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Nabokov and His Mother, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 030 |
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(born: 1960)
graduated from the Mukhina College of Art and Design (Leningrad) in 1982.
One of the founders of MITKI artist group (1985).
The member of the Russian Artist´s Union (1998).
In 1990 was trained at the INSTITUT DES HAUTES ETUDES EN ARTS PLASTIQUES (director: Pontus Hulten).
Works in different fields of art: painting, graphics, book illustration, sculpture, ceramics and animation. The author of animated films "MITKIMAYER" (1992),"RUSSIAN ALBUM" (2001) and "TROPHY FILMS" (2004).
Have taken part in a large number of film festivals, both in Russia and abroad (1993-2002).
The founder of MITKILIBRIS publishing house and one of the founders and curators of "MITKI - VHUTEMAS " art center in St. Petersburg.
Since 1995 A. Florensky have been working on joint projects together with his wife, artist Olga Florensky ("MOVEMENT TOWARDS IYE", "MOVEABLE BESTIARY", "LOCAL TIME", "RUSSIAN TROPHY", etc.).
Artist lives and works in St Petersburg. |
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Author Teffy, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 027 |
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Peter the Great, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 028 |
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Chess player Alyokhin, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 031 |
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Kharms, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 032 |
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Repin and His Wife, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 029 |
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2005
CULT CONSTRUCTIONS, St. Petersburg, Museum of the history of religion.
VIEWS OF PETERSBURG, St Petersburg, Nabokov's museum.
ACADEMY OF PORCELAIN, St. Petersburg, State Hermitage.
1st MOSCOW BIENNALE FOR CONTEMPORARY ART.
ART-MOSCOW, Central exhibition hall, Moscow.
ART PLAY, Moscow.
ART FORUM, Moscow.
GHOST OF A CHANCE, Bath, Ipswich - UK.
CHANCE ENCOUNTERS, Ipswich, UK.
2004
TAMED AND WILD, State Russian museum, St. Petersburg.
TAKSIDERMIA, Art center ANNANTALO, Helsinki.
NA KURORT!, Kunsthalle, BADEN-BADEN, Germany.
2003
THE RETURN OF MIR ISKUSSTVA , St. Petersburg History Museum.
STUDIO OF ART-MOSCOW, Moscow art Fair, Moscow.
GRAPHIC ART OF XX CENTURY, State Tretyakov Gallery, Moscow.
NIGHT TRAIN Surrealist Routes to Kiasmas's Collections. Kiasma Museum, Helsinki.
2002
MOVEABLE BESTIARY AND OTHER OBJECTS, Architectural Association, London.
SNEGUROCHKA, Zacheta National Gallery , Warsaw.
RUSSIAN TROPHY, Hand Print Workshop International,
Washington, DC.
2001
MISCELLANEOUS, show and lectures in Grand Valley State University, Michigan.
ISKUSSTVO 2000 Kunstverein Rosenheim, Germany.
NORDIC POSTMODERNISM, Kiasma Museum, Helsinki.
CONTEMPORARY ART FROM ST. PETERSBURG, Tallinn Art Museum.
ART - MOSCOW FAIR, Moscow.
MOVEABLE BESTIARY, Centre for Contemporary Art, Ujyazdowsky Castle, Warsaw.
2000
GUELMAN GALLERY IN THE STATE RUSSIAN MUSEUM, State Russian museum, St. Petersburg.
ANATOMICAL PERSON, Kunstkamera Museum, St Petersburg.
MOVEMENT TOWARDS YIE, Anhava Gallery, Helsinki.
TAXIDERMY, MODEST ARCHITECTURE, A MOVEABLE BESTIARY, State Russian Museum, St Petersburg.
TAXIDERMY, MODEST ARCHITECTURE, Guelman Gallery, Moscow.
DYNAMIC COUPLES, Guelman Gallery, Moscow.
ART - MOSCOW FAIR, Guelman Gallery, Moscow.
1999
FAUNA, National Centre for Contemporary Art, Moscow; National Center for Contemporary Art, Nizhny Novgorod; Zacheta National Gallery , Warsaw.
LOCAL TIME (THE DEVELOPMENT OF CHRONOMETRY IN RUSSIA), State Museum of the History of St Petersburg (in collaboration with Outi Heiskanen).
1998
EXHIBITION OF NEW ACQUISITIONS, State Russian Museum, St Petersburg.
A MOVEABLE BESTIARY IN THE SUMMER GARDEN, Summer Garden, St Petersburg.
SELECTED MATERIAL FOR THE PROJECT "A MOVEABLE BESTIARY", Iosef Bakshteyn Institute of Contemporary Art, Moscow.
RUSSIAN PATENT, Guelman Gallery, Moscow (in collaboration with G. Pellegrini).
1997
MOVEMENT TOWARDS IYE, Centre for Contemporary Art, Ujyazdowsky Castle, Warsaw.
MOVEMENT TOWARDS IYE, Szczecin Biennale, Poland.
RED IN RUSSIAN ART, State Russian Museum, St Petersburg.
5 YEARS OF THE DEPARTMENT OF CONTEMPORARY ART, the State Russian Museum, St Petersburg.
VODKA, Guelman Gallery, Moscow.
1996
RUSSIAN PATENT, Borey Gallery, St Petersburg.
IYE, EXMA Art Centre, Cagliari, Italy (in collaboration with G. Pellegrini).
WEIMAR - KNIGA, Soros Centre for Contemporary Art, St Petersburg.
IYE, Rauma Biennale, Finland.
MOVEMENT TOWARDS IYE, L-Gallery, Moscow.
METAPHERN DES ENTRUCKSTEINS (contemporary art from St Petersburg), Karlsruhe.
1995
MOVEMENT TOWARDS IYE (the archive of I.P. Barinov), Borey Gallery, St Petersburg.
SELF-IDENTIFICATION, Kiel, Berlin, Oslo, Sopot, St Petersburg.
1994
RUSSIAN ALBUM, Borey Gallery, St Petersburg.
MISCELLANY, Gallery 10/10, St Petersburg.
ON THE 10TH ANNIVERSARY OF THE FOUNDING OF THE MITKI GROUP, State Russian Museum, St Petersburg. |
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 Born in Leningrad in 1961
Lives and works in St.Petersburg
Zen-Dandyism
(Excerpt from the text by Ekaterina Andreeva, 2007, for Khlobystin’s exhibition at the Gallery D137 in St. Petersburg, Russia).
Famous Petersburg artist, the curator and the historian of art Andrey Khlobystin represents in D-137 gallery an exhibition of is picturesque-graphic products and light objects on motives of the creativity of the end 1980 – the beginnings of 1990th years. In Andrey Khlobystin's creativity three form-building impulses operate: interest to magic and grotesque from parents-archeologists, researchers of primitive cultures; concept " art will ", apprehended at Ivan Chechot's lectures ; The idea of Michael Larionov representing art as "vsechestvo" received from Timur Novikov, namely as the universal lifelong adventure which is bringing up keenness to the world, to language In total any and especially invisible, usual, not from sphere of art of things.
In critical first third 1990th years Khlobystin creates the vital project under the name " Art will ", including the edition of the same almanac, installation and performances. A subject of representation of "Art will " in its first numbers and actions becomes revolutionary fermentation of a society and free fermentation of outstanding minds.
To the middle 1990 Khlobystin has thought up concept "dzen-dandyism". Then magic shine of glamour amplified every year, and Khlobystin very much in time has paid attention that дендизм (Dandyism) is a paradoxical discipline, esthetics a body, at times rather grotesquely, as a stronghold of unlimited and whimsical personal will.
It prefers heroes and characters, which bear the behavior (radical residing as spoke then Khlobystin) a message that creativity is freedom from dogmatism.
Khlobystin starts to collect such human examples in a collection of the dandy, frickes, foolishes, sacred, spending selection among historic figures of not very well what time and pulling together Feodor Tolstoy-American, the aristocrat, the adventurer and the duelist, with Valery Tcherkasov, the driven off father Leningrad.
(…) Khlobystin's figures based simultaneously on fantastic illustrations and on caricatures, grow as well from close looking the Renaissance pictures. There, on the intermediate plans incorporated by a sketch of the artist with blue mountains of horizons, knights and dragons, monks and the gangsters wandering scientists wandered and lodged. Now mountains of horizon send away in virtual space, and mysterious heroes open everyone in the window, as icons and windows on the monitor of a computer. Khlobystin uses and will simultaneously amortize shone computer space, returning to a modern technogenic sight from "windows" humanity of small houses of Winnie Puha.
In anthropological collection Khlobystin samples of fermentive substance of culture who allow art to not turn sour, and to operate without a limitation period owing to clearness and independence of an idea or surprising grotesqueness of an image. Both that, and another reliably provides magic marginality, that is independence from fast prejudices of a society.
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61 Hearts, 2008
82,5 x 60 cm / 68,7 x 50,8 cm
Numbered and Signed 1/40 - 40/40
Price €650
Code 051 |
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61 Hearts, 2008
82,5 x 60 cm / 68,7 x 50,8 cm
Numbered and Signed 1/35 - 35/35
Price €680
Code 050 |
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61 Hearts, silver 2008
82,5 x 60 cm / 68,7 x 50,8 cm
Numbered and Signed 1/50 - 50/50
Price €600
Code 049 |
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61 Hearts, 2008
82,5 x 60 cm / 68,7 x 50,8 cm
Numbered and Signed 1/50 - 50/50
Price €600
Code 048 |
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50 Houses, 2008
82,5 x 60 cm / 65,8 x 49,8 cm
Numbered and Signed 1/95 - 95/95
Price €500
Code 047 |
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50 Houses, gold 2008
82,5 x 60 cm / 65,8 x 49,8 cm
Numbered and Signed 1/65 - 65 / 65
Price €550
Code 046 |
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50 Houses, 2008
82,5 x 60 cm / 65,8 x 49,8 cm
Numbered and Signed 1/65 - 65 / 65
Price €550
Code 045 |
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50 Houses, 2008
82,5 x 60 cm / 65,8 x 49,8 cm
Numbered and Signed 1/65 - 65 / 65
Price €550
Code 044 |
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St Petersburg Zen Dandys, 2008
Silk screen on paper
101,5 x 77,5 cm / 81,4 x 57,4 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €800
Code 041.
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Universal Ball of Princesses, grey 2008
Silk screen on paper
82,5 x 60 cm / 66 x 50 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €550
Code 043
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Universal Ball of Princesses, silver 2008
Silk screen on paper
82,5 x 60 cm / 66 x 50 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €550
Code 042
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Freestyler, 2010
Silk screen on paper
61 x 80 cm
Numbered and Signed 1/130 – 130 / 130
Price €400
Code 055
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Iron Cross, 2010
Silk screen on paper
61 x 80 cm
Numbered and Signed 1/140 – 140 / 140
Price €400
Code 054
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Slimer, 2010
Silk screen on paper
80 x 60 cm
Numbered and Signed 1/120 – 120 / 120
Price €400
Code 053
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Diana, 2010
Silk screen on paper
61 x 80 cm
Numbered and Signed 1/130 – 130 / 130
Price €400
Code 052
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Date of birth: 040278
Living and working in Sahalahti, Finland
http://anssikasitonni.com/
http://www.anssi8000mariastereo.com/
Kuvaaja Jukka Salminen
Anssi 8000 & Maria Stereo: I Feel Like Surfing
Video: http://www.youtube.com/watch?v=I80QJGDjTms
PRIVATE EXHIBITIONS
2008
Kasitonni´s Christmas, Gallery Alkovi, Helsinki, Finland
Flying chickenrooster, Gallery Carree, Kuopio, Finland
Av-archive´s classic of the month, Forum Box, Helsinki, Finland
Greetings from K.i.t.t.ilä, Gallery Titanik, Turku, Finland
2006
Captain of The Harts, Gallery Myymälä2, Helsinki, Finland
K.I.T.T.´s night out, Gallery huoltamo, Tampere, Finland
2005
Takit or Liivit, Gallery Sculptor, Helsinki, Finland
2001
ArtRobot 8000, gallery Fast Art, Turku, Finland
2000
The Very Best Of My Onion Paintings, Aulagallery, Lahti, Finland
SELECRED GROUP EXHIBITIONS
2010
Mänttä Art Festival, Mänttä, Finland
2009
Tracking traces... Kiasma Museum of Contemporary Art, Helsinki, Finland
Irrfahrt, Felleshus, Berlin, Germany
Stray Trek, Rauma Art Museum, Finland
2008
Helsinki Biennale, Designmuseo, Helsinki, Finland
Summer Exhibition 2008, Honkahovi, Mänttä, Finland
Finnish breakfast, Larm Galleri, Copenhagen, Denmark
Behind the moustache, Cable Factory, Helsinki, Finland
Festart08, TR1, Tampere, Finland
2007
Kettupäivät, competition of experimental film, Andorra, Helsinki, Finland
The Sculpture Speaks, -group exhibition, Tallinn Art House, Estonia
Stuttgarter Filmwinter, Germany
Kuvia ja Kuplia - Comics exhibition, museum of fine arts, Lahti, Finland
2006
Tampere Short Film Festival, Finland
ShiftScale, KUMU Art Museum, Tallinn, Estonia
2005
Natura death - Natural death, Gallery Rajatila, Tampere, Finland
The Wild Men in the Looking Glass, Art 2012, Los Angeles, USA
The Golden Diamond 2, Kerava Art Museum, Finland
Suspend Disbelief, Sparwasser HQ, Berlin, Germany
Turku Biennale, Aboa Vetus & Ars Nova, Turku, Finland
End of Skateboarding, Myymälä2 Gallery, Helsinki, Finland
Silmänkääntäjät, Rauma Art Museum, Finland
2004
Gemine Muse, Museo Storico Navale, Venice, Italy
Group exhibition, Gallery 21, Malmö, Sweden
The Iron Diamond, Myymälä2 Gallery, Helsinki, Finland
Tampere Short Film Festival, Finland
Blind Sight, Contemporary Art Centre, Dundee, Scotland
Gallery Titanik, Turku, Finland
View-04, Movie theatre Andorra, Helsinki, Finland
I Feel, Rauma Art Museum, Finland
Measure of Man, Tennispalace, Helsinki
The Golden Diamond, Lappeenranta Art Museum, Finland
2003
Mänttä Art Festival, Mänttä, Finland
Graduation exhibition, Lahti, Finland
The Art Of Analyste, Sanomatalo, Helsinki, Finland
Pixelache, Kiasma, Helsinki, Finland
Hämärä in the night, with Tommi Pylkkö, Kluuvin galleria, Helsinki, Finland
Young Artists of Finland 2003, Helsinki Art Hall, Finland
2001
Young Artists of Finland 2001, Helsinki Art Hall, Helsinki, Finland
2000
The Art of Analyste, Cable Factory, Helsinki, Finland
COLLECTIONS
Kiasma Museum of Contemporary Art, Finland
Helsinki City Art Museum, Finland
Pro Artibus Foundation
States Fine Art Commission (Finland)
2002-04 Illustrations for "Numero" -skateboarding magazine
RELEASED MUSIC
2005 ANSSI 8000: "Sahalahti shakedown" -EP, Musapojat records
2006 ANSSI 8000: "Kyklops" -MAXI EP, Musapojat records
2006 ANSSI 8000: "Svesse" -MAXI EP, Squashimodo records
2007 ANSSI 8000: "Kyklops vs. Svesse" -ALBUM, Bone Voyage
2008 ANSSI 8000 & MARIA STEREO: "Feel like surfing" -12"EP, Bone Voyage
2008 ANSSI 8000 & MARIA STEREO: "DUEL" -ALBUM, Bone Voyage
PRIZES AND GRANTS
Grant for Gallery Kluuvi´s exhibition, Arts Council of Pirkanmaa, 2009
Grand Prix, short film competition, Split Film Festival 2008, Croatia
1 year grant, Finnish Cultural Foundation, 2008
Arts Council of Finland, Public Display Grant, 2008
States Fine Art Commission, grant for young artists in Finland
States Fine Art Commission, for Eva Brownies -group, 2007
Arts Council of Finland, Public Display Grant, 2006
Kangasala region scholarship, 2005
Raimo Utriainen -foundation scholarship, 2005
Grant for ShiftScale -exhibition in KUMU, Estonia, Arts Council of Finland 2005
Travel Grant to Los Angeles, Arts Council of Finland, 2005
Travel Grant to Berlin, Arts Council of Finland, 2005
Grant for Gallery Sculptor’s exhibition, Arts Council of Finland, 2004
Travel Grant to Sweden, Nifca, 2004
Travel Grant to Venice, Arts Council of Finland, 2004
Public’s favourite at Mänttä Art Festivals, 2003
Wäinö Aaltonen -foundation’s support grant, 2003
Ars Fennica Prize, 2011
EDUCATION
1999-2003 Lahti Polytechnic, Institute of fine Arts
1998-1999 Lahti Polytechnic, Institute of Design
TEACHING ACTIVITIES
Polytechnic of Tampere, Department of Fine Arts, Part-time sculpting teacher 2005, 2006, 2007
Animation courses in children and youth’s fine art schools in Pori, Rauma and Lappeenranta.
