Exhibition in TSDH
In the Central house of the artist Tatyana Nazarenko`s exhibition " has opened; Transition “. The artist has shown the new works.
Still recently fans of mystifications could find in a requisite of street photographers of plywood Gorbachevyh and Yeltsins and to be photographed by a number. Their photos in the human growth, cut out on a contour, for an instant created illusion of their real presence at crowd. A prototype of these “ photoinstallations “ there were blendes - flat images of servants, shepherdesses, ladies and the gentlemen, cut out of a tree and painted as much as possible naturalistically. Having appeared in Russia in a XVIII-th century under the influence of the European baroque, blendes became a favourite element of the dramatized life of that time: them usually placed in parks, and sometimes and in houses. It is possible to see one of the first attempts of quite modern approach in it to the art, calculated on visual shock at the moment of comprehension by the spectator of a deceit. There were also other receptions of mystification, huge mirrors of a palace hall could settle down opposite to a number of the windows leaving in a garden that gave effect of combination of various plans and an overflowing of spaces each other. Washing out of borders between art and a reality, a making platitude of any modern art criticism text, was inherent also in a century before last.
Tatyana Nazarenko has shown at the exhibition “ Transition “ more than hundred blendes representing both constant inhabitants of underground transitions, and casual passers-by. Initially the artist planned imitation in showroom of space of underground transition at the expense of shields, hinged arches and muffled light. Put the friend opposite to the friend along walls it is artificial the recreated transition, its blendes even more would shock the spectator with the similarity to a reality. But also in the taken place variant of an exposition its beggars, vagabonds, uncountable sellers of newspapers or food, musicians, monks, women, men and children in some foreshortenings (when the wrong side did not give out their plywood essence) looked almost live. It in any measure makes a secret of a picturesque manner of Nazarenko, thus that this manner at all is not hyperrealistic, gravitates to primitiveness more likely. Possessing a surprising visual memory and seldom enough working from nature or on a photo, she is able to reach grotesque similarity to the original. It is possible to understand literal reproduction of the original as similarity; but at Nazarenko similarity arises as result of integral impression which is transferred with prudent - spontaneous laconicism, the minimum means. In this case izlishni sketches or sketches.
In hands at characters of Nazarenko it is possible to see newspapers, string-bags, kartonki with inscriptions “ people kind help for goodness sake it is not had habitation “ or “ it is not necessary to judge about people me strictly help who can to me for God`s sake “. A picture familiar to any passer-by (to Nazarenko “ quoted “ underground transition under a Pushkin Square) which he, however, aspires to run as soon as possible and even more likely to forget. Nazarenko forces the visitor of an exhibition “ to pass “ in this space also leaves in it alone with images of poverty and haplessness. A word “ transition “ bears in itself set of various associations if to consider and a permanent condition “ transitivity “ the Russian economy; and “ transition underground “ associates with “ transition under the earth “ - in the Hell. However that shows us Nazarenko, yet the Hell - is faster the Purgatory where not all so gloomy and there are, for example, cheerful Mexican musicians in red poncho.
ANNA - ALCHUK