The Museum of Anatoly Zverev and Electrotheatre Stanislavsky – two body on the cultural map of Moscow, which is ahead of current realities, presenting vital work is more from the future than from the present. On the 30th anniversary of the Chernobyl disaster, they launched a joint project – “Prediction” – is not about today. It combined the painting of the unofficial art of the second half of the twentieth century Peter Belenkov and directed by Andrei Tarkovsky. Foresaw great artists, he saw the correspondent of “MK” in the new theatre.
The lobby does not know: the Windows draped in black corrugated plates, with their snow-white, wavy strokes out strange elements – whether cosmic explosions, or moonlight. Belenok he jokingly called his painting “panic realism”. The first part of this definition are obvious even a cursory look at his work: people-midgets (compared to the disasters) away from cosmic catastrophes someone somewhere. The artist as demiurge, placing his characters in uncomfortable positions so that they are created by shocks, explosions, almost death.
These dynamic images 1938-1991 years, causing a strong sense of the end of the world, is interpreted as a premonition of the Chernobyl accident. Moreover, he Belenok was born in the village of Korokoro near Chernobyl and have seen enough of nuclear power plants. It actually was a sculptor and, according to the memoirs of the artist Anatoly Brusilovsky, earnings sculpted “Soon” and other leaders, and for the soul wrote that such black-and-white abstraction. They became famous: his exhibitions were a success in Europe, America and today, many works hang in the Tretyakov gallery, Russian Museum and Moscow Museum of modern ART.
For the first time he saw pictures of Peter Belenkov, I was shocked, ” admits art Director of the Museum of AZ, the author of the project “Foresight” Pauline Lobachevsky. – How could the artist in the early to mid-seventies, to imagine and to depict the disaster that happened in 1986-m to year?! And then he remembered footage depicting the Zone in Tarkovsky’s film “Stalker” which was released in ‘ 79, the Theme of premonitions, foresight has always interested me. Can a person develop these abilities? What to do: train the brain, nurture the soul or strengthen the spirit? Perhaps God bestows the gift of foresight? Today, I believe that art should inform, or to teach, and to inquire of and to puzzle.
photo: Ksenia Korobeinikova
A few years after the release of “Stalker” the word “zone” is firmly associated in the minds of people with the Chernobyl disaster. And artistic metaphor of Tarkovsky, as Belenkov, was brilliant foresight. So two artists were combined in one project. Canvas and screen, where there is a “Stalker”, surrounded by coving (curtains) with photos Victoria Ivleva from the scene of the Chernobyl accident. The impression strengthens and music. It’s appropriate: the music of Edward Artemiev for “Stalker”, the symphonies of Nikolai Karetnikov, electroacoustic composition Iraida Yusupova and, of course, “Lament for the victims of Hiroshima” by Krzysztof Penderecki.
About the relationship with Belenkov Penderecki says a close friend of the artist, the poet Vladimir Aleynikov: “When Peter moved to Moscow, he arranged in the Studio screenings of their works. There were many: small format, on paper. The music of Penderecki, he showed one by one, working so quickly that the impression of a kind of film where people swept like a whirlwind. And the Chernobyl tragedy Peter took as his prediction. From this it was very bad. But his paintings have a light, about which often forget, although there is hope for the best.”
Tarkovsky and Belenok master difficult to understand them quickly fail, so the organizers within the framework of “vision” conduct an educational program: round tables, excursions, film screenings with discussion. Long ago in Moscow there was such a deep draft, organically linking the several art forms.Related posts: