Продам: Slava Zhdanov - "Provincial weekdays"

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For Sale:

Slava Zhdanov:
1. Provincial weekdays, 2010, 60 x 60 cm, oil on canvas /oil
2. In a public bath, 2010, 60 x 60 cm, oil on canvas /oil


Slava Zhdanov.
Born December 27, 1979 in Tashkent. Since childhood, fond of drawing, studied at art school. In 1992, the family moved to the city of Ulyanovsk.
He graduated from art school № 1 in Ulyanovsk. In 2001 he graduated from the Ulyanovsk School Culture as a graphic designer and in the same year he entered the Ulyanovsk State University in the Department of Culture and Arts, specialty - the design of built environments.
During his studies at the school it was painting was one of the priority concerns, and while attending the University has been actively working in the field of design and advertising, but has written several series of paintings (including the genre of realism).
After graduating from university in 2007, he went to Moscow, worked as a designer, all my free time is dedicated art projects (painting).

FOR /LIFE.



Cyclical return of Russian art to domestic dramas, organically linked with grassroots culture over the last three hundred years, beginning with the famous watercolors Ivan Ermeneva in XVIII century, to somber paintings Vladimir Titov 1980s - 2000s, has created a discontinuous, but is characterized by continuity chronicles the tradition in which the traumatic experience of the artist, a personal experience transposed in the arts, giving the finished works of the power and immediacy of field studies.

Slava Zhdanov's work marks the beginning of a new cycle of everyday thinking: the rejection of brutality Leningrad Expressionist painting trash-late 90s - early zero and ignoring the lessons "big school" to create a certain space to maneuver, including in the direction of a naive search. Characters Zhdanov not shout about the enormity of what is happening - the weak, barely outlined drawing lines, impairment, blurred color spots no frenzied expression "wild" or breech monumental "school", rather, such works as "In the public bath ..." send us back blockade concise sketches made exhausted, helpless people to spend the remnants of forces out to see and draw. So one of the works of Vasily Pakulina, written in February 1942, is called "Neva embankment. Ships. Frosty Day "- nothing reminds lasting more terrible winter besieged Leningrad. Downstage "Bani" Zhdanov cleaners available figure in a blue robe, her bony silhouette, petrified, is responsible for the creation of dramatic tension in the seemingly idyllic picture of "wash" (a lot of calm, "bath scenes" was written by Russian artists: one can not forget the work Kazimir Malevich's "Pedicure in the bath", a genre scene with powerful Cubist period, substantial figures): Zhdanov, without looking too closely at the male nudity, carefully assembles a sharp features a woman's face and strained neck veins car enduring humiliation. Theme Scene "folds" - rigid social and cultural differences, is the source of continuous comprehensive suffering, goes through all the work of the artist: the losers, dancers, wading to the Bolshoi Theatre on the black mud, people, destroyed senseless anger, blood-red coloring all the communal kitchen , a family consisting of a fixed monsters look which is always facing the viewer behind the scenes and never - to each other - naive and uncompromising stories, ruling in one of the painting techniques of "school" and in the distribution of violent substance of painting "new wild" (Rainer Fettinga and others, had brought the material to Leningrad, "new artist") - Zhdanov selects concise, elegiac narrative, deliberately inept, weak in texture, pattern, color, dull, but the one who takes the trouble to look into these small work, instead finds big ambitions paintings (and they are everywhere - from the Academy of Fine Arts to the New Academy and even the Academy immortal Felix Volosenkov) withdrawn, but a solid look at the fragments of everyday life. Zhdanov collects everyday together, icky, but one which allows you to see the tragic features of the deep-lying and small - comic, he outlines the trajectory of world view, highlights its reference points, his exhausted, sluggish characters - heroes of our time.

