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Imaginarium of the New Academy

The head of the municipal formation "City of Saratov" and at the same time the speaker of the City Duma, Oleg Grishchenko, is the only mayor of Russian cities who was accused of abuse of power simultaneously by both representatives of the Communist Party of the Russian Federation and the political council of United Russia - and at the same time still remains in office. Grishchenko is also the only city mayor in the country who publicly demonstrates his relations with representatives of the gay movement with defiant frankness and publicly admits that as an official he takes care of his business structures and intends to go even further along this path.

The reason for a new scandal surrounding the person of the unusual Saratov head was a request from State Duma deputy from the Saratov region Valery Rashkin to Prosecutor General Yuri Chaika. The communist parliamentarian asks the leadership of the supervisory agency to sort out the legality of leasing municipal power grid facilities to the local ZAO Saratov City Electricity Network Enterprise (SPGES) on more than preferential terms. According to Rashkin, the SNGPP is charged a rent of 32 thousand rubles, while the market rate is 100 thousand rubles. At the same time, the Saratov City Duma recently decided to “freeze” tariffs for SNGPPs for 2011 as well. According to the deputy, such an auction of unprecedented generosity is directly related to the fact that the owner of the SNGPP is the head of the city of Saratov and the speaker of the city duma Oleg Grishchenko. Parliamentarian Rashkin calls for an end to the pumping of city budget funds into this and other business structures of the insolent mayor. Moreover, the Saratov mayor-speaker Grishchenko has already publicly stated that even at the time of doing business he really “went” to JSC SPGES. Local Saratov media also quote Grishchenko’s words about the advisability of completely canceling the rent for the SPGPP under his care, which could further bleed the already thin city treasury.

Oleg Grishchenko (right) and Arkady Barulin

At the same time, the head of Saratov hints at familiar relations with city and regional regulatory authorities, declaring that he is not afraid of any inspections. As a clear confirmation of his “independent position,” at one of the public events, Oleg Grishchenko, in full view of the amazed Saratov residents, hugged the leader of the local gay movement. Perhaps in this way the head of Saratov is trying to secure sympathy and support for himself from the international human rights movement and the “blue lobby” in case of possible persecution by federal regulatory authorities.

Oleg Grishchenko, who became the head of Saratov at the end of 2005, is no stranger to conflicts with public opinion. Three years ago, by decision of the political council of the United Russia party, Grishchenko was deprived of the post of head of the party faction in the city duma. At the same time, the question of his expulsion from United Russia arose publicly. In response to a call from fellow party members to put an end to excesses and abuses in Saratov, Grishchenko suddenly flared up and, in an interview with the Rosbalt agency, attacked his high-ranking fellow countryman, Secretary of the General Council of the United Russia party Vyacheslav Volodin.

The head of Saratov, in particular, stated that “the negative image in the Saratov region of the secretary of the presidium of the General Council of United Russia could damage the image of the party due to the fact that he is trying to lead in the Saratov region,” and also that he, “regardless of any with whose opinion, he does what he needs, pitting everyone against each other, trying to spread his influence on political and economic processes in the region.”

In response to accusations of illegal lobbying for his business at the expense of infringing on the interests of the city, Grishchenko challenged: “If the members of the presidium believe that I protect the interests of specific financial and industrial groups, let them express this to me openly, and not behind the scenes decide on my expulsion from the party!”

The reaction was not long in coming. Deputy head of the political council of United Russia, State Duma deputy Nikolai Pankov said that “the group led by Oleg Grishchenko supported laws aimed at worsening the lives of citizens. “It is enough to recall the increase in fares for urban electric transport, the holding of a tender for city bus routes in favor of carriers affiliated with financial and industrial groups close to the speaker,” he recalled

However, despite such serious accusations from United Russia, Oleg Grishchenko managed to stay in power, maintaining and even increasing his influence in the city, including in the interests of his own business, which has since grown significantly. The appetites of the irrepressible head-speaker also grew, and his bureaucratic tone became even more defiant.

But, alas, further events unfolded exactly the opposite. And instead of the role of a noble bat, Grishchenko took on the banal role of a primitive rodent that got its hands on provisions - everything that is good and bad. Namely, he quickly chewed through loopholes in the city budget wherever possible. Complementing the image of the gray team, he brought people from the bearing plant into power, which is why they started talking in the city that members of the Shariki financial and industrial group had seized power.

