AZ Museum (Anatoly Zverev Museum)
“Two Andreys” Fund (Andrey Rublyov and Andrey Tarkovsky)
within the cultural program of the XXXVIII Moscow International Film Festival
present the project
In the year of the 30th anniversary of the Chernobyl Nuclear Power Plant accident
On June 28 - on July 7, 2016
“Stanislavsky” Electrotheatre, Tverskaya Street, 23
Great artists have a talent of foresight.
We should know that, keep that in mind and listen to the Messengers.
The artist Pyotr Belenok was born in 1938 in the village next to Chernobyl. In the 70s of the last century, he painted a series of pictures depicting a terrible accident. He determined his art system as a "panic realism".
The film director Andrey Tarkovsky was born in 1932 in the family of the outstanding Russian poet Arseny Tarkovsky. He lived in Moscow. He became the world famous director and in 1979 made a film named "Stalker" where he showed the world after the accident.
Chernobyl Nuclear Power Plant accident took place in spring of 1986.
The following works are presented within the framework of the project:
the paintings of the artist Pyotr Belenok (1938 - 1991);
the film "Stalker" of the director Andrey Tarkovsky (1931 - 1986);
the Chernobyl Nuclear Power Plant accident photo-report of 1986 by the journalist Victoria Ivleva;
The exhibition music tracks: Eduard Artemyev. A soundtrack to the film "Stalker"; Nikolay Karetnikov. 4th symphony, 1963; Kshyshtof Penderetski. "Tears for the victims of Hiroshima", the composition for 52 string instruments, 1960; Iraida Yusupova. "Kitezh-19", electro-acoustic composition, 2005.
June 29, 16.00 The film "Stalker", 1979, direct. A. Tarkovsky, 163 min.
Special award of the ecumenical jury at the Cannes International Film Festival, 1980; Special prize "Luchino Visconti" of the National Italian Award "David Di Donatello", 1980.
The film will be presented by the members of the creative team: Nellie Fomina, costume designer; Evgeny Tsymbal and Marianna Chugunova, Andrey Tarkovsky's assistants; Tatyana Aleksandrovskaya, deputy director of the film and a widow of the film operator Alexander Knyazhinsky.
June 30, 18.00 The film "Rerberg and Tarkovsky. A reverse side of the "Stalker", 2008, direct. I. Mayboroda, 140 min.
Award of the “Nika” Film Academy for the best non-fiction film of 2008; award "Golden Eagle" for the best non-fiction film of 2009, etc. Presented by the director Igor Mayboroda.
Uneasy truth about the relationships of two great artists - the director and the operator, which ended up in a failure of the first version of the film "Stalker". Participants of the film - the artist Shavkat Abdusalamov, the musicians Mstislav Rostropovich, Natalja Guttman, the operators Sven Nuekwist, Vadim Yusov, the director Andrey Konchalovsky.
Additional information and accreditation:
Address: 2nd Tversk-Yamskaya Street, 20-22.
Pyotr Belenok (1938-1991)
"I am not interested in detailed observation of everyday life; I observe the world and its problems from a neutral position in space" P. Belenok
In the 1970s – a permanent participant of the house exhibitions, expositions in France (Exposition au Muse'e Russe en Exil, Mozheron), Germany (Progressive Stromungen in Moskau, 1957-1970, Museum Bochum), Italy (La Biennale de Venezia, Venice), England (London), the USA (Washington), Belgium (Brussels).
Simultaneously with the birth of the European photorealism and the American hyperrealism, Pyotr Belenok started his own experiments on establishment of a trend, which he named the "panic realism". His works are filled with running and flying human figures in space, as if in the science fiction cinema.
Pyotr Belenok's works are in the collections of the State Tretyakov Art Gallery, the State Russian Museum, the Moscow Modern Art Museum, museums of the USA, many private collections in Russia and abroad.
From Anatoly Brusilovsky's memoirs:
"Tall, thin Pyotr with his typical southern tenor dialect, with his stormy gesticulation untypical for Moscow, often invited me to his basement workshop. Basically, he was a sculptor and produced “Lenins” and other leaders for the earning, and for his own pleasure he painted abstract pictures with inclusion of a collage - figures of people in the whirl, either perishing in the storm, or escaping. These expressional black-and-white abstractions elicited a strong feeling of the apocalypse.
The basement (evidently, former boiler room) was filled with unfinished idols of "Lenin" – a source of earnings: he had to feed a family. Separately – as a contrast – Pyotr’s almost monochrome works, large canvases. He found a memorable manner and a plot, psychologically very consonant with the mood of that time. I suggested Pyotr to call the trend as a catastrophism.
From bits and pieces Pyotr tried to learn something about the artists from the other side of the "Iron Curtain", he could read a little bit of French. At the total absence of exhibitions of the modern western artists, sometimes he managed to find a book with reproductions. Henri Micho was his idol, they had something in common, some junctions of the plastic language. But, of course, Belenok was absolutely original.
Having laid a simple little table and having put an indispensable bottle of Ukrainian vodka – “gorilka”, Pyotr got inspired, his round, childishly naive eyes shone with pleasure, and the never-ending conversations were only interrupted with the frequent toasts "Well, cheers!" And he flooded me with his questions: "And what about André Breton? Or Yves Tanga? Do you remember Delvaux? Tristan Tzara wrote..." And around us stood numerous mute gray cement idols of the Soviet leaders, listening to exotic names. Surrealism!
Pyotr Belenok wanted communication, audience, companions, exhibitions. Unfortunately, he did not live to see the freedom".