Boris Kocheyshvili. Life in Art

[Тамара]

Сообщение от Cyril Syzransky

The current owner after the acquisition was lucky again, but why the "sorry "? Very well : let the people rejoice his insight and deservedly praised her in front of friends, showing a page with a picture in the "Encyclopedia of Russian art of XX century " and the painting on the wall . <! - ~ 1 ~ ->

It is a pity that I was not the one astute person)) ) )

[Кирилл Сызранский]

Сообщение от Tamara ; 2785561 "

It's a pity that I was not the one astute person ))))

And then the eternal and many familiar problem - often with their supervisors look at many of the works of their authors, not to speak of the artists themselves , for which important and significant works are not famous and popular works .

[Тамара]

Well, then :

1. Kocheyshvili a catalog , published by the Russian Museum .

2 . Inspired by the upcoming exhibition , the artist created a series of new works.

3 . Kocheyshvili personal exhibition at the Russian Museum .

4 . Published a book of poems Kocheyshvili .

5 . Boris Kocheyshvili arranged in the halls of the Museum of Russian performance " Relief poetry ."


But everything about it I'll tell gradually. Material is abysmal . Paintings and poems , photos, videos , publications and reviews ... I will entertain than respectable audience soon) )

[Кирилл Сызранский]

Сообщение от Tamara

Material is abysmal.

Excellent!
<! - ~ 1 ~ ->

[Тамара]

Publisher of the State Russian Museum PalaceEditions issued a catalog of Boris Kocheyshvili .
 
Release of the book is dedicated to the artist's personal exhibition " Simply Summer" , which was held at the Russian Museum (Marble Palace) August 14 - September 16, 2013 .
The book is published in two editions : in Russian and English languages.

Palaceeditions. St. Petersburg. Of 2013. 130 pages, hardcover , dust jacket .

In the catalog published work in recent years : paintings and reliefs .

The book opens with an article A.Borovskogo "Once a Song-Thrush ":

" Kocheyshvili undermines stereotypes of high (and in general reference - today and conceptualism , have done so much to dispel all kinds of stereotypes rooted buskins ) its private method. Namely - the very nature of life and art of living . It gives the viewer a hint sly , pick up the key to his work : " My dear /no time /summer /Weeding /Chickens yes duck /Scott pesters /And then I had you /I" Hunters in the Snow " /I " Black Square " /And " Danae ."
And more ...
 " The materialization and dematerialization as a manifestation of the movement of life , and all that - under the sign of behavioral and creative artistry ... Of course, consciously or not, but Kocheyshvili somehow came into contact with the masters of metaphorical line ( D.Krasnopevtsev , M.Shvartsman , etc.). Moreover, if his work and is contextualization , in line with the movement. But ( back to the title of the article) , our bird - not one of those who get caught giving the claw , " lost ", that is, allows himself to get caught up in the already held discourse. Leaving a mark of claws , this thrush continues solo flight . Actually, " otvyazannostyu " flight he and interesting . "

At the end of the book , after the section "Biography" , the publishers were given a couple of turns with the verses Boris Kocheyshvili .

[Кирилл Сызранский]

Сообщение от Tamara

The catalog published work in recent years: the paintings and reliefs.

And it works from the exhibition "Simply Summer" in Russian there?

[Тамара]

Сообщение от Cyril Syzransky

And it works from the exhibition " Simply Summer" in Russian there ?

Yes, Cyril! of course)

In the catalog published about 100 papers . The exhibition shows a half , no longer fit .

But there was a curious affair , even here :

The catalog was already made up and printed , and Boris all continued to work on a "masterpiece ." He set himself the task to write to the exhibition are new, fresh and not like the previous works.
As a result , the exhibition there were two large paintings and three relief started almost on the eve of the exhibition. Here is their something in the catalog, of course not.

It's nice that most "fresh " picture " Wagner House "
(see photo ) loved the public. She and her on TV showed and discussed a collector wanted to buy it , and the employees were thinking belt , not whether to leave it in the museum , right then stopped for a characteristic Kocheyshvili works.

The picture is really powerful. The bold color scheme says about the experience and skill of the artist . Red, green, purple : the picture captivates its color wave that looks like a negative slide.
Postbarokko )))

Wagner's house . Of 2013. Hardboard , acrylic. 100h110sm .

Добавлено через 4 минуты
And here are four works not included in the catalog, but shown at an exhibition in the Museum.

The works were large paintings 100h110, reliefs also 100h110sm.

[Тамара]

And here are four works not included in the catalog, but shown at an exhibition in the Museum.

The works were large paintings 100h110, reliefs also 100h110sm.

[Тамара]

Oh, well, I do not know who will read this long , but the one who wonder what our torch Borovsky thinks about Kocheyshvili , he probably still will ...


 Alexander Borovsky . "Once a Song-Thrush »

       "Once a Song-Thrush " - was so early , 1971 , the film by Otar Iosseliani . The hero , a young man , a musician , had to beat the drums during the presentation of the opera house . Every evening , once. All the rest of the time he spent in vanity - optional visiting people walking on unnecessary meetings , drinking with friends. Helping friends and strangers . To create " something musical " did not have time , but the melody was living in his head . Died ridiculous. That's just all loved him and mourned for him . In the encyclopedia articles about the movie pushing a senseless vanity , which condemned himself a talented man . On his wasted on trifles . On it, so to speak , ineffective . There were probably others, sixties , interpretation . Say, in the advancing cold musician just have to spend themselves in direct communication with the people , because in the professional capacity of the creator realized he just could not. I remember, after watching , without further ado, just wept - the film struck me as incredibly sad. Freshman dopey , I tried on myself, " Oh, it would be necessary to throw all these student fun and deafen themselves library. Until something is still spinning in my head . " I flattered myself . The head was , according to one of the current song , a Moscow hollow bamboo . However, some discrepancies with the conventional version of the " unproductive " I still feel it. The film was shot stunningly womb orchestra pit . Something remembered sublime. Yes, Pushkin : " It is not required of the poet to the holy sacrifice of Apollo , in care of the vain world he is immersed cowardly ." - " Loaded , then it is shipped - I thought of a hero , but at the first request comes in to hit his drums . Solemn, sacred. Is this not a victim? What more do you want? No, this is not as simple Josseliani . " This is me today realize how much is not easy . I think he laid a lot in his film . And posleottepelny political cold, so unbearable in Tbilisi. And his understanding of the Apollonian - both highly dramatic and burlesque . And vanity , which is fueled with existence , such as non-program , the aleatory - accidentally turns into art (A status and sublime - the victim , the sound of the timpani - turns into pretentious obyazalovke ) . What I mean by that?

   In addition , I want to name an article about Boris Kocheyshvili - "Once a Song-Thrush ." That is to awaken the associative potential of old film in relation to the artist . I hope I do not reproach direct analogies . Kocheyshvili - an artist who has lived a great life , besides - productive , ready to fill with their works than a museum hall . This is not a gregarious young man Gia , which gained strength in responsiveness and generosity of nature a lot of friends, but never succeeded because of these same qualities , do nothing professionally : for Kocheyshvili - major exhibitions , texts experienced critics - Yu.Gerchuka , Yu.Moloka , V.Turchina . But that's life , the behavioral pattern ... Articulated lightness of being ... bezbytnost inability to put the squeeze their creative statement to the status of the concept, the convertible in the circles of transnational art establishment ... Generally careless disinterest in the fact that it came to the message of the right eye and ear , and was functional ( secured position in the artistic hierarchy) ... it is terrible to say - not sure whether this is the message of that , not fun ... I have a right to focus on the behavioral picture?
         
    In fact, if it is biographical , that is, a particular genre , such as pylyaevskogo - " Famous eccentrics and originals ." But this is different . Here behavioral directly reflected in the art , at the same time undermining the status of the conventionally high ( at Josseliani it , remember - connotations associated with timpani ) . Undermine can be different . Since the time the work was achieved with Fluxuseto HighandLow, low articulation , profane - non-fiction materials , rubbish and other Russian conceptualist - identifying your own creative thinking to the types of mentalities professionally connected with the classification , archiving ( storing ) , gathering ( junk dealer , archaeologist, linguist , etc . ) . They are followers of the younger generation - bringing the same to the degree of mental practices schizoid boil.

