In September, there was held a regular annual Art Fair in Copenhagen: “Art - Copenhagen".

In the exhibition, I met two Russian artists: Vladimir Chernyshev from Minsk and Vyacheslav Derevyanko from Moscow, which were exhibited at the Russian Cultural Centre in Copenhagen at that time and came to the fair to get acquainted with the modern Scandinavian art.

Their impressions of the fair are interesting in a way that they transfer a fresh view from artists of another culture and another art school in the modern Scandinavian art. A unaffected view by local traditions, fashion or competences.

Z: What is your impression about the “Art – Copenhagen”?

VCH: In opposite to Vyacheslav  I would say that it is too bad to present academia and realists only. But I agree with Vyacheslav that artist and art - very simple measures: if an artist loves art –it is one situation, but if an artist loves himself in the art, this is something different. Our impression regarding this exhibition is that there are ten percent of people that love art, and ninety percent that love themselves in the art. This, of course, is our subjective opinion. This leads to repeatability, being alike in everything. There is a slight change in subjects or models, but in general ... Moreover: how to express a situation that artist wanted to depict? The dialogue with the audience is rising …. I do not know, perhaps, Danes already became accustomed to this type of art and they need only this? Anyway, concerning art-school: an academical, realistic school of arts was formed by such pillars as Leonardo da Vinci and other classicists.

VD: I think that the craft takes up to 70% in our business.

VCH: The knowledge of prospect, anatomy, the knowledge of the plastic of figure, the knowledge of dynamics, painting methodology. The Roman art, which was followed by academic, so-called realistic art, rose on the foundation of the Greek Ancient Art. But art school, like the art schools of Rubens, Rembrandt, van Dyck and other masters, is called the art school when it possesses masters and students-practitioners. This pattern is found in vanguard, and in other art directions. This is, in general, is not foreseen. Everyone searches for his own ways, but an art school, with its formed directions, built concept like it was in impressionism, post-impressionism periods and so on and so forth, is missing here. In any case, it did not seem to us that there is a ground for such an art school.

VD: Disorder.

Z: It is possible to say “disorder”, but it is also possible to say “variety”. It can be that the absence of art school emphasizes the tendencies of modern society going towards the personality individualization. The emphasize of individual value, but not of society’s one.

VD: Could be. But Vladimir has talked about the literacy. And in the music, and in the poetry, in everything there is the literacy, the basis, the roots in the beginning and afterwards the branches appear. So, the central pillar is missing here, while the colorful expressiveness dominates in tones and plasticity. Whatever is expressed, these elements are always and everywhere: in Russia, in Denmark, in China. There is an understanding of plasticity, movement, line or combination of colours. So, regarding the colour aspects there are interesting colour combination. It is obvious, that precisely an abstract work with those colour aspects has been sold. It seems that this is the work of veterans, old artists. This is evident not only on price but also on technology performance. I remember I have seen the work of Picasso! It seems so simple from afar! But after having looked closer: there are so many layers, so many different techniques combined.

VCH: This is an interesting example! Picasso as well, coming from the excellent realistic, academic school, he tried everything! He had so many periods!

Z: You are saying that the great artist grows up from the art school and his ability to draw?

VD: Once you have mastered the foundation, then play as you like! But one must be familiar with the instrument. If a man is totally illiterate, then what happens is that there is no need to study at all and create a naive primitivism – there are some very interesting artists, who do not have even the tiniest understanding about the schooling. They draw as the God inspires them and this is charming. I like them more than academics.

Z: Have you seen that type of work in the exhibition?

VD: There are claims for this type of work, but, in my opinion, they emulate naivety and do not express it.

VCH: We have not seen the second Pirosmani.

VCH: Yes, such a naive, we have not seen what surprises the world. First and foremost, we talk about the artist. If he ceases to wonder about a dandelion, a butterfly, something that is phenomenal, up-lightening, the wind – then, in fact, it is the end of the artist. One must be capable to wonder, to love, to feel. The more childishness the artist has preserved, the healthier the artist is.

I think that the theme of art, the theme of creativity, the theme of quality of master pieces has many aspects in the same way as art’s perception can be attributed to the culture, habits and many others aspects. The view of Russian artists on the modern art of Scandinavia subordinates their artistic traditions in exactly the same way as the Danish gallery owner’s reflection on what he saw in St. Petersburg, inseparable from the modern Western European forms of expression, but that is another story….

Photo: Zenia Grynberg