Pavel Kaplevich: I tried to "revive" the "phenomenon of Christ to the people." Going and watching: Revived the cloth in the Tretyakov Gallery you entered the dialogue with the texture of the picturesque web of Ivanov
Gallery intrigues a new project "Manifestation" Pavel Kaplevich
To the left of the entrance to the Tretyakov Gallery, you unexpectedly detect an unusual object, the forms hinting at the temple is the temporary pavilion of the architect Sergey Chobana, and inside the revived "phenomenon of Christ the people" Ivanova, rethinking in the unusual technique of "Tissue Transform" Pavel Kaplevich:
Have you tried to shave with a vacuum cleaner? - intriguing the artist.
Now we are free to penetrate the creative laboratory of the Great Ivanov - to catch the miracle itself of writing such a grand canvase. Toplevich opened the gate into it.
Pavel Kaplevich with his work "manifestation".
On the eve of the discovery, we discussed the project with Pavel Teplevich in his workshop, where the artist goes to home slippers with the image of Malevich's figures.
- Pavel Mikhailovich, from your work to wait for the share of avant-garde?
- In artistic circles, it is believed that I am engaged in condam classicism, although my producers are closer to the avant-garde. But we should not share artists on retrogrades or avant-garders. There is a time in which some fit, others are not very. And I'm trying to rethink the story, making it curious for today's and tomorrow's viewer. Not by provocation. I prefer a delicate path: I play the role of fastenings, tying one art with another. I take only those masters that work with the soul and give birth to outbreaks.
- Did Ivanov attracted you?
- Not only. In his work there is an element of the "miracle" - the very phenomenon of Christ to the people. I tried to "revive the painting", show the work of the artist's work on it. He worked in the Tretyakov Gallery, including in the store, where I was given the masters sketches. Created a lot of sketches and etudes. Of course, they are not 600 like Ivanov, but more than a hundred.
- And what did you do?
- On my canvas, performed in the size of the picture of Ivanov (540 × 750 cm), the images of the "phenomena of Christ people" are replaced by one by one, the sketches of the masterpiece appear. The classic picture appears in the form of a tapestry, then the semi-slip frescoes turns into a sculptural bas-relief or in black and white engraving. The figure of Christ first disappears in the distance, then appears again after the mystical dove, which I found on one of the sketches of the picture. All this is superimposed by the world of sound, created by composer Alexander Manotkov.
- Did the "manifestation" - the picture?
- The canvas rather resembles the rough tapestry of the century with the edges and lines, we achieved this effect with the help of modern technologies. A method of high molecular weight treatment of the fabric, which I patented and apply for more than 15 years has been used. Even the woven lost in production. Conditionally speaking, it's how to shave a vacuum cleaner. It pulls hair out of the skin, and I am from the fabric. After my experiments, the finest fabric produces the impression of a thick drape, and in turn turns into a stone. Completed with this technology many performances, among which "Boris Godunov" in the Bolshoi Theater.
Pavel Tapevich on the background of Ivanov's canvas.
- How to call such a principle of work?
- It is possible to characterize it as a palimpside, since I am engaged in compounds of layers of different times. I live the Dyagilevsky covenant: "Surprise me!". I try to connect a person emotionally to "flew away" and tried something new. The main thing - does not arise contradictions with the "phenomenon of Christ to the people." Between the "manifestation", the creation of Ivanov and the rear-standing triangle can be held the creation of the Church. We specifically chose a place next to the Tretyakov Gallery, did not try to penetrate inside or stand in the same room, for example, everyone can see and choose what is closer to him.
- Sergey Choban noted how it was important to him with the help of an arch, dome and light on his top, create the illusion of space similar to the temple.
- It turned out. Sergey Chobane and Agnia Sterligov - professionals, finely felt nuances. They gave the pavilion to the clay-shaped color and a texture that resembles something among the Mazanka and the super-modern cement. This is flawlessly combined with the aesthetics of my picture.
- "Manifestation" - Prelude to the creation of Ivanov?
- It seems to me that this is a self-sufficient thing that enters into a dialogue with Ivanov. You can admire when you see it, but you can get out and go away. I understand that modern technologies can push someone. But when they are imposing on an old painting, she acquires a new sound, unexpected vibrations and dramaturgy. There is a subtle substance, our struggle in art is underway for him. And it does not matter, we are talking about ruble, Ivanovo or Kirill Serebrennik.
Fragment of work "Manifestation".
- You just released his "Chayad" in the "Helikon Opera". How did you manage to combine such contrasting projects?
- For this week I had time to release the "souls" of the director Fyodor Malysheva in the workshop of Peter Fomenko, the play about the USPO in the Gunsague Theater and remake the two concert halls in the Hermitage for Anna ... This is a quantum person. Everyone has time. And with the builders to figure out, for example, and do not forget about the subtle substance. I treat much with ease, so and do it time to do much, and the quality does not suffer. If there are problems, I spend them and decide. I get money for projects. So what to do? We must be able to talk, convince. Next to me partners and friends who believe me and help: Larisa Zelkova, Vladimir Potanin, Olga Zinoviev, Mikhail Krynirovich.
- Are you going to continue the dialogue with old masters?
- I was now offered to join the dialogue with the "Creation of Adam" Michelangelo. Most likely, I agree, because it will be possible to submit to people work, whose original not to take out of the Vatican. And how many more great works that many in Moscow will never see! I do not exclude that I will try to sing them.
The well-known Russian artist of the theater and cinema represents a joint media project with the State Tretyakov Gallery "manifestation. Dialogue with the picture of Alexander Ivanova" The phenomenon of Christ to the people (Messiah's phenomenon). "
Pavel Taplevich shared in an interview with TASS, what he led the conversation through the century and that, in fact, he wants to tell and show contemporaries.
─ The size matters, Paul?
─ In this case, ─ definitely. Start with the fact that the cloth created by me is made in the size of the Ivanov's picture ─ 540 by 750 centimeters. It is also important that the "manifestation" is literally the neighborhood with the "phenomenon" hanging in the next morning in the Tretyakov Hall. Those who wish can compare the feelings from the dialogue proposed by me from a written one and a half ago. Everyone is free to decide what look is closer to him.
─ If you formulate extremely compressed and just, what is the essence of your project?
─ With the help of modern technologies, I tried to "revive" the picture to help the audience understand the originality and uniqueness of the artist's plan, to see the opening committed them.
Appreciated by the Tretyakov Gallery for supporting the idea, and we have implemented the project, although everything was not so simple.
─ And how was it?
─ Zelfira Togulova, director of the museum, saw my work and offered to unite efforts. It happened three years ago, I took up the project even earlier. And with high molecular weight treatment of tissues, allowing one material to convert one material into another, I experiment more than fifteen years. The fabric seems to be "manifest", becoming transparent, opening the depths, usually hidden from foreign eyes. This allows you to reproduce the structure of the tapestry or ancient medieval canvas, cross the symbolic bridge to the Great Titian, Veronese, Tintoretto, Jotto, Rafael. There are new lines and topics for conversation through the century.
─ What gives you the grounds to say that the Ivanovo "phenomenon of Christ people" ─ the main Russian picture of the nineteenth century? In the end, the "Bogatyri" Viktor Vasnetsov is not too inferior in size ─ almost three meters for four and a half. Yes, and worked on Valves Vasnetsov for eighteen years, only two years less than Ivanov over the "Christ".
─ First, I'm not talking about the main picture, but the Tretyakov Gallery. This is the opinion of respected experts. Secondly, it's not just in size, but in the plan. Let's say, "the last day of Pompeii" Karl Bryullov even more "heroes", but the "phenomenon of Christ" is worth a mansion. So historically developed. Why? I do not undertake to reason, for this there are sophisticated artistic professionals.
If you ask a personal opinion, I will answer that for me the ruble "Trinity" is more significant and essential. Like all the work of Andrei Rublev. But the element of a miracle in the "phenomenon of Christ" is definitely present, and it is extremely important. I tried to carve this spark, catch it. In Russian painting there are several more paintings associated with a similar manifestation of a miracle, quite possible, the next project will also devote them to them. Although, I do not exclude, put the point on Ivanovo.
