At auction Vladey 10 April will go under the hammer dozens of works of Russian art. At the auction will showcase the work of Ilya and Emilia Kabakov, Oscar Rabin, Ernst Neizvestny and other famous contemporary artists. Top-lot auction was the painting “Triptych No. 21. Adam and eve V” Vladimir Yankylevsky. Her estimate is 9-11 million. Five million rubles estimated second exhibited on the auctions work — the canvas two meters from the cycle “woman by the sea”.
Works Yankylevsky repeatedly successfully sold by leading auction houses. “Triptych №10” was sold at auction in London in April 2010 for 133 thousand pounds — and then it was a record, but the price of the work of this master is only growing: in November last year, “Triptych No. 5” was sold at Moscow auction for a quarter of a million euros. In Russian art, which was never a shortage of eroticism, it Yankilevsky first opened a window to a world in which there are nastydiva the right to Express sexuality; both works, which within days will get the new lucky owners, is a visual proof. About the life and death of one of the most expensive Russian artists talks Alex Epstein.
Vladimir Yankilevsky died January 4, quite a bit less than one and a half months before the eightieth (connoisseurs of his art was celebrated on 15 February 2018 without him), thus repeating the fate of his father, Boris Isaakovich, who died in 1987, on the eve of the eightieth anniversary. His father was also an artist, albeit incomparably less significant and famous than he is. Not being able to “let go” of the father from himself, in 1987, Yankilevsky, Jr. has created one of his most poignant works, a Requiem, entitled “self-Portrait (in Memory father)” today this work is known as “Triptych No. 14”, exhibited in the marble Palace in St. Petersburg, which is presented by the Foundation Ludwig to the Russian Museum collection. We, the people, will not survive death, it is difficult to know for certain whether the soul was reunited Vladimir Borisovich with the soul of his father, who retired 31 years ago, but obviously because artistic dynasty Jankilevskij terminated such work to the memory of Vladimir Borisovich create have no one. In recent weeks, a few great critics wrote a deep, informal, heartfelt and very meaningful lyrics of his memory, but all these people — Alexander Borovsky, Sergey Popov, Maxim Kantor and others — responded to the death of Vladimir Yankylevsky texts, not works of art. The people Yankilevsky was honest, knew that the Pope he devoted a whole poem, as far as I know, and not completed, and although Vladimir Borisovich as a true conceptualist was always very accurate and precise to Express what he thought and felt, the main means of expression, no doubt, was not texts, and works of art. Therefore, to think of him as a person is almost impossible outside of thinking about him as an artist.
of Course, his life was not limited to artistic creation: he loved classical music, especially the works of such composers as Dmitry Shostakovich and Alfred Schnittke maintained a long-standing friendship with the living in Switzerland a native of Baku, a composer, pianist and conductor Alexander Rabinovich, interested in Jewish religious philosophy and spirituality, but these interests were not for him “abstract”, but rather, nourished and enriched his creative impulses. It’s not even that Shostakovich dedicated his Yankilevsky triptych fourth, together with Schnittke took part in the work on several animated films. The main was the impact that had created their music on him, giving him, if not direction, then certainly the energy for creativity.
Yankilevsky began his career when, in General, begins almost everyone subsequently called artists. The fundamental difference is, however, that it is extremely early found its way into art. Experienced in the late 1950-ies the influence of the “blue period” Pablo Picasso (that is not surprising, for it has shaken so many of the retrospective exhibition of this genius was first held in Moscow in 1956, when eighteen Yankilevsky just started in the art Department Polygraphic Institute) and having absorbed the aesthetic discoveries of abstract surrealism Joan Miro on the one hand and the figurative surrealism of rené Magritte, on the other, Yankilevsky already to 24 years has developed his own artistic language, which remained true throughout all the next 55 years of his life.
