Alexander died Gnilitskiy

[gans]

In the Sunday, Nov. 1 after a long illness, died Ukrainian artist Alexander Gnilitskiy, which was one of the central figures of contemporary Ukrainian art.

Gnilitskiy Alexander was born in 1961 in Kharkov, where he graduated from art school, specializing in artist and stage designer, then moved to Kiev to get a diploma, "monumental" and become a real artist - to "live hard, die young" and create, create , to create. Then in mid-1980 at the Kiev Art Institute and its environs gathered such a decent company: connection point for them was at first intended for the refurbishment house on Lenin Street (now - Bogdan Khmelnitsky), then the company moved to the famous theme park - squat on the streets of Paris commune (now - Myhailivska), in a large room which was convenient to work with canvases 2x3 and 3x10. There, among other inhabited Oleg Voice, Dmitry Kavsan, Vasily Tsagolov, Yuri Solomko, Oleg Tistol, Konstantin Reunov, Valeria Trubina, Alexander Klimenko. We Gnilitskiy, they say, were the loudest discos, and his daughter Xenia, activist art group R.E.P. when she asked about Parkome, recalls a week cleaning the room in anticipation of his visit, leader of the classroom.
During the 1990 Gnilitskiy somehow inhumanly worked hard. Tired of painting, took the video - the screen of his campaign "Sleeping Beauty in a glass coffin" of the early 1990's generally considered to be perhaps the first video works in the history of the new Ukrainian art. In 1996 - within the art group "The institution of unstable mind", which became, in essence, family teams Gnylytska and his wife Lesia Hare - appeared installation, interactive, VJ and kinetics. But it remained the main painting, which he likened to a blonde, perpetually perplexed problem of combining the beauty and intelligence.
On exhibition history Gnylytska can trace the history and geography of the new movement of Ukrainian art - from the republican and All-Union review of young artists of the late 1980's, a famous exhibition "Babylon" in the Moscow Palace of Youth, "Paris Commune" in Kiev's Ukrainian House, and the first "tour" in Germany in the early 1990's. In 1994, in Munich, the first official solo exhibition Gnilitskiy, and after a while he began to actually live in two houses. More precisely house, like, stayed in Kiev, and in Munich was a great workshop: the capital of Ukraine such was not - probably not deserved. In the end, the house, too, moved to Munich, and in Ukraine remained cottage in Paradise-Elenovka.
However, with the Ukrainian art of the horizon Gnilitskiy virtually disappeared: regularly participated in group projects, and in 2007 represented Ukraine at the Venice Biennale. Seen here, and his portraits cheburashek, Fantomas and carnivorous orchids, and "securities" - a collection of drawings and pocherkushek tekstovochek, kopivshihsya decades, and bottle-banks and other decrepit chairs, utensils, canonized in the memorable project "Villa", as shown in 2005 in the "shop floor", and last year's "Modesty and fat" in the "Collections".


Eternal memory ..

[ВЯЧЕСЛАВ]

Personal bill in gallery Yuri Kogutyaga .2008 per year. http://www.collectiongallery.com.ua/..._en/gnylytsky/
 
A year ago, in November 2008 in the Ukrainian House opened III International Exhibition-Fair "Art-Kyiv". Exhibition Alexander Gnilitskiy "Modesty and fat" - the main event of "Art in Kiev.
 
Alexander Gnilitskiy. A short interview with columnist "Ukrainian Truth" Axinya Chicken
- How do you feel at this fair?

- Not yet seen, but in general, do not divide people on the artists and nehudozhnikov. Art must do everything better - creativity.

- Do you share the view of Joseph Beuys?


- He said something like that. I love the creative process. If I had not painted, it is still engaged in creative work - would be, for example, the inventor. Creativity - one of the main components in life. On the other hand, the arts, in the medical sense is very helpful, reassuring. On another hand, of course, stirs ambitions. Not all people are good, like money, success, or something more, if not, they are dissatisfied, I understand it very well. I think that if Hirst ask, he probably also say, yes, not all succeed.

