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Argunov 40-49 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ ВЫСТАВКИ Натэлла Войскунская АРХИТЕКТУРНЫЙ ГРИНПИС Выставка В нью-йоркском Музее современного искус- «Потерянный авангард: ства (МОМА) известный фотограф, исследо- советская модернистская ватель мировой архитектуры Ричард Пэйр представил американской публике одну из архитектура. 1922–1932» интереснейших страниц советского архитек- турного модернизма в 75 фотографиях, отоб- ранных из почти 10 тысяч, сделанных им начиная с 1993 года. В организации этой выставки принял участие Фонд содействия сохранению культурного наследия «Русский авангард» во главе с сенатором Сергеем Гордеевым. 3 Шаболовская кспозиция вызвала неподдель- радиобашня. ный интерес и у специалистов, и Ул. Шаболовка, Эу многочисленной разноязыкой Москва. публики, которая буквально «прилипа- Арх. Владимир Шухов. 1922 ла» к огромным цветным фотографиям шедевров советской архитектуры, за 3 Shabolovka Radio немногими исключениями – обшар- Tower. панных, разрушающихся или уже Shabolovka Street, почти полностью разрушенных. Что же Moscow, Russia. Vladimir Shukhov. так задевало неравнодушных зрите- 1922 лей: удивление? восторг? здоровое любопытство? нездоровое любопыт- ство? сострадание к исчезающей нату- ре? интерес к «другой» жизни?.. Видимо, все вместе взятое. Каж- дый снимок сопровождался подроб- ной аннотацией с указанием места и времени создания сооружений и, конечно, сведениями об авторах про- ектов. Описания читали все или почти все посетители выставки. То здесь, то там слышалась русская речь и порой радостные восклицания (как у меня): «Вот соседний дом!» (про московский дом Моссельпрома, построенный в Дом культуры им. С.М.Зуева. 1923–1924 годах Давидом Коганом и Ул. Лесная, 18, Москва. расписанный по макету Александра Арх. Илья Голосов. Родченко) или «Смотри, Азернешр!» – 1926 так бакинцы называли Дом печати, возведенный по проекту Семена Пена Zuev Workers Club. в 1932 году (в нем долгие годы работал 18 Lesnaia Street, Moscow, Russia. мой отец). Кто-то узнавал и вспоминал Ilia Golosov. 1926 «свой» Харьков или Киев, Баку или ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #4’2007 79 THE TRETYAKOV GALLERY CURRENT EXHIBITIONS Natella Voiskounski A JOURNEY OF ARCHITECTURAL DISCOVERY “The Lost Vanguard” The exhibition of work by Richard Pare in Exhibition: New York’s Museum of Modern Art features Russian Modernist one of the most immediate and tragic phe- nomena in the history of Soviet (and Russ- Architecture 1922–1932 ian) modernist architecture. The exhibition “The Lost Vanguard” highlights some 75 photographs by the architectural photographer Richard Pare, who has worked from 1993 to the present day, making eight extensive trips to Russia and the former Soviet republics and creating nearly 10,000 images to compile a timely documentation of numerous modernist structures, including the most neglected. The exhibition was made possible by the Russian Avant-garde Fund and Senator Sergei Gordeev, its founder and president. Моссельпром.4 eedless to say this show stimulat- Калашный переулок, Москва. ed great interest both from Nexperts, and from the general Арх. Давид Коган. 1923–1924 public which – as is always the case at MOMa – proved both numerous and Mossellprom4 international. The viewers were captivat- Kalashny Lane, ed by the large-size colour photos of real Moscow, Russia. David Kogan, 1923–24 masterpieces of Soviet architecture, in most cases almost destroyed by time, weather, negligence and ideology. What made it so interesting to the interested public? Surprise, or сuriosity? A discov- ery of another life and lifestyle? Most probably, all of those factors. Each photo- graph was given special commentaries on the place and time when the buildings concerned were erected and of course, with detailed notes on the architects. Здание Госпрома. These commentaries made such a valu- Площадь able addition to the visual material that Дзержинского, sometimes viewers had to wait for their Харьков, Украина. turn to come closer and be able to read Арх. Сергей Сера- фимов, Марк Фельгер, the text. Самуил Кравец. 1929 One could occasionally hear Russ- ian speech, including exclamations like Gosprom Building that of this writer, “Look, it’s the house Dzerzhinski Square, next to ours!” (this referred to the Mos- Kharkov, Ukraine. Sergei Serafimov, selprom built in 1923–1924 by David Mark Felger, Kogan and decorated according to the Samuil Kravets. 1929 colour scheme and graphics of Alexander 80 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #4’2007 CURRENT EXHIBITIONS ВЫСТАВКИ International Panorama Международная панорама МОГЭС. of Light. Tadao Ando Architecture”, Раушская наб., “Egypt. Reflections on Continuity” – have Москва. made him a leading name in architectur- Арх. Иван al photography. He determines the signif- Жолтовский. 