A good man, as they say you have to Odessa - is sho such occupation.
In Odessa, so ignorantly not govoryat.Dazhe Chinese from 7 th km.
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Сообщение от Buscador
And the Odessa school - it is certainly something special (it was). Unfortunately leaving the wizard, and to replace them - empty.
The passage of time but still in the neuter - is not applicable to the Odessa Art shkole.Bezuslovno events of the past three decades could have a positive impact. And today throwing in education do not add optimizma.Plyus harsh economic reality and to generate ideas about artistic circles of quick wealth are forcing young artists sometimes forget that talent must be developed in the work and the care ucheni.Pustoty net.Kollektsionery masters and art historians on a new look and appreciate art is "in shadow" and judging by the exhibits, connoisseurs of the Odessa school waiting for new discoveries.
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Industry ТЯЖІННЯ Олексія Маліка
(W Інтерв'ю artist)
Oleksiy Малік тяжіє to skladannya лірико-епічних творів to сюжетності, the proto mova його painting важко піддається перекладу ìîâîþ слів. Його Mova - ruhliva експресія contrast kolorovih plyam i ліній, невимушені be crossed vid предметності to абстракції, ekspromti ³ metamorphosis plastic letters vibuh особистісних рефлексій i splesk довільних асоціацій all нові th нові nuances in meanings цілком viznachenih understand. Його живописні tvory відзначаються виваженістю композиційної pobudovi, інтенсивністю Local Verge, підкресленою декоративністю, cardboard вітражів nagaduyut hour, hour tapestries hour серію kolorovih ліноритів. Дослідною ділянкою його creative city ye not портретність зображення chi типовість obstavin певної дії, jak міжособистісні stosunki portretovanih, character зв'язків між them. Creative credo: "The subject моєї уваги in мистецтві - Lyudina i seredovische її існування. Пріоритет віддаю внутрішньому змісту over зовнішнім ... "- окреслює гуманістичну спрямованість його Mistetskiy пошуків. Mi зустрілися in майстерні artist's закінченні його персональної Trade Shows in Одеському hudozhnomu музеї (лютий 2009).
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Volodymyr Kabachenko: Олексію, your name має Cultural Heritage of Georgia "We сфері тяжіння" W chim tse pov'yazano?
Oleksiy Малік: Here декілька аспектів можна prostezhiti. In Pershe, tse image, scho prityaguyutsya one to one, image, scho взаємодіють. Tse, звичайно, закохані, apogee тяжіння - love, the force scho притягує people odne to one. Differently, tse image, scho близькі meni security officer, to яких I тяжію. Vsi create, scho залучені to цього project Vsi image tim chi іншим rank пов'язані цією power тяжіння, tse Can Be чоловік i zhinka, tse mozhut Buty i object pobutu між yakimi існують in advertising зв'язки, tse i сюжетів Rasht, the яких ця theme має rozvitok i продовження ...
VK: I, schorazu навзаєм?
OM: Ni, Äÿêóþ scho підказав. Subject взаємності have stosunkah bula to mene важливою deyaky an hour ago. Vsi pictures I піддаю режисурі, I do not write staged s kind to mene tse враження vid nature, yak, I worry i transformation. Ale Is The Bulo, I хотів щоб boule світлими image in advertising, in advertising stosunki гармонійними, взаємне тяжіння обов'язковим. (Pisnja about паперовій ship "(1999)," Duet "(2006). That s yakogos time meni tse was nabridati I відчув scho Tsey підхід one-sided, scho він Boxed створений me to mene Well, i вирішив - and nascho a obmezhuvati, адже zhittya prosyaknute протиріччями vid політики to pobutu - ¤ Lyubov, nd dislikes. Odne існує not without the other, to love for vid CRIC ненависті Lachey . Tom at цьому проекті, scho називається - "I сфері тяжіння" ¤ thesis and antithesis ¤ th. (Pobachennya "(2009)," On старті "(2009).
VK: Мінливість form трансформації subject зображення, постійні трансформації зв'язків між items nakladayut свій відбиток on Çì ³ ñò creative, сутність addition, scho власне відбувається. W іншого side - the metamorphosis formation zbudzhuyut uyavu glyadacha, uskladnyuyut "prochitannya, sprichinyayut ambiguous spriynyattya creative мистецтва. What Is tse for the author - свідомий хід, chi Príkra недосконалість Mistetskiy vislovu, chi звичайна недомовленість?
OM: For mene tse недомовленість, protistavlennya визначеній однозначності. Jak i those scho мінливість shape - tse protistavlennya застиглості ... Постійний Rukh - статичності. Zhittya-tse Rukh, мінливість. In мистецтві meni подобається імпровізація, динаміка, "джазовість. I свідомо цього Pragna.
