Photo: Exhibition of nominees "Kandinsky Prize-2008"

[qwerty]

Сообщение от Cyril Syzransky

Excuse me, but who's generally something?

It associates Matyushina and Guro by association "Union of Youth", better known as "organic" trend in the Russian Avant-garde. Ender's family consisted of two sisters - Xenia and Mary, and two brothers - Boris and George. Their contribution, like all associations, the art is still very undervalued. Somehow, I find a minute, I'll write more.

[Кирилл Сызранский]

qwerty, thanks, found. But there is more association Zorved ", as I understood.
But age-live and learn ...

[Евгений]

1964 - born in Moscow.
1987 - graduated from Moscow State Art Institute. Surikova. Thesis was awarded the silver medal of the USSR Academy of Arts.
1989-92 - Co-owner and curator of the first gallery. Moscow.
1992 - founded the Aidan Gallery.
Solo Exhibitions http://www.gif.ru/people/salahova/
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Two years have passed since then, when the "Persian Miniatures" first appeared as a separate series in XL, Aidan Salakhova was nearly banned by the artist. In this sense, we have recently often something happens - but that with Aidan! It was just in the "Persian Miniatures" - more precisely, in one of them, which was supposed to go to an exhibition in Dresden, but was detained by Russia's Customs.

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in the silhouette of two women's hands tenderly caressed erect tower minaret, brave customs officials had a vision that is understandable - and abroad, the picture is not allowed. Besides that any minkultovskie permission to export existed. But apparently, the purity of the customs border are experiencing as their own, and in honor of his own Ministry of Culture not pointer. Self classifying obscenity, they threatened to call where to start - so she promises to yell "Help!", If not stop - and with Customs decided to just not connect. Minaret poked here and there but came back. To reappear now. The second edition of the "Persian Miniatures", enlarged and revised, includes smaller scenes, frankly erotic overtones, and more - with the lack of candor. Where eroticism is not different from the general sensuality and the specific content of any particular picture - something syromyatnichesky - covered with a pile of surreal fragility and confusion of interpretations, as covered by the veil of the heroine, Aidan, that can be discerned only a very general outline, as they say is still only hands. Paradox: if tempting what is hidden and not vice versa, the veil should consider the most erotic clothing (and on this basis heartily recommend it to someone). The paradox at all in the blood of Aidan, once both excellent students and Wild Child, a Moscow lady, playing the eastern woman, an artist, that appeal to neo-classical (as well as Orientalism), while elusive in definition and inclinations: "... I am not owner of seraglio, not in Japan, I am not a Turk ". The only thing feminine is inescapable: there bring up even earlier, more youthful nearly a series of "Steel orgasm on an orange background or past interest in Sufism (again, it seems, precisely because of his ecstatic) - so the paradox is only raznoobrazyaschey permanent menu seasoning . But that's the problem. The paradox is addressed is always sophisticated, understand or even want to understand. And if your opponent starts to build a sanctimonious virgin, as it is now very often? Here and sign language not help: a well all the same arm caught?

1.Aydan Salahova. (One of the most interesting artists of Moscow.
I personally really like her paintings, I wish she wins).
2.Iz series of Persian miniatures. 2007 - 2008. Gouache, watercolor, gold paint

[Wladzislaw]

Сообщение от Eugene

was nearly banned by the artist

What then, love strongly presented persecuted. She did not live in Baku.

Creation of completely nothing. Regarding the same customs, should not be persecuted and humiliated, and submit to the court for illegal actions.

