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Artists, artworks, art history Discuss artists, their lives and works, the history of works’ creation and other art history issues.

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Старый 27.12.2008, 18:26 Язык оригинала: Русский       #1
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По умолчанию Artist, writer Maxim Kantor

Maxim Kantor: "I am primarily a writer, an artist, I had then. For example, I like Chekhov and Bulgakov, who were doctors. I, I hope that I am a good artist, but I think that Chekhov was a good doctor. But I was always a writer, and I am primarily a writer. Even his paintings, I build a book.

Another thing is that they really are drawn, and the words actually written, but agree that in the 20 th century, especially in the 21 meters, where there is a huge experience of conceptual art, where there are no draws, and wrote the words, already this facet crossed completely and forever. Since childhood I realized that I wanted to be an artist and writer, and I have no choice there was, I did not need him to do all the time I wrote and drew. Another thing is that painting became my profession for very pragmatic reasons: I realized that writing was impossible to make a profession, writing - a thing that should not be anything and is not tainted. Just a beautiful craft existed in the Soviet period a lot of opportunities for earning money. Relatively speaking, we can draw a poster in a movie theater without compromising their craft, their profession high. I have some time to earn as an illustrator of books. And write, for example, limericks, I would not. Only these varied. But I have never painted to order and not written texts on some external demand - and that, and another I did at the call of the heart ....."
  Next:
http://www.svobodanews.ru/Transcript...030001737.html

  Maxim Kantor
Born in 1957 in Moscow
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1975
entered the Moscow Polygraphic Institute, graduated with honors in 1980
Since 1980
works in a Moscow studio, Trekhprudny lane
1983-84
organized an independent group of artists "Red House". Group held a series of informal one-day show, in particular - an exhibition at the Institute of Philosophy (1984)

1988
The first overseas exhibition in the studios Marconi (Milan) and Eve Poll (Berlin); Henri Nannen received an invitation to hold the first solo exhibition in Germany

Since 1988
lives and works in Europe and Moscow. Temporary workshops: Dusseldorf (1988), Frankfurt (1989), Berlin (1990-92), Boston (1990), Hannover (1992).

1993
published the first book of short stories "The House on the wasteland"

1995-96
retrospective exhibitions in Luxembourg, Berlin and Moscow

Since 1997
permanent studios in London and Moscow

1997
Exhibition "Criminal news" in the Russian Pavilion XLVII Venice Biennale

1997-2000
Tour of exhibitions, which began in the Pushkin Museum (Moscow), was continued in museums Schirn Kunsthalle (Frankfurt), Bass Museum of Art Miami Beach (Florida), Ulster Museum (Belfast), Musee d'Histoire de la Ville de Luxembourg (Luxembourg) and Crossman Galery UW-Whitewater (Wisconsin).

1999-2000
worked on the book "Pustyr.Atlas: etchings and philosophical writing. In the book's publication followed by a tour of exhibitions in foreign museums (Staedel Museum, Frankfurt; Culturgest Museum, Lisboa; South Australian State Gallery, Adelaida; Ulster Museum, Belfast) and museums in Russia (The State Tretyakov Gallery, Moscow; Maritime Museum, Vladivostok, State Art Gallery , Novosibirsk; Museum of Fine Arts, Irkutsk, National History Museum, Tomsk; Museum of Fine Arts, Samara, State Art Gallery, Perm; Art Museum, Ivanovo; Art Museum, Yaroslavl, Art Gallery, Togliatti)

2001-2004
Work on the book "Metropolis.Atlas: etchings and philosophical letter"

2004-2007
tour of the exhibitions "New Empire" (graphic cycle "Metropolis.Atas" and new pictures): Felix Nussbaum Haus, Osnabruck; Querini Stampalia Fondazione, Venice; Ulster Museum, Belfast. Further route of the exhibition: Akademie der Kunste, Berlin; Centre Culturel de Rencontre, Abbaye de Neumunster, Luxembourg; Museum Kuppersmuhle, Duisburg

2006
publication of a new novel, "Drawing Textbook. (Moscow, OGI, 2006, in 2 volumes)
Interesting sitehttp://www.maximkantor.com/Index.htm 
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Старый 19.01.2009, 08:16 Язык оригинала: Русский       #2
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По умолчанию The symbol of the guild of St. Luke, the guild of painters, is a stubborn ox.