On “alternative exposure” that is deployed simultaneously with the exhibition for the thirtieth anniversary of the Moscow branch of the Union of artists at the Manezh in 1962, Yankilevsky was the youngest and, to a large extent, quite a random party; not be superfluous to mention older artists, which today is commonly attributed to the “other art”, whether Oscar Rabin or the now-deceased Michael Roginsky or Anatoly Zverev in the arena then no one was invited. In the history of Russian art not so much how much social thought included the devastation then Khrushchev artists Studio Belyutina, but now, after more than half a century, and thirty years after the representative exhibitions of belotintsi in the Central house of the artist in the Gorbachev era, quite obviously, none of these students a great artist whose work is fundamentally important for Russian art, did not. This phenomenon is pushing for bessmyslennyi thinking about whether it is possible to achieve creative breakthrough, working not in isolation, but as part of any collective movement, or “waves”. In this context, comes to mind the circle of disciples of Malevich, Filonov students, among whom there was not a single master, without which it would be impossible to imagine the panorama of Russian art of the last century. In fact, all the people who now make up the Pantheon that is reasonably or, rather, no, is called “second Russian avant-garde” that developed their own artistic languages each independently — and therefore the work of Oscar Rabin, Dmitry Plavinsky, Anatoly Zverev and Oleg Vasiliev, Vladimir Nemukhin and Oleg Tselkova, Dmitry Krasnopevtsev and, of course, Vladimir Yankilevsky so unlike each other and instantly distinguishable from each other. Being invited to participate in the “parallel program” Manege exhibition (when, of course, and the the term “parallel program” even existed), Yankilevsky aesthetically in any way to belyutinskoy the Studio did not belong and were distinguishable from them immediately and permanently. One of the most difficult tasks for any artist is to find their own style, their own aesthetics; Yankilevsky solved this problem even before receiving the diploma, having broken there, where it has, perhaps that no foot no not only Russian artist, but any artist in General.
style Yankilevsky it was simultaneously the strongest and the most problematic side. His work is difficult to understand even by trained viewers. Created forty many triptychs and three pentaptychs, for exhibitions which require a huge space, Yankilevsky it very difficult for museums and galleries the opportunity to show his works to the viewer. I am absolutely convinced that Yankylevsky created in 1972, the “Door” (in the 1980s, the artist returned to this theme, creating several variations of the legendary work) was the first conceptual installation in the Russian art. How many individual scientists and art historians nor declared by the founders of Moscow conceptualism Ilya Kabakov and even Vitaly Komar and Alexander Melamid, the truth is that the first such plan was created by Vladimir Yankilevsky. “The door” was physically taken to France, where, contrary to the hopes of the artist, for fifteen years languished locked in the basement over the years, the history of Moscow conceptualism has developed the way it has developed, and the name Yankilevsky was not in his Canon included.
in addition to many compositions and large-scale installations, Yankilevsky created in 1970-1980-ies many dozens of etchings, some of which are among the undisputed peaks created in this technique, not only in Russian but also in world art. However, it is impossible to ignore the fact that the vast majority of museums around the world, then and now focused on exhibiting works of painting and sculpture; installations and etchings, of course, recognized, but in no way not as the main artistic genres. It is clear that in recent years the very definition of “artist” has undergone a radical change, but the basis of any Museum was and remains a painting, and I am personally very sorry that, though he was delicate schedule and are very sensitive colorist, Yankilevsky created less and less actual paintings, and for reasons which I understand and could not level his paintings are incomparably lower than the level of his own art installations and etchings. Thinking about the best works Yankylevsky — the same “Door”, “self-Portrait (in memory of father),” etchings “a Dialogue with oneself” and included a series of “City-mask” — I’m terribly sorry that none of this was embodied by the master on canvas. I’m sure whether these stories are embodied exactly the same, but not in surround installations, and works of graphics and available in the same instance of the usual canvases for museums sizes, for the possession of them would beat the largest collections in the world. When in the fall of 2016 at the Centre Pompidou efforts Vladimir Potanin, Vladimir Semenikhin and other involved Olga Sviblova the oligarchs and patrons of the arts opened an exhibition of Russian art 1960-1990-ies, Vladimir Yankilevsky was represented there by a separate room, but five hanging on the walls of the men’s portraits were, first, to the offensive of the same type, and secondly, did not go to any comparison with the works that brought him fame as one of the greatest artists of the second half of the twentieth century. Not to mention the fact that when the exhibition after six months, closed, at the permanent exhibition of the Centre Pompidou any work Yankylevsky left, everything was cleaned in the vaults — and the question remains on when any of the presents then works (and among them were triptychs No. 6 and No. 32) will be available to viewers.