[Евгений]

Nomination "Project of the Year":

Alimpiev Victor /Alimpiev Viktor Moscow
Peter White /Belyi Petr, Saint-Petersburg
Alexey Belyaev-Gintovt /Beliayev-Guintovt Alexey Moscow
Alexandra Vertinskaya /Vertinskaya Alexandra Moscow
Vorontsov, Sergei /Voronzov Sergey Moscow
Vrubel Dmitry, Timofeeva Victoria /Vrubel Dmitry, Timofeeva Victoria Moscow
The "Blue Noses" /The Blue noses Group Novosibirsk
Dmitry Gutov /Gutov Dmitry Moscow
Stone Olga /Kamennoy Olga, Moscow
Sergey Kostrikov /Kostrikov Sergey g. Moscow
Maiofis Gregory /Maiofis Grigory St. Petersburg
Mamonov Bogdan /Mamonov Bogdan Moscow
Boris Markovnikov /Markovnikov Boris Moscow
Machulina Diana /Machulina Diana Moscow
Nikolay Nasedkin /Nasedkin Nikolay, Moscow
Nilin Vikentiy, Prigov Dmitry /Nilin Vikentiy, Prigov Dmitry Moscow
Orlov Boris /Orlov Boris g. Moscow
Georgy Pervov /Pervov Georgy Moscow
Pestov, Igor /Pestov Igor St. Petersburg
George Pusenkoff /Pusenkoff George Moscow
Vitaly Pushnitsky /Pushnitsky Vitaly St. Petersburg
Ragimov Kerim /Ragimov Kerim St. Petersburg
Rotar Leonid /Rotar Leonid, Moscow
Salakhova Aidan /Salakhova Aidan Moscow
Sergey Skachkov /Skachkov Sergey Novosibirsk
Fedorova Marina /Fedorova Marina St. Petersburg
Hailu Galina /Khailu Galina Krasnodar region, Krasnodar
Tsvetkov Dmitry /Tsvetkov Dmitry Moscow
Chilikov Sergey /Chilikov Sergey p-ka Mari El, Yoshkar-Ola
Shekhovtsov Sergei /Shekhovtsov Sergey Lobnya

Nomination "Young Artist":

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3 art, Moscow
MAKE Moscow
Blokhin Andrey Kuznetsov, Georgy /Blokhin Andrey, Kuznetsov Georgy Krasnodar /Stavropol
Gaponov Ilya, Koteshov Kirill /Gaponov Ilya, Koteshov Kirill St. Petersburg /Kemerovo
Gronsky Alexander /Gronsky Alexander Tallinn
Gutkina Alina /Gutkina Alina Moscow
Dou Oleg /Dou Oleg, Moscow
Acorn Anya /Zholud Ania Leningrad region., G. Pinery
Klimtsov Alexander /Klimtsov Alexander Saint-Petersburg
Kuleshov Roman /Kuleshov Roman Ramenskoye
Matveeva Lera /Matveeva Lera St. Petersburg
Machulina Diana /Machulina Diana Moscow
Michael Bridge /Most Mikhail Moscow
Nikolay Rykunov /Rykunov Nikolay, Moscow
Titova Anna /Titova Anna Ekaterinburg
Yushchenko Gregory /Yuschenko Grigory St. Petersburg

Nomination "Media Art":

Andre Marie /Andre Maria Moscow
Anfalova Hope /Anfalova Nadezhda St. Petersburg
Gromova Vladlena /Gromova Vladlena Petrozavodsk
The "Blue Soup" /"Bluesoup" group in Moscow
With PG /PG group, Moscow
Zvyagintsev Marina /Zvyaginzeva Marina Moscow Region., Lubertsi
Anton Litvin /Litvin Anton, Moscow
Vladimir Logutov /Logutov Vladimir Samara
Peretrukhina Xenia /Peretrukhina Ksenia, Moscow
Provmyza /Provmyza Nizhny Novgorod
Program ESCAPE /Programme ESCAPE Moscow
Tanatos Banionis /Tanatos Banionis Moscow
Alexander von Bush /von Busch Alexander, Moscow
Svetlana Hansemann /Hansemann Svetlana Saratov
Chernikova Marina /Chernikova Marina Moscow
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Structure Kandinsky Prize:

Board of Trustees Kandinsky Prize:

