Kherson artist Stas Volyazlovskiy, who received the Malevich Prize, had mixed feelings about his victory. On one hand – it’s an honor. On the other – it imposes obligations that Stas was not ready for. But he does not intend to retreat.
Yulia Manukyan: How did you start your rise to your current fame?
Stas Volyazlovskiy: With decorative and applied arts. In particular, I worked with ceramics and knew little about contemporary art. At one time, I almost joined the Union of Artists. But when I attended a meeting, I abstained. It was a sad sight: another selection of “masterpieces” was taking place and about eight “Shevchenkos” were gathered. An old man came and brought another one. The chairman of the commission said that no more “Shevchenkos” would be accepted. In the end, they took pity on the old man and accepted his work. I realized I had no place there. I was already bored. To entertain myself somehow, I invented a direction called penis art. What can shock the imagination of the layman? Drawing genitals. I beautifully wove homosexuals into my ceramic plates. Since they were part of the ornament, people did not immediately notice them. They would hang the plate on the wall, then, upon closer inspection, be shocked. After that, I was no longer invited to the Union of Artists. But the press took the direction seriously. Students turned to the magazine “Sho” asking their professor what penis art was. He was at a loss for an answer. The editorial board of “Sho” redirected the question to me with a request to dictate an exact definition. I reminded them of the times when the chalk drawing contest “There is sun in every drawing” was held. So, in every drawing – … The concept is simple.
Y.M.: How long did it last?
S.V.: Not very long. Penises remained, but stopped dominating.
Y.M.: They may have stopped dominating, but they flicker in your works with such obsessive regularity that one wants to ask: “What’s the point?”
S.V.: It is an ancient symbol, a folk code. Chanson art cannot do without it. Although its depiction leaves many indifferent. Authorities react very vividly. I mean the scandal with the group “Voina”. Under Yushchenko, the Commission on the Protection of Public Morality was established, which personally worries me. After the exhibition “Persistently” at “Karas”, a call appeared on some website to close the gallery and imprison the “pornographers”… By the way, my name is on the list recommended for imprisonment. I agree with Podervyansky, who said that talking about morality in a country where people are starving is indecent.
Moreover, when morality begins to be protected at the state level, it smells like fascism. Example: at our customs, photo works by Seryozha Bratkov, prepared for an exhibition at PinchukArtCenter, were seized. This did not prevent them from being reprinted and the exhibition organized. The most interesting thing is that customs called saying, “You stole Bratkov’s works from us. They should be in the warehouse, but they are shown on TV.” Regarding the document regulating the amount of pornography in art… In my youth, lacking other suitable sources, I read Maupassant, or rather “reread” specially marked pages with certain scenes. I am sure some excerpts from the “criteria” would have a much greater (and quicker) effect. “In the episode of enlarging the angle, the depiction of genital organs should not exceed 50% of the frame area or the entire image…” An incredibly funny document.
Y.M: So, how did your “signature” style originate?
S.V.: In 2005, I made a “rag” depicting Mikhail Krug surrounded by two Yulias Tymoshenko. And called it chanson art. Another parody. But ordinary people take it quite seriously, taking pictures against the “sheets”. They are especially popular among fans of “blatnyak”. Strangely, I hardly use “prison” attributes. “Prison art” is not close to me. There is no freedom of creativity there. Only harsh tradition. When I was told someone found something similar on “Putin”, I was very surprised. There are definitely no boss “stars” on the legs or tattoos like “Step on the cop’s throat” there. Well, people see what they want. I am more impressed by the art of schizophrenics. In attempts to free my consciousness, I look up to them.
Y.M.: The “Gruzenoid”, now shown in all news about your competition victory, also causes many diverse comments…
S.V.: I know. Some are very interested in how much Putin paid me for insulting Georgians. People did not understand that I created this work with sympathy for them. The plot was inspired by the bombing in Georgia. It affected me so much that I drew a “Caucasian” from the “Russian side” perspective. Georgians were declared something like monsters. My “Gruzenoid” is depicted that way – with a tail, huge penis, wearing a cap and a tattoo “Volga”. All folk clichés. Nearby is Mayakovsky, saying “They wear sheep caps, eat shashlik and dance lezginka, while the Russian working man chews gum from hunger.” Rumors about my “sellout” were also caused by the rag depicting Putin. Well, here the “gas” saga is involved. He, in a striped circus wrestler suit, strikes a snake (symbolizing the gas pipe) with a spear. The joke is that the tip of the snake’s tail is made in the form of a trident.
Y.M.: Parody is the key word for you. But where is the art itself?
S.V.: It’s not that simple. If it were pure parody, I would exhibit my penis on a plate and travel the world with this “concept”. My works give the impression of being “quickly made”. In fact, I spend a lot of time creating them. By the way, drawing on fabric with a ballpoint pen is not for the faint-hearted.
Y.M.: Have you really “stuck” in one format forever? Aren’t you tired?
S.V.: No. I feel comfortable in it. Chanson art for me was and remains a kind of art therapy. I reflect on what surrounds me and thus get rid of everything that weighs on my sense of beauty. But that doesn’t mean I do the same thing. First, the “irritants” change. I react less and less to political events. Today, other things worry me. I parody myself more. I rethink the experience gained. Besides, the coming end of the world does not let me rest. Isn’t that a “chanson-artist” theme! I have a plot: everyone will perish, only Jews will remain. And they will die too – from depression (no one to “screw”). Actually, I mock everyday anti-Semitism. Our people always amazed me: during the war, many, like my grandmother, saved them from the Germans, but in peacetime willingly participated in the folk game “Find the Jew”. Such an attitude towards them by Orthodox Christians who venerate Jesus Christ (despite his “Jewish origin”) is a mystery to me. However, extremism preached by the “victimized” side also does not inspire admiration. When a grand terrorist act is proposed in retaliation for the Holocaust, it is abnormal.