VK: I am wondering, you will not zaperechuvati of scho jak ty artist sformuvavsya in Одесі not zvazhayuchi to those scho професійну освіту zdobuv have Харкові i між Mistetskiy традиціями Tsikh міст ¤ суттєві відмінності. Одеська School ñüîãîäí, jak i hundred rokiv fact відзначається різнобарв'ям creative пошуків, об'єднує творчі dorobki різних for стилістичною спрямованістю мистців, традиційно існує Pevnyi спадкоємність Mistetskiy поколінь and yak skladayutsya stosunki із you in school?
OM : So I sformuvavsya jak artist in Одесі. Приїхав Odes to young artists, not viznachivshis School in yakomu napryamku Iti, not uyavlyayuchi, scho a ¤ - Odessa, chim ¤ її Mistetskiy zhittya. І vzhe місці osvoyuvav in advertising on the horizon, zanuryuvavsya have Tsey prostir. Bezumovno I MAV якісь upodobannya, інтуїтивні porivannya, schos meni unseemly schos - ni, Ale I побачив цілий layer of culture, близькоі to моіх upodoban that hour. Сподобалася, зокрема, your творчість, творчість якоїсь частини our W you однолітків, творчість senior for віком мистців. For ìîâîþ for світовідчуттям meni tse Bulo blyz'ko in одеському середовищі I відчував itself is the same. Позиціоную himself in мистецтві s avant-garde in більшій мірі, Top questions r традиціоналізмом, Hoca pid hour навчання I цілком seryozno stavivsya to академічних студій майстрів радянської school scho вміли i could tax in advertising secret Chiu basis - I tse отримав. I Vodnochas відчував - meni цього not dostatno, s on one side - I вдячний своїм вчителям, W іншого side - mene tse not vlashtovuvalo. W цього time - complete навчання I Pochaev свій creative пошук. Mene цікавить досвід Kolegov, I do not можу zaperechuvati deyaky INFLUENCE its творчість, ma ¤ ³ внутрішній sprotiv - vvazhayu, scho not має Buti ніяких кумирів.
Місце school s такої позиції not ye head. School - okreslennya Pevnyi Mistetskiy horizon, the base for samoviznachennya. Можна Buti uchnem Сергія Gerasimova chi Marc Chagall - th deprive uchnem all zhittya, deprivation uchnem ... Завдання artist - viznachiti Svoe face of non-creative, not koristuvatis ìîâîþ Svoge вчителя. I here treba ідти далі, відштовхнувшись vid "school", for i mene tse e smut ..
VK: Отже, бійся людини, scho lishe read one book?
OM: Vlasna, school - tse prochitannya кількох knizhok, відчуття force field in yakomu ty починаєш орієнтуватися. I отримав their school, їй great podyaka - цій школі, Ale vzhe ¤ Vlasna позиція, je INSHI орієнтири i підсумок цієї Trade Shows - School of the CRIC at цьому road.
VK: Сьогодні digit prosharok our земляків позиціонує a із одеською school of painting, запевняє have власній професійній спроможності a ta шанувальників образотворчості before the train often-dense without VÁHOM those підстав. Cloth, олійна Farba - ³ tse vzhe painting! A hto zatisnuv have zhmenyu penzlya - vzhe має підстави вважати a painter! Before живописців zarahovuyut a Vsi, who do not ліньки. W іншого side теперішній mill культури нашої спільноти not дозволяє spitati straight - and yak відношення to painting, jak temple мистецтва, мають такі мистці - tse викликає schire oburennya, sche b bags - standing on сторожі своїх right! Розмитість between між species мистецтв, невизначеність оціночних критеріїв, кволість фахової criticism dozvolyayut їм цілком a comfortable відчувати have нинішній ситуації and можливість otrimuvati Groshi for their працю - вважати a професіоналами. Tse стосується not тільки painting, sculpture гортаєш amount web-address directory i lovish itself on думці - ta tse perspectives of the usage нагадує Fine and Applied Art of. Здається, scho nezabarom останнім бастіоном Klasychniy мистецтва mozhe zalishitisya Stankova графіка ...
OM: covered up, Ale in Одесі немає міцної традиції have Galouzeau графіки ³ sculpture ¤ одиниці, je цікаві Majstr, Ale tse viklyuchennya s perspectives of the usage rules, Top questions Staly creative prosharok. Зовсім інакше tse виглядає in інших cultural centers, i tse mene zdivuvalo, if сюди приїхав. І right to yak mene, not стільки have одеській ментальності, скільки have відсутності профільного HEI, scho ohoplyuvav bi галузі in advertising. ¤ художнє College W давніми i kind історичними традиціями, які I ñüîãîäí spriymayu, jak dostatno консервативні. Koli meni pratsyuvati happened there - was зрозуміло, scho zrushiti there schos in бік сучасності practical nemozhlivo ... Majzhe all lishilosya, yak for радянських часів. Tse застиглість, орієнтованна тільки on реалістичний painting (all інше - drugoryadne). Інакше виглядає ситуація in інших містах, візьмемо chi Kyiv Lviv - there ¤ художні Академії, scho ohoplyuyut Vsi галузі, pochinayuchi vid easel is the monumental and decorative painting, станкової ta книжкової графіки, posters, design інтер'єра, Promislova design промграфіки, costumes, історії мистецтв. Tse Vusi із digit range можливостей. Якщо ¤ takyj mortgages, vihovuyutsya Qadri, forge працює - then ye people, scho Tsim zaymayutsya, z'yavlyayutsya нові Majstr ... Подібна ситуація have Харкові, and Одесі on pity склалася інша ситуація - in nashomu регіоні bahato талантів, які вимушені navchatisya y інших centers, ³ ³ zalishatisya hour there ...
