In 2010,
Stella Art Foundation starts a new project entitled Evenings at Skaryatinsky. The evenings are expected to be held once
in two months.
Project
curator Lev Rubinstein says:
"As it
can already be seen from the title itself, the project implies a series of
evenings with performances of writers and musicians who, by their aesthetic
tastes and creative practices, can be related to the range of ideas, problems
and practices called these days in very general terms "contemporary
art". It is especially illustrative in this sense that some
contemporary artists make routinely incursions into the field of the language
arts, while some of the poets and musicians fit quite naturally in exhibition
or museum space.
Artists
like Victor Pivovarov, Nikita Alexeyev, Gor Chakhal, Grisha Bruskin are authors
of books in poetry or prose. Poet Victor Koval is a remarkable graphic artist.
Musician Vladimir Tarasov, Sergey Zagnyi, Vladimir Martynov are authors of
books and participants of artistic projects and joint performances with poets
and artists. We see all of them as expected and much-desired participants of
our evenings.
The
contemporary art doesn't recognize divisional or inter-genre boundaries.
Indeed, this blurring of boundaries is not a phenomenon of today, or even
yesterday.
Quite
unique creative links between aesthetically related poets, artists, musicians
and philosophers formed as early as 1970s, the years of severe and tight
underground. An artist's studio, a room in a communal apartment or the proverbial kitchen operated as some sort of
universal location of striking synthetic environment, a place of evolution and
testing of maybe the most important element of art: a mutually understandable
language. It was at that time that it became evident and important for all of
us that the art and the talk about it form a kind of syncretic unity, that the
problems moving a writer, an artist, a musician of an actor are the same.
And, to my
mind, the most important and valuable element in the experience of the vigils and
get-togethers of the time, where people recited poems, viewed paintings, played
saxophone and talked, talked, talked, was, in my opinion, the unbelievably
charged and "nutrient" atmosphere, which, of course, can't be
reinvented. Still, its memory suggests us some devices and formal criteria that
we could very well try to use in an attempt of creating a new environment, a
new atmosphere – not less "nutrient" and fascinating.
We might
fail, of course. But we should try, in any case."
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