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Moscow Conceptualism Erosion and After Ed MOSCOW CONCEPTUALISM EROSION AND AFTER ED. KIMMO SARJE / РЕД. КИММО САРЬЕ МОСКОВСКИЙ КОНЦЕПТУАЛИЗМ ЭРОЗИЯ И ПОСЛЕ Moscow Conceptualism. Erosion and After ED. KIMMO SARJE / РЕД. КИММО САРЬЕ Московский концептуализм. Эрозия и после Moscow Conceptualism. Erosion and After ED. KIMMO SARJE / РЕД. КИММО САРЬЕ Московский концептуализм. Эрозия и после Contents / Содержание Eastern Conceptualism / Восточный концептуализм Kimmo Sarje / Киммо Сарье 6 Untitled / Без названия Yuri Albert / Юрий Альберт 22 Moscow conceptualism. Erosion and After A Few Words about the Artist's Freedom / Несколько слов о свободе художника PUBLISHER Vadim Zakharov / Вадим Захаров 34 The Academy of Fine Arts at the University of the Arts Helsinki Dyr bul shik / Дыр бул шик New Normals / 52 DESIGN OF PUBLICATION SERIES Новые нормальные BOND Creative Agency Erosion and After / Эрозия и после COVER AND LAYOUT Kimmo Sarje / 56 Tommy Lindgren Киммо Сарье REPRO Conceptuality as a Form of the Sublime: A Theoretical Petri Kuokka/Aarnipaja ky. Gedankenexperiment / Концептуальность как форма PRINTING возвышенного: теоретический мысленный эксперимент Saarijärven Offset Oy, 2016 Hannu Eerikäinen / Ханну Ээрикяйнен 178 Art Theoretical Writings from the Academy of Fine Arts ISBN 978-952-7131-10-7 The Evolution of Conceptual Art into Conceptualism / ISSN 2343-1008 Academy of Fine Arts, University of the Arts Helsinki Преобразование концептуального искусства в концептуализм Viktor Skersis / Виктор Скерсис 210 ISBN 978-952-5648-53-9 Pori Art Museum Publications 134 Moscow Conceptualism Challenging Authorship: Dimitri ISSN (printed) 1238-5913 Prigov and Lev Rubinstein / Московский концептуализм University of Helsinki, Aleksanteri Institute оспаривает авторство: Дмитрий Пригов и Лев Рубинштейн Tomi Huttunen / Томи Хуттунен 224 7 Eastern Восточный Conceptualism концептуализм KIMMO SARJE КИММО САРЬЕ “If we exclude Sots-Art (conceptualism) from ’Russian postmo- «Если мы исключим соц-арт (концептуализм) из российского dernism’, there would be nothing left”, claims Evgeny Dobrenko, постмодернизма, в нем ничего не останется», – утверждает researcher of Russian literature and culture. While this position Евгений Добренко, исследователь русской литературы и культуры. might arouse questions, Sots-Art and Moscow Conceptualism are Хотя такая позиция и может вызывать некоторые вопросы, соц- without doubt part of the unique philosophical basis of Russian арт и московский концептуализм, без сомнения, являются частью contemporary art. The term “Sots-Art” refers to the Soviet version уникального философского основания современного российского of Pop and conceptual art which took Marxist-Leninist ideology as искусства. Термин «соц-арт» относится к советской версии its raw material in an ironic vein. Moscow Conceptualism, in turn, поп-арта и концептуального искусства, взявших марксистско- is a Russian interpretation of Western conceptual art, marked by ленинскую идеологию в качестве сырья для переработки в a particular sense of the absurd and a romantic emphasis. They ироническом ключе. Московский концептуализм, в свою очередь, involve art, an attitude to life, sensitivity, and perhaps even method. является российской интерпретацией западного концептуального Moscow Conceptualism. Erosion and After consists mostly of pa- искусства и характеризуется особым сочетанием абсурдного с pers and statements by artists and researchers at the Moscow Con- романтическим акцентом. Оба направления подразумевают как ceptualism symposium held at the Finnish Academy of Fine Arts искусство, так и отношение к жизни, тонкую восприимчивость и, возможно, даже метод. 8 MOSCOW CONCEPTUALISM 9 Праздничная демонстрация, посвященная годовщине Октябрьской революции в Москве. 7 ноября 1987 г. Фото: Киммо Сарье. in Helsinki on 13 March 2013, with three Russian contemporary artists, Yuri Albert, Victor Skersis and Vadim Zakharov, participat- ing. Albert, Skersis and Zakharov live and work both in Moscow and in the West: Albert and Zakharov in Germany and Skersis in the United States. The Finnish speakers were Professor Tomi Hut- tunen and myself. In his essay, Albert considers the problems of defining Russian conceptual art or in a more limited sense, Moscow Conceptualism, and how schematic views will readily be misleading. A historical approach and the biographies of artists can give a more accurate picture of the course of events. Albert underscores the local and independent nature of Moscow Conceptualism. For him, the im- portant considerations were impulses from Vitaly Komar and Ale- xander Melamid, the founders of Sots-Art, and work within the small Nest artist group. Albert’s conception of art was shaped not only by the impulses of Sots-Art but also within the tensions and interaction of