In Moscow, a 12-meter sculpture “Big clay No. 4” of Ursa Fisher was installed. Muscovites criticized the aluminum copy of the clay lumps, comparing it with feces. People's Artist of Russia Andrei Kovalchuk and the author of the Telegram channel “Architectural Excesses” Pavel Gnilorybov commented on the emergence of an ambiguous art object in the center of the capital.

Architect, urbanist and Maxim Galkin – about the sculpture Big Clay No. 4 on Bolotnaya Embankment

The installation of the vertical sculpture “Big Clay No. 4” of the Swiss artist Urs Fisher ended on the Bolotnaya embankment. It is a 12-meter aluminum copy of the pieces of clay laid on each other, which the sculptor once kneaded.

A photograph of the art object has collected many negative comments on social networks-most often the sculpture is compared with the Mount Feces.

The Chairman of the Board of the Union of Artists of Russia Andrei Kovalchuk partly shares the opinion of Muscovites. The sculptor said that he saw an installation in the photo, and he did not like it.

“I don't like the sculpture, I’ll tell you honestly. Because I myself am a sculptor, and there can be a lot of opus, but not every opus needs to be increased to 12 meters, ”the People’s Artist of Russia believes.

– On the other hand, I have to finally look in kind, because sometimes there are photographs of incomprehensible. But my first feeling is not positive. ”

He noted that art can be relevant or traditional. In this case, according to Kovalchuk, experts appreciated this work as relevant for exhibition in the center of Moscow.

“So, the leaders and owners of the Museum of Contemporary Art, opposite which the sculpture is established, considered that it would be interesting to the viewer. And they have the right to speak out, ”said the sculptor. – There are laws and regulatory acts on the installations of objects in Moscow. If the sculpture is installed in a private territory, the owner has the right to preserve it. But if she interferes with Muscovites, they can also speak out on social networks, write to the mayor and so on. ”

According to the urbanist and the author of the project “Architectural Excesses” Pavel Gnilorybov, the reaction of Muscovites is due to the lag about global trends. He noted that the Russian art and sculptural school for about 50 years developed in almost complete isolation.

“For the average layman, the peak of understanding is the Wanderers and household realism, but with Malevich it is already difficult. The purpose of installing such sculptures is rather educational and educational. It is necessary to show people that the world of sculpture is much more multifaceted than just a monument to the next mustachioed man on a horse, ”said Gnilorybov.

He also expressed the hope that over time the Russians will get used to unusual art objects and learn to perceive them as art.

“Will they compare with Mount Fecks? They will, but through such an irony. First, denial, and then, through acceptance, is involved in the field of contemporary art, ”the urbanist emphasized.

One of the ardent critics of “Big Clay No. 4” was TV presenter Maxim Galkin, who devoted her to a devastating post on Instagram.

“This is really terrible, disgusting, vile! There is really no sense, no art. Why no one will say that such artists are just mediocre people who hide their ineinability for some freedom of form, ”said the showman.

The installation of Big Clay No. 4 is dedicated to the opening of the new Center for Contemporary Art in Moscow-the House of Culture GEC-2.

“Big clay No. 4” is devoted to the comprehension of the act of creation and transformation of matter in the hands of man, ”says Instagram“ GESS-2 ”. “The work appeals to that irresistible impulse, which we all experienced from childhood, squeezing a piece of plasticine in the palm of our hand, – the impulse to the transformation of supple material and giving it a certain form.”

For the first time, the sculpture of Fisher was installed in 2015 on Manhattan. Six months later, it was dismantled, and in 2017 they put it on Signoria Square in Florence. There she was four months. In Moscow, “Big Clay No. 4” will also stand for several months, but how much is still unknown. In 2016, the work of Ursa Fisher came to the Garage Museum, where the Small Empus sculptor was held.