About food and about people Automatic translate

June 8, 2016 opens the exhibition of works "About food and about people." The project presents the works of artists from private collections: Konstantin Khudyakov, Natalya Nesterova, Lev Tabenkin, Katya Medvedeva, Larisa Naumova, Yuri Cooper, Alexander Ishin, Aron Bukh, Vera Elnitskaya, Lucy Voronova, Natta Konysheva, Alexei Vaulin, Konstantin Totibadze, George Totibadze, Vera Elnitskaya, Ivan Sotnikova.

Each of us encloses our space. Furnishes it with our typical taste and habits. He chooses people as objects based on his own sense of proportion, believing that they will always remain unchanged. But something happens - as elusive as temptation. The temptation is always light, airy, brilliant. What could be a better expression of temptation than an apple, even as rigid and motionless as Cezanne? And then it moved with a light touch of the hand, the wind breathed, something rustled, whispered in the corners, smelled of aroma - and we were in the grip of new sensations, everything familiar and familiar took on different forms, a different sound.

This has been said many times - about the secret life of things beyond their outer borders, about the variability of quantities - both large and small. A person appropriates a thing, and it helps life, but it also takes possession of it. Humanity knew this a long time ago. The symbolism of a thing, its secret mystical meaning is a favorite plot starting from cave paintings. And if we are already talking about painting, then there is nothing more symbolic than food absorbed by a person, penetrating into it and becoming a part of it.

Man seeks pleasure. First of all, to the physical. The desire to enjoy food is inherent in us by nature. Epicurus said that "the pleasure of the stomach is the basis and source of any good." But food, as you know, is also pleasure, and enjoyment of both a higher and a lower order. Pleasure and temptation are an inseparable pair, and we were taught to deal with temptations. The physiological nature of food enjoyment puts it next to erotic pleasure. Fluctuations from carnal gratification to sublime sensuality are very diverse. The poet of the Middle Ages compares his Lady with a flower, a vine, sulfuric, a late Renaissance humanist "describes his ideal with all the details of a deli criticizing a delicious cake or complex gravy, and all his comparisons are borrowed from the rich world of still life."

On the verge of visibility of the subject, there are things in the works of Aron Bukh, Vera Elnitskaya, Alexei Vaulin. Everything here is captured by a stream of color energy, involving in a spontaneous life cycle. Themes are conceived on a global scale: the opposition of darkness and light, pulsation, ecstasy, flowering, wilting, play. Katya Medvedeva and Lucy Voronova have a different principle: things are inseparable from their background, have become accustomed to it, as with their own home. It’s like a conversation between two couples - gallant in blue and simple on earthen, equivocations in one, directness of the gesture in the other case. The festivity of forms is in the still life of Larisa Naumova. In the sense that they are weighty, active, effective. This is a still life that is southern in character, not in the composition of objects, and not even in the property of the architectural landscape, but because of some persistence in mastering the space. Intersections do not bother them here, they are even necessary because they draw a line, a corner, cut off part of the landscape, subordinate the landscape to a still life, suggesting that the viewer share the rapture with the height and courage of the gesture.

At Natta Konysheva, the table was turned into a stage for Salome dancing with a dish. Now the painting itself exists on the verge of extinction, it seems to be difficult to keep a heap of fragments of figures, scenes, spaces - a monstrous dream that surrounded the table and is ready to fall with its ancient slave of gluttony into its mouth with empty teeth of the chairs.

Two other authors return us to plastic. The spirit of Crete blows from the lady with the birds of Leo Tabenkin. Everything in it is an ancient form and everything in it is movement. Like a painted terracotta, the “goddess with birds,” she brings gifts to her chosen one. Things are so densely, sculpturally, albeit, fake sculpturally made things in the works of Natalia Nesterova. Here, the theme of artful food is given literally as a threat to man. Chunks of watermelon frighteningly distort the face with the likeness of a false mouth, a dummy of a hand sticking out from the pulp of the fetus. And how vibrant, the back of the chair really looks like! Things replaced people. The lady offers oysters to the cavalier - Adam and Eve against the backdrop of a French park. They enjoy a meal, and perhaps the hero’s face is distorted by a grimace of pain - involuntarily recalls Matthew from "The Chef, the Thief, His Wife and Lover..", choking on oysters, and others tormented by the torture of food in this magnificent and scary film. Helen Mirren, the main character, asks the Cook what food is most appreciated in his restaurant. “Black,” he answers, “black olives, black currants, black food is death. Black caviar - death and birth at the same time. "

Out of black oyster boats floating out, the pulsating color of the nascent life, three ages of love, a quiet conversation of two, a dissecting gesture, a twinkle of a nightmare, the smell of clay, an imitation of life - these are the cards on this exhibition.