Steinberg biography materials

Schifferes - that it’s hard to even come closer to their depths. And the statements of Edik himself are so sincere, so whole, so talented that it is inevitable to the words of ordinary historians and critics look faded shadows of true words. So do not blame me ... with sincere veneration, Sasha Shatsky. If to write an article by Sasha Shatsky, as she testified in this letter, it was required to stay in the aura of Edik's works, now, after his death, to comprehend the vector of his creative path and to directly update the perception of all that he created, a aura of multi -genre and difference texts that compiled this book is needed.

Moreover, during his life, Edik Steinberg was never a commentator, no analyst, nor a protagonist of his creations, ironically saying that he is a “not a lecturer” who humbly expects a “providential interlocutor”. However, in Edik there was always lived the concern of his concern to Russia, Russian culture with its "secret freedom" and the metaphysical of the spirit. He repeated about this with the heat until his last days.

Hence the task of this collection: to try to present a bright, multifaceted, peculiar personality of Edik in its entirety, for his organic giftedness, inherited from the father of the wonderful poet and translator Arkady Akimovich Steinberg, each time was refracted in a special way in life. Without any strong -willed efforts, but only because of his great creative gift, Edik himself became the center of attraction, and our house turned into a certain important, spiritually saturated space where people were drawn.

This happened in Paris, where Edik was invited to work at the very beginning of the perestroika of the Claude Bernard gallery, and in Tarus, who replaced the burning. Between these two geographical points, the life and work of Edik lasted over the past 25 years. The texts of Russian and foreign authors included in this book allow not only to feel the uniqueness of the personality of the artist, but also to convey the spirit, atmosphere, the tension of the time in which he existed - from the childhood of the son of the “enemy of the people” and ending with death in the Parisian Hospital and the funeral at the Tarusian cemetery.

The first part of the collection - “The voice of the artist: monologues and dialogs” - represents the written and oral statements of Edik himself: these are small essays, letters, interviews. They expressed the creative credo of the artist, understanding him of the ways and fate of Russian culture, as well as their own existential experience through which time shines through.

This part is preceded by a biographical essay on the work of E. Steinberg, written by me, for forty -six years living next to the artist and trying to share his fate. The second part - the “biography context” - consists of preserved in my archive addressed to Edik and previously not published letters: from exile - from father; From emigration - from the shaft. Vorobyova, M. Grobman, B.

Shragin; From the defeated Prague - from I. Khalupetskiy and V. The considerable share of this epistolary is the internal Russian correspondence: friends wrote - E. Schiffers, V. Yankilevsky, B. Lisitsky from Novosibirsk, F. Svetov from the Altai exile; The inhabitants of the fireplace, in which we spent almost 20 years and which was dedicated to the famous cycle of picturesque and gouache work of Edik.

And finally, these are letters from friends from post -perestroika to Paris and letters of our new Parisian acquaintances - artists, poets, as well as journalists and diplomats who once worked in Russia, such as Walter Sigel Austria Austrian or Berghard Kuppers, a long -term representative of the newspaper Seddeutsche Zeitung, or Wolfgang Schlot The poet, specialist in the work of O.

Mandelstam, one of the main curators in the study of unofficial culture in the Bremen archive, etc. The third part - “memory” - represents the materials written after the death of Edik Steinberg: memories, necrologues and letters to me with expressions of condolences. Most of these letters from the already named correspondents of Edik or authors of articles about him, as well as from friends with whom there were no reasons for his lifetime: I.

Kabakov, B. Zhutovsky, G. Kizwalter, V. Bashlykov, Yu. Kovalenko, V. Golyshev, A. Akkerman, etc. This part opens with my memories about the last months of her husband’s life, heroically transferring her heroilely tolerating her own. disease. In the "Appendix" it was supposed to include articles about the work of E. Steinberg, both translated and published in Russian but in catalog publications and therefore little known to the general public, and exist in the originals in German, French and Polish and here for the first time printed in the Russian translation.

I will indicate only some of their authors: E. Schiffer theologian; art historians - S. Patsyukov, E. Barabanov, A. Borovsky, B. Groys; Artists - V. Yankilevsky, V. Pivovarov; Western researchers-H. Riza, J. Markade, B. Kovalskaya, D. Fernandes, H. Gunter, R. Tyurin, K. But due to the excess of the possible volume of the publication, it was necessary to abandon this intention and leave only an application for the unusable plan of the documentary film “White Square”.Edik's words, the new French friend Bastianelli told by him that for us, Russians, “death is love, this is a memory”, in some way materialized in this book.

She became an echo of love, which Edik Shteinberg, always remembering the “ignoramus”, in a fate in his fate. There were lonely personalists who vigilant their independence from certain creative and friendly addictions. These half-wilting and obsessed eccentrics united one-a radical rejection of socio-political lies and normative aesthetics-the years. Such the existence of artists and poets in art was called "underground."