Shown in Moscow pictures of Mikhail Baryshnikov made a strange impression

In the New Arena show of the Russian art collection of Anatoly Bekkerman — afterword to the official history of painting. Two-part exhibition “Russian art: finds and discoveries” and “Mikhail Baryshnikov, from the cycle “Dance”, produced by the new York gallery ABA, produces a strange impression.


The exhibition Motherland is represented in the usual caricature chronology. It is known, for example, the filmography of Nikita Mikhalkov — cheap popular gold-domed Russia and other “the Barber of Siberia”, decadencia perished in the fire of revolution, “Stalingrad” export dissidence vegetarian period. Finally, the third generation and while spirituality in exile, speaking with a strong Brooklyn accent.

All of these cultural memes are quite literally illustrated through the work of each author’s works. And the names here are loud. So, landscapes by Alexei Savrasov, Konstantin Korovin, Abram Arkhipov, quite typical of their artistic method, look free comment to art history. And these artists entered works of a different caliber.

Findings of Beckerman is not open to the General public is nothing new. A project in New Arena makes “white noise” in our understanding of the creative credo of the same Valentin Serov. “Unknown” in 1905 the artist compromises rather than confirms the title of “master of psychological portrait.”

A pleasant exception are the paintings of David Burliuk Japanese period, little known in Russia. Only Russian Museum has a collection landscape “Rice fields” or for an “Ornament” brush Natalia Goncharova. Here, perhaps, and all, if we talk about the avant-garde. The section on artists of the sixties, predictable, consists of Eduard Shteinberg, Oscar Rabin and Oleg Tselkov… Quite conformist collection of non-conformists.

And that’s where we really are in for a surprise, is section of contemporary art, which Ambassador Anatoly Bekkerman appointed his younger brother, Edward. A clear case of nepotism (favoritism, granting privileges to relatives or friends regardless of merit). The output of journalists made him happy as much as two hefty catalogues to leave no doubt about the future of Russian art. For it now you can be calm. Edward Bekkerman — artist of ethnographic specificity. But with a track record that consists of a group of traveling exhibitions in an obscure galleries — minus the Russian Museum in St. Petersburg, who built him a reason, a retrospective in the distant 1994.

So — saver Windows, stop the moment, the layman can imagine abstract art. Neighborhood Bekkerman and Natalia Goncharova’s works provoke a feeling of embarrassment. But history, especially domestic, as you know, not endure, postpreda now in Vogue. In the end, we all, Russians, like unloved children from the mother: its not needed, and a stranger driving from hem. According to this principle, “rootless cosmopolitanism”, it is logical to assign small-town craftsman-alone Bekkerman spiritual heir of the great Amazons of the avant-garde Goncharova.

As for Mikhail Baryshnikov, the famous Maxim “talented people are talented in everything” he is, alas, denies. Image of dancing people, taken on a long exposure to accentuate the light energy movement, is a classic example of Amateur photography. Fortunately, it is supplemented by an interesting series Errante 1933 Ilse Bing.

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