Page 38 - Studio International - December 1974

(Left) V. Nemukhin Card Table Coll. A. Glezer
(Below) N. Vechtomov Black Sun Coll. A. Glezer

Culture and other organizations of control. or book. To a mature artist this means that tomorrow the sensationalism of this act of
Occasionally their names appeared in the press. professional death. desperation on the part of Soviet artists will lose
So that although there were hardly more than In such a situation, the attempt to break its acuity. The West will switch its attention to
ten of these exhibitions held during this time, through the screen of silence and declare their other sensations occurring somewhere in Greece
which never lasted more than two days — they existence, even at risk of losing their `freedom', or Portugal, and the mechanism of total control
were closed immediately upon their official is understandable. On September 16, 13 artists and suppression in the USSR will complete its
discovery — and although the names of these took this step. The destruction of the task. However, any display of the freedom of
artists appeared in the press mainly in cartoons exhibition with bulldozers was not on the the spirit does not pass without leaving a trace
where they were branded as `parasites' and initiative of local authorities (as stated by some in the culture of the country where it takes
`capitalist agents', the publicity created an western correspondents). It was a logical place, and here, it seems to me, lies the
appearance of professional activity and action of the Soviet control machine, which in significance of the events of September 1974.
inspired hope in the participants, that, with the past ten years has merely altered its
time, they would find their way to a wider functions: in an ideological state which has lost
public. In the mid-sixties however total silence its ideology, it has become a powerful weapon
[1] In this way, all the production created by
descended. in the hands of the keepers of the corpse of artists in the Soviet Union is property of the State.
Now these artists are in their forties, some social realism to protect their key positions in For example: an artist leaving the USSR who wishes
over fifty. The long years of persistent Soviet art and their place at the fount of to take his works with him, has to receive permission
from a special commission (this permission is often
uncompromising work have borne fruit: many materialism. And this mechanism functioned. refused on ideological grounds), which evaluates them
of them have received wide recognition, Later it receded not because it became more at government rates and makes the artist pay their
total value. This rule applies to members and non-
contrary to the wishes of the Soviet authorities, humane or weaker, but because its actions
members of the Union of Artists, to professionals and
as their works have been exhibited in London, attracted the ever-increasing attention of
amateurs, to the talented and giftless, regardless of
Paris, Rome and New York, and monographs Western public opinion, and this disturbs Soviet their sex, age or educational qualifications.
published about them. At home, however, leaders bent on reaching trade agreements [2] Communist Youth — [Trans.]
their names have been buried in oblivion: we peacefully and demonstrating to the bourgeoisie [3] In the Western press, the Moscow exhibitions of
16 and 29 September were called 'Exhibitions of
shall not find them in any official Soviet the advantages of socialist culture with the help
Soviet abstract art'. Judging by the participants, the
reference book, encyclopedia, catalogue, article of a tour of the Bolshoi Theatre. It is possible work on display would have largely been figurative.
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