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Contacts Moscow Maxim Boxer Info@Maximboxer.Com +7 985 233 Contacts Moscow Maxim Boxer [email protected] +7 985 233 06 33 London Sasha Burhanova [email protected] +44 776 529 11 70 Paris Alexandra Verhoturova [email protected] +33 6 34 27 16 53 Bidding [email protected] МЕТАФИЗИКА METAPHYSICS В РУССКОМ ИСКУССТВЕ IN RUSSIAN ART Viewing: 21–25 November 2014 Reception: 25 November 2014/5 pm Sale: 25 November 2014/6:30 pm Erarta Galleries London 8 Berkeley Street, Mayfair, W1J 8DN 4 5 6 Dear Friends, Дорогие друзья! 7 Following the success of our first exhibition and auction The new exhibition called Metaphysics in Russian Art is Подводя итоги нашей первой выставки и аукциона Новая выставка «Метафизика в русском искусстве» on Russian Cosmism in June, this seems like a good mo- a logical successor to Russian Cosmism, for ideas about «Русский космизм», мы с радостью убедились, что вы- оказывается логическим продолжением темы пре- ment to share our reflections on the process of bringing Eternity and Infinity are timeless aspects of Russian na- бранный нами подход полностью оправдался и ока- дыдущей программы «Русский космизм», ибо идеи such a venture to London. Our key intention with this tional self-identity. зался близок не только нам и нашим кураторам, но Вечности и Бесконечности являются константными project was to combine our commercial aims with the коллекционерам и широкой публике. Основная идея – для русского национального самосознания. important task of promoting Russian culture in Britain Maxim Boxer это совмещение в одном проекте культуртрегерской and Europe. We believe these aims were largely met – Konstantin Semkin и коммерческой задач. Максим Боксер that valuable cultural seeds have been sown, and that the Константин Семкин process was enjoyed as much by our artists as by collec- Сами художники стали участниками формирования tors and the general public. коллекции и авторами текстов к своим работам. Оказалось, что совместная работа такого большого The artists themselves took part in compiling the collec- числа людей, действительно любящих и понимающих tion and wrote texts to accompany their works. It was искусство, привлекла внимание искусствоведов и кри- gratifying to discover that this collaborative model, тиков как в Москве, так и во всем мире. involving a large number of people who truly love and understand art, also caught the attention of art histori- В настоящий сложный политический период необходи- ans and critics in Moscow and internationally. мо вспомнить, что во все времена истории единствен- ным объединяющим и примиряющим все народы Евро- In politically complex times, it is particularly important пы языком был язык Искусства. Россия была и остается to remember the historical role that art has played in одним из главных участников диалога на этой терри- unifying and reconciling differences within and between тории. Нашими проектами мы хотим поделиться теми European nations. Russia was and remains one of the key процессами, что происходят в искусстве России сегодня. participants in this cultural dialogue. As we go forward, И показать, что российское contemporary art органич- we are eager to spread awareness of the processes но вписывается в общемировой контекст. current in Russian art and to demonstrate that Russian contemporary art fits seamlessly into the global context. Мы пытаемся сформулировать идеи диалога не только We hope our exhibitions also serve to highlight key ques- между различными культурами, но и между различ- tions about the nature of our relationship with contempo- ными периодами культуры новейшего времени. В этом rary culture itself. смысле наши проекты имеют просветительское и об- разовательное значение. Все участники программы The depth of these ambitions, realized in close collabora- относятся к проектам как к лаборатории современного tion with artists and curators, brings a unique perspective искусства, отдавая им лучшее. Потому не традицион- both to the exhibitions and the auctions, which emerge на для логики аукционной жизни коммерческая идея as a form of experiment to which all our participants are предлагаемой коллекции, которая сформирована willing to bring the very best of what they have to offer. благодаря усилиям художников и кураторов. 8 The Glory of the Everyday. Величие повседневности. 