Alexander Korosteloff

About Contemporary Russian Art and Gallery Policy

Briefly:

There are three world�s level artists in Russia now:

Alexander Brener who has drawn on the Malevich�s picture in the Stedelijk Museum �The Dollar�s Sign� by the green paint

Aleksey Kostroma who has knit "The Thin Long Thread" of 2000 meters length from his wife�s hair as an association of a delicate human history after Christ

Alexander Korosteloff who has linked "The Painting" and "Music" together and has brought in �The Number� to �The Art�

Alexander BRENER is actionist. Thanks to above mentioned action in Amsterdam he has become as well-known artist. Among his other actions one can remember his action of "Masturbation on �Moscow� pool�s tower" or "Big Need Function" against the painting of the old artists in the Moscow Fine Arts Museum

Aleksey KOSTROMA is a formalist. He has a lot of other works such as "The Artillery Gun" which is introduced in the museum hall where the walls and floor are covered by the feathers entirely and there are several pictures of his whining wife on the walls

It�s me either, Alexander KOROSTELOFF. I�m a conceptual artist linked �The Painting� and �The Music� and formulated the notion of �The Number in The Art�

There are other interesting artists not a world�s levels in Russia. Though f.e. some works of the necrorealists are acquired by the MOMA in New York. However I�d like to mark out three of them only. They are the classics. I�m said there are a lot of classics in Russia, aren�t there?  Perhaps the other country classics� quantity is to be in the same proportion, isn�t it? Let�s discuss about it in more detail:

Different opinions were expressed about Alexander Brener. Those expressions have been apprehended like the recurrent Russian blackness. The gangsterism, the children�s prostitution, the low life�s level, corruption, hard drinking, the theft, the various local wars. All enumerated positions determine the modern Russia. And they are the real facts. However I insist Alexander Brener is a creator and he has become as a legal artist. His action in Stedelijk Museum is like a classic. The Dutch are hurried washing the picture clean. As to me it was a masterpiece. In any event everything else creation work will be around that action. He can draw the dollars� signs during his reserved life but I think he is to be ordered about ten similar easel paintings and it�s necessary to work with him at this direction only.

Aleksey Kostroma is a genius. His thin long knit is an art�s top. A patch and a line are his store and it�s difficult to change anything here. Let�s remember �The Wire Graphic� of Henry Matisse and let�s remember once more his flat pictorial patches. Let�s remember the soft colored passages of Rothko. On the contrary let�s remember the black patches of Motherwell. Let�s remember the holes and the scratches of Fontana. They are "patches and lines" too. Let�s remember the changeable surfaces of Agam.  All of these are the great discoveries in a form. It�s an academy of a visual art. In any event the other artists don�t follow the way after real academic painting�s targets. The various variants of the pictures are however �The Narration� of a visible by the way of painting (f.e. Picasso�s association) or the step over the limits of a visible (f.e. the unfrontal of Dibbets). Generally the other artists have some similar searches about real painting (f.e. Christo or Gilbert and George). The painting target is changed by engineering one by the second part of artists. The very frame for canvas was changed by another construction too. They have spread their efforts to another field of creation. Really I say they are geniuses. Due to the new Christo�s works I say firmly Christo is thrice of genius! His Reichstag�s packagings, his bridges� packagings and his umbrellas on the different Earth�s sides and his new work where the building�s walls are laid with the containers (Packaging of Packagings!!!). All of these is however as "The Field of A Frame". It�s incredible in a complicated manner to think of something new and simultaneously to keep an original art�s form. Such discoveries occur a time in the world per fifty years. And what a beautiful it is! Take a piece of indiarubber and stretch it. It�ll become thin and long!!! What a great decision it is. It�s a thinness brought to the absurd and to the hair�s thickness. Let the length be even attained by the simple knots� tying. The ordinary pop-art! Not tired and working. Generally that work is worthy for the museum of any level. The rest time he is to work by �the thin long knit� only.

I�m Alexander Korosteloff. I haven�t created a new form. However I�m a good conceptual artist. One can find the new painting forms, one can make the new discoveries in the exact sciences but I�m seemed it�s a new way to link the whole painting with music and to describe your feeling mathematically! My other works are �heavy� too if one takes into account that the thought is to weigh. I always considered the art is as �a product of an intellect�.

Now let�s talk about whether are there a lot of artists for a Russia as it can be seemed? But such quantity of artists has been pointed by me only. Nobody sees them any more. All Russian guard of the art critics, professors and workers of a gallery sees nobody or it sees absolutely other artists. The numerous articles, conferences and galleries� contents tell about their conceptions. I say: "There is nothing to see there". The western experts are mixed with them only that�s why it�s formed the opinion about low level of the Russian contemporary art. Everything what I have marked out I would name as a new Russian underground. It�s an informal art.

What interesting is in the world? Of course, I watch both the London�s exhibitions and the auctions of modern art. I thought the last Cattelan�s work about hanged boys had concealed him as an artist. Of course, it is a simple surplus. No, he�s remained as the author of "The Pope Killed by the Meteorite" and the author of the scandalous works. There are the failures sometimes but we�ll wait for. It�s clear that if the works are a million dollars then he was become as the artist. But the gallery workers difficulty to work with him even he is too famous and too expensive. There isn�t any profit here. I would look for others that are the following: I think it isn�t stated the value of Dibbets. He is in his lifetime classic invented unfrontal picture. His works are set out and sold not in the best galleries but with the ordinary pictures. They are interesting of nobody. He has been lost. At the same time the notion of �unfrontal� is "A Half (!)" of a visible. Needs to show the care of him and to work with him but not to wait for his own initiative. Needs to order him the unfrontal works only and those works are to be the main ones. The most of the artists stand in need of a care and it�s a work of a gallery worker. The very artist of Kostroma doesn�t see any difference between absolutely genius thin line and the usual works with the feathers which is the standard pop-art.

The next unvalued artist is that who has thought the stereo picture called after "magic eye". I don�t know his name. Maybe he isn�t an artist in all, perhaps he belongs to another company but his picture is a new in the history and it isn�t worse as an example of the imprints of Yves Klein. One can work with him too if he is still living.

It�s interesting the artist who�s "double pictured numbers" are used on the Euro bonds. I don�t know his name too but I recognize his invention in the visual art.