Exhibition OF /LIFE (V. Zhdanov, K. Gorokhov, V. Golubev) Panopticon in INUTERO

[inutero_gallery]

12 - August 30
Exhibition opening: August 11, 2011, 19:30



OF /LIFE
Vladimir Zhdanov. K. Gorokhov. Golubev


Panopticon INUTERO presents the exhibition "FOR /LIFE," which was attended by the artists Vladimir Zhdanov, K. Gorokhov and Golubev. This exhibition is an experiment, an attempt to unite the seemingly quite dissimilar artists, united by one common theme-the theme of Russian life.

  Once treatment of artists to everyday life has become a new word in Russian art and approved it in a lot of great names. Vanguard then occupied by the formal problems downstream of life barely touched. Socialist realism is its ideological and idealized, and underground artists, by contrast, often thickened its unattractive side. Gradually, the majority of professional artists, immersed in the picturesque and the problems involved mostly landscapes, still lifes and portraits, life was just one of those occasional spectacular. Only a rare master put him in something more than just a beautiful painting. There are artists, and today, the so-called postmodern era. These are the artists and Zhdanov, Gorokhov and Golubev

 Away from school, academics, and individual artists, dedicated by the picturesque material for many years having evidence of final and irrevocable death of painting (how many times she had already died, but now it seems the story is really coming to an end). Painting by Vyacheslav Zhdanov, Vasily Golubev and Catherine Gorokhovaya located in this area. Returning to nature - not declared by the proximity to her, ending artificial, contrived compositions and poses lozhnoklassitsisticheskimi models - a close study of figures, the provisions of the dynamics of light and shadow, the object - the basis of their art - and by changing optics, and can be changed circumstances of the life-world, artists are not the unity - the canvases resemble a broken toy, clumsily assembled puzzle. This is just competent evidence that any continuous objective space no longer exists, it is destroyed to date of human thinking machine, it recognized a non-existent and it seems ridiculous, when the artist tries to rebuild.

Net dynamics of human expression, executed outside the traditions of schools and movements, beyond the influence of authority, helpless, self-expression better than the traumatic effect the outcome of the search in the space of painting will be presented in a freak show at the exhibition INUTERO "FOR /LIFE" from 12 to 30 August.
 
The exhibition opens August 11, 2011 g at 19:30
We are waiting for you at the address: Moscow, Nizhnyaya Syromyatnicheskaya 5 /7
Design Center «ARTPLAY on Yauza" Building 9, 3rd floor, freak show INUTERO
Press Secretary +7 926 830 47 17, Maria Kirdan

[inutero_gallery]

The cyclic return of Russian painting to domestic dramas, are organically related to the grass-roots culture for the past three hundred years, beginning with the famous watercolors Ivan Ermeneva in the XVIII century and ending with dark cloths Vladimir Titov 1980s - 2000s, has created a discontinuous, but is characterized by continuity chronicles the tradition in which the traumatic experience of the artist, a personal experience are transposed into the domain of fine art, giving the finished works of power and immediacy of field studies.
Works by Vyacheslav Zhdanov mark the beginning of a new cycle of thinking about everyday life: the rejection of brutality Leningrad Expressionist painting trash-late 90s - early zero and ignoring the lessons of the "big school" created for a certain space to maneuver, including in the direction of a naive search. Characters Zhdanov not shout about the enormity of what is happening - a weak, barely outlined drawing lines, flawed, blurry patch of color there is no frenzied expression "wild" or the monumental official "school", rather, such works as "In the public bath ..." send us back to brief siege sketches made by exhausted, helpless people who have spent the remnants of the forces on what to see and draw. So one of the works of Vasily Pakulina, written in February 1942 called "The embankment of the Neva. Ships. Frosty Day "- nothing reminds of the terrible winter which lasts more besieged Leningrad. At the forefront, "Bani" Zhdanov posted cleaners figure in a blue robe, her bony silhouette, petrified, is responsible for creating dramatic tension in the idyllic at first glance, the painting "wash" (a lot calmer, "bathing scenes" was written by Russian artists: one can not forget the work Kazimir Malevich's "pedicure in the bath", a genre scene Cubist period, with strong, solid figures): Zhdanov, not looking too closely at the male nudity, carefully assembles a female face sharp features and a strained neck veins a car enduring humiliation. Theme Scene "folds" - rigid social and cultural differences, employees comprehensive source of continuous suffering, goes through all the creativity of the artist: misfits, dancers, picking their way to the Bolshoi Theatre on the black dirt, people, destroyed pointless anger, blood-red stain all the communal kitchen , a family consisting of fixed monsters, which look is always facing the viewer behind the scenes - never to each other - the naive and uncompromising stories, the decision not to one of the most beautiful techniques of "school" and not in the distribution of violent material painting of the "new wild" (Rainer Fettinga and others, had brought the material to Leningrad, the "New artists") - Zhdanov chooses concise, elegiac narrative deliberately inept, weak in texture, pattern, color, dim, but the one who takes the trouble to look into these small work, finds great ambitions instead of painting (and they are everywhere - from the Academy of Fine Arts to the New Academy and the Academy of even the immortal Felix Volosenkova) aloof, but a solid look at the fragments of everyday life. Zhdanov collects everyday together, icky, but one that will see the deep-lying and small features of the tragic - comic, he outlines the trajectory of world view, it highlights the reference points, his exhausted, listless characters - heroes of our time.