The symbol of the guild of St. Luke, the guild of painters, is a stubborn ox, since the main virtue of the painter - patience. Of course, you need talent, preferably the presence of inspiration, but these things are second order. They are not worth anything without the humble perseverance. Work painter uniform. Only rookies think that the smell of ink is intoxicating, while touching a palette of care. Get used to the smell and twenty years later ceases to distinguish between them, touching the canvas and the palette becomes a matter of common concern, and no more than putting on a shirt in the morning. Every day starts with the painter of the same movements: cooking palette, drawing up a binder, pouring turpentine on the oiler, wiping hands, stretching the canvas. Poetry it is not, it's craft classes.
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Every day he picks up a spatula scratches and yesterday's mistakes with the canvas, and the fact that only yesterday seemed achievement colored scab falls to the floor. Here he is, yesterday's work, lies at his feet - porridge of useless mixed colors. So, every day begins with the crossing yesterday, more precisely to say: Every day begins with the descent of yesterday's inspiration to the errors artisan. In this paper, no poetry. Every day, the artist takes in his left hand palette and brushes and a handful of starts to the monotonous pace of the workshop, to the canvas and back: back and forth, back and forth. The better the picture, the more effort it cost, the longer was the distance run, the more monotonous days passed near the canvas.

Of course, there were occasions when the picture was created quickly, but such cases is small, take them for a sample is not necessary. However, Delacroix liked to say that now needs to create at once, just as God created the Earth. As it is impossible to split leap, he said, it is impossible to enter the same river twice, so it is impossible to razyat for days artwork creation. And yet the experience of the Delacroix disproves this rule: the already finished and delivered to the exhibition, the Exhibition Hall, he rewrote "the massacre of Chios.

We have to remember the daily efforts of Cezanne, vowing to die for the job and kept his word, we must remember the sick Renoir, who tied the brush to the disobedient arthritic fingers, have to remember about Van Goga that every morning, walking in the sun, we should remember about a lonely old man, Goya, which wrote his black frescoes alone and forgotten, we must remember infirm Rembrandt, brought together the courage to laugh in the last self-portrait.

It must be remembered that the works - let scraped from the canvas in the morning - not entirely in vain. Lower layers do not disappear, but sends the energy effort, saturate the canvas. The energy conservation law, formulated by physics, in intellectual work is as masterful as in the objective world. Painting is valuable because many of patience and strength that he gave her an artist. That final wave of a free hand, which only cares for painting is possible only on the trail of vain and inaccurate smears. The experience of the painter have the experience of daily losses. It is necessary to erase too much, keep accurate. Method akin to a painter who elects Hamlet, hardly objective is clear. He said that would erase the memory of the table with everything that hinders concentrate on the essentials. To serve as the principal is required to constantly wipe out the memory that the key is not. When you signify something that yesterday was the product of inspiration, as nonprincipal, you're doing very inspired craft. With this must come to terms.

Van Gogh again: in the picture the sweat must be hidden. This is so, but it is hidden from all but the most pictures. You erased from the memory error and forgot about the effort, but the picture knows how much sweat it - and just so true to you how much you paid attention to it. And that's one thing for you in this life does not disappoint.

