Sergei Bazilev (painting)

[Bazil]

Pictures for 2010

[Bazil]

waiting for your comments!

[don pedro]

Very picturesque!
Easy and delicious!

[Люси]

I do nravitsya.Zamechatelny artist and a charming man .. had the honor to meet you at vystavke.Rabota at number 4, this work from the collection by Sasha Mironov, it is now just on display in the A3 at the exhibition "The dream about."
Sergei Basile - a native of Kiev, and ... of 1970, it formed a special creative approach. He graduated from Kiev State Art Institute Tatiana Yablonska, spun in a circle of artist George Yakutovych, who worked with Sergei Parajanov, which in turn was a significant character for Kiev, gathers all the most interesting, innovative, and creative. Here and there was a group of "hyper" as they call themselves - Sergei Basilio, the late art critic Sergei Sherstyuk, and Sergei Geta. Started with the happenings, the process is not specifically documented, there were only occasional slides and prompted the idea of the photo (or hyper) realism. In the mid-80's moved to Moscow - in a rigidly follow the "party line" Kiev breathe creative person it was quite difficult.
When in an interview with Sergei Bazileva ask why Hyperrealism became his creative choices, he responds: "because it was then impossible." Hyperrealism (or photorealism) emerged as a trend at the same time in America and in Europe at the turn of the 60-70's as a reaction to the dominance of abstract, non-figurative art. In the USSR, the situation was different, but the "response" was also on that. Domestic Hyperrealism emerged at the same time - in Estonia, Lenigrade and Kiev, the first "hyper" Bazileva picture was painted in 1971, although the first exhibition of American Photo-Realist brought to the Pushkin Museum in nearly a decade later, in the late 70's.
How to write clever dictionary: "Hyperrealism (or photo-realism) - the direction in the fine arts, combining the ultimate in a natural way with the effects of their dramatic exclusion." In fact - in the case Bazilevym - the process might look like this: canvas placed horizontally, it pours oil, it flows beautifully, and Sergei squirts ink and begins to drive his hands on the canvas - a mystical ritual. As a result of "witchcraft" on the canvas of chaos there hair. Then - the oval face. And half an hour later the main track is ready, hands and formed a thick brush. Then came the turn of the photo - the artist makes a series of pictures from different angles, which is distorted (yelling portrayed on a failure perspectives not taken into account), according to him, he appends the details. At one of these images, I love to watch not in cold showrooms and comfortably ensconced in a rocking chair in the living room, while the heroine of the portrait gives his trademark "Fish-Fish."

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Sergei Basilio, interview the curator Olga Lopukhova: "I was always interested in people and the drama behind them. Therefore, my work on subjects like how the amateur camera shoot closest friends and a place where you find yourself. Scenes of my work is very simple - I am always doing things you love and write their loved ones. <...> I am "hyper" is now very much. He is a true and most neraskruchenny brand history of twentieth century art, the most vulnerable and protusovannoe movement. Nothing is so reviled in official Soviet Art and nothing hayali inside crowd. Its not like always here. It is clear that it no parasite, does not make it glamorous, does not include it in show business "

