Contemporary art of Ukraine (without revolution)

[Кирилл Сызранский]

Sandro, as well as?
  LOT 103

ARSEN SAVADOV
UKRAINIAN, B.1962
COLLECTIVE RED

12,000-14,000 USD
http://www.sothebys.com/app/live/lot...t_id=159527631

[Yaya]

Interviews Makov found appealing.

Free schedule
Category: Person
Artist Pavel Makov so successful that on labor income, a collection of painting someone else's grade


Tatiana Flavor Photos by Svetlana SKRYABIN

In an interview Contracts artist Pavel Makov told that:
1) wants to earn millions, but no plans
2) in the 1990's lived on the international awards
3) the number of talented people in every generation the same
4) his work is not worse than those that go to the world auctions for fabulous sum
5) earn more than all the creators of the middling sort, who know how to sell
6) the lion's share of income spent on the purchase of spare time


This Kharkov Creator is exposed only in the best metropolitan art galleries. Each of its conceptual exposition is accompanied by Christmas shopping. Pavel Makov stubbornly rarely used for today's artists techniques - etching, engraving variety. Perhaps if a master of the Middle Ages Albrecht Durer was born in the Soviet Union, he and the youngest member-correspondent of the Academy of Arts of Ukraine Poppy would have been the main competitors. In any case, from the etchings Kharkovian with flies, cockroaches, targets, elements of the industrial landscape and gardens, breathes the same Gothic cold, darkness and austerity.

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At the shoes lacked

Long took up a pencil?

- Up to 7-class desire to paint was not. And in 13 years, suddenly carried away, went to art school in his native Leningrad, which, though not finished: the family moved to Ukraine. Entered in the Crimean Art School, the art-teacher department, it is picturesque.

In the Kharkov Art-Industrial Institute studied in the same specialty?

- In Kharkov already entered the "easel graphics. Painting in the extent to which he wanted, he learned in school. When we were talking about self-improvement, wanted to do is graphics. Apparently, this artistic language is closer to me: the paper has always loved more than canvas and oil.


- And do not return it to the painting?

 

That is, receiving the Grand Prix at a young age for the schedule was not a surprise?

- When I was 31, received the Grand Prix at the All-Union Biennial of Graphic in Kaliningrad. Though I knew the price of what I do, but the prize is not counted. It was presented by Academician of the legendary graphic illustrator Dmitri Bisti - still proud of it. The first thing you bought on the received 500 rubles., Boots: my at that time completely torn. And Awarded work remained in the museum's collection of Kaliningrad.

Museums often bought your product?

- Quite often: Kaliningrad, Simferopol, Kiev National Art, the Pushkin Museum, Tretyakov ... The first museum, I bought three pictures in 1988 - Sumy State Art. These figures for 800 rubles. were at that time, big money.

Hence, in the Soviet Union you performing well?

- False impression. Were it not for restructuring - all of our generation would have worked in the underground. I was about to get a second education - teacher of English, because he knew that in the Soviet reality as the artist can not survive.

In Soviet times, many artists were comfortable existence.

- Yes, but only those who could find common language with the authorities. I did not want to look for him. When he served in the army, drew leaders: Brezhnev, Andropov, Chernenko, Gorbachev, but you will not because this devote all my life. So I thought hedge and, along with graphics to do another favorite thing. Generally, when I was a child, went to school with in-depth study of the English language, but then further studied with a teacher. From Army wrote her letters in English. Read Shakespeare in the original. And ultimately knowledge of English is very useful - at the time of travel and work abroad.

What was the your first trip abroad?

- In the late 1980's went to Denmark - participated in the exhibition of young Soviet artists. Had to ride quite often, not only at the exhibition. I have taught: giving master classes in Denmark, America and England.

Thus moonlighting?

- What are some money teaching, of course, brings in, otherwise they would not engage in cost. But the main source of income were then international awards. In 1993, he received $ 3 thousand, and in 1994 - $ 5 thousand is now substantial amount, and then had the whole state.

Why did not you live abroad? I think opportunities were abound.