Let's take, for example, the company A.S.K.-Service, which is directly affiliated with Grishchenko. As well as Paracels LLC, which leases the property complex of the city clinical hospital No. 12 to the city for about 50 million rubles a year. The owner of the company is Elena Anatolyevna Grishchenko. No, this is not a strange coincidence - this is none other than the wife of the head of the city of Saratov. The Latin word Paracelsus can be translated as “super-noble.” To what extent the city needs such a “super-noble” family business, it’s high time for the townspeople to think about it. And it’s time for the prosecutor’s office to sort this out with the police. After all, just for renting hospital No. 12, Grishchenko and his family receive more than 4 million (!) rubles a month from the city budget into their family budget. The most striking thing is that the contract with this institution is concluded, as a rule, for 11 months, so as not to go through it through the Registration Chamber, and therefore not to be “exposed” to the general public.

The above is just the beginning of the list of abuses of “Batman” Grishchenko, in which one can find raider attacks and much more...

Those who believe that the city of Saratov has recently transformed see only the center, but have no idea how much the budget spent on this “transformation”. And this is more than 700 million (!) rubles in less than a year, spent only under the item “improvement”! For that kind of money, the townspeople had the right to expect much more radical changes. But they didn’t exist, and they don’t exist, and counting them as cosmetic repairs is not serious.

Today, all the most important municipal unitary enterprises and other significant enterprises are under the control of the Shariki financial and industrial group headed by Oleg Grishchenko. At the same time, selection for leadership positions in the city administration, as well as for the posts of directors of municipal unitary enterprises, is carried out not according to the criteria of professionalism, but according to the principles of nepotism, friendship, shared hobbies, former joint work or service with Oleg Grishchenko.

Grishchenko himself, his family members and friends, through a system of firms and companies affiliated with the head, earn significant funds from the distribution and redistribution of budget flows.

Meanwhile, the courts obediently serve the process of squandering city assets in favor of Grishchenko, without even trying to resist all this. For example, SPGES won more than a dozen lawsuits against the city for tens of millions of rubles. The absurdity is that the private company of the head of Saratov was suing the administration of the same head of Saratov for some municipal debts to the business structure. Naturally, the city treasury paid in full everything that was required. None of the court decisions were appealed. And the law enforcement agencies of Saratov and the region, who are well aware of all this, have been silent for several years and are doing absolutely nothing. It seems that the regulatory authorities are under the hypnosis of the clever Grishchenko.

The head of Saratov at times resembles an old cartoon character who mesmerized everyone with a magic pipe. The only difference is that Grishchenko does not play musical instruments, but he learned to sing a duet with the leader of the local gay community, Arkady Barulin. This gay representative has recently become so close to the head of Saratov that there is even talk in the city about the impending divorce of the scandalous mayor from his wife.

However, Grishchenko’s warm friendship with the gay movement may well have a practical purpose in the form of a kind of protective umbrella for the mayor. It is known how sharply and unanimously all kinds of international human rights organizations react to attempts of any kind of persecution against citizens of non-traditional orientation. It is possible that Grishchenko is also counting on an international voice in his defense if it comes to charges with investigations and imprisonments.

It is generally accepted that print journalism has outlived its time, and the main advantage of newspapers and magazines today is the incomparable smell of printing ink and the paper itself, in which a roach or a bouquet of roses can be wrapped. Gloss is another matter. It's nice to touch, look at and put in a pile. Saratov has a special gloss. Provincial luxury parties, business, luxury salons and shops.

"SarBC"
Circulation: 3000 copies. Frequency: once every two months.

The Saratov Business Consulting information portal has existed for more than 10 years and, of course, is trying to increase the scale of its influence. For example, it publishes a magazine, although, unlike an Internet resource, it is aimed more at the tired businessman who is simultaneously interested in the latest business reports, architecture and delightful stories about Thailand and Bali.

The layout of the magazine's advertising pages reminds a businessman of something good and close, for example, the 90s. During the turbulent times, when advertising culture, like his business, was just emerging, multi-colored and variegated fonts excited the imagination. All this makes you fall into unbridled nostalgia.

The main sections of the magazine are presented in the format of links to the site, which should hint at the very mobile Internet component stated in the title of the publication. SarBC still publishes jokes, interviews Okhlobystin, and generally adheres to conservative views. And this is natural, because the magazine is distributed in “public places.”