The exhibition will open on June 16. The last days I am in confusion, worried about how she will be perceived by the audience.
─ I think, in vain blowing on the water. Zelfira Togulova proved that he knows how to properly file the projects of the Tretyakov.
─ You know, if it were about someone else's work, it would be easier to reason. I have long been doing a lot to produce a lot, intuition rarely fails me, but the self-reflection is a dangerous thing. I can evaluate the chances and prospects of the other project, but in relation to itself it often does not work.
Therefore, it was important for me to hear the opinion of the Zelphira Togulova, I showed the outline Svetlana Stepanova, perhaps the head of the work in Russia for the work of Ivanov, consulted with Professor Mikhail Olenov, the most interesting and paradoxical interlocutor. In the format of the exhibition, we want to organize a meeting with Mikhail Mikhailovich with the audience. I have no doubt, it will be enchanting. Deer and I told me stunning details about Ivanov and his picture. Not biographical details, namely, the strokes allowing a new look at the artist and his work.
Separate thanks to strategic partners, my friends who believe in me and help me. This is Vladimir Potanin, Larisa Zelkova, Olga Zinoviev.
─ Before proceeding with the project, were you interested in Ivanov?
─ Honestly? So far as. Now, of course, I know much more. Previously, I perceived Ivanov more as a friend of Gogol, with the work of which I worked a lot.
─ They traveled to Europe for a long time. Ivanov spent half of life there.
─ I went for four years and stayed for twenty-six years, and when I returned to Russia, soon died ...
─ Ill cholera.
─ It was the second attack of the disease. In 1856, Alexander Andreevich was cured, and two years later could not ...
Ivanov created six hundred sketches, working on the picture, and he was accused of inching, in the fact that he did a sleeper, tapestry, that the canvas is not related to painting
The negative reaction of the Russian intelligentsia was played in a risk, the fateful role was played. Ivanov did not decrease for a long time to send a picture from Italy, then she was still exhibited in one of the halls of the Academy of Arts in St. Petersburg. The public reacted to what he saw with the coolness, and it turned out to be a terrible psychological blow for the artist, because the "phenomenon of Christ" became the main thing about his life.
Ivanov created six hundred sketches, working on the picture, and he was accused of inching, in the fact that he did a sleeper, tapestry that the canvas is not related to painting. The author himself saw the shortcomings, was going to fix them, but did not have time. He wanted to build a temple in Moscow, paint it from the inside. Alas, the immune system refused, failed, here cholera and thrown on a weakened organism ...
─ But the emperor Alexander II bought the "the phenomenon of Christ" for a huge amount of the amount of 15 thousand rubles. True, literally a few hours after the death of the artist.
─ Yes, it is. In Russian tradition, Glory often comes to the master posthumously ... But I will repeat, I did not deepen too much in historiography. For me, communication with this picture ─ the opportunity to touch the miracle, something to understand and try to explain to others.
─ And you, Paul, sorry, believe in God?
─ You can talk a lot on this topic, but probably more correctly reply to: yes. I asked permission from the confessor before proceeding to this work. And received a blessing.
As you know, the temple of St. Nicholas in Tolmacham is in a dozen meters from the pavilion worked for our exhibition. Near Ivanov's picture. It turned out a kind of triangle. Chose the site and created the project of the exhibition hall my companion Sergei Choban. He insisted on this place and managed to achieve his.
─ You have no feeling that they invade someone else's Polyana?
─ If you think, I always play not on my territory. Such, you know yours among others, someone else's among their.
─ You have no art education.
─ Yes, I graduated from the acting faculty of the MCAT Studio and never sought to position myself as an artist. In this case, I also do not pretend to these laurels, I act as the author of the idea, dialogue. It is rather an acting-producer story. And how to call Demien Hirst? And this is the concept, production conversation with eternity.
─ Calculate experiments and make new preservatism prevent us new?