surprisingly, in fact, in 1958, Vladimir Yankilevsky began work on the theme of “People in boxes”, but if the original impetus was opposition to the state and insincere aesthetics of socialist realism and ideology of Communist construction, many years of life, most of which took place in exile (despite the fact that the artist with his wife regularly visited in Moscow), first in USA, then in France — led to the realization of his isolation, perhaps from humanity in General. He was the “other” in relation to Soviet power and fostered her art — and remained “others” fostered highbrow curators not less Treasury world geometric abstractions and empty-abstruse installations in museums of modern art in the West. Emigrated, Yankilevsky bitterly realized that instead of vegetating in one “box” is only stagnation in the “box” each other — wishing this fate be avoided, he was in a creative existential loneliness out of which was impossible.
the Scale and nature of creativity Yankylevsky on the one hand, and the specific character of uncensored artistic creativity in the Soviet Union on the other, led to the trouble that plagued Vladimir Borisovich his life: inaccessibility to the viewers of his works. Collected about Norton Dodge and donated by him and his widow to the Museum Zimmerli at Rutgers University collection of Russian art written large number of articles panegyric, but it is time to say that this collection is one of the largest mass graves of Russian art, because the vast majority of there funds of the exhibits have never been exhibited. This collection is more than a hundred works Yankylevsky, of which somewhere present such a small number that you can count them on the fingers of two if not one hand. Yankilevsky was very worried because of this, but despite his appeals to the Museum Zimmerli and expressed willingness to buy out their own works in hopes to give them a second “lease on life”, the situation remained unchanged.
thankfully, Rima, eternal companion Yankilevsky early in the moment, kept a detailed catalogue and archive of all generated husband works, making at least the reproductions of these works available to researchers. When I started working on a book about the work of Vladimir Yankylevsky, was able to fully appreciate the selfless attitude of Rimma Danilovna Malt to your husband and as a person and as an artist. The success of his artistic destiny may exist different opinions, for a retrospective exhibition at the Tretyakov gallery, Russian Museum, the cultural Foundation “Ekaterina” and on other platforms, not only in Moscow and St. Petersburg, but also in London and new York, of course, should not be forgotten, but many years of obscurity, too, of not erase the memory: the first quarter century after the defeat in the Arena Yankilevsky fully exhibited only once, and not solo and on a couple of Eduard Steinberg in the exhibition hall of the city Committee schedules on the little Georgia. But the fact that his human fate was solely just solely happy, two opinions can not be in any way, and this is definitely due to rimmy, her devotion, tact, thrift, sensitivity and care. All that could not and did not want to do Vladimir Borisovich, learned to do and did Rima Danilovna, not only hospitably took all those who came to their house, wanting to join his art, but who taught “for two” in French, so you can interact with representatives of state and municipal services, doctors and neighbors.
in the autumn of 2015 and spring of 2017, I was lucky enough to visit five times in France, and in each of them to meet with Vladimir Borisovich and Rimma Danilovna; in the fall of 2017 Rima, apologizing, said that to welcome guests to her husband is already extremely difficult. We continued to correspond and I every few days asking about how things are going, really hoping to hear about the improvement, remission and the victory of the organism over a terrible disease. This, unfortunately, did not happen, and just a few days after New year Rima woman wrote that her husband did not. I am very grateful for the fact that he managed to write and publish a book about him during his lifetime, Vladimir Borisovich with his wife carefully read each page, in a sensitive dialogue with me selecting to print each illustration. The memory of our meetings and joint work will forever remain in my heart and art of Vladimir Yankylevsky, I am convinced, never has and never will be forgotten.