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Emerging in the fine material stages of the artist's work is inextricably linked to the circumstances of his life: once, shortly after a difficult move to Moscow (2008), Zhdanov made the first impression of everyday life beautiful, renovated in the small genre scenes, "A man with an orange umbrella," opening " Orange series of "paroxysmal now implicitly rich prior experience. Figure of a man, towering above the closed ranks of standard two-storey buildings, placed under a huge umbrella, a hat, rather reminiscent of the roof gazebo with a sharp spire - a bright spot abruptly shifts coloristic balance and brings us to the world of theatrical scenery, unknowingly become involved in the everyday story of the collapse of the human person. All the "Orange Series" strung on the idea of ​​masquerade, cardboard decorations: "New Year", which turns into a winter wasteland stage cabaret - orange confetti replaces the snow, street lamp into a spotlight, "Oranges" - a festive orange in color, even gold, fire mountain suddenly find freedom in a road accident, a truck passes for board and lodge at ease on the snow (it is surprising how clearly, though accidental nature paintings - dark, snow-covered road with bare trees, the car body and orange theme - send us back to the siege theme - after all namely mandarins and oranges were delivered in December 1941 for the New Year for children in besieged Leningrad by the road of life caravans of trucks). Storylines unites the Christian idea of ​​salvation through suffering, and even though the likelihood of salvation is as illusory, however misplaced fancy decorations on the streets of Moscow, the artist prefers to despair and despondency, or a feast during the plague strict adherence to find a vocation and he, unlike, for example, from the already Vladimir Titov mentioned, as if joining the Sabbat forces of evil, glorifies it. Differences between aestheticization horror in the works of artists such as Nikolai Kopeikin and Viktor Tikhomirov, and contemplative art practices Vyacheslav Zhdanov as great as between the "rods" Yu Mamleeva and "School of Fools" by Sasha Sokolov - the latter refuses to cruelty and violence of metaphysical enlightenment and on demand a different, humanist conception of human nature.
After the "Orange Series" Zhdanov, like leaves from the surface of their lives in depth, draw-found ability to synchrony, compacting the nuances of time elapsed - a life in Ulyanovsk. In the works of "Provincial weekdays," "Flower Seller" and later in the diptych "The morning toilet Milan /Morning toilet Basil Yegorych" hard to find the signs of salvation, which marked all the days of the Christian, but "orange" theme hidden, folded into a random color, suddenly bright, sunny wall. Zhdanov has the job stalker or an archaeologist: a model city - from facade to the inner excision deficiency culture warped by heavy 90-, appears to us the tragedy of unprotected intellectual marginal preserving the relationship with a human in a period of decline.
After working on the provincial capital and material, reconstructions and comparisons to the artist again appears a large-scale metaphysical series - "Seven Deadly Sins", as if summarizing the study of everyday life "little man" - mise en scene mise en scene for - Zhdanov patiently dissects the terrible ordinariness and projected onto a canvas aloof, cool, largely bleached look, coupled with historical and reflective power of the Christian paradigm. Dead massive figure in the "Gluttony", probably refers to the experience and sculptural nekrorealistov "sins" Mikhail Shemyakin, tough creases on the huge skull of "Greed", possibly overlapping with the monsters Nicholas Tselkova, it would be difficult to distinguish from the general atmosphere of doom that fills the Russian Painting the end of zero, if on each canvas, either implicitly or explicitly not present a figure of the artist, opens inquiry into "what will happen to me?". So in the works "Greed," "Anger. Bad marriage, "" Lust. Betrayal of a winter's day "- not an event in the heart of sin, and his victim - a man with glasses, the frame which, as they say, is too thin for the province, an obvious sign of weakness. The hero is not appropriate in these circumstances on the canvas, but it is there, it there and the viewer is required to solve a painful problem: "What will happen?". The situation is hiding inside a school math lesson: ambulance rides from point "A" to point "B" on her journey takes six hours, but the patient who waits for her, is unlikely to hold out for more than three. Who is here once and what to do? - That's what you want to define a diligent student after a simple calculation. Uncertainty inherent in the vision of the artist, aggravates the situation of choice, points to the fact that he has not passed and, therefore, be. Such a view, on the one hand, eliminates the position of doom, which skillfully take a glamorous Parisian studios in Moscow and not too much sorrow for the fate of a dying rural Russia, rotted small towns, on the other hand, however, shudder, opening the field of the unknown, future space test .
Recent work by Vyacheslav Zhdanov "Football" and "Basketball", introducing an open confrontation between the motives, the most technically solved schematically and with restraint - it's statements, which are themselves already, like "voice crying in the wilderness." Playing fields overturned down, pushed the audience, he seemed to be watching the massacre of the bushes, the metaphysical 'tree of evil, "branching from the center, only emphasizes the ordinariness of clothing attackers, their typical poses - reproduction of violence, not so obvious today, requiring a constant reminder. It is intelligent, slurred painting style Zhdanov does in this case his testimony is particularly valuable: the atrophy of the picturesque material as such viewers should see his own sickness, the disintegration of society, culture, and maybe take something in your life.

