìàòåðèàëàìè, ÷òîáû ïîâåñèòü ñâîè ôîòîãðàôèè äëÿ âûñòàâêè è ñïðàøèâàëè äðóã äðóãà, ãäå îíè ìîãóò ïðîÿâèòü ñâîè ôîòîãðàôèè… Óñëîâèÿ ïðîæèâàíèÿ – ýòî ñïîñîá âçàèìîäåéñòâèÿ, õóäîæíèêè åëè è ïðàçäíîâàëè âìåñòå. Îïèñàííûå âûøå êîìïàíèè ó êîñòðà íåñëè àíòðîïîëîãè÷åñêóþ ôóíêöèþ «îáðÿäà âçàèìîäåéñòâèÿ»: îíà ñîçäàâàëà îáùèíó ñî ñõîæèìè èíòåðåñàìè (÷ëåíû æèâóò â îäèíàêîâûõ óñëîâèÿõ, èìåþò îäèíàêîâûå òðóäíîñòè è öåëè çàâåðøèòü ðàáîòó êî äíþ âûñòàâêè). Îíè ìîãóò îáñó æäàòü ýòî âîêðóã êîñòðà, íàçíà÷àòü âñòðå÷è èëè ðàçãîâàðèâàòü ñ äèðåêòîðàìè Áüåííàëå... Ýòîò âåñåëûé ðèòóàë ïîìîãàë ïðîÿâèòü ýìîöèè è ïîìîãàë ñîñòîÿòüñÿ ðàçãîâîðàì, êîòîðûå áû íå ñëó÷èëèñü áåç ïîìîùè ýòîé òåàòðàëüíîé ñàìîïîñòàíîâêè: ïëÿæ, êîñòåð, îáùàÿ åäà, àëêîãîëü ñîçäàþò óñëîâèÿ îáùåíèÿ â ñîîáùåñòâå. Èíîãäà ýòî îáùåíèå äàâàëî íà÷àëî êðàòêîñðî÷íîìó èëè äîëãîñðî÷íîìó ñîòðóäíè÷åñòâó (îáùåå ïðåäñòàâëåíèå äëÿ êî÷åâîãî øîó, âûñòàâêè â Øò óòãàðòå, ïðåäëîæåíèÿ õóäîæåñòâåííûõ ìàñòåðñêèõ â äðóãèõ ñòðàíàõ…). Îäíàêî ïðîæèâàíèå â äåðåâíå ïðèâîäèëî ê âçàèìîäåéñòâèþ õóäîæíèêîâ è ìåñòíûõ æèòåëåé. Ïðåæäå âñåãî, õóäîæíèêè èìåëè ñîöèàëüíûå îòíîøåíèÿ ñî ñâîèìè õîçÿåâàìè. Õóäîæíèêè æèëè â äâóõ ðàçëè÷íûõ òèïàõ óñëîâèé: íåêîòîðûå æèëè íà äà÷àõ âìåñòå ñ âëàäåëüöàìè äà÷, íåêîòîðûå îäíè, à õîçÿåâà æèëè â äðóãèõ äîìàõ, îáû÷íî íåäàëåêî îò ñâîèõ äà÷. Ýòî èìåëî ìíîæåñòâî ïîñëåäñòâèé äëÿ ñîöèàëüíîãî âçàèìîäåéñòâèÿ èíîñòðàíöåâ è äëÿ äîñòèãíóòîãî óðîâíÿ êóëüòóðíîãî îáìåíà. Æèâÿ ñ îòêðûòîé è äîâîëüíî äîáðîæåëàòåëüíîé ïîæèëîé æåíùèíîé, ÿ èìåë âîçìîæíîñòü îáùàòüñÿ ñ íåé, êàê ïðàâèëî, ñ ïîìîùüþ íåâåðáàëüíûõ ñðåäñòâ. Òîò ôàêò, ÷òî õóäîæíèêè æèëè â äåðåâíå â òå÷åíèå ñðàâíèòåëüíî äëèòåëüíîãî ïåðèîäà âðåìåíè, ñîçäàâàë ìíîæåñòâî âîçìîæíîñòåé äëÿ ñèòóàöèé ìèêðî-îáùåíèÿ ñ ìåñòíûìè æèòåëÿìè: âçàèìîäåéñòâèå ñ ïðîäàâöàìè, ñîñåäÿìè, ïðîõîæèìè, êîòîðûå íàáëþäàëè çà ðàáîòîé õóäîæíèêîâ… Ê òîìó æå, íåêîòîðûå õóäîæíèêè îáùàëèñü ñ ìåñòíûì íàñåëåíèåì â ñâîèõ ìàñòåðñêèõ (íàïðèìåð, ôîòîãðàôèè, ïîêàçûâàþùèå æèòåëåé), èíîãäà ñ òðóäíîñòÿìè èëè ìåæêóëüòóðíûìè ïðîáëåìàìè, êàê ýòî áûëî ñ õóäîæíèêîì, êîòîðûé áåçóñïåøíî ïûòàëñÿ êóïèòü ó ìåñòíûõ æèòåëåé äîìàøíèé ìóñîð äëÿ ñâîåãî ïðîåêòà. Ýòî ñîâìåñòíîå ïðîæèâàíèå ìåñòíîãî íàñåëåíèÿ è õóäîæíèêîâ èç ðàçíûõ ñòðàí åñòåñòâåííî ìîãëî ñîçäàòü êîíôëèêòû èëè ïðîñòî íåäîïîíèìàíèå. Íàïðèìåð, ñöåíà âî âðåìÿ êî÷åâîãî øîó äàåò ïðåêðàñíóþ èëëþñòðàöèþ òîãî, ÷òî ìû ìîæåì íàçâàòü «ìåæêóëüòóðíîñòü» (øîê, ïðîèñõîäÿùèé, êîãäà âñòðå÷àþòñÿ ëþäè, ïðèíàäëåæàùèå ðàçëè÷íûì êóëüòóðàì): äâå íåìåöêèõ õóäîæíèöû ïëàíèðîâàëè ïðîâåñòè ïåðôîðìàíñ â ìóçåå Ðåïèíà. Îäíà èç õóäîæíèö èçîáðàæàëà êîøêó è áûëà îäåòà âî âñå ðîçîâîå, â òî âðåìÿ êàê âòîðàÿ áûëà îäåòà âî âñå ñèíåå. Íåçàâèñèìî îò Áüåííàëå îêîëî ìóçåÿ íà î÷åíü îãðàíè÷åííîì ïðîñòðàíñòâå áûëî îðãàíèçîâàíî ïðåäñòàâëåíèå ñ òðàäèöèîííûìè íàðîäíûìè ïåñíÿìè. Ýòî ñîñóùåñòâîâàíèå äâóõ ðàäèêàëüíî îòëè÷àþùèõñÿ ìåðîïðèÿòèé èëëþñòðèðóåò ðàçíîãëàñèå, ïðèñóùåå ýòîìó Áüåííàëå – äàâàéòå-êà âñïîìíèì – ïëàíû ñîçäàòü ñîâðåìåííîå èñêóññòâî â òðàäèöèîííîé èçîëèðîâàííîé äåðåâíå! Íåìåöêèé ïåðôîðìàíñ ñîñòîÿëñÿ ïîä àêêîìïàíåìåíò òðàäèöèîííûõ ðóññêèõ ïåñåí, êàê äåìîíñòðàöèÿ «ìåæêóëüòóðíîñòè». Âî âðåìÿ Áüåííàëå â Øèðÿåâî ïðîèñõîäèëî ìíîæåñòâî òðåíèé ìåæäó ðàçëè÷íûìè ñîöèàëüíûìè ñëîÿìè: ñåëü÷àíå/ãîðîäñêèå, ðóññêèå/ ïðåäñòàâèòåëè Çàïàäíîé Åâðîïû, ñîâðåìåííîå èñêóññòâî/òðàäèöèîííîå… Âñå ýòè ïðîòèâîïîñòàâëÿåìûå ïàðû ïðîÿâëÿëè ñåáÿ âî âðåìÿ Áüåííàëå, ÷åì ñîçäàëè ñîáûòèå – êî÷åâîå øîó.

Äâå õóäîæíèöû ïî ñâîåìó èíòåðïðåòèðóþò ïîñòåð áèåííàëå

Two artists interpreting their way the poster of the Biennial


Ñâÿçü ìåæäó óñëîâèÿìè ïðîæèâàíèÿ è õóäîæåñòâåííîé äåÿòåëüíîñòüþ Ýòîò âîïðîñ íàèáîëåå âàæåí, òàê êàê òåìîé äàííîãî ýòàïà áûë «Äîì».  ñóùíîñòè, ïðèãëàøåííûå õóäîæíèêè çíàëè íàçâàíèå ýòîé áèåííàëå «Äîì: ìåæäó Åâðîïîé è Àçèåé», à òðàêòîâàëè îíè ïîíÿòèå äîì ñàìûìè ðàçëè÷íûìè ñïîñîáàìè: äîì êàê æèëèùå, èíòèìíàÿ èíòåðïðåòàöèÿ («áûòü äîìà»), ìîÿ «âñåëåííàÿ», ñîïîñòàâëåíèå Åâðîïû è Àçèè… Äàæå åñëè íàâÿçàíà òåìà, ó õóäîæíèêîâ âñå ðàâíî åñòü ñâîáîäà åå èíòåðïðåòàöèè. Êóðàòîðû íå ñîáèðàëè ðàáîòû, ñâÿçàííûå ñ òåìîé, êîòîðûå îíè âûáðàëè äëÿ âûñòàâëåíèÿ ïåðåä ïóáëèêîé. Îíè âûáðàëè æèâûõ õóäîæíèêîâ è ïîïðîñèëè èõ ñîçäàòü ðàáîòó êîíêðåòíî äëÿ ýòîãî ñëó÷àÿ.  ðåçóëüòàòå ìû âèäèì, ÷òî ñîîòâåòñòâèå ìåæäó íåïîñðåäñòâåííî àñïåêòîì ðàáîò, ïðåäñòàâëåííîì íà âûñòàâêå è òåìîé áüåííàëå äîâîëüíî ñâîáîäíî.  ñôåðå ñîöèîëîãèè ãîðîäñêîãî íàñåëåíèÿ áûëî ïðîâåäåíî îäíî èññëåäîâàíèå âëèÿíèÿ óñëîâèé ïðîæèâàíèÿ íà ïîâåäåíèå ïîëüçîâàòåëåé. Ñîöèàëüíûå ìîäåëè è òåððèòîðèàëüíîå îêðóæåíèå â çíà÷èòåëüíîé ìåðå íåçàâèñèìû. Áîëåå òîãî, õóäîæíèêè ïðîæèëè äâå íåäåëè áåç ñîîòâåòñòâóþùèõ ñòóäèé è âñåãî òîãî, ÷òî îíè ïðèâûêëè èìåòü âî âðåìÿ ñâîåé ðàáîòû.  ðàçëè÷íîé ñòåïåíè ýòî òàêæå îêàçàëî âëèÿíèå íà èõ õóäîæåñòâåííîå âûðàæåíèå. Ïðåæäå âñåãî, òðóäíîñòè ñ ïîèñêîì ìàòåðèàëà èëè ñ äîñòóïîì ê òåõíîëîãèÿì îãðàíè÷èâàëè èõ ðàáîòó. Ïîìèìî ýòîãî ïðèíöèï áüåííàëå – ñîçäàâàòü âî âðåìÿ ïðîæèâàíèÿ, à íå ïðèåçæàòü ñ ïîëíîñòüþ ðåàëèçîâàííîé ðàáîòîé. Ýòè ïðàâèëà (ñîçäàíèå ðàáîò âî âðåìÿ ôåñòèâàëÿ ñ ïîìîùüþ âñåãî òîãî, ÷òî ìîæåò áûòü íàéäåíî â Øèðÿåâî èëè Ñàìàðå) ñîáëþäàëè áîëüøèíñòâî õóäîæíèêîâ, îñîáåííî èíîñòðàííûõ, ó êîòîðûõ íå áûëî ëåãêîãî äîñòóïà ê ÷åìó-òî åùå ïîìèìî îñòàòî÷íîãî ìàòåðèàëà. Ýòè îãðàíè÷åíèÿ â îñíîâíîì è îðèåíòèðîâàëè õóäîæíèêîâ â òîé ñôåðå èñêóññòâà, êîòîðóþ îíè ïðàêòèêóþò.  ýòèõ óñëîâèÿõ ïåðôîðìàíñ è èíñòàëëÿöèè, âåðîÿòíî, ñàìûå ïîäõîäÿùèå ôîðìû. Òàêèì îáðàçîì, êîíöåïöèÿ ýòîãî áüåííàëå â çíà÷èòåëüíîé ìåðå îêàçûâàëà âëèÿíèå íà òî, ÷òî äåëàëè õóäîæíèêè. Õóäîæíèêàì íåîáõîäèìî áûëî ðàçðàáàòûâàòü ðàçëè÷íûå ñòðàòåãèè ñâîåé ðàáîòû, ÷òîáû íàéòè òîò ìàòåðèàë, êîòîðûé èì íóæåí èëè, ÷òî âñòðå÷àëîñü ÷àùå, àäàïòèðîâàòü ñâîè èäåè ê òîìó, ÷òî îíè ìîãóò íàéòè íà ìåñòå. Ýòî ìîæíî ðàññìàòðèâàòü êàê êîíñòðóêòèâíûå îãðàíè÷åíèÿ, îêðóæàâøèå òâîð÷åñêèé ïðîöåññ. Íàïðèìåð, ýòà êîíöåïöèÿ èñïîëüçîâàëàñü â î÷åíü ðàííèõ ñåìèäåñÿòûõ òå÷åíèåì arte povera, êîãäà õóäîæíèêè èñïîëüçîâàëè ëþáîå âåùåñòâî, êîòîðîå îíè ìîãëè ïîëó÷èòü áåñïëàòíî èëè î÷åíü çà äåøåâî, íàïðèìåð, ïàëêè, êàìíè, âåðåâêè, æåëåçî… Ìû ìîæåò ñ÷èòàòü, ÷òî Áüåííàëå â Øèðÿåâî òàêæå ïîîùðÿëî íîâûé ïðîöåññ òâîð÷åñòâà, ñâÿçàííûé ñ ïàðîé ñâîáîäà/îãðàíè÷åíèÿ: ñâîáîäà ïîçâîëÿëà õóäîæíèêàì ðàáîòàòü, êàê îíè çàõîòÿò, âîêðóã çàäàííîé òåìû èëè íåò, à îãðàíè÷åíèÿ íàëàãàëèñü óñëîâèÿìè ïðîæèâàíèÿ. Ñâÿçè ìåæäó ôèçè÷åñêîé ñðåäîé è òåì, ÷òî ñîçäàâàëè õóäîæíèêè, ÷åò÷å ïðîèëëþñòðèðîâàíû ñàìèìè ðàáîòàìè. Íåêîòîðûå õóäîæíèêè èñïîëüçîâàëè äåðåâíþ íå òîëüêî êàê ïîäñïîðüå â ïîêàçå ñâîèõ ðàáîò, íî è òàêæå êàê ìàòåðèàë. Äåðåâíÿ îòìå÷åíà ñòàðûìè ðàáîòàìè: ãðàôôèòè íà ðàçðóøåííûõ çäàíèÿõ, âåðòèêàëüíûå ñòîëáû è ãàçîâûå ëèíèè… Ýòè âìåøàòåëüñòâà îñòàâèëè ñëåäû íà ôèçè÷åñêîì àñïåêòå äåðåâíè, òàê ÷òî äåðåâíÿ âûãëÿäèò «îáæèòîé» Áüåííàëå. Çàêëþ÷åíèå Íà Áüåííàëå â Øèðÿåâî â 2007 ã., êîãäà ÿ ïðèíèìàë õîëîäíûé äóø â ñàäó, ÿ ñëûøàë, êàê ìîè êîìïàíüîíû ãîâîðèëè î òîì, êàê îíè ìîãóò ïî÷èíèòü ïðîåêòîð, íî ïîòîì îíè ïðîñòî ðåøèëè îòêàçàòüñÿ îò ýòîé èäåè è ïîñòðîèòü êóá èç ïëàñòèêîâûõ áóòûëîê. Òåððèòîðèàëüíûé àñïåêò äîìèíèðîâàë â ïðîöåññå òâîð÷åñòâà â Øèðÿåâî: äåðåâíÿ – ýòî ÷òî óãîäíî, òîëüêî íå áåëûé êóá. Òàêîå ìåðîïðèÿòèå èñïûòûâàåò îðèãèíàëüíûå ôîðìû òâîð÷åñòâà è ïðåäñòàâëåíèÿ. Óñëîâèÿ âûãëÿäÿò èíîãäà «ýêñòðåìàëüíûìè» â îòíîøåíèè ìåñòà ïðîâåäåíèÿ áüåííàëå è ñðåäñòâ, ïîäãîòîâëåííûõ äëÿ õóäîæíèêîâ. Øîó êî÷åâîå, ìèìîëåòíîå è â ïðèñóòñòâèè õóäîæíèêîâ. Âñå âìåñòå ýòè óñëîâèÿ ñîçäàëè îðèãèíàëüíîå ñîáûòèå è ïðîèçâåëè íà ñâåò îáùèíó, ðàáîòàâøóþ ñîîáùà â òå÷åíèå äâóõ íåäåëü. Äëÿ áóäóùåãî ýòîãî Áüåííàëå âàæíû äâà âîïðîñà: áàëàíñ ìåæäó õóäîæíèêàìè èç ðàçëè÷íûõ ñòðàí – êàê îïðåäåëÿþùèé ôàêòîð ñîöèàëüíûõ âçàèìîäåéñòâèé – è ñïîñîáíîñòü äåðåâíè ïðèíÿòü ðàçðàñòàþùååñÿ ìåðîïðèÿòèå.