    Kocheyshvili undermines stereotypes of high (and in general reference - today and conceptualism , have done so much to dispel all kinds of stereotypes rooted buskins ) its private method. Namely - the very nature of life and art of living . It gives the viewer a hint sly , pick up the key to his work : " My dear /no time /summer /Weeding /Chickens yes duck /Scott pesters /And then I had you /I" Hunters in the Snow " /I " Black Square " /And " Danae ."
   Such is the song thrush . Evasion of duties is a high ( or social , or Filonovsky will use the expression " Techa " or philosophical discursive , not to mention - the " career ") , all kinds of hobbies and distractions petlyaniya , " Hiding steps" , and - surprisingly - filling all these private and outsiders poezisa ! Thus, the non-systemic artist .

Kocheyshvili exhibited since the mid -1960s , the next decade is actively engaged in the Experimental Studio of . Nivinsky , "we Theys ," as they said . It seems that the role of ES Theys now thoroughly forgotten. Meanwhile, in the historical and cultural terms, he made a deal: he performed not only in the role of custodian of print culture , apparently, it was inherent in the medial ostrosovremennoe understanding , which he readily shared . Etching technique as enjoyed using the wizard theme prints . Theis thoughtless Utilities media was not interested . He - in the course of endless flying exhibitions of their own and the Studio , in Moscow and in the field - at Senezh proposed plan view the material as it prints to be suspended processuality : patterning , etching , printing. Each stage has its own separate , not mimetic , almost " abstract" richness : dashed masses , revealing textural effects as a result of etching something else. For Kocheyshvili seem important was this " anatomy prints ": his famous unpredictability ( still not fully tamed element etching ) , the ambivalence of black and white (the image is scratched on the lacquer layer , that is, it is lighter , " whiter " background, then it is etched with acid, clogged ink in a print pattern has black ), generally processuality create print. Note- ofortisom Kocheyshvili did not : after all, he said of himself as an independent master above all unique graphics - large easel paintings ink , made with a brush . However, the etching experience - " a one- etching " with his drama - and the culmination of the development of the visual action, with a mystery that is revealed at the very end - I think that significantly influenced his poetry .

   In the middle of 1970 Kocheyshvili begins to show its "brand" ink drawings on coated paper. Some of them were like pieces, the other - like a Scene . Both definitions are arbitrary. The most characteristic work of the first group presents "Sculpture" ( 1976 ) - the image of the object complex plastic nature. In the image clearly soloist this subject plan , anthropomorphic and biomorphic associations arise later . But first - a strange objective form , probably of organic origin , which attracts a mystery : two unseen beings , buried in the ground . Do not just ingrown - rooted in it : the objects ( the body) and the soil are made in one round of visualization, up to the mining invoice. Brush painting has its own nature, but here it is clearly absorbed the etching experience: the ambivalence of black and white - they vzaimopronikaemy in terms of silhouette , and textural . Thus, in the picturesque smear felt gaps ( or the possibility of spaces): the memory of the etching scratched touch. At some point, watching the audience concentrates biomorphic and anthropomorphic associations , there is even a story: a female amazon with a shield , next - a tree . However, mimetic plan is ready to give way , I would say - the metaphysical plan . But more on that later.

Let us turn to the second group of drawings . It immediately recognizable game plan theatricality . It's a theater mime and gesture . Yu.Molok wrote in this connection, about the tradition of images of clowns and mimes , meaning lotrekovskuyu line. Yes, Kocheyshvili appreciate the gesture. But - I would add - and he has mastered the language of gesture stop , its symbolism and metaphor ( "Conversation with the Queen ," " Women and owls "). It is important to add that this whole game plan was not purely arbitrary. He had his own rootedness - in the archaic world of theater . And - in the traditional , everyday, " communal " urban culture of oriental type - Tbilisi ?