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 Kishkovsky, Sophia, "Dmitry Prigov 1940-2007: A Russian poet and performance artist whose work was respected in the west", July 27, 2007 reprint of New York Times obituary; retrieved January 14, 2009
Erich Klein, his friend and German translator, remembers Dmitry Prigov as one of the most important poets of the late and post-Soviet era
Dmitri Prigov 5 November 1940 – 16 July 2007
Selected Solo Shows
2009
Dimitrij Prigov - Galleria Melesi, Lecco, Italy
2008
The Appointing Gesture: The Worlds and Images of Dmitry Prigov - Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ
Dmitry A. Prigov. CITIZENS! PLEASE MIND YOURSELVES! - Moscow museum of modern art - MMOMA, Moscow
Dmitri Prigov (1940-2007) - Arbeiter der Kunst - Sandmann - Berlin, Berlin
2006
Dmitri Prigov - On the Boundary of the Black - MLAC - Museo Laboratorio d'Arte Contemporaneo, Rome
2004
Dimitrij Prigov "Monster und ..." - Sandmann - Berlin, Berlin
1996
Dmitrij Prigow : 1975-1995 - Musée d'Art moderne de Saint-Etienne, Saint-Etienne
1995
Dmitri Prigov: God is Dead - Ludwig Museum - Museum of Contemporary Art - Budapest, Budapest
Selected Group shows
2010
Les Promesses du passé - Centre Pompidou - Musée National d´Art Moderne, Paris
Russian Utopias - Garage Center for Contemporary Culture - GCCC, Moscow
2009
Dmitry Prigov / Said Atabekov - LONELY AT THE TOP - MuHKA Museum voor Hedendaagse Kunst Antwerpen, Antwerp
Russian Video Art - Egon Schiele Art Centrum Cesky Krumlov, Ceský Krumlov
Azioni molto semplici senza uno scopo preciso - Artra, Milan
New Acquisitions – Rarely Seen Works - Ludwig Museum - Museum of Contemporary Art - Budapest, Budapest
"Tauwetter und die Zeit danach" - Teil I - Moskauer Maler 1958-1986 - Sandmann - Berlin, Berlin
2008
La Ilustracion total - Rte Conceptual de Moscu 1960-1990 - Fundación Juan March, Madrid
Die totale Aufklärung - Moskauer Konzeptkunst - Schirn Kunsthalle, Frankfurt/Main
"...einen AUGEN-Blick, bitte!" / "Please cast an eye...!" - Kunstverein Bad Salzdetfurth e.V., Bodenburg
2007
Sots Art. Art politique en Russie de 1972 à aujourd'hui - La Maison Rouge, Paris
Depository of Dreams - White Space Gallery, London (England)
Return of the Memory - New Art from Russia - Kumu Art Museum, Tallinn
2006
HANDMADE DRAWING - Krokin Gallery, Moscow
Arteast Collection 2000+23 - Moderna Galerija - Ljubljana, Ljubljana
Jörg Immendorff - Ludwig Forum für Internationale Kunst, Aachen
Essence of Life Art - The State Russian Museum - Marble Palace, St. Petersburg
In the collective’s shadow - Sandmann - Berlin, Berlin
Artists Against The State: Perestroika Revisited - Ronald Feldman Fine Arts Inc, New York City, NY
2005
Essence of Life Art - The State Tretyakov Gallery, Moscow
Landschaft – Visionen. Vom Realismus zur Konzeptkunst - Sandmann - Berlin, Berlin
Essence of Life - Essence of Art - Ludwig Museum - Museum of Contemporary Art - Budapest, Budapest
Bellum - Bellum: Gedächtnis dreier Generationen - Sandmann - Berlin, Berlin
See-Food - Sandmann - Berlin, Berlin
2004
The Seven Sins - Moderna Galerija - Ljubljana, Ljubljana
My Kabakov - Stella Art Foundation, Moscow
face/off. Mediale Körperphantasien - Kunstverein Pforzheim e.V., Pforzheim
2003
Ortstermin Moskau - 1970 und die Zeit danach - Sandmann - Berlin, Berlin
Berlin-Moskau Moskau-Berlin 1950-2000 - , Berlin
2002
Ricomincio da te - Galleria Melesi, Lecco
1997
Cartomania - Galleria Melesi, Lecco
1996
Vladimir Kuprianov; Dmitry Prigov - Resolution methods for the infinite small values - XL Gallery, Moscow
1993
ROSA e GIALLO - Le Creux de l´enfer - centre d´art contemporain, Thiers
Deutschsein? - Kunsthalle Düsseldorf, Dusseldorf
1987
documenta 8 - Documenta, Kassel
Пригов Дмитрий Александрович
Выставки
Галерея Струве, 1988, Чикаго
St. Louis Gallery of Contemporary Art, 1989, St. Lois
100 возможностей, 1991, Inter Art, Berlin
Полет над заснеженным пространством, 1991, Галерея Крингс-Эрнст, Кельн
Галерея Вебера, 1993, Мюнстер
Выставка в Кунстферайн, Людвигсбург, 1994,Германия
Русский музей, 1994, С-Пб
Компьютер в русской семье, 1994, Галерея Гельмана, Москва
Государственный музей, 1995, Мюльхайм ам Рур
Людвиг Музей, 1995, Будапешт
Musee d'Art Moderne, 1995, Saint-Etienne
Воля и представление как покой и воля, 1995, Галерея Гельмана, Москва
Монстропология, 1996, Галерея Крингс-Эрнста, Кельн
Русский Тибет, 1966, Веверке-Павилион, Мюнстер, Германия
Линия жизни, 1996, Галерея Гельмана, Москва
Выставка в галерее Фриджерио, Лекко, Италия
Мерцающая темнота, 1998, IFA- Galerie, Берлин
Выставка в галереее Spacio Umano, 1998, Милан
Серии, 1998, Галерея Вельта, Москва
Люди с третьим глазом, 1998, Галерея Крингс-Эрнста, Кельн
Число русской литературы, 1999, Галерея OBSCURI VIRI в зале Росизо, Москва
ICA, 2000, Саппоро, Япония
Инсталляционные проекты, 2000, Дом, Москва
Фото-материалы, 2000, Дом, Москва
Вагина Малевича, 2000Русский музей, СПБ
Генеральное число Koln Messe, 2000, Кельн
Фантомы инсталляций, 2001, Gallery White Space, Лондон
Фантомы инсталляций, 2002, Pittsburg Museum
Выставка в Austrellungsraum Klingental, Базель, 2003
В присутствии постороннего, Muzeum Quertire (Kultur Kontakt), Wien, 2003
Коллективные выставки
Неофициальное искусство, 1987, Выставочный зал Красногвардейского района, Москва
Современное искусство, 1987, Выставочный зал на Кузнецком мосту, Москва
Геометрия в современном искусстве, 1988, Выставочный зал Красногвардейского района, Москва
2-ая выставка клуба Авангардистов, 1988, Москва
Живу и вижу, 1988, Художественный музей, Берн
Новые русские, 1988, Дворец Культуры и Науки, Варшава
Исскунство, 1988, Берлин
Гласность, 1988, Кунстхалле, Емден, Германия
Лабиринт, 1989, Замок Вотерсен, Гамбург
Галерея Крингса-Эрнста, 1989, Кельн
Москва - Третий Рим, 1989, Сала Уно, Рим
Новостройка, 1989, Институт современного искусства, Лондон
Исскунство, 1989, Москва
СССР сегодня, 1989, Aix-la-Chapelle, France
CCCР сегодня, 1990, Musee d'Art Moderne, Saint-Etienne
Советское концептуальное искусство, 1990, Художественный Музей, Такома, США
В сторону объекта, 1990, Стедлик Музей, Амстердам
От Революции до Перестройки, 1990, Лильеваль Кунстхаллe, Стокгольм
Библия и современное искусства, 1991, Доминиканский монастырь, Франкфурт на Майне
Музей Мани, 1991, Кармелитский монастырь, Франкфурт на Майне
Советское искусство, 1991, Кунстхалле, Дюссельдорф
Советское искусство, 1991, Израильский Музей, Иерусалим
Советское искусство, 1991, Московский дом художника
Метрополис, 1991, Мартин Гроппиус Вау, Берлин
Kunst Europa, 1991, Кунстферайн, Ханновер
Gelle e rose, 1991, Галерея Марио Перони, Рим
Современные русские художники, 1991, Auditorio di Galicia, Сантьяго де Компостелла
Бывший СССР, 1992, Гроннинген Музей, Голландия
Deutschsein, 1993, Кунстхалле, Дюссельдорф
Gelle e rose, 1993, Le Creux de l'Enfer, Thiers, France
Gelle e rose, 1993, Ренн, Франция
Судьба текста - 1, Галерея L, Москва
Русское искусство 20 столетия, 1993, Йозеф-Хаубрих-Кунстхалле, Кельн
5 Bienalle der Papierkunst, 1994, Leopold-Heusch-Museum, Дюрен, Германия
Остановка в Москве, 1994, Людвиг Форум, Ессен
Воображаемый отель, 1994, Лейпциг
ISEA - International Simposium of Electronic Art, 1994, Хельсинки
Fredsskulptur 1995, Skanderborg
Биеналле, 1995, Кванджу, Южная Корея
Судьба текста - 2, 1995, Галерея L, Москва
Экспозиция московского музея современного искусства, 1995, Людвигсхаффен, Германия
Экспозиция московского музея современного искусства, 1995, Музей Альтенбурга, Германия
Галерея XL, 1996, Москва
Выставка в Университетском музее, 1997, Амстердам
Выставка в галерее Hohentahl, 1997, Берлин
7 Bienalle der Papierkunst, 1998, Leopold-Heusch-Museum, Дюрен, Германия
Preprintium, 1998, Staats Bibiliothek, Берлин
Карманные выставки, 1998, Галерея Митьков, С-Пб
Монстры, 1998, Галерея Гельмана, Москва
Истончающиеся идеологемы, 1998, Art Fair, Манеж, Москва
Галерея Hohenthal, 1999, Берлин
Русский центр, 1997, Будапешт
Экспозиция по поводу открытия музея в Сараеве, 1999, Сараево, Босния
Генеральное немецкое число, 2000, Выставочный зал на Каширке, Москва
Перформанс и Генеральное число биеннале в Валенсии, 2000, Валенсия
Генеральное число Frankfurt Messe, 2002, Франкфурт
Портрет Фрейда и Генеральное число теории Фрейда, 2002, Музей Фрейда, Лондон
Берлин-Москва, 2003, Берлин, Martin-Groppius-Bau
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Love, 2006 / 2007
Silk screen on paper
80 x 60 cm / 55,7 x 39,7 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €700
Code 040
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Soul, 2006 / 2007
Silk screen on paper
80 x 60 cm / 56 x 40,5 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €700
Code 039
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Flower, 1996 / 2007
Silk screen on paper
80 x 60 cm / 56 x 40,5 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €700
Code 038
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Black Cloud, 1996 / 2007
Silk screen on paper
60 x 80 cm / 55,5 x 39,7 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €700
Code 037
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I get sick of your blue beard, 2007
Silk screen on paper, gold colour
60 x 80 cm / 61 x 43 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €500
Code 036
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Mermaid (Why do I need legs at all, Prince), 2007
Silk screen on paper, silver colour
60 x 80 cm / 61 x 43 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €500
Code 035
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Anna Karenina - Please Karenin, I ask you to stop!, 2007
Silk screen on paper, bronze colour
60 x 80 cm / 61 x 43 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €500
Code 034 |
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Nesquick Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/80 – 80/80
Price €900
Code 087
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Corn Flakes Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/80 – 80/80
Price €900
Code 086
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Cap'n Crunch Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/80 – 80/80
Price €900
Code 085
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Choco Rice Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/90 – 90/90
Price €900
Code 084
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Smacks Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/90 – 90/90
Price €900
Code 083
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Frost Rice Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/80 – 80/80
Price €900
Code 082
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Frosted Flames Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/95 – 95 / 95
Price €900
Code 081
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Frosted Flakes Box, 2010
Silk screen and lacquer on cardboard
54,5 x 38 x 11,5 cm
Numbered and Signed 1/95 – 95 / 95
Price €900
Code 080
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Cap’n Crunch, Happy Printer’s Remixes No 1-10, 2010
1. Silk screen on cardboard (450g), with a stamp, 114 x 80,5 cm, numbered and signed 1/28 - 28/28. Price €1300. Code 070
2. Silk screen on cardboard (450g), with two stamps, 114 x 80,5 cm, numbered and signed 1/25 - 25/25. Price €1300. Code 071
3. Silk screen and lacquer on cardboard (450g), with a stamp, 114 x 80,5 cm, numbered and signed 1/28 - 28/28. Price €1300. Code 072
4. Silk screen on cardboard (art), 88 x 126 cm, numbered and signed 1/200 - 200/200. Price €700. Code 073
5. Silk screen on cardboard (playing card), with a stamp, 88 x 126 cm, numbered and signed 1/47 – 47/47. Price €1200. Code 074
6. Silk screen and UV-lacquer on cardboard (playing card), with a stamp, 88 x 126 cm, numbered and signed 1/48 – 48/48. Price €1250. Code 075
7. Silk screen and UV-lacquer on cardboard (playing card), 88 x 126 cm, numbered and signed 1/130 – 130/130. Price €900. Code 076
8. Silk screen on cardboard (milk carton), 86 x 128 cm, numbered and signed 1/28 - 28/28. Price €1300. Code 077
9. Silk screen on polypropein (scoreboard, light box), 86 x 128 x 12 cm, numbered and signed 1/14 - 14/14. Price €2500. Code 078
10. Silk screen on polypropein (scoreboard, light box), 86 x 128 x 12 cm, numbered and signed 1/12 - 12/12. Price €2500. Code 079
Detail. Remixes no 1,2,3,5 and 6 have a stamp 'Anything Helps', which glows in the UV-light.
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Nesquick, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 069
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Corn Flakes, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 068
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Cap'n Crunch, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 067
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Choco Rice, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 066
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Smacks, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 065
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Frost Rice, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 064
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Frosted Flames, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 063
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Frosted Flakes, 2010
Silk screen and lacquer on paper
61 x 41 cm
Numbered and Signed 1/150 – 150 / 150
Price €400
Code 062
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Eat&Joy, Three Boys, 2005
Silk screen on paper
81 x 59 cm / 69,5 x 48,5 cm printing area
Numbered and Signed 1/200 - 200 / 200
Price €350
Code EJ001
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Jani Leinonen was born in Hyvinkää, Finland in 1970. He studied in art in Helsinki and moved to New York when he was 22. Leinonen has said to have three goals in his art: "I want to make an artwork that will be stolen from a museum, to make an artwork that will end up pirate production in Shanghai, and I want to become so famous that Damien Hirst's mother knows me."
Jani Leinonen plays with the systems of commodity exchange and celebrity. He aims at revealing the hidden codes behind seemingly neutral images and displays. The strategy Leinonen uses is rather unique in contemporary art, but has deep historical roots. He's the King's jester, a special figure whose role in the old courts was to express that which could not be said - a moral voice in a disguise of colourful pop art and junk food culture. He immerses himself in these processes instead of simply criticising them. What is displayed, though, are not goods but an artistic allegorisation that appropriates these marketing strategies only in order to unhinge their underlying assumptions about value and appropriateness.
Jani Leinonen is currently working and living in Helsinki.
www.janileinonen.fi
SOLO SHOWS
2009
Retrospective, Hyvinkää Art Museum, Hyvinkää
Free World, Collaboration with Riiko Sakkinen, Bourouina Gallery, Berlin
Jani's and Riiko's Free World (with Riiko Sakkinen), Amos Anderson Art Museum, Helsinki, Finland
Rejected Ideas for Cap'n Crunch Advertisements, Gallery Moeller Snow, NY, USA
2008
Coulrophobia, Oulu Art Museum, Oulu, Finland
Rejected Ideas for Advertisements, Gallery Krista Mikkola, Helsinki, Finland
Forbitten Advertisements, Gallery Stoa, Vantaa, Finland
2007
Rejected Ideas for Elovena Oatmeal Advertisements, Gallery Huoltamo, Tampere
Jani's Art Chop Shop, Contemporary Art Museum Kiasma, Helsinki
Anything Helps, Bar 9, Helsinki
Anyhing Helps, Gallery Koivulinna, Pukkila
Undress me (with Paola Suhonen), Ivana-koti, Helsinki
2006
Art Super Market Pikasso, Helsinki
2005
Pay-per-Art, Platform, Vaasa
2004
Uutuus! Nyhet! Galleria Krista Mikkola, Helsinki
Boz Ulu Delgin, Testsite, Austin
Earn Money without a Job (with Riiko Sakkinen), San Antonio
2003
Cocktail, Kuvataideakatemian galleria, Helsinki
2002
Jani Leinonen vs. Riiko Sakkinen, Kluuvin galleria, Helsinki
Pay-per-View, Plus Ultra Gallery, New York
GROUP SHOWS
2009
The Man Who Fell to Earth. Curated by Rául Zamudio. Beijing 798 Biennale
Aspect of Pop, Galerie Gmurzynska, Zürich
The Collectors, Nordic and Danish Pavilion, Biennale di Venezia, Venice
Får ei överstäckas, Eskilstuna Kunstmuseum, Eskilstuna, Sweden
Trickle Down Theory, Korjaamo Gallery, Helsinki
Megalomania, Huoltamo Gallery, Tampere
On the Right Track, Contemporary Art Museum Kiasma, Helsinki
2008
Sampo, 4mula Gallery, St. Petersburg
Finnish Breakfast, Larm Gallery, Copenhagen
Purnu, Orivesi
Fennofolk, Design Museum, Helsinki
2007
Flag Show, Lasipalatsinaukio, Helsinki
2006
Unclassified, Helsinki City Art Museum, Helsinki
2005
Turku Shop, Turku City Art Museum, Turku
No Painting! Kunsthalle Tallin
Populism, Frankfurter Kunstverein, Frankfurt
Populism, The Contemporary Art Centre, Vilnius
Populism, Amsterdam Stedelijk Museum, Amsterdam
Vasta maalattu, Keravan taidemuseo, Kerava
2004
Untittled, Galerie Mathias Kampl, Münich
Peinture Fraiche, Le Triage, Paris
Mäntän kuvataideviikot, Mänttä
Musta tuntuu, Rauman taidemuseo, Rauma
2003
Process, Kiasma, Helsinki
2002
Peep Art, Kuvataideakatemian galleria, Helsinki
2001
Tamarindos, Tijuana
National Championships of Art, Kiasma-teatteri, Helsinki
Star Critic (with Jaakko Veijola), Kiasma, Helsinki
2000
Cows (with Marko Myllyluoma), Windhoek
1999
11 ja 33 vaikuttajaa (with Joonas Kota), Kuvataideakatemia, Helsinki
WORKS IN COLLECTIONS
Contemporary Art Museum Kiasma
Amos Anderson Museum
Helsinki City Art Museum
Turku Art Museum
Various private collections in Europe, US and Russia
STUDIES
1997-2002, Academy of Fine Art in Helsinki, MFA
2000, Helsinki University, Department of Pedagogy
1999-2000, Carnegie Mellon University, Pittsburgh
PUBLICATIONS
2009
Jani and Riiko´s Free World, Amos Anderson Museum
2006
Boz Ulu, with Riiko Sakkinen, Fluent Collaborative
2004
Jani Leinonen Mail Order Catalog, Spring Collection
2003
Jani Leinonen -postimyyntiluettelo, Fall Collection
Consumer Revolution in Art, Kuvataideakatemia
2001
National Championships of Contemporary Art
1999
11 ja 33 Celebrities, with Joonas Kota |
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Marzipan Marx, 2010
Silk screen on paper
65 x 62 cm
Numbered and Signed 1/100 – 100 / 100
Price €450
Code 061
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Neon Blonde, 2010
Silk screen on paper
65 x 62 cm
Numbered and Signed 1/100 – 100 / 100
Price €450
Code 060
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Candy Cane, 2010
Silk screen on paper
65 x 62 cm
Numbered and Signed 1/100 – 100 / 100
Price €450
Code 059
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Sweet Illusionist III, 2010
Silk screen on paper
65 x 62 cm
Numbered and Signed 1/100 – 100 / 100
Price €450
Code 058
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Sweet Illusionist II, 2010
Silk screen on paper
65 x 62 cm
Numbered and Signed 1/100 – 100 / 100
Price €450
Code 057
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Illusionist I, 2010
Silk screen on paper
65 x 62 cm
Numbered and Signed 1/100 – 100 / 100
Price €450
Code 056
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Eat&Joy Bambi, 2008
Silk screen on paper
81 x 59 cm / 68 x 48,8 cm printing area
Numbered and Signed 1/150 - 150 / 150
Price €350
Code EJ005
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Katja Tukiainen
born in Pori 1969, lives and works in Helsinki, Finland
Katja Tukiainen is working in the fields of painting, graphic novel, drawing and site specific installation. In her works you can find references to old children’s books, vignettes and teens culture. Her works have an alluring quality of cuteness and strange quirkiness.
Katja Tukiainen’s works have been shown in several solo and group exhibitions in Finland and abroad. Her works are included in many important Finnish public collections, among others Kiasma, Museum of Contemporary Art collection.
Katja Tukiainen graduated (MA) year 1996 from University of Art and Design Helsinki, and is now studying in the Academy of Fine Arts in Helsinki. She has also studied in Academy of Fine Arts in Venice, and has been an artist in residence in Mazzano Romano and New York.
www.katjat.net
SOLO EXHIBITIONS (selection)
2010
Paradis d, Cafe Bar No 9, Helsinki Festival, 2010
2009
Katja Tukiainen Exhibition, Gallery KUD, Ljubljana, Slovenia
Playground, Korjaamo Galleria, Helsinki
Katja Tukiainen Exhibition, Gallery 100 Svoih, St. Petersburg, Russia
Painting installation, Zou-No-Hana Art Center, Yokohama, Japan
2008
Paintings, Nordic ArtWorks London Gallery, London
Paintings, Finnish institute in Stockholm, Sweden
Paintings, Galleria Krista Mikkola
2006
A Thousand Dollars Buck, paintings, gall. Bakeliittibambi, Helsinki
2005
Nursing Diary, paintings, galleria Bakeliittibambi, Helsinki
2004
Paintings and Comics, Art Museum of Kouvola, Kouvola
2003
Souvenir, paintings, galleria Bakeliittibambi, Helsinki
2001
Paintings, galleria Artaround, Helsinki
2000
When the pee does not come, paintings, Finnish institute in Tallinn, Estonia
1999-2000
Crochet hook, paintings, galleria Bakeliittibambi, Helsinki
1999
Girl and the Granny, paintings, galleria Bakeliittibambi, Helsinki
1995
Paintings, Into galleria, Helsinki
GROUP EXHIBITIONS (selection)
2010
Punahilkka / Little Red Riding Hood, Oulu Art Museum
Mäntän XV Kuvataideviikot/The XV Mänttä Art Festival, Finland
8140 kg Kasitonni-Leinonen-Tukiainen, TR1 Arthall Tampere
Contemporary Nordic Comics, Nordiska Akvarellmuseet, Sweden
2009
Hyvät naiset, Hyvinkää Art Museum, Hyvinkää, Finland
Jahaa! Felleshus, Berlin
Kalevala, Ateneum Art Museum, Helsinki
Trickle Down Theory / Valumateoria, Galleria Korjaamo, Helsinki
Tell Me More, The Latvian Centre for Contemporary Art (LCCA), Riga, Latvia
The last match, Baltanakts, Riga, Latvia
2008
Henki, Galleria Jangva, Helsinki
"Be Honest!", Spiral Garden, Tokyo, Japan
Liebe malerei maler me, Show Room X, Helsinki
Katja Tukiainen and Inga Saetre, Finsk-norsk kulturinstitutt, Oslo
"SAMPO. VISA TO FINLAND", FORMULA Gallery / Loft, Saint-Petersburg, Russia
2007-08
DRAWING CLASS, Kunsthalle Helsinki
2007
Nord in progress, Firenze, Italy
Akkurat! Bomuldsfabfiken kunsthall, Arendal, Norway
Idän taju, Hyvinkää Art Museum, Hyvinkää, Finland
Points Of Viev, Fiskars, Finland
Contemporary Art from the Collection of Jenny and Antti Wihuri foundation, Jyväskylä Art Museum, Finland
Amerikka! Art Center Lovely, Heinola, Finland
Kuvia ja kuplia, Lahti Art Museum, Lahti, Finland
Glasgow Art Fair, UK
Affordable Art Fair, London, UK
2006
Terrortory, Pakt-gallery, Amsterdam, Netherlands
Terrortory, Muu-gallery, Helsinki
Unterwegs, Fumetto, Luzern, Sveitsi
Regardless of the weather, Gallery Karton, Budabest, Hungary
Katja Tukiainen & Matti Hagelberg en Inde, Finnish Institute in Paris, France
Soleil de minuit, Angouleme, France
2005
Helsinki international, Korjaamo culture factory, Helsinki
Pictures & words, Magma Clerkenwell, London, UK
6. Salaolisboa, Lissabon, Portugal
Fumetto - Comics aus Finnland, Luzern, Switzerland
Nian, Reykjavik art museum, Iceland
Keep on the asphalt, Auckland, New Zealand
2003
Tyttöjen elämästä, Amos Anderson Art Museum, Helsinki
Tiettyä magnetismia, Lönnström Art Museum, Rauma
Keep on the asphalt, Cable factory, Helsinki
Keep on the asphalt, Biennale of young artist’s, Athens, Greece
2001
106. Annual Exhibiton Of Finnish Artists, Museum of Central Finland, Jyväskylä
A letter for a dead friend, Picasso Museum, Luzern, Switzerland
Mänttä Art Weeks, Mänttä, Finland
Time in Mazzano, Kunsthalle, Helsinki
Young artists exhibition 2001, Kunsthalle, Helsinki
2001-2003
Bd@fi, Paris, Caen, Antwerben, Berlin, Kemi, Stockholm, Göteborg, Helsinki
2000
Biennale di arte emergente, Torino, Italy
1999
Whom should I call next?, KIASMA, Museum of Contemporary Art, Helsinki
1996
Ruudun valossa, Tampere Museum of Contemporary Art, Tampere
1995
Rassegna d'Arte, Sassoferrato, Italy
Auto Arte, Venice, Italy
Arte a Pordenone, Pordenone, Italy
WORKS IN COLLECTIONS
Nordic Watercolour Museum
KIASMA, Museum of Contemporary Art, Helsinki
The State Art Collection of Finland
Amos Anderson’s Art Museum, Helsinki
Helsinki City Art Museum
Saastamoinen Foundation in EMMA, Espoo Museum of Modern Art
The City of Oulu Art Collection, Finland
Kouvola Art Museum, Finland
Teresia and Rafael Lönnström Foundation, Finland
Jenny and Antti Wihuri Foundation in Rovaniemi Art Museum, Finland
EDUCATION
Studies for the Doctor of Fine Arts, Finnish Academy of Fine Arts, 2009-
Master of Fine Arts, Finnish Academy of Fine Arts, 2007-2009
Master of Arts, University of Art and Design, Helsinki, 1990-1996
Studies in painting, Academy of Fine Arts of Venice, 1994-1995
GRANTS
Finnish Cultural Foundation, 2009
Niilo Helander Foundation, 2009
Public Display Grant for Visual Artist, 2008
Otava Foundation, 2007
Finnish Cultural Foundation, 2006
Finnish Cultural Foundation, 2005
Alfred Kordelin Foundation, 2004
Public Display Grant for Visual Artist, 2003
Visual Arts Council Project Grant, 2003
1 Year State Grant for Artist, 2002
Tammi Foundation, 2001
Library Grant, 2001
Finnish Cultural Foundation, 2000
Finnish Cultural Foundation, 1998
Finnish Cartoonists' Association, 1998
Väinö Tanner Foundation, 1997
AWARDS AND OTHERS
The State Prize for Desing, 2007
Puupää hat, Finland’s Comics Association’s Award, 2003
The Regional Artist of the Arts Council of Uusimaa, 1999-2001
ARTIS IN RESIDENCE
Spiral / Walcoal Art Center & Bank Art Recidence, Japan, 2009
New York, Finnish Cultural Institute in New York, 2008
Mazzano Romano, Italy, Väinö Tanner Foundation, 1997
MEMBERSHIPS
Finnish painters' union
Helsingin taiteilijaseura
Artists' Association MUU
MONOGRAPH
KATJA TUKIAINEN WORKS
(paintings 1999-2007, Timo Valjakka's article, english/french/finnish)
112 pages, Daada, 2007
GRAPHIC NOVELS / COMIC BOOKS
Russinet, 100 pages, Optimal press, Sweden, 2008
Rusina, 96 pages, Like, Finland, 2008
Kisun ABC, 32 pages, Otava, Finland, 2007
Brev från Indien, 96 pages, Optimal press, Sweden, 2003
Postia Intiasta (Post from India), 96 pages, Suomen Yrityslehdet, Finland, 2002
Jos olisin prinsessa (If I were a princess), 24 pages, Suomen Yrityslehdet, Finland, 1999
A-B-C, 128 pages, author's edition, 1999
Tyttö ja mummo (Girl and granny), 45 pages, publishing house Jalava, Finland, 1998
Tyttöjen leikit (Girls plays), 46 pages, publishing house Jalava, Finland, 1997
Graphic novels published in Finland and Sweden
Graphic short stories published in Europe and USA |
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Eat&Joy, Eat&Joy, Walt Disney Bisquterie, 2007
Silk screen on paper
81,5 x 58,8 cm / 68 x 48,5 cm printing area
Numbered and Signed 1/150 - 150 / 150
Price €350
Code EJ003
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Eat&Joy serigraphy Walt Disney Biscuterie, made by Mikko Ijäs, is an essential part of his wide collection of work called Vincent van Gogh and Walt Disney Collection. This new piece, commissioned by Eat&Joy, gives a picture of Walt Disney as a French gourmet cookie factory owner instead of the film producer and innovator as we all know him.
The collection Vincent van Gogh and Walt Disney by Mikko Ijäs handles with artists’ identities through two examples. Vincent van Gogh represents a romantic and suffering genius, whereas Walt Disney can be seen as an artist, but also a successful businessman.
These works of Mikko Ijäs are called a collection to avoid the pieces to be considered expressive pieces of art, as a result of the artist’s self expression. The meaning of the collection is to raise questions about a piece of art being a fetish-like collector’s piece and an ingenious exception from worshipping an artist.
Mikko Ijäs is a doctorate student of art at the University of Art and Design Helsinki, the School of Visual Culture, where he also finished his MA degree in 2006. Vincent van Gogh and Walt Disney Collection is an artistic part of his doctorate degree.
Mikko Ijäs’s works are a part of many art collections and his works have also been exhibited in many private and group exhibitions in Finland and abroad.
Mikko Ijäs lives and works in Helsinki.
www.mikkoijas.com
CURRICULUM VITAE
Born May 26th 1978 in Jyvaskyla, Finland
Lives and works in Helsinki, Finland
UPCOMING EXHIBITIONS
2010
Galerie Maud Piquion (together with Mika Karhu), Berlin (Germany)
Gallery Studio 77 (together with Andries Fourie and Nicky Marais), Windhoek (Namibia)
Galerie Maud Piquion, Weimar (Germany)
Kerava Art Museum, Kipu/Pain, curated by Mika Karhu, Kerava
SOLO EXHIBITIONS
2010 Gallery Maaret Finnberg (together with Mika Karhu and Jan Kennet Weckman), Turku
2008 Anyway Gallerie, Berlin, Germany
2007 Krista Mikkola’s Studio, Helsinki
2006 Kummigallery, Oulu
2006 Gallery Mania, Tampere (Invitation show)
2005 Jyvaskyla Art Museum, Jyvaskyla (Invitation show)
2005 Gallery Parasit3, Helsinki
2004 Gallery Titanik, Turku
2003 The Attic Gallery Brinkkala, Turku
GROUP EXHIBITIONS
2010 Ludwig Museum, curated by Mikko Ijäs and Mika Karhu, Koblenz (Germany)
2009 Kunsthalle, Young Artists, Helsinki
2009 Tulipamwe, Franco-Namibian Cultural Centre, Windhoek (Namibia)
2009 Tulipamwe, Goethe Centre, Windhoek (Namibia)
2009 Trickle-down Theory, curated by Riiko Sakkinen, Gallery Korjaamo, Helsinki
2008 Fennofolk - New Nordic Oddity, curated by Paola Suhonen, Design Museum, Helsinki
2007 Conversations, curated by Cécile Marie, Kerava Art Museum, Kerava
2007 Mänttä Art Festival, curated by Jani Leinonen, Mänttä
2006 Bomarzo a Bomarzo - Arte Contemporanea, Palazzo Orsini, Bonarzo, Italy
2006 Art Fair Suomi, Cable Factory, Helsinki
2006 Helsinki International 06, curated by Timo Valjakka, Tram Museum, Helsinki
2006 Art Supermarket Pikasso, Helsinki
2006 Välillä on väriä, Jyväskylä Art Museum, Jyväskylä
2006 En ole täällä yksin, curated by Heli Hiltunen, Gallery Hippolyte, Helsinki
2006 Futuro Presento – Nuove Creatività del Mondo, Federcultura, Rome, Italy
2006 Masters of Arts 2006, Lume Centre, Helsinki
2005 Christmas Mania, Gallery Mania, Tampere
2005 Art Fair Suomi, Cable Factory, Helsinki
2004 Manifest05, Gallery Korjaamo, Helsinki
2004 Nelja, curated by Jari Silomaki, Taidepanimo, Lahti
2004 Elama, curated by Anna Vilkuna, VB-Photographic Centre, Kuopio
2004 Stockholm Art Fair, Stockholm, Sweden
2003 Joku Paiva, The Lonnstrom Art Museum, Rauma
2001 Kaari, Gallery Manilla, Turku
2001 Photographers of Central Finland, curated group exhibition, Gallery Harmonia, Jyvaskyla
RESIDENCIES and Workshops
2009 Tulipamwe international artists workshop, Okakarara (Namibia)
2003 Polaroid 20x24 Studio, New York (USA)
WORKS IN COLLECTIONS
Polaroid 20x24 Studio, New York (USA)
Finnish Embassy, Windhoek (Namibia)
Arts College of Namibia, Windhoek (Namibia)
Collection of Jyväskylä Art Museum, Jyväskylä
The Foundation of Teresia ja Rafael Lonnstrom, Rauma
University of Turku
Private Collections, Finland, France, Namibia, Spain, Switzerland
EDUCATION
2007– Doctor of Arts student, University of Art and Design (visual culture), Helsinki
2009 Studies on Neuropsychology, University of Helsinki
2006 Master of Arts, University of Art and Design (visual culture), Helsinki
2004 Bachelor of Arts, Turku Arts Academy (photography), Turku
GRANTS
2008 the Finnish Cultural Foundation, 3-year working grant for doctoral dissertation work
2008 Finnish Fund for Art Exchange, grant for foreign exhibitions
2007 Arts Council of Helsinki Metropolitan Region
2006 Kesko Arts Student Stipend
2005 the Finnish Cultural Foundation, Arts Counscil of Helsinki Metropolitan Region
2005 Arts Council of Helsinki Metropolitan Region
2005 The Central Association of Finnish Photographic Organizations
2003 the Finnish Cultural Foundation
MEMBERSHIPS
2005 – The Union of Artist Photographers
2006 – Kiila Ry
2009 – The Union of Researchers |
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Born 1959, Lugansk, Ukraine
Works as an artist and curator
Lives and works in UK
Founder of St. Petersburg Institute of Experimental Arts & Performance, 1996.
Curator of Festival of Experimental Arts, St. Petersburg, Russia, 1996-2006.
Member of State Union of Russian artists since 1991
Studied: High School of Art, Lugansk, Ukraine (1974 – 1979)
Academy of Art, St. Petersburg, Russia (1983 – 1989).
Awarded fellowship to Wimbledon High School of Art, U.K. (1990 – 1991).
Since 1986 participated in over 200 exhibitions and performances in Russia,
Germany, Poland, UK, Belgium, Netherlands, Finland and USA.
Links:
Oleg Yanushevsky: Iconic Russian Finds Asylum in London
http://www.culturekiosque.com/art/news/oleg_yanushevsky.html
UNHCR – Article 19 / Statement on the case of Oleg Yanushevsky
http://www.article19.org/pdfs/press/statementoyanushevsky.pdf
2010 – Année France-Russie: Artistes en Russie entre rébellion et répression
http://www.louvrepourtous.fr/Artistes-en-Russie-entre-rebellion,417.html
Recent exhibitions
Pushkin House, London, UK 2008
Krista Mikkola gallery, Helsinki, Finland 2008
HMS President (1918), London, UK 2007
SOLANA Gallery, London 2007
MEZZO Gallery, Helsinki, Finland 2006
View Two Gallery, Liverpool, UK 2005
MEZZO Gallery, Helsinki, Finland 2005
Anya Tish Gallery, Houston, USA 2000-2005
Marat Guelman Gallery, Moscow, Russia 2002-2004
Art Moscow, Russia 2001-2004
City Museum, St. Petersburg, Russia 2003
Oriel Myrddin Gallery, Carmarthen, UK 2003
Pussy Galore Gallery, Berlin, Germany 2002
University of Cologne, Germany 2002
Stadtgalerie Bremen, Germany 2002
MEZZO Gallery, Helsinki, Finland 2001
S.P.A.S. Gallery St. Petersburg, Russia 1995-2004
Glass Palace, Helsinki, Finland 2000
Russian Museum, St. Petersburg, Russia 2000
Russian Art Show, De Wijk, Netherlands 2000
Art Forum, Berlin, Germany 1999
Navicula Artis Gallery, St Petersburg, Russia 1999
Art in Suitcase, St. Petersburg, Russia and Lubeck, Germany 1999
III International Performance Festival, Berlin, Germany 1999
Ujazdowski Contemporary Art Center, Warsaw, Poland 1998
1020 gallery, Wien, Austria 1994
Ben Uri Art Society, London, UK 1993
Solstice gallery, Edinburgh, UK 1990
Public collections
Russian Museum, St. Petersburg, Russia;
Russian-Finnish Society, Helsinki, Finland;
St. Petersburg Museum of Sculpture, St. Petersburg, Russia.
European Bank for Reconstruction & Development, London
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Icon Gagarin 2, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 101
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Icon Gagarin 1, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 100
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Icon Dostoyevsky 6, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 099
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Icon Dostoyevsky 5, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 098
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Icon Dostoyevsky 4, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 097
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Icon Dostoyevsky 3, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 096
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Icon Dostoyevsky 2, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 095
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Icon Dostoyevsky 1, 2009
Silk screen on paper
39 x 27,5 cm
Numbered and Signed 1/250 – 250 / 250
Price €250
Code 094
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Red Caviar Icon, 2008
Silk screen on paper
81 x 59 cm / 58,7 x 50 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €500
Code EJ004 |
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Army Holiday, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 026 |
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I Love You, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 024 |
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Merry Christmas, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 023 |
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2005
CULT CONSTRUCTIONS, Museum of the history of religion, St. Petersburg.
ACADEMY HOLIDAYS, Museum of the New Academy, St. Petersburg.
1st MOSCOW BIENNALE FOR CONTEMPORARY ART.
ART-MOSCOW, Central exhibition hall, Moscow.
ART PLAY, Moscow.
ART FORUM, Moscow.
GHOST OF A CHANCE, Bath, Ipswich - UK.
CHANCE ENCOUNTERS, Ipswich, UK.
2004
TAMED AND WILD, State Russian museum, St. Petersburg.
TAKSIDERMIA, Art center ANNANTALO, Helsinki.
NA KURORT!, Kunsthalle, BADEN-BADEN, Germany.
ACADEMY OF PORCELAIN, State Hermitage, St. Petersburg.
2003
THE RETURN OF MIR ISKUSSTVA , St. Petersburg History Museum.
TYPEWRITERS, PRO ARTE, S.-Petersburg.
STUDIO OF ART-MOSCOW, Moscow art Fair, Moscow.
GRAPHIC ART OF XX CENTURY, State Tretyakov Gallery, Moscow.
NIGHT TRAIN Surrealist Routes to Kiasmas's Collections. Kiasma Museum, Helsinki.
2002
FEMME ART, State Tretyakov gallery, Moscow.
MOVEABLE BESTIARY AND OTHER OBJECTS, Architectural Association, London.
SNEGUROCHKA, Zacheta National Gallery , Warsaw.
RUSSIAN TROPHY, Hand Print Workshop International,
Washington, DC
2001
MISCELLANEOUS, show and lectures in Grand Valley State University, Michigan
ISKUSSTVO 2000, Kunstverein Rosenheim, Germany
NORDIC POSTMODERNISM, Kiasma Museum, Helsinki
CONTEMPORARY ART FROM ST. PETERSBURG, Tallinn Art Museum
ART - MOSCOW FAIR, Moscow.
MOVEABLE BESTIARY, Centre for Contemporary Art, Ujyazdowsky Castle, Warsaw
2000
GUELMAN GALLERY IN THE STATE RUSSIAN MUSEUM, State Russian museum, St. Petersburg.
ANATOMICAL PERSON, Kunstkamera Museum, St Petersburg.
MOVEMENT TOWARDS YIE, Anhava Gallery, Helsinki.
TAXIDERMY, MODEST ARCHITECTURE, A MOVEABLE BESTIARY, State Russian Museum, St Petersburg.
TAXIDERMY, MODEST ARCHITECTURE, Guelman Gallery, Moscow.
DYNAMIC COUPLES, Guelman Gallery, Moscow.
ART - MOSCOW FAIR, Guelman Gallery, Moscow.
1999
FAUNA, National Centre for Contemporary Art, Moscow; National Center for Contemporary Art, Nizhny Novgorod; Zacheta National Gallery , Warsaw.
LOCAL TIME (THE DEVELOPMENT OF CHRONOMETRY IN RUSSIA), State Museum of the History of St Petersburg (in collaboration with Outi Heiskanen).
1998
EXHIBITION OF NEW ACQUISITIONS, State Russian Museum, St Petersburg.
A MOVEABLE BESTIARY IN THE SUMMER GARDEN, Summer Garden, St Petersburg.
SELECTED MATERIAL FOR THE PROJECT "A MOVEABLE BESTIARY", I. Bakshteyn Institute of Contemporary Art, Moscow.
RUSSIAN PATENT, Guelman Gallery, Moscow (in collaboration with G. Pellegrini).
1997
MOVEMENT TOWARDS IYE, Centre for Contemporary Art, Ujyazdowsky Castle, Warsaw.
MOVEMENT TOWARDS IYE, Szczecin Biennale, Poland.
RED IN RUSSIAN ART, State Russian Museum, St Petersburg.
5 YEARS OF THE DEPARTMENT OF CONTEMPORARY ART, the State Russian Museum, St Petersburg.
VODKA, Guelman Gallery, Moscow.
1996
RUSSIAN PATENT, Borey Gallery, St Petersburg.
IYE, EXMA Art Centre, Cagliari, Italy (in collaboration with G. Pellegrini).
WEIMAR - KNIGA, Soros Centre for Contemporary Art, St Petersburg.
IYE, Rauma Biennale, Finland.
MOVEMENT TOWARDS IYE, L-Gallery, Moscow.
METAPHERN DES ENTRUCKSTEINS (contemporary art from St Petersburg), Karlsruhe.
1995
MOVEMENT TOWARDS IYE (the archive of I.P. Barinov), Borey Gallery, St Petersburg.
1994
RUSSIAN DESIGN, Borey Gallery, St Petersburg.
ON THE 10TH ANNIVERSARY OF THE FOUNDING OF THE MITKI GROUP, State Russian Museum, St Petersburg. |
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(born: 1960)
graduated from the Mukhina College of Art and Design (Leningrad) in 1982.
One of the founders of MITKI artist group (1985).
The member of the Russian Artist´s Union (1998).
In 1990 was trained at the INSTITUT DES HAUTES ETUDES EN ARTS PLASTIQUES (St Petersburg-Paris).
Artist works in different fields of art: painting, graphics, book illustration, sculpture, ceramics and animation. The author of animated film "MIRACLE OF MIRACLES" (1994) and "TROPHY FILMS" (2004).
Since 1995 O. Florenskaya have been working on joint projects together with her husband, artist Alexander Florensky ("MOVEMENT TOWARDS IYE", "MOVEABLE BESTIARY", "LOCAL TIME", "RUSSIAN TROPHY", etc.).
Artist lives and works in St Petersburg. |
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Off We Go, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 020 |
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Happy New Year, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 021 |
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For the Health of Ladies, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 022 |
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I Love Russia, 2005
Silk screen on paper
60 x 80 cm / 50 x 70 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €600
Code 025 |
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In 1989, Olga Tobreluts graduated from the Architectural Technical Secondary School. In 1991, she enrolled in a course in computer graphics at the Art Com Institute in Berlin. Since 1993, she has actively worked with video and computer art. In 1995, she received the Russian Presidential Scholarship from the Ministry of Culture of the RSFSR. That same year, she received a prize for a video film with elements of animation entitled "Woe from Wit" at the festival "Third Reality," St Petersburg. Since 1998, she has worked as a curator for many photography exhibitions at the photography center of the club "Mama." Olga Komarova-Tobreluts is a pioneer in animation and computer graphic in St. Petersburg art. For five years, she has actively worked in the area of electronic art. She intentionally uses new media as a means of expressing her own system of poetics. This type of poetics is based on the dialectics of high and low academism: where the artist constantly strikes a balance between high-style classical models and low-brow, kitschy, and crude models.
In this sense, Tobreluts belongs to the neo-academic branch of Petersburg artists. At the same time, she is quite independent and allows herself to go beyond the basic framework drawn by Timur Novikov. The fact is that this movement to use high-style models, and the polemics with the post-modernist paradigm, and the desire to play with that which is aesthetically pleasing, sublime, and classical (inherent in art and in one’s way of life, which is a main component in the work of neo-academic Petersburg artists) only interest Tobreluts to a certain extent. The main area of focus in her art is the idea of representation as such. This idea is incorporated in the visualization of the concept of "trying on for size." Beginning with the series "Empire Reflections" She lets herself (her friends, relatives, contemporaries, strangers, almost impersonal or, on the contrary, mega-idols of the media) to take historically established conceptions of beauty and "try them on for size."
 These scenes could be the Arcadia of imperial Rome or the kitschy appeal of a provincial photo studio, or the aggressive imagery of a modern mass cult. The form of the thing of beauty is absolutely unimportant. Only one thing is crucial: to strive to personify beauty. This endeavor requires a sort of magical crystal and Tobreluts creates this magical glass: her computerized backgrounds take over a specific electronic space. They grow into a milieu of light and air or perceptional puzzles and illusions. In a word, they begin to resemble the enticing and deceptive classical "illusions" or the perspective conceits of classical academism, an enchanting picturesqueness. The representation of the concepts of the accessibility of beautiful things, the miraculous power of the beautiful, with quite ambivalent manifestations in Russian art, are reincarnated on a new level in the art of Olga Tobreluts.
Alexander Borovsky
Chief Curator of Contemporary Art, State Russian Museum, St. Petersburg
http://www.tobreluts.info/works/WORKS.htm
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Dear Gaby,
You may remember that long ago, in the very beginning of the century, there happened a Revolution in Russia. Social Hierarchy seized to be, and this chaos helped a lot of young new artists to appear at the art surface and to become the symbol of new art. For the West, Malevitch and Larionov are most important. After that, not only art changed, but also the whole world. Russia is a wonderful country. In the end of the century, a new revolution happens. Again in St.Petersburg, out of the head of Timur Novikov, the new Academy of Fine Arts came into being. It was here that the new revolution currently going on in contemporary art was born. Artists all over the world have long forgotten what is "high art". They started to work towards the satisfaction of the public, which goal is not worth of artist's dignity. In Great Britain, "low arts" have greatly enlarged their population.
In my series, I tried to give the beautiful image in the sense of the classical and sacred as the opposition to the abstract painting. I did not mean to create a cult icon. Rather, I worked in the genre of historical painting. During last decades, the borders between countries, states, and nations have been eliminated and turned into a large megapolis. There are recognised Beautiful Court Ladies in this world. Earlier, artists sang in praise of their beauty and created their portraits. When we look at these old works, we are now unable to perceive them as a vivd bodies, as persons from our society. We are suppressed by the consciousness that these works are true masterpieces made many centuries ago. Thus, when I worked on this series, I tried to see the faces of my contemporaries in the features of the old portraits.
In the beginning of the century, art rejected beauty in favour of abstraction, technicism, etc. By contrast, fashion and cinematography took over the theme of beauty together with the hearts of many fans. This is why I thought it was important to show that the creation of the beautiful image now depends on fashion to a greater degree than on contemporary art. Due to the digital technologies, I succeeded to work out a trip by a time-machine. In my works, one can feel oneself living many centuries ago. For the pictures with Kate Moss and Leonardo di Caprio, I used paintings by Antonello da Messina. If you take a look at the originals, your perception of them will considerably change. You might even feel compassion to St. Sebastian, although earlier you could only see him as a beautiful artistic surface. The current change in the perception of paintings by an average man was caused by technical progress and the related alteration in our psychic system. Contemporary man can no longer feel into a work of art. Rather, he takes a single look at it as if painting were an advertising poster. In Kate Moss' portrait, I've changed the direction of her look and put a bee on her hand for a spectator to feel more sharply the problem formulated by the master.
For Naomi Campbell's portrait, I used Parmigianino's canvas, Andy Warhol's portrait is based on Caravaggio's "Portrait of the Knight of Malt", Michael Jackson's - on Giorgione's "Portrait of an elder man in full armament".
Due to the fact that most artists started to work on ugly art (as opposed to the beautiful one) creation of cult images was taken over by fashion industry and movies. I think the role of artist in the idealization of the space, in the formation of future architecture and future man is crucial. It is my opinion that before studying architecture or computer graphic at Colleges, one must be well aware of the ancient Greek artistic rules and know how to draw. We badly need to resume classical education.
I did not intend to create icons for cult use. I think it is very importnt to respect the religius feelings of believers. It is the very elimination of the distance between an average man and a member of Royal family, pastors, parents, etc. leads to the destruction of the beautiful and gently in human soul. I think my intervention to classical works does not contain any sacriligious intentions towards them.
The New Academy actively works in St.Petersburg and appears to be one of a few edicational establishments that teach its students to feel the beauty of the classical image. We have found a lot of similar-minded people all over the world (e.g. Society for Classical Art Preservation - Berlin, Germany, Art Kiosk Foundation - one of the most prominent pop art collectors in Belgium, which considers neo-academism to be the most progressive trends in contemporary art, the school of classical tradition in Greece, Society "Classical America" in New York, etc.).
Dear Europeans,
let us combine our efforts for the preservation of the great European traditions! We hve great European architecture, great European classical music, great European literature. Let us work toward the creation of beautiful works of art that have been forming the image of Europe for centuries.
I consider myself to be a cosmopolit. I am interested in information and ideas from all over the world since I can see different countries, I can only see similar-minded people who live in different places. As in England, there are poor and rich artists in Russia. I consider myself to belong to middle class, because the rich Russian artists are Glazunov, Zereteli and Shilov.
It is snowing in St. Petersburg.
Should you need my photograph, please, do not hesitate to contact Lord Snowdon who lives in London. He took pictures of me for the Russian Vogue.
Should you have any other questions, please, contact me via e-mail.
Best wishes,
Olga Tobreluts
http://www.tobreluts.info/works/WORKS.htm
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 1970 born in Leningrad
1988 graduated from Architectural College, Leningrad
1989 completed a course in computer graphics at the Institute ART+COM, Berlin, Germany
1992 organized Laboratory for the Study of Ornament, St.Petersburg
1995 first prize of Videovision for videofilm "Woe from Wit"
Festival "The Third reality" in St. Petersburg (catalogue)
1998 International Award for Video Art "The Manifest of Neoakademism" Karlsruhe, Germany (catalogue)
1998 opened the PhotoArtCentre in St. Petersburg
1998 Second prize in competition GRIFFELKUNST "Best European Computer graphics" Hamburg, Germany (catalogue)
Lives and works in St. Petersburg, Russia
SOLO EXHIBITIONS
1993
1st International forum computer art Grafikon
Woe from Wit, Exploitory Laboratory.
1994
Exhibition of Computer Photographs, Ethnographic Museum, St. Petersburg
1996
Empire reflections. Aidan Gallery, Moscow;
Computer Art, New Academy of Fine Arts, St. Petersburg
Photocenter, Copenhagen, Denmark;
Computer Photographs, Sketches, New Academy of Fine Arts, St. Petersburg
Tendencies and Photos. Maly Manezh Moscow
Digital International Media Art Symposium, St. Petersburg
1997
Photographs. ARTKIOSK, Brussels, Belgium
1998
Models, An Exhibition of photos. PhotoArtCentre, St. Petersburg
Photographs. ARTKIOSK, Brussels, Belgium
Feats of Hercules, Gallo-Roman museum, Brussels, Belgium
Latest works. With PMMK Ostende Art Kiosk, Belgium
Models, Photo Gallery, Turku, Finland
Feats of Hercules. Gallo-Roman Museum. Brussels, Belgium
Family portrait. Aidan Gallery, Moscow
1999
Mixed Media, Russian State Museum, St. Petersburg (catalogue)
Fear of O.T., Gallery 21 at 10 Pushkinskaya Art Centre. FNO project. St. Petersburg
2000
Sacred Figures, Seljord Kunstförening, Norway (catalogue)
Odysseus. Aidan Gallery, Moscow
Olga Tobreluts, Galerie Inge Baecker. Cologne, Germany
Allegory, Freud Dream Museum, St. Petersburg
Macedonian Dream, Freud Dream Museum St. Petersburg
2001
Olga Tobreluts, Galerie der Gegenwart, Wiesbaden, Germany
2002
Abstract Landscape, Fotoimage Gallery, St Petersburg
2003
Figures Sacrees, Orel Art Gallery, Paris-Moscow
Emperor and Galilean, Russian State Museum, St. Petersburg (catalogue)
Emperor and Galilean, Heine Onstad Museum, Oslo, Norway (catalogue)
Olga Tobreluts, Modern Contemporary Art Gallery. San Marino
Art Digital, Centre of contemporary Art, Moscow
Emperor and Galilean, D-137 Gallery, St. Petersburg
Emperor and Galilean, JMS Gallery, Oslo, Norway
Sacred Figures, Freud Dream Museum, St. Petersburg
2004
Digital Classicism, JMS Gallery, Oslo, Norway
Olga Tobreluts, Art Kiosk Gallery, Brussels, Belgium
2005
Sacred figures, Galleria Il Segno Del Tempo, Milan, Italy
2006
Tarquin and Lucretia, D137 Gallery, St. Petersburg
2007
Thining Factor, Galerie Orel Art, Paris, France
2010
Olga Tobreluts, Retrospective, The Moscow Museum of Contemporary Art, Moscow
GROUP EXHIBITIONS
1989
Exhibition of Miniatures, Museum of Miniatures, Toronto, Canada
1991-92
Museum Palace Bridge, Leningrad
1992
Graficon 92, Moscow
Anigraph, VDNKh, Moscow
1993
Art Myth. First performance of Woe from Wit, Manege, Moscow
1994
III St Petersburg Biennale, Manege, St. Petersburg (catalogue)
Renaissance and Resistance, Marble Palace, Russian Museum, St. Petersburg
1994-96
Self-identification, Kiel, Berlin, Oslo, Sopot, St. Petersburg, Copenhagen (catalogue)
1995
Passiones Luci, SCCA Annual Exhibition, Marble Palace, St. Petersburg
The Third Reality. International Forum of Computer Art, St. Petersburg
Kwangju Biennale, Kwangju, Korea, Audience Sympathy Award (catalogue)
Videovidenie, SCARP exhibition, Planetarium, St. Petersburg, video installation Third Reality
1996
Photobiennale, Manege, Moscow (catalogue)
Idylle und Katastrophe, Erfurt, Germany (catalogue)
Metaphern des Entrucktseins, Badischer Kunstverein, Karlsruhe, Germany (catalogue)
Tendencies in Photography, Small Manege, Moscow (catalogue)
Interaction: Chance Visions, SCCA Annual Exhibition , St. Petersburg
Museum of the New Academy, Reserve Palace, Pushkin, St Petersburg
KONCEPT, Internationall exhibition of Contemporary photography, Zagreb, Croatia (catalogue)
1997
"Family portret” Months of Photography" ,St.Pauls Cathedral, Bratislava, Slovakia (catalogue)
Alternative Museum. (coupled with Brian Eno’s installation Light), Marble Palace, Russian State Museum, St Petersburg
Last Five Years, State Russian Museum, St. Petersburg
Kabinet - New Russian Classicism, Stedelijk Museum, Amsterdam
1997-98
Photography from St Petersrbug, Prague
1998
A Family portrait, SIGGRAPH, N.Y. USA (catalogue)
Involuntary sinners, Argumenty I Fakty, Moscow
BREAK, New Russian Photography, Cologne, Germany (catalogue)
2nd International Photobiennale, Moscow (catalogue)
August, Neoacademic Photography from St. Petersburg, Union of Latvian art museums. Museum of Foreign Art
Best European digital photo, Museum Lodac GRIFFELKUNST, Hamburg, Germany (catalogue)
Photography from St. Petersburg, Center of Photography, Turku, Finland
1999
Kunst & Computer, Altonaer Museum, Hamburg
Fauna, The State Centre of Art in Moscow (catalogue)
Heaven, Düsseldorf Kunsthalle, London Tate Gallery (catalogue)
Photo Festival in Nice, PhotoCentre, Nice, France (catalogue)
After the Wall, Modern Art Museum, Stockholm (catalogue)
Classicism Today, Ostende museum, Belgium (catalogue)
2000
Millenium, Tavrichesky Palace The Dyagilev Art Centre “Antiquity”
Contemporary art in the Traditional museum, Stiglitz Museum “Still life”, St .Petersburg
Art forum, Berlin
Odysseus, Traveling exhibition, Norway
Space of Tradition, Tomsk Art Museum, Krasnoyarsk Surikov Museum, Kemerove Museum, Novosibirsk Picture Gallery (catalogue)
Short Film Festival, Novosibirsk
Grani, Kurgansky Oblastnoy Museum
RUSSISK NEOAKADEMISME, Bornholms Kunstmuseum (catalogue)
ISKUSSTWO 2000, New Kunst from Moskow, St. Petersburg, Kiew, Kunstverein Rosenheim (catalogue)
ART FUTURE, Taywan
2001
Out of control, Central House of Artists, Moscow
Rotterdam 2001 – St.Petersburg 2003, gallery Koffie verkeert, Rotterdam (catalogue)
Grani, State Center for Contemporary Art, Nizhny Novgorod, Kirov, Yoshkar-Ola, Izhevsk
Sybaris, Baltic contemporary art biennale
Ciclo espositivo ex chiesetta di Sant Anna, galleria d arte moderna e contemporanea, San Marino (catalogue)
Beauty & Eroticism”, Museum Gasunie Groningen, Holland (catalogue)
Abstraction in Russia, Russian State Museum, St. Petersburg (catalogue)
2001
Kunst from St.Petersburg, Museum Contemporary Art Tallin
2002
Emperor and Galilean, Central House of Artists, Moscow (catalogue)
A she art, State Tretyakov Gallery, Moscow
Snowgirl, Zacheta National Gallery, Warshawa and National Centre for Contemporary Arts, Moscow (catalogue)
Die Griechische Klassik idee oder wirklichkeit, Martin-Gropius-Bau, Berlin und in der Kunst und Ausstellungshalle Bonn (catalogue)
Fotobiennale, Large Manege, Moscow (catalogue)
Русское искусство XX-XXI веков, Красноярск,Нижний Новгород,Тольятти, Новосибирск
Artist of Ideal, Palazo de Forte, Verona, Italy (catalogue)
Doll’s House, Henie Onstad Kunstsenter, Norway (catalogue)
Russian Symbolism, Ludvig Museum, Koblenz, Germany (catalogue)
Glovane Figurazione internazionale, Gallery Planetario, Trieste
2003
Photo Los Angeles, The 12th n\international Los Angeles Photographic Print Exposition “Sacred Figures” (catalogue)
Foreign visions, Museum Contemporary art Skopie, Lowenpalais, Berlin
The Fourth Sex: the Extreme Territory of Adolescence, Stazione Leopolda, Florence. Curator Franchesko Bonami, Ralf Simons (catalogue)
Eva, Venus, Madonna, Gemeente Maasmechelen (catalogue)
Ludvig Museum in the Russian State Museum, St.Petersburg, Russia
Neue ANSATZE DUSSELDORF Kunsthalle, Germany (catalogue)
Da Anzinger a Warhol, Exibition D'Apres Galleria GAS Corso Vittorio Emanuele, Torino, Italia (catalogue)
Imagerie Art Fashion, Museum Revoltella Italy (catalogue)
“Touch me” Akhmatova Museum, St Petersburg
Emperor and Galilean, Russian State Museum, St. Petersburg (catalogue)
Emperor and Galilean, Heine Onstad Museum, Oslo (catalogue)
Olga Tobreluts, Long&Ryle, London
The Rave of Europe, Luke&A gallery, London
2004
May Gods Becoming Men, Fissiras Museum in Athens (catalogue). Curator Edward Lusien -Smith
La creazione ansiosa, Da Picasso a Bacon, Galleria d'Arte Moderna e Contemporanea Palazzo Forti, Verona,Italy (catalogue)
54 internationale darte g.b.salvi 2004 Palazzo ex Pretura (catalogue)
...et la femme crИa l'homme, Espace Belleville, Paris, France. Curator Francis Parent (catalogue)
Art and Geography, The National Museum of Art, Oslo, Norway (catalogue)
Ideal and Reality, Galleria GAS Corso Vittorio Emanuele, Torino, Italy (catalogue)
Ekaterina, Fruenmuseum, Bonn
IL NUDO, Galleria ART Modern Bologna, Italy. Curator Peter Weermaer (catalogue)
FOTOBIENALE, Museum of Contemporary Art Moscow, Russia (catalogue)
TRANSVERSALISTES RUSSES, Orel Art, Paris (catalogue)
KANDINSKY e lanima Russia, PALAZZO FORTI (catalogue)
Days of Flight - 100 paintings from State Tretyakov gallery, Yaroslav Art Museum, Russia
2005
VIII BIENNIAL OF GRAPHICS, Kaliningrad, Russia (catalogue)
ALTRE LILITH, Scuderie Aldobrandini, Roma, Italy (catalogue)
Accomplices, Moscow biennale of contemporary State Tretyakov Gallery, Moscow, Russia
2005-2006
EUROPALIA RUSSIA , Belgium
2006
Let there be video - Russian video art 1996-2006, Central House of Artists, Moscow (catalogue)
Sense of Life – Sense of Art. State Russian Museum, St Petersburg (catalogue)
Fotobiennale, Large Manege, Moscow (catalogue)
2006-2007
Mutations, Contemporary European photography, Moscow
2006
OPTICA – Tarquin and Lucretia, The Gijon International Fastival of Video Art, Gijon, Spain
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Pieta 2, 2010
Silk screen on paper
81 x 60 cm
Numbered and Signed 1/100 – 100 / 100
Price €800
Code 093
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Pieta 1, 2010
Silk screen on paper
81 x 60 cm
Numbered and Signed 1/100 – 100 / 100
Price €800
Code 092
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Revival, 2010
Silk screen on paper
117 x 84 cm
Numbered and Signed 1/70 – 70 / 70
Price €1300
Code 091
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Lacoste, 2010
Silk screen on paper
81 x 60 cm
Numbered and Signed 1/100 – 100 / 100
Price €800
Code 090
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Versace, 2010
Silk screen on paper
81 x 60 cm
Numbered and Signed 1/100 – 100 / 100
Price €800
Code 089
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Adam and Eve, 2010
Silk screen on paper
117 x 84 cm
Numbered and Signed 1/100 – 100 / 100
Price €1200
Code 088
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Beijing Roast Duck Rights, 2010
Silk screen on paper
50 x 71 cm
Numbered and Signed 1/100 – 100 / 100
Price €400
Code 102
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Obedient Asians at Your Service, 2010
Silk screen on paper
50 x 71 cm
Numbered and Signed 1/100 – 100 / 100
Price €400
Code 103
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Spaghetti Is Freedom, 2010
Silk screen on paper
50 x 71 cm
Numbered and Signed 1/100 – 100 / 100
Price €400
Code 104
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My Ideology Is As Red As My Ferrari, 2010
Silk screen on paper
50 x 71 cm
Numbered and Signed 1/100 – 100 / 100
Price €400
Code 105
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Give Up Before the Dinner Time (Because You Ain’t Got Burgers), 2010
Silk screen on paper
50 x 71 cm
Numbered and Signed 1/100 – 100 / 100
Price €400
Code 106
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New Scandalo Low Prices Everyday, 2010
Silk screen on paper
50 x 71 cm
Numbered and Signed 1/100 – 100 / 100
Price €400
Code 107
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I'm lovin' it
HAPPY MEAL, 2010
Cheeseburger + Coke + French Fries + Ketchup
+ Confederancy of Independent Systems' General Grievous toy
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 108
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Counterfeit
LOUIS VUITTON, 2010
Speedy handbag
Made in Shenzhen by Guizhou Girls
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 109
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Synthetic opioid
KOLOKOL-1, 2010
Used by Spetsnatz special purpose regiment in the Moscow Theatre Hostage Crisis
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 110
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BLOOD DIAMONDS, 2010
the warlord president Charles Taylor gave to the super model Naomi Campbell
These rocks don't loose their shape. Blood diamonds are a girl's best friend
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 111
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Burusera
USED PANTIES, 2010
with Hello Kitty image and urine, sweat and vaginal fluids used by Akiko, 16yrs, from Hiroshima
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 112
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NATO
COSMIC TOP SECRET, 2010
Documents of the war crimes
Perpetrated during the Operation Kryptonite in Helmand, Afganistan
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 113
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URAGAN D2, 2010
The No. 1 hydrogen cyanide pesticide for insects and small animals
Formerly known as Zyklon B and used in the gas chambers of the Nazi concentration camps
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 114
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High quality
COCAINE, 2010
produced by Cali Cartel, Colombia
handled by Almighty Latin King and Queen Nation slightly cut with baking soda
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 115
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Category A biological weapon
EBOLA VIRUS, 2010
Codename: Blue Nile
Group: V
Order: Mononegavirales
Family: Filoviridae
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 116
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A premium
HUMAN KIDNEY, 2010
from Rishi ,12yrs, from Mumbai
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 117
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Special offer
ARTIFICIAL HYMEN, 2010
No more worry about losing your virginity. With this product you can have your first night back anytime. Add in a few moans and groans and you will pass thorough undetectable
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 118
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Liberation Army's
DIRTY BOMB, 2010
Caesium 137 + Semtex 10
Weapon of mass panic
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 119
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Billion Dollars, 2010
Stolen from the Central Bank of Iraq, when the United States began bombing Baghdad
Silk screen on cardboard
20 x 20 x 32 cm
Numbered and Signed 1/40 – 40 / 40
Price €400
Code 120
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Eat&Joy, Scandinavian flavour E-Men, 2006
Silk screen on paper
81 x 59 cm / 69,5 x 48,5 cm printing area
Numbered and Signed 1/100 - 100 / 100
Price €400
Code EJ002
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MORE TOMATO KETCHUP AND MUSTARD GAS
(MY VERY BEST FRIENDLY FIRE)
I make art out of everyday life, including special offers and car bombs, exotic cocktails and Molotov cocktails, cleaning the house and ethnic cleansing, fast food and Blitzkrieg.
I am interested in everyday conflicts, such as Big Mac vs. Döner Kebab, Human Rights vs. Our Economy, Your Economy vs. Our Economy, Real Madrid vs. Real World, David Beckham vs. Iberian Cured Ham, Ham vs. Hambre, Patria vs. Enemy, Patria vs. Patria.
I find my materials in newspapers (demonstration banners demanding more freedom), flyers put under windscreen wipers (earn money without a job), advertisements in newspapers (blow job without a condom), and breakfast cereal boxes (chocolate super hero eats his children).
I do drawings, but cannot draw. I do paintings, but cannot paint. I do other things, too, but cannot do that either. It is a tragedy, but tragedies are appreciated in Arts.
I am happy because I like my job, says a prostitute's note in a telephone booth. I am happy, too.
RIIKO SAKKINEN was born July 2, 1976 in Helsinki. After graduating from Academy of Fine Arts in Helsinki in 2002, he moved to Spain, where he lives in Cervera de los Montes, a tiny village in the province of Toledo. He is married and has a daughter.
Riiko Sakkinen does A4 standard size drawings and exhibits them in colored wall installations. He also does paintings, objects, photographs, videos, actions, interventions, texts, and concepts.
Riiko Sakkinen has put on several solo shows in Europe and the United States since 1996. His work has been displayed at numerous group shows around the world and is included in the permanent collections of Museum of Modern Art, New York, and Helsinki City Art Museum.
Every morning, Riiko Sakkinen walks in the forest with his daughter. He likes Sefardi cuisine and supports Real Madrid.
www.riikosakkinen.com |
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Start, 1989
Silk screen on paper
90 x 86 cm / 86 x 82 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €2500
Code 019 |
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Genuine Russia, 1989
Silk screen on paper
121,5 x 73 cm / 117,5 x 69 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €2500
Code 018 |
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A Hut in the Steppe, 1989
Silk screen on paper
35,5 x 41 cm / 27 x 31,5 cm printing area
Numbered and Estate Stamp Signed 1/200 - 200 / 200
Price €400
Code 017 |
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Ice Breaker, 1987
Silk screen on paper
66 x 88 / 60 x 80 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €1400
Code 016 |
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Penguins, 1989
Silk screen on paper
66 x 88 cm / 60 x 80 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €1200
Code 015 |
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The Sun, 1989
Silk screen on paper
62 x 62 cm / 60 x 60 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €1200
Code 014 |
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Marine Sunrise, 1990
Silk screen on paper
58 x 58 cm / 56 x 56 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €1200
Code 013 |
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The White Night, 1990
Silk screen on paper
62 x 62 cm / 60 x 60 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €1200
Code 012 |
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The Pyramids, 1989
Silk screen on paper
62 x 62 cm paper size / 60 x 60 cm printing area
Numbered and Estate Stamp Signed 1/100 - 100 / 100
Price €1200
Code 011 |
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Born 24 September 1958 in Leningrad
1965 Studied painting in the House of Pioneers of Dzerzhinsky district of Leningrad
1973 Enters the Club of Young Art Critics of the State Russian Museum
1977 Becomes a member of art group "Letopis" ("Chronicle")
1978 Starts organizing underground exhibitions
1980-1982 Works in the State Russian Museum
1980 Gets acquainted with M. Larionov´s follower Mariya Alexandrovna Spendiarova, who has a great influence on him and helps him in his artistic studies
1982 Founds "Noviye Khudozhniki" ("New Artists") group, which focuses on folk traditions and M. Larionov`s theory
Other members of the group were O. Kotelnikov, Ye. Kozlov, S. Bugaev Africa, V. Ovchinnikov, K. Khazanovich, V. Gutsevich, I. Savchenkov, V. Tsoy, G. Guryanov, A. Krisanov
Organizes in his own flat the permanent exhibition "ASSA", which functioned until 19987
1983 Founds the Avant-garde music group "Noviye Kompository" ("New Composers") and starts co-operating with the "Populyarnaya Mehanika" Orchestra headed by S. Kuryokhin, also collaborates with the "Kino" rock-group as a concert designer
1984 Founds "Novyi Teatr" ("New Theatre"), puts on a number of performances including "Ballet of Three Untearables", "Anna Karenina", "Idiot", "Shooting Skier", where he mixes the aesthetics of "New Artists" with alternate fad
1985 Founds the Academy of All and Sundry Arts
1987 Takes part as a member of the cast in S. Solovyov´s film "Assa" and collaborates with S. Shutov as a designer. For the artistic design of the movie he is awarded the "Nika" award for the first time in the history of Russian Cinema
1988 Starts to travel actively with his exhibitions to different countries, where he pursues his artistic education. He attends lectures of John Cage, Daniel Buren, Hans Haake
1989 Together with Yu. Lesnikov and V. Mamyshev organize "Piratsloye Televideniye" ("Pirate Television"). He writes scripts, works as a director, an actor and a designer of video films
Becomes an active participant of rave movement, did designing for rave-parties, including the legendary 1991 Gagarin-party in Moscow
1989 Founds the New Academy of Fine Arts called upon to preserve classical traditions in modern art. Professors O. Maslov, V. Kuznetsov, G. Guryanov, O. Tobreluts, B. Matveeva, D. Yegelsky, Ye. Ostrov, A. Medvedev and a number of talented students from Russia, Austria, Germany and France contribute to the Academy´` expositions and educational work
1990-1991 Studies as an intern in the Parisian Institute of Plastic Arts headed by Pontus Hulten
1993 The St. Petersburg Museum of the New Academy of Fine Arts on Ul. Pushkinskaya, 10 is launched. Ever since it has been the venue of exhibitions of the Academy´s professors and students as well as many outstanding painters: Karl Lagerfeld, Gianni Versace, Bruce Weber, Richard Avedon, Pierre and Gill, Alexander Ivanov, Rafael Santi, Mariya Sinyakova-Urechina, Tsi-Bai-Shi, Fyodor Tolstoy, Moisey Nappelbaum and many others. The New Academy is currently involved in extensive exhibition activities in other museums in Russia and abroad
1997 The New Academy opens its courses in the state Russian Museum (Mikhailovskiy palace)
Actively participated insetting up The European Society on Preserving Classical Aesthetics". Among the Society´s members are A. Nebolsin, A. Zaytsev, Yu. Strausova, Ye. Sheff and many others
1998 Starts publishing in co-operation with Andrey Khlobystin the "Khudozhestvennaya Volya" ("Artistic Will") magazine
The State Russian Museum publishes the selection of T. Novikov´ theoretical articles "The New Russian Classicism"
1999 Collaborates with A. Medvedev on the books "The Capture of Europe" vol. I-II, "The Capture of Sense"
2000 Publishes "Horizons", a compilation of the lectures he had held in the Leningrad Free University in 1989 covering perspective issues and "Intercontacts", a book about the history of Leningrad/St. Petersburg´` international artistic ties in the last quarter of the 20th century
Until his demise holds lectures on the history of Arts in different schools of Moscow and Russia
2002 Collaborates with A. Medvedev on the first-ever Russian biography of King Ludwig the second Bavarian
Opens the St. Petersburg Museum of Contemporary Art on 10 Pushkinskaya St. |
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2005
Russia! Guggenheim Museum. New York. USA
Art-groups in Moscow and Leningrad/Petersburg 1980-1990. State Tretyakov Gallery. Moscow. Russia
Warszawa - Moskva. 1900 - 2000. State Tretyakov Gallery. Moscow. Russia
Neoclassicism. The artists of the circle of Timur Novikov. RuArts Gallery. Moscow. Russia
2004
Se Opp! Kunst fra Moskva og St. Petersburg. / Watch Out! Art from Moscow and St.Petersburg. The National Museum of Art. Oslo. Norway.
The Latest Acquisitions. Victoria & Albert Museum. London. GB
Art-Moscow 04. Moscow. Russia
Moscow-Berlin. Martin Gropius Bau. Berlin. Germany
Moscow-Berlin. The History Museum. Moscow. Russia
Warszawa - Moskva. 1900 - 2000. The National Gallery Zahenta. Warszawa. Poland.
Domestic and Wild. Animal painting in the Russian Art of the 18th-20th centuries from the collection of the State Russian Museum. The Benois Wing. State Russian Museum. St. Petersburg. Russia
New Academy. Master-Class. Manège Central Exhibition Hall. St. Petersburg. Russia
2003
Angels. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
The return of the Mir Iskusstva. The History Museum Saint Petersburg. Rumiantsev Palace. St. Petersburg. Russia
Art-Moscow ´03. Moscow. Russia
Armory Show. New York. USA
2002
Small works. Mimi Fetz Gallery. New York. USA
Mare Balticum. Nationalmuseet. Stockholm. Sweden
Die Griechsche Klassik. Idee oder Wirklichkeit. Martin Gropius Bau. Berlin. Germany
Wirklichkeit. Kunst und ausstellungshalle der Bundesrepublik Deutschland. Bonn. Germany
Art-Moscow Workshops. Moscow. Russia
Ludwig the Second Bavarian. "Dom" Center of Modern Art. Moscow. Russia
Samisdat. Archive and Library of Independent Art. St. Petersburg. Russia
The Russian Patient. Freud Museum. London. GB
Neoacademism in photography. Russian House. Berlin. Germany
Necro-romanticism. The Museum of City´s Sculpture. St. Petersburg. Russia
2001
Petersburg Svetopis. D 137 Gallery. St. Petersburg. Russia
Between Earth and Heaven. Museum of Modern Art. Ostend. Belgium
Uus kunst Petersburis. 1990ndad. Eesti kunstuumuseumi naitustesaal Rotermanni soolalaos. Tallinn. Estonia
Christmas Exhibition. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
The Style of St. Petersburg Artists of the 1990s. Archive and Library of Independent Art. St. Petersburg. Russia
Fish image. Archetypes and artifacts. Art-Harbor. St. Petersburg. Russia
Master-Class. Manège Central Exhibition Hall. St. Petersburg. Russia
Names, Names... N. &R. Blagodatov Collection. Museum of Non-Conformist Art. St. Petersburg. Russia
Khudozhestvennaya Volya vs Actualism. M. Gelman Gallery. Moscow. Russia
Dialogues. Manège Central Exhibition Hall. St. Petersburg. Russia
Media Regards. Marble Palace. St. Petersburg. Russia
Warhol Connection. XL-Gallery. Moscow. Russia
Russisk Neoakademisme. Vesthsimmer Lands, Kunstmuseum, Ars. Utlandia
Venalaista taidetta Pietarista. Oulun taldemuseo. Finland
Venalaista taidetta Pietarista. Galleria Otso, Espoo. Finland
Hand-made Work. Museum of Non-Conformist Art. St. Petersburg. Russia
Art-Moscow Workshops. Moscow. Russia
Timur Novikov´s Personality in the Russian Fine Art of the Last Third of the 20th Century. D 137. St. Petersburg. Russia
2000
We Remember the Hermits of the Faith. Museum of The New Academy of Fine Arts. St. Petersburg. Russia
Khudozhestvennaya Volya. A Hundred Year´s Struggle in the Art. Kshesinskaya´s Mension. St. Petersburg. Russia
The Heirs of Sparta. New Russian Classicism. Works of Art from the Museum of New Academy at Shellman Hall. The Museum of Foreign Art Sinebrychoff. Helsinki. Finland
Neues Moskau. Ifa - Gallerie Stuttgart. Stuttgart. Germany
Neues Moskau. Ifa - Gallerie Bonn. Bonn. Germany
Dedicated to Sergey Kuryekhin Following the Trail of "Pop-Mekhanika" Group. Marble Palace. State Russian Museum. St. Petersburg. Russia
L´Autre Moirie de l´Europe. La Gallerie Nationale du Jeu de Paume. Paris. France
Planetarium. St. Petersburg. Russia
Le Pole du froid. Ecole de Beaux Arts. Paris. France
The Whole of St.Petersburg. Manege Central Exhibition Hall. St. Petersburg. Russia
Russisk Neoakademisme. Bornholms kunstmuseum. Bornholms. Danmark
Jesus Christ in Christian Art and Culture of the 14-20th Centuries. State Russian Museum. St. Petersburg. Russia
The Century. Dyagilev Arts Centre. St. Petersburg. Russia
Schilderkunst uit Sint-Petersburg Vandaag. Belgium
1999
Constant 2000. St. Petersburg State University. St. Petersburg. Russia
Neues Moskau. Ifa - Gallerie Berlin. Berlin. Germany
The Newest Trends Division: the Latest Acquisitions. State Russian Museum. St. Petersburg. Russia
The Photographies of the New Academy of Graphic Art. Orel. Russia
Ballet in the Eyes of the Artists. Union of the Artists. St. Petersburg. Russia
Neva-Mississippi. Minneapolis. USA
1998
Exhibition of the New Arrivals. Benua Building. State Russia Museum. St. Petersburg. Russia
Russian Manchester. Textile in Contexts. Ivanovo Oblast Art Museum. Russia
250 Thousand Miles. Villeroy & Boch. Yakut Gallery. Manege Central Exhibition Hall. Moscow. Russia
Neoacademism and Electronics. Centre of Photographic Art. St. Petersburg. Russia
The Second International Month of Photography in Moscow. Photo-Biennale 98. Manege Central Exhibition Hall. Moscow. Russia
Monumental Propaganda. Kennisaw State University. Georgia. USA
Between Resignation and Hope. De Sida Info Doc Suisse. Berne. Centre d´Art Contemporain Geneve et a Dialogai. Geneve. Centro d´Arte Contemporanea Ticino. Bellinzone. Switzerland
Sankt-Petersburgas Neoakademiska Fotografija. Arzemju Makslas Muzejs. Riga
Aufbruch. Die neue russische Fotografie. Erholungshaus der Bayer AG. Leverkusen. Germany
Nudity and Modernism. Performance Festival. Manege Central Exhibition Hall. St. Petersburg. Russia
St. Petersburg Unofficial Art. Non-conformist Art Museum. St. Petersburg. Russia
1997
History in Person. 1956-1996. Tsaritsino State Museum Preserve. Nizhni Novgorod. Samara. Perm. Novosibirsk. Yekaterinburg. Russia
Exhibition dedicated to Animals. Presentation of the "Stories about Gerrinka" book. Mitki-VHUTEMAS Gallery. St. Petersburg. Russia
Memento Mori. Yakut Gallery. Art-Manege. Moscow
The New Russian Classicism. Special Program. Art-Manege. Moscow. Russia
Neoacademism Feast. State Museum Preserve "Pavlovsk". Russia
Art-Moscow 97. Maly Manege. Moscow. Russia
North-South. Museums of the Arctic and the Antarctic. St. Petersburg. Russia
Photo-based Art from St. Petersburg. Zalman Gallery. New York. USA
Kabinet. Stedelijk Museum. Amsterdam. Netherlands
The New Russian Classicism. Stedelijk Museum. Amsterdam. Netherlands
Monumental Propaganda. Helsinki City Art Museum. Finland; Uppsala Konstmuseum
1996
New Painters. 1982-1987. City History Museum. St. Petersburg. Russia
The Shared Beauty. To the 150 Anniversary of the Finish Art Society. Marble Palace. St. Petersburg. Kunsthalle, Helsinki. Crown Prince Eugene Museum. Stockholm. Sweden
The Newest Trends Division: the First Five Years. Benua Building. State Russian Museum. St. Petersburg. Russia
Petersburg - 95. Annual Exhibition of the Recent Works by St. Petersburg Artists. Manege Central Exhibition Hall. St. Petersburg. Russia
Zone. State Tretyakov Gallery. Moscow. Russia
The Radiant Art of Neoclassicism. Centre of Modern Art. Moscow. Russia
Accidental Visions. G. Soros Modern Art Centre. St. Petersburg. Russia
New Russian Classicism. Utempus Gallery. Vilnius. Lithuania
Methaphern des Entrucktseins. Badischer Kunstverein. Karlsryhe.
Idylle & Katastrophe. EKTachrom, die Gallerie des Europaischen Kulturzentrums in Thuringen. Erfurt.
Monumental Propaganda. Muckentaler Art Center, Fullerton, California; Bass Museum of Art, Miami Beach, Florida; Kemper Museum of Contemporary Art & Design, Kansas City, Missouri. USA
1995
On Beuty. Regina Gallery. Moscow. Russia
Passiones Luci. Marble Palace. State Russian Museum. St. Petersburg. Russia
That Sweet Word - Monarchy. City History Museum. St. Petersburg. Russia
A heavy Project on the Day of Textile Industry. City History Museum. St. Petersburg. Russia
Layers. Contemporary Collage from St. Petersburg. Fine Arts Gallery. University of Maryland. Baltimore County. USA
Kunst im Verboorgene. Nonkonformisten. Collection from Tsaritsino State Museum. Wilhelm-Hack-Museum. Ludwigshafen am Rhein. Documenta-Halle, Kassel. Staatlishes Lindenau-Museum, Altenburg. Manege Moscow
Nibelungen. Kunstler sezieren den Mythos. EKTachrom, die Galerie des Europaischen Kulturzentrums in Thuringen. Erfurt
Monumental Propaganda. Smithsonian Institution International Gallery, Washington, DC; Dunlop Art Gallery, Regina Public Library, Saskatchewan, Canada
1994
Inkom Bank Contemporary Art Collection. Moscow. Rostov-na-Don Art Museum, Ulyanovsk Art Museum, Samara Art Museum, magnotogorsk Picture Gallery, Chelyabinsk SH Exhibition Hall, Ekaterinburg Drawing Gallery, Omsk Arts Museum, Caryatid" Exhibition Centre in Nizhny Novgorod. Russia
Modern St. Petersburg Art. Nevsky Palace Hotel. St. Petersburg. Russia
Moscow. Swimming Pool. Social and Artistic Event. 27 May 1994
Third St. Petersburg Biennale. Art Collegia Gallery. Manege Central Exhibition Hall. St. Petersburg. Russia
Renaissance and Resistance. Marble Palace. State Russian Museum. St. Petersburg. Russia
Die Kushand. OTIS. Berlin. Germany
Einstellung 25. RAAB Gallerie. Berlin - London
Selbstidentifikation. Positionen St. Petersburg Kunst von 1970 bis heute. Sophienhof, Kiel. Haus am Waldsee, Berlin. Museum of Contemporary Art, Oslo. Exhibition Hall, Sopot. Sophienholm, Copenhagen. Marble palace, State Russian Museum. St. Petersburg
New Russian Art. Paintings from the Christian Keesee Collection
Monumental Propaganda. Al Gallery, Institute of History. Talinn, Estonia. Moderna Galerija Ljubljana. Slovenia
1993
All of St. Petersburg. Manege Central Exhibition Hall. St. Petersburg. Russia
The History of Underground Art. Museum of the City. St. Petersburg. Russia
Mayakovsky´s 100 Anniversary. Marble Palace. State Russian Museum. St.Petersburg. Russia
Self-Portrait. Manege Central Exhibition Hall. St. Petersburg. Russia
Monumental Propaganda. Institute of Modern Art, Central House of Artist. Moscow Art Hamburg.
The Idea of Body in the Contemporary. St. Petersburg´s Art. Hambourg Messe
A Few Fey Things. White Columns. New York. USA
After Perestroika: Kitchenmaids or Stateswomen? Centre d´Art Contemporain. Montreal
1992
Moskovia. Bank Collection. Kiev State Museum of Russian Art, Lvov State Picture Gallery, Sochi Art Museum, Odessa Art Museum
Soviet Art in about 1990s. Central House of Artist. Moscow. Russia
Project. Palitra Gallery. St. Petersburg. Russia
Contemporary Collection. Dyagilev Centre. St. Petersburg. Russia
Soc-Art. Lenin Museum. Moscow. Russia
The Mysterious Cult. Marble Palace. St. Petersburg. Russia
From Avant-garde to the Modern Times. The Second International Festival. Manege Central Exhibition Hall. St. Petersburg. Russia
The Claude and Nina Gruen Collection of Contemporary Russian Art. San Francisco.
Photo Annual. G.A.F. New York. USA
The Anti-Masculine. Kim Light Gallery. Los Angels. USA
1991
Geopolicy. Leningrad. Museum of Ethnography of the Peoples of the USSR. St. Petersburg. Russia
Contemporary Soviet Art: from the Political Thaw to Perestroika. Tsaritsyno Park Museum. Russia
Seta-gaya Art Museum. Tokyo. Japan
Neoacademism. Lenin Museum. Leningrad. USSR
The New Generation. Kramskoy Museum. Voronezh. Russia
The Realities of the Russian Rock. Harbour. Leningrad. USSR
Moon. Mariinsky Palace Façade. St. Petersburg. Russia
1990
First Biennale of Modern Art. Leningrad. USSR
Subliminal Leningrad Art. Exhibition Hall in Kashirka District. Moscow. USSR
Spring Exhibition. Boy Club. Leningrad. USSR
Mitki in Defence of Oleg Grigoryev. Ariadna Gallery. Leningrad. USSR
Umelye Ruchki (Able Hands). Mayak Club. Leningrad. USSR
Youth and Beauty in Art. House of Scientists. Leningrad. USSR
Palace Bridge Museum. Leningrad. USSR
Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism. Institute of Contemporary Art. Boston; Tacoma Art Museum
In the USSR and Beyond. Stedelijk Museum, Amsterdam. Netherlands
A Petervari Ujak. Mucsarnok. Budapest
The Work of Art in the Age of Perestroika. Phyllis Kind Gallery. New York. USA
Le Territoire de l´Art. Laboratoire. Musee Russe. Leningrad. USSR
Palace Bridge Museum. Leningrad. USSR
Soviet Art Around 1990. Kunsthalle, Dusseldorf; Israel Museum, Jerusalem.
Chill and Beauty. Contemporary Art from Leningrad. Vapauden Aukio.
Rautatieasema. MUU Sali. Helsinki Festival, City of Vantaa, Cultural Affairs
In the Huts. The Art Misfits. Bratislava. Dom Kultury
Jovenas Artistas de Leningrado. Museo de Arte Moderno. Mexico
The New Generation. Stedelijk Museum. Amsterdam. Netherlands
The Green Show. Exit Art. New York. USA
1989
A Woman in Art. Exhibition Hall for Oblast Museums. Leningrad. USSR
From Unofficial Art to Perestroika. Exposition Hall in the Harbour.. Leningrad. USSR
And We Dream of... House of Culture of Railroad Workers. Leningrad. USSR
Exhibition of the Club of V.V. Mayakovski´s Friends. Benua Building. State Russian Museum. Leningrad. USSR
Selected Works from the Frederick R. Weisman. Art Foundation. UCLA. Los Angeles. USA
Art Fair. Chicago. USA
Leningrad Now. Gallery Kaj Forstblom. Helsinki. Finland
New Artists. Blue Coat Gallery. Liverpool. GB
Art-89 Business Design Centre. London. GB
New Russian Art. Zero One Gallery. Hollywood. USA
1988
The New Painting of the 1980-s. ASSA program. Moscow Electric Lamp Factory House of Culture. Moscow. USSR
Exhibition of the TEII. Palace of Youth. Leningrad. USSR
"New Artists". "Vernisazh" Society. House of Culture named after Sverdlov. Leningrad. USSR
"Mitki". House of Culture of Railroad Workers. Leningrad. USSR
"Novye". Exhibition dedicated to the 95th anniversary of Mayakovsky. Nch-Vch Club. Leningrad. USSR
Modern Leningrad. Central Exhibition Hall. Leningrad. USSR
Red Wave. Jerry Solomon Gallery. Los Angeles. USA
The Stock Exchange. Los Angeles. USA
80 Talents Nua Ruska Awangarde. Art Atrium. Stockholm. Sweden
7 Independent Artists from Leningrad. Young Unknows Gallery. London. GB
Da Da Majakowski. Dionysus Gallery. Rotterdam
Art Kontakt. Rigas Modes. Riga
Leningrad Show. 3220 Gallery. San Francisco. USA
De Nya Fran Leningrad. Kulturhuset. Stockholm. Sweden
The "New Artists" from Leningrad. Raab Gallery. Berlin. Germany
Le Rock Russe a l´Affiche. Musee-Galerie de la Seita. Paris. France
Kunster Hus. Arthus. Denmark
Art Fair. Los Angeles. USA
County of Santa Cruz Museum of Art.
