What does the name Gelman mean? For a long time, people have been interested in the meaning of this name. What happens if you name your child Gelman? After all, each of us is given a name at birth that accompanies us throughout our lives. Even after death, it is customary to indicate information about the person on the memorial. And what is constantly with us cannot but affect our character and behavior. So let's go back to the mystery of the name Gelman.
Scientists, philosophers, astrologers - they all fought for centuries, trying to decipher men's and female names. Nowadays, many books have been published with the meanings and secrets of the name Gelman, and the list is constantly updated, as new proper names appear over the years, and old ones go away and are forgotten. By the way, in ancient times, babies were given names that were even scary to pronounce. This was done specifically to ward off evil spirits. Later in Rus', children were called by two names, one was pronounced only in church and was hidden from everyone. It was believed that Gelman is the name of a guardian angel who will protect a person all his life. Today there is a special fashion for names. Many mothers and fathers carefully choose the name of their future baby, turning to Old Church Slavonic lists. Some people first study the meaning of the name, and only then choose the appropriate one. And there are fewer and fewer people who come up with names themselves. Here everything is limited to the flight of your imagination. But then the character of the owner of a unique name will be determined by phonetics - sound combinations and syllables. IN meaning of the name Gelman there are many ancient roots and sources that today are irretrievably lost...

Given here full interpretation the name of a man Gelman, what is best suited, and what should people wearing it be afraid of. Do you hear the sounds of your name every day, from the very beginning? early childhood they are affected in one way or another. Understanding what will attract good luck to you, knowing all aspects of your character, you will achieve a lot.

The meaning of the male name Gelman

• Writing in Latin – Gelman
• The element that suits this name is Earth.
• Suitable colors – Pale pink, Dark blue, ultramarine
• Attracting good luck in life given name, metal – Chrome
• Attracting good luck to the guy bearing this name, the tree is Laurel
• Suitable planet: Pluto
• Constellation bringing happiness - Sagittarius (Sagittarius)
• According to numerology named after Gelman, numbers that bring good luck to men – Zero
• You are better off eating meat
• Animal totems for the name Gelman– pheasant
• Stones - totems for people with the name Gelman - Carnelian

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What suits people named starting with G in life - Gelman

1. It is better if a man with the name Gelman was born under the zodiac sign - Scorpio (10.24 - 11.21)
2. It will be most successful if a man with the name Gelman was born according to Chinese horoscope per year - Tiger - years 1902, 1914, 1926, 1938, 1950, 1962, 1974, 1986, 1998, 2010, 2022, 2034
3. It's better to start things on Sunday
4. The most favorable days year, these are January 16, March 19, August 16 and September 9
5. Favorable time of day for you is late evening
6. The dangerous age at which you need to be careful is in childhood and adolescence - seven years; in youth - thirty-five years old; in and maturity - fifty-five years, in old age - seventy-four years
7. The name starting with the letter G - Gelman leaves an imprint on the health of these people, diseases of the lungs are especially dangerous
8. People named Gelman are best suited for professions related to – Helping people

The main character traits of those named by the male name Gelman

This person approaches the choice of his soul mate thoroughly, thoughtfully, and sometimes it takes a lot of time. He can wait a very long time for his chosen one to develop feelings for him; it cannot be said that his love is weak, it’s just that not everyone manages to rekindle it. It is impossible not to trust him; he is honest, sincere and simple-minded. If he only looks at her as a mistress, then he will say so. Such people are remembered by everyone who encountered them, because they simply cannot be forgotten. No matter how turbulent their personal lives are, they are born builders of family nests, men named Gelman, would like to grow old in an atmosphere of calm and comfort, without any quarrels, stress and upheaval. They are either afraid until old age, or simply do not want to tie the knot. Be his woman and you won't find a better man. Obstacles only increase their persistence. A woman who tries to keep him by using threats and blackmail can get into serious trouble.
Despite his apparent healthy appearance, if a man named Gelman gets sick, he recovers very slowly and for a long time. He charms one girl after another, leaving them in an effort to find the one who will satisfy his demanding taste. A cheerful disposition accompanies him even in the most difficult moments. Afraid of making the wrong decision, they rely on logic and rationalism. Their life is almost certainly full of changes, unexpected events, contradictions, but a man named Gelman may have moments and complete peace of mind. They often do charity work. They can live well as a bachelor for the rest of their lives. This person has an incredible will and independence, but is passionate and easily excitable.