"Territory"
Circulation: 5000 copies. Frequency: once every two weeks.

The mini-edition of the “pocket” format is, in fact, not quite a magazine – rather an informational brochure, the main part of which is occupied by black and white advertising pages.

The magazine has been published since 2000 and all this time it has consistently informed citizens about events and parties that you cannot miss, or that you dared to miss. The sections of the mini-magazine are formed according to the “territorial” principle: Territory of beauty/humor/art, etc. If you try, then on the pages, which are usually no more than 50, you can also find articles—mostly advertising that mimics useful advice. If the jokes in the previous magazine weren’t funny enough, open “Territory”. After all, in addition to folklore, there are also caricatures.

"Human"

Circulation: 999 copies. Frequency: once every two months.

A newcomer among Saratov magazines, its design and tactile reminiscent of the English men's magazine “PORT”, in which half-naked girls are side by side with essays about culture. In “Human,” half-naked girls appeared only in the third issue and only because of advertising for lingerie stores. The layout is a pleasure for the eyes, but the logo seems to have been made through the Logologo application.

The idea of the project was inspired by people in general, which is why each issue is based on the story of a hero. So the hero of the latest “Human” is photographer Arkady Barulin.

Articles about snowboarding and photography, a guide to the French ski resort and an announcement for the film “It’s Hard to Be a God” by Alexei German. According to the creators, “Human” is implementing an ambitious plan: “to develop the socio-cultural fund of the city.”

The sections in Human are simple and concise: “Interview”, “Mood”, “Food”, “Style”. It seems that the modern city dweller is only interested in travel, cooking and clothing. But when was it different?

"World Class in Saratov"

Circulation: 2000 copies. Frequency: once a season.

The World Class network of fitness clubs publishes various versions of the magazine of the same name in many cities of Russia and, with decent funding, can afford a lot. Fashion shooting, photo content, author's illustrations and almost 150 pages - for a Saratov publication the scope is not modest.

World Class features original essays and easy-to-understand sections on “City,” “Home,” “Food,” and “Children.” The main advantage of the journal is the quality of articles. Yes, they really can be read, even if it is a little less than completely advertising text.

“World Class” is also trying to influence the sociocultural background of the city, for example, together with LEADER, it raises environmental issues that are extremely unusual for Saratov.

At the same time, we should not forget about the specifics of the publication: fitness is a special culture with its own laws and an indispensable desire for success. And the magazine published by the fitness club partly follows this concept.

"Style & Wedding", "Luxury Club"

Produced throughout Russia, but with its own version in each city, these magazines embody the typical small-town luxury gloss. Key tags of the publications: “luxury”, “buffet”, “elite” and “fashion”. In general, expensive and rich.

The main audience, of course, is female. After all, a woman, according to these publications, should put her life on maintaining her “beauty look”, be able to prepare a deflope, explore the most luxurious places in the city and the most expensive shops and remember the main thing: “Winter is not a reason not to get married!” The last thesis is the title of one of the articles “Style and Weddings”.

The Luxury Club went further. The article entitled “Toilet for the third kind” will talk about the lack of differences between the sexes as an acute social phenomenon. And the material “Sex, Culture and the End of the World” tells about the consumer society. The last material is especially relevant for readers of the magazine.

The first rule of the New Academy is to talk about the New Academy more often. Whatever you mean by this brand. The second rule is do not try to find out who and what is called the New Academy. There is a great risk of quarreling with friends and making new (or first in life) enemies. By and large, these are the affairs of the St. Petersburg art scene, a number of galleries, and several foreign and Russian collectors. Neo-academicism is unknown to the general public in Russia, and if you suddenly become interested in it, you find yourself in a terrarium. These are not Pre-Raphaelites - the participants in the events are alive and often offended (and it’s better not to ask what or who). The relationships of artists with each other and with the world around them are so complex and contrasting that a stranger a priori falls into disgrace, trying to at least linearly figure out who is not friends with whom and who is doing what. We have, as far as possible, traced the fate and prospects of the legacy of two obvious stars - Timur Novikov and Georgy Guryanov. They are very different, but similar in that the market has fixed their elite status with a price tag posthumously.