In contrast to the works of Vyacheslav Zhdanov, Vasily Golubev work performed by a much more significant craftsmanship, giving them weight and certainty, but eliminating uncertain, significant in its own right hand of the artist, his lonely, questioning figure. Life appears to them violent and inevitable convention, the unpredictable outcome of which in the time length is not important, how important a particular painting productivity: dramatic composition, the rising tension, climax, as in "break." Saturation pure tone, careful, masterovitaya study, modeling forms - all this gives the painting Vasily Golubev more features of the monument than the actions of the dynamics of the landscape gives way, and some who do not have development reprints, fill out the chronology of creation.

In the canvas, Catherine Gorokhovaya less balanced, it is more interested in the metaphysics of color, its ability udesyateryat mood, turning the whole picture in a carnival of emotions, movements, smezhenie gross passions. Human depravity mythologized and finds his own sound in every event, every crisis mise en scene, involving the development, gives way to Dante's hell cycles, circles, which, one after another, have no access and do not know retraction. Neither women nor children are not spared from the sinister sameness of animal traits Filonov, their lifeless glow.

author: Jacob Gimelshteyn

[Fed]

Gorokhov, good pictures, will lose out from the rest, we must choose her best companions.

Golubev even learned to draw, and Zhdanov, generally in the trash.


And the audience will accept something as a whole.

Aesthetic pattern Gorokhovaya and void of thought and forms of others.

[Кирилл Сызранский]

I looked at this and remember the classics:

local school teacher thrashed on Saturday in the bath his wife , sometimes she struggled against him, and naked, fat, running about the garden , he's chasing her with rods in their hands. Neighbors knew the teacher was invited to watch the spectacle through the cracks of the fence. I also went to see - on the audience , got into a fight with someone and just did not get to the police. One of the townsfolk tried to persuade me :

- What are you worked up ? Indeed, in such utter piece of interesting to look at. This is the case in Moscow and will not be shown . ( a )

 >

Added after 3 minutes

Сообщение от Fed

pea-good pictures

"In the Garden" good at it.