- And do not hurt that the prices in Ukraine on the work of Ukrainian artists understated?

- Try mixed feelings, on the one hand, sorry for the pensions of their parents, on the other hand, I know that my painting is competitive, and in Ukraine the prices ridiculous. As "Modesty and fat" - a contradiction there.
Artist Alexander Gnilitskiy


- I think that the Ukrainian gallerists working in contemporary art, simply parasites on the artists of your circle. In Ukrainian artists Ovcharenko and Gelman have invested much more. And our gallery owners simply greedy losers who can not work, and you use the cheap.

- The word "parasite" - is some kind of structure, which should serve both sides. I'm for capitalism with a human face.

- In Ukraine, it is not observed.

- If a gallery owner requests exclusive, it should be, and do not pay the rent, but take care of their artist. Must take into account the economic factor - who mainly buys contemporary art in the West? Middle class. And here it is not.

- In Kiev, a lot of rich people suffer from complexes, concerned with status. They can easily afford the work of contemporary artists.

- I'm an artist and, say, in physics do not understand. If a person is a businessman all his life he was engaged in earning money, he knew nothing about art, he had no time to penetrate. Although now businessmen became interested in art more ....

[gans]

interview Kiev curator Alexander Soloviev

from Kharkov to Venice (Talk about Gnylytska)

.. 80th
... The first time I saw Sasha Gnylytska and generally learned about its existence on the protection of the diploma Wasi Tsygalov (I was a reviewer). By the way, very interesting work - "Concerto of Shostakovich." Cool written. Tsagolov wrote it 40 minutes and then a month to her do not touch. Clearly, as the would today, "unformat" in terms of Soviet-fostered academic canons. Even then Tsagolov attracted to her, was a magnet with its special power of influence. He studied at the same rate to Arsene Savadov ... In general, the new Ukrainian wave Transavantgarde than Odessa, came mainly from the Kiev Academy. A Gnilitskiy only went to college, but came from Kharkov. In Kharkov, he was a good school theater artist, an employee at the scene. I say this not by accident. It joined together the beautiful gift, the gift of the artist-painter and a sort of Kulibin of art. He is very skilled hands, as they say - put. It can create different mechanisms, to invent something. This was reflected in his work.
It was 87 year. Restructuring. I worked in the exhibition department of the Union of Artists. Began to open gateways prohibited. A new and active artistic life. Gnilitskiy Tsygalov came to see me in the office. He no longer watched, listened, I would say, listened. And then there was this explosion, this outbreak. At the All-Union Exhibition in Manege Savadov Senchenko and put a large canvas "The grief of Cleopatra". All the 87 was the year of Cleopatra. Then this job came at the FIAC in Paris, and even on the cover of the catalog FIAC. And immediately the absolute guru, the Ukrainian art medium became Arsen Savadov.
If you speak of Gnilitskiy, its direction, towards the picturesque, the milestone of its first phase, I would just also called 87-th year.

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On the basis of contacts youth magazines (Ukrainian and Estonian) is very active then "protokuratorom" Sergei Svyatchenko (who left later in the Denmark) was initiated by the exhibition. On the Ukrainian side were: Tistol, Reunov, Jan Bystrov (artists, who then organized a group of "willful the brink of national posteklektizma"), Gleb Vysheslavsky, Gnilitskiy ... Then I discovered for myself and Gnilitskiy, saw him as an artist. He wrote an excellent picture of "Lovers in the moonlight." Black scale, a very generalized form - sits a couple of lovers, night, moon. All the contrast, light, shadow, moon kontrazhur. But look, you notice that the beloved, sitting on the lap of the lover, instead of feet - stumps. Such non-standard time, radicalism attended ...
It was a time of youth exhibitions. The first work that showed Gnilitskiy were mostly still lifes. Good writing, good this beautiful culture. In my style somewhat reminiscent of Alexander Drevin. Expressionism, subtle combinations, without any particular drawing. But when he appeared Savadov with incredibly outrageous success, then Gnilitskiy, like many others - voice, Kavsan, Trubina - has become closer to the figurative epic Savadov, mystified some global metamif. Lived mostly in Moscow squats strong-willed artists face (Tistol, Reunov, Skugareva, Bystrov, Kharchenko) at this time to develop another new wave vector associated more with the national myth, national stereotypes.
Such work Gnylytska 88-89-second period as the "Stylites", "The discussion about the secret", "The Call of Laodicea", "Ausones - the abode of heaven" (I called it a curly hair style), created under the influence of Savadov. Arsene in his works combined komiksnye fill, graphics rendering, be sure that red outline dekonstruktivistsky hidden allusions, direct quotes ... "The grief of Cleopatra" - is, on the one hand, the scheme Velazquez ( "Portrait of Prince Baltasar Carlos on horseback"), on the other - reminiscences of Salvador Dali, Picasso. Postmodern pronounced "painting assignment" - apropriatsionizm. Kucheriavyj style - pouring, and then drawing, Modeling shape, as in the engraving, jagged strokes. Formed a separate language. Savadov, being fundamental to the whole thinker, all decorated and verbally to the doctrine of a new poetics. But, once finding themselves on Olympus, he still distanced himself, keep close to him. In this case all (both here and in Moscow), in addition to the definition of "Ukrainian Baroque transavangardnogo wing" (with the light hand of Leonid Bazhanov), while they used the term "postsavadizm. Perhaps Savadov not want such a regional school (as opposed to, say, Timur Novikov, who created the phenomenon in St. Petersburg neoakademizma). But Gnilitskiy, as then a voice, it was noticeable that it's still kind of external influence, borrowing. They were attracted Savadov. Following further in the wake of manners Savadov for them - very talented - a road to nowhere. Especially myself Savadov, returning from France, began to make a completely new - there were pictures of monkeys with the object elements that idea is already a detailed pictorial installation, metal plate with etched patterns, the converted instead of canvas tarpaulin, computer processing ...
A new era ... Transavantgarde in Ukraine was released nothing at all. End of the 80th, a belated post-modernism - the train left. Jumped on the bandwagon, they managed to get into the last car. Then the book was very fashionable Achille Bonito Oliva, International Transavantgarde. Was mainstream. Neo-expressionism, new wild, Italian Transavantgarde, a new image, free figuration, Clemente, Kukk, Kiefer, Schnabel, Salle, Basque

Swinging bridge - when in the middle of the 90th Bonita Oliva (after he was curator of the Venice Biennale), arrived in Kiev, he gave two lectures at the Center for Soros and, of course, attended the workshops. Once in the studio to Gnylytska and see those of his old works, approached him, hugged him, almost burst into tears, shouted "Pittore! Pittore! "Painting! He saw in him the hero of his book, which objectively could not have known when he wrote it. Very eloquent belated recognition.

Paris Commune
Frontier 80-90 .... Began to form squats. The first and most fruitful was squat on Lenin Street (now St.. Bogdan Khmelnitsky). It worked Tistol, Tsagolov, Reunov, Kavsan, Klimenko, straws, Gnilitskiy, Voice, Vartyvanov, Lera Trubina. Worked really very fun. We worked and hung out ...
Stylistically more took over, looked at each other. Vote and Gnilitskiy began to make black and white work, grisaille. Moment nonfinitizma not recorded in full surface of the canvas, the white field, the picture in the picture. I Gnylytska began a conditional green stage, "painting the waves," as I called it ( "Wave and the boy"). Hamm, primarily, emerald green and white. Explosions, some structures, like cabbage explodes. Explosion. And, on the other hand, went to the Infanta. He liked the work of Velazquez ( "The Infanta Margarita", 1658-1660, Museum of Eastern and Western Art. Bohdan and Varvara Khanenko, Kiev). For Kiev, of course, it is the main museum painting. There was a whole series of diverse jobs with the Infanta. Through the prism, for example, Dali - three of the Infanta, flat, full-length, black and white. Or, imaginary museum interiors, pristine white primed canvas, and in them as a fragment included a portrait of the Infanta.
It soon became clear that this is beginning to weigh on the Baroque, Expressionism begins to weigh, a dashing brush - too. Increasingly, there were conversations that it was time to end the hot trends. It's time to think about the cold-new classicism. Gnilitskiy made even such studies (wide fleytsem), could for 40 minutes (the notorious 40 minutes!) Write a ball and draperies ( "Marat /David"). The result was as if an academic setting. Just do not care as a product deconstruction.
Why were possible, these squats - huge space in the heart of the city? One system, socialism collapsed, and the "new" - capitalism - has not yet begun. After Lenin was found inside the house, the Paris Commune (st. Mihailovskaya). Legendary now squat "Paris Commune", which lasted about five years! The municipality was already more communication, representative, stormy, sometimes even psychedelic space. All the major operating time were conceived, developed at the Lenin. Although the new place got a lot of interesting and landmark.
Naturally there is a need to make a total exhibition floor as a team. Workshops were bursting, his eyes strayed. Enormous selection. Using its "administrative resources", I arranged a room at the Union of Artists of Vladimir. Selected works. Been born, and "honest" name: "Artists of the Paris Commune. Gnilitskiy, Voice, Chichkan Kavsan, Protsenko, Trubina, Mamsikov ... Gnilitskiy revealed at this exhibition as an installer ( "Key and Lunar hunter"). Top raspolovinennogo female mannequin in a wig "acid" razbelenno-emerald. In the hands of the key. Dog (more precisely, the same emerald skin dog) thrown into a mat on the floor. On the wall painting - the outgoing side of the moon hunter with a gun. Grayish grisaille. Gnilitskiy general master gray scales - such as simple, but the focus of some is. Fine work from the Hermitage Buale. And the poem. A rhyme in a whole correlate of this absurdity. Job Four Musketeers "-white canvas and only four distorted shadows. Then became a popular so-called "children's discourse, to vote, even himself wrote a fairy tale. In Voice and Gnylytska this is manifested in the works. Gnilitskiy took the picture of Watteau, flatten the space and transformed its characters to the children ( "Children's Dance").

Top 90. "The plan"
... I must say that Moscow is already doing the type of exhibition "Towards the Object", "Shizokitay", dominated the volume and space, rather than a plane and the wall. Were close contacts, Muscovites came to Kiev, Kiev residents traveled to Moscow. Voice, Tistol, Reunov long lived and worked in Moscow. Properly people came back and Gnilitskiy.
Painting became irrelevant. It is clear that once could not go to the installation. Initially, the object appeared blotches. Gnilitskiy (more on the exhibition "Artists of the Paris Commune") showed a number of such works. "Squirrel". On a white canvas or a squirrel, part of it is made, as plush toys, and glued to the canvas, as it is written from the shadows. Three-dimensional "Fish", "feed the kitten" with elements of collage. A lot of white fields, the local color. All this in a sketchy manner, more graphics ...
This line was soon continued in Moscow. Exhibition of Vladimir Levashov. 1991. A joint project of Sergey Anufrieva and Alexander Gnilitskiy "The plan" (1.0 Gallery, Moscow). Milestone. Anufriev for some time for Kiev became the new missionary. He traveled around the world as a member of the "Medical Hermeneutics". They became good friends with Gnylytska.

Anufriev then put a strange minimalist graphics, tapestries (in his drawings). Conceptual move. A Gnilitskiy acted more in visual quality, but it was visually special properties. New experience was associated with greater conciseness, less cumbersome, mifogennoy narrative. With Transavantgarde was finished. We talked about a new trend, to date, and in the world of painting - of kyutizme. There was this strange plot, deliberately slapdash painting. Particularly successful in this voice, Mamsikov and Gnilitskiy.
On "Levashovskaya" exhibition is dominated with white margins, "the discourse of the child", black and white and paradoxical stories. "Napoleon and Marysia" ( "sword") emphasized the erotic content. "Lisa was crying" - a strange monster with huge eyes, distorted proportions of black and white lightning around. Sometimes the image was based on literalism. Quotational not yet been eliminated completely. But it's radically reformatted. For example, the canvas "Daddy helmet crushes. More The outline painting, closer to the chart. There remained a purely pictorial work. "Portrait of a genius (a portrait of Hitler)" - as if a front portrait.

"Calm", Munich, loss of voice, neodada
Exhibition "Calm" 92-th (in the just opened when a large exhibition hall at Gorky). Ironic name. Last high calm. Set postmodernism. A comfortable art. Basic exhibition. Many Muscovites - Koshlyakov ( "Arch of Traian"), Ter-Oganyan (his series of paintings with quotations hits gugenhaymovskogo museum), AESy, Leiderman, Kitup, Sigutin ... Our - Gnilitskiy, Savadovs Senchenko, Voice, Tistol, straws, Mamsikov, Gusev, Gankevich with Migas, Roitburd, Chichkan ...
Job Gnylytska "General Galliani." Some mythical general. Gnilitskiy found his picture in the magazine early 20 th century. Portrait of General (torn from a magazine). The Big Picture - a funeral procession, an honor guard at the tomb. And in front of her red pillow on the podium with a medal. And the Order in the form of female genitalia with crystals. Incidentally, the exhibition "Angels over Ukraine in Edinburgh this order was stolen. Can be seen like much.
After the "Calm" was a departure for Munich. Munich - a turning point. Started a completely different life. This affected the change in the orientation of the art. Gnilitskiy began to gravitate more to the media. Appeared marital and creative tandem with Lesya Hare (with whom he met in Munich). Then it turned into "Institutions unstable Thoughts. In Munich, the most significant works - grisaille "Portrait of Frankenstein" with abnormally high forehead and "Lolita" with somehow very densely lobkom ...
On his return from Munich has happened is terrible and irreparable - lost voice. With the death of Voice (January 1993 th) can talk about the end of painting "new wave" in the region, the end of a romantic, obsessed with desire for painting. It is clear that quite a brush and paint nobody threw, but it is a symbolic date ...
Began a new phase. It was quite away from painting. Understood that we must change. Among the first Gnilitskiy feel about it. No wonder I remembered about the skilful hands of (the experience decorator, craftsmen). Gnilitskiy manufactured a glass coffin in which lay a girl in transparent clothes and masturbated. In the video sequence (duration 25 minutes) makes his poem "The Sleeping Beauty in a glass coffin, which he himself and reads. There an interesting game with the plans and sound (he used a drawn-refracting sound in the manner of traveling then "goblinovskogo" translation). All this in the dark, and strange the moonlight. Such decadence. Again, was nearing the end of the century. We have this job and determined - "idiotic decadence. Since it is practically and video art began in Ukraine (March 92).
After Munich schedule appeared very interesting. And it is really extraordinary video - "Crooked mirror-living pictures." I then for the Financial Times Ukraine "wrote the article" realm of freedom and pleasure ". On removal filters shame, family taboo ... In the workshop were hanged 5 distorting mirrors, Gnylytska bought for a song from the former superintendent room laughing, and dropped them completely mirrored in the boring sexual acts. The result was revived Salvador Dali. Diffluent forms - detached, increasing to ridiculous levels male and female bodies. Dancing feet with shoes to the music of the Beatles. And honestly, no photoshop, computer. This work is somehow shown at the exhibition "Alchemic Surrender" (Sevastopol, the ship "Slavutich, 1994). Night show on a giant screen for the sailors and hangouts. Rigid, radical and fascinating and beautiful thing ...
Then came a period neodadaizma. Psychedelic toys mechanisms. Sculptures objects. Skeleton, blows bubbles ... Technically ingenious "complex simplicity". Over 90 Gnilitskiy created a large number of such objects. "Show me your" exhibition at the Livadia Palace (1998). Two dolls, girl and boy, two android, dressed in suits, in turn, raises despise dress-trousers. "Tomb Tamagotchi" (Center Foundation). "Beggar-old woman" (Banking Market) ...
There was also a growing art. Growing art. Phallus. Also as a separate period. He made these phalluses of grog, they scratched hollows, track and grow their watercress salad, and by the end of the exhibition (each day came and watered), they completely overgrown with greenery with a recognizable shape. Even the whole green bed made.