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ÁÅÐÒÐÀÍ ÂÀËËÅ / ÔÐÀÍÖÈß BERTRAND VALLET / FRANCE Ñîöèîëîãè÷åñêèé âçãëÿä íà áèåííàëå ìåæäóíàðîäíîãî ñîâðåìåííîãî èñêóññòâà â Øèðÿåâî, èëè Ïîãðóæåíèå èíîñòðàííûõ õóäîæíèêîâ â æèçíü òðàäèöèîííîé ðóññêîé äåðåâíè: ìåæäó óëüòðàñîâðåìåííîñòüþ è òðàäèöèÿìè A sociological view on the international contemporary art biennial of Shiryaevo or Immersion of international artists in a traditional Russian village: between hypermodernity and tradition

The Shiryaevo biennial has been taking place for 8 years in the traditional Russian village of Shiryaevo, located in the Samara region. This biennial aims to experiment Contemporary Art in such a particular context. Artists from Russia, Germany, France, Estonia and Switzerland did already take part to this Biennial. The theme of this year’s 5th edition was “Home: between Europe and Asia”. As underlined in the press release, this event “helps to set current tendencies in cultural dialogue between Europe and Asia”. It comes true since the main component of the Biennale is an art workshop. During this phase of two weeks, the artists live in local people’s houses and this total immersion in an isolated village imposes many confines on artists. At the end of the residence, all the works are shown through a singular way of exhibition: the “nomadic show”. Spectators take A boat from Samara and during one day, they join participants of the Biennial for a walk in the village, following an itinerary from one piece of art to another. I have been participating to this Biennial as a “urban sociologist”: I am working on urban planning and housing. The aim of this article is to give a sociological point of view after 2 weeks of participating observation, through a report of some significant elements. The branch of sociology I am working on deals with interactions between living conditions and social practices. Indeed, it striked me that this event has obvious social effects, and that the living conditions of the artists have important impacts on their artistic expression. At first, I’ll briefly describe the village of Shiryaevo and the functioning of the residence. Then, I will try to analyse the social interactions and the influences of the living conditions on the artistic practices. Shiryaevo: a “traditional” Russian village? Shiryaevo is a village located near Samara, the sixth-largest city in Russia with 1.5 millions of inhabitants. Situated at 900 km in the south-east of Moscow, Samara was founded in 1586 as a fortress and later grew into a major social, economic and industrial centre of European Russia. Samara became a main Russian city because it is an important river port along of the Volga, a main arterial river for Russian transportation of goods. The city is historically twinned with Stuttgart (Germany), what can partly explain the large presence of German artists in this biennial. The easiest way to go to Shiryaevo from Samara is by boat: it takes between 2 and 3 hours to reach the village. The village is geographically limited by the Volga and the Zhiguli mountains. The presence of these natural elements attracts a lot of inhabitants of Samara who lives in Shiryaevo during the summertime. Indeed, Shiryaevo is widely inhabited in this season by Russians who own secondary residences within the village called “dachas”. The concept of secondary houses is now quite popular and the village is mainly composed by blue and green self-erected houses. The natural elements (the Volga and the mountains) and the presence of these old coloured houses give an attraction to the village and create a special atmosphere. These dachas are traditionally made in wood but the most recent ones are built with modern materials. The village evolves a lot since a few years and two types of dwellings coexist nowadays: traditional coloured dachas, equipped with water and electricity (some dwellings are linked to the gas network) and modern houses with all the comfort which seem bound to higher social classes. The modern houses are mainly located around the river. The urban sprawl seems limited so that the village is relatively compact. Each dacha is located on a parcel of land with a garden so that there are a lot of green spaces in the village. Recently, the construction of the gas red disrupted the geography of the village. It is now crossed by 2m50 height gas pipes. Some public facilities structure the village: a disused school and a post office. There is also a couple of shops where one can find some food and various goods. Moreover, there is a museum in the village, near the Volga. Indeed, Shiryaevo is linked to a very strong tradition of the Realist School. The artists Repin and Vasilyev worked there and developed the practice of outside painting. Repin’s house has been converted into a museum. This few elements of description highlight why this village was chosen to organize


a contemporary art biennial (beauty of the village, conditions of social isolation but accessibility to Samara, presence of natural elements, historical tradition of art in the village, dachas where artists can live…). Moreover, it enables to understand the living conditions in the village that will be described hereafter. The functioning of the residence One of the main characteristics of the Shiryaevo Biennial is the residence: artists live and work two weeks in the village. They sleep in dachas, alone or by groups. Most of the artists interviewed during the workshop have a positive opinion of their living conditions, even if they don’t have access to modern comfort. Most of the dachas used by artists don’t have hot water, toilets are in the garden and some dachas are not linked to the gas red. Mainly, artists consider the facilities in Shiryaevo or lack thereof as something “exotic”. In this relatively isolated village, the conditions of “elsewhere” are put together: disaffection, other language, other way of living. The daily life experience enables artists to discover cultural, sociological and anthropological differences. The daily activities are free but the organisation of the meals creates a frame. Artists are having their meals together in a canteen specially set-aside during the residence. The two daily meals are served at 01:00 pm and 07:00 pm. This rhythm creates a temporal pace that regulates the daytimes. Moreover, some dachas are away from the restaurant and this walk becomes part of the daily life, especially when the weather is really warm. This organisation allows regular exchanges between artists, as we will see below. Within this frame, artists organize their work the way they want. They alternate times of creation and realization of their works of art, and leisure such as swimming in the Volga… The gardens are used as ateliers for artists who need space. But the living conditions are such that artists often have the impression that “everything takes a lot time”. In the village, the pace of meals, the pedestrian moves, the concrete tasks made the artists feel that they “spend a lot of time doing anything”. We can venture the hypothesis that despite these constraints, artists are experimenting alternative forms of action, communication and solidarity. They are adapting their work to all these contextual elements (difficulty of communication, distance to city, rural living conditions…). Moreover, artists often need to go to Samara during the residence to get materials or to have their photos developed. These one-day excursions are lived by artists as escapes or, on the contrary, as a hard expedition, depending of the level of satisfaction of rural living conditions in Shiryaevo. In the evening, artists are often joining together in a dacha garden or on the beach. They are making a fire and talking around it. Along the residence, this becomes a rite organised with an unmovable ceremonial. It often takes place in the same dacha. Some artists are going to pick up wood while others are starting the fire. During the evening, others are arriving by small groups, joining their colleagues around the fire. At the beginning aggregated by nationality, they sit after with another spatial dispersion in relation with social or professional affinities. The social function of this ritual will be described below. The residence ends with the nomadic show. During 8 hours, artists and spectators walk in the village, going from one work of art to another. This year, the route started from the quay and finished in the mountains. They stopped at each work to see a performance or an exhibition. They made a break in the school where many works of art were exhibited. Firstly grouped, the spectators left little by little, tired by the hike and the warmth. The social interactions The concept of the residence naturally creates many relations between artists from different nationalities. The material constraints are so important that artists have to become in solidarity: for example some lent their laptops, photographers

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ÁÅÐÒÐÀÍ ÂÀËËÅ / ÔÐÀÍÖÈß BERTRAND VALLET / FRANCE Ñîöèîëîãè÷åñêèé âçãëÿä íà áèåííàëå ìåæäóíàðîäíîãî ñîâðåìåííîãî èñêóññòâà â Øèðÿåâî, èëè Ïîãðóæåíèå èíîñòðàííûõ õóäîæíèêîâ â æèçíü òðàäèöèîííîé ðóññêîé äåðåâíè: ìåæäó óëüòðàñîâðåìåííîñòüþ è òðàäèöèÿìè A sociological view on the international contemporary art biennial of Shiryaevo or Immersion of international artists in a traditional Russian village: between hypermodernity and tradition

exchanged material to hang their photography for the exhibition and asked each other where they could have their photos developed… The living conditions are the way of the interactions artists are eating and partying together. Parties around the fire described above have the anthropological function of an “interacting rite”: it creates a community with a similarity of interests (participants are living in the same conditions, sharing the same difficulties and having the same objective to finish their work for the day of the exhibition). They can discuss about that around the fire, make an appointment or meet the directors of the Biennial... This ritual is festal to show emotions and talks which would not happen without the help of this theatrically self-staging: beach, fire, common meals, alcohol create conditions of exchange in the community. Sometimes, these exchanges can give birth to short or long-run collaborations (common performance for the nomadic show, exhibitions in Stuttgart, proposal for art workshops in other countries…). The residence although creates interactions between artists and inhabitants. Firstly, the artists have social relations with their hosts. There are two distinct type of housing for the artists: some are living with the owner of the dacha, some are alone and the owner lives in another house, usually close to the dacha. This has many consequences on the social integration of foreigners and on the achieved level of cultural exchanges. Living with an open-minded and quite welcoming old woman, I had the opportunity to communicate with her, mostly with non-verbal exchanges. The fact that artists live in the village during a relative long time creates lot of micro-sociability with inhabitants: exchanges with shops assistants, neighbours, bystanders who are seeing artists at work… Moreover, some artists are integrating the local population in their works (for example, pictures showing inhabitants), sometimes with difficulty or intercultural problems, as it was the case with an artist who tried without success to buy inhabitants their domestic trash for his project. This cohabitation between local population and international artists can naturally create conflicts or simple lack of understanding. For instance, a scene during the nomadic show gave a perfect illustration of what we can call “interculurality” (chocks which occurs when people belonging to different cultures meet): two German artists planned to make a performance in the Repin museum. One of the artists was acting as a cat and she was wearing pink clothes while the other was wearing blue ones. Irrelevant to the biennial, a show with traditional and folkloric songs was organised in a very closed place, near the museum. This cohabitation of two radically different kinds of event was an illustration of the misunderstandings inherent in this Biennial that – let’s recall it, plans to make contemporary art in a traditional isolated village! The German performance occurred with a sonorous background of traditional Russian songs, as a demonstration of “interculturality”. During the Biennial of Shiryaevo, many tensions develop between different social environments: rural/urban; Russia/Western Europe; contemporary art/tradition… All these pairs of opposition are expressing themselves during the time of the Biennial to produce an event: the nomadic show. The links between the living conditions and the artistic practices This question is all the more interesting since the theme of this edition was “Home”. Basically, the invited artists knew the whole title of the Biennial “Home: Between Europe and Asia” and they treated the notion of home in many different ways: Home as dwelling; intimist interpretations (“at home”), my “universe”; in a comparative way between Europe and Asia… Even if a theme is imposed, the artists have the freedom of its interpretation. The curators didn’t collect artworks connected to the theme they had chosen in order to exhibit them. They chose living artists and asked them to build a piece especially for the occasion. Consequently, we can observe that the adequacy between the direct aspect of the pieces shown during the exhibition and the theme of the biennial is more or less loose.


In the field of urban sociology, one study the impacts the living conditions have on the user’s behaviour(s). Social practices and spatial environment are strongly interdependent. Moreover, artists are living during two weeks in this village without proper ateliers or anything they are used to have following their processes of work. At different degrees, this too has consequences on their artistic expression. Firstly, difficulties to find material or to get access to technologies restrict their work. Moreover, the principle of the biennial is to create during the residence, and not to come with a fully realized work. These rules (realizing the pieces during the workshop with all that can be found in Shiryaevo or Samara) are well integrated by most of the artists, especially by foreign ones who don’t have easily access to something else than rudimentary material. These constraints mainly orientate artists in the kind of art they practice. In these conditions, performance and installation seems to be the two most adapted forms. Thus, the concept of this Biennial largely impacts the artistic practices. Artists have to develop strategies to find material they need or, what is most frequently, to adapt their idea to what they can find on site. It can be considered as constructive constraints that surround the process of creation. For example, this concept was used during the early seventies by arte povera when artists chose to use any medium they could get for free or very cheap such as sticks, rocks, rope, iron…We can consider that the Biennial of Shiryaevo encourages as well new process of creation around the couple freedom/constraints: freedom let to artists to work as they want, around the imposed theme or not, and constraints imposed by the living conditions. The links between the physical environment and the artistic practices are illustrated in a clearer manner by the pieces themselves. Some artists use the village not only as a support to show their works but as a material too. The village is marked by old works: graffiti on ruined buildings, vertical poles or gas lines… These interventions leave traces on the physical aspect on the village so that the village looks “habited” by the Biennial. Conclusion At the Shiryaevo Biennial 2007, while I was showering in the garden with cold water, I could hear my companions talking about the way they could tinker a projector before they just decided to give-up and construct a cube with plastic bottles. The territorial aspect is preponderant in the process of creation proposed in Shiryaevo: the village is everything but a white cube. Such an event tries out original forms of creation and exhibition. The conditions seem sometimes "extremes", regarding to the localization of the biennial and the means ready for artists. The show is nomadic, transience and in the presence of the artists. All these conditions put together generate an original event and produces a two weeks long working community. Two questions are crucial for the future of this Biennial: the balance between the artists from different nationality ? as a determining factor for social interactions ? and the capacity of the village to absorb a growing event.