VK: Tom odesiti "stand on the gate at червоних Chobot" i vihvalyayut Svoe school! Справді, якщо Кіріак Костанді navchav Paul Волокидіна, Pavlo Волокидін navchav Mikola Sheluto, Mikola Sheluto navchav Kostyantyn Ломикіна - peredayuchi майстерність s hand in hand bezperervno, протягом trivalogo o'clock in стінах one навчального pledge - tse vzhe нагадує EPOS ... For Tim місцем, scho займає Tsey навчальний pawn in історії hudozhnogo zhittya mista, zhoden із одеських Вузів not можливо порівнювати s School.
OM: I якійсь мірі tse field заповнює hudozhno-графічний Faculty Одеського педагогічного університету. Знову again, zavdyachuyuchi долі, at a time I was there vikladayu. There boule ³ ¤ цікаві artists викладачі, творчі особистості, які спроможні vihovati професійних художників. Ale tse yet I still педагогічний навчальний mortgages, системної художньої освіти він not дає. Infected in Академії архітектури z'yavivsya художній faculty de vikladayut наші колеги - God forbid щоб all of them i viyshlo Faculty існував, bo tse's not so simple - in Одесі vzhe bula Академія мистецтв three Rocky проіснувала and далі - немає фінансування ta th годі.
VK: Олексію and chim for you NKVD ¤ vikladannya - form існування in мистецтві, way zarobiti Groshi, можливо ¤ th INSHI motives?
OM: For mene - якщо ty викладаєш, nasampered маєш чітко know an object vikladannya not маєш right сумніви to blame all viznachati - all tse mene змушує чітко освідомити Svoe місце. Якщо artist малює in майстерні - bahato scho in nogo pass інтуїтивно, несвідомо not завжди він mozhe nazvati those scho відбувається, Ale vikladach zobov'yazany чітко відповідати to food учнів i in свідомості mother Taku Well чіткість. Завдяки педагогічному досвіду I tse vzhe May. Yak artist - I постійно працюю i in творчій майстерні i in навчальній.
VK: A chim je Contacts zi students?
OM: Buvayut різні students Ale I орієнтуюся for quiet, who потенціал найбільш temple. Here контактуєш s NKVD, scho through якихось p'yat rokiv our colleagues will attempt ³ tse duzhe цікаво. Інтерес have взаімообміні - ty віддаєш uchnyu свій досвід i bachish - jak він проростає i повертається before you із зовсім несподіваного side, about який ty навіть i is not nasty MAV, тобто jde взаємне zbagachennya, взаємообіг. І School odne - ñüîãîäí for the artist важливо mother hoch Nevelichka, Ale yet I still заробітну fee, адже Kartini prodayutsya not skin day.
VK : Artist on працює create on замовлення chi no має such замовлення, визнає chi відкидає власну заанганжованість, отримує суспільне viznannya своєї творчості chi ni, виховує майбутніх художників chi працює have видавництві - in якій ділянці, for whom, for чого він tse robit ñüîãîäí? Минає dozen rokiv i змінюється розуміння viznachen "академізм", "avant-garde", submission to Tsikh напрямків, Ale лишається незмінним ponyattya "school". Jak ty уявляєш собі ідеал such відношень i jak tse складається насправді?
OM: I працюю нині in ділянці painting, so склалося. Tse after another освітою I графік, Ale college I закінчив, jak painter. I b st School in ділянці sculpture popratsyuvav, Ale takyj досвід y mene buv deprivation in художній школі, infecting yakos hands are not reaching. In Одеському hudozhnomu училищі I vikladav on dizaynerskomu відділені, вів drawing, painting i композицію, композиція there спеціальна, project napryamku. Ale, знов again, drawing ³ picturesque tse академічні дисципліни, вимоги to them to rozpovsyudzhuyutsya Vsi відділення. At a time, in університеті I vikladayu Ti w Sami subjects Ale here composition of easel painting. Hour іде, змінюється zhittya i розуміння академізму Sjá einnig змінюється. Ponyattya художників senior покоління, zhittya яких - Chesney служіння мистецтву give добрі базові Znannya своїм uchnyam. That існують i to the basic knowledge різні підходи ... I Sjá einnig perebuvayu have цьому стані vzhe not alone The Year - a move that свій vnesok підготовку майбутніх художників, the face of non-formuvannya одеської school. I do not give оцінок власній праці - come a hour i можливо my праця brought свої fruit. Stan School tridtsyat rokiv fact, if buly students відзначався dostatno temple рівня професійною підготовкою, Hoca th dostatno redefining one-sided. Нині, I guess, підготовка студентів має Buti більш різноплановою, більш різнобарвною. Існують загальні основи композиції, kolorova charter, які об'єднують Vsi napryamki in мистецтві in єдине ціле. ¤ Artists, які мають viznacheny range yakostey, scho dozvolyayut nazvati їх професіоналами ³ ¤ INSHI - яких можна nazvati lishe amateurs. І not має value - chi tse абстракціоніст, chi реаліст, avant-tse chi, chi традиціоналіст.