Emerging in the fine material of the stages of the artist is inextricably related to the circumstances of his life: once, shortly after a difficult move to Moscow (2008), Zhdanov made the first pictorial impression of everyday life, to reconstruct a small genre scenes "Man with an orange umbrella," opening "Orange series" , paroxysmal present implicitly saturated prior experience. Figure of a man, towering over the serried ranks of standard two-storey buildings, is placed under a huge umbrella hat, rather resembling the roof gazebo with a sharp spike - a bright spot shifts dramatically coloristic harmony and brings us to the world of theatrical scenery, an unknown way to get involved in the everyday story of the collapse of the human person. The whole "Orange Series" strung on the idea of ​​fancy, cardboard decorations: "New Year", which turns into a winter wasteland cabaret scene - orange confetti replaces snow, street lamp into a spotlight, "Oranges" - a festive orange, even gold, fire mountain suddenly find freedom in a road accident, waddling over the side of the truck and freely borne by the snow (it is surprising how clearly, though accidental nature paintings - a dark, snow-covered road with bare trees, the body of the car and the theme of oranges - send us back to the theme of the siege - after namely mandarins and oranges were delivered in December 1941, the New Year for children in blockaded the road of life caravans of trucks). Storylines unites the Christian idea of ​​salvation through suffering, and even though the likelihood of salvation is as illusory, however misplaced fancy decorations on the streets of Moscow, the artist prefers to despair and despondency, or feast in time of plague strict search vocation and following it, as opposed to, for example, from the already Vladimir Titov mentioned, as if joining the Sabbat forces of evil, glorifying him. The differences between the aestheticization of horror in the works of artists such as Nikolay Kopeikin and Victor Tikhomirov, and contemplative art practices Slava Zhdanov as great as between the "Big End" Yu Mamleeva and "School of Fools" by Sasha Sokolov - the latter denies the cruelty and violence of metaphysical enlightenment and will claim a different, humanist conception of human nature.

After the "Orange Series" Zhdanov like escape from the surface to the depth of his life, drew found ability to synchrony, compressible nuances of time elapsed - life in Ulyanovsk. In the papers "Provincial weekdays", "florist" and later diptych "Morning toilet Milan /Morning toilet Basil Yegorych" hard to find the signs of salvation, that marked all the days of the Christian, but the "orange" theme hides rolled into random colors, suddenly bright, sunny wall. Zhdanov has the job stalker or archaeologist: a model city - from the facade to the inner excision deficient culture, warped heavy 90-mi, a tragedy before us defenseless intellectual, marginal, the link with the human in his decline.

After working on the provincial capital, and material reconstruction and comparisons to the artist's metaphysical reappears scale series - the "Seven Deadly Sins", as if summarizing the study of everyday life of the "little man" - mise en scene for the mise en scene - Zhdanov patiently dissects the terrible routine and projects on your canvas aloof, cool, largely bleached look, coupled with the historical and reflective power of the Christian paradigm. Dead massive figure in the "gluttony" apparently refers to the experience Necrorealists and sculptural "sins" of Mikhail Shemyakin, tough creases on a huge skull in the "greed" may have crossed the monsters Nicholas Tselkov, it would be difficult to distinguish from the general atmosphere of doom that fills the Russian Painting at the end of zero if every canvas implicitly or explicitly not present the figure of the artist, which opens the questioning: "What will happen to me? '. So in the works "Greed," "Anger. Bad marriage "," Lust. Betrayal in Winter Day "- in the center of the event is not sin, but the victim - a man in glasses, the frame of which, as they say, is too thin for the province, a clear sign of weakness. The hero is not appropriate in these circumstances, on the canvas, but it is present, it is obvious, and the viewer is required to solve a painful problem: "What will happen?". Situation hides inside school math lesson: ambulance rides from point "A" to point "B" on the road to it takes six hours, but the patient who is waiting for her, hardly will stretch more than three. Who's there and what to do once? - That's what you want to define a diligent student after a simple calculation. Uncertainty inherent in the vision of the artist, aggravates the situation of choice, points to the fact that he has not yet passed, and therefore will. Such a view, on the one hand, eliminates the position of doom, who were able to take the glamor of Moscow and Paris studio, not too sad about the fate of a dying rural Russia, rot small towns, on the other hand, however, shudder, opening the field of the unknown, future space test .

Recent work by Vyacheslav Zhdanov "Football" and "Basketball", introducing motifs of open confrontation, technically solved most schematic and restrained - this is a statement, which in itself is like a "voice crying in the wilderness." Playing fields toppled down, the audience moved away, he seemed to be watching the violence out of the bushes, the metaphysical "tree of evil", branching from the center, only emphasizes the ordinariness of clothing attackers, their typical poses - replicating violence not so obvious today, requiring constant reminder. It is intelligent, slurred brushwork Zhdanov does in this case his testimony is especially valuable: atrophy in scenic material itself viewer should see their own sickness, the disintegration of society, culture, and, perhaps, to make something of their lives. (Jacob Gimelshteyn)