Table of the main character traits of a person named Gelman

Character traits were calculated based on the name and month of birth; for a more accurate calculation you need to know full date birth and first name, patronymic and last name, if you need this, VISIT THIS PAGE.

The vertical column of the table (top), select your (or a person with a name starting with the letter G - Gelman) month of birth, the horizontal (side) line is aspects of character. Their intersection will show a coefficient from 1 to 100, than more value, the better.

	January	February	March
Willpower	96	3	52
Energy	37	26	18
Learning ability	65	6	69
Hard work	34	42	50
Kindness	70	1	2
Patience	—	96	44
Creation	86	7	42
Intuition	33	56	67
Sociability	91	62	67
Self-esteem	16	4	45
Money	98	80	5
Talent	63	82	71
Spirituality	8	3	10
Determination	66	47	19
Stability	—	51	29
Love	63	99	99
Duty	66	76	61
Mentality	31	94	74
Prudence	4	30	13
Emotionality	—	80	35

	April	May	June
Willpower	9	35	62
Energy	93	11	92
Learning ability	70	44	89
Hard work	95	11	66
Kindness	66	31	79
Patience	86	57	63
Creation	13	30	54
Intuition	79	54	27
Sociability	88	79	86
Self-esteem	37	27	87
Money	65	63	33
Talent	24	74	61
Spirituality	14	78	3
Determination	88	83	32
Stability	14	57	54
Love	19	—	31
Duty	73	92	—
Mentality	85	89	7
Prudence	41	28	7
Emotionality	99	54	28

	July	August	September
—	22	27
Energy	22	61	85
Learning ability	4	8	36
Hard work	15	14	10
Kindness	74	62	28
Patience	—	5	—
Creation	25	41	94
Intuition	75	39	38
Sociability	6	42	10
Self-esteem	—	39	32
Money	86	82	60
Talent	55	53	17
Spirituality	95	95	80
Determination	5	82	27
Stability	25	37	94
Love	33	84	32
Duty	81	45	28
Mentality	7	6	12
Prudence	54	70	39
Emotionality	32	14	45

	October	November	December
Willpower	5	78	49
Energy	54	—	17
Learning ability	48	80	89
Hard work	24	31	1
Kindness	77	14	24
Patience	61	53	97
Creation	13	54	20
Intuition	42	1	22
Sociability	98	11	5
Self-esteem	76	19	62
Money	75	23	88
Talent	20	64	45
Spirituality	62	16	64
Determination	72	88	11
Stability	12	83	83
Love	64	91	55
Duty	62	65	97
Mentality	91	19	51
Prudence	44	39	85
Emotionality	76	77	75

The main character traits that are present in people named Gelman are sincere, petty, enthusiastic

Compatibility of men with the name Gelman in relationships

This table shows the love compatibility of people named Gelman, depending on their birthday. The vertical column (on top) is your zodiac sign, the horizontal (on the side) line is your partner’s horoscope sign. Their intersection will put the extent and aspects of the relationship into perspective.

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	Fish	Aries	Taurus
Pisces (19.02 - 20.03)	bad feelings	long life	money will separate you
Aries (21.03 - 20.04)	joyful experiences	part as enemies	good together
Taurus (21.04 - 20.05)	rich house and joy	disappointment	be together for a long time
Gemini (21.05 - 20.06)	good	vain dreams	calm home
Cancer (21.06 - 22.07)	empty worries	rich house and joy	Everything will be fine
Leo (23.07 - 22.08)	contempt	Not boring life together	good together
Virgo (23.08 - 23.09)	parting	family happiness	passion and jealousy
Libra (24.09 – 23.10)	vain dreams	love and happiness	long life together
Scorpio (24.10 - 21.11)	well-being and prosperity	rich house and joy	happiness, but not for long
Sagittarius (11/22 – 12/21)	bad	financial problems	difficult relationships
Capricorn (December 22 – January 19)	good family	happiness, but not for long	nervousness for you
Aquarius (22.01 - 18.02)	acrimonious relationship	calm home	money will separate you