VK: A яким bi ti хотів бачити Svoge glyadacha?
OM: I want бачити glyadacha, scho bi зрозумів my творчість. I спостерігав for реакцією відвідувачів Trade Shows - потрібна підготовка, якої іноді бракує ...
VK : A jak відбувалося твоє creative becoming in Одесі, chim Yea for you picturesque творчість ñüîãîäí, chi ¤ plan майбутнє?
OM : I свій hour, if I тільки приїхав to Odessa, I buv nalashtovany більш графічно, zaymavsya posters and to спілки joining jak poster artist. I i ñüîãîäí not vvazhayu tse drugosortnim мистецтвом, jak bahato hto вважає in Одесі - tse of the layer, then not який rozrobleny, знов again, vibachte, порівняно W Харковом. Zgoda, broach vikladannya in Одеському училищі I відчув необхідність viznachiti for yourself - am I hto takyj, якщо vikladayu picturesque. Tse mene підштовхнуло to pereosmislennya пріоритетів, tse buv poshtovh have бік painting. I Графікою MAV можливості zaymatisya щільно, Hoca th MAV бажання - not майстерні MAV, MAV is not the machine. And if отримав majsternya - vzhe not MAV Bazhanov. Before the train z'yavilisya komp'yuteri, нові можливості, нові tehnologiyi - I pereklyuchivsya on tse, not povertayuchis vzhe before etching machine. Інколи meni zakidayut - ta tse w komp'yuter, and ti attempt of зробити tse on комп'ютері ... Komp'yuter інструмент not VÁHOM Mensch, penzel chi Farba Top questions for the artist. Not leather tse zdaten зробити - потрібне mislennya designer-artist, освоєння інших forms праці. I Roble posters, booklets, іншу графічну продукцію i meni tse цікаво, bo stench - creative product. Tse those scho mi колись robili on рівні pribrati - додати handles namalyuvati, nozhitsyami вирізати i peresunuti right-вліво, fotografuvati i nakleyuvati, but now ye інструмент, Yakimov all tse easily зробити. A deposit композиція vid здатності to hudozhnogo mislennya, якщо його немає - bude seen scho robiv not професіонал. And now to планів - ¤ Is The food! We живописі I імпровізатор, I th in житті імпровізатор - чітко viznachenih планів not May - through The Year I зроблю se, but in two Rocky will Robit those - such немає i do not Can Be, адже Vsi Planning koreguyutsya життям. ¤ odne - бажання tvoriti. Сутність творчості in fact щоб створити product i bring up його glyadacha. Wrote painting prosuvayuchis інтуітивно often perepisuvav його, myself i do not kritikuvav pokazuvav його глядачеві ... And if хтось potraplyav to mene in majsternya i thought: "That tse w закінчена річ!" I tse koreguvalo moji пошуки, bo to mene in the Time tse buv process zarady process. I do not write picturesque тільки zarady вдячності клієнта. We mene немає patron chi zamovnika on painting, крім mene itself. Not має керівника моїм creative Process, I ¤ ³ zamovnik vikonavets in одній особі ta th врешті himself собі suddya. To act mene Trade Shows - tse розрізав himself навпіл i showed usomu народові not duzhe tse приємно, bo, not all ye doskonalim ... But W іншого side - tse потрібно Robit zarady of schobi Pochuty відгуки to those scho I Zroby. І in advertising відгуки duzhe різні - vid оплесків for новітність to zvinuvachen have бездуховності ...
VK: Отже, Way to персональної Trade Shows paintings yshov valley графіки, зокрема poster, Pevnyi carb deprived th vikladannya in училищі and Zgoda in університеті, спілкування students zi ta colleagues. Rozglyanemo більш detail obstavini цього high road on suchasnomu етапі - jak відбувається process over праці create, jak ty to stavishsya праці over full-scale motive?
OM : For mene важливо vid kind otrimati імпульс, нові враження, otrimati those scho чіпляє mene ... In натурі ¤ різні components i znahodish those scho Same to you цікавить найбільше i s цього починається miy picturesque Завдання in fact щоб віднайти Tsey klyuchovy time щоб Same він posed. The letter W, I kind постійно practice uchbovih productions ...