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ÄÈÀÍÀ ÌÀ×ÓËÈÍÀ / ÐÎÑÑÈß DIANA MACHULINA / RUSSIA Ôðàãìåíò îáçîðà «Ïðîâåðêà íà ïðî÷íîñòü: Øèðÿåâñêàÿ áèåííàëå» (÷àñòü 2) 03.09.2007 Èíôîðìàãåíòñòâî ÊÓËÜÒÓÐÀ GiF.Ru Fragment of the review «Check on durability: Shiryaevo biennale» (a part 2) 03.09.2007 News agency CULTURE GiF.Ru

Âïðî÷åì, áûëè ðàáîòû "âàíäàëîóñòîé÷èâûå" â ñèëó òîãî, ÷òî âàíäàëèçì áûë çàïðîãðàììèðîâàí ñàìèìè àâòîðàìè. Òàê, â "Ñâÿçÿõ" Àííû Áðîøå õóëèãàíñòâî ñòàëî ôîðìîîáðàçóþùèì ìîìåíòîì.  ëèòåðàòóðíîì êëàññå ñåëüñêîé øêîëû îíà ñäåëàëà èíñòàëëÿöèþ èç ïîðòðåòîâ ïèñàòåëåé, îáû÷íî îôîðìëÿþùèõ ñòåíû. Âñå îíè ñîåäèíåíû ÷åðíûìè ñòðåëêàìè, íàðèñîâàííûìè íà ñòåíå. Ñâÿçè ïðîñëåæèâàþòñÿ íå ïî ëèòåðàòóðíûì âëèÿíèÿì, à êàê ó Õàðìñà, ïåðñîíàæíî. Îíè êàê áû ñîñåäè ïî äîìó ëèòåðàòîðîâ. Ïîñêîëüêó çà âðåìÿ îáó÷åíèÿ ïèñàòåëè ïåðåðîæäàþòñÿ èç ãåðîåâ ñî÷èíåíèé â íå÷òî äîìàøíåå, îáèõîäíîå, øêîëüíèêè øóòÿò íàä íèìè, êàê íàä äðóçüÿìè, ïîäðèñîâûâàÿ ê ïîðòðåòàì ñìåøíûå äåòàëè. Æóêîâñêèé ñòàíîâèòñÿ èíîïëàíåòÿíèíîì, Àíäåðñåí ïëà÷åò è ïóñêàåò ñîïëè, Ãîôìàí è Áëîê ðàçðèñîâàíû ïîâåðõ òàê, ÷òî îáà ïðåâðàùàþòñÿ â Ïóøêèíà.  ñïîðå çà ïðàâî áûòü Àëåêñàíäðîì Ñåðãååâè÷åì ïîáåæäàåò Ãîôìàí: äàëåå ïî ñòðåëêå Áëîê îïëåâàí ãèãàíòñêîé ÷åðíèëüíîé êëÿêñîé íà ëèöå. À âîò êîìïàíèÿ äîí-æóàíîâ, æåíñêèõ ëþáèì÷èêîâ: Ëåðìîíòîâ ñî ñëåäàìè ïîìàäû íà ùåêå è ñàì íåñêîëüêî æåíñòâåííûé, ñ íàêðàøåííûìè àëûì ãóáàìè, áðóòàëüíûé Ìàÿêîâñêèé êóðèò äâå ïàïèðîñû ñðàçó – íà ùåêå ñêóïîé ÷ìîê Ëèëè Áðèê, ó Åñåíèíà – æèðíûå ïîìàäíûå ïîöåëóè íà äâóõ ãëàçàõ, îäíîâðåìåííî íàïîìèíàþùèå ôîíàðè, ïîñëåäñòâèÿ äðàêè. Âîáùåì, åñëè ïîñëå 1 ñåíòÿáðÿ ó íèõ ïîÿâÿòñÿ äîïîëíèòåëüíûå ñîáà÷üè óøè, ñòàëèíñêèå óñû, î÷êè ñëåïûõ è äðóãèå ñâÿçè ñ îáùåñòâåííîñòüþ, Àííà íå ðàññòðîèòñÿ. However, there were “Hun resistant” works by virtue of the fact that Hunnishness was programmed by authors themselves. So, in Anna Broche “Relations” rowdiness became a morphogenetic moment. In a literature class of the village school she made an installation of writer portraits, which usually decorate walls. All of them were connected with black arrows painted on a wall. Relations are traced not by literature influences but, like with Harms, by personages. They are a sort of neighbors in a writer house. Since, during studying writers regenerate from characters of compositions to something homely, everyday, schoolchildren poke fun at them as at their friends by painting some funny details on portraits. Zhukovsky becomes an alien, Andersen weeps and lets snots out, Gofman and Blok ornamented in such a way that they turn into Pushkin. In their argument to be Pushkin Gofman wins; then, following the arrow Blok is spit over with a giant ink blot on his face. And here is a company of “Philanderers”, women favorites: Lermontov with traces of lipstick on his cheek and even himself is a bit womanish with his lips painted in scarlet; brutal Mayakovsky smokes two cigarettes at once – with a small smooch of Lili Brik on his cheek; Yesenin has got a bold lipstick kisses on his both eyes, at the same time they are associated with shanties after punch-out. Generally, if after September 1 they will get additional doggy ears, Stalin’s moustache, blind men’s glasses and other public relations, Anna is not going to be disappointed.


ÀÍÍÀ ÁÐÎØÅ / ÐÎÑÑÈß ANNA BROCHET / RUSSIA Ïðîåêò «Ñâÿçè. Ïàíòåîí øêîëüíûõ ãåðîåâ» Ìåñòî: øêîëà, êëàññ ëèòåðàòóðû, Øèðÿåâî The project «Relations. A pantheon of school heroes» Place: school, a class of the literature, Shiryaevo

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ÕÀÍÍÑ-ÌÈÕÀÅËÜ ÐÓÏÏÐÅÕÒÅÐ / ÃÅÐÌÀÍÈß HANNS-MICHAEL RUPPRECHTER / GERMANY

«Äîì ïèàðùèêà-áèçíåñìåíà» àóäèîïåðôîðìàíñ øêîëà, Øèðÿåâî

PR - man audio performance school, Shiryaevo


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«Ïî÷òîâûå êàðòî÷êè äëÿ Øèðÿåâî, íàâåÿííûå èñòîðèåé Æèãóëåâñêèõ ãîð»

«Postcards for Shiryaevo, inspired by a history of mountains Zhiguli»

ÃÅÐÎ ÃÅÒÖÅ / ÃÅÐÌÀÍÈß GERO GOETZE / GERMANY

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ÊÐÈØÍÀ ÑÓÁÐÀÌÀÍÈß / ÃÅÐÌÀÍÈß KRISHNA SUBRAMANIA / GERMANY «Äîì Sweet home» «Ïèñüìà ïóòåøåñòâåííèêà» ôîòîïðîåêò ñïîðòçàë, øêîëà, Øèðÿåâî «House Sweet home» «Letters of the traveller» the photoproject Sports hall, school, Shiryaevo


ÕÀÍÍÑ-ÌÈÕÀÅËÜ ÐÓÏÏÐÅÕÒÅÐ / ÃÅÐÌÀÍÈß HANNS-MICHAEL RUPPRECHTER / GERMANY «Äîì ïèàðùèêà-áèçíåñìåíà» àóäèîïåðôîðìàíñ øêîëà, Øèðÿåâî PR - man audio performance school, Shiryaevo


ÃÅÐÎ ÃÅÒÖÅ / ÃÅÐÌÀÍÈß GERO GOETZE / GERMANY «Ïî÷òîâûå êàðòî÷êè äëÿ Øèðÿåâî, íàâåÿííûå èñòîðèåé Æèãóëåâñêèõ ãîð» «Postcards for Shiryaevo, inspired by a history of mountains Zhiguli»

Îêîëî ïÿòè ÷àñîâ óòðà, êîãäà ÿ íèêàê íå ìîã çàñíóòü, ÿ íàäåë ñàìûå áîëüøèå ñàïîãè è ïîø¸ë èç Øèðÿåâî ê ñâÿòîìó èñòî÷íèêó.  íà÷àëå ÿ âñòðåòèë äâóõ "äðóæåëþáíûõ" ñåðûõ ñîáàê, êîòîðûå ìíå ñêàçàëè ÷òî ÿ íå íà ïðàâèëüíîì ïóòè è ïîêàçàëè ìíå ïðàâèëüíóþ äîðîãó. ß âîø¸ë â äîëèíó òî÷íî ïåðåä âîñõîäîì ñîëíöà, ÿ âèäåë òàíöû áåëûõ âåäüì è îíè óçíàëè ìåíÿ. ß îñìåëåë è ïîïðîñèë ó íèõ ñîâåòà. Îíè ñêàçàëè: "Âîçâðàùàéñÿ â Øèðÿåâî è èñíàñèëóé âñåõ æåíùèí ñ îãðîìíûìè ãðóäÿìè, ïîòîì âîçüìè ñàìûé îñòðûé íîæ è óáåé âñåõ õóäîæíèêîâ." ß ñêàçàë, ÷òî íå õî÷ó âñòàâàòü íà ïóòü íàñèëèÿ, è îíè ïîñîâåòîâàëè ìíå ïîãîâîðèòü ñ äâóìÿ ëåñíûìè ÷¸ðíûìè âîðîíàìè. Òàê ÿ ïîø¸ë äàëøå, íî êàê âñåì èçâåñòíî, ãîâîðèòü ñ âîðîíàìè îñîáåííî ñ ÷¸ðíûìè íåëüçÿ (è êòî òàê ãîâîðèò - ëæåò, èëè îí ïëîõîé ðàññêàç÷èê). Íàêîíåö ÿ äîñòèã èñòî÷íèêà, ðàçäåëñÿ è îáëèëñÿ âîäîé. È òîãäà êîìàðû ïðèíÿëè ìåíÿ çà çàâòðàê. ß çàòîðîïèëñÿ îáðàòíî â Øèðÿåâî è íå çàáûë íàïîëíèòü âîäîé áóòûëêó. Êîãäà ÿ ïîñëåäíèé ðàç îáåðíóëñÿ, äóõ æèãóëåâñêèõ ãîð ïîïðîáîâàë ïåðåïóòàòü ìîè ìûñëè ñ èëëþçèÿìè, íî òàê êàê ÿ áûë î÷åíü óñòàëûé, òî ïðîñòî ïðîäîëæèë ïóòü. ß ïðèø¸ë äîìîé, ñíÿë ñàïîãè, îõëàäèë ñâîè íîãè âîäîé èç èñòî÷íèêà è óñíóë. Áëàãîäàðþ òåáÿ ãîñïîäè - ÿ íå âåðþ! Íàëè÷èå ñåêñà èëè ñòîëêíîâåíèå ñ íîæîì ß òîëüêî íàäåþñü, ÷òî Âû äåðæèòå âàøè ãëàçà îòêðûòûìè In the morning, about five o’clock, when I still couldn’t find sleep, I put on my biggest boots and started a hike from Shirjaevo to the holy spring. First I met two “friendly”and grey dogs who told me that I am on the wrong path and showed me the right direction. As I came deeper in the valley, just before the sun raised, I saw white witches dancing, and as they recognised me, I dared for advice So they told me : Go back to Shirjaevo, rape all bigbreasted women of the village, then take your sharpest knife, and kill all artist. As I argumented that I am looking for a nonviolent path, they thought it would be better to ask the two black crows in the woods. So I went on, but as everybody knows you cannot talk to crows, especially not to black crows. (Anyone who says so is a lyer or even a bad fairy-tale teller ) At least I reached the spring, got naked and pored a bucket with springwater over myself. Then the moskitos decided to call me breakfast. So I hurried back to Shrijaevo, not forgetting to fill my bottle with spring water before. As I turned my head once on my way back the spirit of Shiguli mountains tried to fuck my mind last time with an illusion, but being tired to death, I just went on. As I arrived at the house, I pulled off my boots and cooled my feet with the springwater I brought with me, then fell to a deep and good sleep. Thanks to God, I am not believing! Having sex or running into knife I just hope You keep your eyes open

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ÑÅÐÃÅÉ ÁÀËÀÍÄÈÍ / ÐÎÑÑÈß SERGEY BALANDIN / RUSSIA «Ïðÿíè÷íûé äîìèê» èíñòàëëÿöèÿ êàðüåð, Øèðÿåâî «Gingerbread small house», installation, carier, Shiryaevo


ÃÐÓÏÏÀ ÖÂÅÒÎÔÎÐ / ÐÎÑÑÈß ZVETOFOR GROUP / RUSSIA «Òåëåãðàììà» îáúåêò, îêîëî åðèêà

Îáðàùàåì âíèìàíèå,÷òî ñàì òåðìèí - äîì, âáèðàåò â ñåáÿ ðÿä ñîâåðøåííî îïðåäåëåííûõ çíà÷åíèé, ôîðìàëüíûõ ïðèçíàêîâ, êóëüòóðíî-ñîöèàëüíûõ ÿâëåíèé, îáðàçóþùèõ ñàìî ïîíÿòèå ñîâðåìåííîãî ÷åëîâåêà: áåçîïàñòíîñòü æèçíåíî-ëè÷íîãî ïðîñòðàíñòâà, ìåñòî ïðîæèâàíèÿ(àäðåñ), êîììóíèêàòèâíîñòü ñðåäû îáùåíèÿ (âîçìîæíîñòü ïðèãëàøàòü è ïðèíèìàòü ãîñòåé), êîìôîðòíîå ñîñóùåñòâîâàíèå ëþäåé íà îãðàíè÷åííîé òåððèòîðèè, íå âîçíèêàåò ñîìíåíèÿ, ÷òî ïåðèîäè÷åñêè ïðîõîäÿùàÿ â ìåñòå÷êå Øèðÿåâî õóä. àêöèÿ è âîññîçäàåò ìîäåëü ýòàêîãî èíòåðíàöèîíàëüíîãî äîìà, ãäå íà âðåìÿ ïðåáûâàíèÿ ïðèåçæèå õóäîæíèêè ñòàíîâÿòñÿ öåíòðîì âíèìàíèÿ, ïðèíèìàÿ íà ñåáÿ ðîëü õîçÿåâ, à ìåñòíîå íàñåëåíèå - çðèòåëåé è ãîñòåé. Áóäó÷è çíàê îìû ñ ãåîãðàôè÷åñêèìè îñîáåííîñòÿìè, ìû ðåøèëè çàäåéñòâîâàòü ëàíäøàôò ìåñòíîñòè (îçåðî è ñêëîíû ãîð) äëÿ ñîçäàíèÿ ïðîèçâåäåíèÿ â ñòèëå land-art, êîòîðîå âêëþ÷àåò â ñåáÿ âñå âûøå ïåðå÷èñëåííûå êðèòåðèè, ñîçäàþùèå ñàìî ïîíÿòèå î äîìå.


We pay attention, that the term - the house, incorporates a line of completely certain values, formal attributes, the cultural - social phenomena forming concept of the modern person: safety of vitally personal space, a place of residing (address), influence of the environment of dialogue (an opportunity to invite and receive visitors), comfortable coexistence of people in the limited territory, does not arise doubts, that art action periodically taking place in place Shiryaevo and recreates model of a such international house where for the period of stay visitors artists become the center of attention, taking up a role of owners, and local population spectators and visitors. Being are familiar with geographical features, we have decided to involve a landscape of district (lake and slopes of mountains) for creation of product in style land-art which includes all above the listed criteria creating concept about the house.

ÂŤTelegramÂť The Object on the Lake

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ÃÅÐÌÀÍ ÂÈÍÎÃÐÀÄÎÂ / ÐÎÑÑÈß GERMAN VINOGRADOV / RUSSIA «Äîì-ìóçåé Ãåðìàíà Âèíîãðàäîâà â ñåëå Øèðÿåâî», îáúåêò (øòîëüíè) «Herman Vinogradov's House museum in village Shirjaevo», object, cave

Ìèð äóõîâ — ýòî óíèâåðñàëüíàÿ òåìàòè÷åñêàÿ àãëîÿìà (Ó.Ò.À.). Ïî ñòåïåíè ðàçîáù¸ííîñòè çíàìåíàòåëåé ðàçëè÷àþò òðè ñëîÿ Ó.Ò.À. Ïåðâûé ñëîé — íàæîð-çàïå÷àòàííûé.  ñàìîñòè äóõîâèäíîé çàâîñòðåííîñòè ïðîèñõîäÿò óæàñà(å)ìûå âåð÷è: à) Êðóòîáîê-ìèãàþùàÿ âåð÷ü ìíîãîæó÷àÿ; b) Âåëîáîê-ïîäìèã-ðûãàþùàÿ âåð÷ü ÷ó÷óõàÿ; c) Êîëáîáîê-çàäðûã-÷èõàþùàÿ âåð÷ü ïîäìÿêèòíàÿ. ×åðåç âåð÷è ïåðâîãî ñëîÿ äóõ òâîðèò ìîðêâàø-áûäûí. Âòîðîé ñëîé åñòü ñóòü êàë¸ñû ìî÷àë ãîðíåãî ìèðà. Ñàìîäîñòàòî÷íîñòü äóõîâèäíîé êëåéêîâèäíîñòè ïðÿìîëèçóåòñÿ íà çàëèïàõ ñòðóñåë ïîñðåäñòâîì ìåãàíîì-ïîäðÿñíèêà (ì.ï.) è ïñè-ãóòàëèíîâ (ï.ã.). Îñåäàÿ íà çàëèïàõ è àáñòðàãèðóÿ ñèãëîáóñû èñêëþ÷èòåëüíîé ïëîòíîñòè, çàâåð÷è èç ñîñòîÿíèÿ «ìîðêâàø-áûäûí» ñèôîëþöèîíèðóþò â ïðîòîí-ñîïëè êîñìè÷åñêîé äèñëîêàöèè. Òðåòèé ñëîé ñèâîöåíòðè÷åí äâóì ïåðâûì è ìîíàäíî óñòðåìëåí â êîðçÿâó áåñêîíå÷íîé ìîëîäîñòè, âåñíû è êðàñîòû. Çäåñü äóõ îáðåòàåò ðàçíîêîíå÷íîñòü âñòðîåííûõ àìïëèòóä è öåðåáðàëüíóþ óíàâîæåííîñòü. Îòêðûò êðóãëûé ãîä 24 â ñóòêè.


