Rus News Journal

Drawing coal

In Genk (Limburg, Belgium) passes 9 - I European biennial of the modern art of the Manifesto. This time only the parallel program European wandering biennial is scattered on different small towns both Limburgov Flemish and Dutch, and also grasps vallonsky Liege and German Ahen. The main exhibition " Depth of the present " it is placed in one place on huge mine Waterschei in Genk, saved as a monument industrial ar - deko and gradually turning in scientifically - the cultural centre. Other innovation present Manifestos the main exhibition half the historical. From Genk TOLSTOV`S ANNA.
the curator 9 - j Manifestos Mexican Kuatemok Medina, marksist and the populist, did the project " Depth of the present " not for art - the beau monde verified on vanguard European biennial with art fashions of a following season, and for Genk. For a sad industrial Flemish city, waste heaps bear to whose rich miner`s history and rusted kopry on suburbs a monument to the geologist Andre Djumonu who has found here coal in the centre yes porosshie a grass. On mine Waterschei, there is no time gradoobrazujushchem in all senses the enterprise given life to a garden broken near a city and feeding all local population, there is an amateur museum of mining: the modest it is industrial - an exposition of regional studies without special imagination and inspiration. Kuatemok Medina has transformed it into a museum art which speaks about the coal industry as the engine of the industrialisation which have left so indelible trace in a natural and cultural landscape of the world, and a prototype of capitalist manufacture as that.

ground floor Waterschei where is located miner`s muzejchik, is filled by historical materials which exhibitions in a context get aesthetic measurement. Floor installation from prayful rugs of Turkish coal miners, a labyrinth from the towels embroidered with miner`s wives with proverbs, kontseptualistskaja a reading room with the police reports, concerning strikes, all it sometimes looks vanguard art in the same degree, as creativity of miners. Whether it be painting of miners Ashington Group, arisen in 1934 - m on mines Ashingtona at the initiative of artist Robert Lajona who was going to train workers to understanding of art through practice. Or sculptural portraits of coal miner Manuelja Djurana arrived to Belgium on earnings from Spain and at a leisure modelling from potatoes and moulding from starch ekspressionistskie heads of colleagues it seems, as if vangogovskie " Eaters of a potato " became single whole with the food. And over this historical coal-mining basis two floors of a superstructure in the form of art expositions have settled down.

the Second floor is taken away mainly art stories. Here there are also thematic works of live classics like a coal path lend - actor Richard Long or a monument - kolumbarija worker kopej the Grandee - Ornu of conceptualist Christian Boltanski, and reconstruction humiliating " a coal plafond " Marseilles Djushana for a legendary International exhibition of surrealists of 1938. The father of the modern art has suspended to a ceiling Parisian Galerie Beaux - Arts the bags ostensibly filled by coal which frightened respectable public, forcing to bend down, threatening to fall to a head and sprinkling evening dresses with a coal dust. Djushanova the cave conducts on separate, really a museum exhibition " the Century of coal " made sokuratorom Medina, the Englishwoman Down Ejds. On " a century of coal " Covering from the end XVIII to first third of XX-th century, it is possible to find the period not only miners in the image specialising on a subject of work of Belgians Konstantin Mene and France Mazerelja or mine in the image of founders of Dusseldorf school of a photo of spouses of Beher, but also biblical illustrations of romanticist John Martin at which the image of a hell associated with mines, and " karbonizirovannye " landscapes of surrealist Max Ernest. Comes to an end " the Century of coal " section about Stakhanov movement: magazines " the USSR on building " aleksandrovsky " the Light way " and posters with companion Stalin, addressing drummers, from David King`s well-known London collection.

to this final march of enthusiasts like the critical comment of any modern Russian artist would arise, but it is not present On this European biennial on a broader scale is not present any Russian art, except Stalin, and it, seemingly, the diagnosis. It is not so much to modern art of Russia, in words suffering affliction children`s illness of leftism, but further empty rhetoric not going, how much to the country which has not overcome stalinizm. And this with the fact that one of partners Manifestos the Moscow fund " Victoria art to be modern " (V - A - C), which sprodjusiroval the work of South African artist Kendella Girsa which has become almost by an emblem of biennial: " the Monument " from the tyres, the put friend on the friend like the factory pipe which are throwing up a flame, sends to the coal last and automobile present of Genk where the large factory of Ford today settles down.

but Slovene group IRWIN speaks about the back of Stakhanov enthusiasm with poster eloquence in the old work " Red areas " (1987): Typical sotsrealistichesky an industrial landscape in a gilt frame with coal " kaboshonami " it is along the edges written by blood (pork), it is set up on a pedestal from miner`s gravestones and it is hidden for a lattice. About the industrialisation back as a whole tells the Parisian duet Claire Fontaine: all third floor is shined with their neon inscription " Palace of culture " Energetik " " copied from a recreation centre in Pripyat. Kuatemok Medina on a broader scale prefers the artists inclined to global generalisations. The Chinese Hajfen in enormous installation " Paraproduction " shows, how old relations of production adapt for conditions of globalisation on height two-storeyed atriuma the rag tsunami from hundreds thousand rags Made in China rises. Englishman Ben Kajn in installation " Work in the dark " To the stylish and senseless spatial structure filled with idling mechanisms both incoherent sayings, ironically represents postfordistskuju system of intellectual work and consumption. And Mexican Carlos Amorales has built huge " the car Drawing by coal " which every minute spits out the rolls spotted with abstract patterns, with success replacing a regiment of artists. And this " the Drawing car " ministers the quite good critical comment to the modern art industry, whose engine not in the last instance are every possible biennials.
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