VK: Постійно працюєш once із students?
OM: Буває іноді ... Крім that I постійно спостерігаю Tsey process: students often are not densely-вміють zkomponuvati not володіють можливостями kol'ory not mozhut completed, do not know if i de postaviti accent - I tse o'clock hour vid just showing.
VK: A щодо пленерної practice?
OM: W Etyudi kind пленері - tse meni цікаво jak підготовчий матеріал for away vikoristannya in композиціях.
VK: ² ніколи not vinikalo бажання написати skibku stiglogo Kavun i plyashku green скла on bilomu столі - all i tse on повітрі on сонці, the real просторі?
OM: Виникає, Ale ... I do not відтворюю ілюзорний prostir (yak колись mene vchili), I priyshov to іншої образотворчої мови. Просторові відносини між об'єктами ¤ parent does not have моїй праці ... Головне for mene емоційне spriynyattya об'єкту зображення, kolorova ploschina, rhythm, взаємовідносини plastic ... But in advertising nadbannya опосередковані - потрібне Pevnyi відсторонення. I brav a lot of plein-air in Гагаузії, Придністров'ї, Чугуєві ... Plener традиційної орієнтації - виїздив of nature, wrote there etyudi, Ale jak rule невеличкі - потім povertavsya there yet until i майстерні for etyudnim motive pratsyuvav over are creating більшого format. Якщо had not Bulo tickled contact s kind - etyudu, звідки b uzyavsya prepares твір?
VK : Yak often повертаєшся to create, переписуєш його, vnosish clarify?
OM: Prace in різному. Останнім hour writing so scho not povertayusya. І to цього sponukayut Trade Shows. Koli готуєшся to Trade Shows, визріває project o'clock завжди бракує. З'являється загальна об'єднуюча ідея, bo останні moji Trade Shows - tse no simple picture, scho написані протягом zhittya, tse праця in руслі певної those i have контексті якої вирішую загальний prostir Trade Shows. Koli ущільнюється hour, not маєш можливості довго bavitisya W Farben, the maximum налаштовуєшся on кінцевий result - fabric treba написати for ñüîãîäí second tomorrow. Ale to цього jde копітка robot over nacherkami, ескізами in кольорі (3 variants, yak мінімум). Stan Tse strong nervovogo zbudzhennya, стискуєшся a fist - i видаєш. Express Yourself, написані have takyj спосіб - viglyadayut єкспресивними, nevimushennimi, створеними on one Podyh ... In інших vipadkah, if dostatno hour, make bahato сеансів, повертаєшься up to canvases by deyaky hour знову відставляєш ... інколи фіксуєш in advertising стадії fotoaparatom - pershiy session, others ten, and Zgoda Diviš on Ti photo th bachish, scho on p'yatomu сеансі Bulo краще Top questions on the tenth. І думаєш - "A nascho? Treba Bulo zupinitisya. "And if працюєш Shvydko - спрацьовує інше - those scho you дисциплінує i ty not встигаєш зіпсувати robot. Not варто povertatisya before scho vzhe passed, краще зробити Nove.
Rozmova вів Volodymyr Kabachenko
Berezen 2009 roku
Этот пользователь сказал Спасибо amalic за это полезное сообщение:
In the cafe-konditeskoy "Seagull" that at the corner of B. Arnautskaya and Lieutenant Schmidt (Odessa) opened a joint exhibition of Alexei Malik and Sergey Kirichenko. (42 works)
You know (ask all), I - did come to a coffee-shop, to look, as they say, live. Came out with very positive emotions. For myself concluded that in order to be called Odessa artist, not necessarily write only the Black Sea and with Deribasovskaya gorsadom. Odessa so many faces, many facets and colorful, she and the noise of the surf, and in the cellars at Moldovanke, on the Promenade, the hotel "London", and "cafes in the area of the New Bazaar. After viewing the exhibition can say that Malik - Odessa artist.
Эти 3 пользователя(ей) сказали Спасибо Вивьен за это полезное сообщение:
I'm not interested. Maybe tomorrow someone is interested in your translation. I wonder what a person thinks posting such material .
That translated into Russian. Sorry, but the first publication in Ukrainian (intended for publication in the Ukrainian edition).
Industry attraction Alexei Malik
(interview with the artist)
Alex Malik gravitates to compile a lyric-epic works, the plot, but the language of his paintings is difficult to translate into the language of words. His language - moving expression of contrasting colored spots and lines, spontaneous transitions from the objectivity of abstraction, impromptu and metamorphosis plastic letters, the explosion of personal reflections and a surge of arbitrary associations, more and more nuances in the values of well-defined concepts. His paintings are marked restrained composite construction, the intensity of local color, accentuated decorative, sometimes resemble cartoons, stained glass, tapestries, sometimes, sometimes a series of colored linocut. Research plots his creative movement is not so much the portraits or typical circumstances of a particular action, as your drawing interpersonal relationships, the nature of relationships between them. Creative credo: "The subject of my attention in art - a man and his environment. Priority is given to internal content of external ... "- Describes a humanistic orientation of his creative research. We met in the artist's studio at the end of his solo exhibition at the Odessa Art Museum (February 2009).