Posted 10 minutes
found on the Internet an interesting short article by Bogdan Mamonov 2002.
Hyperrealism Moscow as a case of private life.
In 1968, a student of the Kiev Art School Sergei Bazilev bet with his classmates that draws a picture naked woman hair's toch.Soglasno legend, it was the first giperrealisticheskaya picture painted in the territory of the former empire.
In this semi-legendary history is important to note the classical trinity of time, place and action. We consider them separately. So the time. 1968. The famous exhibition of new American realism "in Pushkin, where the Soviet spectator for the first time
saw shtatovskih "hyper" and, in particular, great Chuck Close, another four years. As always, it turns out that we do not in any way the second and that not only invented abstract art in Russia.
Second. Where? Not in the Eurasian Moscow, not in a provincial Petersburg, and gravitating towards the West Kiev, where the winds came the foreign, is believed to be much faster. Note also that not only myself Sergei Basilio, but Sherstyuk, Filatov, Kopystyansky were also immigrants from the motherland of my famous namesake. For the first time, perhaps, if Ukraine declared itself as the bearer of the most urgent, the most fashionable
trends, even though the final outcome of their giperzvezd to the North.
And, finally, action. In fact, any one who ever ventured to say, being in the hospital, the army, in short, among the people that he is an artist, he knows: almost immediate reaction to this recognition will: "And you can draw a naked woman?" Incidentally, I doubt that the notorious woman, drawn Bazilevym was
really naked. It's not even that was still in 1968? before the sexual revolution in Russia was still far off. The reason for my doubts in the other. After all, the method itself is hyper-realism aims at removing the last integuments, the final exposure of the reality. Woman, as is known, is the art
the classical tradition, a metaphor for this reality. In this sense the entire history of art, ranging from the Renaissance, has a history of gradual
undressing a woman, a kind of striptease reality, which has found its final and fully implemented in the art of hyper-realism. And that's why, that is, when the reality was "obscenely transparent," the woman as a metaphor has proved to be unnecessary, and hence, apparently, it follows that the paintings giperrealistov, whether
American or Soviet, very few women in general, and virtually no nudes. But we have too much attention to the legends about the origins of hyper-realism. And in general? as it is still called, is the direction? Hyperrealism, or photorealism, or
postpop, or something else? We note, incidentally, that in reality is an art to really usurped the artistic process in only two polar points of the global art
landscape? in the United States, where it was invented in the Soviet Union. In Europe, the hyper not caught on, except for a brilliant Gerhard Richard and even the classics of the genre Franz Gercha, and there's no chance. In America, a new
Realism was the result of the transformation of reality into hyperreality. Death occurred not only reality but also the image of what subsequently wrote so much Baudrillard, the image became impossible, and there are only accurately convey the totality of the new gipermira that already there is no room for transformation, and hence for the artist.
I am writing this in Vienna, which arrived from Frankfurt, more Americanized, and I can say with confidence that in Europe, not only was there, but do not see anything like the visibility of the United States. It could only appear
Gerhard Richard with his impressionist photorealism, entirely built on attention to optics, to the obscuring of view, to a certain sliding view, excellent
from the American view point blank, like it is on the barrel of a Colt, or for the replacement of his camera lens.
But an entirely different situation exists in the 70's in Russia. Here, as in the States, life has also been totally hyper, but in a different sense. The Cold War was a war against the advertising items advertising ideas. And it is obvious that the hyperreality of the Soviet Union acquired a completely virtual, rather than formalistic in nature, and here it would be unfair to accuse Russian giperrealistov in blind copying and imitation of America, a really popular among the intelligentsia. That is, of course, what would they not
said time sequence patterns implied. This nuance, as it were, and was not ashamed. Not without reason then one of the most advanced Photo-Realist Alex
Married to create a musical "second group"? accurate reproduction of the American team "Swans"? and thus will be soft to insist on its secondary.
We note in this regard, one important point. The fact that the style Hyperrealism obviously closely connected with the culture of advertising. Advertising as it may seem strange, has a great similarity (in its way, of course) with an icon, rather than with art. Advertising, as well as the icon implies, that in itself it is devoid of
values and has had only a kind of road signs on the road to truth. In the case of the icon is it? God, in the case of advertising? fetishized object of desire. Arts
On the contrary, has its own value, and it is better than less for something sends.
Given the genetic relationship of hyper-realism with advertising, we note that it was important also for the canon, as with any cult genre. And the fact that the art of the 70's, as art that is involved in an ideological confrontation, it was a cult object,
if not? magic weapon, no doubts.
Nevertheless, looking at today's reproductions of Moscow giperrealistov, primarily, of course, artists belonging to the group "Six", striking their cardinal
otherness in relation to the global mainstream. How such otherness was conscious and otrefleksirovannym gesture, to find out from interviews with the surviving members of the "Six" failed. This is definitely one of the central problems of their mikrosoobschestva. All my research has not led to at least some fragments of an
coherent program of action, the absence of which, I think, a fatal effect on the fate of both the direction and specific fates of its members. It is obvious that in Russia, where, on the one hand, the practice had an overwhelming sense-
superiority over the form-building and on the other? missing school art criticism, capable otrefleksirovat activities of the group "Six" and see in it a kind of self-experience, Hyperrealism was easily marginalized Moscow
Conceptualism and sotsartom, areas that have not experienced shortages in theoretical thought.
In addition to the lack of intelligible discourse, led a group of "Six" has two aspects: first, being primarily by professionals, they were deprived of the market, that is what it is for artists of their type is very important. And the second? in
the absence of this market, they were forced into too close relations with the Soviet cultural institutions that determine their status (with all external
frondizme) as an almost official. Of course, against the backdrop of "bulldozing" of the martyrs and the underground such a position could not add popularity among future
large curators, who, as a rule, were not burdened with the formation of art history, and thus feel more comfortable among the "kindergarten" and "fly agaric."
And today, after so many years when the interest is returned to the product, we may ask: Has the Photo-Realist art as something separate and
extent to which their experience could be demanded new decade. Is it possible today revival direction, which, incidentally, is becoming popular again
even in Europe (eg, the last fair in Frankfurt was just full of photorealism).
Lack of theoretical reflection hindered the artists of the Six "to realize one important thing, being all the same plastic artists, they would be obliged to realize: not every reality, which were shot on film, is
hyperreality. The reality is inextricably linked with language, if American painters began to write with slides and photographs, this meant only that the reality of America, and especially New York, turned into a photographic print.
Nothing of the sort, of course, Russia has not been observed, and if so, before the artists had the task of finding the object image. And the striking thing here? such an object found in the person of the author and his associates. That is, there was a decisive break-up
canons. No, what I'm saying? tenets of hyper-realism. And, sadly, just did not noticed and duly appreciated by the authors themselves. Hyperreality? it
reality, where people have no, or where he turned himself into a print. There can be no psychology. Can you imagine a portrait by Chuck Close, written in three
quarter? But Russian artists have filled language, born on the other side of the ocean, some wit and warm sense. This, in my opinion, has created in their paintings
a very serious conflict of form and content, which can be measured and how identity, and as a failure. Looking at reproductions of paintings of the "Six", these youth gatherings, travel sketches, joint revelry, catch myself feeling that before you documentation of some long-held performance.
And from the stories of surviving witnesses, we can conclude that the lives of these artists and was in fact so nearly continuous performances, in which
developing and cycling tours, and some kind of booze, and a trip to Senezh. But, being rooted in the not yet completely dead Soviet tradition of painting, they
could not realize their daily life as art and to implement it through the traditional canvas and oils. Go to the realization that almost any vital
practice can be labeled as an artistic gesture, there was only a "CD" and, perhaps, precisely because the monastic or Alexeev were not in the least artists that Basilio, Geta and Sherstyuk. Osmolovskii once described paintings Vinogradov and Dubosarsky "performance, the perfect means of painting." But an even greater extent this observation could relate to a group of "Six", these last real painters. The drama of their
fate in that they were lost in the twilight of the Soviet artistic situation: I think that goes through the world of picturesque mainstream, but in reality were
much closer to performance that flourished in the 70 years.
Recently, I had to interview the curator of Manifesta Yara Bubnov. She said in particular that captures the changes in European art in the direction of objectification, the return of the product as the antithesis of rapid Actionism 90.
This is probably true. But I think that experience and today can Actionism
be relevant and interesting. The fact that this experience has the internal capacity for elevation to the level of genuine products, the practice proves Moscow hyper-realism, which found its most finished expression in the fate of
"Six."