Ñèíîïñèñ Õóäîæíèê áûâàåò ëåíèâûé è òóïîé. Âñåì ÿñíî, ÷òî ïðîåêò çàêàí÷èâàåòñÿ òîãäà, êîãäà óìèðàåò èíòåíöèÿ ê åãî äåëàíèþ, äðóãèìè ñëîâàìè, ñìåðòü ïðîåêòà íàñòóïàåò, êîãäà îí âñòóïàåò â ñòàäèþ òóïîãî äåëàíèÿ. Ïðåâðàùàåòñÿ â ðóòèíó. ˸ãêîñòü — âîò ãëàâíîå êà÷åñòâî õîðîøåãî ïðîåêòà. Ïðîèçâåäåíèå èñêóññòâà ñäåëàííîå ïî ìàíîâåíèþ ðóêè. Èìåííî ýòî ïîçâîëÿåò ñîâåðøèòü íåâîçìîæíîå — áûñòðî è â ñîñòîÿíèè ïîëíîé ñâîáîäû ñîçäàòü ìíîæåñòâî âåëèêèõ ïðîåêòîâ. Îñîçíàíèå òîãî, ÷òî áîëüøèíñòâî èç íèõ íèêòî íèêîãäà íå óâèäèò, óòðàèâàåò íàøè ñèëû. Èäåàëüíûé ïðîåêò íåâîçìîæíî óâèäåòü…, à âîò, óñëûøàòü! ìîæíî. Íàñòîÿùåå ïðîèçâåäåíèå èñêóññòâî ìîæåò áûòü ñîçäàíî òîëüêî ëåíèâûì õóäîæíèêîì. Àóäèî èíñòàëëÿöèÿ «Äîëáî…» è åñòü òàêîå ïðîèçâåäåíèå. Íåñêîëüêî õóäîæíèêîâ íàãîâàðèâàþò âàðèàíòû ïðîåêòà äëÿ êîíêðåòíîãî ìåñòà è íà çàäàííóþ òåìó. Ýòî ïîõîäèò íà äîìàøíåå çàäàíèå è ìîçãîâîé øòóðì. Õóäîæíèêè âíåøíå âåäóò ñåáÿ ðàññëàáëåííî, íå ñòåñíÿþòñÿ â âûðàæåíèÿõ, è, òåì íå ìåíåå, âûñòðàèâàþò ìíîæåñòâî ëîãè÷åñêèõ öåïî÷åê. Îíè óñïåâàþò çà äåñÿòü ÷àñîâ ïðèäóìàòü ïÿòüäåñÿò âàðèàíòîâ ïðîåêòà, êàæäûé èç êîòîðûõ, âïîëíå, èìååò ïðàâî íà ñóùåñòâîâàíèå. Ïðîòèâîðå÷èâûé õàðàêòåð äåéñòâèÿ — ñïîíòàííûé (æèâàÿ áåñåäà) è îòâëå÷¸ííîêîíöåïòóàëüíûé (íè îäèí èç âàðèàíòîâ íå áûë ðåàëèçîâàí) ïðåâðàòèëñÿ â ãîòîâûé àóäèî ïðîåêò. Ôðàãìåíò áåñåäû. …………….. Âàëåðà: Êñòàòè, äåëî åù¸ â ôîðìå íàøåãî ðàçãîâîðà. Ìîæåò áûòü, ìû áóäåì ãîâîðèòü òîëüêî íåöåíçóðíûìè ñëîâàìè. Èëè òîëüêî… Êåøà: Êñòàòè, ìûñëü... Ìûñëü íåïëîõàÿ. Âàëåðà: Òàê, ÷òîáû…Íó, ôîðìà… Ìåíÿ âñåãäà èíòåðåñóåò áîëüøå ôîðìà. Êåøà: Äëÿ òîãî, ÷òîáû î÷èñòèòü êàê-òî ýòî ñàìîå, äà…

Âàëåðà: Âåäü âñ¸ ðàâíî î ÷¸ì ãîâîðèòü, ãëàâíîå… ôîðìà âûðàæåíèÿ… Êîñòÿ: Íó, ñ äðóãîé ñòîðîíû, íàäî áîðîòüñÿ çà ÷èñòîòó ÿçûêà. Êåøà: Òî åñòü òîëüêî íåöåíçóðíûìè. Âàëåðà: Êñòàòè, áëÿäü, ¸áàíûé â ðîò, âû çíàåòå, ÷òî ïîä Ñàìàðîé, áëÿõà-ìóõà… Êîñòÿ: Ó òåáÿ ëèøíèå ñëîâà ïîÿâëÿþòñÿ. Âàëåðà: …íàõîäèòñÿ âòîðàÿ Ñàìàðà… Êåøà: ñëîâà-ïàðàçèòû Âàëåðà: ïîä Âîëãîé íàõîäèòñÿ Âîëãà, à ïîä Ñàìàðîé åù¸ îäíà Âîëãà, îé, à ïîä Ñàìàðîé - åù¸ îäíà Ñàìàðà. Êîñòÿ: Íó, ýòî ïîä Ìîñêâîé åù¸ îäíà Ìîñêâà, ýòî, â îáùåì, âñ¸ ìû çíàåì. Âàëåðà: Íó, ýòî æå áûë çàêðûòûé ãîðîä, Ñàìàðà, òàì æå äåëàëè ÷òî, ðàêåòû? Èëè ÷¸ òàì äåëàëè? Êîñòÿ: Ñàìàðà – ýòî Êóéáûøåâ. Êóéáûøåâ. Âàëåðà: À? Êîñòÿ: Êóéáûøåâ. Êåøà: Õóéáûøåâ Âàëåðà: Ñàìàðà - ýòî áûë… áûë Êóéáûøåâ? Êåøà: À òî - õóé, ÷òî ëè? Âàëåðà: À ÿ… ÿ… ÿ çàáûë…çàáûë. Âñ¸ âðåìÿ ìåíÿþò íàçâàíèÿ. Ýòî óæàñíî. Íó, ïîíÿòíî, äèíàìèêà óâåëè÷èâàåòñÿ… Êîñòÿ: Íó, ÿ íå çíàþ, òàì… Âàëåðà: ÷åëîâå÷åñòâî õî÷åò ñïðÿòàòüñÿ. Êîñòÿ: âîçâðàùàòüñÿ ê Êóéáûøåâó, è ÷åãî-òî ýòî ñàìîå òàì… Êåøà: Ïðî Êóéáûøåâà òîæå ìîæíî ñäåëàòü, êîíå÷íî… Êîñòÿ: Ëåãåíäû Êóéáûøåâà. Êåøà: Êàê, Áëÿäü!… Êîñòÿ: À òàê, «Ìàëü÷èê èç Óðæóìà», ýòà êíèæêà ïðî… Âàëåðà: Ìàëü÷èê èç Óðæóìà! Êîñòÿ: Ýòî æ ýòî ñàìîå - ïðî Êóéáûøåâà, ïî-ìîåìó. Êåøà: Íó, à êàê âîîáùå, êàê âîò ìîã… Âàëåðà: Ýòî êîãî – Ãîðüêîãî? Êåøà: …Ìîã ãîðîä… äà íåò, íó ñîâåòñêàÿ êíèæêà, òàêàÿ, äåòñêàÿ… êàê ìîã ãîðîä íàçûâàòüñÿ Êóéáûøåâ? Ñåìüäåñÿò ëåò, áëÿäü, Ðóññêèé íàðîä ýòî òåðïåë. Âàëåðà: Íó à ÷òî…À… À? Êåøà: Íó à ÷òî, áëàãîçâó÷íî ýòî çâó÷èò – «Êóéáûøåâ»? Ëàäíî, íó,

ÏÐÎÃÐÀÌÌÀ ESCAPE / ÐÎÑÑÈß Âàëåðèé Àéçåíáåðã, Âèêåíòèé Íèëèí, Êîíñòàíòèí Àäæåð ESCAPE PROGRAM / RUSSIA Valery Aizenberg, Vikenty Nilin, Konstantin Adzher «Äîëáî…» Àóäèî èíñòàëëÿöèÿ “…ckheads” Audio installation ïðîñòî ñëîâî «êóé», íó, õîðîøî. Íî åù¸, «áû» òàì. Êóé áû. Âàëåðà: Õóé áû. Êåøà: Äà, äà, äà. Øåô. Êîñòÿ: Êóéáûøåâ ýòî æå Êåøà: øåô Êîñòÿ: …êà…êà… êàçàõñêîòàòàðñêàÿ ôàìèëèÿ, êîòîðàÿ… Êåøà: Äà, ÿ… ÿâíî òþðêñêàÿ, êîíå÷íî. Âàëåðà: Òàê… Òàê, à âñå… âñå… Êàðàìçèí, çíàåøü êàêàÿ ïîíàñòîÿùåìó ôàìèëèÿ? Êåøà: Òàòàðñêàÿ. Êàðàìóðçèí? Âàëåðà: Êàðà-Ìóðçà, õà-õà, Êåøà: Íó, ïîäîæäèòå, à âû çíàåòå, ÷òî… è Íàáîêîâ - ýòî… ýòî òàòàðèí… à âû çíàåòå, ÷òî… Íàïîìèíàåò ýòî «õóé áû øåô – à òî êàêîé-òî, áëÿäü… êàêàÿ-òî ìàíäàâîøêà óêàçûâàåò» – âîò æå îòêóäà ïðîèçîøëà ýòà ôàìèëèÿ Âàëåðà: Âîò, Òàê, ÷òî… Êàê-òî âîò ýòî… Òàê âîò èç ÷åãî ìîæåò ñîñòîÿòü ïðîåêò? Èëè ìû åù¸ íå ïîíÿëè, ÷åì… Êîñòÿ: Íåò, ñíà÷àëà ìû äîëæíû ïîíÿòü, èç ÷åãî, ÷òî… ÷òî çà ïðîåêò. Âàëåðà:  ÷¸ì åãî ôèøêà. Êîñòÿ:  ÷¸ì åãî, êàê áû, ôèøêà, ñóòü. Êåøà: Íó, âîò ýòà ëàíäøàôòíàÿ ìíå íðàâèòñÿ èñòîðèÿ… Êîñòÿ: Äà. Òî åñòü âîò… Áûëà áû íîðìàëüíàÿ ðàáîòà, åñëè áû ìû äîãîâîðèëèñü ñ Ãóãëîì, è â ýòîì ìåñòå âûâåñèë ðåàëüíî Ãóãë áû âûâåñèë êàêóþ-íèáóäü õðåíîâèíó. Êåøà: Íó, ýòîãî íå áóäåò íèêîãäà Âàëåðà: Íó êàê, íó Ãóãë? Ïðèåõàë… ïðèåõàë Ãóãë â Øèðÿåâî. Âû… è òàì ÷òî-òî ïîñòàâèë? Êåøà: Äà íåò, Êîñòÿ: Íå, íå, íå. Íà êàðòå, íà êàðòå

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Êåøà: Ãóãë, è èç ëþáîé òî÷êè çåìíîãî øàðà… Êîñòÿ: ×òîáû íà êàðòå… Êåøà: …ìîæíî áûëî áû çàãëÿíóòü è óâèäåòü òàì êàêîé-íèáóäü êóêèø… ……. Âàëåðà: Ìîæíî óñòðîèòü ïåðåïðàâó ÷åðåç Âîëãó. Äà, òàê âîò ÷òî Ãóãë ïîïðîñèòü? ß íå çíàþ, âîò… îáùàòüñÿ ñ ýòèìè îðãàíèçàöèÿìè ÿ íå óìåþ. ×òî? Êåøà: Íó, ïèñüìî íàäî íàïèñàòü. Âàëåðà: Êàêîå ïèñüìî? Î ÷åì? Êåøà: Ìû òàì òàêèå-òî, ïðè ïîääåðæêå àðò-öåíòðà «Âèíçàâîä», ãàëåðåè Ãåëüìàíà, ãàëåðåè «XL», Íèêè÷à, êñòàòè - ôîíäà òàì êàêîãîòî âîò åãî… èíèöèàòèâ. Êåøà: Äà. Ïðîñèì Âàñ ðàññìîòðåòü âîïðîñ î âîçìîæíîñòè îêàçàíèÿ ñîäåéñòâèÿ ïðîåêòó òàêîìó-òî, è âñå. Ïðîåêò ïðèçâàí ïðîäåìîíñòðèðîâàòü âåëè÷èå ÷åëîâå÷åñêîé ìûñëè â îáëàñòè îñâîåíèÿ êîììåð÷åñêîãî êîñìîñà. Êîñòÿ: Êîñìîñà, äà. Âàëåðà: Âåëè÷èÿ ÷åëîâå÷åñêîé ìå÷òû. Ìå÷òû î Êîñìîñå. Êåøà: … Íà ïðèìåðå ïîñ¸ëêà Øèðÿåâî ïîä Ñàìàðîé. Êîñòÿ: Èçâåñòíîãî ìåñòà â Ðîññèè. Êåøà: Äà. Êîñòÿ: Êóëüòîâîãî. Êåøà: Äà, Êóëüòîâîãî, ïðàâèëüíî, êóëüòîâîãî ìåñòà â Ðîññèè, òèðå, … íó, è òàê äàëåå, è òàê äàëåå… È ïîýòîìó ìû ïðîñèì… â êîòîðîì âîñ… âîò óæå â âîñåìíàäöàòûé ðàç ïðîâîäèòñÿ Âñåìèðíûé Ôåñòèâàëü Ñîâðåìåííîãî Èñêóññòâà. Êîñòÿ: Òðåòèé ïîñëå Âåíåöèè... Íó, äà, íó, è ÷òî? ………………. Âàëåðà: Çíà÷èò, âñ¸-òàêè ÿ äóìàþ î ïðîåêòå «Òóðèñòè÷åñêèé ìàðøðóò», äîïóñòèì. Ïðîäîëæàþ äóìàòü.  ÷¸ì îí äîëæåí çàêëþ÷… - ìîæåò çàêëþ÷àòüñÿ â òåõ çíàêàõ, ïî êîòîðûì ìû áóäåì âåñòè ëþäåé. Äîïóñòèì, äåñÿòü êàêèõ-òî ìåñò, íà êîòîðûõ áóäóò ñòîÿòü êàêèå-òî çíàêè. Íî òîãäà êàêèå çíàêè? Ïàëêà, íà êîòîðîé ÷òî-òî òàì òàêîå åñòü. Êåøà: Ìì. Òî åñòü, íó, äà. Ëàáèðèíò òàêîé. Âàëåðà: È ÷òî òàéíà òîãî ìàðøðóòà ðàñêðûâàåòñÿ òîëüêî â êîíöå. Çà÷åì? Íó, ìîæåò, Ýòî, ýòî, ýòîò ñþæåò êàêîé-òî. Êåøà: Íó, äà, ïîõîä òàêîé.