1926 icance of architectural subjects for the art of photography and the significance MoGES of the art of photography for history of Raushskaya art. He thus might be titled an “arch(tec- embankment, tural) photographer”… He received the Moscow, Russia. AIA monograph award for “Tadao Ando: Ivan Zholtovski. 1926 The Colours of Light”, which was pub- lished in 1996. What was shown at the 2001 Moscow exhibition “Russian Construc- tivism: A Province” might be regarded as a witness to an epoch - and a verdict on it. As Yury Avvakumov put it, “major architectur- al works of universal significance have been erased to such an extent that one should take pains to recognize the former heroes in them.” The Soviet avant-garde was totally defeated – in visual arts, in lit- erature, in the theatre and in architecture - and not due to a certain sequence of changes in styles, but forcefully, deliber- ately, and cruelly. Many Soviet avant-garde artists and architects, men of letters and producers were killed – some literally, some by being completely ignored, and Rodchenko), or “Oh, it’s Baku, it’s Azer- monstrating the shabby existence of its their works were neglected, consigned to neshr”: that is how the Palace of the Press elderly inhabitants like a screaming or simply buried in oblivion. was called by all those who lived in Ba- splash on the wall. Buildings, apartment houses, indus- ku – the capital of Azerbaijan. My father The name of Richard Pare is known trial structures – those architectural worked there for many years. This edifice to the Russian public – to photographers, monuments of the 1920s and 1930s can- was built to a project by Semen Pen in architects and interested viewers: in not be made invisible: no ideology can 1932. 2001 Muscovites had the opportunity to forbid viewing them. The Soviet ideolo- Some recognized Kharkov or Kiev, see Pare’s exhibition “Russian Construc- gists followed their own methods: no others Baku or Nizhny Novgorod, Ekater- tivism: A Province” in the framework of need to destroy – just neglect, and weath- inburg or St. Petersburg, Zaporozhie or Yuri Avvakumov’s project “24”. ering and erasure alongside the merci- Ivanovo, Sochi or Moscow… Viewers It seems all Richard Pare’s previous less path of time will swallow up such would even remember a communal apart- activity – his albums “Photography and “inimical” constructions. Or bring to life ment – its colourful picture vividly de- Architecture 1839–1939”, “The Colours other methods: marginalize them and change their image to an unrecognizable extent… Faded colours, crashed steel constructions and broken concrete, plus reconstructions and random additions – such was the verdict on the once glorious, if not ever great, epoch of revolutionary Нижний Новгород, Екатеринбург или МОГЭС и архитектура 1839–1939», он более структивизм: провинция» фотографии creative activity and professional crafts- Петербург, «свое» Запорожье или Ива- Раушская наб., других сделал для определения значи- Пэйра – и документ эпохи, и одновре- manship. ново, «свою» Мацесту или Москву, а не- Москва. мости архитектурных сюжетов в искус- менно приговор ей. Прав Аввакумов, Richard Pare says he has felt the которые даже и конкретные коммуна- Арх. Иван стве фотографии и, наоборот, значимо- говоря: «Шедевры мировой архитекту- Жолтовский. otherness of Russia for most of his life. лки, в которых жили или когда-то бы- 1926 сти искусства фотографии в истории ры состарились настолько, что для He started to study this Russian “other- вали, тем более что одна из них была архитектуры. Наверное, его вполне опознания в них былых героев требу- ness” in 1993 when he came to Moscow запечатлена и представлена в экспози- MoGES можно торжественно именовать «архи- ются особенные усилия». Усилия, надо looking for the legacy of the modernist ции красочно, во всех своих неподра- Raushskaya (тектурным) фотографом»… В 1990 году признать, уже сейчас требуются едва architects who believed in “the idea of жаемых интерьерных и, увы, бытовых embankment, Пэйр опубликовал итог своей двухлет- ли не героические. Недоброй волею Moscow, Russia. creating a new way of life in a new socie- деталях… Ivan Zholtovski. ней работы в Африке – монографию времени и людей советский авангард ДнепроГЭС. ty”. Curiosity and knowledge were his Американский журнал «Форбс» 1926 «Египет. Размышления о непрерывно- оказался побежденным, причем повсю- Запорожье, Украина. guides in his travels through the former назвал «Потерянный авангард» выс- сти», в которой, если вторить Осипу ду и повсеместно – в изобразительном Арх. Александр Soviets republics and Russian regions. тавкой-исследованием Ричарда Пэйра, Мандельштаму, исследовал «египет- искусстве, литературе, театре, архитек- Веснин, Николай The result was really amazing. This arch- имя которого
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