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Creative report: july, august, september, october
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AFTER 2 MONTHS BETWEEN BIENNALE AND NORDART (WHERE MY BUNKER-PROJECT IS LOCATED) I CAME BACK TO MOSCOW. IT HAPPENED IN THE SECOND HALF OF JUNE. AT THAT TIME PIERRE BROCHER AND ALEXEI UMANSKY WERE ORGANIZING ABSOLUTE WORLD IN THE WINZAVOD ART CENTER.

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I OWED THEM A NOTEBOOK. I DID THE OBJECT WITHOUT SEEING IT, THEN IN THE EXHIBITION THERE WAS NO ENOUGH SPACE FOR IT, SO I WAS NOT SATISFIED WITH THAT WORK.

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BUT THEN AFTER INSTALLATION OF THE EXHIBITION I HAD A NICE PICNIC WITH THE TEAM OF WORKERS WHO PREPARED A SITE.




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IT HAPPENED LATER.








THEN I STARTED PAINTING WORKS IN MY VILLAGE AND I WENT ON DOING HOUSEKEEPING.




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IN THE MIDDLE OF AUGUST I WAS INVITED TO KRASNOYARSK TO TAKE PART IN THE BIENNALE ORGANIZED BY SERGEY KOVALSKY. FOR IT I MADE UP A WORK DISTANCE CAN BE NEAR. STRUCTURAL ABSTRACT OBJECT KNOCKS THE WALL.

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THE POINT OF ITS PERCEPTION IS AT THE ENTRANCE TO THE BUILDING. THE OBJECT IS LOCATED IN THE DISTANCE: ITS FAR FROM THE VIEWER, ITS INACCESSIBLE. DISTANCE AND INACCESSIBILITY ALTER AN ATTITUDE TO THE OBJECT AND THE RELATIONSHIP WITH IT.

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ABSOLUTELY THE SAME SHAPE IS REPRESENTED INSIDE THE BUILDING AS WELL. THIS SHAPE IS LOCATED NEAR THE VIEWERS AND IT IS POSSIBLE TO COME VERY CLOSE TO IT. SO WE OBSERVE THE INFLUENCE OF THE DISTANCE TO THE PERCEPTION OF THE OBJECT.

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IT SEEMS IT GOES WITHOUT SAYING, BECAUSE IT CONCERNS THE WORLD WE LIVE IN. BUT ONLY CHANGE OF THE POINT OF VIEW ALTERS THE ATTITUDE TO THE CONVENTIONAL, NATURAL AND UNDERSTANDABLE. SUCH A CHANGE STOPS THE MOMENT AND FILLS EXISTENCE WITH SENSES.




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... BUT I DIDNT GO TO KRASNOYARSK BECAUSE MY DOG PSHENO GOT ILL




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SO I SENT A MODEL OF MY POLYHEDRON TO KOVALSKY AND THEY DID IT BY THEMSELVES FOR ME.

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WHILE LOOKING FOR A SHAPE I DISCOVERED SOMETHING NEW FOR ME: EARLIER WHEN I WORKED WITH TERETE ROD I NEVER FACE THE PROBLEM THAT THE FACETS DONT COINCIDE WHEN THE DIRECTION OF LINE CHANGES AND THEY GO TO THE DIFFERENT PLANES.

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MAKING IRREGULAR POLYHEDRON WITH A SHIFT AND INVERSE PERSPECTIVE I HAD TO DO MY BEST FOR THE STRUCTURE SEEMED LOGICAL AND NATURAL.

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IN KRASNOYARSK THIS BASIC PRINCIPLE OF SHAPE WAS INTERPRETED AS A MINOR MISTAKE OF AN ARTIST. AS A RESULT THEY DID IT CORRECTLY. SOMEHOW AFTER ALL WE WERE CONTENT.



















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VERY SOON PRE-BIENNALE SYNDROME COVERED MOSCOW. PIER BROSHER PLANNED TO DO A PROJECT NEW FACES IN THE GROUP OF BUILDINGS OF FEDERATION TOWER.

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IT WAS THE ONLY POSSIBLE EPISODE OF MY PARTICIPATION IN THE MOSCOWS BIENNALE. IT SATISFIED ME WELL, BECAUSE THERE WAS ENOUGH PLACE FOR THE INSTALLATION A CALL TO THE FRIEND, THAT I WANTED TO DO IN EARNEST.

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BUT WHEN IT WAS TIME TO INSTALL THE EXHIBITION, IT TURNED OUT THAT THE PROJECT OF BROCHER WOULDNT BE REALIZED.
















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THEN MUSEUM OF PERM APPEARED SUDDENLY. SO FOR THE RUSSIAN POVERA IN THE RED OCTOBER ART CENTER I DID INDOOR PLANT. PART 2.
















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FOR ART-MOSCOW TO AIDAN SALACHOVA I DID A WORK SPECIAL PLACE. IT WAS AN OFFICE CHAIR. WHEN THE WORK WAS COMPLETED IT AMAZED ME BECAUSE IT WAS REALLY WONDERFUL.

    , monsieurdesign.blogspot.com/2009_10_01_archive.html,    .
LATER IT WAS BROUGHT TO FIAC, monsieurdesign.blogspot.com/2009_10_01_archive.html, AND RECENTLY IT WAS DELIVERED HOME.

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I JUMPED INTO THE MISSED BOAT OF WORKING MOVEMENT OF SERGEY HACHATUROV. DUE TO ILIA TRUSHEVSKY, WHO DECIDED TO GIVE HIS PLACE TO ME IN THIS PROJECT.