[inutero_gallery]

Interest to non-professional art gallery owners is growing every year. Net dynamics, expression, executed outside the traditions, schools and movements, beyond the influence of authority, helpless, self-expression is superior to a traumatic effect the outcome of the search in the space of painting. Oppression experienced by artists who require a high performance line and color stains are also growing: academic in all its forms gives rise to increasingly strained, decadent art, reminiscent of the decline of the times of totalitarianism - the learned songs honed to lifeless form, proven, dead color. Source of failures - in reliability, stability, warranty - hours of classes, materials, techniques, texts of lectures - rounded phrases professors, for whom every event, passing experience, immediately sent a plane and acquires finality simply because he observed them from one and the the same point - with a rocking chair on the veranda of the villa, which they do not go for a long time.
Many noticed that the Soviet underground and could not escape the academic routine - it's degeneracy simultaneously with the emptiness and quiet, just completed for the majority of the search and struggle, and they make art out of habit - that revolutionary in a pattern that is only true because unique.
Nonprofessional painting - from laconic trash to an inept, angular lyrics - confidently enter the market of contemporary art. Understand the reasons for this is simple: they win on the opposition to the activities of large schools and their followers. Closely enough otsmotret work of one of the most prestigious masters of the St. Petersburg Academy of Arts, George Kalyuty deeply neorganichnye filled with artificial, played skill, rough, bright colors. Attempts to artists who were brought up in the figurative tradition, the subject of painting, refurbish worldview, while remaining within the boundaries of the search of masters of the twentieth century (and some artists - the Americanized Feshina Nicholas, in whose works can be traced a clear connection with almost Wanderers in their worst, bytopisatelskoy incarnation) will lead to very dramatic break with the overall shaping of modern intellectual life of Russia and the world. Elegiac painting - woman in the mirror, dancers, children with toys - the aesthetics of well-known "Russia" Panteleimon Romanov - razed, and the "fantasies" have no more than meaningless. Honore Daumier noticed that the artist should belong to its time - and, above all, accurately sense of form and color, composition and harmony that should be extended, raise, giving them a universal status Worldview era. Antonin Artaud wrote about Van Gogh, "Van Gogh believed that the need to learn how to extract the myth of the most mundane items. And, I was damn right. Because the reality is immeasurably superior to any story, any story, any god or any surreal. Only the gift to understand it. " Today, people who consider themselves artists, are often guilty of far more terrible sin than lack of professionalism - and it is in craftsmanship. They say that history, which occurred as tragedy, then always repeats itself in the form of slapstick: Filonovsky and "the made" becomes a laughing stock, resulting in the carefully molded the modern landscape of foreign cities - here and in Stockholm, and Venice, and Jerusalem - but it seems that the author has not only never went nowhere, but do not live, barely there in the stillness behind closed doors, like the heroes of Samuel Beckett, but, unlike them, is not aware of his misery.
However, the space coordinates, which now tries to find a place amateur painting set and more complex, sensitive, modern masters - for example, Vladimir Titov, a longtime partner of the author of "Shatunov," Yuri Mamleeva on metaphysical realism. In his distinct, textured canvas is the main place specific, the pessimistic agent of Russian life - the dirt, deep and heavy, taking an infinite variety of forms, carrion, nearly Baudelaire, in which the swarming and writhing figures, almost blending with the storming of the protoplasm, the distorted nature, which has absorbed in itself all possible waste and germinate them, altered the genetic code. The whole painting might Titov, a lover of trains (on the benches of his characters sometimes resemble the famous drawings of torgovok Honore Daumier, the very bazaar women, which eventually sent to the guillotine, the beautiful Marie Antoinette and her "cubs"), garbage dumps and the panel, the sleeping areas aims to provide the orgiastic celebration of the monstrous life, far beyond the limits of life, acquiring awesome versatility. Titov wants to represent on canvas a full-scale orgy of evil. At this point, where the strategy worked out by painting, perfected, the varied infinitely subtle form begins to suppress the polyphony on which to build today's multi-disciplinary projects of contemporary art, Titov dangerously approaches the Kalyutoy and sacrifices the specificity of art as an art form demands of contemporary art as a life strategy. Simply put, it deliberately creates a closed little world, not allowing him to germs of variability - it does not want to hear those voices of diversity, so that no urge to fill the space of the canvas from top to bottom ash-gray and frail, nomadic darkness in all directions doggish monstrous organic material .