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Vladimir Kabachenko: Alex, your show is called "In the sphere of attraction", with which it is connected?
Alex Malik: You can track several aspects. First, it is images that are attracted to each other, images that communicate. This, of course, love. Apogee attraction - love, the force that attracts people to each other. Secondly, it is the images that are close to me personally, to which I gravitate. All the works that brought to this project, all the images in any way connected with this power of attraction, it could be a man and a woman, it could be everyday objects, between which there are such links, this and other subjects, in which the subject was development and extension ...
VK: And every time mutually?
AM: No, thanks, that prompted. Subject reciprocity was important for me some time ago. All the pictures I experienced directors, I almost did not write àáî from life, for me this is not enough, it is important to me the impression of nature, the thoughts that occur to her about it, these experiences lead to a transformation of the image. So it was, I wish that these images were bright, these relations are harmonious, the mutual attraction of mandatory ( "Song of the paper boat" (1999), "Duet" (2006). But at what point it was bothering me, I felt that this approach one-sided, and I decided - but why limit yourself, because life imbued with the contradictions (and now and always was), from politics to everyday life - is love, and antilyubov. One without a second there, from love to hate the whole step. Therefore, in this project "In the sphere of attraction" is a thesis and antithesis and there ( "Rendezvous" (2009), "Ready" (2009). There are new and interesting experiments to me. from emotion, to the idealization of farce ...
VK: The variability of shape, the transformation of the object image, the permanent distortion of relationships between objects leave their mark on the content of the work, the essence of what actually happens. On the other hand - the metamorphosis of form excite the imagination of the viewer, make it difficult "reading", causing an ambiguous perception of works of art. What is it for you - a deliberate move, or an unfortunate imperfection of artistic expression, or the usual innuendo?
AM: For me it is some innuendo, some freedom of choice for the viewer (let him think ...) established the uniqueness of the opposition. Like the fact that the variability in shape - is opposed to the conservative stagnation ... Constant movement - static. Life is movement variability. In art, I like improvisation, dynamic performance, "jazz". I consciously strive for this.
VK: I do not deny that as an artist you formed in Odessa, despite the fact that vocational education in Kharkiv, and between the artistic traditions of these cities there are significant differences. Odessa school today as a hundred years ago, there are countless creative research, brings together the creative work of different stylistic orientation, traditionally there is some continuity in the creative generation but as you have formed relationships with the school?
AM : Yes, I emerged as an artist in Odessa. Came to Odessa, a young artist, still have not decided definitively what direction to go, not imagining that it is - Odessa, what is its artistic life. And already in place to conquer these horizons, was immersed in this space. Of course, I had some preferences, intuitive desire, something I liked, something - no, but I saw a whole layer of culture, which is close to my tastes at that time. Like, in particular, your creativity, creativity of some of our peers with you, the work of older masters. In the language of the outlook, I found myself close, in Odessa environment I did not feel lonely. Position themselves in the art with avant-garde to a greater extent than with traditionalism, although during my studies, I seriously learned the academic experience of masters of the Soviet school, their secrets for professional, skills - I've got. At the same time felt - to me this is not enough, on the one hand - I am grateful to his teachers, on the other hand - I was not happy about it. From this moment - the completion of training, I started my creative search. I rejoice in the success of colleagues, I can not deny some of their influence on their creativity, but it was and the internal resistance - I think that there should be no heroes.
Place of schools with such a position is not the principal. School - delineation of a specific artistic horizon, the basis for self-determination. You can be a student of Sergei Gerasimov, or Marc Chagall - and remain a student all my life, only a student ... The task of the artist - to determine its creative person, and not use the language of his teacher. I then have to go further, pushing off from the "school", and for me it was the main ..
VK: Well, fear person who would read only one book?
AM: Actually, the school - it is reading a few books, feel the force field in which you start to navigate. I got my school, her great thanks, but already has its own position, there are other benchmarks and outcome of this exhibition - one more step on this path.
VK: Today, a significant layer of our countrymen is positioning itself with the Odessa school of painting, assert in their professional capacity and a fan of fine art, often without good reason. Canvas, oil paint - and this is art! And if you hand in hand - already has reason to consider himself a painter! For painters consider themselves all and sundry. On the other hand the current state of culture in our community can not ask directly - and which are relevant to the painting as high art, have the master - this is a genuine outrage, yet would - stand guard over their rights! Blurred boundaries between the arts, the uncertainty assessment criteria, lethargy, professional critics allow them to feel quite comfortable in this situation, and to obtain money for their work - consider themselves professionals. This applies not only painting, leafing through the pages catalog of sculpture and am starting to think - and this is more like arts and crafts. It seems that soon the last bastion of classical art can remain easel graphics ...
