anniversary retrospective exhibition was prepared together with the artist — February 15, Vladimir Yankilevsky, one of the leaders of the Moscow non-conformist, the artist, whose works are in the Centre Pompidou, the Cologne Museum Ludwig, Albertina etc., was about to turn 80 years old. Did not live up to her less than two months, Yankilevsky died in Paris, where he lived the last decades, and how now arrived in Russia a large body of his work.
the exhibition, called, one of the things the “Incomprehensibility of life” brought a lot of works by Vladimir Yankilevsky (1938-2018) in this century in Paris (in 1989, the artist left the beginning in the US and then France). But in the halls of the MMSI on Gogol Boulevard, where, generally speaking, little space, works got three times less than expected. This is, however, quite early, the time of her study in the Institute of Printing, painting mostly oil on cardboard, and non-figurative things 1960-ies, and the multimeter triptychs and pentaptih. Brought to Moscow and the first “Door” Yankilevsky, 1972 — the earliest of his three-dimensional installation, which bought it Dina Verni said that she would never leave Paris.
Moscow is this “Door” at the time also left with adventure. In 1974, the owner of the famous Paris gallery, the Nudes of Matisse and Maillol’s Muse and his last heir, came to the USSR to search for traces of relatives — Dina Vierny, Dina, she’s Ibinder, was a native of Chisinau. Once in Moscow, she has bypassed many shops and found three of interest in artists: Kabakov, Yankilevsky, and Bulatov.
“It took a lot of my stuff — graphics, gouache,” recalled Yankilevsky. Then Dina Vierny saw his Door, which was even double and triple bottom.
“Door” reflects the moment of simultaneous living person of the three States — past, present and future. The conceptualists, friends and colleagues of the author, used to depict things like that literary language — the text —Yankilevsky preferred plastic language. “Standing before the door, — he explained, — with all these calls and emails, we don’t know what’s behind it. Opening, we see a character that seems real, in a coat and a shopping bag. But it is bonded to the second door, opening that we find ourselves in another space — and to see him cut silhouette and a breakthrough…” Breakthrough somewhere, in the future or the past, but it is important that the shining horizon in the breakthrough, and access to open space, the illusion of freedom.
All this could hardly immediately evaluate Dina Vierny — according to the artist, the object I impressed her “as the image of the Soviet reality.” Endless calls to doors leading to different rooms, doused with paint the mailbox, taped to the wooden surface Declaration — it was all communal exotic, nothing else is required.
took out the “Door” of the USSR in their van, the son of Maurice Thorez, who traveled to the country as a tourist. Entering the Soviet Union, he declared an old wardrobe, and took out already a work of art. Until 1995, while on Rue Grenelle opened musée Maillol — Foundation Dina Vierny, “the Door” collecting dust in the basement. But in 1995 it was put up in a closed form, it was written “Wardrobe”. The author tried to argue: “Dina, this is La Porte — the door.” She said: What’s the difference.
for 21 years this “Door” no one has seen — and it was a loss for the Soviet unofficial art. No one else here nothing of the kind is not done then. “With the exception of Kabakov, Steinberg and narrow circle of friends, nobody has seen her, recalled Yankilevsky. — It happened, of the artistic life of Moscow fell the actual process.”
the concept of the Door has become a textbook form for many subsequent works of the artist. In the Museum you can see the “Doors” in different years: from the Russian Museum, for example, brought “Triptych No. 14. Self-portrait” (1987) dedicated to the memory of his father, Boris Yankilevsky, is also an artist. There is only the Central part of the work — the door of the train station, and not a bag with noodles, the hero, and a briefcase and newspaper in hand.
And the first “Door” is a dedication to “the parents of my parents” — the artist’s grandfather was a Cantor, grew up Yankilevsky in the courtyard of the Moscow choral synagogue. On the one hand, we see on the back of the door photo of my grandfather and grandmother, on the other — cracked the double portrait of the Duke of Urbino and his wife, works of Piero della Francesca. The reminiscences in this portrait Yankilevsky will return to life.
