The Second Russian Avant-Garde "

[fabosch]

Yes, the mafia is immortal!

[иван81]

Please, someone share the information about the artist Edward Kurochkin, I would like to see him pencil graphics 60-70 years, preferably with an autograph, could only find a couple of images of works from the collection of Alexander Kronik, thanks in advance.

[adventuregallery]

Vladimir Ovchinnikov, Oleg Tselkov, Vadim Rokhlin, Vadim Sidur, Vladimir Veysberg, Dmitriy Krasnopevtsev, Leonid Borisov, Yelena Figurina, Viktor Danilov, Aleksandr Kharitonov, Eli Belyutin, Eric Bulatov, Eduard Steinberg, Rikard Vasmi, Vadim Voinov, Evgeniy Rukhin, Mikhnov-Voytenko, Ilya Kabakov, Aleksey Sundukov, Igor Makarevich, Aleksandr Sitnikov, Aleksandr Manusov, Minas Avetisian, Vladimir Nemukhin, Leonid Purygin, Timur Novikov, Oskar Rabin and many others...

Soviet nonconformist art from the death of Stalin until perestroika is the second avant-garde.

[email protected]

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[adventuregallery]

>>Or, say, Dodge. Collected an enormous collection, transformed into a museum Tsimerli. The same problem - about ten per cent of the good work. Everything else is garbage.<<

Gospodin Grobman should choose his words more wisely. The Norton and Nancy Dodge collection of Soviet nonconformist art (1953-1986) is the greatest art assemblage since the Barnes collection. http://www.barnesfoundation.org/ There's not a work in the collection that isn't museum grade.

Aleksandr Gleyzer has been promoting Russian nonconformist art and the Lianozovo Group in Moscow, Vladivostok, Paris and the USA since the 60's. He has also published authoritative books on the subject. I think it's fair to say he's an expert on Russian nonconformist art.


www.facebook.com/adventuregallery

[Маруся]

" And then here 's even more fun : " , but the fun does not become , because this young gentleman , a group of " Prosthetics ", which only last year dared to exhibit at the Kandinsky Prize NU can not relate to the Second Russian avant-garde .
Let us not pollute , and even more shame about it.
Lovers of contemporary art or even his critics may well arrange an appropriate topic and move it into her own posts ...

Added after 3 minutes

Сообщение от "ivan81

Please, someone share the information about the artist Edward Kurochkin,

Try to connect with party forum Lucy by n /n

[Евгений]

Andrei Erofeev about the aesthetics of garbage and careless (not a bad article in ArtChronika "(EA)

The Russian art world, like Kurdistan. The population there, the name is, and the country on the map does not exist. Ask anyone what the Russian art today? Hear in response to a few names of artists whose work did with each other are not related. Our "great tradition"? We ourselves have them trampled. Children giggle over Malevich, MPs and officials cursing social art. Only lazy people do not throw a stone in Kabakov. What did complain that the tradition carried off on other people's apartments.
Constructivism and Suprematism claimed to own the Dutch, Germans and French. Sots Art shulerski Stribro Chinese and is now happily sell them worldwide. As for the image of today's Russian mainstream, it is changeable as a chameleon, that is entirely dependent on the familiarity of individual knots of influential persons. In Paris the Pompidou Centre, for example, love and promote the Alexander Ponomarev, while in Moscow, it either does not know or is confused with a Buddhist-namesake. In Berlin, the couple appreciate Kopystyanskih, rare Documenta do without them in the United States respects Andrei Roiter. Outstanding artists, but the absolute fringe. The Russian pavilion at the Venice Biennale is filled at all, like a tent on the market: who will pass out, and he puts his protege.

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in our artistic community is not installed to view the specifics of contemporary Russian art. No key visual image that would be recognizable as a sign of our culture. Work on the Selection and public recognition of any direction or type of creativity as the main reference framework of local art as an aesthetic canon and the shaping of the matrix, which would have appealed to artists of different generations, different philosophies and professions, has not been done. And yet, no need to agree on the Russian artistic identity does not negate that very identity.

Style consistently identified with national or regional school of art, there is virtually every country of the Western world. This does not mean, of course, that it has reduced the diversity of artistic phenomena of the country. But he is - a stable identification mark of her art, it is reduced to information on the country in the world digests the modern culture. It is a set of minimum mandatory knowledge and, therefore, is an integral part of museum displays, historical and art publications.

Almost all recognized to date identity styles are related to the era 1960-1970's, when art was no longer thought of a representation of personal manners, and was understood as a place of demonstrations of aesthetic effects and qualities that are universal nature of language in this cultural region. That is the American pop art, turning to the industry and pictures of items of mass consumption, such as the French New Realism, which became a showcase of the latest materials, such is the Italian Arte Povera, which relies on natural objects, so is the new British sculpture, actively used second-hand industrial stuff. Of course, no coincidence that the national styles were supporting the movement, to prioritize found other people's things. Today, artists around the world operate on very similar techniques and strategies. And the context of their work is drastically different. Each country has its own formal tradition, its own culture thing, its own type of people communicate through the language of images and objects. These context properties willy-nilly show through the work of any master, but in a contextual art he naturally focuses on.