The price tag for Timur Novikov fell due to ambiguous relations between copyright holders and the owners of the works, and after the death of Georgy Guryanov in 2013, we never saw the promised posthumous exhibition. The Mayakovsky Friends Club, an organization from the distant past of the art underground, recently announced the revival of its activities. The club threatened to shed light on some skeletons in the closet. “The New Academy is a purely Timurov thing. It existed while Timur was alive (Novikov. - A.S.), and died with him,” says Denis Egelsky, one of the founders of the New Academy and Georgy Guryanov’s closest friend. - What’s going on there now and why my works are being exhibited without my knowledge, I honestly don’t know. We are talking about things that were in the collections of Novikov and Guryanov. By the way, Timur did not register the rights to the “New Academy” brand in any way. It was registered by Olga Tobreluts. Even on the booklet that came out for Guryanov’s posthumous exhibition, there were two logos at once. One is from Timurov, the other is from Olga Tobreluts. The funny thing is that they are the same.” Media artist Olga Tobreluts is the main, if you like, ideological rival of Egelsky. It doesn’t get too personal, but each of the heroes clearly has their own “New Academy”. See point one.

Timur did not in any way register the rights to the New Academy brand. It was registered by Olga Tobreluts.

But let’s return to Guryanov for now. The unrealized posthumous exhibition of this artist is a painful topic. Usually, before the works of a departed master become more expensive, a large-scale vernissage is organized - a kind of fixation of the artist in the history of art. Guryanov's retrospective (not just anywhere, but in the Hermitage) fell through at the last moment. As a result, the role of the memorial exhibition was played by an unpresentable dwarf exhibition of one unfinished work and a number of sketches in the New Academy Museum. The so-called museum is a small room in the labyrinths of “Pushkinskaya, 10”, which is difficult to find, difficult to open and you want to forget. Dusty plaster, crooked walls and lack of control at the entrance and exit - except for the bearded inhabitant of the art center, who graciously opened the museum to me, surprised that anyone came there at all. If desired, the works of the most expensive contemporary Russian artist could simply be taken out.

“This was the same case: there is nothing to exhibit, but I want to exhibit it,” continues Egelsky. - At the time of Guryanov’s death, his works were in collections in Moscow and abroad. The people who had George’s works agreed with Piotrovsky that there should be a large exhibition in the Hermitage. If this had happened, prices for Guryanov would have jumped even more. And even during his lifetime they were quite large. The last work he sold, as far as I remember, “went” for 80 thousand euros. Then the exhibition could go to Moscow.” At the same time, Guryanov’s sisters did not have his paintings, but mostly valuable artifacts. That is, a collection of ties, shoes, mirrors (which was present to some extent at the poor exhibition in the catacombs of Pushkinskaya, 10). As a result, according to Egelsky, “someone” suddenly dissuaded the Guryanov sisters from making an exhibition. The works quickly sold out to collectors, who are unlikely to provide them for a hypothetical monographic exhibition. “George was very fond of photography and being photographed; he left behind gigantic archives. There's a lot of undeveloped film there. Valuable photographs, it’s not just the Kino group. What is important is that now the Guryanov archive can still be raised - the heroes of its photographs are alive, much can be attributed. True, you can’t “get close” to the artist’s sisters, and they themselves are supposedly not going to work on the archive.”

Why it turned out that the heirs and copyright holders do not have Guryanov’s works, I managed to find out from the artist Oleg Maslov. We talk in the studio, again on Pushkinskaya, 10. “Guryanov is now being sold for hundreds of thousands of euros, and he still saw his rise,” says Maslov, “but at the end of his life he was already weak, he worked little, and as a result his paintings were on the market basically it was not enough. This is partly why they were so highly valued. In addition, Guryanov's works were often sold before they were even written. After the artist’s death, nothing remained in his own collection (from his own works. - A.S.), except for a few unfinished paintings. He worked for a long time, carefully, almost painfully. There were times when museum workers came to take a painting to an exhibition, and he tried to finish it along the way. Collectors, having already paid money, literally begged for paintings from him. But he couldn’t finish everything. He was very strict with himself: he wrote, then erased, rewrote, and it only got worse. For example, a collector comes and says: make me, Guryanov, a good Guryanov. Pays an advance, and possibly the entire amount. What is Guryanov doing? He is having fun, rejoices, and begins the picture. It doesn't suit him. And so from year to year: the collector writes, comes, brings expensive wine, snacks, sits with Guryanov, discusses the work. The collector, satisfied (or dissatisfied), leaves, another year passes..."