Away from school, academics, and individual artists, dedicated by the picturesque material for many years having evidence of final and irrevocable death of painting (how many times she had already died, but now it seems the story is really coming to an end). Painting by Vyacheslav Zhdanov, Vasily Golubev and Catherine Gorokhovaya located in this area. Returning to nature - not declared by the proximity to her, ending artificial, contrived compositions and poses lozhnoklassitsisticheskimi models - a close study of figures, the provisions of the dynamics of light and shadow, the object - the basis of their art - and by changing optics, and can be changed circumstances of the life-world, artists are not the unity - the canvases resemble a broken toy, clumsily assembled puzzle. This is just competent evidence that any continuous objective space no longer exists, it is destroyed to date of human thinking machine, it recognized a non-existent and it seems ridiculous, when the artist tries to rebuild. Trajectory, planned for just stood out in the dark things, - on them warily moves look (again, the unknown field in which you guessed something from memory, something painfully trying to remember, but you can not still lurking and what you do not know . These fragmentary trajectories are in the area of ​​art that can be described as running on the winning of Suprematism, a rethinking of the postmodern and today discern from the outside. Between this and we have described postavangardom painting - the area conversion, area, non-continuous line of the canvas - it is part B. Zhdanov.
To a certain degree of non-professional artists operating in the zone of naive art, naive search for border crossers - first attempt at writing, the sample line, followed by an evaluation of the effect, result, consequence. The inadequacy of the experiment suddenly just resonates a sense of the world, the most uncompromising is uncertain, poor vision. The artist, recognizing the lack of skill in the hopelessness of their more open to the world, its complex connotations than armed limited zatverzhennym master tools. In the end the best today are those who find the image, metaphor and adequate means of expression - these funds, which, as they say now, "tear pattern," create a gaping, hole in the depth of an adapted social reality zatverzhennoy - and shocking here, which arrogantly dismiss the side throughout the twentieth century, yet manages to rank him "Black Square", and grin it, like children's antics, there is resentment, rage, inconsistencies are expressive completeness - shocking is deeply functional, it eliminates the human being as a set of functions and actions formed daily routine, commonplace, a man suddenly finds himself faced with a choice, search, problem: need to understand that in front of him, and to understand yourself.
Differently represented in the work of deconstruction of the contemporary Russian artists - from Eugene to Antufeva Trushevsky Elias, Gregory of Yushchenko to Ani acorn - and stands alone, but all the more praise the divine self-sacrifice of the total group of artists Banionis Thanatos - all the poles alone, dostoevschiny, concentration camps in them, being born in the cruel and disgusting tortures Russian contemporary art, creativity flows Vyacheslav Zhdanov, which otherwise would have to die under the pressure of the norms, societies and institutions. People of the future, open and free, reflexive, and at the same time, men of action, do not carry in itself neither conservatism nor dull anger will be living with this art - in the space of constantly colliding sets, suffering and difficult choices. It seems that the other way neither Russia nor the world can not.

[artcol]

Сообщение от inutero_gallery

gallerists of interest to non-professional painting is growing every year.

And where is the non-professional painting?

[inutero_gallery]

Сообщение от artcol

And where is the non-professional painting?

The exhibition will be presented in the main works of Zhdanov.
it - amateur artist, as opposed to Gorokhovaya and Golubev.

[artcol]

Сообщение от inutero_gallery

The exhibition will be presented in the main works of Zhdanov.
it - amateur artist, as opposed to Gorokhovaya and Golubev.

Got it, figured out - he signed the work M.

[Vladimir]

Сообщение от inutero_gallery; 1734661"

In contrast to the works of Vyacheslav Zhdanov, Vasily Golubev work performed by a much more significant craftsmanship , giving them weight and certainty, but eliminating uncertain , significant in its own right hand of the artist, his lonely , questioning figure. Life appears to them violent and inevitable convention , the unpredictable outcome of which in the time length is not important, how important a particular painting productivity : dramatic composition , the rising tension , climax , as in "break ».

" burst " Golubeva - a masterpiece. But the thing is more for the museum space. Inutero, add illustrations.

[inutero_gallery]

Photographs of works Golubev and Gorokhovaya