May, 24 - June, 23 2007
Famous Petersburg artist, the curator and the historian of art Andrey Khlobystin represents in D-137 gallery an exhibition of is picturesque-graphic products and light objects on motives of the creativity of the end 1980 - the beginnings of 1990th years. In Andrey Khlobystina's creativity three form-building impulses operate: interest to magic and grotesque from parents-archeologists, researchers of primitive cultures; concept " art will ", apprehended at Ivan Chechot's lectures ; The idea of Michael Larionov representing art as "vsechestvo" received from Timur Novikov, namely as the universal lifelong adventure which is bringing up keenness to the world, to language In total any and especially invisible, usual, not from sphere of art of things.
In critical first third 1990th years Khlobystin creates the vital project under the name " Art will ", including the edition of the same almanac, installation and performances. A subject of representation of "Art will " in its first numbers and actions becomes revolutionary fermentation of a society and free fermentation of outstanding minds.
To the middle 1990 Khlobystin has thought up concept "dzen-dandyism". Then magic shine of glamour amplified every year, and Khlobystin very much in time has paid attention that дендизм is a paradoxical discipline, esthetics a body, at times rather grotesquely, as a stronghold of unlimited and whimsical personal will.
It prefers heroes and characters, which bear the behavior (radical residing as spoke then Khlobystin) a message that creativity is freedom from dogmatism. Khlobystin starts to collect such human examples in a collection of the dandy, frickes, foolishes, sacred, spending selection among historic figures of not very well what time and pulling together Feodor Tolstoy-American, the aristocrat, the adventurer and the duelist, with Valery Tcherkasov, the driven off father Leningrad
The exhibition in gallery D 137 illustrates a modern condition of a collection of ideas and characters Khlobystin. The exposition consists of two sections: from objects and it is picturesque-graphic representations. Objects are every possible "corners" and the "suitcases" shone in darkness and drawing attention of the spectator to that usually stays in a shadow. About ten years ago Khlobystin preferred to pay attention to shadow forms of a life spontaneously gathering in corners, shining these congestions, высвечивая grotesques arising in them as possible sources of spontaneous creative energy. "Corners" of the beginning of 1990th as the artist speaks, were for it allegory of new private space of the microcosm which has replaced then universal ambitions on conquest of big Space and an establishment of a certain global world order. Present "corners" - a symbol of how former secular people of one generation with the artist again have appeared everyone in the corner. But this asceticism is directed on the concentrated organization of: the garbage chaos in them was replaced by precise ornaments of a decor of magnificent palaces. Now the angular aesthetics finds more vanguard and at the same time classicizes treatment. Corner - a dynamical and clear power source as a corner of attack, but this energy in it is saved owing to that it in space of a room on a place of the eremite. Khlobystin's results it in private residence Bobrinky's: in decayed ампирных corners the former luxury, planing and ascetic, finds out the main thing in the art - ideal as the purpose. However for Khlobystin the purpose is not only ideal, but also the freakish private world: it easily passes from a level of heroes to a level of odd fellows, specifying that odd fellows in standard circumstances of a modern life - already heroes. Therefore in section of painting and schedules of the image of Pushkin and Gumiliov adjoin to Kozma Prutkov's images and Kharms. Between them magic mushrooms are extended, connecting them in the general ansocial "risoma".
Khlobystin's figures based simultaneously on fantastic illustrations and on caricatures, grow as well from close looking the Renaissance pictures. There, on the intermediate plans incorporated by a sketch of the artist with blue mountains of horizons, knights and dragons, monks and the gangsters wandering scientists wandered and lodged. Now mountains of horizon send away in virtual space, and mysterious heroes open everyone in the window, as icons and windows on the monitor of a computer. Khlobystin uses and will simultaneously amortize shone computer space, returning to a modern technogenic sight from "windows" humanity of small houses of Winnie Puha.
In anthropological collection Khlobystin samples of fermentive substance of culture who allow art to not turn sour, and to operate without a limitation period owing to clearness and independence of an idea or surprising grotesqueness of an image. Both that, and another reliably provides magic marginality, that is independence from fast prejudices of a society.