9 Metaphysical Art in Modern-day Russia. Метафизическое искусство в России новейшего времени. The term metaphysical art, or to be more precise, meta- him many other metaphysically-minded Russian artists, Известно, что понятие «метафизическое искусство», Петров-Водкин, а за ним, смеем думать, и другие от- physical painting appeared at the end of the 1910s, as in my opinion, created objects in space using the analyti- точнее «метафизическая живопись», возникло в кон- ечественные художники, близкие к метафизическим is well known. It was later legalized in the texts of the cal method largely derived from Cubism. Petrov-Vodkin це 10-х годов XX столетия. Оно узаконено в текстах идеям, и методом, во многом наследующим кубизму, Italian artists Giorgio de Chirico and Carlo Carra. Meta- wrote: …formation of an object in an environment, its итальянских художников Джорджо де Кирико, Карло воздвигали в пространстве предмет. Петров-Водкин physical artists chose their own path, different from their elevation and resistance to the surrounding world pro- Карра. В отличие от современников, сюрреалистов писал: «…образование предмета в среде – возвы- contemporaries: Surrealists and Neo-Classicists, that of vide a special significance to all the facets of this object – и неоклассиков, метафизики более настойчиво осваи- шение предмета, его сопротивляемость окружаю- penetrating the universal foundations of the world, to these facets <…> and the object’s cubic content testify to вали путь проникновения к универсальным основам щему – дают особенное значение граням предмета – embrace the primary meanings of things and ideas. It the forces inherent in it (there is no emptiness). мира, первосмыслам вещей и идей. Философской эти грани <…> кубатура говорят о силах, присущих could be said that Nietzsche’s poetics served as the philo- базой метафизического искусства может быть при- предмету (пустот нет)». sophical basis of metaphysical art, in particular his idea The Italians wished to observe the simple and mysterious нята поэтика Ницше, его идея вечного, каждый раз of the beneficially creative eternal recurrences, his con- life of ordinary things as supreme and finite state of being благотворно созидательного возвращения, тема Итальянцы захотели наблюдать простую и таинствен- cept of sacrificial intent and perfect sensitivity, related which contain some happy secret of art (Carlo Carra). The жертвенности и совершенной чуткости в перспективе ную жизнь «обычных вещей» как «высшее и конечное to his notion of the Übermensch, his observations on the Russians wished to observe this supreme meaning of life размышлений о сверхчеловеке, созерцание масштаб- состояние бытия, составляющее счастливый секрет large-scale tectonic shifts in nature, and his infatuation contained in ordinary things by means of palpable vision, ных тектонических сдвигов в природе, упоение ее искусства» (Карло Карра). Россияне захотели на- with its creative forces and might. not speculatively but with the help of actual tactile contact творческой силой и мощью. блюдать этот высший смысл жизни обычных вещей with the surfaces, volumes, and the texture of shapes. осязающим глазом, посредством не только умозри- According to an apt observation of the art scholar Elena Точно сформулировала недавно исследователь Еле- тельного, но и тактильного контакта с поверхностями, Gribonosova-Grebneva, in Russia it is Kuzma Petrov- The exhibition will consist of three parts. Kuzma Petrov- на Грибоносова-Гребнева, что в России идеям мета- объемами, текстурой формы. Vodkin who is closest to the ideas of the Metaphysicists Vodkin’s work serves as a unique epigraph, with its two физиков 1910 –1920-х годов наиболее близок Кузьма of the 1910–1920s. In his art he gave a most original heads against a landscape, turned in coloured crystal. Петров-Водкин. В своем творчестве он своеобразно Экспозиция предполагается быть собранной из трех interpretation to the main themes of the metaphysical In his book, Euclid’s Space, the artist tells the story of a артикулировал главные темы метафизического ис- частей. Своеобразным эпиграфом становится работа art, from death and resurrection to somnambulistic life in ruler named Bei in North Africa, who suffered from severe кусства, от смерти и воскрешения, до сомнамбуличе- Кузьмы Петрова-Водкина с двумя головами на фоне urban labyrinths. Similarly to the Italian Metaphysicists hypochondria. No doctor could heal him, when a prisoner ской жизни в лабиринтах города. Как и итальянские ландшафта, превращенного в цветной кристалл. he was inspired by the medieval art and the Renaissance, unexpectedly asked the great leader if he could paint his метафизики, он вдохновлялся средневековым и ре- В своей книге «Пространство Эвклида» художник при- especially its early period, and by the Symbolists. In my room and everything in it blue. A miracle occurred: the нессансным искусством (особенно – ранним), дея- водит рассказ о правителе (бее) в Северной Африке, opinion, however, there are certain distinctions, and they ruler began to recover. He ordered that the whole town тельностью мастеров символизма. Однако, имеются который страдал жестокой ипохондрией. Ни один determined the scenario of the new exhibition devoted to be painted blue, and thus the Blue City was born. Petrov- и отличия, на наш взгляд,
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