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Wednesday, February 21, 2018

Olga Sviblova is about the priorities of the largest exhibitions of Albion

May 19 in Somerset house on the strand opened powerful British photo fair Photo London, where experts on the law until the assigned number two center after Paris Photo (held in November), but all in one voice assured that the Londoners are taking a very high bar for the level of the galleries, level names and, in fact, the works themselves…

photo: Jan Smirnitsky

What up fees — and this is key to any art policy, some of them will report later. In the meantime — one continuous pleasure Realm of Photography, and of Russia on the General background does not strike in a dirt the person: the Multimedia Art Museum Olga Sviblova has introduced a series of provocative, but deep and kind at the same time the works of the famous and beloved philosopher and photographer Sergei Chilikova (lives in Yoshkar-Ola).

photo: Jan Smirnitsky

Not easy at first to understand the intricate levels of old Somerset house, where the “pavilion”, and where “the mezzanine”; will pass all three times, and then it turns out that some corners Yes, the bits were still hidden from sight. But it adds to the charm and respectability, after all, the London (mainly), Paris and other galleries put the big names in the world photos of the last 30 years, among them Anton Corbun (and its savory dark and David Bowie), Patrick Demarchelier with its slim lines models (like Christie and mouse”), Helmut Newton with “the 10th floor of the hotel “Hilton”, shining band Motohiro Takeda, strong-willed stunning images of Albert Watson, and of such masters as Martin Schoeller, Christian Tagliavini, Irving Penn, Nick Brandt — many of them even to the Russian audience became a textbook…

To that pricing policy, without going into details, different snapshots (and you have to understand that photography is a serial art, so you can buy the limited edition, author’s copy — here it is necessary to specify) cost from 1500 up to 150,000 pounds. And the photos themselves, some just not from space images NASA photo collages to face with Obama, collected from some of fotomotor. Colorful look blue plastic buckets with ice, a bottle of champagne and glasses, which employees spread in every gallery. Visit the striking from the leading art dealers to artists (in the cafe when we ate David Suchet).

photo: Jan Smirnitsky

That catches the eye and is a good surprise: the exhibition in the mass, completely devoid of any opinion “on the topic of the day”, shock and provocation as such here at all. On the one hand, it is understandable: the best of the gallery offer the best, the last screening of “the goods”. On the other — there is celebration of some of the diffuse in the air the sense of taste, which neurocyte from a thick layer of venerable fotoman pulls to the surface a little-known young authors, almost mocks the essence of photography… But it all goes in the same line of work for Art. And not only on the art of photography and what I told Olga Lvovna, when we finally watched all the half-naked hanging-doloreslaverne natures Chilikova. (Sviblova in my House the pictures were deliberately released a whole room to understand how many “chilikova” in General will look on the walls of Somerset house, and then — and a Titanic work! — noticed: “when I prepare an exhibition Chilikova, starting to hate him — so many things to do, I suffer, and when I finally do everything will be hanged — again love him!”)

photo: Jan Smirnitsky

— Olga Lvovna, first, how would you rate the scale of London Photo?

— The present exhibition is quite remarkable; firstly, London is the city where really there is the art market (Yes, it is, as elsewhere, fell because of the crisis, but in London — much less than in the rest of Europe). So this is a very correct idea of what occurs here such a prestigious fair. Because I don’t look at the photo as a separate art form.

— She’s dense image included in the total art process?

— Photo is not separate but an integral part of art, the media: can do sculpture, or painting, or working with mediaphotographer. And periodically photograph became one of the leading media, comes to the fore when, for example, we can’t imagine modernism or socialist realism without photographs; on the other hand, no longer necessary to confirm the thesis of Rodchenko that “photography is art”. So the holding of the London Photo — a very reasonable step…

— But before there were attempts, as far as I understand..

— Were. But until last year they were not very successful. I was present at the birth of Paris Photo at the time. Remember how it was going, as no one believed in the success of the enterprise. Today this is the heart of photolife, where there are people from all continents who are in any way associated with a photograph. The same happens with London Photo: “cadres decide everything” as said by our leaders. At the head of this fair stand is now Michael Benson and Fariba Farshad — people who very clearly over the last ten years proved that they are super-professionals; they did the Prix Pictet — picked up this international award, making it one of the most prestigious in the world. The exhibition of winners and nominees for the Prix Pictet are now in leading museums… Those of galleries who currently participate in the London Photo, is just cream.

— But what is the main difference from Paris Photo?

— Paris will remain Paris, but London is obviously great prospects (especially in London there is no separate foam). The city is gaining momentum on the part of the interest in photography, here is a photo market is just being formed…

— Of course, it will take time.

— Of course, the more that the fair is successful not when it great exhibitors and exhibits, but when she shows commercial results. For example, we know how choked Paris Photo in Los Angeles, which is a shame: there were the best of the gallery, there were awesome exhibition space, there was a public interest, but… there was no sales. And the market, sorry, that’s the market. But it’s great that London Photo delivers non-profitable projects, working with museums, and with our in particular. We are a proud part of Russian photography in the overall process. And I hope (I’m a futurist) that someday in Russia too will be a similar story…

— Oh, not soon…

— Alas. When in Moscow, two photo galleries, and those breathe its last in connection with the General situation, we can only dream of. But the hope in Moscow Photo there, and let hope dies last. Despite the fact that the photo market is very specific, because the photos have grown in the price of the last 20 years much faster than growing the whole art market. But now, at the time of decline and stagnation, photography is more risky segment, although it is cheaper: there is a problem with numbers, with expertise, with provenansom… Because when it starts the financial collapse, people are afraid to invest in photo (suddenly impure into the hands of the photographer will make additional copies?) — instead, invest in the most expensive painting.

— Last question: explain the Chilikova choice for London, although it is clear that he is beautiful in itself…

— Oh, we put a lot abroad, Sergei had always had success. Still in Rome, and in Arles remember his work. But in London it still hasn’t arrived yet. It seemed to me that here it will match the London style — because in the last 12-15 years London has changed, this is not the London that was in the late 80’s, — which I, frankly, ran away, did not accept the offer to stay.

— Really?

— Yes, but London was closed, nothing worked on Saturdays and Sundays, all the houses locked up… Today, the energy of the city is extroverted. And Chilikov fits well: it is topical, free, finds in the people of different regions of Russian freedom, and above all bodily. A body is a body. Here is the girl. She’s in a dress lies. But my knees put something like that as it allows confidential-intimate situation. Rests. This posture of freedom. She’s not posing, not sitting as it should be. Any girl from the British provinces will fall in the house alone as well. So subtle, conceptual art Chilikova clear to everyone. And he never bring any pain points. Provokes, but remains invisible. He loves his characters. And it is very transmitted. Out from all sides I hear positive feedback…


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