Simon Faibisovich, the exhibition "Evidence" on Gogol Boulevard, 10 - Страница 2 - Форум по искусству и инвестициям в искусство

Евгений · 30.01.2010, 06:34

Цитата:

Сообщение от Vladimir

Fresh cycles - Razgulay (2008-2009) and" At the bus stop "(2008).

Excellent work, Vladimir as always, many thanks to you for the excellent reporting and professional comment ..

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".

Читать дальше...

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).

Читать дальше...

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.

Читать дальше...

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

Евгений · 30.01.2010, 06:52

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...

Евгений · 30.01.2010, 07:05

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).

Читать дальше...

Евгений · 30.01.2010, 07:12

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...

Евгений · 30.01.2010, 09:07

One of the most interesting and talented artists of modern Russia ..
A few more photos:
http://www.artinfo.ru/ru/news/main/art.htm

artcol · 30.01.2010, 09:55

Цитата:

Сообщение от Guriev, Igor

Belated photorealism.
It was in the West in the early 70's, roughly speaking.

Good bye, America, about ...
Some things are high-level (with the screen), and certainly interesting (as picture), but somehow uneven, not whole.

Added after 2 minutes

Цитата:

Сообщение от Vladimir

accounting trend "mobilization" photos

Powerfully!

Added after 12 minutes

Цитата:

Сообщение от Vladimir

Again, my problem in the new series appeared choice of subjects. Homeless least gold leaf painting - will not be pleasant.

And what is the problem? Sorokin wrote homeless - and excellent!

Posav · 30.01.2010, 10:27

This seems peredergnutym slander on reality, too far-fetched. Such works well before going out of the basement of the embassy personnel dollariki. Street alcoholics have in all countries, but no one there so do not relishing this does not give as a souvenir for export. D. Vrubel in Berlin, too, likes to draw Russian alcoholics. Even just beens their creations. And what happy that relish? It's all "children" so revered liberal Yegor Gaidar and his shock therapy.
Here is the American alcoholic. No one wants to savor?. Probably not, no one will buy now.

Сергеич · 30.01.2010, 13:22

Posav - What about that, but lousy about the bath.

Friend Discuss Faibisovich creativity, and you all Gaidar with the United States do not give rest.

Цитата:

street alcoholics have in all countries, but no one there so do not relishing this does not give as a souvenir for export

Enough and photos and pictures, set the search in Google.

Why did you decide that Faibisovich shows Russia's homeless? Maybe just the U.S.. Then once everything is in order yes?
I am sure that Faibisovich was not in the idea of doing pictures tarnishes our reality. I have seen these works alive. No protest to this and they do not they just and weak. The absence of ideas. No tragedy, no destiny, the theme is not disclosed.
But that is not required as it turns out, everyone will find its meaning. Funny.

Marta · 30.01.2010, 13:39

In my opinion, with the bums interesting project.
Perhaps to assess (or estimate) its artistic value to see the originals ...
But the social significance is obvious. Indeed, people prefer not to see what they seem scary or disgusting. Such characteristics of human vision and perception - see only the desired, for various reasons, perceive the world and from these fragmentary pieces I build a picture of the world, declaring it as complete.
But in general, to me it sounds most like the Milan billboards with anorexia patients as models.
Which direction are these works? Well, not a social art. Not photorealism, because no longer painting. What?

Posav · 30.01.2010, 13:47

Цитата:

Сообщение от Sergeyitch

There was no protest at this and they do not they just and weak. .

That is just the case that the protest is not particularly visible. I speak from the standpoint of ordinary viewer and what kind of reaction that causes the common people. But the political sympathies of seeds Feybisovicha as D. Vrubel is not difficult to get an idea.
Seriously, indicate what other artists and in some states as a massive and carefully spit at the people of the country in which they live. It is in the people, not to be confused with the political cartoons of the next President Bush and TP .. Show this painting and artists, never seen in Google.