	Twins	Cancer	Lion
Pisces (19.02 - 20.03)	contempt	acrimonious relationship	bad
Aries (21.03 - 20.04)	hatred and quarrels	excellent	joyful experiences
Taurus (21.04 - 20.05)	bad feelings	bad	passion and jealousy
Gemini (21.05 - 20.06)	you shouldn't start a relationship	well-being and prosperity	bad
Cancer (21.06 - 22.07)	common dreams	adoration and love	love and happiness
Leo (23.07 - 22.08)	well-being and prosperity	disappointment	contempt
Virgo (23.08 - 23.09)	excellent	short-lived love	part as enemies
Libra (24.09 – 23.10)	good	long relationship	disappointment
Scorpio (24.10 - 21.11)	not recommended	wasted worries	nervousness for you
Sagittarius (11/22 – 12/21)	hassle for both	money will separate you	financial problems
Capricorn (December 22 – January 19)	well-being and prosperity	nervousness for you	good family
Aquarius (22.01 - 18.02)	short-lived love	passion and jealousy	well-being and prosperity

	Virgo	Scales	Scorpion
Pisces (19.02 - 20.03)	adoration and love	passion and jealousy	bad feelings
Aries (21.03 - 20.04)	difficult relationships	you shouldn't start a relationship	long life together
Taurus (21.04 - 20.05)	rich house and joy	long life	hatred and quarrels
Gemini (21.05 - 20.06)	you shouldn't start a relationship	it will be better	disappointment
Cancer (21.06 - 22.07)	nervousness for you	long life	hassle for both
Leo (23.07 - 22.08)	good family	bad feelings	often misunderstandings
Virgo (23.08 - 23.09)	wasted worries	passion and jealousy	acrimonious relationship
Libra (24.09 – 23.10)	love and happiness	it will be better	you shouldn't start a relationship
Scorpio (24.10 - 21.11)	adoration and love	love and happiness	excellent
Sagittarius (11/22 – 12/21)	long life together	not recommended	difficulties
Capricorn (December 22 – January 19)	peace in the house	melancholy and routine	nervousness for you
Aquarius (22.01 - 18.02)	financial problems	you shouldn't start a relationship	part as enemies

	Sagittarius	Capricorn	Aquarius
Pisces (19.02 - 20.03)	disappointment	good	financial problems
Aries (21.03 - 20.04)	parting	difficult relationships	short-lived love
Taurus (21.04 - 20.05)	love and happiness	peace in the house	common dreams
Gemini (21.05 - 20.06)	empty worries	not a boring life together	you shouldn't start a relationship
Cancer (21.06 - 22.07)	long life	troubles and troubles	contempt
Leo (23.07 - 22.08)	bad	adoration and love	long life
Virgo (23.08 - 23.09)	hatred and quarrels	nervousness for you	bad feelings
Libra (24.09 – 23.10)	difficult relationships	happiness, but not for long	nervousness for you
Scorpio (24.10 - 21.11)	parting	excellent	it will be better
Sagittarius (11/22 – 12/21)	disappointment	disappointment	good
Capricorn (December 22 – January 19)	peace in the house	bad	long life
Aquarius (22.01 - 18.02)	be together for a long time	emotionality	not a boring life together

A study of the history of the origin of the Gelman surname reveals forgotten pages the life and culture of our ancestors and can tell a lot of interesting things about the distant past.

The surname Gelman belongs to a common type of family names of German origin in Russia.

In Russia, where representatives of different nationalities lived side by side for centuries, the composition of generic names has always been quite diverse. Foreigners entered the Russian service, remained forever in Russia, and often only their surname reminded their Russified descendants of the origin of the founder of the family. Starting from the reign of Peter I, and further, in XVIII-XIX centuries, many artisans, merchants, doctors, scientists, and representatives of technical professions immigrated to Russia from many European countries, but mainly from Germany and Holland.

The concept of a surname as inherited family name arose in Western Europe in the 10th century among the nobility, and over time it spread to all social strata. The basis for generic naming could be geographical name, an indication of the occupation, name or nickname of the founder of the surname. Many German surnames arose from old Germanic names, many of which consisted of two stems, for example, Giselbert, Gerhard, Hofmann and the like.

The surname, which became known in Russian transcription as Gelman (until the middle of the 20th century in Russian it was customary to render the German sound [h] as [g]), comes from the ancient German personal name Hellmann, formed by adding two stems. The first stem, the German word Hell, means “helmet, protection.” The second stem, mann, is included as a component in many ancient Germanic names and nicknames and means “man, person.” Thus, the name and the surname Hellmann, created on its basis, can be translated as “protector.”

However, the surname Gelman may also be of Jewish origin. Most Jewish surnames were created in the 17th-19th centuries as a result of government acts that ordered everyone who did not have hereditary family names to urgently acquire surnames. This happened in 1797 in Austria, in 1807 in Germany, in 1845 in Russia. Jewish surnames, as a rule, were created according to the models of the country where the family lived at that moment. Surnames created in the Germanic or Austrian lands resembled or repeated German surnames in form, as they were either borrowed from German or created in the Yiddish language, which arose from medieval German dialects. Jewish surname Gelman, which arose in early XIX century, comes from the male Hebrew name Gelman, borrowed from the Germanic peoples back in the Middle Ages. Initially, this name was used as a kinyuy (everyday name) of the Hebrew name Shmuel, but later acquired independent meaning and distribution.

Obviously, the Gelman family naming has a rich history and can tell a lot of interesting things about the peculiarities of creating surnames among different nations.

Sources: Dictionary of American Family Names, Oxford University Press. Large German-Russian dictionary. M., 1969. Kryukov M.V. Systems of personal names among the peoples of the world. M., 1986. Brief Jewish encyclopedia. Jerusalem, 1992. Russian Jewish Encyclopedia. M., 1994. Unbegaun B.O. Russian surnames. M., 1995.

The conversation is conducted by E. Kutlovskaya

Elena Kutlovskaya. Preparing to meet with you, I asked one of my friends: how should I address Gelman - Marat Alexandrovich or just Marat? The answer was very funny: “What middle name could Marat Gelman have? It’s almost a pseudonym!” That is, your name has almost become a household name - a designation not only for a specific person, but also for a certain cultural phenomenon. Did you consciously strive for this? Have you taken any steps to promote your own name?

Marat Gelman. Let me start with the fact that it was my ill-wishers who were the first to work to promote my name. In the early 90s I made an exhibition Ukrainian artists. No one had brought them to Moscow before me, they were unknown to anyone. But the exhibition was a huge success. This caused natural irritation among people who were not interested in the emergence of something new. They formulated their attitude to what they saw as follows: “Well, the artists, without a doubt, are rubbish, but Gelman is very clever... How wonderfully he managed to present them and promote them!” Time passed, and life showed that the artists were good, and that is why the demonstration of their works in Moscow had a wide resonance. But in the very content of the Ukrainians’ creativity there was something new and, due to its novelty, unacceptable for part of the Moscow public, which gave rise to the desire to level the aesthetic object. Thanks to this situation I gained fame talented producer. By the way, this fame was very ambiguous, because in those days a good producer was perceived almost as a clever businessman. Then I still didn’t understand how to treat my reputation... Second. I spent a lot of energy to create the first art fair in Russia. And I became its director. The fair opened on the same day as the Gelman Gallery. The coincidence was not accidental, because the entire fair was conceived as a gallery promotion. The project turned out to be so successful that after just two months of operation the gallery was called “the oldest.” And finally, third. For the first time art gallery was named after a living person, the name of the creator and director. It was outright impudence. Then art institutions were given general names, for example “Art-Moscow” or “ Russian art". The producers hoped that any passerby, seeing the "Art Moscow" sign, would think that everything was concentrated here Moscow art. But civilized art world arranged differently. Personalities are important in it. I understood this well from the experience of communicating with some art institutions in Moscow and in Russia. You come to the gallery, agree on something, and a month later there is already a different director and there is no one to even explain to anyone that there is some kind of agreement, etc. The lack of personal responsibility was overwhelming. Which prompted me to give the gallery my name. I ventured to say that I and my organization are one and the same, so there is always someone to ask. For many, such a step was new, and it was regarded as rudeness, as unjustified insolence. However, my “rudeness” worked to increase the popularity of the gallery and promote it. All. In my opinion, there are no other promotion secrets. E. Kutlovskaya. You have long been no longer perceived only as a gallery owner. The scope of your activity covers a wide socio-cultural territory. I have come across people who know that there is such a Marat Gelman, but have no idea what he does. That is, your fame today exists on its own, outside of a specific matter.

