AN ATTITUDE TOWARDS ARTGUIA RIGVAVA
Contemporary art was a part of the cold war. Despite its autonomous nature art could never get rid of the role imposed on it by politics. It was always politics to provide art with functional modes and simply, the forms to exist in. Art has always been dependant on the level of the economic development of a society and the amount of material wealth obtained in a society. Art has been also always involved in the process of making the rich even richer and the poor even poorer.
Let's take football economy for example: there is a huge football industry existing with an immense market around it. Consequently, each country has its own football team, though some of them do not have even regular internal championships being held. National teams of these countries are composed of the football players, who live and play abroad, mostly in the European clubs. But they are worshipped and honoured at home. So, commercial goods like Nintendo 64 computer game, with a qualification phase of the FIFA world championship with teams of Albania, Estonia, Azerbaidzhan or Yemen are to be sold in these countries.
In Russia an image of an artist went through various steps in its evolution - after a time of dominance of a hermit of a mystically ordinary, but at the same time of an absolutely superman poetic nature (resembling Master from the Bulgakov's "Master and Margarita"), there came times of another "simple man", who has an inmost dream - to be included into a real written history. This image later was ousted by a hero, who wants to be famous globally and immediately. But, whatsoever, this is to be faced in the end - is a market reality. There is nothing existing there, outside the market. Market eagerly accepts everything which is appropriate for dealing and lets things make sense. "Everything makes sense expressed in dollars and cents" (Roger Waters). The market is able to level everything: the Wimbledon tournament and an opera production in La Scala theatre are in the first place shows - market constructions and only after that - an opera and a tennis game. Certainly, it is possible to imagine a catastrophic perspective: together with Russia Saddam Hussein manages to realise a monopoly over the energy resources of the planet. And then, in fifty years all cars in the streets will have non-European names: instead of "Mercedes" and "Citroen" they may have arab-russian names, and it may happen so, that art will be flourishing in the East, not in the West anymore. But such a perspective is not attractive at all and the shift of the First world from ones into the hands of the others will not be for the better.
The division between the worlds should be overcome. And art can provide not a few means for contributing to this process - a process of overcoming the constantly erected and fortified border between the First world and the rest of the world.