─ It doesn't seem to me that this is an exclusively Russian problem. Everywhere requires certain efforts and time to move the process from a dead point. I went twice to watch the production of Jan Fabra "Mount Olympus", Perfomance on the legends and myths of ancient Greece, going non-stop twenty-four hours with three short snack breaks. In Russia, so far it is difficult to present.
─ Lev Dodin played "brothers and sisters" for six hours ago.
It is stupid to argue that in our country the conservative worldview still prevails. This is a given. On the other hand, the viewer walks on the performances of Kirill Serebrennikov, votes by the ruble, despite the fact that it is sometimes mercilessly criticized by traditionalists
─ It's not a duration. Fabre deliberately chose the format to enable the audience to live a day together with the artists, as it was in ancient Greece. Such unscientific experience. Like his own, Fabra, the exhibition, which stood in the Hermitage half a year solely by the efforts of Mikhail Piotrovsky. How many screams was with the requirements to close the scandalous exposition?
It is stupid to argue that in our country the conservative worldview still prevails. This is a given. On the other hand, the viewer is walking on the performances of Kirill Serebrennikov, votes by a ruble despite the fact that it is sometimes mercilessly criticized by traditionalists. Or, we released with Kirill in the "Helicon Opera" Chayadsky, "so the people just hanging on the chandeliers, it was impossible to squeeze into the hall!
By character, I am not a radical, but a conciliation. This also applies to art. But I like to surprise and wonder, I'm waiting for revelations, discoveries. On which territory it will happen, not so important.
─ Obviously, it is difficult to avoid reproaches in conjuncture, provided that your media project is dedicated to the 150th anniversary of the writing of "Christ's phenomena"? I hung my picture calmly in the Tretyakovka, and then they started the engine around her.
─ Do not believe it so coincided! We did not try to attach anything to the anniversary. I said that I began to engage in the "manifestation" almost four years ago and was ready to show the exhibition in 2016, initially it was planned, but then technical problems with the site conditions arose. I can assure that we did not think about the date nor about your own PR on this topic. Not my style. I have an inner rhythm, listening to him, where leads, and go. PR, of course, is important, but this is not an end in itself. I try to exist in space, as Sergey Dyagilev said, between the triumph and the scandal.
─ And why are you closer?
─ I understand that without a second there is no first. Especially in painting. The experience of Hearst, Kuntz and others like it proves to us.
─ Shocking should be?
─ Probably, even for sure, but I always sought to do without him, did not build schemes with an artificial hype. I started at Anatoly Vasilyeva, collaborated with Alexander Sokurov, this is my neighboring circle that you can't call the shock.
─ The traditionalists will not attribute them either.
─ To the scandalists ─ all the more. Thin fabric, intermediate area between classics and modernity ...
─ "Manifestation", consider at the exit. It does not depend on you, the project will fly or not. What's next?
─ Plans are full! Finish Opera "Anna Karenina" to the music of the Great Russian composer Valery Gavrilina. This is the third opera, which I will produce and participate in writing a libretto. The first - "Nutcracker" in "New Opera" ─ lives safely to this day. We made a translation into English, we negotiate with Monte Carlo, Shanghai, theatrical platforms in other cities, most likely, will be made back in several countries. The second Opera became the "Chayad" in the "Helicon Opera". I know that abroad is a great interest in this material ─ score and libretto.
New opera - the next big story, an unprecedented touring project. The director will be Alexander Milknikov, the artist ─ Sergey Choban, he already made sketches and layout, text ─ Demyan Kudryavtseva. And, of course, Lion Tolstoy. The brilliant composer Alexander Manotkov was very helpful, the monologues of Anna Karenina, as Lion Nikolayevich wrote them, to the music of Valery Alexandrovich. And the famous fragment of the "fun in the soul" from the choral symphony of Gavrilina will become an overture to the opera.
─ I did not find the public "Karenina", what do you think?
─ There may be a feeling. But when I was thinking about the project, Joe Wright's film was not released with Kira Knightley, not to mention the series of Karen Shahnazarov. What can you do? This is a novel by century. Even those who have not read it say they read. It is ashamed to confess in your own dense.