In Russia, the peculiarities of local contexts, artists turned, as we know, at the end of 1960. The object of their initial interest was not just a slogan, not Socialist Realism and monument to the leader, that is not propaganda Soviet entourage and household items, the world of communal apartments, barracks and dormitories. Artists of the sixties (especially Michael Roginsky) discovered a characteristic feature of everyday Russian life: "Life is not on the project, that is, there is some imposed by society of the system of cultural symbols and things. On the domestic horizon, life was not in an ideal environment, painted urban planners and architects, and spontaneously formed an environment that no one program. Most of the household items, clothing, interior bore the imprint of homemade.

It does not hurt differed from homemade items and products, getting out of the hands of professionals. Characteristics of our industrial goods - THEIR intentionally bad madeness, "careless" - the subject of many installations and texts by Ilya Kabakov. Nedovedennost items to match the image of the project, believed Kabakov, generally denies Russian world sustainable without object.

Roginsky, and then not so much Kabakov opened, how many have made the rehabilitation of this context, lifted him on the (imaginary) Museum buskins. Set a "bad thing" above their own feelings of plastic, subjecting their work dictates it. Their own creativity and limited selection of exposure, monitoring of the "bad things". The act of going beyond the limits of taste and corporate ideas about "quality", which both artists have made, was not motivated by internal considerations of art - they are not trying to catch up with world art. Nor was it caused and political motives, intention to denounce the authorities or to show citizenship. In my opinion, it flowed from an understanding point of historical development in which they appeared, and the forms of culture that has been measured with.

This, apparently, was that in the absence of a clear zhiznestroitelnoy program design environment, making art is a lesson pretentious, pointless and even dangerous, while at the same time, any development of new programs are already known to be discredited by a terrible failure of previous attempts to design life, which in Russia in the twentieth century was enough. As a surgeon who refuses to risky surgery with an uncertain outcome, omitting a scalpel and humbly zashtopyvayuschy patient's belly, the artist stopped himself, imposed a ban on its own "creative" activity. Shift of emphasis in its work with a strong ordering of spontaneous self life on her humble acceptance as an object of study.

In 1990 the context of a "bad thing" was the main theme of creativity of the architect Alexander Brodsky and artist Valery Koshlyakov. Their work has also been generated by "deprofessionalizatsiey", but not literally, as in Roginsky and Kabakov, and role-playing and gaming. From the "bad things" Brodsky Koshlyakov learned its aesthetic essence, a set of formal means of expression, textures, materials, techniques, methods, which they cleared the functional parameters and ontology "bad things". Their efforts context of life transformed incubated in aesthetics. Based on it, and created a style. It is not surprising that in contrast to Soviet studies kabakovskih "construction-garbage" remaining in the art of his time without continuing, lyrical installation Brodsky Koshlyakov about life on the "ruins of empire" contributed to a sharp aggravation of public interest in the aesthetic exoticism of "bad things". Narrow tradition of working with "the aesthetics of garbage" suddenly became a supporting platform for a wide range of creative artists. And at the turn of 2000-2010-ies "aesthetics garbage" was fascinated by virtually all the newest generation. Among architects, examples of the role ekspozitsionerov besproektnoy architecture, not to mention the well-known conceptual group "Iced Architects, and Nicholas Pereslegina. Aesthetics of the "bad things" seared "antiglamurnuyu" art photography and a new "veristskoe" movies. It is reflected in the latest novel by Vladimir Sorokin. She was devoted to a spectacular show Guelman "Russian Povera". Moreover, the aesthetics of the "bad things", paradoxically, has penetrated into the region and glamor subdue salon art design, fashion, interior decoration of restaurants, boutiques and hotels. Now almost no one secular magazine on architecture and interior decoration is complete without a material on the methods and forms of objects pomoechnogo origin.

Thus, the aesthetics of the "bad things" has become a real style of life, although the official institutions are trying it and not notice. Will it be recognized as the Kremlin's authority and the Orthodox Church, for whom beauty - a synonym for gold nuggets and belokozhannogo salon Bentley? Hardly. Although who knows? After all, fashion style - terrible force, penetrating to the heart.
http://artchronika.ru/item.asp?id=2331

[Posav]

In Russia , as noticed , social art was reborn in liberast art . The Chinese are here and where ? Excuse me , but the word liberast - People's term to denote the militant propagandists who silenced dissent , disagree with their " general line " . From the mouths of true liberalism caulk 're not compatible ? ..

Added after 10 minutes
I recently outlined the activities of a well-known spin doctor and his entourage as a PR Art.
Well then, liberast-PR-art.
>

[Tsop]

Сообщение от ivan81 ; 1589061 "

Please, someone share information about the artist Edward Kurochkin, I would like to see his pencil schedule 60-70 years , preferably with an autograph, have found only a couple of images of works from the collection of Alexander Kronik , thanks in advance .

Here are a couple of works that I've got

[fabosch]

Here are three works of Gennady Garnisova from my collection . Go on a continuation of the theme alexvadim ' and

since this topic is more appropriate.

1. Pitcher and clay toys . 1978. Oil on cardboard. 42h28 cm
2. ? ? Early. 1970 . Oil on cardboard. 50x40 cm
3. Red Still Life . 1973. Oil on cardboard. 35x50 cm

And I attach the text of Garnisove seems from the newspaper "humanitarian fund" of the early 1990s

[I-V]

Сообщение от fabosch

Here are three works of Gennady Garnisova

Сообщение от fabosch

enclose the text of Garnisove

Very interesting, thank you very much!


How do you think there should be some common features in Garnisova with Kras?
Something they like, in my opinion, both in life and in art.