University of California. Davis
University of Oregon. Eugene
Husets udstillinger. Kobenhavn. Denmark
1987
Accuracy trends in the works of "New Artists". "Znamya" cinema. Leningrad. USSR
Exhibition of the TEII. Exhibiton Hall in the Harbour (district overlooking the Finish Gulf). Leningrad. USSR
Art contact. "Cultural Days" Festival. Riga. Latvia
Forum of Leningrad´s Creative Youth. Palace of Youth. Leningrad. USSR
"New Artists". Colliseum. Leningrad. USSR
Painting Exhibition. "Folklore 87" Festival. House of Culture of Moscow Energy Institute. Moscow. USSR
Rock Festival Exhibition. House of Youth. Leningrad. USSR
"New Artists" Exhibition dedicated to "ASSA" Gallery. Leningrad. USSR
Exhibition, Soviet-American March for Peace. Soviet Committee for Peace. Moscow. USSR
Exhibition, World Cinema Festival. House of Cinema. Moscow. USSR
The Final "New Artists" Exhibition during the first screening of "ASSA". Palace of Cinema. Moscow. USSR
"Mitki". Leningrad State University. Leningrad. USSR
Bez oreola. Kantor sztuki. Gdansk
1986
The Works of Leningrad Painters. Kadriorg Palace. Talinn. Estonia
Artist´s Days. Allegro Café. Riga. Latvia
Rock-festival Exhibition. "Nevsky" House of Culture. Leningrad. USSR
Spring Exhibition of the TEII. Palace of Youth. Leningrad. USSR
Leningrad Painting. "Oktyabr" House of Culture. State Art Museum of the Estonian Soviet Socialist Republic. Kokhta-Yarve. Estonia
New Designers. "Vodokanal" Club. Leningrad. USSR
Anti-alcoholism Exhibition in the Club for Combatting Addictions. Palace of Youth. Leningrad. USSR
Moscow Avant-garde Artists Exhibition. "Valday" Café. Moscow. USSR
"New Artists". Celebrate the Day of the City. Peter-and-Paul Fortress. Leningrad. USSR
"Mitki". House of Scientists in Lesnoye. Leningrad. USSR
Youth Exhibition. House of the Artist. Moscow. USSR
1985
Hail to You, the Land of Leningrad. Central Exhibition Hall. Leningrad. USSR
Spring Exhibition of the TEII. Palace of Youth. Leningrad. USSR
Rock-Festival Exhibition. Rock-club. Leningrad. USSR
Happy New Year. Theatre of Folk Arts. Leningrad. USSR
1984
Spring Exhibition of the TEII. Palace of Youth. Leningrad. USSR
Facets of the Portrait. House of Culture named after Kirov. Leningrad. USSR
1983
The second exhibition of "New Artists" group. ASSA Gallery. Leningrad. USSR
Modern Painting Exhibition. Palace of Youth. Leningrad. USSR
Leningrad Painterd Exhibition. House of Culture named after Chkalov. The Crimea
1982
Joint One-day Exhibition. House of Culture named after Lenin. Leningrad. USSR
The first exhibition of the TEII. House of Culture named after Kirov. Leningrad. USSR
The first exhibition of "New Artists" group. Institute of textile industry named after Kirov. Leningrad. USSR
1981
Artists from Leningrad. Tartu University. Tartu. Finland
Leningrad Artists. House of Culture of the USSR Academy of Sciences. The Crimea Astrophysical Observatory
1980
The Olympic. Palace of Youth. Leningrad. USSR
On Time and on Ourselves. Palace of Youth. Leningrad. USSR
1979
Exhibition of the Ten. Theatre of Folk Art. Leningrad. USSR
1978
Cyril and Methodius. St. Cyril and St. Methodius Church. Leningrad. USSR
1977
The first exhibition of "Letopis" group (home exhibition). Leningrad. USSR
1967
Children Drawing Exhibition. New Deli. India |
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2005
New Russian Saints. White Space Gallery. London. GB
Silkprints. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
2004
Timur Novikov. Bornholms kunstmuseum.Danmark.
In the Land of Literary Heroes. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Tibetan Renessance. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
2003
The Image of the City. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Oscar Wilde´s Adventures. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Erlier Novikov. D 137 Gallery. St. Petersburg. Russia
2002
Horizons. State Picture Gallery. Kaliningrad. Russia
Euro-China. Aidan Gallery. Moscow. Russia
Pallada´s Flight. Museum of Architecture. Moscow. Russia
Seafaring and Auronautics. D-137 Gallery. St. Petersburg . Russia
In Memory of Timur Novikov. State Russian Museum. Marble Palace. St. Petersburg. Russia
Cameas. Museum of New Academy of Fine Arts. St. Petersburg. Russia
Russian Saints. St. Gillis prison of Brussel. Brussel. Belgium
2001
Horizons. Aidan Gallery. Moscow. Russia
Horizons. Museum of Fine Arts of the Republic of Karelia. Russia
Retrospective. Tula Art Museum. Tula. Russia
Open Studio. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Euro-China. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
2000
Lost Ideals of the Happy Childhood. Aidan Gallery. Moscow. Russia
Lost Ideals of the Happy Childhood. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Holy Martyrs. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Retrospective. Tver Oblast Picture Gallery. Tver. Russia
Retrospective. State Oblast Art Museum named after I.P. Pozhalostin. Ryazan. Russia
Sunset of German Romanticism. Terpsichore Gallery. St. Petersburg. Russia
Horizons. Naviculas Artis. St. Petersburg. Russia
Russian Saints. Leuven Central main prison of Leuven. Belgium
Russian Saints. Leuven Hulpgevangenis prison of Leuven. Belgium
1999
Tsarina of Sky. Aidan Gallery. Moscow. Russia
Tsarina of Sky. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Madonna. Art-Kiosk Gallery. Brussels. Belgium
1998
Ludwig the Second and "Swan Lake". Naviculas Artis Exhibition Hall. St. Petersburg. Russia
Russian Emperors. Aidan Gallery. Moscow. Russia
Small Secrets of History. Center of Photographic Art. St. Petersburg. Russia
History´s Riddles. Hyroholograms. State Center of Modern Art. St. Petersburg. Russia
Retrospective. 1978-1998. State Russian Museum. Marble Palace. St. Petersburg. Russia
Russian Saints. I-20 Gallery. New York. USA
Timur Novikov. Andrej Barov. Abend mit Oscar Wild. Lichtvblick Gallerie. Koln.
1997
Wold Financial Center. New York. USA
Timur Novikov. Gallery Art-Kiosk. Brussels. Belgium
1996
Ludwig the Second Bavarian and P.I. Tschaikovsky´s "Swan Lake". XL Gallery. Moscow. Russia
Timur Novikov. Serigraphies. G. Soros Modern Art Center. St. Petersburg. Russia
1995
Timur Novikov. Architecture in the German Empire. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
Swan Song of German romanticism. Aidan Gallery. Moscow. Russia
1994
Tapestries. Museum of the New Academy of Fine Arts. St. Petersburg. Russia
In the Land of Literary Heroes. All-Union Museum named after A.S. Pushkin, N.A. Nekrasov´s Memorial House. St. Petersburg. Russia
Timur Novikov. Decorative Art magazine building. Moscow. Russia
Swan Song of German Romanticism. Kunstlerhaus Bethanien. Berlin. Germany
1993
Swan Lake. Museum of Urban Sculpture. St. Petersburg. Russia
The West-East Divan. Arabic Reception-Room Appointments. Nikolayevskiy Palace. Naviculas Artis Gallery. St. Petersburg. Russia
Timur Novikov. Stedelijk Museum. Amsterdam. Netherlands
Russian Resurgance: Recent Works by Timur Novikov. Frederic R. Weisman Museum of Art. Pepperdine University. Malibu. California. USA
Oscar Wilde´s Adventures. Paul Judelson Arts. New York. USA
Timur Novikov. Espace Montjoie. Paris. France
Timur Novikov. Kunsthalle. Dusseldorf. Germany
Timur Novikov. Griffelkunst. Hamburg. Germany
1992
Timur Novikov. Apologia of Beauty. Gallery 1.0. Moscow . Russia
Duets. Moscow Institute of Architecture. Moscow. Russia
Timur Novikov. Museum of Ethnography. St. Petersburg. Russia
Russian Resurgence: Recent Works by Timur Novikov. Center of the Fine Arts. Miami. Florida. USA
1991
Timur Novikov. Gagarin Party. Cosmos Pavilion. VGNH (Exhibition of National Economic Achievement). Moscow. Russia
Timur Novikov. Interferenzen. Musee d´Art Moderne Vienne. Palais Lieshtenstein.
Timur Novikov. Raab Gallery. Berlin. Germany
Timur Novikov. Phyllis Kind Gallery. New York. USA
1989
Timur Novikov and Africa. Tate Gallery. Liverpool. Raab Gallery. London. Finland
1986
ASSA Gallery. Leningrad. USSR
1985
Theatre of Club 81. Leningrad. USSR
1983
Library of USSR Academy of Sciences. Leningrad. USSR |
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An important aspect of the activity of the "New Artists" ((The "New Artist" appeared on the art scene in Leningrad in the mid-80s, as a "third force" interposed between the contesting "official" and "unofficial" artists. The fundamental principles of their activity were: Mikhail Larionov`s "cult of everything" - art is made of everything, on "any surface"; the abolition of the priority of the creative individual - the "New Artists" created their works collectively, authorship was of secondary importance; the artists is not restricted to the sphere of painting, he works with music, film, photography, fashion, cookery, theatre, literature, criticism. )) was their theorical activity. Many of the works produced by the "New Artists" in the fields of music, theatre, painting and literature possessed a clearly defined theoretical basis. One of the fundamental elements was the theory of recomposition, a theory which was published in the form of several articles by the critic Potapov (("I. Potapov" was a pseudonym of Timur Novikov. )) in our art-theorical journal "Novost". One could say that the theory of recomposition arose out of articles printed in journal during the years 1982-1984.
What is this theory?
During those years I gave a lot of attention to Rauschenbach`s studies ((Boris Victorovich Rauschenbach (1915 - 2001), a leading Soviet specialist in mechanical engineering , the theory of combustion and guidance systems for space craft; he also studied and developed theatrical bases for various forms of perspective. Well known as the forms of the books "Spatial Constructs in Old Russian Painting" (Moscow, Nauka, 1975), devoted to questions of the so-called "inverse" perspective in old Russian art, and "Spatial Constructs in Painting" (Moscow, Nauka, 1980), which analyses the methods by which space was represented on a flat surface in Ancient Egyptian art and medieval art (Byzantium, Russia, India, Iran) and in the work of Cezanne. )) of spatial constructs. It was one of the few books which actually analyzed the experience of visual images of various peoples and drew conclusions, whereas standard art-criticism was no more than simple description, and offered no serious conclusions at all relating to the functioning of the human being. I was never satisfied with Freudianism, for instance, or their approaches based in areas outside of art, although I read Freud´s books with interest, especially the ones on art. But in Rauschenbach`s work I discovered a man standing on the threshold of a certain truth which I had been able to apprehend through the cunning contrivances of youth. One of these experiments is described in the secret appendix to the book "Zero-Object". In occurs in a sealed form in the collection "Zero-Object" in two copies, one of which is in Moscow, the other in Leningrad. It is a description of an experiment conducted in parallel with the display of the Zero-Object ((The "Zero-Object" served as a point of departure for the gathering around Timur Novikov of a group of artists who later called themselves the "New Artists". The gesture in the dialectic of evolution and revolution was a natural development. The meaning of revolution (to which Timur Novikov often appeals) in the setting of the hands of the clock of history (or art) back to zero, the starting point for the activity of any "New groups. The 20th century offers a substantial number of examples which repeat the figure zero in a cyclical development - here we can adduce two: 1) On 29 May 1915, K.S. Malevich (1878-1935) wrote to M.V. Matishin (1861-1934), "Since our intention here (in a journal) is to reduce everything to zero, I have decided to call it "Zero". Afterwards we will go behind zero". 2) The activity of the "Zero" group in Düsseldorf from 1957 to 1967. It should be noted that, in contrast with the monochrome, vibration, seriality, achromia, color structure and kineticism" of the "Zero-Group" (quoted from Herman Helfert`s Manifesto), the "Zero-Object" is semantically more akin to John Cage's silence, presenting the form-creating emptiness of an empty hole behind the shielding apparatus of an exhibition. )). While the Zero-Object was on exhibition in the Kirov House of Culture, certain experiments were carried out by the "New Artists", in which the most varied people took part. It is difficult now to describe these experiments, but they were all experiments to do with consciousness and the human psyche. During these experiments the influence of the Zero-Object was measured - on people and on the environment, and certain phenomena were discussed, such as: what might happen if space were to pass through the Zero-Object. The Zero-Object was the hole in the middle of a bagel that turns space inside out ((The problem of space passing through the Zero-Object fits into the broad context of the theorical speculation and visual experimentation with space that have been carried on in Russia throughout the 20th century. Four-dimensional space and its properties are the subject of the book "TERTIUM ORGANUM: the key to the world's riddles" (St. Petersburg, 1911) by the thinker Petr Demianovich Uspensky (1878-1947), who was later a follower of Georgy Ivanovich Gurdjiev (1878-1949). Non-objectivity as a specific abstract mode of awareness of the environment and its extension in space was Malevich`s basic conception. In criticizing the spatial constructs of contemporary art, Malevich wrote, in particular, that "futurism developed space almost exclusively, but its form, being bound by object reality, did not make world space present even to the imagination. Its space was limited by the space which divides things from each other on the earth" (from a letter to Matiushin, 1916). In Leningrad in the 60s and 70s, Malevich`s student, the artist Vladimir Vasilievich Sterligov (1904-1973), studied the properties of twisted space such as s Mobius strip. Sterligov created his own "cup-dome" plastic painterly system. The basic structural unit of the cup-dome system was not Malevich`s suprematist straight line, which Sterligov said expressed the organizational principle of Euclidean space (Sterligov called it Euclid's straight line), but an S-shaped curve reflecting a property of non-Euclidean space, in which the shortest distance between two points is not straight line. )), and does a few other things besides.
All of these side effects were studied by young people using very uncomplicated research technologies. We need not to go into the details of these experiments, we can simply note that as a result I came to the conclusions that consciousness - which has a specific nature and acts in an automatic, mechanical fashion - and the functioning of the human brain are subject to observation, as is the process of perception, one of the most important processes for visual art.
Let us simplify our model and imagine the human being as an assembly of mechanisms. His eyes are video cameras which transmit a signal via wires to the memory block in the head, i.e. to a computer. The processing of the signal between eye and computer, Professor Rauschenbach discovered, changes over time. It is an unstable process.
An immense number of experiments carried out not only by him, but by a vast number of enthusiasts, in the 30s, 40s and 50s, have established certain facts of considerable interest to us. For instance, if black-and-white photographs are shown to members of primitive tribes ((The absence of the concept of "art" among the Australian aborigines, the Eskimos and the Indians of North America is no more surprising than, for instance, the identification of the two-dimensional image of a photograph or cinema image with objective three-dimensional space by the people of the so-called "civilized world". ))who have grown up in the Amazon basin, or in isolated parts of Africa, then these people who have never seen a photograph, or a television or pictures, that is, any conventional representation of three dimensions in two dimensions, are unable to interpret these images of real object.
They perceive nothing but a chaotic confusion of black, grey and white patches. That is to say, they do not possess a corresponding signal-processing system. On the basis of this extremely simple experiment Rauschenbach came to the conclusion that each people forms its own system of visual perception within its own culture ((In relation to the problem of the creation by each culture of its own unique system for the construction of space, we can refer, in particular, to Erwin Panofsky`s work "Perspective as Symbolic Form" (E. Panofsky. Die Perspektive als "symboliche Form", Vortrage der Bibliothek Warburg, 1924-1925), which Rauschenbach criticized for its corrections to the system of linear perspective in order to accommodate the convex curvature of the retina. )). And sees in exactly the manner it has educated itself to see. That is to say, that the Chinese and the Japanese and, for instance, Europeans by no means saw things in precisely the same way ((In addition: "The world presents itself to us as a kaleidoscopic stream of impressions which has to be organized by our consciousness, and this means fundamentally by the system of language preserved in our consciousness" (B. Worf, Science and Linguistics, p.174). in this way, language and sense preceptors are superimposed on the genetic programme of an individual or an artist born in or another set of circumstances. )). In principle, at that time they saw things quite differently, and they saw quite different things. The inverse perspective which we see in ancient icons is not some kind of metaphorical form or image, as certain scholars write: it is the direct vision of a man of that time, his coding system, his translation of the surrounding space on to a flat surface. Rauschenbach thus took a step in the direction of developing new systems of spatial constructs for the new man ((The programme of the creation of the New Man was worked out in detail and is well known to virtually every inhabitant of the former Soviet Union, due much less to the influence of Friedrich Nietzsche than the fact that it was a fundamental component of the General Programme for the Building of Communism. )).
The problem of the new man has been actual for many centuries, but has become particularly acute in our time, with the appearance of a civilization which is in some sense new and very different from the civilization which preceded it; a machine civilization employing rockets, aeroplanes, telephones, faxes, televisions and other devices previously unheard of. As a result the human population is no longer content with the systems of perception and spatial coding which satisfied it in centuries gone by ((In Russia in the 20s new spatial systems appeared not only in painting, but also in literature. In his article "The New Russian Porse", Yevgeny Zamiatin wrote: "All realistic forms are a projection on to the motionless, flat coordinates of Euclid's world. These coordinates do not exist in nature, this world is conventional, abstract, unreal... a projection on to curved surfaces in rapid motion is much closer to reality - as is done by both mathematics and art. Realism is not primitive, not realia, and realiora consists in sudden shifts, distortion, curvature, non-objectivity" from the book "Faces", New York, 1967, p. 210. )). The beginning of the century saw the smooth transition, for instance, from the construct of direct perspective on which traditional paintings is based, to an identical perspective in photography, the cinema and television, resulting from a system of coding information which employed an objective lens, i.e. a specially designed device which could not express a view of space except as perceived from a single point ((In an attempt to overcome the limitations of the single viewpoint, Mikhail Matiushin introduced the concept of "expanded viewing", defined as "the act of conscious employment of central and peripheral vision in a simultaneous effort of viewing" ("The forms of variability of color combinations. A reference -book on color", Moscow-Leningrad, 1932, p.13). According to Matiushin`s theory, expanded vision "provides the total sensation of any moving object, because as a result of the physiological characteristics of the eye, it is the periphery of the retina that is most sensitive to movement". )).
