In the old metal melting technology, the worker is important - he melting conductor. Bright watercolor on the transformer paper conveys the proximity of the fire, the heat of the liquid metal.
In the old metal melting technology, the worker is important - he melting conductor. Bright watercolor on the transformer paper conveys the proximity of the fire, the heat of the liquid metal.

Вдруг нашелся текст, наивный и искренний, прямо от туда – как доставленный на машине времени из прошлого. В этом тексте много всего, если представлять его “Деревом”, по Мартин Буберу: художник поставленный системой в жесткие рамки госзаказа, идеалист – социалист с закалкой второй мировой, выброшенный на берег 90х. Киты умирают в лужах бензина.

Suddenly, a text was found, naive and sincere, right from there – as if delivered by a time machine from the past. There is a lot of everything in this text if you imagine it as a “Tree” (by Martin Buber): the artist is put by the system in the framework of the state order, the idealist – socialist with the remember Second World quenching, washed ashore in 1990. Whales die in puddles of gasoline.

Anton Gulich:

Not long ago while meeting with a group of students and teachers (the talk was about imitative arts). I noted the great interest of young people towards modern art in our historically difficult time. I want to share my ideas as far as the state and feelings of creative professional artists are concerned.

Today we distinctly feel the dying of the culture. If began in the epoch of socialism, when the art was often brought to the level of leading articles, burring in oblivion common to all mankind questions of good and evil.

And now the time came when everybody decided that independence, democracy and the freedom of creative work came and that the artist will stop to feel the resistance as the obligatory condition of creative strength. But it’s no use to worry about it. No matter how the situation will change (and it changed to the good for some average men), but for the artists who cultivate non-commercial trends in art, for the masters, who create a culture the conditions, became worse (unbearably).

The wave of commerce razes on the surface the to-day’s conjuncture, as it was in the past in the period of political and ideological difficulties. But in that time there was another conjuncture and another way to react to it.

It happened the next absolute devaluation of values which carried away certain spiritual substitutes and brought other ones, but cheaper: and this another art will flourish, it is already flourishing and completely closing the pores of real artists, while satisfying, unfortunately, the surfeited modern leaders.

Let us imagine, that our deputies and members of the government should be deprived of the numerous privileges, of their comfortable incomes maybe we could have in this case reasonable laws and their fulfillment. But let us come back to art.

Everywhere sound: and where are our Kandinskys, Maleviches, Van Gogh, Matisse, Picasso, and Avetisyan?

Such artists are scarce, because they are against their common sense, against their material welfare, developed what was never encouraged, was never in popular demand, and was never praised by the majority. And the people aesthetically underdeveloped attack, as a rule, what has individuality, originality, what is deprived of moralizing, of the Slavish notions “possible”, “impossible”. Go our greatest regret, there are not only such artists, who fully understand the spirit will always be of time, there are plenty of such who are only hanging on. The art standard is now extremely low. Falsification is flourishing (for the sake of surviving).

Such “art” creates suit generis narcoticism. The death of the world is here in the sphere of human feelings not in the sphere of nuclear explosions at all.

На картоне размером 35х49 см маслом, изображена старинная липа, мощное дерево зимой, в окружении светящихся розовым под снегом молодых деревьев.
On cardboard 35×49 cm, oil, shows an old linden, a powerful tree in winter, surrounded by young trees glowing pink under the snow.

A.S.Pushkin said: “ But I do not want to die, my friends,

I want to live in order to thin and suffer”.

He did not say:” In order to eat with delight and be a success”.

I want to live in order to thin and suffer”.

He did not say:” In order to eat with delight and be a success”.

The real professional artist must appeal to his spectator in a rather complicated language to tear him out of the atrophy of feelings created by the falsifiers of art. For a very long time, they had been using the hackneyed over simple devices and weaning their consumers from thinking over the real works of art from perceiving them actively. Such artists as Monet, Lautrec, Gauguin, Matisse completely gave credence to their spectators, but they never violated the distance in their personal contact with them for the sake of perspicuity and clarity of their pictures, they never sacrificed that most important matter, on behalf of which they generally painted. It is such an attitude, which really proves that they love their onlookers.

But the painters, who corrupt their least developed onlookers, while saying they create accessible pictures, really despise them. The contact with art is a rather difficult emotional work. The picture must be deeply felt by the onlookers, and not simply looked at accompanied with a light flirt with his girlfriend. People have been corrupted by pseudo art. Museums and exhibitions are hardly attended; one seldom sees a professional picture. And when one does — he does not fry to understand it, to penetrate in its essence. And to create a real picture, not a hack- work, is not less, but more difficult than to perceive it. But many people like criticizing. I highly respect people who can objectively and subjectively evaluate a work of art. But even they are often superficial.

The majority of developed intellectual people complain today of hawing lost feeling. It is the most terrible loss for a modern human being, who was reduced to such level of slavery and lawlessness, that the changes took place at a genetic level. And now, unfortunately, our modern young generation has since its childhood deprived the ability to perceive the surrounding world emotionally.

The young generation ‘s separated at present because of economical and political reasons (no job, no salary, no, no, no)

Символ мозга в центре окружен тотально наклееными бумажными деньгами и монетами,над ними висит петля из веревки
Totally glued paper money and coins is surrounded by a brain symbol in the center, next to it is a loop of rope. The author in the work emphasizes the shortcomings of capitalism – total control. slavish addiction to death. Paper money, coins, plastic, rope, tablet.

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