   Thus, since the mid -1970s , there were two basic points Kocheyshvili poetics : the metaphysical and the theater . Now I would like to go to the generational issues - whether she has painted poetry , and if so, how ? Kocheyshvili belongs to a generation for acting after the sixties ( objective factor ) . Since the sixties related " severe style" , the last attempt of representation of real social in Soviet art . She determined the appeal to articulate the energetic sources : plastic reaktualizatsiya experience " bubnovovalettsev " postavangardnogo thematism 1930 (primarily legacy remains and the group " October" ) , the interest in contemporary Western realists (or rather the "realism" ) R.Guttuzo , A.Fuzheronu , Mexican muralistam . Semidesyatnik no longer nourished social progressivist illusions , they are acutely aware of timelessness , in which they were destined to live and work. Hence - the trend of staging , which has affected many generations of artists : N. Nesterova , O.Bulgakovu , A.Sitnikova . This is the only painters , staging embraced different genres and different types of art , especially the decorative and monumental .

 Perhaps , few artists could then reflect on this theatricality as a kind of escapism , a departure (failure) of the lost historical content of reality. Today, it seems certain . Moreover, I would like to expand the generational and , especially , " napravlencheskie " the scope of this trend. So, I would like to add to the group seventies and a number of elders conceptualist who have never seen (I'm afraid , and would protest against this manipulation ) in this context : for example, I. Kabakov or V.Pivovarova . For example, in their classic things , say the film " Questions and Answers" Kabakov or pivovarovskom album "Face" the situation is grounded to the limit and tekstualizirovana to replicas , but it's still - theater and drama, and the depiction of lexical characters exist at all in a reduced , but rather , on a net basis . I think in the dramatization , which comes Kocheyshvili , there mirooschuschenchesky pulse , characteristic of a generation. Another thing is that the artist finds his line of conversation in the general narrative of dissatisfaction with existing reality (expression E.Bulatova ) . Theatre Kocheyshvili authorized primarily , of course, plastic . But not only that. The artist creates his own company : a typology of characters. Sometimes they are personalized (" The artist L.Pastushkova ", " Olya and Natasha "), have a name and a surname, but often it is types. In some cases - an artist endowed by certain signs - power, femininity , etc. ( "Conversation with the Queen "). The woman and the woman listens to persuasive , women , talking as equals, romantic man , idle reveler , artist , etc. The characters look like and favorite artists images of birds : they are clearly in the theater Kocheyshvili symbolic role of certain messengers . Finally, in the theater and some visualized influenced the artist's images of art - is not present as a quote, but in the form of a plastic accent accent. The artist creates a world of complex semiotic interactions: through gestures , facial expressions , postures , he creates a kind of vocabulary comprehension.

In general, the level of understanding within each scene is much higher than the readout from the outside : the artist consciously reserves the right not to decipher what lies behind a pantomime - a dispute about the truth or the showdown over the counter favorite dish. Philologist A.Zholtovsky once successfully identified Fazil Iskander's prose as "the theater of skilled alarms ." Kocheyshvili signal is able to achieve truly expressive gestures (" gestures "). But gradually he masters the language and omissions , interruptions , suspensions flowing regime of the time. In such works as " The Three Sisters ", " Birding " spatial language caesuras needs no gesture support.

  In the 1990s, there is a series of "Names" . Externally, it can remind conceptualism : a pictorial fabric woven lyrics - Russian names , male and female . Actually , the fabric - it's scenery " Kocheyshvili theater " , this time close to real architectural prototypes - visual variations on the themes of Russian provincial architecture , manor and church . In the transformed according to the author's imagination , but have not lost touch with the realities of architectural images - the chapel , porticos , porches , etc. , are inscribed the names - Olya , Yegor , Lisa and Mitja ... From conceptualism is obviously has nothing to do - the names , in contrast , say, "only the list of persons entitled to receive " in the classic work of Kabakov , do not carry the ideological connotations . Moreover , most of their writing , drawing, contrary to the textuality of conceptualism, requiring reduction and anonymity or "ready-made » (readymade) image. It is the author's character, also correlated with the architectural plasticity (all these rhymes roundness , roll rhythms, the correlation of hollow core ) . But not even muster architectural drawing font and architecture, transformed the artist's imagination , is the main point of the series. I think , just like the names in the " public " albums and paintings Kabakov appeal to the ideological field names in Kocheyshvili appeal to the acoustic field . They echoed in the colonnades and the pylons of time spent by provincial architecture ... a long sound of all those rounded retired "o" and "a" - not a sign of ideological and human presence , a trace of privacy ...
  
