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Creative report: july, august, september, october
ÏÎÑËÅ ÄÂÓÕ ÌÅÑßÖÅÂ, ÏÐÎÆÈÒÛÕ ÌÅÆÄÓ ÂÅÍÅÖÈÀÍÑÊÎÉ ÁÈÅÍÍÀËÅ È ÂÛÑÒÀÂÊÎÉ «ÍÎÐÄ-ÀÐÒ», ÃÄÅ ÍÀÕÎÄÈÒÑß ÌÎÉ ÁÓÍÊÅÐ-ÏÐÎÆÅÊÒ, ß ÂÅÐÍÓËÀÑÜ Â ÌÎÑÊÂÓ. ÝÒÎ ÁÛËÀ ÂÒÎÐÀß ÏÎËÎÂÈÍÀ  ÈÞÍß. ÒÎÃÄÀ ÍÀ ÂÈÍÇÀÂÎÄÅ ÏÜÅÐ ÁÐÎØÅ È ÀËÅÊÑÅÉ ÓÌÀÍÑÊÈÉ ÄÅËÀËÈ «ÀÁÑÎËÞÒÍÛÉ ÌÈл.
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.

Ñ ÌÅÍß ÏÐÈ×ÈÒÀËÑß «ÍÎÓÒÁÓÊ». ÑÀÌ ÎÁÚÅÊÒ «ß ÄÅËÀËÀ» ÇÀÎ×ÍÎ, ÌÅÑÒÀ ÎÊÀÇÀËÎÑÜ ÊÀÊ ÂÑÅÃÄÀ ÌÀËÎ, ÈÍÑÒÀËËßÖÈß ÍÅ ÓÄÀËÀÑÜ.
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.

ÍÎ ÇÀÒÎ ÏÎÑËÅ ÌÎÍÒÀÆÀ ÓÄÀËÑß ÏÈÊÍÈÊ Ñ ÁÐÈÃÀÄÎÉ ÑÒÐÎÈÒÅËÅÉ, ÊÎÒÎÐÛÅ ÃÎÒÎÂÈËÈ ÏËÎÙÀÄÊÓ.
BUT THEN AFTER INSTALLATION OF THE EXHIBITION I HAD A NICE PICNIC WITH THE TEAM OF WORKERS WHO PREPARED A SITE.




ÝÒÎ ÁÛËÎ ÏÎÇÆÅ...
IT HAPPENED LATER.







ÏÎÑËÅ ß ÇÀÍßËÀÑÜ ÏÎÊÐÀÑÎ×ÍÛÌÈ ÐÀÁÎÒÀÌÈ Â ÑÂÎÅÉ ÄÅÐÅÂÍÅ È ÄÎÌÀØÍÈÌ ÕÎÇßÉÑÒÂÎÌ
THEN I STARTED PAINTING WORKS IN MY VILLAGE AND I WENT ON DOING HOUSEKEEPING.




 ÑÅÐÅÄÈÍÅ ÀÂÃÓÑÒÀ ÍÀÄÎ ÁÛËÎ ÅÕÀÒÜ Â ÊÐÀÑÍÎßÐÑÊ ÍÀ ÁÈÅÍÍÀËÅ Ê ÑÅÐÃÅÞ ÊÎÂÀËÅÂÑÊÎÌÓ. ÄËß ÍÅÃÎ ß ÏÐÈÄÓÌÀËÀ ÒÀÊÓÞ ÐÀÁÎÒÓ: «ÄÀËÜ» – ÎÍÀ ÆÅ «ÁËÈÇÜ». ÑÒÐÓÊÒÓÐÈÐÎÂÀÍÍÛÉ ÀÁÑÒÐÀÊÒÍÛÉ «ÏÐÅÄÌÅÒ» ÏÐÎÁÈÂÀÅÒ ÑÒÅÍÓ.
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.

ÒÎ×ÊÀ ÂÎÑÏÐÈßÒÈß ÝÒÎÃÎ ÏÐÅÄÌÅÒÀ ÍÀÕÎÄÈÒÑß Ó ÏÎÐÎÃÀ ÇÄÀÍÈß. ÏÐÅÄÌÅÒ ÍÀÕÎÄÈÒÑß ÍÀ ÐÀÑÑÒÎßÍÈÈ: ÎÍ ÎÒÄÀËÅÍ, ÎÍ ÍÅÄÎÑÒÓÏÅÍ. ÐÀÑÑÒÎßÍÈÅ È  ÍÅÄÎÑÒÓÏÍÎÑÒÜ ÂËÈßÞÒ ÍÀ ÎÒÍÎØÅÍÈÅ Ê ÍÅÌÓ, ÍÀ ÂÇÀÈÌÎÎÒÍÎØÅÍÈß Ñ ÍÈÌ.
THE POINT OF ITS PERCEPTION IS AT THE ENTRANCE TO THE BUILDING. THE OBJECT IS LOCATED IN THE DISTANCE: IT’S FAR FROM THE VIEWER, IT’S INACCESSIBLE. DISTANCE AND INACCESSIBILITY ALTER AN ATTITUDE TO THE OBJECT AND THE RELATIONSHIP WITH IT.

ÒÎ×ÍÎ ÒÀÊÀß ÆÅ ÔÎÐÌÀ ÂÑÒÐÅ×ÀÅÒÑß ÓÆÅ ÍÅ ÑÍÀÐÓÆÈ, À ÂÍÓÒÐÈ ÇÄÀÍÈß. ÔÎÐÌÀ ÍÀÕÎÄÈÒÑß ÒÅÏÅÐÜ ÂÁËÈÇÈ, ÌÛ ÌÎÆÅÌ ÏÎÄÎÉÒÈ Ê ÍÅÉ ÂÏËÎÒÍÓÞ. ÒÀÊÈÌ ÎÁÐÀÇÎÌ, ÌÛ ÍÀÁËÞÄÀÅÌ ÎