Educational program for the exhibition "Francis Bacon, Lucien Freud and the London School" automatic translate
с 5 Марта
по 19 Мая
Главное здание ГМИИ им. А.С. Пушкина
ул. Волхонка, 12
The exhibition "Francis Bacon, Lucien Freud and the London School" will be held in the Pushkin Museum of Fine Arts. A.S. Pushkin from March 5 to May 19. The project will acquaint the Russian audience with a unique and most significant chapter in the history of modern British art, connected with the use of figurative painting by artists as a means of expressing a deeply personal, sensual and intense experience of life.
An educational program was developed specifically for the exhibition, the first event of which will be a lecture by curator Elena Crippa (Tate Gallery, London). The lectures will also be delivered by Danila Bulatov, the project curator for the Pushkin Museum of Fine Arts. BUT.. Pushkin, Kathryn Lampert - curator, director of Whitechapel Gallery (from 1988 to 2001), author of books about Frank Auerbach and Yuen Aglou, Alexandra Danilova - head of the art department of European and American countries of the XIX – XX centuries.
Within the framework of the festival “Friday in Pushkin”, the cycle of discussions “London School of Painting: Art and Philosophy after the World War”, prepared together with the curatorial agency Science, will take place. me. Experts from different fields of knowledge - art, science, philosophy, culture - initiate a conversation about key aspects of the creative work of artists of the London School. The works of these artists more than once became objects of in-depth analysis, since they represent concentrated manifestations of both personal tragic experience and collective upheavals. The discussions will cover a wide range of topics - from the experiences of the tragedy of war to the connection of the creative work of the artists of the London School with the philosophical and scientific concepts of contemporaries. The panelists will try to discover the deep meanings that have served as the impetus for creating these simultaneously intriguing and terrifying pictures.
Entrance to the events of the educational program is carried out by ticket to the museum. The program and schedule are available on the museum website.
Curator Lecture "Artists and Their Plots: Immediate Affinity"
March 5, 19:00, Main Building, Hall 29
The lecture is given by Helena Krippa, curator of contemporary British art in the Tate Gallery. Thanks to Elena Kripp, important international exhibitions such as London Calling were held at the J. Paul Getty Museum in Los Angeles and Too Human: Bacon, Freud and the Age of Artistic Life at the Tate Gallery.
In his lecture, Elena Kripp will talk about the relationships that have been associated artists presented at the exhibition. Why does the exhibition begin with the works of William Coldstream, David Bomberg and Francis Bacon, and who is depicted in their works? Which artists have influenced the masters of the past and in whose works to look for references to the works of Diego Velázquez, Edgar Degas, Paul Cezanne and Pablo Picasso? And also, who of the representatives of the London School admired and collected the art of colleagues and collected works by David Hockney? In the final part of the lecture, the curator will turn to the figure of Lucien Freud, the artist’s sources of inspiration, and elaborate on how his work has changed for almost seven decades.
Lecture "The London School and the" End of an Orderly Era "
March 13, 7:00 PM, Main Building, Hall 29
The lecture is read by Danila Bulatov, curator of the exhibition, researcher at the Department of Art of European and American countries of the XIX-XX centuries.
Lecture "Artists of the London School in a dialogue with classical art"
March 20, 19:00, Main Building, Hall 29
The lecture is read by Danila Bulatov, curator of the exhibition, researcher at the Department of Art of European and American countries of the XIX-XX centuries.
Discussion "London School and Old Masters"
March 22, 6 pm, Main Building, Hall 29
The London School is an ambiguous phenomenon in the art world: on the one hand, its representatives are reformers who were in search of new means of expression, and on the other hand, artists who turned to realism. Contrary to the domination after the Second World War, various trends of abstractionism, Londoners created an absolutely human world - bodily and sensual. This program combines them with old masters. They called themselves students of classical artists: Lucien Freud considered the Northern Renaissance to be the most important period in the history of art, and he called himself the successor to Albrecht Dürer - the father of the self-portrait genre; Frank Auerbach spoke about the influence on his work of almost all the old masters. The discussion will discuss the general trends of the old and new traditions, and those starting points when contemporary artists began to move away from the classics.
Participants: Viktor Erofeev (writer, literary scholar, radio and TV presenter), Danila Bulatov (curator, researcher of the Pushkin Museum of Fine Arts, art historian), Nadezhda Prokazyna (teacher of the School of Historical Sciences of the National Research University Higher School of Economics, art historian, specialist in Western art), Ekaterina Kochetkova (Ph.D. in art history, senior lecturer in the history department of Moscow State University. MV Lomonosov).
Discussion "London School: Figurative Art as a New Abstraction"
March 29, 18:00, Main Building, Exposition
In the first half of the 20th century, art basically refused to be representative. The art world is filled with "theory", moving away from spatial clarity and historicity: art seeks to reflect the idea of art. But the crises faced by humanity, cause an urgent need to return to reality. Artists of the London School made this turn, but, despite the fact that their art is figurative, it is far from a realistic tradition. They sought to convey the immediate experience of life. To do this, they often resorted to the impasto technique (drawing a thick layer of paint on the canvas), which was supposed to help connect the space of the picture with the real world and enhance the material aspects of the painting. At the same time, such an approach implied a high level of abstraction, since the artist did not set a goal to imitate the reality of the visible world on the canvas, but sought to enhance the “sense of reality”.
Participants: Ilona Lebedeva (Ph.D. in Art History, Researcher at the Department of Contemporary Western Art at the State Institute of Art Studies, member of the Association of Art Critics and the Association of Culture Managers), Sergey Dzikevich (Ph.D. in Philosophy, Associate Professor at the Department of Aesthetics, Faculty of Philosophy, Moscow State University), Kirill Svetlyakov (Candidate of Art History, laureate of the Sergey Kuryokhin Prize, included in the list of the most influential people in Russian art according to the editions of Art Chronicle, Art Guide, The Artnewspaper Russia ”), Viktoria Vasilyeva (Ph.D. (Philos.), Associate Professor, Faculty of Humanities, School of Culturology, HSE, specialist in media, popular culture and audiovisual techniques in cultural sciences).
Discussion "London School: Crisis of Evil"
April 5, 18:00, Main Building, Exposition
Traditionally, the understanding of good and evil belongs to the field of ethics, ideas about these categories have changed at different times. Ethical ideas concerned very abstract concepts, such as duty, principle, will, sometimes the universe was comprehended through ethical laws. Ethics has always appealed to man as a being capable of acting in accordance with idealistic principles. The twentieth century forced a person to face the fact that all formed ethical and religious ideas about good and evil no longer work. This was the result of the tragedy of the war, the monstrous crimes of Nazism, the physical suffering of people - the human body turned out to be a political field, where violence reached its ultimate degree. The investigation of the Nazi medical experiments in the Nuremberg process gave rise to a new, more applied understanding of ethics: medical ethics and bioethics appeared. As part of the discussion, an attempt will be made to comprehend the creative work of the artists of the London School through the lens of the ethical problems of the 20th century.
Participants: Boris Kashnikov (Doctor of Philosophy, Professor at the Faculty of Humanities of the National Research University Higher School of Economics), Danila Bulatov (curator, researcher at the Pushkin Museum of Fine Arts, art historian), Oleg Aronson (Ph.D., senior researcher at the Institute of Philosophy, RAS), Senior Researcher at the Russian Anthropological School Institute, as well as the Russian Institute for Cultural Research, art historian), Alexandra Moskovskaya (Ph.D., researcher in the aesthetics sector of the Institute of Philosophy, Russian Academy of Sciences).
Lecture "Living Essence"
April 10, 19:00, Main Building, Hall 29
The lecture is given by Catherine Lampert, an independent curator, art critic.
“Existence precedes essence” —that is how Jean-Paul Sartre formulated the existentialist position on which artists relied, whose work was presented at the exhibition Francis Bacon, Lucien Freud and the London School.