30.01.2010, 06:52	Язык оригинала: Русский #12
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,460 раз(а) в 4,507 сообщениях Записей в дневнике: 271 Репутация: 32447	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... Ambient Reality regained hypnotic, and so once again gripped my attention. In this case between her and our eyes all the mushrooming "intermediate layers" - now the psychological, socio-cultural. Worked over their creation and technological revolution of recent times, including the "total mobilization" (from the word "mobile phone") view, and postmodernism, which repealed and replaced the coordinates of its schizoid Soviet paranoia, and the glamor, it sank all the information and cultural space who had seized the banner of social realism in to substitute high-gloss world of real, which is again the default was homely, irregular, uninteresting. So I tried to create an adequate portrait of a new era at the same time overcome the imposed stereotypes and adapt "movement time": the life of homeless outsider cast in epic form, join an extremely democratic - filming a mobile phone - with high-quality paint, fotoshopnye tricks - with the painting techniques ... In short, in every way incompatible on every combined in an attempt to create edakii "new synthesis" of the current cultural debris. Another project submissions relates that at their considerably different ideology, philosophy, technology, nature paintings etc. penetrating the installation is the author's appeal to personal experience for each audience: he suggested and requested only that he himself ever saw - simply for their own versions with their own eyes (in their eyes )..." Миниатюры