Y.M.: Apparently, all these speculations inspired you to create the wall newspaper “The Capture of Berlin by the Jews”. The Reichstag is burning, shining with a red Jewish star, Jews ride scooters with Hanukkahs… Were you accused of Judeophobia?
S.V.: I showed it to Sasha Roitburd, he laughed a lot. He even suggested taking it to Berlin, but they probably wouldn’t risk hanging it there – a slippery topic in terms of political correctness. I have enough Semitic symbolism in other works, as well as Orthodox. But there have never been any complaints. Most people have a sense of humor. I parody not religion and certainly not faith, but its utilitarian use. One blesses a Mercedes, another his wife’s diamonds (so they don’t get their ears torn off), a third builds a church with criminal money… An inexhaustible topic for parody. Returning to the question of how long I will frolic within chanson art, I can say: the surrounding reality gives plenty of reasons for self-expression. Besides, I constantly experiment with artistic means. Another interesting direction for me is video art. Now I’m into collages. I use cutouts from magazines like Vogue, Platinum or postcards from the Stalin era.
Y.M.: So, politics is over…
S.V.: Once I was told that Poyarkov declared himself and me the only worthy artists in Ukraine. That scared me. If Poyarkov praises, you have to quit politics. However, it’s not easy to do. The presidential elections in Belarus could not leave me indifferent. Lukashenko with his dictatorial ambitions just begs to be on the “canvas”. By the way, I am often asked: “Why have you never painted Yanukovych?” An obvious hint that I am afraid to mess with the current authorities. I answer that Yanukovych promised me nothing, unlike Yushchenko. I was not his electorate, so I don’t feel deceived. And I voted for the former president three times, quarreled with friends… Besides, Yanukovych impresses me with his naturalness. He is who he is and does not pretend to be anyone else. In short, not my hero. Yushchenko and Tymoshenko are really comic characters. “The great revolutionary” as the Statue of Liberty and “beekeeper” as Cossack Mamay – my reaction to the profanation of the idea of democracy they declared. If Yanukovych disappointed my expectations, I would “immortalize” him too. Note, I do not go below a certain level in such works. If it concerns political figures – no genitals or other “nudes”. Once I was offered a lot of money to paint Tymoshenko and Vitrenko naked on brooms. I refused. Parody and vulgar caricature are different things.
Y.M.: Nevertheless, your most popular works remain the sheets with images of famous politicians.
S.V.: That’s understandable. They are monumental, easier to perceive than wall newspapers. Although visually no less effective, they have a lot of text, you need to read carefully. By the way, at the III Moscow Biennale besides “textiles” there were also wall newspapers. Jean-Hubert Martin, curator of the Biennale, asked me why I don’t write texts in English. I explained that they are understandable to our audience, and “non-ours” would not be interested. Although I do translate some things exhibited at international art fairs.
Y.M.: Some consider your work opportunistic. Do you agree?
S.V.: Definitely not. Credit must be given to my gallerist Vladimir Ovcharenko (owner of the Moscow gallery “Regina”), he never sets conditions: “Do this and that because it will sell well.” He takes everything I create. I once asked him about the fate of unsold works. Volodya replied they would remain in his collection. I’m lucky with him – a person truly passionate about art. I myself care little about money. If I wanted to make money, I would have put painting on a conveyor long ago. But that’s exactly what I fear – turning into a factory. Then hiring “slaves” to keep up with orders. However, it won’t work – I have no classical education, so “academics” are unlikely to copy my original style. Though I won’t copy anyone either. I definitely won’t paint palms like Tistol. Besides, I work slowly. I want each new “creation” to be unlike the previous one. This is also a phobia – repeating oneself, exploiting the same successful idea, as happened with some famous artists.
Y.M.: The Malevich Prize – an unexpected award?
S.V.: Absolutely unexpected. When my name was announced, I didn’t even twitch. Someone pushed me from behind, and only then did it dawn on me. Journalists were surprised that I had a prepared speech. I just thought each nominee should say thank-you words. So I didn’t bother and three days before the event scribbled on a piece of paper in Russian letters “Contemporary art forever!”, “Chanson art – superstyle!”, “Stas Volyazlovskiy – superstar!”, “Danke schön” and “Dzenkyu bardzo!”. Short and energetic. In my style. The difficulty was that when I remembered the paper in my pants pocket, my hands were busy. I handed the bouquet to the ambassador, the prize to the director of the Polish Institute. And announced I would now give a speech.
Y.M.: How was it received?
S.V.: They had fun, of course. Honestly, I have mixed feelings about the victory. Joy is mixed with the awareness of imposed obligations. At the moment, I am busy creating new works for “Regina”, and now I will have to distract myself to implement the project in Poland. Whether I want it or not, I must comply.
Y.M.: Do you already have an idea?
S.V.: There is a working version. Since the Internet hints that I got the prize thanks to a Polish surname, this needs to be addressed. To search for roots, and based on this search, create something interesting.
Yulia Manukyan is a journalist for “Cosmopolitan”, who sometimes works as a freelance art critic, in particular for the Kyiv magazine “Style” and the Kherson publication “Bulava” (column “Art Space”). She worked as editor of the “Architecture” and “Design” sections in the magazine “Beautiful Estate”. By education – a teacher of English and German, Kherson State University.