- I find it interesting and more comfortable to live here. Extremely difficult to emigrate and do not break as an artist. One could, of course, to sacrifice themselves and to move for the welfare of children and future grandchildren. But I did someone's child. And then, first of all I want to get joy out of life. Therefore abroad go out on a short time, to unwind.

Efficiency inaction

Painting you abandoned definitively?

- The latest paintings created in 1991, but it is possible that soon her still come back. However, while all the technicians prefer to schedule, although they themselves are not limited to: doing and drawing, and photography. Most like the etchings, which are already doing for 17 years. The first of them were made in the classical technique: it involves making a printing form, which then make prints. Almost all work in this case to the production boards, and print impressions - it is completely mechanical work, which may well be trusted assistant. Eventually I came to the unconventional use of classical techniques: doing the little boards to make sometimes very large works. One sometimes several thousand impressions, with several dozen boards - Circulation of such work is excluded. And in this case, the creative part is not in the production boards, and just in the application prints.

Your creative mechanized?

- I work on the machine. Moreover, recently bought a Holland new one: it prints no better than the old one, but it is faster and easier. So even though the machine and is worth serious money - several thousand euros, the cost justified. By the way, expensive transport 800 kilograms of equipment in Ukraine cost free: was a gift from fans of my work.

And how today you took the time making one an etching?

- From one month to several years. First, the board itself is long. But most importantly, serious creative process requires a lot of time to "sludge" - thinking. It happens like this: no matter how hard - work with the space does not move. Looking periods of inactivity.

As a result, it happens, the customer already paid the money, and waiting for the product of a year or two. Knowing that the acceleration of the process significantly worsen the quality, collectors are suffering and are usually rewarded handsomely. So one job I did for three years.

The lack of customers did not complain?

- Fortunately, in Ukraine began to appear collectors, but there are few of them. Most wealthy people prefer to buy a car. Purchase of cars for $ 100 thousand, which drive a maximum of 5-6 years, is considered to be routine, and purchase of paintings for the same amount, which is an intrinsic value, astounds everyone.

You do not confuse the work under the order?

- Do etchings only for long-time friends and collectors. True, there is one nuance. Make it work, which would have fitted into the interior - for me the problem interesting. But to fit into the tastes of the customer will not ever. If I was suddenly in the slightest degree begin to dictate the terms, simply refuse the order. By the way, the cost of custom work is different from normal.

Therefore, you can not ask for "to draw beautiful"?

- Can I do the work in an interesting manner to me. If now on the story "Gardens" - etching will be with a garden. And if familiar with the customer and it is interesting to me, it will be personal, like him, "garden-portrait.

And if the person you are not interested?

- Adjust to it will not.

Some believe that your monochrome work with multiple duplicated images of a very bleak.

- This is understandable: the consumer at leisure to relax and have fun. But I do not have anyone to entertain. Whole life - it's a drama. No one claims do not arise to Shakespeare for what he has in every play sea of blood. My art - not for entertainment, but for reflection. In the end, I can afford to do that much. Even if my work in general stop buying (this is unlikely), I remain a lifetime scholarship of the Academy of Arts of Ukraine: 3 thousand UAH per month is quite enough to keep from starving.

Rate himself

How many buyers are willing to pay for your "drama"?

- From several thousand to several tens of thousands of dollars.

You set the price depending on the size of etching?

- Not always. For example, there is a miniature work, which, if selling, then for a lot of money. For me, it works in principle, necessary to meet future creative tasks. By the way, all artistic experimentation spend in small formats, to its opening and then used to make large works, which, as a rule, and attract collectors.

Today your work more than before. At the price reflects your professional growth?

- I can not say that the work I have made 20 years ago, less than professional. They just others. I would have linked the rise in prices to a greater degree of inflation. Formed by the art market in Ukraine. Therefore, the price of work are defined simply: according to how much people are willing to pay. This is a natural process, to intervene in that I do not aspire to.

When you sell for millions?

- In my plans are not included. And not because I do not want. In the process of production in general, the sale did not think so. That is, I do not do to sell, and sell, that did.

Yes, my work is no worse than the legendary modern works, which go on world auctions for fabulous sum. But this question is not art, and the market. Increases the rates are not artists, and managers.