Therefore, in this case, I have no doubt that the opera will find its viewer and listener.
─ And when will everyone happen?
─ We plan to spring 2018. But in our life nothing can not be made. We also expected the "manifestation" to show earlier. Therefore, we work, and then ─ how it happens ...
Conversation Andrei Vendenko
In the pavilion, built at the entrance to the main building of the Tretyakov Gallery in Lavrushinsky Lane, the exhibition media project "Manifestation" will begin work on June 16. Pavel Tapevich. Dialogue with the picture of Alexander Ivanov. " We met with his creator on the eve of the opening and learned why he decided to try himself as a mediatory.
Literally recently, and almost simultaneously, you as a scene and producer released three performances. Now in the role of the mediatory present the project in the Tretyakov Gallery and enter into a dialogue with the main picture of Russian painting, "the phenomenon of Christ to the people."
Yeah, I have a difficult period now, but happy. At once, three premieres: "Bird Phoenix" in the Gonzague Theater in the estate Arkhangelsk, Opera "Chayad" in the theater "Helikon-Opera", "Soul" in the Fomenko Theater. All I do, has any way or otherwise to a new Russian classic. Is it a project with the "phenomenon of Christ to the people", creating new opera works, as the "Chayad" on the play Griboedov "grief from the mind," is always a certain dialogue.
What is the essence of "manifestations"? As I understand it, the intrigue is preserved before the opening day ...
And I went to this project for a long time. About 20 years. Almost as much as Alexander Ivanov worked on his work. He developed a topic in a countless set of preparatory etudes, as, perhaps, none of his predecessors did. Their more than 600. This search, doubt, the eternal displeasure of the artist the final result we introduce into the fabric of the Live Cloth.
What is a "living canvas"?
I have long been experimenting with the "Capel". This is such an innovative textile technology that simulates medieval tapestries, taperanels and Italian "Arrazi" due to the high-molecular weight treatment of fabric without the use of chemistry. Now the material has been repeated in theatrical decorations to "make it up" by Ivanov, along with sketches to her and present the "phenomenon of Christ to the people" in the new capacity. The action will be accompanied by magic music, specially written by the composer Alexander Manotkov.
In other words, will it be a cloth?
The canvas performed exactly in the size of the picture of Alexander Ivanov: 540 × 750 cm. You can say, we, as the production workers who have been sketching, took advantage of Ivanov to create a work of decorative and applied art. And without machines, but with the help of new media technologies, his fantasy crashed. We do not pretend to the role of artists. We are adaptators.
Have you entered the dialogue with the texture of the picturesque web of Ivanov?
The texture without detention, one without the other, does not live. I would never interact with the material that I would not warm me. You see, I tried to come up with the playwright of the stay of Ivanovo masterpiece and imagine that it is not a canvas, but a fresco or tapestry, a sculpture relief or a black and white engraving and was not created in the XIX, but, say, in the XVI century, during Raphael.
And I went to this project for a long time. About 20 years. Almost as much as Alexander Ivanov worked on his work. He developed a topic in a countless set of preparatory etudes, as, perhaps, none of his predecessors did. There are more than 600.
Pavel Kaplevich
Under rafael?
Yes, I want to remind you that Rafael in the XVI century also engaged in cards to the tapestries. Rubens in the XVII century also made sketches for a series of tapestries with scenes from the life of Emperor Constantine. Alexander Ivanov thought his watercolors as sketches of big frescoes for the temple. Layers, separation and layers, we were "drowned" the work of Ivanov for another 300 years. It is, if you please, "the memory of the future."
A separate pavilion was built for the project, as was once built for the very picture of Ivanov's Pashkov at home, when the emperor presented it with the Rumyantsev museum.
In some way, this is the memory of the event. Pavilion, very simple design, designed architects Sergei Chobane and Agnia Sterligov. It is installed in the courtyard of the museum next to the monument to Pavel Mikhailovich Tretyakov.
It will be your first museum exhibition. What do you feel?