“He has matured very early, almost instantly, without any searches and wanderings, — wrote the artist Viktor Pivovarov Vladimir Yankilevsky, the childhood friend and classmate in mshsh. And in the same pivovarovskiy the obituary said: “Throughout his work aroused widespread irritation — irritation of the chiefs, unhappy, ignorant and downtrodden public and the majority of colleagues.”
His art was not politically engaged, it was over politics and ideology. But today it seems that Yankilevsky was a nonconformist even among friends. What he did was not unlike what his hand is immediately recognizable and in the paintings, voluminous things, and in cartoons — Vladimir Yankilevsky was the artistic Director of the entire “Pushkiniana” Andrei Khrzhanovsky (remember, cartoons on Pushkin) and made drawings for his film “In the world of fables”, only there it appears under the name of his grandfather, Rabbi Volosov.
10 years Yankilevsky was waiting for membership in the artists Union in 1972 in the graphics section by secret ballot it was adopted, but the Secretariat of the Mosh was not approved. And without membership in the Union could neither paint professional to get, nor canvases. Sorry, due to financial difficulties, the exhibition brought “Nuclear power plant”: it is stored in the Cologne Ludwig Museum, and in 1962 was hanging on the infamous show in the Arena. So there are visible seams under the paint, because it’s not a canvas, and cardboard. “Nuclear power plant” was all done in a tiny room in a communal apartment where the author lived, his wife and little daughter. Made on cardboard, nailed to the wall, entirely the author kept her only in the mind and in the Arena for the first time saw live.
Among those who have suffered in the Arena the wrath of Khrushchev, the 24-year-old Vladimir Yankilevsky was the youngest. There should probably explain what actually the exhibition “30 years MOSKh” was located on the first and only floor of the Arena. But there is also the “balcony”, where the scandal occurred.
Here’s the story, narrated by Yankilevsky: “For a couple of weeks before the exhibition of students of the Studio Eliya Belyutina. To give it some status, he was invited to participate in it for a few independent artists: Ernst Unknown, Hulot Sooster, Sobolev, Yuri, and me. Then the four of us offered to do an exhibition in the lobby of the hotel “Yunost”, which has already been hung, never been opened. People from the Academy of fine arts moved our jobs out of the arena, telling Khrushchev that we, the members of Mosh — wanted to send his wrath against the competitors in the left wing of the Union. Of course, this was pure provocation”.
Belyutintsev hung in the same room, Yankilevsky with Sooster and Sobolev in the second, the third was standing sculpture of the Unknown. Today it is difficult to understand the intrigue of those years, just enough to know that Niklewski and Sooster was not at that time members of Moscow Union of artists, and the status of an independent artist in the Soviet Union did not exist. Yielding to the provocation, both put their most important and fundamental things and was happy to have that work hanging on the wall.
About this show like to say that Khrushchev, being indignant with what he saw, screaming about “fag”. Yankilevsky called the Apocrypha soap Opera and kept in the memory of other, far more fundamental aspects. First — the answer to the question “Why, Nikita, you are opposed to modern art, you first began the process of de-Stalinization?” Khrushchev said this: “as for art, I’m a Stalinist”. And the second is the reaction of the Secretary General to present at the exhibition of correspondents of foreign Newspapers: “All foreigners are our enemies”.
Introducing creativity Yankylevsky in retrospect — here is a collection of works created over 60 years — the curators of this exhibition, Lyudmila Andreeva, Olga Turchin and Vladimir Prokhorov tried to cover all genres in which the artist worked, to show them as a theme with infinite variations: a series of self-portraits, a series of “Mutants”, a series of “Anatomy of feelings”… Yes, all the creativity Yankylevsky can be divided into themes and variations to them. Endlessly he returned to the images of his past, experimented with a “vintage” works of the classics, it can be assumed that the early “Theme and improvisation” refer to musical analogues — the Beethoven variations, Bach, the preludes and fugues, jazz, because music was extremely important for Yankylevsky.
His triptychs, which seem to be variations on the theme each other (the path from female to male, male — always profile, female — torso front view), also remind about the music, about three-movement form of the classical Symphony. And on the altars of ancient folding.
the art Critic David Riff, who wrote an article for the exhibition catalogue, says that the first “Door”, 1972 — main, in his opinion, the work of Vladimir Yankylevsky — also is nothing but a closed portable altar.