Again and again and again. Stand up to the easel and paint. Do not throw the palette. Hold the brush firmly. Erase your mistakes and start anew. Who cares what others think about you. No matter who and how will betray you. They certainly will. Work. Inspiration is not, there is only work. You have to work. Work.
March 25, 2006 Maxim Kantor

Web Maxim Kantor http://www.maximkantor.com/Index.htm
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Старый 12.09.2009, 15:32 Язык оригинала: Русский       #3
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По умолчанию

Yakymovych. "Maxim Kantor"
-----------------------------------
The spirit of rejection, ridicule and rebelliousness - that's how we habitually think, characterizes the art of XX century. It demistifitsiruet and exposes the relentlessly. Jean-Francois Lyotard declared that this demystification does not coasts and never ends. Excellent perspective - Western art revels in this freedom, the dismantling of values and truths, as a kind of drug. And Eastern Europe gets used to it after a heavy sleep under a fixed, as a tombstone, officially-communist ideology.
Born in Moscow, Maxim Kantor - rather sympathizer Sartre and Picasso than Lyotard, and post-modernists.
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It seems cruel to objects, shapes and space. He twisted them, compresses, almost no breaks. Crackling skin and bones in his portraits. Hardly able to stand it "riser", as if half-crushed a monstrous force. People are attracted and cling to each other, sought support each other in the face of failure and emptiness of life in the midst of tottering walls, littered vacant lots, corridors underworld types ( "In the wasteland," "corridor," "Father and Son"). They have something hope, although we are not yet clear on what. Excellent graphics list "lonely crowd" rather confirms the fact that these accidents are not able to get rid of his loneliness, of his inferiority and tortured, though they clung to each other.
What, though, the more cynical one from Eastern Europe, as if they were in the West little? Does he not to mock the victims of the era, and is not it time for us to protest, as Christians protested against the blasphemous "Virgin" by Max Ernst, and humanists - against the "Night Porter" Liliana Cavani?
Maxim Kantor speech always goes on casualties and injuries. Large - more than two meters high - painted relief "married couple" - this is like two bloody deformed shells of people remaining after the processing of some terrible machine, borrowed from Franz Kafka. "The extent of his rights are measured by volume loss" - the artist wrote in his essay "Fragments of existence." This is even part of the idea of his literary and philosophical texts. He - man of his word to the same extent as the person's eyes, that is, the philosopher and the artist simultaneously.
Address of his philosophy is easily recognizable. The value of rights (the "scale") is determined by the ruins and the remains, which mark the existence of each of us. The existence of empties, but that devastation is the main wealth. Karl Jaspers wrote half a century ago that the outcome of every life - the inevitable defeat, das Scheitern. How this be? Modern mass culture and elitist postmodern advised: mock and demystify. Create a "merry apocalypse" (as one critic wrote) and "fun dosmerti" (as stated in another). But it is not satisfied with Maxim Kantor in any way.
He does not always tragically serious. He - by a series of still lifes, in which he, in his own statement, refuted the idea of certainty and stability materiality of the object - a thought which is peculiar to the classical still-life (eg, Dutch). What is the object, object? Thickening Does this matter - or vice versa, and tear a hole in existence, through which peeps emptiness, nothing? Both options mockingly offered to our gaze. Again, this is about loss, of loss, of defeat - but it turns out, and amusing, and aesthetically refined. The artist knows how to play concepts and be witty.
What it does not suit, it is a farce on the edge of the precipice, a farce of errors and misfortunes, that is the very thing that's most interesting contemporary art. Monumental OpenCards "Maxim Kantor reminds me of those" archives retired lives, which makes the French artist Christian Boltanski. Faced with the possibility of coming emptiness, armed with their losses and defeats people - almost turned into a ruin, in the shadow - emits some inexplicable consciousness of their spirituality. In this artist from Russia agrees to Rembrandt, the creator of amazing portraits of old men and women, and with Pascal, who spoke about the "thinking reed" ...
On site
http://www.artinfo.ru/artbank/script...?author_id=544



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Старый 12.09.2009, 18:44 Язык оригинала: Русский       #4
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If the picture of the 20th century could be summarized in words, it is literature, not art ...



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Старый 12.09.2009, 19:00 Язык оригинала: Русский       #5
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If the picture of the 20th century could be summarized in words, it is literature, not art ...
Or an illustration of a literary work.



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Старый 13.09.2009, 09:38 Язык оригинала: Русский       #6
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artist, writer Maxim Kantor
More links from the forum, relevant to the topic:

http://artinvestment.ru/forum/showpo...;postcount=147

http://artinvestment.ru/forum/showpo...p;postcount=33
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