AM: It is a pity, but in Odessa, no solid tradition in the field of graphics and sculpture, there is unity, there is an interesting master, but this is the exception rather the rule than full-fledged creative environment. It looks quite different in other cultural centers, and it surprised me when I realized this. And the thing is, in my opinion, not so much in the Odessa mentality, but in the absence of the profile of high school, which would cover these industries. There are art school with a long and good historical traditions, which I perceive as a fairly conservative. When I had to work there - it became clear that the shift is there something in the direction of modernity impossible ... almost all left, as in Soviet times. This stagnation, orientovanny only realistic painting (everything else - is secondary). Otherwise, looks like the situation in other cities, take Lvov or Kiev - there is art academy, covering all industries, ranging from the easel and monumental and decorative painting, easel painting and book illustrations, posters, interior design, industrial design, promgrafiky, and ending with costume history art, etc.. Higher education is a significant range of opportunities. If there are such schools, educate staff, working conveyor - that is, a steady stream of people who do this, new master ... A similar situation in Kharkov, and Odessa, unfortunately, the situation is different - in our region, many talents, who are forced to study in other centers, and sometimes there and remain ...
VK: Because Odessans "stand in the gate in the red boots" and praised his school! Indeed, if Kyriakos Kostandi Volokidina Paul taught, Paul Volokidin taught Sheluto Nicholas, Constantine Nicholas Sheluto taught Lomikina - transferring skills from hand to hand continuously for a long time within the walls of one institution - this is like an epic ... For a place that takes the school in the history of artistic life in the city, not one of Odessa's universities can not be compared with the college.
AM: To what extent this field is filled art-graphic faculty of the Odessa Pedagogical University Ushinskogo. Again, thanks to fate, I now teach there. There were and there are interesting artists, educators, creative individuals who are able to educate professional artists. But it is still a pedagogical institution, the system of art education, he does not. Now the Academy of Architecture has started an arts academy, where he teaches our colleagues - God forbid that all they got and the faculty there, because it's not so simple - in Odessa, has been the Academy of Arts, lasted three years, and more - and no funding, and only.
VK: Alex, and as for you personally, is teaching - a form of existence in the art, a way to earn money, possibly have other motives?
AM: To izlagaet something, you need to know clearly the subject of teaching, you have no right to doubt. It makes me constantly explore hudozhesvennuyu practice. If an artist paints in a studio - much of it takes place intuitively, unconsciously, he can not always describe what is happening, but the teacher must clearly answer the questions in the minds of students and have the same clarity. Through teaching experience I already have. As an artist I am constantly working in a creative workshop and training.
VK: And what is the contact with students?
AM: There are different students, but I am oriented to those who have the most potential is high. Here kontaktiruesh with individuals who through some five years will be our colleagues and this is very interesting. Interest in interenrichment - you give the student experience and see - as it germinates and comes back to you sometimes with a completely different unexpected quarter, that mutual enrichment. And one more thing - today the artist is important to have at least a little, but wages, because paintings are sold every day.
VK : The artist is working on a product under the order or has such an order, admits or rejects its own zaanganzhirovannost receives public recognition of his work or not, has a future artists or works in publishing - in any field, for whom, for what are you doing today? It takes ten or twenty years and changing understanding of the definitions of "academic art", "avant-garde" attitude to these areas, but the concept remains the same "school". How do you envision the ideal of such a relationship and how it develops, really?
AM: I'm working now in the field of painting, so things are. This is the second I am a graphic artist, but the school I graduated as a painter. I have also worked in sculpture, but this experience I was only in art school, now somehow hands do not reach. In the Odessa Art School I taught at the designer's office, kept drawing, painting and composition, there is a special arrangement, the project direction. But, again, drawing and painting is academic disciplines, their requirements apply to all offices. Now, at the university I teach the same subjects, but here the songs of easel painting. As time passes, change and understanding of academic life also changes. The concept of the older generation of artists whose lives - honest service to art, give a good basic knowledge of their students. But there are also a basic knowledge of different approaches ... I also am in this state for more than a year - am making a contribution to the preparation of future artists, in the formation of the person Odessa school. I do not give estimates own work - the time will come, and perhaps my work will bear fruit. Grade school thirty years ago, when we were students, there was a sufficiently high level of training, albeit a one-sided. Now, I think, to prepare students to be more varied, in different styles. There are general principles of composition, color Diploma, combining all directions in art into a whole. There are artists who have mastered the basic knowledge that allow them to call the professionals and there are others - who can be called only by amateurs. It does not matter - whether you're an abstract or realist, call yourself a traditionalist or avant-garde.
VK: And how would you like to see its audience?
AM: I want to see the audience, who understood my work. I watched the reaction of visitors - visitors are often not ready to accept, lack of basic knowledge ...