Bogdan Mamonov

[fabosch]

With ill-concealed pleasure to stand from the theme of Ms. Tchaika about the Monet exhibition at the Grand Palais a quote from an article by A. Wolf of the second Impressionist exhibition in 1876 (cited in J. Revald History of Impressionism)

"Or try to explain to Mr. Renoir that a woman's body is not a piece of meat in the process of decay with green and purple spots, which mark the final decomposition of the corpse! .."

That is because a person wrote almost 150 years ago, but it's true ...

[DimaB]

Сообщение от Lucy, 1488881

Is it possible today revival direction, which, incidentally, is becoming popular again
even in Europe (eg, the last fair in Frankfurt was just full of photorealism).

I remind you this is a quote from Bogdan Mamonova 2002
But just today I was browsing the site ArtInvestment: Top-Ten-2010 Contemporary Painting. That leader rating: 1.Chen Yifei (Chen Yifei). String Quartet. 6.9 million dollars. Christie's, Hong Kong, May 29, 2010. Look, do not like the early home of hyper?

Actually, Lucy, thank you - and for the kind words about a great friend Bazileva, and for that you carefully listen to our stories about the artists: you're a real collector!

[Кирилл Сызранский]

Сообщение от Lucy

, the late art historian Sergei Sherstyuk

I know this artist Sergei Sherstyuk.

This is his namesake?

[artist]

Learn materiel, colleague))) Although this topic has confused all the city of Kiev, which Sergei Sherstyuk has nothing to do, because born in 1951 in Moscow, where he died in 1998.
Purely Muscovite. In 1979 graduated from the History Faculty in the department of theory and art history. That is, - Art)
However, since 1980 regularly participated in various exhibitions. Participant "Group B" (1980-85).
His career began as a painter Sherstyuk giperrealist. In later works drifted into metaphysics (understandable).
No offense to Bazilevu will be said (as I say then enchanted the audience) that, as a hyper, Sherstyuk gave the rest of his comrades a hundred points handicap. Having, at the base, clear slide-projection, so well-used painting techniques that went on through the hyper-color, highlight, and fleyts pasty smear. It inspires. This is a disastrous lack of pokazyvet, namely, artistic, historical and theoretically component in the modern, in fact, art education.
In contrast to other authors in this direction (seen in Moscow, St. Petersburg, ...), whose work resembled the bowl carefully painted (so that, as in real life!) Kartinochki large formats, and look for the most part are not artistic. All this concerns the eighties?, For the most part, their first half. In my opinion, the best period of the artist Sherstyuk. Search in the internet that the realties of those years - nothing. Only later, and this - is not the same ...

By Sergey are in the Museum of Modern Art, Oklahoma, USA. Zimmerly Art Museum, New Brunswick, USA, Museum of Contemporary Art, Antwerp, Belgium Museum of Contemporary Art, Florida, United States; "M 'Ars Museum", Moscow; "Zig Zag Company", New York, USA.
Well, about personal life, I hope we will not.)))

[Кирилл Сызранский]

artist, you here write a lot, but about the art of Sergei Sherstyuk I
in your message could not see anything but a question of mine to Lucy was about it.
>

[artist]

Cyril Syzran), even as something embarrassing, to answer your questions, you can, after all, and take offense ...
And I do not like quarrels)))