Mastering the Art of Curation: Alla Zmieva’s Insights on Art, Culture & Perception

Unveiling the Art World: A Chat with Alla Zmieva

Art market, art management, curatorial projects, curators – these aren’t your everyday terms. They’re part of a unique world, accessible only to the most curious and dedicated. When we visit exhibitions, we rarely think about the curator’s role or the importance of their work. Curators are often the unsung heroes, their names in small print on posters. Yet, they’re the ones transforming complex ideas into understandable concepts for the public.

The Art of Collecting: A Global and Local View

For decades, our society hasn’t fostered the tradition of collecting art and creating personal collections to pass down as national heritage. During the Soviet era, only the party elite could afford expensive art pieces or antiques. A few individuals bought artworks for their personal spaces, but hardly anyone thought about making these collections public or accessible.

In contrast, Europe and America have a rich tradition of private collections forming the basis of many world-renowned museums. Notable Russian patrons like Mamontov, Tretyakov, and Shchukin created private collections that later became the cornerstone of major Russian museums. In Belarus, the only collection turned into a permanent exhibition is the corporate collection of Belgazprombank.

The Belarusian Art Market: Challenges and Opportunities

It’s important to understand that Belarus is still forming its national elites. Due to historical circumstances, we lack an aristocracy traditionally interested in collecting art. The cultural elite primarily consists of representatives of the creative intelligentsia. Art objects are usually appreciated and collected by artists themselves, which explains the underdeveloped art market in our country.

The formation of perception and taste in art is a lengthy process tied to education and cultural traditions. We’re at the beginning of this journey. The desire to fill personal spaces with art is characteristic of only a few individuals in our country. The broader public has yet to develop a tradition of acquiring artworks for themselves or as gifts. This is partly due to the economic situation and attitudes towards private property. It also explains the lack of statistics on art market transactions, transparent sales, regularly operating auctions, and a system of expert evaluation.

Systematized Collections and the Role of Publications

Regarding systematized collections in Belarus, they’re virtually non-existent. In European tradition, a collector’s natural desire is to share their collection with the world. A collection is primarily a reflection of the collector’s character and secondarily an investment. True collectors often make significant discoveries in art because they deeply and passionately engage with their subject. Even museum professionals, who may spend their entire lives studying a particular period or artist, can be less informed than dedicated collectors.

I’m convinced that collecting shouldn’t be approached solely as an investment. It’s a deeper endeavor, a lifestyle, and a way of thinking. If we consider collecting in the second half of the 20th century in our region, it’s more about books. The USSR had a cult of books, and book printing was of exceptional quality. I’ve heard incredible stories about the creation of private libraries, the passion in the night queues at bookstores, and the acquisition of antique books. In this regard, our tradition is quite close to the Western one.

Belarus also lacks specialized art publications, which are essential for professional relationships and the existence of an art market. For example, American publications like Artforum, Art in America, and International Review are among the oldest and most authoritative journals. The British journal ArtReview and The Art Newspaper Russia are also highly regarded and published in various languages worldwide. These publications are not monthly, but they are reference points for art historians, collectors, museum professionals, art managers, and curators globally.

Art for the Masses: A Complex Concept

In European tradition, there’s a concept that art is a cult, implying that only a narrow circle of people understands the aesthetic value of artworks and comprehends their content. From this perspective, ‘art for the masses’ cannot exist. However, both Kant and Schiller wrote about art’s ability to awaken an understanding of beauty in even the most emotionally reserved and rational individuals. Everyone should have the hope and opportunity to engage with the world of cult objects.

‘Art for the masses’ today is the poster. Not the art of the poster, which is already a thing of the past, but the ordinary poster. In the Belarusian context, art is not considered part of the culture appreciated by connoisseurs and professionals but rather as mass culture. This is why we have what we have – ubiquitous ‘harvest festivals.’

We need to analyze the important national cultural phenomena that exist: can they become objects of the contemporary Belarusian art market? I have a theory developed over many years, including through serious immersion in art topics and visits to European exhibitions and biennales: the Belarusian public is not very receptive to art in principle.

There are nations that, on a genetic level, feel these subtle settings and can easily penetrate the world of art, experiencing a whole gamut of emotions – the French, Spaniards, Italians, for example. Sometimes I catch myself not being able to immerse myself in a work of art in passing, just like many of our people. Because I am also a product of my time. On the other hand, sometimes there is such an overflow of emotions from what I see that I just sit down and cry. That’s how I once found myself on the fourth floor of the Reina Sofia in Madrid. To perceive works of art, a free consciousness is necessary. When we are occupied with everyday life, what can enter this channel? It is simply closed.

What could contribute to the development of art perception in general, including through modern forms? The creation of a full-fledged museum of modern art in our country, as is customary in the world. This means that the museum’s collection includes works of modern art recognized by experts, systematized, and attributed. It is especially regrettable that our country does not have such a museum, given Belarus’s geographical location. We could be more interesting to tourists by having such a facility.