Ñïîðòèâíîå îðèåíòèðîâàíèå òàêîå, äà? Êîñòÿ: Îõîòà íà ëèñ? Âàëåðà: Ìîæåò áûòü ÷òî-òî, ïðè ýòîì, ÷òî-òî ýòè ï… ï… òóðèñòû äîëæíû… Êîñòÿ: Ïîèñê èñêóññòâà ïðè åãî îòëè÷èè… Ïðè åãî… Êàê áû… Ïðè òîì, ÷òî åãî òàì íåò? Âàëåðà: Ìîæåò, îíè äîëæíû â ðóêàõ íåñòè ÷òî-òî? ×òî áóäåò ëèáî íåóäîáíî, ëèáî êàê-òî... Êåøà: Íó, äà, èãðà òàêàÿ. Âàëåðà: Ìîæåò áûòü äí¸ì ðàçäàòü âñåì ôîíàðèêè? Êîñòÿ: À? Íåò, Âàëåð, ñêîëüêî æå ýòî ôîíàðèêîâ-òî? Âàëåðà: À? Êîñòÿ: ñêîëüêî æå ýòî ôîíàðèêîâ è ãäå òû ôîíàðèêîâ ñòîëüêî âîçüìåøü? Âàëåðà: Íå çíàþ. Ýòî æå íàäî îòìà÷èâàòü åñëè òû õî÷åøü ñíÿòü, òî íàäî ïîëîæèòü â âîäó… Êåøà: È îíà ðàçëåçåòñÿ. Âàëåðà: Ìîæåò íàäî âñåì ðàçäàòü îäåæäû êàêèå-òî. Ìîæåò íàäî ðàçäàòü îäåæäû, êîòîðûå… À, ñøèòü îäåæäû, â êîòîðûå, äîïóñòèì… Â ÷åì áûëè îäåòû ãåðîè êàêîé-íèáóäü êàðòèíû. Êîñòÿ: Áóðëàêè íà Âîëãå? Ìû, êîíå÷íî, ìîæåì ñûãðàòü íîâûõ áóðëàêîâ, êîòîðûå âåçóò âìåñòî êîðàáëÿ - èñêóññòâî. Âàëåðà: Òàùàò êàðòèíû, ÷òî ëè? Êîñòÿ: Íó, ýòî ñëèøêîì òåàòðàëüíî, ïàôîñíî è ïàòåòè÷íî… Êåøà: Íó, íå áóäåò ëè ýòî ñëåãêà ÊÂÍ-íî, ÿ áû ñêàçàë. Ïîòîì Àëüáåðò òîæå èì ïðåäëàãàë áóðëàêîâ… Êîñòÿ: Íåò, íà ñàìîì äåëå, ìîæíî çàïðÿ÷ü âñåõ â ýòó… â óïðÿæêó, ÷òîáû îíè âìåñòå øëè… Êåøà: È… À íà òîé ñòîðîíå… Êîñòÿ: Íó è ÷åðò ñ íèì Êåøà: … äðóãîé êàíàò… äðóãóþ êîìàíäó è ïåðåòÿãèâàíèå êàíàòîâ. Âàëåðà. Ìîæåò áûòü, ñîâìåñòèòü äâå êàðòèíû – «Áóðëàêîâ» Ðåïèíà è «Ñëåïöîâ» Áðåéãåëÿ. Õà-õà-õà! Êåøà: Ìîæåò áûòü, ðàçäâîèòåñü â… Âàëåðà: Ìîæåò áûòü, ñëåïöîâ Áðåéãåëÿ ïîñòàâèòü íà áå… âîëæñêèé áåðåã, ÷òîá îíè òàê âîò øëè, êàê, òàê, ïëå… Êàê îíè òàì ðóêè íà ïëå÷è êëàëè ïðåäûäóùèì? Íî åñòü è äðóãîé âàðèàíò, èç… åñëè õî÷åòñÿ êîìó-íèáóäü… Êåøà: Áóðëàêîâ è Ïðîâîäû

ïîêîéíèêîâ. Âàëåðà: Ïðîâîäû, êàêèå? Ïîêî…Ïîêîéíèêîâ? Êåøà: Ïîêîéíèêà, Ïåðîâà. Âàëåðà: Íó, òû èìååøü â âèäó ÷òî? Òðîéêó, ÷òî ëè? Êåøà: Íåò, åñòü òàêîå ïðîèçâåäåíèå «Ïðîâîäû ïîêîéíèêà» ó Ïå… òîãî æå àâòîðà. Âàëåðà: Ãðîá òàì ó íåãî… Êåøà: Ãðîá, âñå Âàëåðà: ×å-òî, äà Êîñòÿ: …Âåçóò, äà. Âàëåðà: Èíîé ðàç…Íåâåðîÿòíî ìðà÷íûé õóäîæíèê. Êåøà: Óäèâèòåëüíûé êàêîé-òî Âàëåðà: Õóäîæíèê ñòðàøíûé ïðîñòî, õà-õà-õà, õó… ñòðàøíåå, ÷åì Îòòî Äèêñ. Êåøà: Îí íàïîìèíàåò ìíå… Êîñòÿ: Ó íåãî áûëà íàâåðíî ýòà ñàìàÿ… äå… äå… äåïðåññèâíûé êàêîé-òî òàì ñèíäðîì êàêîé-òî Êåøà: Íåò, ïðîñòî ïðè êàïèòàëèçìå æèë. Õà-õà-õà-õà, à íå ïðè Ñîâåòñêîé âëàñòè. Êåøà: Äà, òîãäà âñå á… íó íå çíàþ, íàñ òàê ó÷èëè. Âàëåðà: Íó äà. Êåøà: À âîò ýòà, áëÿäü, êàðòèíà ñ æåíùèíîé ñ øåñòüþ ðóêàìè? Âàëåðà: Ó êîãî. Êåøà: Ó íåãî. Âàëåðà: Ó íå çíàþ Êåøà: Äà, åñòü, êàêàÿ-òî ßðîñëàâíà, èëè êàêàÿ-òî, õóé çíàåò ÷òî. Íó êàê ó Ãåêêåëüáåðè Ôèííà. Âàëåðà: ßðîñëàâíà, òû èìååøü â âèäó, êîòîðàÿ ñòîèò è ïëà÷åò? Êåøà: Äà. È ó íå¸ øåñòü ðóê ïðè ýòîì. Îõóåííîå ïðîèçâåäåíèå. Íó, áëÿäü, äóìàë, äóìàë è òàê íå îñòàíîâèëñÿ. Âàëåðà: Ýòî æ äî÷êà ßðîñëàâà Ìóäðîãî. Êåøà: Íó, íàâåðíîå. Âàëåðà: À, ó êîòîðîãî ìóæ áûë ýòîò… Êåøà: Êíÿçü Èãîðü, Âàëåðà: …êîòîðûé ñ õàçàðàìè ïà… ñ ïîëîâöàìè. Êåøà: Äà íå áûëî íèêàêèõ õàçàð, íó ÷òî, òû-òî, áëÿäü, Âàëåðà: Ñ ïîëîâöàìè. Êåøà: …Êàê åâðåé, òû ìîæåøü ïîíèìàòü, Âàëåðà: Ñ ïîëîâöàìè. Êåøà: ÷òî íèêàêèõ õàçàð íå áûëî è áûòü íå ìîãëî. Âàëåðà: Ñ ïîëîâöàìè, ëàäíî, íå õî÷åøü õàçàð, ëàäíî. Êåøà: Íó, ñ ïîëîâöàìè ìîã ÷¸-òî


îí èìåòü, íî Êîñòÿ: Ïîëîâöû… Âàëåðà: Òàê ýòî æå Îëåã áûë, äà? Êåøà: Èãîðü. Ñëîâî î ïîëêó Èãîðåâå. Âàëåðà: Èãîðü. Èãîðü. Èãîðü. Äà. Âîò. Èãîðü áûë ìóæ äî÷êè ßðîñëàâà ìóäðîãî? Êåøà: Äà. À äðóãàÿ äî÷êà, Ñîôüÿ áûëà ôðàíöóçñêîé êîðîëåâîé, èçâèíèòå. Âàëåðà: Äà, ïðåêðàñíî… Êîñòÿ: Íó, òîãäà Ôðàíöèÿ åù¸ áûëà íå â ïî÷¸òå, ïîýòîìó ýòî áûëî íîðìàëüíî. Êåøà: Íó, êàê òåáå ñêàçàòü. Ôðàíöèÿ áûëà êàê ãîñóäàðñòâåííîå îáúåäèíåíèå, îáðàçîâàíèå – íå â ïî÷åòå. Íî ôðàíñêèé… ôðàíêñêèé-òî ÿçûê – îí ñòàðøå âñåõ, áëÿäü, îí òàêîãî æå âîçðàñòà, êàê ýòðóññêèé. Çâîíèò òåëåôîí Âàëåðà: Îíè âñå èç ëàòûíè âûøëè âñå. Êåøà: Äà õóé-òî. Îíè ðîâíî òàêîãî æå âîçðàñòà Çâîíèò òåëåôîí Âàëåðà: Ñëóøàé, íó, âîò ýòî óæå íà÷èíàåòñÿ çàãðóçêà ñ òâîèì ýòèì… ýòèì Êóðîâûì! ………………….. Âàëåðà: …Âçÿòü ñ ñîáîé âèäåîïðîåêòîð, Êîñòÿ: …ÿ ïðî âèäåî òîæå ïîäóìàë îá ýòîì… Âàëåðà: ïðèâåçòè, è âå÷åðîì ïóñêàòü íà êàêîé-òî… çàêàçàòü ó íèõ, ÷òîáû îíè ñäåëàëè ýêðàí, è âñå. È ïóñêàòü íà ýòîò ýêðàí âèäåî ïðî Øèðÿåâî. âèäåî ïðî Øèðÿåâî ëþäåé, êîòîðûå íèêîãäà íå áûëè â Øèðÿåâî. Êîñòÿ: Ïóñòèòü ýýýý… Íà ñàìîì äåëå, ìîæíî, êîíå÷íî, ó êàæäîãî â Ìîñêâå ñïðîñèòü ÷òî-òî…×òî âû äóìàåòå î Øèðÿåâî? ×òî òàêîå Øèðÿåâî? Âñå áóäóò ãîâîðèòü: íå çíàþ, ïîø¸ë òû, è âñå… Âàëåðà: Íó, èíòåðâüþ. À-à, õî… õîäèòü ïî Ìîñêâå, áðàòü èíòåðâüþ: âû íå çíàåòå, òàêîå âîò Øèðÿåâî, êàê òóäà ïðîéòè? Êîñòÿ: Âû íå çíàåòå, êàê ïðîéòè â Øèðÿåâî? Âàëåðà: Íó, äà, íà êàêîé óëèöå íàõîäèòñÿ äåðåâíÿ Øèðÿåâî? Íó, äà, Íó, ìîæåò áûòü, äà. Êîñòÿ: Øèðÿåâî, âîò… È ïóñòèòü êàêîé-íèáóäü òðàêòîð è ÷òîáû îí åõàë, è ÷òîáû íà í¸ì òðàíñëèðîâàëîñü âèäåî. Âàëåðà: Ýòî íàäî ïðîñòî çàêàçàòü

òàêîé ãðóçîâè÷îê, íà… íà… íà…çà… çàäíåé ñòåíêå êîòîðîãî… Êîñòÿ: Äà, Âàëåðà: Èäåò ýòî… Êîñòÿ: Ñ êóçîâà ó êàáèíû, èëè â êàáèíå – ýòîò ñàìûé, à ñçàäè Âàëåðà: Ýêðàí. Êîñòÿ: Âèäåîýêðàí, äà. Ãäå íàäïèñü «ëþäè». Âàëåðà: Íó ýòî óæå… óæå ñëîæíî. Êîñòÿ: Íó, ýòî òåõíîëîãè÷åñêîå Âàëåðà: Ïðîùå âç… ïðèâåçòè ñ ñîáîé ïðîåêòîð Êîñòÿ: è ñïðîåöèðîâàòü êóäà ïðèä¸òñÿ. Âàëåðà: Õîòü íà äåðåâî. Êîñòÿ: Âåçäå áóäåò õîðîøî, íà ñàìîì äåëå. Âå÷åðîì êóäà ëó÷ íè ïîïàäåò… Âàëåðà: Íî âå÷åðîì… Âå÷åð íà÷èíàåòñÿ ãäå-òî â îäèííàäöàòü. Êîñòÿ: Ìû äîãîâîðèìñÿ. Âàëåðà: Çíà÷èò, ÿ ñ÷àñ â Íèæíåì Íîâãîðîäå ø¸ë â… â…. ÷åòâåðòü… íåò, ÿ ø¸ë, íåò, ÿ ø¸ë, óæå ïîñëå äåñÿòè – åù¸ áûëî òàê, ñâåòëîâàòî. Êîñòÿ: Íó, ñåé÷àñ óæå…òû ñìîòðè, ÷òî áóäåò àâãóñò… Âàëåðà: Âîò ñ÷àñ – ñâåòëî çà îêíîì? Êîñòÿ: àâãóñò… àâãóñò… Âàëåðà: À óæå äåñÿòü ÷àñîâ – ïîñìîòðè íà óëèöó Êåøà: Äà óæå äåñÿòü ÷àñîâ. Êîñòÿ: Àâãóñò… ýòî åùå ÷åðåç ìåñÿö ïî÷òè, ÷åðåç ìåñÿö â äåñÿòü óæå áóäåò òåìíî. ……………….

ÏÐÎÃÐÀÌÌÀ ESCAPE / ÐÎÑÑÈß Âàëåðèé Àéçåíáåðã, Âèêåíòèé Íèëèí, Êîíñòàíòèí Àäæåð ESCAPE PROGRAM / RUSSIA Valery Aizenberg, Vikenty Nilin, Konstantin Adzher «Äîëáî…» Àóäèî èíñòàëëÿöèÿ “…ckheads” Audio installation

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ÏÐÎÃÐÀÌÌÀ ESCAPE / ÐÎÑÑÈß Âàëåðèé Àéçåíáåðã, Âèêåíòèé Íèëèí, Êîíñòàíòèí Àäæåð ESCAPE PROGRAM / RUSSIA Valery Aizenberg, Vikenty Nilin, Konstantin Adzher «Äîëáî…» Àóäèî èíñòàëëÿöèÿ “…ckheads” Audio installation

Synopsis An artist can be lazy and numbbrained. It is clear to everyone that the project is over when intention to do it dies, in other words project death comes when it enters the stage of dull making. It turns into a routine. Easiness is the main quality of a good project. A piece of art made by wave of a hand. That’s what allows doing impossible things – quickly and in condition of absolute freedom create a heap of great projects. Realization of the fact that most of them no one will ever see triples our force. It is impossible to see a perfect project…, but to listen to! Possible. The real piece of art can be created only by a lazy artist. Audio installation “…ckheads” is this very piece. Several artists record project options for a specific place and on a set topic. This sounds like a home task and a brain storm. Outwardly the artists sound laid-back, do not mince their words, but still build many strings of logic. In ten hours they manage to invent fifty options of a project, each of them have a right to exist. Contradictory character of action, spontaneous (alive talk) and abstractedly-conceptual (not a single option has been implemented), turned into a ready audio project. Fragment of the talk. …………

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Valery: By the way, the thing is in a form of our conversation. Perhaps we will talk swear words. Or just… Vikenty: By the way, that’s the idea... A good idea. Valery: Like to…Well, form… I’ve been always more interested in a form. Vikenty: To clear somehow jigamy, yeah… Valery: No matter what you speak about, the main thing… form of expression… Konstantin: Well, but on the other hand, one should fight for the integrity of a language. Vikenty: You mean only swear words. Valery: By the way, fuck, damn, you know there’s second Samara, holy mackerel… Konstantin: You got excessive words. Valery: …under Samara… Vikenty: expletives.

Valery: The Volga under the Volga and the Volga under Samara, ouch, one more Samara under Samara. Konstantin: Hey, there’s one more Moscow under Moscow, we know that in sum. Valery: No kidding, t’was closed city, Samara I mean, they made what, rockets? Or what they made? Konstantin: Samara is Kuibyshev. Kuibyshev. Kuibyshev. Valery: Eh? Konstantin: Kuibyshev. Vikenty: Cockbyshev. Valery: Samara so was… was Kuibyshev? Vikenty: Or what else - cock, or what? Valery: And I… I… I forgot…forgot. They change names all the time. That’s awful. Well, clear, dynamics is growing… Konstantin: So, dunno, like… Valery: Humanity wanna hide. Konstantin: Get back to Kuibyshev, and something jigamy, like… Vikenty: You bet it can be done about Kuibyshev… Konstantin: Kuibyshev Legends. Vikenty: What the fuck?… Konstantin: Well, “A Boy from Ourzhum”, the book’s about… Valery: A Boy from Ourzhum! Konstantin: That’s, jigamy, goes about Kuibyshev, I guess. Vikenty: Yeah, how generally, how could… Valery: D’ya mean Gorki? Vikenty: …Could a city… nah, that Soviet book, like, for kids… how could a city be called Kuibyshev? Seventy fucking years Russian people took that shit. Valery: So what…Er… Er? Vikenty: So what, is it harmonious, Kuibyshev? Allright, like, just “cock”, okay. But there’s “bysh” over there. Bish, yeah. Kui bish. Valery: Cock bish. Vikenty: Yeah, yeah, yeah. Shit. Konstantin: Kuibyshev, why, that’s Vikenty: shit Konstantin: …ka…ka… Kazakh and Tatar surname, which… Vikenty: Yup, ah…obviously Turkish, you bet. Valery: So… So, and all of… all… Karamzin, d’ya know what real surname is that? Vikenty: Tatar. Karamurzin? Valery: Kara-Murza, ha-ha, Vikenty: Heh, wait, d’you know that…