    Gradually, what we call the scenery in the theater Kocheyshvili - all sorts of substantive reality - are beginning to play a more independent role . They do not just organize the drama, they begin to solo . I think that this setting has been tried already in the 1980s in a series of feather collinear drawings " gate ", " rock ", " hut ", etc. This is - the architectural motifs of origin , based on the memories of volyumah on which elements shtudiruet orders and historical patterns . However, the graphical implementation - especially the author . In the enclosed drawing some energy force to overcome the resistance , perhaps it is an echo of the etching experiment, in which the creation of the line is the result of the amount of effort: scratching , etching, printing deepen the color ottiskivanie with metallic form. All this gives linearity some special thoroughness . It is in itself , in its audited and non-randomness , is deterrent in nature, as if balancing factor improvisation and unpredictability (in practice - the need to overclock your hands out of control of objectivity to lead somewhere beyond it: V.Podoroga philosopher who studied anthropological aspects drawing , rightly says about the rhythms of bodily feelings) . This fragile balance of power is present at the level of formation : the classical architectural archetypes are deformed under the influence of some kind of natural forces , lose and constructive logic of construction . Meanwhile, and deconstruction , decomposition happens: curved , brittle , twisted architectural forms - in fact , the ruins , however , remain stable . " Holds " image not tectonics, but rather a metaphysical life of white : white sheets, thoroughly penetrating between the finished lines , crawls into numerous arches , windows , openings ...

 In the works of the 1990s . objectivity - booths , basketball , gazebos , park vases , ruins , gates , towers - as already mentioned, are beginning to take on a greater role . They are increasingly substitute pantomime characters: they have their own theater mime and gesture . Moreover, they act as arbiters of the fate - define a resource vitality of the characters in the literal sense - their vitality , viability ( in the "male and female " - even sexual identity ) . Not that it was a " predatory things century" - no, no plastic in their message of threat and aggression. Just this objectivity ( ex decorations) took over the symbolic power to determine the boundaries of existence. In " At the river " white ( virgin coated paper ) strip of the river looks literally the border between the two sides of life.

This is not necessarily a matter of life and death. Most often , the earthly and the things above . About the material and spiritual . Finally, on the waking and the dream - a physical condition and a dream - Arts. By P. Florensky , sleep separates the visible world and the invisible world , it is the same as " oplotnennoe dream ," metaphysically identical artistry . In " Anna draws a " figure of the artist, somnambulistic self-absorption , and a disembodied spirituality : the dream of creativity calls her angelic rank with real ministering spirits ( "Angels and Crosses "). In the " Nude " mirror does not reflect the naked body : this is a funnel in otherness . The viewer becomes a witness to a kind of confrontation - corporeality resists dematerialization .

In the 2000s Kocheyshvili increasingly turning to painting. Metaphysical flavor here yet tangible. Motives architecture ( baroque volutes and curls , the ruins of the colonnade and entablature fragments ) paradoxically form the landscape , as the name ( "Field ", " Edge of the Solar ", " Glade ") natural , full-scale . But the " wilderness " seems to be an artist does not exist: it is "through" authorized , imbued with reminiscences of artistic, theatrical and architectural plans. Therefore, this " slozhnosochinenny " landscape becomes an ideal field of the vnesyuzhetnoy some internal drama of the artist: Plastic, rhythmic , and optical . However, the statement by the artist subjects never act in a "pure " abstract form . Always there is some rationale shaped scenic backgrounds. For example, in " The Forest " celebrates the idea of ​​free of naturalistic associations rhythmic structure . However, there is a dramatic and , stage effect is closed : the actual "scene" angle crashes into " scenes" . And do not hit it. Drama despair ? And in "The Forest . Firebreak " Grove ( with obvious allusions a ruined colonnade - a kind of double decorative ) as it is raised at an angle on the scenic plate. Podium dissecting it and goes somewhere behind the scenes : the way out? Outcome?

Generally Kocheyshvili stung by the dialectic of " stage " and a natural, organic . It often becomes a special "inside" story. Thus, in " Fly away ", "The Door in the Forest" scenic action played out in a specially prepared scenic , even stage design , space. Of course, this " picturesque " is far from natural- mimetic : it takes the form of color- tone stretch marks, Stude luminosity of color. It's like an artist playing matyushinskie experiments on color organics , " states watching " horizontally, vertically , from the center, in two perpendicular.