M. Gelman. Well, thank God.

E. Kutlovskaya. Did you strive for personal popularity?

M. Gelman. At some point. There are people who have one great destiny. And there are those who have many small destinies. I'm probably one of the latter. My life is clearly divided into periods. They are all different, and in each separate period I set myself new challenges. Until 1994, I tried to ensure that my name and activities were perceived in the solder - “gallery owner Gelman”. This is, as in the already well-known spikes - “the poet Pushkin”, “fruit apple”, etc. But starting in 1995, I began to be burdened by such an identity and try to somehow destroy it. You see, a gallery is a certain genre, and any genre always has limits. And they bothered me personally. For example, it is not customary for a gallerist to write articles because he is promoting a particular art. If this art is appreciated by someone else, that’s good, because a third-party assessment means the success of the gallery. But if you promote it yourself, trade it yourself and write it yourself - it’s bad, since this does not mean success at all, but on the contrary... I did a lot that fell outside the scope, and they told me: “You shouldn’t do that, because the gallerist According to his status, he has no right to do this." Let's say I arranged museum exhibitions, that is, the gallery was actively operating outside the gallery, which is not accepted. Museums typically collaborate with museums or freelance curators, and galleries typically collaborate with galleries. I couldn’t manage to stay within the boundaries of the generally accepted, and I actively broke them. Probably my temperament required more than what work in the gallery provided. I would especially like to emphasize: the image of the gallery is shaped by the artists, and it was they who shaped my image.

E. Kutlovskaya. How do you feel about the fact that your cultural actions have not been perceived outside the name of Gelman for a long time? For example, the fight against Tsereteli’s “dominance” in Moscow was perceived by many primarily as a protesting gesture by Marat Gelman.

M. Gelman. I will answer simply. Not everything I do is associated with my name. When I decide that the phrase “Marat Gelman” will interfere with the matter, I take it out of brackets. So, my activities as a consultant in politics are non-public. Now regarding the situation with Tsereteli. The fact that the fight against his prolific anti-aesthetic activities was carried out on my behalf is very important. After all, Tsereteli was criticized from different positions, and the principled position of the opponents was of serious importance. There were people who said that you shouldn’t spend so much money on art. They can be understood, but I believe that you need to spend a lot of money on art. Another thing is that Tsereteli’s works are not art. I think that my person in some way served as confirmation of this. People came to me and asked: “Aren’t you really going to do anything against such a grandiose anti-art?” That is, I was perceived as a person capable of resisting the cultural policy of Luzhkov - Tsereteli. That's what I tried to do.

E. Kutlovskaya. As you know, your attempt ended in nothing...

M. Gelman. Yes, it was a defeat. When we began our opposition speeches, I hoped that I would be able to raise a discussion in society about what art is and what it is not. Since people were really touched by Tsereteli’s “creativity,” then, by appealing to him, one could try to explain what real art does and why it should not be divorced from the world artistic culture. The failure was that we were not heard. And they have not been heard to this day, which is why our defeat continues... Contemporary art in Russia is considered exotic. Our public believes that only real art is works of art past. Any contemporary creativity, which tries to speak modern language and about modern problems, is rejected as non-art. At the same time, the majority is convinced that we have a special “Russian way” that obliges us not to talk about today, but to talk about yesterday. And this is a disaster for the development of the artistic process in Russia. Remember Stalin’s attitude towards Lysenko, and you will understand the destructiveness of the situation. The “great scientist” Lysenko had an idiotic theory, which was accepted as true by all political authorities. It would seem, so what? Ten years later, everything was forgotten and returned to normal. However, a whole generation of real scientists was “knocked out”, not having the opportunity to work due to Lysenko’s idiocy. Both science and the country suffered colossal damage. To exclude this from happening in art life, a civilized policy towards artists is needed. Because those of them who can be the glory of Russia and should, it would seem, have every possible support, find themselves in social sense marginalized. They are excluded from the social process, just like everything modern Russian art. We're on the sidelines public life. Another question is that an artist can always go to the West and realize himself there. Therefore, this situation for him is not as dramatic as for the personal destinies of scientists of the Stalin era. But for fate Russian culture the marginal position of contemporary art is disastrous.

E. Kutlovskaya. If we agree with your point of view, then you, as a representative of modern art, as its symbol, should be marginalized. But that's not true. You are actively involved in all processes of public life, you are at the center of both the cultural and political development of Russia.

M. Gelman. The fact is that personal success is always the sum of some components. In addition to the Gelman Gallery, there are a dozen other good organizations, but they are little known. There are twenty to thirty artists of whom we can rightfully be proud, but practically no one knows them. Probably, the success of the Gelman Gallery is to some extent the result of betrayal, and not the result of service. So this is how it works. I too often leave the artistic space for some other social projects.

E. Kutlovskaya. For what? What does this change of territory give you?

M. Gelman. For what? It's hard to say. I keep trying to pull in contemporary art into Russian society... Drag him along with you.