Nabokov also is… is Tatar… d’you know that… Sounds like “Cock bish shit, let fucking bish shit, nah, God damn cunt farts”, that’s where the surname came from Valery: There, so that… Somehow, kinda… That’s what can do a project? Or we yet don’t see what… Konstantin: No, we’ve gotta understand up-front, what… what’s the project. Valery: What’s a story of it. Konstantin: What’s its, kinda, story, essence? Vikenty: Well, I like this landscape story … Konstantin: Yeah. I mean, there… It would be a kinda nice job if we’d fix with Google, and Google’d really post some shit in this place. Vikenty: Come on, that would never be. Valery: Go on like, like Google? Came… Google came to Shiryaevo. Ex… and put something over there? Vikenty: Nope, Konstantin: No, no, no. On a map, on a map, Vikenty: Google, and from any place of the globe… Konstantin: Got to be on a map… Vikenty: …you could look at and see like the bird … ……. Valery: Can fix Volga crossing. Yeah, but what we’d ask from Google? Dunno, like… I seem like can’t go around with these guys. What? Vikenty: Gotta write a message. Valery: What message? What about? Vikenty: We, like, such-and-such, under the auspices of Vinzavod artcenter, Helman’s gallery, XL gallery, Nikich, by the way, his kinda foundation of … initiatives. Vikenty: Yeah. Could you consider a possibility of facilitating such-andsuch project, that’s it. The project should demonstrate the grandeur of human ideas in the field of commercial outer space exploration. Konstantin: Space, yup. Valery: Grandeur of human dream. Dream about Space. Vikenty: … By the example of Shiryaevo, village near Samara. Konstantin: A well-known place in Russia. Vikenty: Aye. Konstantin: Iconic one. Vikenty: Yeah, iconic, right, an iconic place in Russia, dash,

… and all that kind of crap… That’s why we ask you… which eigh… holds Worldwide Festival of Contemporary Art for the eighteenth time. Konstantin: The third one after Venice... Well, yeah, so what? ………… Valery: I mean, I still keep thinking about, let’s say, “Tourist Route” project. Keep thinking. Where should it lie… - it can consist of signs we’d use to guide people. Let’s say some ten places where there would be some signs. But then, what signs? A stick with something on it. Vikenty: Mm. I mean, well, yeah. A kind of labyrinth. Valery: So the mystery of the route is revealed only at the end. What for? Well, there maybe a kind of story. Vikenty: Well, yeah, that kind of approach. A sort of orienteering, ain’t it? Konstantin: Fox hunting? Valery: Maybe at the same time these f… f… tourists got to … Konstantin: Looking for art while it differs… While it… Like… While it’s not there? Valery: Maybe they got to carry something? Something that’d be either inconvenient or a kind of... Vikenty: Well, yeah, a kinda game. Valery: Maybe we got to hand out search lights in daytime to everybody? Konstantin: Eh? Nope, Valery, imagine that bunch of search lights. Valery: Eh? Konstantin: that bunch of search lights and where you gonna take them? Valery: Dunno. That got to be soaked if you gonna put it off, you gotta put in water… Vikenty: An’ it’ll come apart. Valery: Maybe we should distribute kind of clothes. Maybe we should hand out clothes which … Well, yeah, sew clothes which, let’s say… Which had on some characters of a movie. Konstantin: “Barge Haulers on the Volga”? You bet we can play new haulers, who draw art instead of a barge. Valery: They draw pictures you mean? Konstantin: Well, that’s way too theatrical, pompous, and pathetic … Vikenty: Well, ain’t it be a bit like

panel games, I’d say. And then Albert also suggested haulers … Konstantin: Nah, we can harness everybody… and let’em go together … Vikenty: And… at the other side… Konstantin: Damn it Vikenty: … other rope… other team and tug-of-war. Valery: Maybe combine two pictures – Repin’s “Haulers” and Breughel’s “The Blind”. Ha-ha-ha! Vikenty: Maybe dialyze into… Valery: Perhaps put Breughel’s the blind by the b… Volga bank and let’em go like shoul… How they put’er hands on those who go ahead shoulders? But there’s another option of… if somebody feel like… Vikenty: Haulers and Last Journey. Valery: Journey, what? “Last Journey”? Vikenty: Perov’s “Last Journey”. Valery: So, you mean what? “Troika” you mean? Vikenty: Nope, there’s such piece “Last Journey”, Pe… the same author. Valery: There’s a hearse on it… Vikenty: Hearse, that’s what Valery: There’s something, yeah Konstantin: …They hearse, yeah. Valery: Sometimes…Incredibly gloomy painter. Vikenty: Kind of astounding Valery: He’s just a frightful painter, ha-ha-ha… more frightful than Otto Dix. Vikenty: He reminds me… Konstantin: He’s got that, jigamy, like… de… de… depressive syndrome Vikenty: Nope, he just lived under capitalism. Ho-ho-ho, and not under Soviet power. Vikenty: Those times all w… not sure, we were told like that. Valery: Oh, yeah. Vikenty: And that fucking picture with a women with six hands? Valery: Who painted. Vikenty: He. Valery: Dunno Vikenty: Yup, there’s some Yaroslavna or a kind of crap. Like Huckleberry Finn. Valery: Yaroslavna, you mean, she stays and pleas? Vikenty: Yeah. And she’s got six hands at that. Fucking great picture. Damn, I thought, thought and ain’t

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ÏÐÎÃÐÀÌÌÀ ESCAPE / ÐÎÑÑÈß Âàëåðèé Àéçåíáåðã, Âèêåíòèé Íèëèí, Êîíñòàíòèí Àäæåð ESCAPE PROGRAM / RUSSIA Valery Aizenberg, Vikenty Nilin, Konstantin Adzher «Äîëáî…» Àóäèî èíñòàëëÿöèÿ “…ckheads” Audio installation

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picked. Valery: She’s the daughter of Yaroslav the Wise. Vikenty: Well, likely. Valery: Aye, her hubby was that… Vikenty: Prince Igor, Valery: …he fought with the Khazars the Pa… the Polovets. Vikenty: There were no freaking Khazars, what are you, shit, Valery: With the Polovets. Vikenty: …Being a Jew, you can see, Valery: With the Polovets. Vikenty: there were no Khazars, were no and they couldn’t be there. Valery: With the Polovets, okay, don’t want Khazars, okay. Vikenty: There, he could have some deal with the Polovets but Konstantin: Polovets… Valery: But Oleg that was, ain’t he? Vikenty: Igor. The Lay of Igor’s Warfare. Valery: Igor. Igor. Igor. Yeah. There. Igor was a hubby of Yaroslav’s the Wise daughter? Vikenty: Yup. And his other daughter, Sofia, was a French queen, pardon. Valery: Oh, nice… Konstantin: Yeah, but that time France didn’t stay high, that’s why it was okay. Vikenty: That depends. France as a national union, formation, didn’t stay high. But Franian… Frankish is older than all the other, it’s of the same fucking age as Etruscan. Phone rings Valery: They all came from Latin Vikenty: That’s the fucking point. They’re of the same age Phone rings Valery: Look, here’s that shit with your ur… ur, Kurov! ………… Valery: …Take a projection device, Konstantin: …me too thought ‘bout video, aye… Valery: bring it and let people in for a… make an order for them to make a screen, and that’s it. And set that video about Shiryaevo. Video ‘bout Shiryaevo, people who never been to Shiryaevo. Konstantin: Set ur… Indeed, sure we can ask everyone in Moscow ‘bout something…What d’you think of Shiryaevo? What’s that, Shiryaevo? All would say: dunno, fuck you, and all… Valery: Well, interview. Heh, go… go ‘round Moscow, interviewing: d’you

know what that Shiryaevo is, how can I get there? Konstantin: D’you know how can I get to Shiryaevo? Valery: Ya, in what street there’s Shiryaevo village? Yeah, well, maybe yeah. Konstantin: Shiryaevo, there… And arrange a sort of tractor and it’d go and it’d show the video. Valery: We’d got to order a kinda truck, on… on…on… behind the back wall of which … Konstantin: Yeah, Valery: There’s that… Konstantin: From the bed near the cabin or in the cabin – that jigamy, and behind Valery: Screen. Konstantin: Videoscreen, yeah. Where’s that inscription “people”. Valery: Hey, but that’s too… too complicated. Konstantin: Now, that’s technical Valery: It’d be easier to ta… bring a projection device Konstantin: and project wherever we like. Valery: Let it be a tree. Konstantin: It’d be good everywhere. In the night, wherever the spotlight gets… Valery: But in the night… Night starts around eleven. Konstantin: We’ll arrange that. Valery: So, I just walked in Nizhny Novgorod at… at… a quarter… nope, I went after ten, so it was still a bit light. Konstantin: Well, but it’s already … look, it’ll be August… Valery: Look, it’s light outdoor? Konstantin: August… August… Valery: And it’s ten now, look outdoor Vikenty: Yeah, it’s ten now. Konstantin: August… it’ll be in about a month, in a month it’ll be dark at ten. …………


Íà âûñòàâêå ïðåäñòàâëåíî óíèêàëüíîå ñîáðàíèå èñòîðè÷åñêèõ ôîòîãðàôèé, ñäåëàííûõ ñ âîçäóõà; áîëüøèíñòâî èç íèõ îòíîñÿòñÿ êî âðåìåíè äî ïåðâîé ìèðîâîé âîéíû, êîãäà íåìåöêèå ãîðîäà åùå íå áûëè ðàçðóøåíû è ïðåäñòàâàëè âî âñåé èçíà÷àëüíîé êðàñå. Ïîñåòèòåëè èìåþò âîçìîæíîñòü ïîëþáîâàòüñÿ êëàññè÷åñêèìè ñðåäíåâåêîâûìè ãîðîäàìè Âåéìàðîì, Éåíîé, Õàëëå, Ëåéïöèãîì, Ôðàéáåðãîì, Âèòòåíáåðãîì, Öåðáñòîì è Äðåçäåíîì, ñ êîòîðûìè ñâÿçàíû òàêèå èçâåñòíûå èìåíà, êàê Ãåòå, Øèëëåð, Ãåíäåëü, Áàõ, Ëîìîíîñîâ, Ëþòåð, Åêàòåðèíà Âåëèêàÿ. Òàêèì îáðàçîì, ñòàðèííûå ôîòîãðàôèè – ýòî íå òîëüêî è íå ñòîëüêî íîñòàëüãè÷åñêèé âçãëÿä íà Ãåðìàíèþ, êàêîé îíà áûëà êîãäàòî, ýòî îòðàæåíèå ìíîãîâåêîâîé èñòîðèè è êóëüòóðû âñåé Åâðîïû.

At the exhibition the unique assembly of the historical photos made from air is submitted; the majority of them concern to time before the first world war when German cities have not been destroyed yet and appeared in all primary beauty. Visitors have an opportunity to admire the classical medieval cities of Weimar, Jena, Halle, Leipzig, Freiberg, Wittenberg, Zerbst and Dresden to which such known names as Goethe, Schiller, Handel, Bach, Lomonosov, Luther, Ekaterina Velikaja are connected. Thus, ancient photos is not only and not so much a nostalgic sight at Germany what it was once, this reflection of a centuries-old history and culture of all Europe.

ÃÅÐÌÀÍÈß. ÂÇÃËßÄ Ñ ÍÅÁÀ ôîòîâûñòàâêà GERMANY. A SIGHT FROM THE SKY photo exhibition Ïîñîëüñòâî Ôåäåðàòèâíîé Ðåñïóáëèêè Ãåðìàíèè â Ìîñêâå Ñàìàðñêèé îáëàñòíîé èñòîðèêî-êðàåâåä÷åñêèé ìóçåé èì. Àëàáèíà Embassy of Federal Republic of Germany in Moscow The Samara regional historical study of local lore museum named after Alabin

: Ýðíñò Âàíäåðñëåá Âîçäóøíûé øàð «Ýðôóðò» ôîòî, 1909

ÑÏÅÖÈÀËÜÍÛÅ ÏÐÎÅÊÒÛ ÁÈÅÍÍÀËÅ SPECIAL PROJECTS OF BIENNALE

Ernst Wandersleb The air ballon «Erfurt» photo, 1909

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ÞÐÈÉ ÀËÜÁÅÐÒ / ÐÎÑÑÈß YURY ALBERT / RUSSIA Ýêñêóðñèÿ ñ çàâÿçàííûìè ãëàçàìè VIII ìóçåéíûé ïðîåêò Blindfold tour VIII museum project

Ìåíÿ âñåãäà èíòåðåñîâàëî ìåñòî è íàçíà÷åíèå çðèòåëÿ â èçîáðàçèòåëüíîì èñêóññòâå è ìíîãèå ìîè ðàáîòû ïîñâÿùåíû ôåíîìåíó «çðèòåëüñòâà». Íà ýòîò ðàç ïðåäïîëàãàåòñÿ îáû÷íàÿ ýêñêóðñèÿ ïî ýêñïîçèöèè Ñàìàðñêîãî Õóäîæåñòâåííîãî ìóçåÿ äëÿ ïðèãëàøåííûõ ó÷àñòíèêîâ. Ýêñêóðñîâîä äîëæåí ïðîèçíîñèòü ñâîé òåêñò êàê îáû÷íî: «Ïîñìîòðèòå òóäà-òî, íà ýòîé êàðòèíå âû âèäèòå òî-òî». Åäèíñòâåííîå îòëè÷èå – ó âñåõ ó÷àñòíèêîâ áóäóò çàâÿçàíû ãëàçà. Ýêñêóðñèÿ ïðîäëèòñÿ îêîëî ÷àñà è âñå ýòî âðåìÿ ó÷àñòíèêè áóäóò ïûòàòüñÿ âîîáðàçèòü èëè âñïîìíèòü òå øåäåâðû, î êîòîðûõ èì ðàññêàçûâàåò ýêñêóðñîâîä, îäíîâðåìåííî áîðÿñü ñî ñòðàõîì ñïîòêíóòüñÿ, óïàñòü èëè âðåçàòüñÿ â ñòåíêó. Ïîäîáíûå ïåðôîìàíñû ïðîâîäèëèñü âî ìíîãèõ ìóçåÿõ ìèðà îò Èòàëèè äî Ìîñêâû, â òîì ÷èñëå â Áåðëèíñêîé Êàðòèííîé ãàëåðåå, Ãîðîäñêîì Ìóçåå Ïåðóäæè, Ãîñóäàðñòâåííîé Òðåòüÿêîâñêîé Ãàëåðåå è â Ìóçåå Ëþäâèãà â Êåëüíå. ß âñåãäà ñ÷èòàë, ÷òî âîîáðàæàåìîå èëè ïðèïîìèíàåìîå èñêóññòâî ëó÷øå è èíòåðåñíåå ÷åì òî, ÷òî ìû ìîæåì âèäåòü íàÿâó, è ÿ íàäåþñü, ÷òî âñå ó÷àñòíèêè óâèäÿò âíóòðåííèì âçîðîì òàêîå èñêóññòâî, êàêîãî ÿ è íå ìîãó ñåáå ïðåäñòàâèòü. I have been always interested by the place and destination of spectators in the fine arts, and many of my works are dedicated to the phenomenon of ìåñòî “spectatorship”. This time, offered is an ordinary tour of the Samara Picture Gallery for the invited participants. The guide is supposed to articulate the text in a usual manner äîëæåí: “Look there, in this picture you see so and so”. The only difference is that all the participants will be blindfold. The tour will last for about an hour, and all the time the persons on tour will try to imagine or recollect the masterpieces described by the guide, simultaneously counteracting the fear of stumbling over something, falling down, or bumping into the wall. Similar performances have been once conducted in many museums of the world from Italy to Moscow, including the Berlin Picture Gallery, the Town Museum of Perugia, the State Tretyakov Gallery, and in the Ludwig Museum in Cologne. I have always been of the opinion that imaginary art or recollected art is better and more interesting than what we see in reality, and it is my hope that all the participants will see by their inner vision such an art that I am unable of imagining at all.