Anamorphosis .... This genre of Dutch (circulated in due course in the old art). In modern Europe, prevalence is higher in digital form. And Gnylytska again, all to be honest. He created a mirror, plastic pipes, made wall or, conversely, table paintings, deformed, but on reflection it has acquired all of the correct shape. Reckoning without a computer, without any figures. On the paper, on the knee. Such a brilliant gift. In the 90th is his trademark.
Painting, despite the apparent neglect, however, was also. But more in media, applied. Animated series (the exhibition "Intermedia" in the center of Soros, 1998). Projections. Earlier-clerical series ( "Klerikalos"). This painting - part of the installation. Cardinal red for the piano in a red mantle, pregnant Cardinals - this semi-classical paintings on the walls, and the hall and ride the egg. Verily in kulibinski all up. Samokatyaschiesya eggs (put them in some sort of ballast, such Vanka-Vstanka) brought a note schizoid.
Stereoelementy ... Живопись, которую надо было смотреть в бинокль. Две фигуры, написанные на холсте, сводятся в одну.
Из живописи 90-х запомнилось и монументальное полотно «Папа-Лама».
Затем Гнилицкого увлек радикальный дизайн. Абсурдный дизайн. Пример - трусики, пошитые из сладкой пастилы. Но главное его увлечение - на повороте от Милленниума: начались серьезные медийные проекты.

Венецианская биеннале
Проекты «Визуальный винил», «Комната», «Медиакомфорт» («Институция Нестабильных Мыслей»: Александр Гнилицкий - Леся Заяц) получили дальнейшее развитие, поистине изощренную форму вариации - пограничную, на стыке живописи и медиа. ЗО-анимация, наложение проекции на живопись...
Но и полноценная живопись вернулась. Гнилицкого стал интересовать поп-арт, причем в украинской интерпретации. Или другое - отражения, автопортреты в кране, ложечке, вилочке... Это проявляется и в работах, которые представлены галереей «Коллекция» на выставке «Скромность и жир» (Украинский дом, 2008 год). Поразительная оптика - увеличенные до несуразных размеров стаканы, которые кажутся не стаканами, а какими-то странными существами. Бытовые вещи (проект «Дача»).
Гнилицкого интересуют зыбкие грани между реальным и виртуальным миром, между гиперреальностью
и потаенной, ускользающей микрореальностью. Такие обманки по жанру, написанные очень артистично.
Появилось классное умение воссоздать «примитивными» средствами живописи удивительные пространственные
изыски. И вроде ничего не происходит - вот холодильники на даче, среди коробок, а приглядишься:
и не холодильники это вовсе, а какие-то в формах холодильников структуры проступают. Словно абстракции
Мондриана во плоти...
По мастерству Александр Гнилицкий вырос колоссально. Я, да и не только я, а еще и Борис Михайлов или
Сережа Братков - участники украинского павильона на Венецианской биеннале, мы все наблюдали, как он делал это
Venice. Эти обманки, которые должны еще были быть и медиаобъектами.
При всей незатейливости, банальности в мотивах, сюжетах они несут очень большое экзистенциальное переживание. В каждой его сегодняшней работе это остро ощущается. Вот стул, но это не просто стул. Вещи из твоего, казалось бы, ближайшего окружения, но это драматический прорыв в цельный глубокий мир, поданный, показанный через свое, личное...

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