Sergey Limonov's collection

I WANT TO START WITH A QUESTION ABOUT THE PAINTING WHICH YOU BUYED FIRST. I READ THAT IT WAS A PSYCHEDELIC WORK BY AN AUTHOR FROM IZHEVSK, TITLED “MUSHROOM GO ON MUSHROOMS”. WAS THERE SOMETHING IN PARTICULAR THAT DREW YOU TO THE PAINTING, OR WAS IT MORE OF A DESIRE TO SUPPORT THE ARTIST?

The initial idea behind purchasing "Mushroom Go on Mushrooms" was to support the artist, and the fact that it was an affordable piece added to the appeal. Additionally, being from the same region as the artist played a role in the decision. However, what really drew me to the painting was its psychedelic, humorous, and charming qualities, reminiscent of illustrations in children's books. The piece was also distinct, as it defied categorization as a landscape, still life, or portrait, and featured elements of both surrealism and primitivism.

HAVE YOU HAD SOME ART IN YOUR LIFE BEFORE THIS? DID YOU PREPARE TO START COLLECTING?

I have always had a passion for art since childhood and knew that I would eventually start collecting. Perhaps it's a genetic inclination or a general interest in culture, as I've always been an avid reader. I was naturally drawn to art forms like painting, and I had a subconscious expectation that I would eventually become a collector.

IS SOMEONE IN YOUR FAMILY ALSO COLLECTING ART?

No, there isn't anyone else in my family who collects art. My father was an artist, but during the turbulent times of the 1990s after the collapse of the Soviet Union, he was focused on making a living rather than pursuing art for the sake of it. While there were some moments related to art, I don't believe they were a significant influence on my taste or understanding of what I would eventually collect. Instead, I think my passion for art is likely a result of hidden genetic factors.

WHY CHOOSE PARTICULARLY FOR CONTEMPORARY ART? IT SEEMS IF SOME ESTABLISHED AUTHORS WERE EASIER TO BUY.

Perhaps contemporary art is easier to collect because it feels more relevant, accessible, and understandable. As someone who is drawn to bold, innovative movements in life, such as moving to a new city or country or making investment decisions, I also find contemporary experimental theatre, literature, and art to be similar in their adventurous and risk-taking nature. I believe that contemporary art is a powerful medium that channels intense energy and has the potential to outperform traditional forms of art. It is constantly evolving and pushing boundaries, making it a compelling and exciting field to explore.

IT IS INTERESTING THEN TO ASK ABOUT NFT. ARE YOU INTERESTED IN THIS PHENOMENON?

I think the artists are just trying to make money on it. There are few collectors, few purchases, but this situation has always been that way. Even in the West the artists never have been too wealthy. Often their careers were built by the age of fifty or sixty, for many recognition came after death. One out of ten artists live on the sales of their art. Nine out of ten have to work. So just because artists go to NFT doesn't mean they suddenly felt the beauty of expressing new forms. It's just an attempt to make money.

As for buyers and collectors, I think professional collectors in the NFT are a hundredth of a percent of the total number of buyers. Crypto Heads, crypto speculators or people who have accumulated money and want to invest it go this way. As well as people of the new generation who think of themselves as geek freaks and do not consider themselves within the framework of the classic offline market and the offline world: everything is in a suitcase with them, they can move to different locations, it is inconvenient for them to carry paintings, they think different economy. Well, the digital world is closer to them. But are they real connoisseurs of art, do they understand something in it?

Nevertheless, this is an interesting area. I think some interesting collections arose there. But for now, it's more of a financial hype than an art hype. By the way, digital art has always existed. It is not necessary to translate it into NFT.

DO YOU BUY DIGITAL ART?

Not yet, only video art. By the way, I would like to. But digital in its purest form — not yet.

YOU HAVE MANY LARGE INSTALLATIONS AND OBJECTS AND IN GENERAL, AS I UNDERSTAND, ABOUT 400 ART OBJECTS. WHERE DO YOU STORE THEM?