E. Kutlovskaya. You belong to the cultural and political elite of the country, but your intentions are often incomprehensible to the mass consumer, just as the contemporary art that you represent is incomprehensible to them. How can you drag something into society that is not in demand?

M. Gelman. Yes, there is a concept of elite, but this does not mean that the best should be the most understandable. It is no coincidence that such a word as “pop” was born. There is not the shortest path between elite artistic products and mass consumers, but it is inevitably overcome. Time passes, and what is so far perceived only by the professional environment will be perceived by the educated stratum, and then mass consciousness. There is not a single serious cultural phenomenon that has not been gradually adapted for mass understanding. Look at today's America's love for pop art and remember how the same Americans perceived it in the 60s. In order for the artist to be able to function normally, despite his incomprehensibility, a whole complex of relationships is built all over the world. I'm not talking about creating everything new and unusual special conditions and provide such phenomena in huge quantities. The point is different: the paths to the art of the future must be free so that the artist can follow them naturally. Unfortunately, in Russia the situation is different; here the place of the future is constantly occupied by the past, which greatly distorts the normal art process. You know, yesterday I watched " fight club"and suddenly I realized that in the West, music, painting, and cinema are a single whole. They develop synchronously, exchanging their skills and formal discoveries with each other. And we have modern fine arts and literature live in one world, cinema in another, and music in a third. Maybe those contemporary art festivals that we organize in lately, will be useful because they combine music, theater, and painting. Maybe our festivals will implicitly “force” different genres, different types cultures borrow something new from each other.

E. Kutlovskaya. Some of your cultural events were involved in the political promotion of S. Kiriyenko. Tell me who is using whom: are you the image of Kiriyenko or is he exploiting you and your image?

M. Gelman. Politics works for our festival projects. If we talk about “Unofficial Moscow”, then to some extent Kiriyenko was a good PR agent for the festival. In turn, “Unofficial Moscow” gave Kiriyenko’s image interesting features and made it deeper. We must take into account the fact that in Russia everything always comes down to politics, so we all use each other. The issue is whether using someone else is hurting you and your business. Sergei and I want art and politics, science and the press to interact on some equal footing.

E. Kutlovskaya. What do you mean by equality?

M. Gelman. I'll explain. There is a politician and there is, relatively speaking, the curator of the festival. What does equality between them mean? This means that the politician does not interfere with the cultural ideology of the festival. That is, when everyone knows the extent of their competence and acts in accordance with it.

E. Kutlovskaya. Do you hope that politics will not interfere in your life, despite the fact that you have an almost intimate relationship with her?

M. Gelman. Until he interferes... Let's think about what the cultural elite is? This is a complex cultural machine, a unique mechanism, thanks to which out of millions of people who want to become artists, writers, and musicians, only twenty to thirty people are selected. But their names are the pride of the country. The cultural apparatus eliminates huge amount people. Some drop out at the level of education, others in the process professional activity. But at the same time, the cultural machine gives millions examples of real art and directs the majority towards them. Thus, the cultural community gradually forms a national art fund. Now imagine that a politician, instead of interacting with the cultural machine, begins to interact directly with artists, choosing two or three for himself, for example, Tsereteli, Shilov and Glazunov. There is no need for criticism, no need for magazines, no need for institutions. A unique cultural mechanism is no longer needed. For what? All over the world, elites interact with each other, and this interaction is based on the recognition and definition of boundaries of competence. In our country, favoritism flourishes, as in the Middle Ages, when it was given to the politician to determine what was built and erected around him. In my opinion, Russia generally has a medieval idea of ​​spirituality. Here a person is processed by the environment in such a way that his craving for culture takes on a very perverse expression. Let's say a person comes to an antique shop and buys something there. antique spoon, but not for food, but as an object of culture. Because the old in Russia has a high status, and the new has a low status. Write any nonsense in Izhitsa - there is already a feeling of spirituality, but state the most interesting idea modern language- they will spit. We have everything mixed up. Therefore, in my conversations and lectures I always try to explain that spirituality is a search, not conservation. But in Russia, on the contrary, the canon is spirituality. We have an obvious problem. I see two possibilities to overcome it. The first is an appeal to the younger generation, for whom there is no longer a “sacred” past; it is free from the past and, thanks to the Internet, is well informed about current processes in world culture. And the second is an appeal to a broad international context, to the global artistic community.