Even looking back at the immediate past, you understand that St. Petersburg artists, despite the integrity and vitality of the movement, turned out to be extremely disorganized. Now they are a little enviously saying that the Moscow conceptualists “sat down at the negotiating table” and “agreed.” Which galleries and art critics to work with, how to maintain creative productivity without falling into squabbles. Unfortunately, this did not happen with the New Academy, although, having heard enough stories about the fat 1990s, one cannot help but notice that “happiness was so possible.”

Collectors, having already paid money, literally begged for paintings from him. But he couldn’t finish everything.

I think that until the early 2000s, the New Academy was not just the coolest, but generally the only direction in which there was a large community of artists,” continues Maslov. - Even, I would say, the only direction that has taken shape. The first exhibitions took place in the 1990s, abroad. We didn’t even have galleries then - maybe there were a couple in Moscow, and a few places in St. Petersburg that sold souvenirs - well, you understand what level everything was at. Sales were also abroad - the price tag started from five thousand dollars. There was no euro then; each country had its own guilders, pfennigs, etc. In those days it was a lot of money; you could buy yourself an apartment in the center of St. Petersburg.

Just like that, sold one painting and bought an apartment?

Yes, that's it. But some did not buy an apartment, thinking that things would be better in the future. We were interested in publications like Guardian published articles portraying us as “homosexual fascists.” Can you imagine such a combination? This created powerful interest in the New Academy. But times have changed, as have the attitude towards our country in Europe. Our artists were welcome there only at first.

Russian collectors turned to neo-academicism in the 2000s, and as a “historical” phenomenon promoted in Europe. The emerging banks bought up the works of neo-academicists in large numbers, following the example of their European colleagues. However, unlike European banks, newborn Russian banks often disappeared after a year or two, along with their art collections.

In the case of Timur Novikov, according to Denis Egelsky, the artist’s collection is of greater importance. “Novikov was much more sociable,” continues Egelsky. - His archive is larger than Guryanov’s. There were piles of drawings, documents and other things left that were not put in order. Timur's widow, Ksenia, paid a lot of attention to video digitization. Novikov got married five years before his death, and as a result, his legacy was “privatized” - everything that is more than “officially recognized” is considered fake.” According to the established procedure, only the Timur Novikov Committee can recognize the real Novikov. Meanwhile, only the lazy do not mention Timur’s generosity and altruism. How he gave his works to friends and friends of friends, traveled a lot and also gave away masterpieces on his trips. “Novikov could come to visit, make a couple of paintings and immediately leave them with the owners,” says Egelsky. “The number of textile works left after him cannot be counted.” After Novikov's death, copyright automatically passed to his widow Ksenia, and then to her (not Timur's) daughter Masha. The system for confirming the authorship of works in Russia is not regulated: according to Egelsky, people who have “unofficial” works by Novikov can obtain recognition through the courts. There are no precedents, and how can one make an expert assessment? Through the Timur Novikov Committee, the same one that many neo-academicists now consider an enemy?

In the case of Novikov and Guryanov, the main thing you need to know is that there are heirs. As they say, so it will be.

In the case of Novikov and Guryanov, the main thing you need to know is that there are heirs, says artist Sergei Shutov, a member of the Timur Novikov Committee. - As they say, so it will be. And the Mayakovsky Friends Club is a long-outdated, relict organization. Well, imagine that Beethoven would now start writing to me with claims that I somehow perceive or interpret him incorrectly. The Friends Club appeared when the need arose for interaction between artists and officials. Rock musicians had a rock club, and artists had a Friends Club. Then it dissolved, and the New Academy appeared. The anonymous claims of this organization now are the same as the claims of the 1980s to the 1990s and 2000s. Its time has already passed, like the New Academy; art historians should study these things. True, there are no such specialists yet, but nevertheless. And all this showdown and fuss is, in my opinion, a purely St. Petersburg thing. Timur Novikov's committee appeared when Ksenia Novikova was alive. She turned to us, Timur’s friends who knew him personally, for help.

But what about Novikov’s possible falsifications? And with stories about paintings that Timur personally gave to friends, but were not recognized as his author?