· Shalva Breus, the publisher of the journal ArtChronika, Chairman Board of Trustees Kandinsky Prize, Russia;

· Dr. Tessen von Heydebreck, Chairman of the Supervisory Board of Deutsche Bank, Chairman of the Board of Directors, Deutsche Bank Foundation;

· Paul Khoroshilov, Deputy Minister of Culture, Russia;

· Pyotr Aven, president of Alfa Bank, Russia;

· Konstantin Ernst, the president of the First Channel, Russia;

· Viktor Pinchuk, the founder of the company Interpipe, Ukraine;

· Samuel Keller, director of Art Basel and Art Basel Miami Beach, Switzerland;

· Nicholas Ilyin, director of corporate development in Europe and the Middle East, the Solomon R. Guggenheim Foundation.

Jury Prize Kandinsky:

· Jean-Hubert Martin, curator of the National Museums of France;

· Friedhelm Hütten, director of Deutsche Bank Art, Germany;

Valerie · Hillings, curator of the Solomon R. Guggenheim Museum, USA, co-curator of the exhibition "Russia!";

· Andrei Erofeev, art critic and curator;

· Catherine Bobrinskaya, art historian, an expert on the art of the twentieth century, art historian, an expert on the Russian avant-garde;

· Alexander Borovsky, head of the Division of the latest trends in the State Russian Museum.

[dedulya37]

Сообщение от Wladzislaw

Creativity her quite nothing. Regarding the same customs, should not be persecuted and humiliated, and submit to the court for illegal actions.

As for creativity - someone like that.
As for the court - she does not want to be in vain to pull his name and indirectly expose his father - Salakhova Taira Teymurovicha (Taimur-Ogly), because case will be shirokoobsuzhdaemym and journalists will necessarily refer to the parent, and children, as you know, for the parents are not responding.
Generally in the art world to be a child of parents and also known to be an artist (in the broadest sense of the word), ie continue the dynasty, it is very difficult.
Good examples of creative dynasties little (family Mikhalkov-Konchalovsky - I speak from memory)
Make sure there are people who will compare the parents and children and say "Fedot, but not the same. Therefore, children two ways: either continue the "theme" of the parents (M. Konchalovsky, E. Naumova, M. Kugach) or to work in his style (A. Salakhova, K. Papikyan, all children VK Nechitailo, grandchildren, Yuri Petrovich Kugacha)
Contemporary artists, children live in another world-state, they have their perception-vision, his creativity, and judged and compared them to tend the old-fashioned parents. But they do not have to explain everything as they see this world!
Here is my opinion.

[Евгений]

The conversation was lead by Michael Bode.
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In Moscow's artistic circles Aidan Salakhova known as mnogostanochnik. She - and the painter, and author of installations, a gallery owner and contemporary art expert. For several years, Aidan has taught at the Art Institute Surikov, located in the Academy of Arts. Write about what state in the field of art education, says the youngest professor pictorial faculty.

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- Who if not you compare the teaching in the previous Surikovke and in the present: in the 1980's you are studying in this institute, and now she teaches it. What is left from the previous Surikovki now, and whether this lack of education present amateur painter?

- In those days, that education is quite enough. And then there was the prospect of public procurement and distribution of students after the fifth year apart in certain places - a beautiful plant, in sculptural, etc. Someone was going to teach in art schools, someone sends a painter at the plant or even on some business. That is, the system worked according to plan.

- Now this is not of planning. So who is preparing institution?

- For example, faculty of monumental painting of restorers prepares temple murals - they have lots of orders. They prepare and specialists in their paintings of new buildings, and stained glass artists. That is, they are called for. Here are the graduates of the Faculty of Painting after the diploma are in limbo, they are available almost anywhere: do what you want! And because they are well able to paint portraits, still lifes, competently done to the track ... And where to go to this artist? Of course, he may pursue a traditional realistic art (but where he goes with him?). If he wants to make a career of actual artist, then he should complete their education, because he can not think, just not able to use the terms of contemporary art.

