Gogol is the author of a mystical and haunted artists. Young or in old age, rich or disinterested, the conservatives or the Democrats all fall under the spell of writing and the power of his works. In the “New wing” of the House of Gogol appeared a total installation on the basis of mystic novel “Portrait”. Her writers artists Anna Rumyantseva and Alexei Tregubov.
Notice that long-nosed writer firmly hooked up with this couple: they are already double-tracked classic and did interesting projects “#Autoreset” and “Players”. Now in the space of the “New wing” artists explore transformation of the image of the writer in the collective memory. Took what “Portrait” — not in a gilded frame, and a tale bound to isolate out of it the plot-motive and invited the audience to start their own investigation to find the most accurate visual image of the writer.
And for this we need to move through a series of mysterious rooms where the controversial memoirs of contemporaries about the appearance of Nikolai. And they wrote about him without reverence and pathos, because the contemporaries, and not kneeling descendants. “From the first glance at him I was just more struck his nose, lean, long and sharp, like the beak of a bird of prey” — that saw him Panaev. And the memories of P. A. Kulish Gogol in St. Petersburg some remember dandy; there was a time that he even shaved off their hair to increase their density, and wore a wig”. More than fifty different pictures provided by the Museum Foundation, offer inquiring audience to create a portrait of your Gogol.
— It turned out that the Museum has many different exhibits — says “MK”, the artist Alexei Tregubov. For example, different portraits of him, woven, ceramic, bronze — in short, a kind of samples of the reflections of various artists of the 70s.
— That is a stagnant Soviet years. I wonder if they postponed the imprint. or it is time timeless?
— Time effect, and these works show that people saw Gogol is pretty pathetic: there is a beautiful Gogol, but more naive.
— Are there any rarities among the exhibits?
Is, for example, the graphical sketch of Nicholas V. on his deathbed. Or his painting of the NINETEENTH century, of an author unknown to the General public. We pushed away from the exhibits and how to show the transformation of a writer in time. That is, when you have this collection, it becomes clear that we must not do the illustrations for his works, and to consider Gogol through the prism of time — from past to present.
— What’s your relationship with Gogol? There is a particularly favorite piece?
The attitude I have, I would say, is neat. I love his work, and when you take the work and think over it, these patterns of thinking emerge, which you then meet from a variety of artists. And it is most shocking. When I was working in the “Players” (the previous project Tregubova and Rumiantseva), then fell in love with this text. Then the wonders of its dramatic techniques I have found in a Hollywood script.
— The exhibition can be seen a clear pattern of approach to the image. Does this mean that this very successful technique can be used in other literary museums — for example, Bulgakov’s house Museum of Marina Tsvetaeva?
— I cooperate with other museums, but I understand that everywhere has its own specifics. For example, Pushkin is wrong, like Gogol, Pushkin texts crystal clear and it is difficult to immerse them in a modern environment, and do not need it. And Gogol is always a distance within which possible interpretations and interpretation.