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Simon Faibisovich, the exhibition "Evidence" on Gogol Boulevard, 10
Вложений: 3
In MMSI on Gogol 10 to Feb. 28 last exhibition "Evidence" Seeds Faibisovich. It so happened that one of the most talented Russian artists for several years, fell out of the rotation. He remembered the experts and the audience had time to forget. Think of it helped Auctions Phillips de Pury, and later supported the initiative of Sotheby's. Tendering Faibisovich opened just two years ago and once with an incredible gepom up. In October 2007, at the tender Phillips can say triumphantly sold three works Faibisovich. The most expensive was giperrealisticheskaya work is "Soldiers" from the cycle "Stations". Three-meter canvas in 1989 was sold for 311 thousand pounds, at that time was more than 600 thousand dollars It was a six-fold excess of estimate. Six months later, another zapomnimayuschiysya result - 264 thousand pounds for the work of "Beauty" from the series "Festive march of workers. Already Sostheby's, but with the usual multiple exceedances.
Over three years of work Faibisovich exhibited at auction 26 times. Probably a lot, now is a "overproduction" and went not sold, as well as the price correction. There conditional mathematical statistics that the annual price of Faibisovich adjusted downward by 37%, but in all such figures are cunning. Even in difficult times masterpieces remain in the price, and subside mostly medium and weak work. Talked about the money, now about the exhibition. Ideologist "obviously" was made "Regina", Vladimir Ovcharenko. Almost all the works of exposure Signature Courtesy Regina Gallery. The exhibition clearly divided into two periods of work: mature 1990-e (1993, 1992, 1995) and the late 2000's (2008 and 2009). Striking differences. Frankly, the sky and the earth. Maybe because 1990's too good. There all: scale experiments with optics, hard work and, most importantly (!) Positivity even the most absurd stories. Even the fake Day demonstration resolved not as a reproach, but in a cheerful manner. A colorful optical experiments, layer decomposition! And those colors! Sometimes even Rothko's not something that just resting, but hesitantly sits down on the sofa. Bimillenary - this is a Faibisovich. Is striking that in the hall - about 20 enormous works, all the photorealistic, and all made in the period 2008-2009. How can such Stakhanov labor achievement? The only explanation - the secret to the new technologies. Such as printing on canvas. That is, the machine can print paint on the canvas the image, and its details can accentuate the brush is manual. Perhaps this has been done (just in case show Macro). Some viewers do not like it. But I think that is normal. First foolish to ignore the progress and the second priority today is the idea (to paint, to be honest, and "Chinese" can). Someone with the change of technology feels the loss of energy. But I think that the fault of subjects. Where there is positive (the cycle Razgulay 2008-2009), everything is more or less well. And as soon as life begins study of homeless and marginalized (cycle "At the bus stop", 2008), it somehow does not go. Anyway, that enlarge photo of Boris Mikhailov to the three-meter values. To the west of the museum space - yes, but in other spaces such stories provide hard. But in general, the overall conclusion - look necessarily. Particularly the nineties. Such a chance does not often fall. In the photo, open the exhibition: Semen Natanovich Faibisovich, art historian Andrei Tolstoy, director of the museum grounds Vasily Tsereteli (Jr.) and gallery owner Vladimir Ovcharenko (senior). + Guest Francisco Infante (he has a smart exhibition at the Tretyakov Gallery now). Vladimir Bogdanov, to be continued. |
Simon Faibisovich. 2008-2009
Вложений: 10
Fresh cycles - Razgulay (2008-2009) and "At the bus stop" (2008). Sixth frame - macro, detail from a beggar. Seen as a brush held in the background. To be continued. Ahead of the most interesting - the Nineties. But a little later ....
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Nineties. Faibisovich in their prime.
Вложений: 9
Work Faibisovich 1990. Experimenting with color and light, working with unusual angles. Filigree manual technique. Very good. And there were more melancholic 1980 - at the exhibition are not represented - then all was super.
Any 1989, the stranger, looking to the window ... Eh. |
I too was at this show. It is interesting so that raises questions: - Do, does it matter or does it matter vehicle performance?
What is it? The latest series of paintings about the homeless - these are large images /photos printed on canvas. The photos dispersed before the arrival of "pixels", all with gross transitions of color and fuzzy. What I did describe in detail? Yes, because when it is overclocked image again take pictures and then watch it a little, as now on your screen, then return the entire process in the beginning and at the exit - just a picture that we see here. Created effekat painting disappeared. I repeat the question: - is it important? The main thing is not equipment, but what say the sophisticated connoisseurs of modern art. So? I did not like the new series. Neither the technique of performance, nor the stories (look at the downcast people are not best pleased) nor, most importantly, energy. Nothing comes from the paintings. This would have left disappointed if it had not turned the corner of one of the corridors. Paintings 90 - is another matter. And the plot, and the technology and energy all have. Hope Vladimir lay out, thanks to the quick. On until writing this has already happened. |
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Faibisovich 1980.