During her lecture, Catherine Lampert will build on her own experience in creating exhibitions, writing articles and in-person interactions with such London artists as Francis Bacon, Leon Kossoff, Frank Auerbach, Lucien Freud, William Coldstream, Andrew Andrew, Paula Regou, Yuan and Julou, and William Coldstream, Andrew Andrew, Paula Regu, and Ian Aglow and William Coldstream, Andrew Andrew, Paula Regou, and Ian Freud, William Coldstream, Andrew, Andrew, Paul Andrew, and Andrew Aglow. Paul, as well as talk about several followers, including George Baselitz.
Katherine Lampert, independent curator, art historian, worked at the Hayward Gallery in London from 1988 to 2001. was the director of Whitechapel Gallery. He has authored books and articles on Ewan Aglow, Frank Auerbach, Peter Doig, George Shaw, Francis Alice, and others. To date, Kathryn Lampert is a member of the Scientific Council of the Rodin Museum, working on the Paula Regu exhibition, which opens in June 2019, and makes up a catalog-reason for painting by Lucien Freud.
Discussion "Death of God" and Christian images
April 12, 18:00, Main building, 29 hall
One of the traditional topics of religious discussion is the difficulty of explaining the existence of evil in a world ruled by a good God — the problem of theodicy. Proclaimed in the 20th century, Nietzsche’s idea of the "death of God" embodies the idea that the old moral principles are dying, the source of which is a certain higher being, God. With the death of God, a person confirms reality - says “yes” to life. However, being loses the reliability that the presence of God gives. The events that took place during the life of the artists of the London School — wars, revolutions, scientific discoveries, economic crises — demonstrate the fragility of the well-being and rationality of life. In art after the Second World War, images borrowed from Christian iconography are often found, but they inevitably acquire a secular, even nihilistic character. The discussion will reveal the possibilities of understanding the creative work of the artists of the London School in the context of the “beating” of the world and a new look at Christian doctrines.
Participants: Lidiya Chakovskaya (Ph.D. in Philosophy, Senior Researcher at the State Institute of Art Studies and the Department of History and Theory of World Culture, Faculty of Philosophy, Moscow State University named after MV Lomonosov, art historian), Alexei Rastorguev (Ph.D. in Art History, Associate Professor at the Department of General History of Historical Art Faculty of Moscow State University named after MV Lomonosov, specializes in the art of late antiquity, the art of the Western European Middle Ages, Byzantine and post-Byzantine icons, the history of Christian iconography and, the art of Northern Rebirth, the art of the 20th century), Julia Sineokaya (Ph.D., professor of the Russian Academy of Sciences, head of the Western Philosophy History Sector of the Institute of Philosophy, Russian Academy of Sciences, expert in the history of European and Russian philosophy of the second half of the 19th – 20th centuries), Anna Pozhidaeva (Candidate of Art History, Associate Professor of the Faculty of Humanities of the National Research University Higher School of Economics, an expert in medieval Western European art, Christian iconography and the reception of mythological scenes in world art).
Discussion "Body without Organs: Philosophy and Post-War Art"
April 19, 6 pm, Main Building, Hall 29
“Body without Organs” - a philosophical concept introduced by Antonin Arto and elaborated in detail by Gilles Deleuze, was key to the development of subsequent trends in painting, dance, theater and cinema. Its essence lies in the fact that a body without organs is an opposition to an organized body, it is “flesh and nerves”. Exploring the work of Bacon, Deleuze writes about the image of the artist "the intense fact of the body." This principle turned out to be extremely important for the artists of the London School, who faced the reality of post-war Europe, where reality was felt in the whole range of physical impressions: reality that was not hidden behind the sorts of landscaped cities, food-filled tables in houses and expensive clothes - pure being opened the artist. The “body without organs” as the principle of thinking and seeing is most suitable for transmitting the tension of life, and painting by representatives of the London School tries to force the viewer to make himself a “body without organs”, to learn to perceive at the level of nerve endings, so that life is freed from "And comes to asserting its authenticity.
Participants: Svetlana Polyakova (Candidate of Philosophy, Associate Professor of the Ontology Department of the Theory of Knowledge at the Faculty of Philosophy of the Moscow State University named after MV Lomonosov, ontologist, expert in contemporary art and theosophy), Haim Sokol (artist, sculptor, art commentator, author of installations, performances, texts), Anna Yampolskaya (Ph.D., leading researcher at the Center for Fundamental Sociology, National Research University Higher School of Economics, specialist in French and German phenomenology).