E. Kutlovskaya. You said that in the mid-90s the “gallery owner Gelman” connection began to weigh on you. Do you like the identification with Kiriyenko?

M. Gelman. Kiriyenko is the politician with whom it turned out to be at least acceptable to identify with. As for the scale ratio, I think everything is fine here. As for the relationship of personalities, everything is somewhat more complicated: there are people around me who do not accept Kiriyenko, and around him there are those who are absolutely sure that he is supporting a person who has some kind of horror on display in his gallery. I think we both can either lose or win from mutual cooperation. So far, it seems to me that the result is positive. Although there are losses. For example, my favorite artist Kostya Zvezdochetov refused to participate in one of my exhibitions for a long time because he has different political views. You see, when doing something, you always put people before a choice, when they must make a decision in relation to you.

E. Kutlovskaya. But from a free artist you turn into a person engaged by a certain political structure. Aren't you afraid that your face will be slightly rubbed with it?

M. Gelman. There are problems. And in some ways I'm really committed.

E. Kutlovskaya. Why "in some way"? In my opinion, in a certain...

M. Gelman. If this were bias in art, this would be the end.

E. Kutlovskaya. But you, so to speak, hold the flag of contemporary art, you are a representative of a very specific culture. Culture does not function without public resonance, without public awareness. Today, in this awareness, one way or another, Marat Gelman is being crossed with the ideology of the Union of Right Forces. Doesn't this mean bias?

M. Gelman. If Marat Gelman had stopped making edgy projects because of this, then his face would have completely faded away. Therefore, the only way to prove that you have not lost anything is to work. Of course, I took a risk, taking a very responsible step, and if Kiriyenko after a while does not live up to the hopes placed on him...

E. Kutlovskaya. How should he justify them? Become president?

M. Gelman. It's not about the presidency. A politician is always in a state of readiness to compromise. But the artist is in the opposite situation; for him, a compromise is disastrous. In connection with this, there is a real danger of a repetition of what has already happened. Remember how we all fiercely supported Yeltsin? And then what happened?

E. Kutlovskaya. Why, then, would you risk connecting with politicians?

M. Gelman. I just told you about my loss in the Tsereteli story. This defeat happened because we were not ready to play a serious political game. And from Tsereteli’s side the game was played quite strongly. Unfortunately, in Russia all issues are intertwined, and if you enter into a fight without the necessary political and economic resources, losing is inevitable. Now Kiriyenko and I are creating a group that will form the project cultural policy for the ATP, and the ATP will supervise and finance it. It just so happens that to change the art situation in the country, you need to work with politicians. There is no hope that the system that is in power today will be able to pursue a civilized cultural policy capable of bringing art out of a marginal situation. Therefore, I am looking for such a force, such a structure that will become the engine of correct cultural policy in Russia. I don’t think that by betting on Kiriyenko I made a mistake, because choice - and for art as well - is the norm.

E. Kutlovskaya. That is, if the project of joint work with Kiriyenko turns out to be unsuccessful, you will be more than upset?

M. Gelman. Yes. But I want to make it clear: Kiriyenko is politics, not power. I will never integrate into the existing system, this is obvious to me. I don't belong there. But I want and can facilitate the appointment of certain people to various positions, using my influence.

E. Kutlovskaya. In the absence of a clear socio-political and cultural system life in Russia is organized around bright personalities. It is they who determine the tastes, worldview, and ethical boundaries of behavior of young and not so young people. Some part of our society is also focused on you. You model not only cultural processes, but with your behavior you determine value guidelines in the lives of many.

M. Gelman. If I see something new and interesting, then I somehow want to interact with it. What is quite obvious is that I am a slave to everything new, I even sometimes worship it too much. Because for a person who deals with contemporary art, there is nothing worse than being outdated. Only this is bad. Everything else is nothing... The same thing that in the perception of many Marat Gelman has become the personification of modern art, I again owe to my opponents. The newspaper "Zavtra" long ago began to call everyone contemporary artists"gelmanoids". I appreciate this very much, despite the insane responsibility placed on me by ill-wishers. But really, no matter what I do, I am constantly trying to create a certain cultural atmosphere. When communicating with business people, I try to somehow educate them. Of course, a manifestation of love from the outside younger generation warms the soul. I was once in Almaty, giving lectures, and suddenly a student came up to me and said that I had come to them, well, just like Mick Jagger. Or at a conference in Nizhny Novgorod I accidentally heard several people discussing me and saying: “We met Marat Gelman himself...” For me this is very valuable and pleasant. You know, in your youth you always want to gain authority from the older generation, but now, to a much greater extent, you want to be an authority figure for young people.