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AT THAT TIME I WAS ABOUT TO GO TO GERMAN SYMPOSIUM TO MY FRIEND CHRISTOPH WEIS. AT A DAY OF THE OPENING OF MOSCOW BIENNALE I WAS FERRYING FROM HELSINKI TO LUBEK.




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CHRISTOPH WEIS INVITED EFIMOV, DENISOV, A GROUP PROVYSA AND ME TO DO AN EXHIBITION IN HIS NEW SPACE IN A SMALL LITTLE KNOWN VILLAGE BRACHE NEAR HAMBURG.




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THE PROJECT WAS CALLED A GOOD PIECE OF RUSSIA, THATS WHY I BROUGHT TO CHRIS METAL AND CEMENT.
















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AS WELL I DID A SERIES OF FIGURATIVE PAINTINGS IN MY BUNKER, A PLACE WHERE MY FAVOURITE NATIONAL OBJECTS ARE PRESERVED.































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IN BRACHE I WANTED TO PAINT SEVERAL DISGUSTINGLY-GREEN CORRECT LANDSCAPES. SO I DID A WORK GREEN CORNER PAINTING DRIVEN INTO THE CORNER.

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IN MY LITTLE JEEP I WENT TO THE FIELDS, STOPPED ON A HILL. IN A CAR I PAINTED A VIEW FROM A WINDSCREEN, THEN A VIEWS AT THE RIGHT, AT THE LEFT AND A BACK VIEW. THEN I SHIFTED A HILL AND AGAIN PAINTED. 4 TIMES = 16 PAINTINGS. PAINTING. DIRECT SUPPLIES.

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PROFESSOR BORIS MANNER, WHO WAS MY SPECIAL CURATOR AT VENICE BIENNALE, VISITED ME IN THAT LITTLE KNOWN VILLAGE BRACHE.

 , www.borismanner.net.
BORIS MANNER, www.borismanner.net.

 ,             , www.dailymotion.com/video/x77gos_monumenta-2007-anselm-kiefer_creation
IT WAS ESPECIALLY PLEASANT BECAUSE AFTER BRACHE HE WENT TO LONDON TO HIS FRIEND KIFER, , www.dailymotion.com/video/x77gos_monumenta-2007-anselm-kiefer_creation

                , www.mariakosh.com/works/66.html, eliseeva.mosaicglobe.com/gallery/3669.
AFTER THE OPENING AT CHRISTOPHS I WENT TO BERLIN TO SEE MY FRIENDS NASTYA AND MASHA, www.mariakosh.com/works/66.html, eliseeva.mosaicglobe.com/gallery/3669.

           , www.youtube.com/watch?v=YtaDDIMnvX4.
IN BERLIN NEAR RAILWAY STATION I HAPPENED TO MEET MY ADORABLE ARTIST MESE, www.youtube.com/watch?v=YtaDDIMnvX4.

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WELL WHILE WORKING IN BRAHA I GOT TO REMEMBER ABOUT MY PROJECT OBJECT IN A DISTRICT AND DECIDED TO ORGANIZE THERE AN EXHIBITION IN OCTOBER.

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PAINTING IN A DISTRICT. FROM THIS TIME ON RESIDENTS OF KRASNOGVARDEISKY AND KALININSKY DISTRICTS NEEDNT GO FAR TO SEE CONTEMPORARY ART! ON WEDNESDAY, OCTOBER 28 AN EVENING IN HONOUR OF ENVIRONMENT!

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11 PAINTINGS OF 11 LEADING ARTISTS OF ST.PETERSBURG: ANDREY RUDIEV, PETR SHVETSOV, PETR BELY, ANVER, EKATERINA EZHKOVA, BERONIKA RUDIEVA-RYAZANTSEVA, EUGUENIA GOLANT, PETR REIHET, ILYA GAPONOV AND KIRILL KOTESHOV, VERA SVETLOVA, ALEXANDR DASHEVSKY.

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CAN THE ARTIST LIVE WITHOUT ENVIRONMENT? NO, HE CANNOT! COME TO THE PROSPECT OF MARSHAL BLUCHER, EVEN IF ITS FAR FROM YOUR PLACE, BECAUSE ENVIRONMENT IS SOMETHING THAT IS VERY IMPORTANT!!!







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YES. ENVIRONMENT IS REALLY VERY IMPORTANT. HOWEVER MY ENVIRONMENT IS STILL IN ST.PETERSBURG-LENINGRAD.

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WHEN I BROUGHT THE PAINTINGS OF MY FRIENDS AND COLLEAGUES TO MY STUDIO AND PREPARED THEM FOR THE INSTALLATION I FELT NEW FORCES AND ENERGY AND AGAIN REALIZED THAT IM THANKFULL TO THEM FOR THEIR ART AND FOR THAT THEY EXIST.










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2 DAYS AFTER THAT WEDNESDAY IN A DISTRICT PETR BELY OPENED AN EXHIBITION IN THE LOFT PROJECT ETAGI. EXHIBITION OF THE PROJECTS THAT WERE SHOWN IN THE LUDA GALLERY.

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IT SEEMED TO ME TO BE SYMBOLIC AND INDICATIVE BECAUSE THE FIRST PROJECT IN MY FLAT WAS CONNECTED WITH MY EXHIBITION IN THE LUDA GALLERY A YEAR AGO.PETR BELY BUILT FOR ME A SMALL ROOM AND I DID FOR HIM A WORK SCULPTURE AND PAINTING.


I THINK THAT FOR ST.PETERSBURG THIS TOPIC IS ETERNAL.










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THAT WAY I SPENT MY TIME AFTER BIENNALE.

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NOW I CAN COME BACK TO MY VILLAGE.






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