What kind of falsification are we talking about? Is it really possible to seriously think that someone from the committee - me or Ekaterina Andreeva, for example - needs to forge Novikov’s works, that we are doing this? Any falsification is a one-time event. Legalizing falsified work means lowering the price on the market. Why do we need this? The committee exists so that gallery owners and collectors can turn to it. It includes competent people who can confirm the authenticity of the work. As for the “friends” to whom Timur gave his works, you know, there can be many of them all over the world. Our approval mechanism is designed in such a way that each committee member has a vote, but not a decisive one. The stitching system characteristic of Ksenia Novikova, the manner of applying paint characteristic of Timur, and stencils are evaluated. I personally taught Novikov how to make stencils, and we cut them out together. Thus, the committee has knowledge that exists not only in people's memories, but literally in our hands.

Okay, but if we talk about exhibition problems. Where is the collection of Timur Novikov himself now?

Weird question. The heirs, where else? In your opinion, I should ask: “Masha, where do you keep the works from Timur’s collection?” In a safe place, probably. My collection is at my home. The heirs of Timur Novikov are no longer related to the Academy, that’s another story. Did all the artists think that they would get a little bit of Timur Novikov’s fame? No, it won't fall. Nobody prohibits the use of works from Novikov’s collection at exhibitions. Let a person come to the heirs and say: I have the desire, time, money, I want to organize an exhibition. I’ll print a catalog, make an agreement with the Hermitage (or the Russian Museum), let’s make an exhibition. But no one comes! The same situation is with Guryanov - his so-called fans and close friends say: how is it possible that the works of a great artist ended up in the wrong hands! I would like to ask: where have you all been before? Aren’t you ashamed to say so, “fans” of the great artist Guryanov? I remember very well how Novikov’s first thorough catalog was published, I remember how difficult it was for Ksenia. This is a huge amount of effort, labor, and tears. It's always humiliation and begging. Yes, it’s difficult, more difficult than scolding everyone around you. During his lifetime, Timur donated most of the most worthy works to museums in advance. So there is an opportunity to organize exhibitions.

Guryanov’s paintings, in principle, can also be faked by any Mukha graduate.

We also discussed the issue of falsification with Oleg Maslov: “Immediately after Timur’s death, his works became very expensive, and for some time he became number one among Russian artists. Then, due to the flood of counterfeits on the market, the price tag dropped. During the times of neo-academicism, Timur made something like banners - plush or velvet, velor, corduroy. These were such beautiful things with a beaded icon. For example, Oscar Wilde appeared as an image. It was a developed style - at the same time an assemblage, a ready-made, and banners. He himself could not write on a typewriter: at first he was helped by fashion designer Kostya Goncharov, then by his future wife, Ksenia. Since she had already figured out how to do it, he could only speculate (he was already blind) to come up with plots and images. Then he could touch the work with his hands and put his signature - in the form of a stencil or embroidery. Ksenia Novikova, in addition, possessed the art of bead sewing - she sheathed these banners.” According to the artist, it is easy to fake banners - just find a similar plush in a second-hand store, find and cover the picture with beads. “I think there were also intrigues between different sellers, each trying to accuse the other of having a fake,” continues Maslov. - Guryanov’s prices are still holding, but I can already see that this mouse fuss is starting. Guryanov’s paintings, in principle, can also be faked by any Mukha graduate. Only a specialist or a person like me, who was nearby, saw and knows all the mistakes, mistakes, and shortcomings, can distinguish a fake. A certain set of “jambs” that every artist, even a great one, has and by which one can distinguish his original. But anyone can be faked, even Rembrandt.”

Well, the final chord: I finally asked Olga Tobreluts how things were going with Guryanov’s exhibition (which, according to my sources, was killed in its infancy). Tobreluts believes that the devil is not so scary. We started the conversation with the fact that Olga decided to register the “New Academy” after the artists themselves approached her and did it “with great difficulty.” “Alexander Davidovich Borovsky and Mikhail Borisovich Piotrovsky became trustees,” says Tobreluts. - But the matter did not progress further. The city committee for culture boycotted all our letters and did not respond to any of them. It became clear that the city not only does not want such an exhibition space (the New Academy Museum. - A.S.), but does not even want to discuss these initiatives. I'm not an official. I am an artist. I hate going to authorities and proving obvious things. Moreover, it turned out that friends cannot do this for various reasons.” This seems to be asking the same question - where were Timur Novikov’s friends?

