The sixtieth — years of a utopia
In the Parisian Hotel of invalids has opened an exhibition “ 60 - e: years of a utopia “. All about 60 - h: music, design, cinema, a photo, “ the subjects belonging... “. The exhibition is considered axiomatic and basic - drive schoolboys and etc. To surprise of Russian visitors representation about 60 - h has appeared absolutely different: at us - the world of things, and at them - the world of ideas.
the Exhibition in Invalids is not too great. Only five halls, at all halls, and rooms. It is more than photos, than the pictures, more than the turned yellow posters, than red phones, it is more zapilennyh than disks, than old players. If not signatures “ an exhibit from a private collection “ if not curiosities of a nice epoch, all could descend for a school museum of fighting glory. Here also drive groups of schoolboys as familiarising with a national revolutionary history (for Frenchmen the sixtieth - first of all 1968, not without reason an exhibition has settled down in an army museum, in the neighbourhood with Napoleon`s tomb). Instead of Lenin`s museum the European teenagers have received something like Lennon`s museum and long examine a cover sorokapjatki Two Virgins, representing naked John in obnimku from naked Joko.
At the external modesty and even some wretchedness the exhibition uses big and is obvious nezasluzhennym. Each of five rooms has the name on what the special program violently applied on the ticket informs. Armed with a little grandiloquent libretto, the visitor joins different cuts of consciousness mythological the sixtieth. To it explain that the automatic camera “ kodak “ symbolises the beginning of a consumer era, a portrait B. B. - the new concept of a corporality, shots from “ Blow Up “ - galljutsinogennoe vision of the world, a plate “ Beatles “ and “ Rolling Stounz “ - new tempo - a rhythm, and the poster: “ we Will stop war in Algeria! “ - continuation of artistic happenings. The exhibition leaves proof sensation of mystification, and the visitor leaves it with firmly formulated question, is perspicacious taken out in the catalogue beginning: “ the Sixtieth - whether existed they in general? “
From a hall in a hall passing
the First hall is called “ Consumption “. The European goes bananas from technical progress, wants to seize all modern comfort - the TV, a player, the car, a food processor. To become the leader of a new life. Calling quite on Marx - from basis to a superstructure. But suddenly it appears that bezbytnaja, the antibourgeois epoch of colours has been born by two most that on is the prosaic reasons. Europe was very young - after war narozhali many children. Europe was very rich. Whence the conclusion - antiburzhuaznost is in great need in burzhuaznosti as in the reason and in the justification.
“ a body and its image “ - the second hall. 60 - e were time of clearing of customs. A female body, explain to us, too became a consumer goods, the goods, left on covers of magazines and on posters kinoshek. Sexuality and dissoluteness 60 - h are illustrated such monstrous from the point of view of contemporaries by things as a photo half-naked Kristin Keller - models, whose name became widely known in connection with scandalous adventures of English ministers, erotic comics of type of Barbarelly with hardly covered beauties, and also mini - Mary Kuant`s skirts. It is clear. 60 - e - time of boundless trust to sensual impulses. And here the visitor with surprise understands that frightening many flesh clearing (still rather shy in 60 - h, more confident in 70 - h and stopped only AIDS) had consequences the most progressive and chaste. In - the first, the concept of naturalness has been rehabilitated: there were forcedly negligent confused hairdresses (babetta), “ wrong “ persons (Anna Karina), “ wrong “ figures (Tviggi). In - the second, having expanded borders permitted, 60 - e have returned sexuality in culture and have pushed a pornography in its specific, professional, functional areas.
two halls are devoted “ Hallucinations “. It is the story how under doubt the reality has been put. The history used by Antonioni in “ Blow Up “ illustrates main for 60 - h the thesis of plurality of vision. The objective of the photographer has casually caught what has not seen eyes. You look, but actually see nothing. Other optics, other plan, photoincrease is necessary. People 60 - h, seemingly, considered that they have opened for the first time the world. Also have found out that it shares on set of the worlds parallel and not connected among themselves.
for this purpose it was not necessary to go to distant travel. Drugs opened other, psychodelic universum easily competing with kubrikovskoj “ space odisseej “ and Paco Rabanne metal dresses. Drugs chopped off experience and common sense, gave other experience and other vision - irrational, sensual, sometimes taking away the life which was passing henceforth “ on last breath “. There was an irrational harmony and harmony irrational - “ Je t`aime, moi non plus... “
“ Music “ (the hall the fourth) is so important for an epoch and so narkotichna. “ Beatles “ “ Rolling Stounz “ David Bowie have sounded time and have given to it special, convulsive and gentle, tempo - a rhythm. Here France modestly gives way to England - Serzh Ginzbur is pushed aside in a hall “ the Policy “ - is closer to events of 1968. However, the musical party of the sixtieth in the form of sound canned food has reached the USSR also us has been acquired almost in time. Unexpectedness are not present, here again the Russian visitor feels a unique prick of nostalgia.
we is much worse represent a theme of last hall - “ the Policy “. In Europe a policy concerned and concern where more seriously, than at us. The exhibition is called “ Years of a utopia “. In what a utopia of the sixtieth? At us - in flight from a reality. At them - in reality recreation. At us - “ shestidesjatnicheskoe outlook “ with fires, guitars and “ we will join hands friends “ at them not only psychodelic travel, but also the left terrorism. At all of us equally it was impossible to change life, they seriously spoke about revolution and were at war with war - Vietnamese, Algerian, Korean. Is, however, and the general. The sixtieth and there have here again ended directive - at us in the Prague spring of 1968, at them - in the Parisian spring of the same 68 - go.
Words and things
The project of this exhibition about utopian years is marvellously utopian. Its authors have not wished to be exchanged for things, they have wanted to make an exhibition about consciousness. But the consciousness grows old before only. And it is not clear, where it is more than it - in things or in words. On that first question of the catalogue: “ whether There were the sixtieth? “ - the exhibition with confidence answers - is not present. It would be clear, if spoke about style of life, how there lived people, instead of how they thought.
than to revive “ spirit “ it is better to revive style - without difficult conceptual constructions. Such is specificity of exhibitions in general. Style can be recreated through selection of subjects. The spirit needs a word, hence, in the thick catalogue. What is available in the best possible way. In it of article about a utopia 60 - h and their visual culture, about sexuality and a fashion, about bitlomanii and decadent fate, about architecture and design, about drawing and a new wave, about television revolution in Great Britain and the French television, about youth English subculture and the French photo. The thick clever book has as a matter of fact very mediated relation to an exhibition transformed into a makeweight to the effective catalogue. And even its advertising campaign suspiciously reminding a part.
60 - e years now in a fashion. The exhibition gets to this fashion and partly it maintains. But zamanchivejshy the project appears disappointing and boring. Very strange intonation - not nostalgic, but analytical, too insensible for a sensual epoch is taken. Where it is better 60 - e the inhabitants chasing now behind things of that time understand. They try to discover in expensive antique shops of an armchair - wine-glasses and the freakish couches standing near to empire dressers. They visit the furniture stores of street Rivoli reproducing design the priest - arta. They sit on this furniture, they use this ware, they listen “ Beatles “. And it not the worst way to feel 60 - e, rather than reading of the catalogue or wandering on halls in Invalids.
KARINA - DOBROTVORSKY, ALEXEY - TARHANOV