Exhibition of Alexander Savko "Suprematist tragedy" automatic translate
с 31 Августа
по 5 Октября
Галерея Файн Арт
4-ый Сыромятнический переулок, д.1/8С9, Центр современного искусства ВИНЗАВОД
The famous artist Alexander Savko is also known for his artistic provocations and insinuations, the essence of which lies in his artistic method. Born in Sunny Moldova (Bender) and having studied an artist in no less sunny Odessa, he arrived in Moscow with three graphic sheets, which immediately went to exhibitions in Russia and Europe. The creative life of the artist was successful, but after exploring the surrounding area, Alexander saw that the true culture and art that he intended to serve were unknown to society. It, the society, is captured by vivid advertising, cartoons, comics, and in general all sorts of western glamor. Such total glamorization has led to the fact that people seek truth from psychics, sorcerers, healers, etc. Instead of culture, education is "educated". And then Alexander kidnapped these images of media debris and placed them in the space of famous paintings of famous masters, so that those interested in his provocations would turn to genuine culture. The method proved to be effective. However, in 2011, the artist so played up that his picture, where the Sermon preaching was pronounced by a character similar to Mickey Mouse, was condemned in Tarusa, the verdict was a ban on publication, after which it was reproduced more than 200 times in the mass media. What kind of veggie time it was - no irrigation of urine or greenery, no destruction of the object offended by feelings.
In this project, Alexander Savko no provocations. The artist returns to the viewer a wonderful country of childhood, immersing it in a fairy-tale space. Here are Alenushka, and Prince Gvidon with Tsar Saltan, and three girls and even Koschey, rushing furiously on a hot horse. The characters are dressed in costumes of the 17th century, and in general the author uses the fabulous style of Ivan Bilibin. However, the artist expects the most active participation of even the most passive spectator. For, looking at Savkov’s canvases, we notice that faces of favorite heroes are lost, and gestures are defensive or attacking. Into the space of a fairy tale, something incomprehensible, dynamic, aggressive, expressed by abstract forms invades.
So the artist expresses himself metaphorically about an extremely serious, dangerous phenomenon - the attack of western glamor on the Russian art known since ancient times - Suprematism with the aim of seizing its territory. Suprematism (known from time immemorial) especially manifested itself in the "squares" of Malevich. Moreover, in the 50s of the last century, that is, in the epoch of impenetrable worlds of Suprematism and Western glamuritina, Malevich’s White Square on White became the source of inspiration for the new European art - "poor art".
Now Suprematism (Russian, known since ancient times) is again exposed to the aggressive influence of new glamorous trends. The artist presented this situation with a series of works, where knights in ancient armor rumble in the realism of pure Suprematism with spears and peaks at the ready. The fact that this battle with the ancient Russian Suprematism is spoken by picturesque fragments on the flags and armor associated with the works of Miro, Leger, Mondrian, Debuffet, Polok, etc. The artist as if appeals to the viewer - these occupants of culture, the western aliens seek to win and push back down our Suprematism.
In this context, it seems to us that A. Savko, speaking as an observer of modern times and an art historian, deliberately and not without irony creates ambiguity between the illusion of the battle and the invitation to think about the openness of art, its limitlessness. Each of the artists cited by Savkov is a facet of the multi-faceted personality of the author himself. In the absurdity of his elegant metaphors, in the ironic and parodic form of utterance lies, on the one hand, the affirmation of the value of everything in everything, on the other - the artist’s normal doubts and admiration for high art. Meanwhile, on Savkov’s canvases, vortexes arise when collisions of opposing meanings occur. The paintings are being watched. Irina Filatova