If we have problems with the managers, not easier to sell in the West?

- Do not build illusions about the demand of Ukrainian art in the West. They have their own - and it is sold for millions. Of course, my works are present in many museums around the world with the name. But my wealth is not reflected: museums around the world - it is mainly public institutions that exist at the expense of taxpayers' money, and therefore are not so rich.

I understand that you are working without a manager?

- While most of the job to sell yourself - wishing to apply directly.

Do not hinder your physical distance from the mainstream art market - Kiev?

- In Kharkov, in my beautiful apartment, a good shop, a country house with a garden, where you can comfortably scratch board. And in Kiev there is nothing. And to get it, you need ten years not to drink, do not have - to work only at home. It is easier and economically more advantageous to sit behind the wheel and come here from Kharkov, if so required. Fortunately, I love to drive cars.


How active are using mediation galleries?


 
- Tearing me here on these pieces!
- Some of the work sold through KievGallery "shop", "I Gallery. There are proposals for cooperation from other galleries, but I hesitate to agree. Now these institutions began to be fruitful and multiply, because at the art market got some money. And just to tear me to pieces: all the writing-writing-writing a piece. I definitely feel a commodity that is cheap today, but tomorrow may bring big profits. Intensified and artists, especially the poor and the middle, they are much more cheeky, and often more successful than talent. So everywhere: more than anyone earn undistinctive who know how to sell. Do you understand what it was: the number of galleries has increased, and good artists were no longer has.

Advantageous to work with galleries?

- They take a high percentage for the service. And not a collector, but with the artist - for that take on a headache: communication with the customer, rent, advertising, PR. The advantage for me: working with a good gallery, I can throughout this organization does not engage in this nonsense. Benefits for buyers: if he suddenly needed to sell the purchased piece of art, he can count on the assistance gallery. Artist such services have not.

But buy from the artist himself is sometimes much cheaper.

- If you see this situation - this means that the artist is behaving dishonorably towards the gallery. Either gallery so overstated the price of the work that take her for that kind of money no one will. My position is tough: I set a price and no change it does not authorize.

What do you spend the earned money?

- The lion's share of income spent on the purchase of spare time, when I was "just doing what I do nothing." Also collect works of art. I have a very large collection, though the primary work in it, in my opinion, only 4-5. Mainly interested in the works of my peers who are close to me in spirit. Collected the work of Alexander Roitburd, Oleg Tistol, Nicholas Matsenko, Oleg Voice, Paul Keresteya, Tiberius Silvashy, Alexander Zhivotkova, many works of Alexander Suholita. There is a good European schedule, but the names of its authors layman not say anything.

Why is your generation so generously to the talents?

- Coming in a number of factors. First, we - the third generation of Soviet people. From Moth tired of our grandmothers and parents: we are already born tired of it. Secondly, we have the classical, orthodox, and therefore an excellent professional education. And in 1986, when we were 30 years old, the opportunity to do what you want. The amount of accumulated ideas and craftsmanship went into the quality of work.

In 1990 this process has not happened since the difficult economic situation led to engage talented people quite far removed from the creation of affairs: they have sought to feed themselves. In my opinion, the number of smart, talented people in every generation the same way. Their mission - to remain so, despite everything.

 

Dossier

Paul Mac was born August 28, 1958 in St. Petersburg

Education: Graduated from Art School in the Crimea (Simferopol), artistic-pedagogical branch; Kharkov State Art-Industrial Institute, a specialty "Easel Art"

Achievements: Member of the Union of Artists of Ukraine, member of the Academy of Arts of Ukraine, member of the Royal Society of British painters and graphic artists, Fyn's Graphic Workshop (Denmark).

Member of several dozen solo exhibitions around the world. Winner of dozens of awards received in Ukraine, Russia, Estonia, Hungary, Czech Republic, France, Spain, USA and Japan.

He has lectured and conducted master classes at the University of Georgia (USA), Kingston University (London), Royal College of Art (London), Academy of Fine Arts (Odense, Denmark), Art-School (Glasgow, Scotland).

