это Бренер и Мавроматти голодовку у меня в галерее объявили
и еще фотки и текст Вали Дьяконова здесь http://www.artchronika.ru/item.asp?id=2048
During the trial, Erofeev did not get much support from his colleagues—let alone from artists, some of whom organized a reconciliatory show of neoreligious art in a functioning church. But the argument of Erofeev’s supporters, echoing Erofeev himself, was that artists have unique rights to “experiment” and to “provoke.” Strange as it might seem, almost nobody claimed that critique, including critique of the church, is a right of every citizen, not just of artists.
In his conviction that contemporary art is a special phenomenon with special rights, Erofeev has an unlikely ally, another enfant terrible, in this case for being closer to power than anyone else in Russian art circles—Marat Guelman. This gallerist turned museum director has always been guided by the dictum “You don’t know it yet, but you need contemporary art,” and under Dmitry Medvedev’s presidency—as the Russian state embraced the idea of “modernization for the happy few”—it works especially well.
In 2008, Guelman created a museum of contemporary art in the previously serene city of Perm. As is true of many Russian art venues, it is not really a public institution (with, say, dedicated curators), but rather an impressive space filled with the ambitions of its founder. I did, however, organize a show there myself this summer (of contemporary Ukrainian art, for which I would never have gotten a budget in the capital) and would be only happy to believe in the future of the museum if Guelman were to continue at its head. But he is now expanding his know-how of Bilbaoesque transfiguration to other Russian cities. His newest target is Skolkovo, an elite research center outside Moscow known as Russia’s Silicon Valley, which is supposed to have not just a special state budget and liberal visa regulations but even its own legal system. Guelman is said to have won the unofficial government “tender” and to be responsible for Skolkovo’s whole cultural politics, whatever they may be.
These two major figures of the Russian art scene, Erofeev and Guelman, share a taste for the clownish, adolescent, and sexual (rather than genuinely political) buffooneries of the Blue Noses Group, for example, who better than any of their peers express the tragic dimension of the contemporary Russian artist as a jester of the Putin regime, tolerated but controlled, tormented but well fed.
з.ы. на картинке АЕСы, чья выставка уже скоро в ПЕРММ
з.ы.ы. Катя зря беспокоится, что я брошу музей. Перейду в попечительский совет через пару лет, а конкурс на директора выиграет она с большой вероятностью.