- But art critics were surprised, - the curator of an exhibition, the deputy director of the museum Evgenia Petrova speaks, - it appears, besides not figurative painting in workshops at the majority of them much especially realistic works!
Paradox: in an exposition there is a lot of portraits, and - it is not enough persons. Modern portraitists prefer to peer into the person from other foreshortenings. It can be a nape of person who has stubborn turned away from the viewer, or a shouting mouth over which eyes are already unimportant as on Victor Safonkin's cloths. Or the numerous expressive tattoos which are funny rhyming with parts of a body, as in Vadim Grigoryev-Bashuna works." Window to the soul", seemingly, today are not eyes, and a pose, gesture, a flesh and even a thing. Whether about it is Marina Alekseeva's large-scale cloth "Clothes"?
Other expressive feature of modern realism - detail integration. Tasty, Igor and Ekaterina Pestovykh's naturalistically bleeding still lifes - perhaps, the most beautiful that is in this exposition. The beef head with the peeled skin and a blue stamp, but still bright eyes ("Innocence"). The wings mixed in a heap, feathers, entrails and carcasses of an osvezhevanny bird ("Tenderness shades"). They are so refined on color that Sneyders would begin to cry with envy. And at the same time in Pestov' still lifes, even the most unpretentious, like a heap of a shell ("The broken eggs") or piles of the disposable tableware dug by ketchup, are clear feeling of a tragediynost of life. Enormous by the size, these cloths which have imprinted "a life trifle", for the viewer - as if cotton wool with sal ammoniac, on an apt expression of one more curator of an exhibition Josef Kiblizki. Stir up consciousness.
the Third feature of modern realistic cloths - their huge size. The work occupying half-walls, - practically norm of this exhibition. Sometimes it is the series of cloths developing in a uniform picture ("Time to collect stones", Hamid Savkuyev), sometimes - simply reception, the trick which is clearing up simple thought of authors like those that today's kids are tomorrow's "big people". So a series of children's portraits of work of Dmitry Gretsky and Evgenia Katz deliberately represent juvenile heroes in a "gulliverovy" size in relation to the viewer.
However in the best cloths of an exposition, such as "Zero people" and Ilya Gaponov and Kirill Koteshov's "Farewell", the huge size it is justified by statement scale. Authors insist: voice reticent "small" ("zero"? ) the person it has to be heard. Special weight gives to these pictures that fact that they which have depicted dirty Kuzbass miners, are executed kuzbasslaky (coal tar for protection of metals against corrosion). So the technique grows to symbol level.
the Word "eyelids" in the name of an exhibition could seem to p pretentious if the contents did not find it with full evidence: transitional time of a boundary came to an end. Thoughts and images of creators are cast in the finished forms. Perhaps, we are on the threshold new "big style"?
" the Russian newspaper" - Federal release No. 6828 (257)