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ÑÏÅÖÈÀËÜÍÛÅ ÏÐÎÅÊÒÛ ÁÈÅÍÍÀËÅ SPECIAL PROJECTS OF BIENNALE


ÄÈÀÍÀ ÌÀ×ÓËÈÍÀ / ÐÎÑÑÈß DIANA MACHULINA / RUSSIA Ôðàãìåíò îáçîðà «Ïðîâåðêà íà ïðî÷íîñòü: Øèðÿåâñêàÿ áèåííàëå» (÷àñòü 2) 03.09.2007 Èíôîðìàãåíòñòâî ÊÓËÜÒÓÐÀ GiF.Ru Fragment of the review «Check for durability: Shiryaevo biennale» (a part 2) 03.09.2007 News agency CULTURE GiF.Ru

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ÑÏÅÖÈÀËÜÍÛÅ ÏÐÎÅÊÒÛ ÁÈÅÍÍÀËÅ SPECIAL PROJECTS OF BIENNALE

Íàêîíåö-òî ïðèáûë äîëãîæäàííûé Àëüáåðò. Äëÿ òîãî, ÷òîáû ñäåëàòü â Ñàìàðñêîì õóäîæåñòâåííîì ìóçåå àêöèþ èç ñåðèè "Ýêñêóðñèÿ ñ çàâÿçàííûìè ãëàçàìè". Ïåðåä âõîäîì â çàëû âñåì çàâÿçàëè ãëàçà ÷åðíûìè ïîâÿçêàìè, è íà÷àëàñü ýêñêóðñèÿ, âïå÷àòëåíèÿ îò êîòîðîé íåñðàâíèìû íè ñ ÷åì. Äëÿ ïîçíàíèÿ âèçóàëüíîãî çàðàáîòàëè ÷óâñòâà, êîòîðûå â ïðîöåññå îáû÷íî íå ó÷àñòâóþò – ñëóõ è îñÿçàíèå. Îáû÷íî â çàëàõ íåëüçÿ ãîâîðèòü ãðîìêî, òðîãàòü ÷òî-ëèáî, ñìîòðèøü íà êàðòèíû, çàòèõàåøü, óõîäèøü â ñåáÿ è ñòàíîâèøüñÿ ÷èñòûì âçãëÿäîì, òåëåñíàÿ îáîëî÷êà êàê áû èñ÷åçàåò. Çäåñü òåëåñíîñòü âîçâðàùàåòñÿ, òðîãàåøü ñòåíû, äâåðè, ÷óâñòâóåøü ñåáÿ îáúåìîì â ïðîñòðàíñòâå, êîòîðûé íóæíî ñáåðå÷ü îò ïîâðåæäåíèé. Ïðèêàñàåøüñÿ ê òåì, êòî èäåò ðÿäîì ñ òîáîé, ÷òîáû íàïðàâèòü èõ èëè óçíàòü íàïðàâëåíèå, ãðîìêî ãîâîðèøü, êóäà äàëüøå. Íàðóøàþòñÿ ìóçåéíûå ïðàâèëà, íî ñîçäàåòñÿ çàáîòëèâîå áðàòñòâî ïîñåòèòåëåé. Ñëóõ îáîñòðÿåòñÿ, èç òîãî, ÷òî ãîâîðèò ýêñêóðñîâîä, âíåçàïíî íà÷èíàåøü âûäåëÿòü ôèãóðû ðå÷è âðîäå: "êàê âû âèäèòå", "î÷åâèäíî" è äðóãèå îäíîêîðåííûå, êîòîðûå âûãëÿäÿò èçäåâêîé. Íà÷èíàåøü èñïûòûâàòü îáùåå íåäîâåðèå ê ñëîâàì: "ñïðàâà îò âàñ íàõîäèòñÿ ïîðòðåò Åêàòåðèíû II". À âïðàâäó ëè îí òàì, íå îáìàí ëè ýòî. È áîëåå ãëóáîêîå – à âåðíî ëè ýêñêóðñîâîä òðàêòóåò? Íî ïîñëóøàòü êàðòèíû âñå-òàêè áûëî èíòåðåñíî. Îñîáåííî òðîíóë çðèòåëåé ðàññêàç ýêñêóðñîâîäà î êàðòèíå Ïåðîâà "Ñëåïöû". "Íà êàðòèíå ïåðåä íàìè îòêðûâàåòñÿ ïîòðÿñàþùèé âèä ðóññêîé ïðèðîäû – ðåêà, ïîëÿ è õîëìû. Ïî äîðîãå, âåäóùåé èç öåðêâè íà õîëìå, áðåäóò íèùèå ñëåïöû. Îíè íåñ÷àñòíû, òàê êàê íå ìîãóò âèäåòü ýòîé êðàñîòû. Ïîýòîìó âñå, ÷òî èì îñòàåòñÿ – ýòî õîäèòü â öåðêîâü".  çàëå èñêóññòâà íà÷àëà 20 âåêà îäèí èç ó÷àñòíèêîâ àêöèè Àëüáåðòà îáðàòèëñÿ ê ýêñêóðñîâîäó, ïîïðîñèâ ïîçâîëèòü åìó ðàññêàçàòü îá îäíîé èç êàðòèí â ýòîì çàëå. Îíà ðàçðåøèëà, ãàäàÿ, êàê îí ýòî ñäåëàåò. "Äåëî â òîì, ÷òî ÿ ìîãó ãîâîðèòü î íåé ñ çàêðûòûìè ãëàçàìè. Îíà ïðèíàäëåæàëà ìîèì äåäóøêå è áàáóøêå. ß ëþáèë ñèäåòü â êðåñëå ïîä íåé.  òÿæåëûå âðåìåíà ìîè ðîäèòåëè ïðîäàëè åå ìóçåþ. Ýòî – øêîëà Ñàïóíîâà. Ôðóêòû ëåæàò íà ïîâåðõíîñòè ïîëèðîâàííîãî ñòîëà è îòðàæàþòñÿ â íåé. Åñëè âíèìàòåëüíî ïðèñìîòðåòüñÿ, ìîæíî óâèäåòü òàêæå îòðàæåíèå â ñòîëå òðåõ ÷åëîâå÷åñêèõ ôèãóð. Ïðàâäà íå âñåì óäàåòñÿ èõ óâèäåòü".  ýòîò ðàç èõ íå óâèäåë íèêòî, íî âñå ïîâåðèëè, ÷òî îíè åñòü.  çàëå àâàíãàðäà ýêñêóðñîâîä ñìåøàëàñü: åñëè î òîðæåñòâå ïåðåäâèæíè÷åñêîãî íàððàòèâà ìîæíî ñóäà÷èòü ÷àñàìè, îáñóæäàÿ æèçíåííûå ïåðèïåòèè ãåðîåâ êàðòèí, òî çäåñü òðåáóåòñÿ òî÷íîñòü îïèñàíèÿ íå æèòåéñêîãî, à èñêóññòâîâåä÷åñêîãî. "Æèçíü â áîëüøîì ãîðîäå" Ìàëåâè÷à áûëà îïèñàíà òàê: "Ýòî àáñîëþòíî àáñòðàêòíàÿ êàðòèíà. Ìàëåâè÷ ãîâîðèë, ÷òî èçîáðàçèë íà êàðòèíå îòåëü "Ìåòðîïîëü". Êîå-ãäå ìû ìîæåì óâèäåòü ëèöà ãîðîæàí". Òóò æåíùèíà èç ïóáëèêè ïîòðåáîâàëà ðàññêàç÷èöó îïðåäåëèòüñÿ – åñëè íà êàðòèíå âèäíû ëèöà, òî îíà âñå-òàêè ôèãóðàòèâíàÿ, à íå àáñòðàêòíàÿ. Âíÿòíîãî îòâåòà íå ïîñëåäîâàëî. Íî, êàæåòñÿ, êàðòèíó ìîæíî âñå-òàêè íàçâàòü àáñòðàêòíîé, åñëè ñ÷èòàòü òàêîâîé òó, íà êîòîðîé íå âèäíî íè÷åãî êîíêðåòíîãî. À äëÿ âñåõ ó÷àñòíèêîâ àêöèè îíà ðàâíÿëàñü ïî ñîäåðæàòåëüíîñòè "×åðíîìó êâàäðàòó".


Finally, long-expected Albert has come. To conduct an action in Samara Art Museum of “Blindfold excursion” type. Before going to halls everybody’s eyes were bandaged with black bands and started the excursion impressions of which can be compared with nothing. To cognize the visual worked senses that usually do not participate in the process – hearing and touch. Usually it is not allowed talk loudly, touch anything, one just gazes at the pictures, shrinks into himself and becomes pure sight, flesh cover sort of disappears. Here fleshliness comes back: one touches walls, doors, and feels himself volume in space, which should be saved from injuries. One touches those who going next to him to direct them or find out direction, speaks aloud where to go next. Museum rules are violated but spectator anxious fellowship is created. Hearing intensifies, out of what a museum guide says suddenly one starts to distinguish figures of speech, like: “as you see”, “obviously” and other similar ones, which sound like a wipe. One starts to experience general mistrust to words: "on the right you can see a portrait of Katherine II”. Is that really it, is it fraud or not? And then something deeper – if the museum guide interprets it correctly? But still, it was interesting to listen to pictures. Especially touching was a museum guide’s story about Perov’s picture “The Blind”. "The picture shows a magnificent view of Russian nature – rivers, fields, and hills. The blind beggars grope along the road that goes from the church on the hill. They are pitiful because they cannot see that beauty. That’s why all is left for them is going to church". One of Albert’s action participants addressed to the guide asking her to let him tell about one of the pictures in an art hall of the beginning of the 20th century. She allowed guessing how he was going to do that. "The case is that I can talk about it with my eyes closed. It belonged to my grandpa and grandma. I liked to sit in an arm-chair beneath it. When hard times came my parents sold it to the museum. This is Sapunov’s school. Fruits lie on the surface of a polished table and reflect in it. If to gaze at it, one can see also reflections of three men in the table. Unfortunately, not everyone is lucky to see them". That time no one saw them but everyone believed they exist. The guide confused in an avant-garde hall: if one can tattle for hours about triumph of Itinerants narrative discussing varieties of life of picture characters, then here it requires accuracy of description and not earthy one but of an art critic. Malevich’s “Living in a big city” was described as follows: “This is an absolutely abstract picture. Malevich said he pictured “Metropole” hotel. We can see townspeople faces somewhere”. Here one of women from audience required the narrator to find her position, if there are faces on the picture then it is figurative and not abstract. There was no distinct answer. Although the picture can be called abstract if we consider an abstract picture to be the one on which there is nothing concrete to be seen. And for all action participants it was equal to the “Black Square” from the point of view of intesionality.

Ýêñêóðñèÿ ñ çàâÿçàííûìè ãëàçàìè VIII ìóçåéíûé ïðîåêò Blindfold tour VIII museum project

ÞÐÈÉ ÀËÜÁÅÐÒ / ÐÎÑÑÈß YURY ALBERT / RUSSIA


«ÑÀÌÀÐÀ - ØÒÓÒÒÃÀÐÒ» âûñòàâî÷íûé ïðîåêò «SAMARA - STUTTGART» exhibition project

«Øòóòòãàðò: âçãëÿä èç Ñàìàðû» Êóðàòîð: Òàòüÿíà Ïåòðîâà Õóäîæíèêè: Ñåðãåé Áàëàíäèí Èãîðü Äîíèé Àëåêñåé Çàéöåâ Ñåðãåé Îñüìà÷êèí Îêñàíà Ñòîãîâà «Êàê - zum Beispiel» Êóðàòîð: Íåëÿ Êîðæîâà Õóäîæíèêè: Ãåðò Âèäìàåð Èâàí Êàðïóíîâ Íåëÿ Êîðæîâà Ðîìàí Êîðæîâ Õàííñ-Ìèõàåëü Ðóïïðåõòåð Åâãåíèÿ Ðÿáóøêî Âàäèì Ñóøêî Íèêîëàé Øåèí

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ÑÏÅÖÈÀËÜÍÛÅ ÏÐÎÅÊÒÛ ÁÈÅÍÍÀËÅ SPECIAL PROJECTS OF BIENNALE

«Stuttgart: look from Samara» Curator: Tatiyana Petrova Artists: Sergey Balandin Igor Dony Alexey Zaytcev Sergey Osmachkin Oxana Stogova «How - zum Beispiel» Curator: Nelya Korzhova Artists: Gert Viedmaer Ivan Karpunov Nelya Korzhova Roman Korzhov Hanns-Michael Rupprechter Evgeny Ryabushko Vadim Sushko Nikolay Shein


Ó÷àñòíèêè: Ðîìåí Æèáåð, ìîé ëþáèìûé ñèíèé 1.20 ìèí. Ìàðè Êàðòàó, ïåðôîðìàñ/ äîêóìåíòàöèÿ, 9.00 ìèí. Õàíñ-Ìèõàåëü Ðóïïðåõòåð, Êâàäðàò, 1.30 ìèí. Àëåêñàíäð Øèêîâñêè, Purzelbaum&Dance, 8.10 ìèí. Éîõàí Øë¸äåð, Àâòîôîêóñ, 0.30 ìèí., PPP 2.30 ìèí. Êðèøíà Ñóáðàìàíèÿ, ïîõîðîíû, 1.10 ìèí. Ìàðå Òðàëëà, Èãðóøêà, 9.11 ìèí. Öâåòîôîð, Babouks, 17.00 ìèí. VideoFreundeStralau , íèêîãäà íå óáèâàé, 2.30 ìèí. Ìàêñèì ßêóíèí, Êîñìîñ, 9.00 ìèí.

Participants: Romain Gibert, mon bleu prefere, 1.20 min. Mari Kartau, performance/ documentation 9.00 min. Hans Michael Rupprechter, Quadrat 1.30 min. Alexander Schikowski, Purzelbaum&Dance 8.10 min. Jochen Schloeder , Autofocus 0.30min., PPP 2.30 min. Krishna Subramania, funeral 1.10 min. Mare Tralla, Toy 9.11 min. Tsvetafor, Babouks, 17.00 min. VideoFreundeStralau, neverkill 2.30 min. Maxim Yakunin , Cosmos, 9.00 min.

VIDEO FESTIVAL SAMARA Ïðîãðàììà âèäåî àðòà VIDEO FESTIVAL SAMARA The program of video art Êóðàòîðû: Ãåðî øòöå, Àëåêñàíäð Øèêîâñêè Curators: Gero Goetze, Alexander Schikowski

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«ÊÀÊ ÅÑËÈ ÁÛ ÌÛ ÆÈËÈ ÂÌÅÑÒÅ» âûñòàâêà ìîëîäûõ õóäîæíèêîâ «AS THOUGH WE LIVED TOGETHER» exhibition of young artists Êóðàòîðû: Íåëÿ Êîðæîâà Ñâåòëàíà Øóâàåâà Îëüãà Êîñÿêèíà Ôàðèäà Èäèÿòóëëèíà Curators: Nelya Korzhova Svetlana Shuvaeva Olga Kosyakina Farida Idiyatullina

ÑÏÅÖÈÀËÜÍÛÅ ÏÐÎÅÊÒÛ ÁÈÅÍÍÀËÅ SPECIAL PROJECTS OF BIENNALE

Õóäîæíèêè:

Õóäîæíèêè:

Àëåêñàíäð Âåð¸âêèí Ëåîíèä Åìàêîâ Ôàðèäà Èäèÿòóëëèíà Àëåêñàíäð Êàòêîâ Àíàñòàñèÿ Êîëîäî÷êî Àííà Êîðæîâà Îëüãà Êîñÿêèíà Ìèõàèë ˸çèí Âëàäèìèð Ëîãóòîâ Îëüãà Ñëóæàåâà Âàäèì Ñìàõòèí Åëèçàâåòà Òàðíàðóöêàÿ Àíàñòàñèÿ Ôåòèñîâà Åâãåíèé ×åðòîïëÿñîâ Ãðóïïà ×ÆÍÑ Ìàêñèì ßêóíèí Êèðèëë ßêóíèí

Alexander Veryovkin Leonid Emakov Farida Idiyatullina Alexander Katkov Anastasia Kolodochko Anna Korzhova Olga Kosyakina Mikhail Lyozin Vladimir Logutov Olga Sluzhaeva Vadim Smakhtin Elizaveta Tarnautckaya Anastasiya Fetisova Evgeniy Chertoplyasov CH-ZH-N-S group Maxim Yakunin Kirill Yakunin


Roma Punto Uno - ñòðàíñòâóþùèé ïî ìèðó ïðîåêò, ïðåäñòàâëÿþùèé â Ñàìàðñêîì õóäîæåñòâåííîì ìóçåå 149 òâîðåíèé âî âñåõ èçâåñòíûõ òåõíèêàõ 71 õóäîæíèêà èç Èòàëèè, ñîãëàñèâøèõñÿ ðàáîòàòü â îïðåäåëåííîì ôîðìàòå - 18õ24 ñì ("Ïåðâîé Îòìåòêå" - Punto Uno). Ïîêîëåíèå õóäîæíèêîâ, ðàáîòàþùåå ñåé÷àñ â Âå÷íîì ãîðîäå, ìíîãèå èç êîòîðûõ óæå èìåíèòû è èçâåñòíû âíå Èòàëèè, îòêðûâàþò åäèíñòâåííî âàæíóþ ïðàâäó î ÿçûêå ãîðîäà, ñîñòàâëåííóþ èç ìåëü÷àéøèõ ÷àñòè÷åê ëè÷íîñòè êàæäîãî àâòîðà.

Roma Punto Uno - the project wandering on the world representing in the Samara Art Museum of 149 creations in all known technics by 71 artists from Italy, agreed to work in the certain format - 18õ24 sm (" the First Mark " - Punto Uno). The generation of artists working now in Eternal city, many of which are already well-known and known outside of Italy, open is unique the important truth about language of the city, made of the smallest parts of the person of each author.