At some point, collectors must address the issue of storage. However, it's not just about accumulating a large quantity, but rather about prioritizing quality items. While some individuals may have collections numbering in the thousands, if you delve deeper into their passions, they often express pride in a single, valuable item. Due to the sheer quantity of items, a dedicated warehouse is necessary for storage, as it cannot be accommodated in an office or residential setting, particularly with installations.

BUT DO YOU STORE SOME ART IN YOUR HOUSE?

Yes, small works, sometimes I rearrange them. I'm like a shoemaker without boots. I’d like to have some bigger place, architecturally beautiful, with big walls and high ceilings. But for now, it's just a dream.

AND ANOTHER PART OF THE COLLECTION HANGS IN YOUR RESTAURANTS. HOW DO VISITORS REACT TO CONTEMPORARY ART? IT SEEMS LIKE THEY COULD EVEN GET SOME MOMENT OF ENLIGHTENMENT.

From an educational standpoint, I chose to display these works to demonstrate that modern art — of high quality and minimalist in style — can enhance and complement a stylish interior. My goal was to convey to visitors that living with contemporary art is achievable, and that it is not necessary to acquire traditional paintings such as those by Shishkin, Levitan, Surikov, or their imitators, in ornate gold frames. By showcasing a cool painting in a restaurant setting, my hope is that individuals will be inspired to consider purchasing a similar piece for their own home. This is the motivating message that I intended to convey.

It's evident that out of 10,000 visitors, only two or three individuals may be interested in making a purchase. However, this is still a positive outcome, as each of them may buy more than one piece, which can have a meaningful impact on our market. Additionally, even if visitors are not necessarily intrigued by a specific artist or artwork displayed in a restaurant, they may still subconsciously develop an appreciation for good taste.

AT THE EXHIBITION "THINGS" THE FIGURE OF THE COLLECTOR IS CONSIDERED IN DETAILS. HOW DOES A COLLECTOR INFLUENCE THE ART ENVIRONMENT AND WHAT DOES IT CHANGE?

There is a prominent collector named Pierre Christian Brochet, who places the collector at the top of the hierarchy of important figures in the art world. He believes that after the artist, collectors are the most important people for art. According to him, only collectors have the power to give art the right to exist. So far, I can't agree with this.

In my view, gallerists play a critical role in the art world, taking significant risks when working with artists over long periods and struggling to promote high art in the face of market pressures and changing societal tastes. Many historical movements, such as impressionism, post-impressionism, fauvism, and abstract expressionism, required gallerists to take substantial risks to promote them. Are gallery owners important participants in this process? I think so.

The same goes for museum workers: they often determine the fate of a work, legitimize it by including it in the permanent exhibition.

As for collectors, they can vary in terms of the quality of art they collect, with some collecting bad art, others mixed art, and some collecting good art. While collectors are undoubtedly important, I agree that gallery owners should not be overlooked as they take risks and play a significant role in promoting art.

Probably, critics and art historians have lost the influence and authority that they had in the 19th-first half of the 20th century. Now the collector can talk directly with the artists and interpret the meanings himself. Maybe this is bad, because many begin to think that they themselves are able to understand everything, and do not listen to professionals.

HOW DO YOU USUALLY DECIDE WHAT YOU WILL BUY? IS IT IMPULSIVE OR IS THERE A PLAN?

It's a combination of both. At the beginning of my journey, I wrote plans and lists. It turned out that it was necessary to be more flexible, because taste and horizons are developing, some artists no longer need to be included in the collection, and some who were outside the scope of this plan, on the contrary, should have been bought in the first place. Therefore, in collecting, focus is important, but at the same time there must be flexibility, spontaneity and the pleasure of a random acquisition.

Rigid planning is suitable for collecting old art, which is described by art historians in catalogs and is in museum displays. In this field, you can understand which artists are important, what you need to buy, what lines to build in the collection. When you deal with the art of contemporary authors, it is often unclear who will remain in history, whether the artist is at the peak of his work or just at the beginning. But this is a lot of fun!

So I don't do hard planning. For this year I have compiled a list of artists. But I also hope to make some flexible and unexpected decisions.