30.01.2010, 07:05	Язык оригинала: Русский #13
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,460 раз(а) в 4,507 сообщениях Записей в дневнике: 271 Репутация: 32447	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). Читать дальше... in 1995 halted his father. Currently performs with installations, photography and video art. Projects "Universal Greeting" (1997), "Our fuzz" (1999), "Every hunter wants to know" (2000), "The Living and the Dead" (2000), "node under the pines. Double Session" (2001), "My Window "(2001)," Everything has its time, everything has its place "(2001). Participation in international fotobennale in Moscow and Nizhny Novgorod in 2002. Winner of "Silver Camera" 2002. in the category "Architecture". In the late '80s began to write prose. Novels and short stories published in magazines Ogonyok (1989), "October" (1996), "Banner" (1997, 1999), "Golden Age" (1997), "Literary Review" (1997), "New World" ( 1998), solar plexus (Israel, 1999, 2001.), etc. Literature Prize magazine "Banner" for 1997 (novel "Uncle Adik" and essay "Moscow as the battlefield of history and myth"). Collections prose "Things that are not" (EKSMO 2002), "Innocence" (OGI 2002). Novel "The History of Disease: Short list of Andrey Bely Prize (2002), Nomination for Award" National Bestseller (2003). In 1993, he began to speak as a journalist and essayist. Publication in newspapers today, "General Newspaper" "MN", "Alien", "BBC News", etc., in magazines, Foreign Literature "," Art Cinema "," Banner, "" New World "," Results "," Ogonyok "," XQ "," Pushkin "," inviolable reserve, etc. Collection of articles "Russian new and Semitrailers and used" (NLO 1999). Short list of Andrei Bely Prize (2000). Lives and works in Moscow. Solo Exhibitions 2003 - Lviv eyes Moskal. Moscow-Kiev-Lviv. 2002 - Pro Vision. II International Festival of Photography. Nizhny Novgorod. The "Earth and sky. 2001 - "Returned Values". Regina Gallery 2001 - "Everything has its time, everything has its place ...". Museum and Public Center im.Andreya Sakharov. 2001 - "My Window". Moscow House of Photography. 2001 - "node under the pines. Double Session. TV gallery. Moscow 2000 - "Every hunter wants to know ..." XL Gallery. Moscow. 2000 - "The Living and the Dead" (memories of summer). Marat Gelman. Moscow 1999 - "Our fuzz. Zverev Center of Contemporary Art. Moscow. 1997 - "A chill ran for the gate." L-gallery. Moscow 1995 - "Farewell anniversary" (with B. Orloff). Regina Gallery. Moscow 1994 - "Chronicle of Current Events. Yakut Gallery. Moscow 1993 - "Evidence". Regina Gallery. Moscow 1992 - "The latest demonstration. Regina Gallery. Moscow 1991-Galerie Inge Baecker. Cologne. Germany 1990-Phyllis Kind Gallery. New York. United States 1990 First Gallery. Moscow 1989-Phyllis Kind Gallery. Chicago. United States 1988-Phyllis Kind Gallery. New York. United States Selected Group Exhibitions 2002 - Contemporary Russian paintings. New arena. Moscow. - Silver Camera. Exhibition-contest photos. Moscow House of Photography. - Fotobennale 2002. Fourth International Month of Photography in Moscow. A series of "Holiday in Turkey" in the section "Children and Childhood" (bridge Bagration) and "The Seasons" in the section "Landscape" (Large Manege). 2001 - Art Moscow. Photoseries "Stadium" Lokomotiv ". Submitted by gallery" expert ". - "Russian artists - Andy Warhol" (within the festival "Week of Warhol in Moscow"). Exhibition galleries Guelman. - Age of Sakharov. Museum and Public cents to them. Sakharov - Exhibition of new acquisitions. "Moscow House of Photography" - Artmanezh. VI Contemporary Art Fair. Exposure Gallery of Regina. Manege. 2000 - Art of the twentieth century. The new permanent exhibition GTG. - "Series". NCCA, Manege. - "Silver Camera 2000". Competition for the best photo coverage of Moscow. Moscow House of Photography, Manege. - Moscow International Art Fair ARTMANEZH. Exposure Gallery of Regina. 1999 - Museum of Contemporary Art. " Russian art of the late 50's - early 80's. Project A. Erofeev. CHA. Moscow - "Act 99". Austria - Moscow. Museum of the City Veltzé - Manege. - "Postwar Russian Avant-Garde" from the collection of Yuri Traysmana. Gos. Russian Museum - instantly. Tretyakov Gallery - Museum of the University of Miami (USA). - Exhibition-laboratory "The idea of the museum of the USSR. Museum and Public Center. Andrei Sakharov. Moscow. Curator Yu Zlotnikov. 1997 - "History in the faces. A traveling exhibition of the cities of Russia's provinces. Open Society Institute, The State Museum Tsaritsyno. - "Moscow hyperrealism. Exhibition of five. Project of the Association of Moscow galleries in the spring ART arena. - The project "Universal Greeting". The exhibition galleries "Today" in the autumn ART arena. 1995 - Nonconformist art from the Soviet Union. Zimmerti Art Muzeum. University Radgers, New Jersey. USA. 1994 -Art Fair Cologn. Galerie Inge Baecker (Cologn). Gallery Sprovieri (Rome). Cologne. Germany - "Before Neo and after Post - The New Russian Version". Lehman College Art Gallery, Bronx, New York. 1993-94 - "Old Symbols, New Icons in Russian Contemporary Art". Stewart Levi Gallery, New York. 1993 - Monuments: Transformation for the Future. ICI. ICI. CHA. Moscow - "White Night". Yakut Gallery. Moscow - "Art-Hamburg" (The Art of Eastern Europe). Galerie Inge Baecker (Cologn). Hamburg. Germany - "M'AIDEZ \\ MAYDAY". Phyllis Kind Gallery, New York. 1992 - "Art firsthand apology or embarrassment." Regina Gallery. Moscow - "A Mosca ... A Mosca". Villa Kampoletto. Herculaneum; Gallery Communal. Bologna. Italy - "My Father's House Has Many Mansions". Phyllis Kind Gallery, New York. - "Glasnost Under Glass". Ohio State University, Columbus, USA 1991 - "Staats Portrait". Galerie Inge Baecker. Cologne Germany 1990 -International Art Fair. Chicago. United States - "Adaptation and Negation of Socialist Realism". The Aldrich Museum of Contemporary Art. United States - FIAC. Paris. France -Art Fair Cologn. Cologne. Germany - "Painting in Moscow and Leningrad". 1965-1990. Columbus Museum of Art. Columbus. United States - Bulatov, Faibisovich, Gorokhovski, Kopystianskiye, Vassilyev. Phyllis Kind Gellery, Chicago 1989 - "Pictures of painting. First Gallery. Moscow - "Behind the Ironic Curtain". Phyllis Kind Gallery. New York. United States - "Interart". Poznan. Poland - "Moscow-3". Eva Pol Gallery. West Berlin -International Art Fair. Chicago,. United States - "Von der Revolution zur Perestroika". Sowietische kunst aus der Sammlung Ludwig. Musee 'Art Modern. Saint-Etienne. Switzerland - "Wirklichkeit Als Konzept II. Die Jungere Generation". Galerie Inge Baecker. Cologne. Germany 1988 - "Ich lebe - Ich sehe". Kunstmuseum. Bern. Switzerland -International Art Fair. Chicago. United States -Art Fair Cologn. Cologne. Germany -Art Messe. Basel. Switzerland - "Glastnost". Kunsthalle in Emden. Emden. Germany - "Beyond the Ironical Curtain". Galerie Inge Baecker. Cologne. Germany - "Labyrinth". Palace of Youth. Moscow -Diese Aussterllung wird veranstaltet unter der Schirmherrschaft des Prinzen Alexander von Hessen Philippsthal-Barchfeld. Germany 1987 - "Direct from Moscow". Phyllis Kind Gallery. New York. United States -International Art Fair. Chicago. United States - "Retrospective: 1957-1987". Thus, the Hermitage. Moscow - "Post-Socialistic Realism: New Soviet Reality". Firebird Gallery. Alexandria. United States 1985 -16-I Youth Exhibition. Moscow 1976-88 - Exhibition in the basement of the Municipal Committee of the graphs in the Little Georgia Prepositional case Simon Faibisovich definitely the most intelligent representative of the picturesque photorealism Moscow. Inside the directions - he is the one who is interested not so much hard work from a photograph as a "source material", as the overcoming of the latter, the movement of the selected "object study" in a different context. The new reality created by doubling the reception. "Object", having a photographic interpretation of the focus, through the picturesque plastic. The result - a new reality - is achieved not by enlargements (blow up), and the finest "spray" focus. Image becomes multidimensional. Faibisovich as it casts doubt on a direct-touch with reality, his paintings - a philosophical interpretation of reality. Tendency to philosophical statements, of course, puts the artist's work in an international context-to-date, one of the main tenets of which - the art of the second half of the twentieth century, a substitute for the function of philosophy. Double ostranenie allows Faibisovich with an almost Buddhist calm and deal with social discourse, and analyze the inner life, and explore the landscape outside the window. Active in the techniques of painting, recently Faibisovich away from the picturesque practice. His instrument of knowledge of reality at this stage - pure photography. It is logical for the artist minded philosophical categories, for the analysis of reality with the help of fototoapparata - not so much the end result of creativity (although photographic experiments Faibisovich deserve separate consideration), but, hopefully, the preparatory material for further pictorial essay. Moreover, the artist often spoke about the possibility of returning to the fold of the actual painting. At the exhibition visitors will get a rare opportunity to get acquainted with the works of art become classics Russian actual art. Elena Selina Text for the exhibition "Contemporary Russian paintings. 1992 - 2002." Миниатюры