I hope the project "Manifestation" expects a happy life. The miracle of Alexander Ivanov's canvas itself has already laid a miracle. Following the famous Dyagilev principle "Surprise me!", I will just say that it is necessary to amaze and certainly give a miracle. And otherwise it is not interesting.
The exhibition media project "Manifestation" Paul Kaplevich will work from June 16 to July 31.
MediaProject State Tretyakov Gallery "Manifestation"demonstrates the dialogue of the artist Pavel Kaplevich with the main picture of the Russian art of the XIX century - "The phenomenon of Christ to the people (the phenomenon of the Messiah)" (1837-1857) Alexander Ivanova. Based on the experiments and discoveries in the field of art technologies and traditional crafts, having studied the Great Blizzard, preparatory sketches and etudes to him, Pavel Kaplevich proposed his own interpretation of the painting and the work of the artist's work.
The work of Pavel Kaplevich, performed in the size of the painting of Alexander Ivanov (540 × 750 cm), with the help of modern technologies "comes to life" and involves the viewer into the world, created hundred and fifty years ago by a classic artist. Newly seen by a modern artist, this world is transformed into a different color-spatial form. By changing the material properties of the original, the author of the media project offers its understanding of the masterpiece, reveals the sacrament of his creation.
The artistic statement of Pavel Kaplevich turned to the structural and semantic features of the picture of Alexander Ivanov, in which his originality, the uniqueness of the plan and pictorial-plastic discoveries. The "Experiment", "Miracle" category of the category "Experiment", "Miracle", "Texture", "Palimpside" are projected on the creative search for Russian artist XIX century.
Ivanov considered the origin of the idea of \u200b\u200bthe picture in his consciousness by revelation, sent over: "I wanted my kind compatriots of the Russians to reconcile between our story, the first plot in the world! Which I was sent to me by God himself - at least I believe. " Realizing the complexity and greatness of one's own design - to reveal the "essence of the entire Gospel" - and not wanting to be simply a "illustrator" of the sacred history, he got on the path of deep immersion in the topic, working out it in sketches and countless many sketches, which nobody did from his predecessors did not . It was a kind of experiment on the creation of an artistic message to humanity.
A huge cloth of Alexander Ivanov calls for everyone standing in front of him, to feel herself among the characters of the painting, experience the feelings that they are executed - sincere faith or doubts, acceptance or rejection of the preaching of John the Baptist, survive the fear along with "trembling" or to succumb to the coming message to the coming Messiah , Like John the Theologian and the young man with a white bedspread.
Creative dialogue, which decided to join Pavel Taplevich, allows you to take a fresh look at the richest textural possibilities of Ivanov's painting, realize the breadth of his artistic preferences and freedom in their choice. The student of the Imperial Academy of Arts, he was alien to Akademism, one of the first to appreciate the sacred, deep symbolic art of Jotto, Mazacho, Gironadayo, expressiveness and a variety of plastic solutions found by them. The Great Venetians - Titian, Veronese, Tintoretto - he studied the flavor and awareness of his role in creating an artistic image, in the art of Rafael, I saw an example of artistic harmony, Leonardo da Vinci is an understanding of the internal drama of the evangelical scenes.
In search of plastic tools for the transfer of matter, revived by the Spirit, Ivanov addressed different sources - copied the works of old masters, wrote etudes with a carefully selected nature, sought to feel in a particular man of a timeless ethical prototype in a particular person. Moving in his consciousness numerous etudes, made for each character, he tried to identify the most significant and valuable in full-scale material.
None of the modern Ivanovo artists paid so much attention to the textured peculiarities of painting, working with a line and a spot, liquid and pastoral smears, the use of both complex sinks and clean, local colors. He enriched traditional multilayer technique by varying the technique techniques, experimenting with the basis, soil and submarine, using the reception of non-finito (combining carefully worked and unfinished parts). Long before the appearance of watercolor "biblical sketches" in one-way etudes, mostly written by oil on paper, was manifested by Ivanov to extractive mattiness and a movable, vibrating smear. The technology found by them using volatile solvents gave the opportunity to work quickly. Variating the blows of the brush, overlapping translucent layers of paints, Ivanov sought the feeling of ripples of life filling natural forms.