E. Kutlovskaya. Have you noticed that neither one nor the other is ever fully successful?

M. Gelman. Well, everything always works out to some extent. Or fails to some extent. I am currently preparing a project, which, in my opinion, will be interesting and in demand. This is an exhibition called “Dynamic Couples”, dedicated to the technology of cooperation, how joint works are created. How, for example, do Komar and Melamid work? One paints from left to right, and the other from right to left? Or does one invent and the other execute? How does the creative process occur for those who work in pairs? I personally think this project is relevant because it talks about significant changes in the art of the twentieth century. After all, the very way of creating works has changed, which, by the way, almost no one noticed. Previously, a single artist himself did not understand what he had done. He couldn’t really talk about his intentions, and don’t even ask about what the creation meant. It dawned on me, inspiration descended - that’s all. And today, although the artist does not seem to teach anyone anything, does not call anyone to goodness or beauty (contemporary art is devoid of messianism), the meaning of creativity is knowable for the creator who quite consciously sets himself specific professional tasks. Art has become more articulate and easier to explain. This means that conditions have been created for the flourishing of collective creativity: if I can explain my idea, then we can work with someone together. My exhibition will tell about changes in this area of ​​​​artist activity.

E. Kutlovskaya. In your opinion, are the changes that have occurred a big plus for modern culture?

M. Gelman. I approach reality without signs. As a given. But I can say the following. Previously, we had, so to speak, an “attic,” and the cultural machine, taking something out of the brackets of relevance, “stored” it there. There was also an “office” where work was carried out and certain valuables were produced. They were then filtered by contemporaries, and those considered the best were transferred to the "library", and those considered the worst were thrown into the "attic". By the way, a whole myth was built on this: my contemporaries do not value me, but the future will bring my work out of the “attic” and understand my true meaning. And so it was. Each new generation first climbed up and found a lot of interesting things in the dust, indignant at their ancestors who threw away such a cool thing. In the age of urbanization, the “attic” has disappeared from our homes, and it turns out that what is not perceived today will irrevocably sink into oblivion. Therefore, we have a great responsibility - not to turn away from interesting new things, not to miss them, since the next generation will perceive the world through our eyes. It has no "attic". It's sad, but that's how it is. No pros or cons. Feeling my responsibility for the contemporary before the future, I am obliged to record the new in art, not allowing it to disappear. Everyone must speak out. In connection with this, I am also making a book for the exhibition, where the artists themselves talk about the technology of co-creation, about their art kitchen.

E. Kutlovskaya. Let's return to the question of the technology of your art image, of building your image in the cultural space. Does this process have an end goal?

M. Gelman. Difficult question... Art is the only form of activity in which for me there is no question “why?” When I do something else, this question always arises before me. But as soon as I return to work in art, it disappears. For me, art is valuable in itself; it initially contains a certain internal goal that I follow. As for my personal aspirations, they also do not have any ultimate goal. I have lived for some time, gained some experience, and every two or three years my main goals change. Perhaps in thirty years it will become clear where and why I was going. But for now I live in the mode of situational tasks, which are updated from time to time. This means that all my beliefs are in some sense delusions. That is, on short period all goals are tactical and nothing more. But something else is important: I have a certain vision of the world, and accordingly, I am constantly introducing it into other people. And this process cannot have any ending like “well, I finally implemented it in everyone!” By the way, the artist works according to the same logic: he has an idea about the art of the future and he is trying to convince the whole world that it is true.

I hope that for me, making art will be a personal goal today, tomorrow and the day after tomorrow. Although, you know, the story of any success is not endless, and there comes a time when you need to realize that in a creative sense you are no longer effective. And from now on you must look for young people to help them realize themselves, using for this again given goal all your influence. And I would like it to be strong enough for this period of life.

The surname Gelman is probably derived from the nickname Gelman (Helman), which goes back to two German roots: hell - light and Mann - man. Thus, the nickname Gelman could have been given to a person with blond hair or with pale skin.

According to another version, the nickname Gelman originates from the German word helle, which means steep slope. In this case, the nickname Gelman could have been given to the person who lived on the hill.

It is also possible that the surname Gelman is derived from a German personal name, which goes back to the basics of hild - struggle and man - man.

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