And yet a person does not stand still, his constant movement through space means that he carries in his head far more units of information, since he simultaneously processes images perceived from various points in space. This mode of perception allows a human being to perceive space in a far broader manner than the ordinary photograph portrays. Sooner or later the gulf between reality and photograph becomes obvious. A human being is constantly aware of the non-correspondence of what he sees in reality to what he sees in a photograph or a picture. A result of this is one of art´s oldest movements - the creation of bas-reliefs, sculptural compositions combined with bas-reliefs, dioramas, panoramas... Following large compositions in various military, naval and artillery museums, we have the appearance of artists like the kineticists... Let us also recall the modern form of the so-called installation. The attraction of another dimension, the urge to move beyond the restrictions of the flat surface if quite evident in the servants of modem culture ((The artist Ilya Kabakov (b.1933) calls the installation "the fourth dimension of the plastic art". )). It is sufficient to recall the stereo-cinema, which is too expensive, but still exists as a genre.
What new possibilities have we acquired in recent times? We can immediately call to mind that the post-war period has been the time of computers. New systems of information processing have appeared, including for spatial information. Remember that in depicting space schematically, like a blueprint, the Egyptians employed specific lines on the basis of which everything was constructed. The size of a figure was relative to the person´s importance, i.e. the sign had an ideological significance, its size was very important.
If we picture to ourselves an Egyptian fresco or papyrus, then we will immediately realize that the coding system the Egyptians used on a papyrus was similar to the 19th century European system, and to a modern computer graphics pad, which conveys ordinary frontal perspective quite unacceptable. Having made these observations and come to the conclusion that all the elements of the Japanese or ancient Russian spatial constructs are closer to computer thought than traditional frontal perspective, I began to work on the development of a new system for conveying space, one which would satisfy the modern human being. This system was based on a perspective described in Rauschenbach`s book "The Construction of Space in Painting", which he called perceptual perspective ((The concept of "perceptual" (scientific) perspective was introduced by Rauschenbach to describe a more faithful construction of space on a flat surface, taking account of all the features of perception. Rauschenbach gives the name of scientific perspective to a system which is derived mathematically solely from the human psychology of visual perception. All other forms of perspective, such as inverse perspective, are special cases of perceptual perspective. )). Perceptual perspective, which he defined closely by means of mathematical formulas, consists in the following: in the distant of mid-plane, a person perceives the line of the horizon in frontal perspective, while what lies immediately under his feet is perceived in inverse perspective, and the space between them is twisted according to a very complex mathematical system.
I realized that I could not simply stop at this, that the present moment demanded the move to a system for encoding space. Linear perspective was not God-given for all the eternity! I began to develop a system, not of perceptual perspective, but a semantic system for the construction of space. My main goal was that it would be understood by the human being.
I spent a lot of time on the shores of various seas, in open country... I had drawn horizontal landscapes and landscapes divided by a horizontal line since I was a small child. These compositions may be seen in my early exhibitions in the 70s. Perhaps they came from my subconscious.
But later I decided to find out what made me want to do this. I observed that most normal draftsman always begin by dividing off the sky from the earth, that is, by drawing the line of the horizon. I tried introducing not a dual, but a triple division. Guess what - it just doesn´t work! Not at all. Years of experimenting led me to realize that a tripolar system didn´t function. Human beings are used to working with a dual division of space ((As a computer, the brain may be regarded as a machine which processes binary code. The world and its origins are described in a dualistic manner. The figure two is the basis of binary oppositions. Man's natural world is dual (man/woman; day/night; twins). A triple system of ascribed perfection is adequate to the expression of any transcendental world-view. For instance, the Trinity in Christianity, the Trimurti in Hindu Theology, the three spheres of the shamanic model of the world, ecc. )). The number is the highest expression of harmony. We divide nothing into two and we get the Tao, harmony. Our brain works comfortably with these two spaces, processes them, gives them various meanings. This is all described in my works. That is to say, they express the free establishment of space by means of the sign. This space may establish the structure of space by means of its natural sign or signal, for instance, green means field. But in addition to this, we can make use of the totally opposite effect: yellow means field, yellow means sky. Or yellow means sea. Once the confirmatory sign has been set in place to that small section of the surface. That is semantic perspective.
The perspective became fundamental to my work, if not the ground ((Here Novikov is referring to the chalky ground used in Old Russian icon painting, on which the artist painted following the basic principle of a gradual transition from light to dark. )), then at least the blocking-in. What was left to work out the details? The creation of this semantic perspective gave me the chance to expand and contract space by means of the positioning of one or another sign either closer to our further away from the line of the horizon entirely at will. In this way I came to the works I produced during the last six years of the 80s.
During those years I tested the effect of the sign on people. By positioning it in certain places, we summon up space of the scale we require. That is, the scale of space is determined by the artist through the positioning of the sign. And the scale is defined in relation to the size of the sign.
Let us recall the book written by the remarkable Father Pavel Florensky, in which he describes the freedom of the Russian icon artist within his canon ((Father Pavel Florensky (1882-1937), a Russian theologian, philosopher, art-historian, mathematician and engineer. He served as a priest in the Sergiev Posad ("Settlement of St. Sergius"). After the revolution he was a member of the Commission for the Preservation of Monuments of Art and Antiquity, taught mathematics and physics, and made a several discoveries in the area of electrical technology. In 1933 he was arrested and exiled to a prison camp, in 1937 he was executed by shooting. His work "The Iconostasis", written in 1921-22, speaks, among other things, of the beneficial influence of a canon on the artist. )). Indeed, a man who possesses a canon is much freer than one who does not. Because a man without a canon does not know whether to turn left or right. One can only move fast in a defined direction. A canon bestows immense freedom. Being free, you can change the color of the sky or the earth, bringing them into any condition and any relationship, for after all, in nature everything changes with catastrophic speed. We cannot detain the sunny weather for even two days in a row ((The climate of St. Petersburg is damp and maritime. For the greater part of the year the days are mostly cloudy and overcast, with scattered lighting. The average number of sunny days each year in St. Petersburg is 62. )). Night falls. Clouds blow up. Or something else happens, lightning glimmers. Landscapes shift. Green leaves flourish. Green leaves fall. Or turn red. Or white snow falls. This changing of the scenery, so natural in the theatre, has proven less easily accepted in painting.
When the artist´s brush was liberated from serfdom, it lost the most important thing - the content it had been struggling for. Attempts to establish a canon led nowhere. And yet, children the whole world over had always drawn a line, a house and a sun, and had no problem at all communicating in this elementary and conventional language. And above all I would like to draw attention to the fact, often spoken of by artists, but which they often forget, that art is primarily a language for expressing something. I have come to the conclusion that this language must be simple. For instance, the experiments with Esperanto and other languages in the 20th century have shown that language should be purer, smoother, simpler, not too wise, which is what has now happened to simple English in New York, where it has been reduced to 30 words. Let us recall the language of Ella the Cannibal ((Ella the Cannibal, a character in Ilf and Petrov`s popular satirical novel "The Twelve Chairs", written in 1931. Her vocabulary consisted of thirty words, which she used with varying intonations and in relation to the context - in accordance with Ludwig Wittgenstein's theory of linguistic games - to make her meaning clear. )). The primitive language, at once comprehensible and familiar in every pars of the globe, made me realize that I was on the right road, that I was not working in the first-order information - processing department, but in the second-order information-encoding department. That is to say, I was approaching those strata of art which are eternal and lasting, I was approaching certain constants. What marvels have I discovered in this area of art?
As you will recall, one of the fundamental postulates of the theory of composition is completeness. Try breaking a piece off an antique portico. What happens to it? It completely collapses. Whereas I, using my small sign - I have constantly reduced the sign´s size and become convinced that it must be very small - act like a medium, that is to say, I do not attempt to impose the sign on myself, I try to act in such a way that the sign imposes itself on me. I have realized that the sign is self-reducing. I have realized that this is a natural process. I have begun to study this area of perception and become convinced that when we glance around, very often we are seeking for very small objects - a cigarette lighter, matches, a cigarette, a spoon... If you picture to yourself the 360 degrees of space which surround us, and then picture a teaspoon, you will realize what an insignificantly small object it is! And we are constantly looking for small objects. It is them that we deal with. Big objects are perceived in situations such as when we notice a stool in order not to stumble over it but go around it. We practically do not notice large objects. This love for the small sign, for the small object, led me to the thought that the signal should be reduced, so that it would be more willingly perceived and the space would be more natural. By leaving this single sign or pair of signs and simplifying their perception, that is, by removing all superfluous detail, I arrived at the type of picture which I produced for a long time.
The theory of recomposition, based on semantic perception, stated that if the space on which an artist worked was ideal, then it was not subject to the old laws of composition. Having achieved the natural construction of the signs, that is, of small signs on a large surface, I reached the point at which a composition balanced in itself allowed this little bug of a sign to move freely across it like a fly without disturbing the general equilibrium. In this way the composition became free for me. I can shift a boat sailing across the ocean to the right or the left - the composition is not disturbed, it remains natural and harmonious. I once made a short cartoon film, in which a little ship moves across this space, and an aeroplane flies through it.
But what then is recomposition - the desire to swap things about? Or an expression of the law that changing the places of the elements in an addition does not alter their sum? Or something else? Of course, by that time, I already knew about collages and such things. And I had seen various old works of art reconstructed. But an important part was played by my reading Hermann Hesse´s book "the Glass Bead Game" ((Herman Hesse's novels "Steppenwolf" and "The Glass Bead Game" were very influential among the Soviet intellegentsia, becoming "passwords" in the sense of J.-F. Lyotard. )), where the author gives a very worthy description of the history of art as passing from a period of topical satire to the High Castalian period, in which they do not nothing new, they just play their bead game and create something new always appears like something old which has been forgotten ((The saying "a new broom sweeps clean" refers us yet again to the theme of Zero and the Cycle. )). This free use of the art around us was entirely in harmony with the technological opportunities of the "New Artists". The theory of recomposition thus gradually took shape of its own accord. No small role in its development was played by the joint experiments conducted by Igor Verichev and myself.
Igor Verichev ((Igor Verichev was one of the original members of the musical group "New Composers", who produced their music from the music of other composers according to the principles of montage and collage )) is not only a musician, but an outstanding theoretician. His article "The Versification of Information", printed in one of out first complications, was an important theoretical study of this area.
However, some things are hard to put into words. Here we approach such matters as the imperative nature of the mass media of information, and Verichev always worked precisely with information. The versification of information is his profession. By standing versified information flows, he discovered many laws of versification. But since this is a very important topic affecting everybody´s life, it is very hard for me to speak about it here.
I can only say that Igor Verichev attained such heights in this area that when he used one word or another in a composition, it resonated even in a distant section of the information field, as he called it ((One of the most important Soviet mythological fairy tales by the writer Arkady Gaidar (1904-1949), "Malchysh Kibalchysh", concludes with a scheme for the instantaneous dissemination of information: "They'll sing it over there, we'll pick it up over here". )). In general, I can only say that we are indebted to Igor Verichev and his activity for many of the things that have happened in our country in recent years. In reality, he is the genuine hero of perestroika. On the basis of versification and parallel studies in the area by other theoreticians, we developed specific methods allowing us to create new art from old. In essence, recomposition is the method which makes it possible to organize new art out of old.
They may say that the "New Artists" are noisy and pugnacious, but that is not really the case at all. They have never promoted themselves, never attempted to occupy the leading positions, never made self-praising television programmes, never written for the newspapers. Quite the opposite, in fact. Their activity has been entirely devoted to the direct action with which they were concerned, that is, the development of various methods. Since these methods are extremely general and accessible, as a rule, after the "New Artists" they were very quickly introduced into the sphere of mass production not only by the "New Artists" themselves, but by many others.
These linguistic developments were shared by the "New Artists" with the whole of culture.
If we review closely the periods of our culture prior to the appearance of the "New Artits" and since, we notice certain distinguishing features which have been inherited from the "New Artists" by other artistic groupings exploiting a new content. The "New Artists" were not particularly concerned with content. They were more interested in the expressive capabilities of visual art. This was the direction of their experiments in the 80s.
Of course, a considerable contribution to my seeking at the time was made by the Russian avant garde artists of the 20s, who wrote an immense number of theoretical works about art. In studying their legacy, I came across the books of the remarkable Soviet cinema director Kuleshov ((Lev Vladimirovich Kuleshov (1899-1970), Soviet cinema director and theoretician. The first to study montage. In his articles of 1917-1923, he reached an understanding which became the basis for the theory of montage. He proved experimentally that by linking one and the same frame with various others, the director could create a new aesthetic reality ('Kuleshov effect"), and that the contextualization - the "linkage" of the frames - determines the meaning of the original frame. In 1942 he made the famous film "Timur`s Oath" )) written in the 20s, written in the 20s, and in them I discovered the theory of montage. That is to say, the theory that he advanced in the area of montage in the cinema.
There he described the experiments he carried out in 1918, during the revolution, at a time when, on the one hand, ideology had shifted its position and new films were needed, and, on the other, there was no film stock with which to shoot them. And therefore Kuleshov offered to make new films from old. He begun making new films out of old ones, using the editing and cutting skills he already possessed.
Before the revolution Kuleshov studied under the famous Russian director Bauer ((Yevgeny frantsevich Bauer (1865-1917), Russian film director and artist, one of the pioneers of the theory of montage in the cinema. The actor Mozhukhin began his career in Bauer's films. ))and worked as his assistant and collaborator, at times his visual designer, for many years. It was later on that Kuleshov became a director himself. It should be noted that many 20th century film-makers came to the cinema from art. So Kuleshov worked on montage and developed his own theory of the process, which he expressed in his books on montage, many of which later became classics of world cinema literature. Cinema criticism possesses the concept of "the Kuleshov effect", which can briefly be defined as follows, in Kuleshov´s words: "You mount the face of the actor Mozhukhin and a place of soup in sequence. Another version is the face of the actor Mozhukhin and an electrical power-transmission line. A third version is the face of the actor Mozhukhin and a dead child on the table. The montage gives us varying psychological interpretations of the face of the actor Mozhukhin". In this way Kuleshov established the conventional nature of the actor´s acting and the definitive role of montage, thereby developing new means of expression for the cinema in this area. Another of Kuleshov´s postulates is that if you mount in immediate sequence an image of man´s face taken in one spot while he is looking up, another taken in another spot from the lowest point of high-voltage power transmission line, and an image of the field of wheat, then the result is a man walking through a field and looking at high-voltage power transmission line.
That is to say, this was confirmation of the imaginary space of the cinema ((Almost at the same time as Kuleshov developed the imaginary space of the film, Pavel Florensky developed his theory of virtual realities in geometry. The cover for his book "Virtual Realities in Geomentry" (Moscow, 1992) was designed by the print-maker and theoretician of art Vladimir Andreevich Favorsky (1886-1964). Florensky commented that the design represented one of the possible expressions of the principle of virtual reality in visual art. )), which was subsequently exploited ever more actively.
Kuleshov was among the very first to introduce this imaginary space into the cinema. A third postulate of Kuleshov´s stated that if you take shots of explosions, shouting people, flowing water and charging cavalry, then you can mount these apparently unconnected frames in sequence either as the people rejoicing at the construction of a new hydroelectric power station, the taking of a city by military force, or a natural disaster: thereby he extended the strategy of montage to total inclusivity ((Kuleshov was followed by others who made active use of montage in the cinema - Vetrov, Pudovkin, Eisenstein... Montage was also the basis of Klutsi's work in photography and painting. )). Having become aware of these discoveries of Kuleshov´s, made in the 20s, I realized that they represented a truly mighty leap forward into the space of the future, which could not be adequately embodied at that time, but now this method is ubiquitously triumphant in art ((In Russia montage remains one of the most powerful artistic devices, both in feature films -e.g. Kovalov's "The Gardens of Scorpio", 1992; or Lebedev's "Two Captains - 2", 1992) and in documentary features (Nevzorov's news programme "600 seconds"-. )).
If we recall Verichev´s methods of the early 80s, when he followed Kuleshov and revived his tradition by beginning to make new music out of the old, without himself producing any musical sounds, using nothing but old sounds, mixing them and changing their meaning, using signals from radio broadcasts and fragments of educational of science fantasy programmes and so forth, and then we look at the condition of modern music, we realize that Verichev was one of the pioneers, in the genre of recomposition in music, which is now known as discotheque culture or DJ culture, when DJ is not simply an individual playing some music, but the conductor of an entire orchestra including absolutely every recording in existence ((The assembly of musical and theatrical elements on the principle of collage was the basis of the varied forms of acoustic art produced by the groups Popular Mechanics and New Composers, the discotheques Acid House and Techno Music - whose founders included Georgy Gurianov, Sergei Bugaev (Africa) and Timur Novikov. The dischotheque movement in the former Soviet Union originated in Leningrad in the late 80s in artistic circles. )). But Verichev was not satisfied with superficial research into this area. He was concerned that the music should affect the listener, and the power which it affected the listener was of considerable interest to him at that time. He investigated such things as the meaning of a word, the power of a word; things already well-known, like mantras, incantations, prayers - such essentially different phenomena often bear a certain resemblance to each other; they employ certain combinations which possess a certain power. It was such words, combined with power, that Igor Verichev studied ((The strategy of quotation undoubtedly refers us to a general policy of deindividualisation, or rather deauthorisation, the production of works of art not openly declared to be the work of the "New Artist" The process effectively terminated by the beginning of the 90s, when the general "supra-artistis" concern with the individual led the more outstanding of the "New Artists" to begin working independently (with the sole exception of a single grouping - "Necrorealism". However, we should note that "despite" the artist's working individually, quotation as one of the forms of deauthorisation has by no means disappeared; in the works of artists like Timur Novikov and Sergei Bugaev (Africa) it occupies a place of honour in the overall programme of montage. )). Note that subsequently most of the lines from his compositions effectively entered the folklore of the language, for instance "it´s all going to start from here". After he used this fragment of a radio broadcast torn out of context it went the rounds on the tape reels, and then it became a heading for newspapers columns and a title for radio broadcast and was quoted constantly. We could recall many other occasions when his work was quoted. But, of course, all that reached its height when his composition was shown on television... |
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