“As for George’s exhibition,” Olga continues. - I don’t know what happened and how. His sisters approached me with a request to help organize an exhibition and publish a catalog. I found a philanthropist who donated money for the catalog and preparatory work. Andrei Khlobystin collected material, corresponded with collectors and collected all the information, which he passed on to Arkady Ippolitov. Georgy told me several times that he would like Arkady to make his catalogue, and it took me a lot of effort to persuade Ippolitov to do it. The model is being made by Pavel Gershenzon, and, as far as I know, it is almost ready. I took a minor part in the process of collecting the catalogue. Perhaps she just coordinated the photographer with the collectors to take pictures. But the family also has a lot of graphics and paintings, all of which were photographed for publication. Everyone is waiting for the catalog to be finished. This is painstaking work, and I cannot speak for Arkady when this happens.” Now, according to Tobreluts, it is planned to release not a catalog, but some larger-scale work by Ippolitov about Guryanov. Olga commented on the story of the committee and the legacy of Timur Novikov in a streamlined manner. Of course, friction and controversy are noticeable from the outside, but she was Timur’s friend, not an art critic. As a result, we expectedly came to the conclusion that there is a certain conglomerate of friends (possibly former), whose creative life takes place in troubled waters. It is unclear who fishes in it and whether it is still found.

The issue of money for artists is one of the key ones. In St. Petersburg there is significantly less of it (money, not artists) than in the capital, and the question of who will pay for the publication of the catalog and other material support is a pressing issue here. The New Academy, with its marginal humor and frontal grotesquery, intuitively connects local artists with Europe more strongly than far-fetched art criticism maxims. And it is doubly difficult for many neo-academicists to exist in the art market system - not because they are unmercenary, but because a significant part of their creative life was spent in conditions of either an absent or spontaneous, dollar market, greedy for a fashionable product. “All this nostalgia annoys and torments me,” notes Oleg Maslov. And he adds: “I paint flowers. I emigrated, so to speak, into them.” There is indeed a painting with a colorful flower on the easel.

The bottom line is that we have a phenomenon that is extremely important for the artist’s self-awareness and identification, immured in local squabbles. Some of the heroes of this once vibrant party whisper nasty things about their comrades-in-arms, without naming their names, however - they don’t want “active military action.” Others sadly note that all this is too dirty even for private discussion. Still others enter new times with a springy gait, collecting tribute from it for their glorious past. Money in this scheme is a non-obvious, elusive substance. Just like art.

The head of Saratov enriches his business structures with money from the city budget, is rude to the federal authorities and sings with the “blues”

Andrey Shchegolev

The reason for a new scandal surrounding the person of the unusual Saratov head was a request from State Duma deputy from the Saratov region Valery Rashkin to Prosecutor General Yuri Chaika. The communist parliamentarian asks the leadership of the supervisory department to sort out the legality of leasing municipal power grid facilities to the local ZAO Saratov City Electricity Network Enterprise (SPGES) on more than preferential terms. According to Rashkin, the SNGPP is charged a rent of 32 thousand rubles, while the market rate is 100 thousand rubles. At the same time, the Saratov City Duma recently decided to “freeze” tariffs for SNGPPs for 2011 as well. According to the deputy, such an auction of unprecedented generosity is directly related to the fact that the owner of the SNGPP is the head of the city of Saratov and the speaker of the city duma Oleg Grishchenko. Parliamentarian Rashkin calls for an end to the pumping of city budget funds into this and other business structures of the insolent mayor. Moreover, the Saratov mayor-speaker Grishchenko has already publicly stated that even at the time of doing business he really “went” to JSC SPGES. Local Saratov media also quote Grishchenko’s words about the advisability of completely canceling the rent for the SPGPP under his care, which could further bleed the already thin city treasury.

At the same time, the head of Saratov hints at familiar relations with city and regional regulatory authorities, declaring that he is not afraid of any inspections. As a clear confirmation of his “independent position,” at one of the public events, Oleg Grishchenko, in full view of the amazed Saratov residents, hugged the leader of the local gay movement (). Perhaps in this way the head of Saratov is trying to secure sympathy and support for himself from the international human rights movement and the “blue lobby” in case of possible persecution by federal regulatory authorities.

In response to accusations of illegally lobbying his business by infringing on the interests of the city, Grishchenko challenged: “If members of the presidium believe that I protect the interests of specific financial and industrial groups, let them express this to me openly, and not behind the scenes decide on my expulsion from the party! » (www.kommersant.ru/doc.aspx?DocsID=771159)