Her works are in leading museums and galleries in the world, including: the State Tretyakov Gallery (Moscow), the State Museum of them. Pushkin (Moscow), Victoria and Albert Museum (London), Metropolitan Museum (New York, USA), the National Gallery (Washington, USA), Library of Congress (Washington DC), Museum Kelvingrove (Glasgow, Scotland), the Art Museum (Odense , Denmark), Center for Contemporary Art (Osaka, Japan)

Credo: honesty and professionalism

Who could have become: an English teacher

Hobbies: Music and Literature

Ignore: TV

The last major waste of money: buying paintings of Paul Keresteya

[Кирилл Сызранский]

Сообщение от Yaya

получил Гран-при на Всесоюзной биеннале графики в Калининграде.

It is already know from nikola.

[Sandro]

Сообщение от Cyril Syzransky

Sandro, as well as it?

Kirill, you mean that he or Sotheby's, which finally can, it is to me like that?

[Кирилл Сызранский]

Sandro, I do not think like ... : eek:
About the auction, of course.

[Konstantin]

LOT 103

ARSEN SAVADOV
UKRAINIAN, B.1962
COLLECTIVE RED

12,000-14,000 USD

This is a picture or a photograph?

Got understood - photo. For me even less clear why a photo to pay such money?
And the whole arrangement in my opinion through "commercial" - and the grave and "strange men" and socialism.

[Sandro]

Сообщение от Cyril Syzransky

About the auction, of course.

Well, our Kulik also successfully sold at auction and is considered a classic prislovutogo contemporary, and "effect" of his works the same ...


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Сообщение от Konstantin

This is a picture or a picture?

  so what, in essence, a difference ?....

[Кирилл Сызранский]

Konstantin, DESCRIPTION
 
signed Arsen Savadov , titled Collective Red , dated 1999 and inscribed 3 /9 (on the reverse)


photograph

[Allena]

Quote from price forecasting AI at Sotheby's May 22:

There is a feeling that the work Savadov - these are things that will understand and buy in five years. Or when finally an effect "art tserukal" from active "Red October" and "garages". One day will come when the call is accepted, and savadovskoe Collective red "cease to be perceived by the public, like a red rag bull. It ceased to be a "red rag" Kabakov 1990, or Boris Mikhailov. Absurdism, metaphors and desperate opposition can hang on the artist a pack of dogs. Marxism de Sade, mascara, flags, coal miners in dresses, necro-setting - room for disparaging rebuffs. Making the impossible to please. Until then. Meanwhile, "Red Collective" - already in museums. This is a plus. But 12 thousand for the defiant picture, which the house is not the place - it is a minus. Opinion AI - did not sell. Still need to do a long way to confidently buy a serious thing for serious money. Finally - this is what he says Arsene Savadov about his art in an interview with TimeOut: «evolved for us to not become a provocation. In art, it never dies. First, among youth. Secondly ... you know: no matter how high was the standard of living, say, the Swiss, they have more of our people going crazy because they can not express themselves. Here, we have, there are formats of provocation, and society of such a rapid and multifaceted, that we are easy to implement. Provocation is part of awakening. The missile did not fly without burning parts. This is the concluding part of thinking on the level of most important task, temporary or eternal loneliness. Provocation - cleaning equipment, methods of ignition, initiation ».

http://artinvestment.ru/invest/analy..._sothebys.html

Is what I do not understand: does the contemporary artist to express themselves, be sure to use Soviet symbols? Why do so many authors, claiming it to be modern, relevant, contemporary and so forth, clutching at her like a drowning man a straw and compete, figuratively speaking, in his expressions of emotion? Can someone explain?

[Феликс]

Сообщение от gans

Joan Kadyrov.
Born in 1981 in Brovary (Kiev region), lives and works in Kiev.

In 1999 she graduated from Kiev State Art High School. Shevchenko (Department of Sculpture), as well as the Kiev National Academy of Arts and Architecture.

Jeanne, in spite of his youth, the actual value in contemporary art. But, unfortunately, her education ended at the art school. At the Academy, she never received.

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Сообщение от Sandro

Well, our Kulik ...

Kulik was born in Ukraine.