VK : And how was your creative formation in Odessa than a picturesque work for you today, there are plans for the future?
AM : At one time, when I first arrived in Odessa, I was more graphically involved in a poster and the union entered as a poster artist. To this day I do not think this is a second-class art, as many believe in Odessa - is the layer that we have not been developed, again, sorry, compared with Kharkov. Later, began teaching at Odessa College, I felt the need to define for ourselves - who am I, if I teach painting. This prompted me to rethink priorities, it was a push in the direction of painting. Graphics, I had no opportunity to engage in close, although he had the desire - not the studio had not had the machine. And when poyavmlas workshop - no longer had the desire. In addition, there were computers, new opportunities, new technologies - I switched to it without returning to the already etching machine. Sometimes I talk about work - the same computer, and you try to do it on your computer ... Computer tool no less important than the brush or paint for the artist. Not everyone is able to do - be thinking of the designer-artist, the development of other forms of labor. I make posters, booklets, catalogs and other graphic products, and to me it's interesting, because they are - creative product. This is what we once did at the level of remove - add pens, paint, scissors to cut and move it left and right, take pictures and stick, and now there are tools that all this can be done easily. A composition depends on the ability of artistic thinking, if it is not - will be seen that did not professional. And now to the plans - there is such a question! In painting, I'm an improviser, I'm an improviser and in life - well-defined plans do not have - in a year I'll do something, but after two years will do so - this is not and can not be, because all the plans are adjusted life. There is one thing - the desire to create. The essence of creativity is to create a product and bring it to the viewer. Initially, I wrote the painting, moving intuitively, often copied, himself criticized and did not show her audience ... And when someone found himself to me in the studio and said: "Yes this is a finished thing ...", it has repositioned my quest, because for me at that time was important to the process itself, art for art's sake. I do not write just for the picture of gratitude client. I have no patron or customer for painting, except myself. I own the customer and performer in one person. For me the act of the exhibition - it's like to cut themselves in half and show the interior of the popularly, it is not very nice, because not everything is perfect ... but on the other hand - this should be done in order to hear feedback on what I did. And these reviews are very different - from the applauses for innovation to accusations of lack of spirituality ...
VK: Well, the way to the personal exhibition of painting went through the schedule, including a poster, a definite imprint left and teaching in college and then at the University, communicate with students and colleagues. Consider in more detail the circumstances of Hp present stage - as is the process of creation works as you treat work on full-scale material?
AM : For me it is important to get a boost from nature, their impressions, to get what is catching me ... Nature represents the various components and find among them the fact that interest you most and starts with my painting. The challenge is to happen this key point, namely that it has happened. A letter from nature, I always practice in educational productions ...
VK: Continuing to work together with students?
AM: It happens sometimes ... Besides, I always watch this process: students often can not skomponuvat, do not use the possibilities of color, can not finish, do not know when and where to put the accents - I have from time to time it just show.
VK: And plenernoy practice?
AM: Sketches from life on the open-air - it is interesting for me as preparatory material for further use in the compositions.
VK: I never had any desire to write a slice of ripe watermelon and a bottle of green glass on a white table - all in the air, the sun, in real space?
AM: There is, but ... I do not paint an illusory space (as when I was taught), I came to a different visual language. Spatial relationships between objects are not essential to my work ... The main thing for me, the emotional perception of the image, the color plane, the rhythm, relationship tsvetoplastiki, merging form and content into a coherent whole ... But these achievements indirect - requires a certain suspension of nature. I participated in a plein-air in Gagauzia, Transcarpathia, Transnistria, Chuguyev ... open-air traditional focus - in the nature, wrote there sketches, sketch, but as a rule are small - then returned there in the studio and worked on the grounds etyudnym work in large formats. If it were not the first contact with nature - the scene, where they would have taken the finished product?
VK : How often returns to the product, perepisyesh it be corrected?
AM: I work in different ways. Recently, I write so that is not coming back. And to encourage this exhibition. When preparing for the exhibition, the project matures, the time is always short. Appears general unifying idea, because my past shows - is not just a picture, written during his life, this work is in line with a specific topic, and in the context of which decide the overall space of the exhibition. When compacted time, you have no possibility for a long time to play with paint, the maximum is set at the end result - a sheet to write for today and tomorrow. But before this painstaking work over the outline, sketches in color (3 variants, at least). This state of extreme nervous excitement, going into a fist - and with God ... works written in this way - look ekspressivnimy naturally creates in the same breath ... In other cases, when the time is enough, you write a lot of shows, returns to the canvas after a while, once again ousted ... Sometimes these stages fiksiruesh camera - the first session, second, tenth, and then look at these photos and see that the fifth session was better than the tenth. And you think - "Why? We had to stop ... "And when you work quickly - works more - that you discipline and you do not have time to spoil the work. Do not go back to what has already passed, it is better to make a new one.
The interview was conducted Vladimir Kabachenko
March 2009
13.04.2009, 23:34
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