ROMA PUNTO UNO Ñîâðåìåííîå èñêóññòâî Èòàëèè ROMA PUNTO UNO Contemporary Art from Italy Ïðè ïîääåðæêå: Ìèíèñòåðñòâà Èíîñòðàííûõ äåë Èòàëèè Ãîðîäñêîå óïðàâëåíèå Ðèìà Èòàëüÿíñêèé èíñòèòóò êóëüòóðû â Ìîñêâå Àññîöèàöèÿ Ìàðà Êî÷÷à Exhibition promoted by: Ministry for Foreign Affairs of Italy City of Rome The Italian institute of culture in Moscow Association Mara Coccia

Ôàáèî Ìàóðè Åâðåéñêàÿ æåíùèíà, ïåðôîðìàíñ, 2001 öâåòíàÿ ôîòîãðàôèÿ Ýëèçàáåòòû Ëôåôëàíî, 30 õ 20 ñì Fabio Mauri Jewish Woman, performance, 2001 color photograph by Elisabetta Catalano, 30 x 20 cm

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V ØÈÐßÅÂÑÊÀß ÁÈÅÍÍÀËÅ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ V SHIRYAEVO BIENNALE OF CONTEMPORARY ART ÄÎÌ: ÌÅÆÄÓ ÅÂÐÎÏÎÉ È ÀÇÈÅÉ HOME: BETWEEN EUROPE AND ASIA 27/07 – 25/08 2007

Ïðîãðàììà áèåííàëå: 27.07 – 25.08.2007 Âûñòàâêà «Ãåðìàíèÿ. Âçãëÿä ñ íåáà» Ñàìàðñêèé îáëàñòíîé èñòîðèêî-êðàåâåä÷åñêèé ìóçåé èì. Àëàáèíà, Ñàìàðà 05.08 - 17.08.2007 Òâîð÷åñêèé ïðàêòèêóì â Øèðÿåâî 05.08. - 25.08.2007 «Êàê åñëè áû ìû æèëè âìåñòå», âûñòàâêà ìîëîäûõ õóäîæíèêîâ Äîì Êèíî, Ñàìàðà 10.08. - 30.08.2007 Âûñòàâêà «Ñàìàðà Øòóòòãàðò» Ñàìàðñêèé Õóäîæåñòâåííûé Ìóçåé, Ñàìàðà 12.08.2007 Äìèòðèé Ãóòîâ, «Âûïðÿìèëà», ïåðôîðìàíñ (íà ãîðå, Øèðÿåâî) 17.08.2007 Þðèé Àëüáåðò «Ýêñêóðñèÿ ñ çàâÿçàííûìè ãëàçàìè VIII», ïåðôîðìàíñ Ñàìàðñêèé Õóäîæåñòâåííûé Ìóçåé, Ñàìàðà

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18.08.2007 Íîìàäè÷åñêîå øîó Øèðÿåâî:

Ýììàíóåëü Ðîäîðåäà «Âíóòðè / Ñíàðóæè», ñêâîçíîé ïðîåêò (ïðèñòàíü Øèðÿåâî) Àëåêñåé Êîñòðîìà «Îïåðåíèå», îáúåêò (Øèðÿåâî, àâòîáóñíàÿ îñòàíîâêà), «Èãðà â ãîëüô» (Øèðÿåâî, ðàçâàëèíû êàìåííîãî äîìà) Ñàáèí Ïôàéñòåðåð «Ðóññêàÿ ýâîëþöèÿ», ôîòîïðîåêò (Øèðÿåâî, Áèáëèîòå÷íàÿ 6) Ýëåí Ðåéí, Èðèñ Õåëüðèãåëü «Äîì… çâåðèíàÿ êóëüòóðà ïîâñåäíåâíîñòè», ïåðôîðìàíñ, (Øèðÿåâî, Äîììóçåé È. Å. Ðåïèíà) Àëåêñàíäð Øèêîâñêè «Íàãîðíàÿ ïðîïîâåäü», èíâàéðîìåíò (Øèðÿåâî, íà ãîðå) Ìàðå Òðàëëà, Ñèðàì «Ìîå òåëî – ìîÿ êðåïîñòü», ïåðôîðìàíñ (Øèðÿåâî, áåðåã Âîëãè) Ìàòòèàñ Õîëëàíä-Ìîðèòö «Êîððîçèÿ öåííîñòåé», îáúåêò (Øèðÿåâî, óë. Ñîâåòñêàÿ) Äèàíà Ìà÷óëèíà «Ðóññêîå», Æèâàÿ ñêóëüïòóðà (Øèðÿåâî, íà óëèöå) Äæîííè Âîêåð (Ãåðä Ìåöãåð) «Äàâàé», ïåðôîðìàíñ (Øèðÿåâî, ó øêîëû) Àëåêñåé Êîñòðîìà « Òðè äåðåâà», îñåðåáðåíèå (Øèðÿåâî, íà ãîðå) Êðèøíà Ñóáðàìàíèÿ «Äîì Sweet home», ÷/á ôîòî; «Ïèñüìà ïóòåøåñòâåííèêà», ôîòîïðîåêò (â ñïîðòçàëå øêîëû, Øèðÿåâî)


Ðîìåí Æèáåð «Áåç íàçâàíèÿ», ôîòîãðàôèè (â ñïîðòçàëå øêîëû, Øèðÿåâî) Âèêà Ëîìàñêî, Íàòàëüÿ Ñàìêîâà «Äîì: âíóòðè/ ñíàðóæè», ãðàôèêà (øêîëà, Øèðÿåâî) Àííà Áðîøå «Ñâÿçè. Ïàíòåîí øêîëüíûõ ãåðîåâ», èíñòàëëÿöèÿ (øêîëà, Øèðÿåâî) Éîõàí Ãåðáåðò Øë¸äåð «Ëèõîðàäî÷íûé áðåä», òåêñò (ìåäêàáèíåò øêîëû, Øèðÿåâî) Ãðóïïà «Öâåòîôîð» «Öâåòîôîð», ëàéòáîêñ (øêîëüíûé êîðèäîð, Øèðÿåâî) Õàííñ-Ìèõàýëü Ðóïïðåõòåð «Äîì ïèàðùèêà-áèçíåñìåíà», àóäèîïåðôîðìàíñ (øêîëà, Øèðÿåâî) Ôðàíöóçñêèé ïàâèëüîí, èíñòàëëÿöèÿ (îêîëî øêîëû, Øèðÿåâî) Ìàðëåí Ïåððîíåò, Áåðòðàí Âàëëå «Íàø äîì: ìåæäó Åâðîïîé è Àçèåé», ñëàéäøîó Ìàðè-Ýëåí Äþáðåé «Îêñàíà», æèâîïèñü íà æèâîïèñè; «Âîäà – Êîòåë - Òåëåôîí», æèâîïèñü (øêîëà, Øèðÿåâî) Ðîìåí Æèáåð «Áåç íàçâàíèÿ», ôîòîãðàôèè (øêîëà, Øèðÿåâî) Ãåðî øòöå «Ïîñòêàðòû äëÿ Øèðÿåâî, íàâåÿííûå èñòîðèåé Æèãóëåâñêèõ ãîð», (óë. Ñîâåòñêàÿ, Øèðÿåâî) Ãðóïïà Öâåòîôîð «Òåëåãðàììà», îáúåêò; ïåðôîðìàíñ (îçåðî, Øèðÿåâî) Íàòà Ìîðîçîâà «Êîêîí», èíñòàëëÿöèÿ (øêîëà, Øèðÿåâî)

Ãåðìàí Âèíîãðàäîâ «Äîììóçåé Ãåðìàíà Âèíîãðàäîâà â ñåëå Øèðÿåâî», îáúåêò (øòîëüíè, Øèðÿåâî) Ñåðãåé Áàëàíäèí «Ïðÿíè÷íûé äîìèê», èíñòàëëÿöèÿ (êàðüåð, Øèðÿåâî) Äìèòðèé Ãóòîâ «Âûïðÿìèëà», èíñòàëëÿöèÿ (íà ãîðå, Øèðÿåâî) 19.08. – 19.09.2007 “ROMA PUNTO UNO” Âûñòàâêà èòàëüÿíñêîãî ñîâðåìåííîãî èñêóññòâà Ñàìàðñêèé Õóäîæåñòâåííûé Ìóçåé, Ñàìàðà 19, 20, 21.08.2007 Ïðîãðàììà âèäåî àðòà Ñàìàðñêèé Ãîñóäàðñòâåííûé Óíèâåðñèòåò, Ñàìàðà 22, 23, 24.08.07 Êîëëîêâèóì íà òåìû: «Ñòðàòåãèÿ ðàçâèòèÿ Øèðÿåâñêîé áèåííàëå» «Áèåííàëüñêîå äâèæåíèå â ìèðå» «Ñîâðåìåííûé ïåðôîðìàíñ» âèäåî ïðîãðàììà «Ìóëüòè âèòàìèí» Ñàìàðñêèé Õóäîæåñòâåííûé Ìóçåé, Ñàìàðà 25.08.07 Çàêðûòèå V Øèðÿåâñêîé áèåííàëå "Äîì: ìåæäó Åâðîïîé è Àçèåé"

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V ØÈÐßÅÂÑÊÀß ÁÈÅÍÍÀËÅ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ V SHIRYAEVO BIENNALE OF CONTEMPORARY ART ÄÎÌ: ÌÅÆÄÓ ÅÂÐÎÏÎÉ È ÀÇÈÅÉ HOME: BETWEEN EUROPE AND ASIA 27/07 – 25/08 2007

The program of biennale: 27.07-25.08.2007 Exhibition « Germany. A sight from the sky » The Samara regional historical study of local lore museum named after Alabin, Samara 05.08-17.08.2007 Workshop in Shiryaevo 05.08. - 25.08.2007 «As though we lived together», an exhibition of young artists The Cinema House, Samara 10.08. - 30.08.2007 Exhibition «Samara - Stuttgart» The Samara Art Museum, Samara 12.08.2007 Dmitry Gutov «Has straightened», performance (on mountain, Shiryaevo) 17.08.2007 Jury Albert « Excursion with the fastened eyes VIII », performance The Samara Art Museum, Samara 18.08.2007 Nomadic show Shiryaevo

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Emmanuel Rodoreda « Inside / Outside », the through project (quay Shirjaevo)

Alexey Kostroma "Plumage", object (Shiryaevo, a bus stop), « Game in a golf » (Shiryaevo, ruins of a stone house) Sabine Pfisterer « Russian evolution », the photoproject (Shiryaevo, Library str. 6) Ellen Rein, Iris Hellriegel « the House … animal culture of everyday life », performance, (Shiryaevo, I.E.Repina's House museum) Alexander Schikowski «Our Land is Your Land and Your Land is Our Land», Seremon (Shiryaevo, on mountain) Siram & Mare Tralla «My body is my Castle », performance (Shiryaevo, coast of Volga) Matthias Holland-Moritz «Corrosion of values», object (Shiryaevo, Sovietskaya str.) Diana Machulina "Russian", the alive sculpture (Shiryaevo, in the street) Jony Woker (Gerd Mezger) "Let's go", performance (Shiryaevo, at school) Alexey Kostroma «Three trees», silvering (Shiryaevo, on mountain) Krishna Subramania « House Sweet home », b/w photos; «Letters of the traveller», the photoproject (in a sports hall of school, Shiryaevo) Romain Giber « Untitle », photos (in a sports hall of school, Shiryaevo) Vicka Lomasko, Natalia Samkova « the House: inside / outside », the schedule (school,


Shiryaevo) Anna Brochet «Connections. A pantheon of school heroes», installation (school, Shiryaevo) Jochen Gerbert Schloder «Feverish delirium», the text (a medical cabinet of school, Shiryaevo) Group Zvetofor «Zvetofor», lightbox (a school corridor, Shiryaevo) Hanns-Michael Rupprechter «The Home of the PR-man», audioperformance (school, Shiryaevo) The French pavilion, installation (near school, Shiryaevo) Marlene Perronet, Bertrand Vallet «Our home: between Europe and Asia», slide show Marie-Helene Dubreuil «Oxana», painting on painting; «Water - Boiler - Phone», painting (school, Shiryaevo) Gero Goetze «Postcards for Shiryaevo, inspired by history of mountains Zhiguly», (Sovietskaya str., Shiryaevo) Group Zvetofor «Telegram», object; performance (lake, Shiryaevo) Nata Morozova «Cocoon» installation (school, Shiryaevo) German Vinogradov « German Vinogradova's House museum in village Shiryaevo », object (caves, Shiryaevo) Sergey Balandin «The Gingerbread small house», installation (carier, Shiryaevo) Dmitry Gutov «Has

straightened», installation (on mountain, Shiryaevo) 19.08. - 19.09.2007 “ ROMA PUNTO UNO ” Exhibition of the Italian contemporary art The Samara Art Museum, Samara 19, 20, 21.08.2007 The program of video art Samara State University, Samara 22, 23, 24.08.07 Colloquium: «Contemporary performance» Video program «Multyvitamin» The Samara Art Museum, Samara 25.08.07 Closing V Shiryaevo biennale «Home: between Europe and Asia»

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V ØÈÐßÅÂÑÊÀß ÁÈÅÍÍÀËÅ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ V SHIRYAEVO BIENNALE OF CONTEMPORARY ART ÄÎÌ: ÌÅÆÄÓ ÅÂÐÎÏÎÉ È ÀÇÈÅÉ HOME: BETWEEN EUROPE AND ASIA 27/07 – 25/08 2007

Ðåäàêöèÿ êàòàëîãà è äèçàéí Íåëÿ Êîðæîâà Ðîìàí Êîðæîâ Ïåðåâîä Þðèé Æåëåçíÿêîâ Ïå÷àòü Òèïîãðàôèÿ «Êíèãà»

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© Ïðàâà íà âñå îïóáëèêîâàííûå ïðîèçâåäåíèÿ ïðèíàäëåæàò õóäîæíèêàì, ìóçåÿì © Ïðàâà íà âñå òåêñòû ñòàòåé ïðèíàäëåæàò àâòîðàì © Ôîòîãðàôèè: Þðèé Àëüáåðò, Ýììàíóýëü Ðîäîðåäà, Áåðòðàí Âàëëå, Ìàðëåí Ïåððîíå, Ðîìåí Æèáåð, Êðèøíà Ñóáðàìàíèÿ, Ýëåí Ðåéí, Õàííñ-Ìèõàåëü Ðóïïðåõòåð, Ñàáèí Ïôàéñòåðåð, Åêàòåðèíà Êîíäðàíèíà, Àëåêñåé Êîñòðîìà, Àíàñòàñèÿ Ôåòèñîâà, Âàäèì Âåëè÷êî, Àííà Êîðæîâà, Àëåêñàíäð Øèêîâñêè, Àíòîí Òàðàíòåé © ÑÀÌÀÐÑÊÈÉ ÐÅÃÈÎÍÀËÜÍÛÉ ÎÁÙÅÑÒÂÅÍÍÛÉ ÁËÀÃÎÒÂÎÐÈÒÅËÜÍÛÉ ÔÎÍÄ, 2008 «ÖÅÍÒÐ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ» © ÃÎÑÓÄÀÐÑÒÂÅÍÍÛÉ ÖÅÍÒÐ ÑÎÂÐÅÌÅÍÍÎÃÎ ÈÑÊÓÑÑÒÂÀ Ïðèâîëæñêèé ôèëèàë, 2008

Catalogue edited and designed by Nelya Korzhova Roman Korzhov Translation Juriy Zheleznyakov Printing Book Printing House © Copyright for all published artworks belongs to the artists, museums © Copyright for all texts belongs to the authors © Photos by: Juriy Albert, Emmanuel Rodoreda, Bertrand Vallet, Marlene Perronet, Romain Gibert, Krishna Subramania, Ellen Rain, Hanns-Michael Rupprechter, Sabine Pfisterer, Ekaterina Kondranina, Alexey Kostroma, Anastasiya Fetisova, Vadim Velichko, Anna Korzhova, Alexander Schikowski, Anton Tarantei © SAMARA REGIONAL PUBLIC CHARITABLE FUND «CENTER FOR CONTEMPORARY ART», 2008 © NATIONAL CENTRE FOR CONTEMPORARY ARTS Privolzhskiy branch, 2008


HOME: BETWEEN EUROPE AND ASIA  

V SHIRYAEVO BIENNALE OF CONTEMPORARY ART 27/07 – 25/08 2007

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