- In the old days, depending on the plans and built a system of teaching. And now there is some kind of specialization or non-existent gone?

- We have, for example, there are battle-painting workshop, and some other specialization remained. There is a very interesting workshop Tatyana Nazarenko, and then workshop Sergei Shil'nikova (which I once learned), still other professors who teach in the same spirit, soundly and efficiently. But they generally do not know (or do not want to know) about the new tools or methods of artistic expression.

- Take, for example, your practice: how do you teach?

- I - the strict teacher. I absolutely classic, even academic approach: my students make sketches (the performance), then the cartons, then cartons are transferred as a painting, and in grisaille. When working on a composition I'm trying to get at least a little thinking. I told them, for example, propose the same idea to put into the installation. They make models of installations in the premises of my gallery, and say that three or four were very good. Generally it is a very difficult process - it is the first-second year. In the beginning, I teach them to formulate their ideas in writing, that is, ask something like essays, descriptions of the concept. And it is very difficult to understand because they are accustomed to the simple, banal decisions: if the theme of "city" - writing a couple in love on a windowsill (and with a cat or dog to score a break) with a view of Moscow, if the "loneliness" - that girl goes on an empty street, etc.

As I think they lack the basic cultural, human knowledge, which must be among those who decided to take the path of the artist. It's just a primer, which they had to teach secondary schools, I am not talking about art. Funny and sad - twelve, thirteen children learn about Leonardo from the movie "The Da Vinci Code." Our Moscow "hudozhka", ie MSHSH, something else makes that clear - all the museums nearby. But those who came from the provinces, the cultural level leaves much to be desired.

- It may be worthwhile to increase the requirements for admission to a Surikovku came more or less well-trained people? Or in this case you will have a big shortfall?

- If you conduct more interviews and, of course, will be the shortfall.

- Thus, the requirements for admission to the institute - the ability to do hands: to draw, write, sculpt. Elementary intelligence test is not carried out.

- But not before the test, generally wanted to know why he decided to become an artist, whether he is prepared for this hard work, to such a life, but at least to the cash-strapped waiting when you notice it. I think that today's youth are not very imagines what goes.

- How you could stir up students? You seem to have any ideas on this?

- When we learned that with the lack of information about contemporary art, we sought different ways to find out what's happening in the world. Some books were brought, get, then they exchanged. Now this is no interest. Students no longer sit out in the Library of Foreign Literature (and it is from us in two steps), in those halls, where albums and books on art. They are even in the classical vanguard do not focus. It seems that in the art of the XIX century, too, are floating. Judging by their knowledge, they are unlikely to these requests come to the Internet.

- Surikovka seems rather self-contained structure, the part of it, it seems, does not like to take either lecturers or teachers?

- Why? For example, I and Sergey Ossowski (he teaches drawing) - we went to teach at the institute. For me it was something like an experiment - can you? So Surikovka admits to himself, would be initiative. The results can be very fruitful. You can look at what China's rise is a school of modern painting and Leipzig (former GDR) school. But all of them in their time learning from us. They just mastered our "artistic export, processed it and began to make his own, original. And we like and nothing.

Still, I think we should leave our strict school for what it is: as we learn to draw, never taught anywhere else. Our professors are - relic. But it must, of course, much wider range of knowledge. Perhaps the introduction of new disciplines, for example, give an idea about new technologies, at least on video art. That is, the palette has expanded - you can express itself in installations, objects, videos, photos or using the same art-piece. If you possess drawing and painting, then you can express yourself in any format of contemporary creativity.

- But the basis of these technologies lies and his own theoretical framework. That is, that students have mastered them, you need to invite teachers and profile? If for this add learning hours, you'll need something to take away from the basic academic program? You can not keep up everywhere?

- In principle, you can catch. And then here it is a more in-depth and professionally-oriented study of the history and theory of art.

