The exhibition in Peter the MODEM giper
In Russian museum the exhibition of Gottfrida Helnvajna
In the Marble palace (branch of the State Russian museum) has opened the big personal exhibition of the modern German artist - hyperrealist Gottfrida Helnvajna has opened. On its account set of personal exhibitions in the best halls of Europe and a cover for the best European magazines, portraits of the most popular singers, actors and artists of last twentieth anniversary.
not to notice this exhibition it is impossible - in a garden before the Marble palace installation from almost ten huge children`s portraits flaunts. However it is doubtful that Helnvajnu can find crowds of admirers in Russia: Gloomy German art and without that is not too popular in us, and weighted in considerable weight of hyperrealism and social pathos and at all can push away the thoughtless Petersburg spectator to whom problems of responsibility of the German people before Jewish for horrors of the Holocaust are obviously alien. As, however, as well as fears of the civilised world before injustice of the social device and unsolvability of environmental problems.
the well-known series of self-portraits in bandage and with the shouting mouth, bypassed covers of the most fashionable magazines and become even an envelope of a disk of group Scorpions, both numerous scars and lacerations on persons of other characters of Helnvajna hardly will clear in the Russian spectator how many - nibud compassions. The deathly pallor, the persons deformed by ugliness, utrirovannaja hyperrealism daily occurrence, blood, death, murders - all is a reality of our life very few people from us especially needs one reminder on it.
Though style of Helnvajna the family tree from American the priest - arta also conducts, the artist is not occupied by things. As it, however, is not so occupied and people. He is excited not with myths, and global problems. It is too serious already now to enter into number of cult figures of the XX-th century, but is too demagogical to dare most to cease to seem to that. Helnvajn has created the gallery of portraits of idols of mass culture where is both Michael Jackson, and Mik Jagger, both Klint Eastwood, and Kate Richards, and Arnold Schwarzenegger, Andy Uorholl, Dan Sjaopin, John Kennedy. Its heroes or kartinno are beautiful and mysterious, as can be “ beautifully and mysteriously “ only the American art, or is rough and underlined brutalny what should seem “ not indifferent “ to the artist the rough validity.
its one works rivet on themselves attention, others - push away. There, where there was a place to the cold analysis, the artist appears the winner. There, where it is feigned or shown sincere (in this case this same) feeling, the spectator remains indifferent.
one of samples of creativity of Helnvajna many presented in the Marble palace is doomed to unconditional popularity in Russia only. It it “ nurseries “ portraits. On the one hand, this almost religious art, and they organically enter into a religious series of the artist. Not without reason already familiar to Petersburgers “ the Head of the girl “ has been exposed in one of the Austrian churches. On the other hand, almost all religious compositions of Helnvajna - sacrilege. Modern religious as, however, and any another, painting, of course, allows to do with itself anything you like - but only if the author keeps a distance. Here it is destroyed. Religious scenes of Helnvajna irritate with the frank platitude which is almost violently rhymed with our representation about Hitlerite art. They are deprived joyful otkrytochnoj sugariness of playful Frenchmen of Pierre and Zhilja and in the pompous gravity can please unless German burghers.
as the answer to this contradiction - the artist - the provoker and low taste of crowd - children`s series of Helnvajna serve. That that decorates now a garden of the Marble palace, is devoted events of Crystal night. The chain of huge children`s portraits has been established by the artist before Ludwig`s museum in Cologne. Very soon harmless canvases have appeared cut up. Pathos of the artist has reached the addressee - and it has received worthy the present realist the answer. In Petersburg for anything similar it does not wait. Here it the stranger well-known, eminent and the welcome guest. And its children`s portraits - not provocation, and an ornament of brilliant gardens and interiors.
KIRA - DOLININ