Rus News Journal

In Moscow the monument to Alexander The Second

About the most difficult in work of the sculptor, about has opened, whether there is a fashion on monuments, and many other things Alexander Rukavishnikov has told today.

| Alexander Iulianovich, first of all would be desirable to learn - you are happy with the latest work?

Alexander Rukavishnikov | Quite. However, I was afraid that near to walls of a temple it will not get on scale, at first after all it was supposed to put it at Kutafej of a tower. But all has turned out very well, I even think that the new place is much more successful.

RG | it was how much difficult to work with the tsar?

Rukavishnikov | Understand, the figure of the tsar should be recognised, that it all was clear, therefore Alexander II is made in a realistic key. It is very detailed qualitative realistic sculpture, without special cunnings.

RG | And what the most difficult in work of the sculptor?

the woman with an oar was avant-gardism Top at the Soviet power and in a bathing suit

Rukavishnikov | All is difficult. All also depends on diligence, talent, will, calmness. It as in a zen, know, at first it was learnt to one, then it is necessary to forget and study it opposite. I do not know that happens in my work more difficult, therefore me always very much makes laugh, when inhabitants or any self-educated persons try to express the opinion on art value of a sculpture. I it would advise to blind something, kolobka, for example (laughs).

RG | As it seems to you, there is a fashion on monuments?

Rukavishnikov | Is. There was a fashion on Lenin with Stalin, now - on sacred, on princes, on tsars. But this fashion to me is more pleasant, than that.

RG | In one of the interviews you said, what in Russia you work adaptirovanno, why?

Rukavishnikov | Because revolution has rejected our country much more years back in perception of art and, in particular, sculptures, in comparison with the West. Remember, at us the avant-guard, and then at first has gone, within years forty monuments represented busts of heroes sotstruda - distinction was only in that, the man or the woman. And the woman with an oar and in a bathing suit was avant-gardism top.

RG | That is Europe is more susceptible today to monumental art? Why?

Rukavishnikov | I have noticed that Germans, Danes, the Austrians perceive a sculpture because there the certain quantity of centuries was paid to it attention, they have got used to it, know, what for it is necessary. And in Africa, for example, there are countries where at all do not understand, the sculpture what for is necessary. At us something similar. Therefore I always say that the artist, doing celebrated personalities, has no right to the accented self-expression. For example, I could not make Nikulina in the formalistic way because people want to see Nikulina, instead of any my opuses.

RG | Someone has told once that the monument is a certain positive example. And what for you a monument and what for, actually, it is necessary?

Rukavishnikov | to be original, I will tell: for me is an addition of certain sections, volumes in the space, different surfaces and different rhythms which should hold the certain area of the earth, to concentrate on itself attention - here that such for me a monument. And for what the monument becomes, I think, the secret all - taki is covered in a root of this word - memory . Memory at us short, I, for example, often catch myself that I know nothing.

RG | the image Whence undertakes? Why, say, your well-known Dostoevsky at the Russian library sits on a bench, instead of in an armchair?

Rukavishnikov | Because if he sat in an armchair, it would be already any banker or the barin. The image undertakes from human life studying. At first all - taki should be understood - who is such. Than the sculpture is difficult? That there is no plot, as at cinema or in the book. There is no beginning, the end. There is no music helping. Anything is not present, there is only a volume which should and tell about tragical destiny, and transfer emotions. At us, unfortunately, it do not understand. To take the same Dostoevsky is a position which I have given to Feodor Mihajlovichu, to it it is very inconvenient. Not clearly - whether it sits down, whether rises. I very much love such semiposes, any innuendo of movement. Not I have thought up it, this reception was applied by our well-known painters. For example, Petrov - Vodkin often liked to do any falling, unstable figures. Newspapers like to hang labels, Dostoevsky named a monument to Russian hemorrhoids. It is interesting to me that they will think up for Alexander II. Or here Bulgakov - it sits on the broken bench (know, there are such broken benches? It too the epoch characteristic). Represent, still it is not present, and in the newspaper the photo with the deformed foreshortening is already published and is written - the Broom in a bum well-wishers have already thought up a brand.

RG | I remember reaction of inhabitants from the Patriarchal which assiduously opposed to that there there was a composition under Michael Afanasevicha Bulgakov`s novel. It was the brightest reaction to your work?

Rukavishnikov | Reactions were different, and it has begun with youth. I remember, at a youth exhibition me almost did not lynch for Sergija Radonezhsky, it was where - that 70 - j year. Nobody talked to me, did not greet, from me escaped run. Their John Lennon too poverg in any hysterics, it have thrown out from an exhibition. And now these things are claimed and often exposed.

RG | That to you order in us and what order abroad?

Rukavishnikov | Abroad I work basically with private orders. It is small audience which knows my art. The western people want to see things less adapted and more art. Everything that order there, it is interesting to me. By the way, the people are more intelligent, the more they trust. Recently I from Paris had an order. I ask the customer: what would you want to see at yourselves in a garden? He speaks: I have no right to you to advise, you such master - that want, do. I have made enough big (about four metres) the bronze sheet, seemed to me that it there is possible. As a result it liked that has turned out, it is happy, and I am happy, because it was interesting to me.

Our private traders have not woken up yet - they while are engaged in interiors, if order, something like a fireplace or in a bath.