30.01.2010, 07:12	Язык оригинала: Русский #14
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,460 раз(а) в 4,507 сообщениях Записей в дневнике: 271 Репутация: 32447	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... You then throw the painting, then paint again write. Now, in general no one understands what you are doing. I thought that nobody understood. There is a desire something to build, a new synthesis. This, of course, art - including painting. Shimmering interaction technologies - print, digital photography, computer processing and the present painting. When master all, there is a playing field of interaction of different techniques, mimikrirovaniya one beneath the other. I accidentally went to this new painting - with the project Mobilography: gave my mobile, they said - come on ... and then came across the subjects. Many people would like you to go back to classical painting This is normal, if the artist at a certain age is starting to play. But it becomes boring, there is a need for some sort of intrigue to create, to understand it. I think that I'm alive and relevant artist, until I call external to something encouraged. New time itself poses new challenges - picturesque, spatial, constructive. In this sense, a return to the old artificial. Faina Balakhovskaja 25/01/2010 http://www.timeout.ru/journal/feature/8407/ Миниатюры

30.01.2010, 09:07	Язык оригинала: Русский #15
Евгений Гуру Регистрация: 04.06.2008 Сообщений: 14,663 Спасибо: 18,865 Поблагодарили 16,460 раз(а) в 4,507 сообщениях Записей в дневнике: 271 Репутация: 32447	Simon Faibisovich: "I am alive and relevant artist ..." One of the most interesting and talented artists of modern Russia .. A few more photos: http://www.artinfo.ru/ru/news/main/art.htm Миниатюры

30.01.2010, 10:27	Язык оригинала: Русский #17
Posav Banned Регистрация: 11.07.2009 Сообщений: 1,789 Спасибо: 852 Поблагодарили 1,805 раз(а) в 972 сообщениях Записей в дневнике: 23 Репутация: 3342	This seems peredergnutym slander on reality, too far-fetched. Such works well before going out of the basement of the embassy personnel dollariki. Street alcoholics have in all countries, but no one there so do not relishing this does not give as a souvenir for export. D. Vrubel in Berlin, too, likes to draw Russian alcoholics. Even just beens their creations. And what happy that relish? It's all "children" so revered liberal Yegor Gaidar and his shock therapy. Here is the American alcoholic. No one wants to savor?. Probably not, no one will buy now. Миниатюры Последний раз редактировалось Posav; 30.01.2010 в 10:35.

30.01.2010, 13:39	Язык оригинала: Русский #19
Marta Guest Сообщений: n/a	In my opinion, with the bums interesting project. Perhaps to assess (or estimate) its artistic value to see the originals ... But the social significance is obvious. Indeed, people prefer not to see what they seem scary or disgusting. Such characteristics of human vision and perception - see only the desired, for various reasons, perceive the world and from these fragmentary pieces I build a picture of the world, declaring it as complete. But in general, to me it sounds most like the Milan billboards with anorexia patients as models. Which direction are these works? Well, not a social art. Not photorealism, because no longer painting. What?

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