YOU SAID BEFORE THAT YOU HAVE SOME PREFERRED THEMES. IS THERE A TREND — WHAT YOU PARTICULARLY LIKE, WHAT YOU PREFER?

I started with paintings and only then discovered different media forms. Graphics — thanks to Sasha Garth, then photography, later I fell in love with installation. Now I'm buying videos. That is, different media reveal their beauty at different times. But for this kind of thing you need to cultivate your taste and broaden your horizons.

My collection included the themes of war and anti-war objects, the theme of childhood, urbanism, industrial… But after a while it became clear that few artists work on the theme of anti-war statements, and so the collection cannot be compiled.
There are many works of borderline or completely different sayings and meanings, and there is so much depth and beauty in them that passing by this is like walking past Ali Baba's treasure cave.

Therefore, I can not define one particular major theme in my collection. In general, the focus is on a variety of art, current and contemporary. Recently there has been a desire to buy some works of the abstract nature of old Soviet artists and try to connect that time with the current one. I will be pleased to feel that modern authors have grown out of such traditions, that the connection of time exists, that there are no revolutions that bring down completely old art, and suddenly, for no reason, a new one arises. Anyway, somebody is based on something.

DO YOU PRIMARILY COLLECT WORKS BY RUSSIAN ARTISTS, OR DO YOU ALSO COLLECT PIECES BY FOREIGN ARTISTS?

Only Russian. While I initially had plans to incorporate individual works by foreign authors to strengthen Russian participation and gain insights into Western art, the pandemic and current circumstances have changed those plans. In addition, given the current realities, I believe it is more important to support Russian artists than those from Europe, America, or Asia.

RECENTLY IN AN INTERVIEW WITH YOUNG COLLECTORS, THE EMELYANOVS SHARED THAT COLLECTORS OFTEN HAVE A LIST OF LOSSES AND REGRETS IN ADDITION TO THEIR COLLECTION. DO YOU HAVE A SIMILAR LIST?

I think there is such a list in my mind. Sometimes, every six months, I remember five or ten works that I wanted to buy, but missed. Or postponed and did not make a decision on time. But I don’t bite my elbows and I understand that I gave the same money to other artists for no less good work. Well, this makes you more excited about the next acquisitions, examine the work in more detail, feel it more voluminously, understand: there is a possibility that you either did not recognize the masterpiece, or slow down in making a decision. All these losses and small failures contribute to the improvement of the collecting method, but they are not incurable wounds.

Moreover, since we collect contemporary art, we are aware that if we do not acquire a particular artist's work this year, they may create something even stronger next year. Unlike old art, which is becoming increasingly scarce and flowing into museums, contemporary art is constantly evolving and creating new opportunities for collectors.

DO YOU HAVE A VISION FOR THE FUTURE OF YOUR COLLECTION? WOULD YOU LIKE TO CREATE A CONTEMPORARY ART CENTER OR ARCHIVE?

All collectors have such thoughts. I want to build a beautiful building, fill it with art, make it open to visit, enjoy, exhibit, and not keep everything in a warehouse.

IS THERE A DREAM AUTHOR WHO YOU WOULD LIKE TO BUY SOON?

There are several such artists.

CAN YOU SHARE WHO ARE THEY? IF, OF COURSE, YOU ARE READY TO VOICE THE NAMES.

This is a moot point. In collecting, unfortunately, there is a combination of publicity and closeness. Reminds me of entrepreneurship. That is, you, as a collector, must be proactive, enterprising, you need to look for the works all the time, not being afraid of mistakes, maybe even bargain... There must be a systematic approach, as in business.

But at the same time, entrepreneurship also has a closed part: no one says at what prices contracts are concluded, what are the cost of production, costs and problems. The same goes for collectors. It is impossible to publicly name the artists I would like to buy, because another collector will come and get something faster. But there is also publicity: collections are laid out on websites, works are given to museums with the signature "from the private collection of such and such." With the help of open information, you can support artists, attract the attention of other collectors, museum workers and gallery owners. After all, one is not a warrior in the field: you will not be able to support all the artists monthly or annually and support them financially on your own.

