"A basis of a modern discourse is unusual dynamism of all social and economic processes. It is connected with globalization and landslide development of technologies, and also with fast, from the historical point of view – explosive, distribution of democratic institutes and the avalanche growth of number of participants of all processes.
The fine arts aren't an exception here.
In this regard crisis of economy and culture which can't be approved on any stable basis, just is inevitable because don't manage to make it.
We are witnesses of unknown financial crisis in the history of mankind, only for the reason that several tens bankers and economic gurus have carried out a number of steps, without everyone, is sure, evil intention with quite traditional purpose – to earn.
In the fine arts there is something similar:
Huge number of the various currents which aren't united by the general style or ideology argue among themselves, not only for the place in the history of culture, but also just for a place in the sun.
These conditions are won not by the one who is more talented, and the one who is able to sell better.
All this increases to a limit risks of investments in the modern art and compels, both consumers, and producers to develop the certain general laws based on the general rules of conduct and valuable consensus. It demands from the artist of sharp reorientation of the priorities in creativity and the responsibility based on discipline and self-restriction.
Today not all will agree with it, but times of boundless self-expression remained in HH-ohm a century.
Society waits from the artist not of complacency, and originality, not egoism, and self-sufficiency.
Briefly rubs which society addresses to the artist today, it is possible to formulate so: "Don't multiply the evil – it enough in the world".
It is possible to develop this message from society to the artist as expectation of more quality painting, and matter not so much in labor input how many in requirements imposed to an image and ideology.
It is wrong to think that the modernism, with his nihilism in relation to traditions, was formed contrary to socially - to economic processes and it is also wrong to think that still there is a need for development of tred of a modernism.
One of theorists of modern neoclassicism Siv Makleyn, has formulated it so: "The artist has to realize the original role, overcoming egoistical subjectivity and to begin to look for esthetic ideals in harmony with the Creator".
Yes, – has to! It is necessary to realize that in the history there was yet no case of appearance of the considerable artist, the phenomenon or the direction which wouldn't answer inquiry of society.
Probably, early to say to me that my pictures answer this task, but it is important that I completely share this point of view and I intend to develop in this direction and only in this direction.
It is sure, the artist can't carelessly indulge in illusions of "pioneers" today - modernists or detached irony over culture a post of modernists, and is forced to act, leaning on the steady base built by his ancestors, his civilization and national culture is and there is a neoclassicism in my understanding.
The neoclassicism generalizing experience not only classical old masters, but also that the best what has been created for the last 150 years.
As for a subject – so far it is difficult to me to brag of a variety here.
The modern young and beautiful woman in a genre, a still life and, sometimes, a portrait, but it isn't connected with the fact that I am not attracted by other subjects and genres, just so far I have enough unresolved tasks within these subjects.
I can't agree with those who consider these subjects unmodern, deliberately commercial or infantily student's.
I think, at all variety and change of fashionable and actual searches, there are things which will remain invariable at any development of the fine arts.
I had a big break in work, almost two-year-old, this time was necessary for me for judgment of what I am engaged also in what to me has to be engaged.
I can tell that any ideological changes haven't happened, the only thing that has given me this crisis period, there was an understanding of need of sharp strengthening of the neoclassical beginning within the same subjects – the modern young and beautiful woman in one and multifigured composition and a still life."
Here, actually, and all my summary.
I hope, I have tired nobody with this summary of the concept.
St. Petersburg. March 19, 2009.
Alexander Lufer was born in 1965 in Kyrgyzstan.
Education: Kirghizian State Art School, Saint-Petersburg Architecture and Building University.
Alexander Lufer's paintings have been shown in different exhibitions and bought by many collectors, in Russia and abroad.
In group :
1998 – Exhibition “Erotica – 1998”, St. Petersburg, Russia;
2000 – Russian Exhibition in France, Nice, France;
2000 – St. Petersburg days in Lyon, Lion, France;
2001 – Exhibition of Russian Modern Art, Moscow, Russia;
2001 – Exhibition ART-MANEGE-2001, Moscow, Russia;
2002 – Exhibition ART-Salon-2002, CHA, Moscow, Russia;
2003 – Exhibition ART-MANEGE-2003, Moscow, Russia;
2003 – Exhibition ART-Salon-2003, CHA, Moscow, Russia;
2004 – Exhibition ART-MANEGE-2004, Moscow, Russia;
2005 – Exhibition ART-Salon-2005, CHA, Moscow, Russia;
2001-2008 - Repeated exhibitions in halls The Сentral House of Artists, Moscow.
1998 – Russian Modern Art Gallery, St. Petersburg, Russia;
1999 – Giant-Hall, St. Petersburg, Russia;
2006 - “K.R. Gallery”, St. Petersburg, Russia.