At the end of life, the artist realized that this work was only a "station" on the way to the art of new forms to solve new large-scale tasks. Footed to the future, the picture of Ivanov is open to the dialogue with the following generations of artists and inspires them to create a variety of interpretations.
On the Pavel Kaplevich's canvas, the images of the "phenomena of Christ people" are alternate for the viewer, one through the other appear sketches of the paintings. The creation of Ivanov appears in the form of a tapestry, then the semi-slip frescoes, it turns into a sculpture relief or in black and white engraving. The figure of Christ disappears in the distance, it appears again after the mystical diet, soaring in one of the compositions of the composition. The world of sounds, created by composer Alexander Manotkov, fills the space: the rustle of the leaves, the singing of the birds, the murmur of the water envelop the viewer, enhancing the effect of immersion into the subtle substance of the picture of Ivanov, the world of phenomenon.
"Manifestation"- This is the implementation of more than fifteen years of experience of the drill on the creation of unique fabrics. The artist discovered the huge features of the method of high molecular treatment of tissues, allowing to convert one material into another: to reproduce the texture of the ancient Venetian canvas or create a tapest effect. By the will of the master, cotton "connects" with velvet or wool, the golden threads are "grilled" in the fabric, the effect of broches is arisen, etc. Tested earlier in theatrical scenery, now the unique material "imagined" the painting of Alexander Ivanov with sketches to her And introduced the "phenomenon of Christ to the people" in the new capacity.
Architect-designed by architect Sergey Choban Pavilion, which demonstrates the media projector, is located in front of the main building of the Tretyakov Gallery in Lavrushinsky Lane, where the picture of Ivanova is exposed. Going to the pavilion before the inspection of a permanent exhibition, the visitor of the museum will be able to familiarize themselves with the sketches to the Great Picture and the view of the modern artist on the images and meanings of the pictured on it.
The painting of Alexander Ivanova "The phenomenon of Christ to the people" is awarded this week of emphasized. No, no anniversary, it happened, as can be seen due to the density of events, which in the Tretyakov gallery, where the grand canvas is stored, two offions are made at once. The picture is really special and reflects, as it was said about it in the XIX century, the phenomenon of Christ is not the people, but the peoples, the appearance of it in history, the meaning of Christianity for the whole story.
One event of the week is to receive the Tretyakov Gallery as a gift of the artist Eric Bulatov "Picture and Spectators". The modern artist was disturbed by the fact that the painting, which he considers the fundamental for Russian art of the XIX century, is lost direct contact with the modern viewer. Several years left by the artist to the plan, to prepare the visual material, on the final execution of the picturesque canvase. Six years ago, the work was completed. And here it is in the Tretyakov Gallery, donated to the Museum by the Charitable Foundation of Vladimir Potanina. And this event supports the program of replenishment of the Museum Collection by the works of contemporaries, the program is directly continuing the Tretyakov case. After all, he acquired the works of his contemporaries.
Eric Bulatov considers any picture a universal art model, namely the demonstration of how the plane and infinite space oppose each other. The picture of Ivanova "The phenomenon of Christ to the people" and in this sense can be considered an exemplary, it just dishes the huge space with which modern artists love to work. Pavel Kaplevich, one of them, also the theater artist, besides, the feeling space, literally penetrated inside Ivanovo canvas.
He created a media project called "Manifestation", in which the conversation with the Ivanov cannon. Yes, so that the audience could, as he himself said, compare the feelings from the dialogue proposed by me. Toplevich says that in this case the size matters, and its canvas is performed in the size of Ivanov: 540 × 750 centimeters. And this is the canvas, fabric, fragile matter of minimal density and maximum sensitivity matter. The artist used his experience in high molecular treatment of fabrics, which is engaged in 15 years. This method allows you to transform one material in another, so Ivanovo images are flowing from one state to another, appear by tapestry, then fresco, then a gypsum relief. The composer Alexander Manotkov added a mysterious project, he filled the space by mystical sound.