Lecture “Painting with and without commentaries: R. B. China and British Pop Art”
May 15, 19:00, Main Building, Hall 29
The idea of creating a “new art” was taken up by young British artists, students of the Royal College of London: R. B. China, Peter Blake, Joe Tilson, Richard Smith, Derek Baucher, David Hockney, Allen Jones, Peter Filipps, who declared themselves a student exhibition “ Young contemporaries "in February 1961. It was these artists that formed the core of British pop art, embodying its main principles in his work. Two worlds - "high art" and mass culture - coexist on their canvases on equal terms, as part of a whole. Advertising, comics, Americanized culture of the middle class for most British pop artists is primarily a source of modern imagery. Their works are filled with quotes and artistic parallels.
Alexandra Danilova, head of the 19th and 20th century European and American art department, reads the lecture.
Discussion “London School and Poetry. Art after Auschwitz
May 18, 20:00, Main Building, 29 Hall
The phrase of the German philosopher Theodore Adorno, “after Auschwitz, any word in which lofty notes are heard is no longer valid” has become a sentence for all art that could have been created after the Holocaust. Any words appealing to the transcendent are compromised by the fact that once they led to Auschwitz. When such exalted thinking is connected with real experience, it does not cost anything to exterminate entire nations in the name of a “high idea”. Poetry and painting are genres that most often appeal to meanings that are above human material reality. But how much are they possible at a time when such a worldview still "smells of carrion"? The London School is the product of this worldview, which becomes the impetus for the creation of new forms and expressive means, subject to the awareness of the perniciousness of the old understanding of art. As part of the conversation about post-war painting and poetry, it will be possible to understand how art overcame the crisis of representation caused by the bloody pages of human history.
Participants: Yuri Saprykin (journalist, cultural studies, radio host, director of the Polk project), Ksenia Golubovich (candidate of philological sciences, chairman of the jury of the A. Pyatigorsky Literary Prize, writer, translator, literary critic), Alexander Volodina (teacher of the Modern Art »At HSE, research associate in the aesthetics sector of the Institute of Philosophy of the Russian Academy of Sciences, cultural scientist).
Discussion "London School: Existential horror and the experience of war"
May 19, 8:00 pm, Main Building, Hall 29
The existential experience of horror is one of the sources of the artistic language of the masters of the London School. War is an event that can be described as an endless sensation of death. People immersed in such a state are able to detect the refractions of life that cannot be seen in peacetime - they, paradoxically, begin to really live. Despite the fact that war demoralizes a person, it is a “borderline situation” (this is a term from the philosophy of existentialism, denoting a moment in which a person realizes his or her own being - existence). Искусство Лондонской школы пропитано этим потрясением от открывшейся алогичности и неупорядоченности мира. Приемы, которые используют художники, позволяют делать ощутимым страх человека, вызванный чувством слитности с этим миром и одновременно ужасом пребывания в нем. В связи с этим большинство из этих мастеров обращается к изображению плоти – самой первичной зоны человеческого опыта, в которой человек утверждает себя. Жан-Поль Сартр писал: «Моё тело из плоти, плоть живет, плоть копошится, она тихо вращает соки, кремы, эта плоть вращает, вращает мягкую сладкую влагу моей плоти, кровь моей руки, сладкая боль в моей раненой плоти, которую вращают, она идет, я иду, я спасаюсь бегством, я негодяй с израненной плотью, израненный существованием об эти стены». Плоть становится точкой, где страх, ужас и война переплетаются в единство собственного переживания.
Участники: Глеб Напреенко (искусствовед, психоаналитик лакановской ориентации, теоретик искусства), Валентин Дьяконов (кандидат культурологии, искусствовед, арт-критик), Алина Стрельцова (кандидат искусствоведения, преподаватель факультета журналистики МГУ им. М. В. Ломоносова, заместитель главного редактора журнала «Искусство», журналист).
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- "Artists of the Vladimir land" - the so-called exhibition for the anniversary of the Vladimir branch of the Union of Artists
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