Вложений: 5
This work Faibisovich the second half of 1980, about which I spoke. Not with this exhibition. Most of the works - from auctions and the last two (the best) - from the museum by Igor Markin.
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Something to me that the artist has never been clear.
Belated photorealism. It was in the West in the early 70's, roughly speaking. And, I must admit, the pictures with bums like me more than the old. |
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Добавлено через 17 минут Simon Faibisovich: "Project" obviously "the first half of the 90 devoted to the study of how we see the world. Then I took optics of human vision: blind spots, moving the eye over the" regular "pictures of the world, the effects of residual vision, when the negatives of the real world appear on the screens of their closed eyelids, and lived there for their own lives, split the image when the eyes no longer work as a binocular ... In short, talking about the various optical-physiological "intermediate layers" through which we are usually unaware of them, look at world. Or do not notice a completely different world in which they have carried away: in edakii "abstract realism" or "realistic abstraction, where no meaning eternal opposition of objectivity and non-objectivity, reality and abstraction, where different combinations of colors and constructed space. Prior to this playing in the daylight with a hypnotic boa Soviet reality, and so creating a portrait of him, I was concerned about the question "what do we see?", but then boa dead, and was not looking at that - a habit of glaring remained tense, leading to refocus vision with results the process, with the public to private. Cycle Razgulay set now - when I returned to painting after a 12-year hiatus, has puzzled both questions simultaneously: and "what we see?", And "how".
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Добавлено через 13 минут Simon Faibisovich Artist, critic, publicist. Born in Moscow on February 10, 1949 in the family of a serviceman. With 10 years in parallel with the general Krasnopresnenskuju attended art school. 1966-72 - student at Moscow Architectural Institute. After his graduation work in designing organizations combined with busy schedules, and then painting (from the late 70's). 1979-1988 - architect and designer of the monumental Combine Hudfonda USSR. Since 1976. began to exhibit work in the basement of the Little Georgia, where the fall of 1985. They were spotted by the New York dealers and collectors. Participant of numerous exhibitions in Europe and America. Personal exhibitions: Phyllis Kind Gallery (Chicago, 1989; New York, 1989 and 1990). Gallery of Inga Becker (Cologne, 1991), First Gallery (Moscow, 1990) and "Regina" (Moscow, 1992, "The latest demonstration, 1993," Evidence "). Since 1987. paintings have been widely exhibited in the U.S., then in Western Europe and the USSR (Russia). 16 personal exhibitions. Repeated participation in art fairs in Chicago, Cologne and Basel. His works are in museum collections in France, Germany, Canada, Poland, Russia, the United States and in prestigious private collections in Germany, Italy, Canada, the United States, Russia, France and Switzerland. Main works Scenic Cycles "shuttle bus" (12 paintings by 83-91g.g.), "Moscow Metro Lenin" (8 pictures 84-88g.g.), "Moscow train" (15 paintings by 85-91g.g.), On the Beach "(9 pictures 83-88g.g.)" At the station "(13 paintings by 86-90g.g.)" Holiday "(10 paintings by 86-90g.g.)" Queue "(13 paintings by 87 -90g.g.), "On the Bench" (4 pictures 89g.), "Negative" (6 pictures 89-90g.g.), "New York sabvey" (6 pictures 90-91g.g.). Diptychs "Conversation Piece" (82g.) and "Exchange" (89g.). Picturesque exhibition projects: "The latest demonstration" (1992), "Evidence" (1993), "Chronicle of Current Events" (1994), "Together with Spielberg" (1995), "A chill ran for the gate (1997)," Returned value "(2001).
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Добавлено через 7 минут From the interview ... Simon Faibisovich: "I'm alive and relevant artist, until I call external to something encouraged" --------------------------------- Why is a successful, well-known artist as a workshop given a room in an apartment? Long history. First, the Soviet authorities did not give the studio, because I was not a member of the Union of Artists, a shop did not rely. And when I began a new era, lips roll, but it turned out that replacing one hierarchy came another, from which the sick even more. Then I threw the painting, and the question itself was dropped. And now, when he returned, would not want to change anything. Convenient - no need to shove anywhere, in the morning get up, drank coffee and for the machine ... The main problem - there is no waste to large canvases to see a short distance. But I have evolved a bit, developed a faceted vision. And now the physical size of pictures is limited only by how they pass the door, they leave. Size matters? This format is very organic - so that viewers do not just look, but could enter into a relationship with the picture, enter into it.