  Multi-layer nature imagery Kocheyshvili gives reason to diverse interpretations. The artist is not inclined to direct the reaction of the audience, however, he seems to be afraid of excessive exaltation of the providential sense ( that scoffers of the series mladokontseptualistov named in his "Dictionary of the terms of the Moscow conceptual school" , " oven "). So he not only emphasizes in his works and staged start, but never tires of reminding the beginning of copyright : this is my theater, my life, my mind ... curious in this regard the work of " project at home." I would compare it (at least in the limit of selectivity subject realities , with an explicit ontological backswing ) with late still lifes D.Krasnopevtseva . Kocheyshvili designs a house on the river of life of subjects with symbolic load , what are the vessels and plants in Krasnopevtsev - columns with fragments of the entablature , some curls decor , light box , etc. All of this - both artists - spend time broken. In these Krasnopevtseva loss (vessel - a measure of the shape and the repository of universals , no cracks will not allow its content to leave in peace) showed the eternal metaphysical laws that are higher household physics ( according to which the contents of the broken vessel inevitably spilled outside) . Kocheyshvili as if he does not think of the general laws and about the course of time : he simply designed, to pretend to be mentally house by himself from his favorite materials. House of the curve , unstable , fragile , windswept , ready to collapse into the river at any time - but that's exactly what 's nest, in which the artist can live . For Krasnopevtseva such futility , frivolity impossible: touch to the universals of life, with the understanding of the human inability to penetrate into their essence, for it is highly tragically . Tacitly tragically : the form is completed and the "final " - no hint of development could not be. Kocheyshvili not that that does not want to use the modern language of youth , " ship " itself and the viewer intractable problems of existence. No, the only thing he is sure - the inability to give up one iota of authorization : my house , my house . Here he is free to change the scale : household items are in scale of the human figure ( "Women and crockery ", " Walk - picnic "). Change the mode of the flow of time ( "The Beach at Lyme Regis ," " Lead the river "). Bring to a road and a mountain earth ... (" Walking with Angels ").

 I think the artist turned to the relief in the context of the dialectic of materialization - dematerialization . It is specified here as the theme of presence. Kocheyshvili author develops the technique of relief with the use of PVA and Rotband , gipovoy mixture for construction purposes . Reliefs exist as a white embodiment , and in the acrylic paint. Technique has some limitations in the freedom of sculpting - relatively speaking, its mobility , impressionistic . And the limited height of the relief. But it is quite realizable strong , by his own admission the artist, his creative side : compositionality . We have Kocheyshvili concise poem , " Morning empty /wait /it is not sui /whatever is handy /let ." So, I think , of composition in his understanding is required poetics : the emptiness is filled with the most important , the image is released from the "extra " - the inertia of the brush , all of these optional arabesques and touches. Perhaps that is the relief sought emblematic artist ( "Angels ", " Family") - a task that he did not put in the painting. Emblematic does not go into semiotic , pure symbolic meaning : even if the artist operates stable iconic archetypes , he gives them flesh planoobrazuyuschim potential.

Materialization and dematerialization as a manifestation of the movement of life , and all that - under the sign of behavioral and creative artistry ... Of course, consciously or not, but Kocheyshvili somehow came into contact with the masters of metaphorical line ( D.Krasnopevtsev , M.Shvartsman , etc.). Moreover, if his work and is contextualization , in line with the movement. But ( back to the title of the article) , our bird - not one of those who get caught giving the claw , " lost ", that is, allows himself to get caught up in the already held discourse. Leaving a mark of claws , this thrush continues solo flight . Actually, " otvyazannostyu " flight he and interesting .

Alexander Borovsky

Added after 1 minutes
In the previous post you need to put a button "read more", but I do not know how to insert.
Administrators, help me!

Добавлено через 21 минуту
And now I will publish a selection of works that are in the directory, but did not get to the exhibition.

Because then there will be a lot of pictures of the work that has been put in the catalog and the exhibition))

[Тамара]

And now I will publish a selection of works that are in the directory, but did not get to the exhibition.

Because then there will be a lot of pictures of the work that has been put in the catalog and the exhibition))