Продано: Bob Koshelokhov, Untitled (diptych)

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Bob Koshelokhov, Untitled (diptych), 138 x 138 cm, 2009, oil on canvas /oil



Art and life on B.N.Koshelohovu

"Critics who question the value B.N.Koshelohova, advised to pay attention to the neon sign" Titan "on the corner building on Nevsky and Foundry Avenue, where the artist lives"

"Titan" - now have the same legendary label, like the entire image of Boris Nikolayevich Koshelohova, of whom there are written and oral traditions. Perhaps anticipating just such a role in the history of modern art and the artistic life of St. Petersburg, called B.N.Koshelohov rallied around him in 1976, a group of artists with "Chronicle." It is known that B.N.Koshelohov teaches art aphorisms. They allow you to interpret it as a fusion of artistic outlook stagnation in native Russian sense of the word (in Russia verb "stagnate" describes the course of historical time from front to back, from the future to the past, where there was the main event of all time - the phenomenon of the Savior) and the heroic vanguard. "Artist - chronicler, he has yet to record, but now have to write like pimples or squeeze clash against the corner - that the head was covered in blood." Spontaneous archaism B.N.Koshelohova manifested, in particular, and that, once in Italy in 1978, he took Modernism 1910-20's as a rarity, and manpower found in Roman stones, columns, roads, placers locks, feeling how little we differ from the old, because "the questions are the same: what is love, no matter whether you're going to a gig or flying in a jet plane."

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But here we are ahead for the story: here are some details of the biography B.N.Koshelohova. He was born in 1942 in the industrial town of Zlatoust in the Urals, a child runs away from home several times, the choice of a profession in 16 years was due to the same passion for the will and the means - Travel: I wanted to go to the railway school, then a military, to the company drivers, but because it has already been equipped, went to electromechanics. Some time electrician on ships sailed home port of Odessa, then returned to Chrysostom and finished the 11th grade. To choose to live on, in the company of two friends pointed to the map, (eyes were tied), and went straight to the city of Leningrad, where, and arrived in 1962. Enrolled at the medical school, where the group was one East German - a connoisseur of existentialism: organized a study group of texts of Kierkegaard, Heidegger, Jaspers, Camus, at the same reading of Husserl. Interest in philosophy at B.N.Koshelohova seven years, and he came by chance circumstances: if a kid brother of his fellow Jura Kislukhin, a philosopher, a student of University of Sverdlovsk slipped boys first Nietzsche, Dostoevsky and then. Until 1974 Koshelokhov, in his own words, did nothing to read. Currently the property B.N.Koshelohova consists of paintings, sculptures and pastels, stylish black coffee company Krupp-like machine tool, and stacks of the same works of Heidegger and Kierkegaard on the windowsill near the sofa. On the exclusive love Koshelohova to philosophical books to eyewitnesses Timur Novikov said that during the "Chronicle" has repeatedly met BN outside with Helvetius armpit. In the "Saigon" in Koshelohova nickname was "philosopher" because he usually conversed with visitors, explaining to them the nature of things with the help of negation (saying, for example, that the spoon - not a spoon and a cup - not a cup, as Zen hero did Salinger story "Teddy", who wanted to explain to children that the grass - is grass, and the word "grass" - a word and nothing else). It is this Zen-Socratic Koshelohova practice led to an important event in his life: a meeting with the teacher, artist Valeriy clover (the real name of it was Clover and Clover - artistic alias in conjunction with the nickname). Once, in 1974, "Saigon" man entered and asked the Philosopher. This was Vladimir Poletaev, a passionate admirer of religious philosophy and future party "Chronicle." The first conversation Poletaeva Koshelohova and lasted three days, after a while Poletaev Koshelohovu told about his other friend, the shy. Koshelokhov to know him - his name was Valery Klever, and despite all the talk about the miscommunication Clover, the two of them immediately went hitchhiking in typical Leningrad hippskih 1970 pilgrimage to the Monastery of the Caves to the abbot, Father Alipio iconographer.

Clover pattern, professional designer, is a political sur perhaps social art, and they are not impressed Koshelohova, but the words addressed to him: "You - the artist." Clover did not explain Koshelohovu art, does not learn his trade, but gave him the image, thus prohibiting paint colors and creating thus a kind of Zen pereklinku in the brain. Koshelokhov so formulated the principle of modern art, is widely known in the West in Boise: "Everyone - the artist, the artist does not have to be able to spoil something for something, to see - the main thing, and wonder." Following the path of contemporary art in the late 1950's - 60's who discovered the real thing as an artistic tool, Koshelokhov came up with "concepts" - the composition of the found in the garbage of things (the first plastic interesting trophy was an old tree stump, which the artist describes the words "live dust ", has become resistant to other machines Singer). One of these assemblages Koshelokhov built in 1976 by attaching to the base of the chamber pot and above the hospital duck. The product was called "exclamation" and his fate was quite dissident: BN was the only artist who has come down with his work to the point of an exhibition in honor of the deceased Eugene Rukhin - police, rounded up the rest of the protesters, who, of course, carried a picture Koshelohova missed, it is not different in the artist. Clover once came to him and said, "Bob, drop everything and go to painting." As suggested itself B.N.Koshelohov, Clover gave him advice, not really thinking, but Koshelokhov saw in these words a revelation: November 2, 1975, he wrote his first oil painting - still life with transparent hat, under which it is clearly readable tracings icon. Colours were inspired Poletaeva and things in his room were the first picturesque scenes Koshelohova who furiously rewrote everything he could in the interior, and the degree of his paintings brought in a host mystical horror. "Bob, you're strangling me," - said Poletaev examined colorful images of their property.

Koshelokhov felt at the level of color painting: "There must be something alive: Red has to live with the blue, I'm 32 years old, - he says - was stunned when I learned how to get the green paint." This expressionistic painting became the most important sense personal experience Koshelohova that he could tell others. In 1976 he emigrated and Clover so gave BN feel that this orphanage, but freedom too. Koshelokhov organized the "Chronicle", whose charter is extreme: group members gathering on Fridays from each other, to talk about the painting, the meetings allowed only those who have had recent pictures (which, still wet, earnestly dragged to the meeting through the expressionists city). Koshelohovym owned the idea of ​​combining expressionism, fauvism and Dadaism together. "Painting is self-sufficient and immense - he says - and run like runners at all his distance, must by nature, bird flies, but as a fly - Ask: fall; all artists can be divided into two groups: those who create a palette canvas, calls to co-creation (I and the viewer - the same thing), and those who make a palette in the palette, craft shows for creativity, rose from the audience. " In 1977-78 Koshelokhov continued to paint, using a brush and paint, and later moved to the spatula and large canvases. As the stretchers were different items found in the trash - frames from beds or sofas, etc. Canvases were easily covered.

In 1978 Koshelokhov did something a lot of help to speed up fouling his figure legends: he married an Italian named Luciana Gironde-Viraldi solemn wires and after May 19 went to live in Italy. In those years, departure abroad amounted to a journey to the next world, in fact, with the intonation of friends and escorted departures. What was the total shock when September 6 Koshelokhov returned to Leningrad and became the first and only comes from the other world. In his own words, he decided not to change the iron cage of gold. Meeting with the home was tough. Koshelohovu barely managed to obtain a temporary residence permit. He worked in the protection Lenmetrostroya. Friendship with superintendents promote the employment of wooden sculptures (the shift helped Koshelohovu cut tree, tells where to get cloth for painting). Almost all of the sculpture, however, died as a result of homelessness and roguish life of the artist. Koshelokhov but I must say, never felt disenfranchised: it drew life where big and dirty city, where the "spitting, cursing, fighting, pissing", where, hanging out on the streets, "it is possible to sketch their feet."

Koshelokhov tended to work large series of paintings and sculptures. In 1992, he began making superproduct composed of thousands (31 December 1999 the number had reached six thousand one hundred and twenty five) pastels. In general, increased productivity, batch and speed manufacture of products - the main features of the contemporary artists, we recall Picasso or Warhol, or Kabakov.

From our conversation, "I'm going out for an hour and a half and will be back to finish." - "Go, go, - meets Boris - I until five pastelek do it."

You can also give an example of a contemporary and junior member of the "New Artists" Valery Cherkasov. Once Cherkasov and Timur Novikov came to visit Koshelohovu. Boris showed them 20 new paintings. What Cherkasov said that it has recently consummated five hundred pieces. "Maybe you invite to see?" - Asked BN "I have them with me," - said Cherkasov, drawing out a bar of soap, tapered rezinochke. In the soap dish really lay a pile of small pictures.

Global project called "Two Highways", which suggests two ways of mystical movement lives, souls, bodies, thought forms: on the ground and above the ground, and specifically from the south of Europe to Alaska, and from there to America and then back across the Atlantic to Europe. The idea of ​​movement, art, and how the transfer of the energy pulse, life in a moving experience is very important for Koshelohova. That "the inescapable interesting: man as an open system, the amount of energy in the system, more than anything goes, what's behind it? Call it God, or ..." Behind this name stands, should be, and a specific pattern - motorway from Trieste in Palermo, twelve rows on one side, the mountains, the valley of the sun during the day, under the shafts of lights at night: Koshelokhov done this way for Citroen alone, carrying anarchist escape from the golden Italian home, where he had previously left and not so far as to draw his pastels, read and drink under olive trees.

Description of art and life on Koshelohovu can do now unmistakable conclusion that Koshelokhov in 1970 was closer than any other to what is called modern art. Over time, the innate qualities have not changed Koshelohovu. On the contrary, he found, in spite of the anarchic life, the extreme constancy of their aesthetic views. However, his paintings over the years, the temperature changes. His work has become more concise, paint freeze, line oledenevaet, forms acquire firmness, that he himself explains cold responsibility, because "freedom - not libertines." This resembles the icy cold of freedom fun immortals in Hesse's novel "Steppenwolf" - Bible Leningrad 1970. In this painting Koshelohova not lose its physiological, that is life measurement. Her image as an escape, as "kids", subtly connected with the plastic of the artist, I want to say to his bone, a form of the frontal lobes, the structure hands with the texture of a few important things as honored chess pieces that are not Koshelokhov alienates himself along with art, with whom he entered into the history of art, strictly following the motto of the ancient Romans - soldiers and philosophers - omnia mea mecum porte. (Ekaterina Andreeva)