Exhibition "Awakening" opened at the Museum of Nonconformism

The Museum of Nonconformism presents a new exhibition project “Awakening”. There are more than a hundred works of outstanding artists-sixties. How a new artistic language was created in conditions of cultural isolation, Aliya Sharifullina learned. The exhibition "Awakening" opened on the first day of spring. The name is metaphorical, multi-layered. Here is a reference to the Thaw, which, at least briefly, brought a breath of fresh air to Soviet culture. And the beginning of the heyday of the non-conformist movement, whose artists, in conditions of cultural isolation, without access to the works of their foreign colleagues, punched the ground, intuitively created their unique style, tried to discover meaning and harmony when the harmony around was lost. Suddenly, it is not only Pablo Picasso, but also other exhibitions. This, of course, began to change the minds of many artists. What they did in isolation, groped for some ideas for the development of a new language, because the new world demanded a new language, says Nadezhda Brykin, curator of the exhibition, founder of the Museum of Nonconformism. Chronologically, the exhibition covers two decades – the 50s and early 60s of the twentieth century. There is a whole chorus of "other" artists: Zlotnikov, Zverev, Yakovlev, Yurlov. The curator of the exhibition assembled them to show how their artistic language changed over these time frames. Vladimir Andreenkov defined himself not as a painter engaged in the image, but as a constructivist in the search for the essence of the thing – in color, form, rhythm of lines and voids. “On the one hand, such rigid constructivism. It's clear how it's built. On the other hand, it is a huge intuitive work. He felt the color very well. All his works sound like music, – says the son of the artist Vladimir Andreenkov Dmitry Andreenkov. One of the brightest representatives of unofficial art Marlene Spindler in the 50s worked a lot in the genre of portrait, but at the same time was seriously fond of ancient Russian painting. And in these portraits of “The Old Man” and “Olga” with smooth lines, the plastic language of Russian iconography is guessed. In the early 60s, Spindler finds himself in a special world where everything must be explained by one symbol, the Graphic Arts Combine in Moscow, where he sketched circus posters and trademarks. It is here that the semiotic signs developed by him acquire a new incarnation and meaning. “In the early 60s he began to develop paintings. And they're different. There are magical totems, signs, ancient animals, clowns, which are presented here, says Nadezhda Brykin, the curator of the exhibition, the founder of the Museum of Nonconformism. The range of works by Alexei Kamensky varies from household still lifes in the spirit of Soviet pop art to abstractions of the mid-60s. Here is the first formulation of the theory of “pairs of forms” by Valery Yurlov. There are various “Awakenings”, but in all the plots one motive is heard: the artist, being in the whirlwind of motley events, tries to save himself, to remain a nonconformist with his individual voice.

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