- Who currently produces Surikovka: small "Ossowski", "Nazarenko," Aidan "? That is how creative independence graduates?

- No, in Surikovke all quite diverse, since there is no pressure. We can say that we have democracy in Moscow. I am not forcing students to do salahovskuyu painting. I give them the skills of classical art, focusing on high designs, say, Alexander Ivanov. And only then they can do, what they have soul lies.

- And what was with the notorious Soviet thematic picture? Left inside it?

- No, of such huge paintings as Prisekinskoe painting that hangs in the Kremlin, no longer write. There is no historical paintings or pictures on a religious theme. After all, this requires a lot of work: a long time to gather material, think about it, do a lot of sketches. No, for such work today, it seems, no one seriously taken.

- You follow the fate of their students?

- I do not so long ago, a teacher at the institute, and then I do the first two courses. But those whom I teach, I track. I want to do every summer in its gallery exhibition of students - three or four projects: the installation or video.

- A class "installation" or "video" in Surikovke can protect diploma?

- Of course not, but that is not necessary. Let the students how to master the classical school. After all, how it is. Comes to me in the gallery with the project some actual artists, and the need to spend too much time on the formatting of his project in accordance with the basic requirements of the composition, color, etc. That is, in this case it is necessary to fix flaws, overcome his ignorance in the field of classical art. Although it happens that everything works correctly. But somehow there is an element of chance, but it should not. In short, the art went to different poles: one has only the ability to make and hands, on the other - only the head and understanding. The second case - the usual practice of Western institutions, where the hours of conversations with professors, the discussion, but where absolutely not teach art rukomeslu. That is, the western a pupil in his own way, too, is not free. And he avoids working with brush and pencil. The same problem and our current artists ...

- I do not suggest whether you are a graduate institution to transfer to the school of modern art for the development of the mind and vice versa - a modern artist sent for vocational training in Surikovku?

- Laughter laughter, and about three years would cost to send actual artists in the institute. In general, it seems to me that the conflict between classical and modern art school has long been exhausted, it is outdated. High school teachers, who should be commended for what they continue to teach, you need to understand that none of them is not going to fight. Just academics and modern must somehow combine. Then, perhaps, will be the same result as that of modern Chinese painting. And then our art will be competitive.

- Competitive? Here you've already started talking as a gallery owner?

- It is better to say: as a professional, who loves a good, quality product.
http://www.kultura-portal.ru/tree_ne...;pub_id=816670

A. Salakhova

[Евгений]

Kandinsky Jury Prize, awarded for achievements in the field of contemporary art on Nov. 20 announced the short list of finalists in three categories. The exhibition of nominees was held at the Central House of Artists, from 7 to 20 November. Results will be summarized Prize December 9, 2008.

Nomination "Project of the Year":

Alexey Belyaev-Gintovt (Moscow): Work "Rodina-Daughter" and "Brothers and Sisters
Dmitry Gutov (Moscow): Project "B /U
Boris Orlov (Moscow): Arrangement "Parade of astral bodies"

Nomination "Young Artist":

Anna acorn (St. Petersburg): Arrangement "cultural institution"
Diana Machulina (Moscow): Work "Work"
Gregory Yushchenko (St. Petersburg): Project "Insect bites"

Nomination of Media Art Project of the Year ":

The "Blue soup" (Moscow): video installation "Defense"
Group PG (Moscow): installation of mobile campaign
Vladimir Logutov (Moscow): A series of three videos "The interpenetration of the visible and real"
Winner in the category "Project of the Year" will receive 40 thousand euro, in the category 'Media Art Project of the Year "- 10 thousand euro, and the best young artist will go on three-month internship in Florence.

[Vladimir]

Сообщение от Eugene

Dmitry Gutov (Moscow): Project "B /Y"

If intuitively, it seems to me Gutov win. At its price this year, incidentally, greatly increased, almost at times.

[Wladzislaw]

No. Your welcome. Prices - at anything.