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Добавлено через 1 час 54 минуты One of the most interesting and talented artists of modern Russia .. A few more photos: http://www.artinfo.ru/ru/news/main/art.htm |
Вложений: 1
Simon Faibisovich:
"Project" obviously "the first half of the 90 devoted to the study of how we see the world. Then I took optics of human vision: blind spots, moving the eye over the" regular "pictures of the world, the effects of residual vision, when the negatives of the real world appear on the screens of their closed eyelids, and lived there for their own lives, split the image when the eyes no longer work as a binocular ... In short, talking about the various optical-physiological "intermediate layers" through which we are usually unaware of them, look at world. Or do not notice a completely different world in which they have carried away: in edakii "abstract realism" or "realistic abstraction, where no meaning eternal opposition of objectivity and non-objectivity, reality and abstraction, where different combinations of colors and constructed space. Prior to this playing in the daylight with a hypnotic boa Soviet reality, and so creating a portrait of him, I was concerned about the question "what do we see?", but then boa dead, and was not looking at that - a habit of glaring remained tense, leading to refocus vision with results the process, with the public to private. Cycle Razgulay set now - when I returned to painting after a 12-year hiatus, has puzzled both questions simultaneously: and "what we see?", And "how".
Читать дальше...
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Вложений: 1
Simon Faibisovich
Artist, critic, publicist. Born in Moscow on February 10, 1949 in the family of a serviceman. With 10 years in parallel with the general Krasnopresnenskuju attended art school. 1966-72 - student at Moscow Architectural Institute. After his graduation work in designing organizations combined with busy schedules, and then painting (from the late 70's). 1979-1988 - architect and designer of the monumental Combine Hudfonda USSR. Since 1976. began to exhibit work in the basement of the Little Georgia, where the fall of 1985. They were spotted by the New York dealers and collectors. Participant of numerous exhibitions in Europe and America. Personal exhibitions: Phyllis Kind Gallery (Chicago, 1989; New York, 1989 and 1990). Gallery of Inga Becker (Cologne, 1991), First Gallery (Moscow, 1990) and "Regina" (Moscow, 1992, "The latest demonstration, 1993," Evidence "). Since 1987. paintings have been widely exhibited in the U.S., then in Western Europe and the USSR (Russia). 16 personal exhibitions. Repeated participation in art fairs in Chicago, Cologne and Basel. His works are in museum collections in France, Germany, Canada, Poland, Russia, the United States and in prestigious private collections in Germany, Italy, Canada, the United States, Russia, France and Switzerland. Main works Scenic Cycles "shuttle bus" (12 paintings by 83-91g.g.), "Moscow Metro Lenin" (8 pictures 84-88g.g.), "Moscow train" (15 paintings by 85-91g.g.), On the Beach "(9 pictures 83-88g.g.)" At the station "(13 paintings by 86-90g.g.)" Holiday "(10 paintings by 86-90g.g.)" Queue "(13 paintings by 87 -90g.g.), "On the Bench" (4 pictures 89g.), "Negative" (6 pictures 89-90g.g.), "New York sabvey" (6 pictures 90-91g.g.). Diptychs "Conversation Piece" (82g.) and "Exchange" (89g.). Picturesque exhibition projects: "The latest demonstration" (1992), "Evidence" (1993), "Chronicle of Current Events" (1994), "Together with Spielberg" (1995), "A chill ran for the gate (1997)," Returned value "(2001).
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Вложений: 1
From the interview ...
Simon Faibisovich: "I'm alive and relevant artist, until I call external to something encouraged" --------------------------------- Why is a successful, well-known artist as a workshop given a room in an apartment? Long history. First, the Soviet authorities did not give the studio, because I was not a member of the Union of Artists, a shop did not rely. And when I began a new era, lips roll, but it turned out that replacing one hierarchy came another, from which the sick even more. Then I threw the painting, and the question itself was dropped. And now, when he returned, would not want to change anything. Convenient - no need to shove anywhere, in the morning get up, drank coffee and for the machine ... The main problem - there is no waste to large canvases to see a short distance. But I have evolved a bit, developed a faceted vision. And now the physical size of pictures is limited only by how they pass the door, they leave. Size matters? This format is very organic - so that viewers do not just look, but could enter into a relationship with the picture, enter into it.
Читать дальше...
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Simon Faibisovich: "I am alive and relevant artist ..."
Вложений: 8
One of the most interesting and talented artists of modern Russia ..
A few more photos: http://www.artinfo.ru/ru/news/main/art.htm |
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