In general, I will mark Sever-7 as artists whom I continue to support. They do not appear to have a crisis in creativity, they are still strong and developing.

WHERE ONE SHOULD START THEIR COLLECTION? DO I NEED TO PREPARE FOR THIS AND STUDY THE ART ENVIRONMENT FIRST?

It all depends on the budget and the availability of consultants nearby. Sometimes it happens like consultants made a collection and it is initially very good. But this is rare luck. And I would not trust them completely, you still need to understand the subject yourself.
It is better to start collecting and studying at the same time: read, listen, go to exhibitions. In order to avoid large financial losses, it is necessary to purchase some low-budget items — graphics, photography, prints. After six months or a year, there will be a feeling that your taste has improved, and, perhaps, the first purchases will already be inappropriate for your level.

It is not really known with what circle of artists the collector will start. Maybe it will be a super-conservative, unknown painting, and it will never be appreciated either in price or in aesthetic or intellectual terms. And the person will spend a lot.

The second point: you can not buy only a limited number of artists, no matter how much you love them. This is the mistake of young collectors: they fall in love with one or two authors, and start buying dozens of their works. And then it turns out that the author is on the periphery of art, does not meet any current challenges, or he simply has poor skill. And what to do with these dozens of works? After all, they can be expensive.

Therefore, oddly enough, you need to restrain yourself and gradually fall in love with art. It should also be remembered that this is a powerful energy that can make you do stupid things, spend more than you need, and not go there. And when you buy low-budget works, you train like in poker: beginners play for matches, tokens or bet on the ruble. But even such intangible values make the player feel the excitement and risk of the game.

The same with collecting. As soon as you spend 1000 rubles on graphics, you will have a completely different feeling than if you did not spend, but simply came to the exhibition and looked at this work.

HOW HAS ART IMPACTED YOUR LIFE PERSONALLY? HAS IT HAD A SIGNIFICANT INFLUENCE ON YOU BEYOND THE PRESENCE OF OTHER INTERESTS?

Yes, it's a powerful passion and it's hard to compete with other activities. Walking, sports, theater, concerts or reading literature fade into the background. But here you need to maintain a balance.
The social circle is changing. The world becomes cozy, not exactly pocketable, but pleasant in terms of adventure, exploration, travel. When you arrive in a new city, you go to see a specific exhibition or museum, and you try to plan your trip around when your favorite artist's exhibition opens. Art has given me a sense of quality and taste in life.

I TOTALLY AGREE! LAST QUESTION: WHAT IS THERE FOR CONTEMPORARY ART IN RUSSIA IN THE FUTURE?

We are all bad forecasters, so one can only try to point a finger at the sky. I see a trend towards a change in people's tastes: observation is accumulating, generations are gradually changing, and that commitment to classics and neoclassics in the field of design, architecture, urbanism is replaced by more advanced styles — conceptualism, hi-tech, eclecticism. In this environment, not only classical, but also contemporary art can exist. Therefore, one way or another, millions of our citizens who will make repairs in apartments or country houses will buy contemporary art. A few of them are good art. Designers who basically do not understand contemporary art despite their advanced tastes have only recently started to work with contemporary artists and the art environment.

However, this trend is growing. It is impossible to build panels and Khrushchevs for decades. Sooner or later this paradigm will change. And it's the same in art. Therefore, even despite all the pandemics, the economic crisis, special operations and sanctions, the market may sag financially, but the interest itself will increase. We have a powerful imbalance between the level of consumption and the level of interest in culture and contemporary art. This will level off, and we will see a rapid increase in interest in artists, new galleries and art spaces will appear.

I HOPE IT WILL. POSITIVE FORECAST!

It is impossible to live in barracks, walk around in the same clothes and consider that the world is limited by the boundaries of an apartment. A person cannot be stopped, his desire and desire for beauty and development is an understandable and global trend that will affect contemporary art in Russia. No matter how we avoid it.