unofficial modernism, official Soviet art and Western contemporary art as it was imagined. Vadim Zakharov seeks the points of departure of Moscow Con- ceptualism in artistic freedom. He claims that the repressive Soviet state and society of the 1970s, ossified in its stagnation, forced misfit artists of different generations to form their own micro-communi- ties where conceptualist art was created collectively. Paradoxical- ly, this was freedom and independence “in the cage” – and best of all without any consideration of benefiting from it. Erik Bulatov (1933), Ilya Kabakov (1933), Vitaly Komar (1943), Alexander Mela- mid (1945), Lev Rubinshtein (1947) and Andrei Monastyrsky (1949) are well-known pioneers of this orientation and a school of several generations evolved alongside them. The Russian contributors to this anthology – Albert (1959), Skersis (1956) and Zakharov (1959) Soviet October Revolution Demonstration in Moscow. November 7, 1987. – represent the second generation. Photo: Kimmo Sarje. 10 MOSCOW CONCEPTUALISM 11 Сборник «Московский концептуализм. Эрозия и после» состоит, главным образом, из докладов и сообщений художников и исследователей на симпозиуме по московскому концептуализму, прошедшему в Финской академии изящных искусств в Хельсинки 13 марта 2013 г. при участии трех современных российских художников: Юрия Альберта, Виктора Скерсиса и Вадима Захарова. Все они живут и работают как в Москве, так и на Западе: Альберт и Захаров в Германии, а Скерсис в Соединенных Штатах. Со стороны Финляндии в числе спикеров были профессор Томи Хуттунен и я. Юрий Альберт в своем эссе рассматривает проблемы определения российского концептуального искусства или, в Подготовка к военному параду, посвященному годовщине Октябрьской революции в Москве. 7 ноября 1987 г. Фото: Киммо Сарье. более узком смысле, московского концептуализма, и указывает Preparing for the October Revolution Military Parade in Moscow. на легкость, с которой схематические взгляды могут вводить в November 7, 1987. Photo: Kimmo Sarje. заблуждение. Исторический подход и биографии художников могут нарисовать более точную картину событий. Альберт подчеркивает местную и независимую природу московского концептуализма. Для него важными аспектами стали импульсы, полученные от основателей соц-арта Виталия Комара и Александра Меламида, и работа в общении с небольшой группой художников «Гнездо». Концепция искусства Альберта сформировалась не только под влиянием соц-арта, но также и под воздействием напряженных отношений и одновременных взаимосвязей между неофициальным модернизмом, официальным советским и тем западным современным искусством, каким оно представлялось в те годы. Вадим Захаров ищет отправные точки московского концептуализма в артистической свободе. Он утверждает, Москва, Красная площадь, 7 ноября 1987 г. Фото: Киммо Сарье. что репрессивное советское государство и общество 1970-х, Red Square in Moscow, November 7, 1987. Photo: Kimmo Sarje. 12 MOSCOW CONCEPTUALISM 13 окостеневшие в своей стагнации, вынуждали маргинальных художников разных поколений формировать свои собственные микросообщества, в которых концептуалистское искусство создавалось коллективными усилиями. Как это ни парадоксально, такая ситуация приводила к свободе и независимости в условиях «клетки» – и лучше не рассматривать связанные с этим выгоды. Эрик Булатов (1933), Илья Кабаков (1933), Виталий Комар (1943), Александр Меламид (1945), Лев Рубинштейн (1947) и Андрей Монастырский (1949) являются известными пионерами этого направления и школой для нескольких поколений, формировавшихся бок о бок с ними. Российские участники этой антологии – Альберт (1959), Захаров (1959) и Скерсис (1956) – являются представителями второго поколения. Виктор Скерсис в своем эссе обсуждает эволюцию Андрей Филиппов, Юрий Альберт, Киммо Сарье и Сергей Мироненко в Москве, 31 октября 2007 г. концептуального искусства в концептуализм с помощью средств Andrei Filippov, Yuri Albert, Kimmo Sarje and Sergei Mironenko in Moscow, October 31, 2007. аналитической философии. Он утверждает, что аналитический концептуализм как метадисциплина возник в Москве в 1970- е годы, т.е. в то самое время, когда западное концептуальное искусство пошло на спад. Согласно его утверждению, “то, что превращает произведение искусства в концептуальное произведение искусства, искусством не является”. Московский концептуализм также эволюционировал в результате пытливого взаимодействия и столкновения с артистическим анархизмом, например, с группой «Мухомор» (Amanita Muscaria). Высвобождение творческой энергии произошло, как только интеллектуальное суперэго было отброшено прочь. Среди ведущих фигур этой группы был и Константин Звездочетов. Как утверждают авторы этой книги, проект художественной группы «Новые нормальные» Сергей Мироненко: «Извините!», 2014, печать
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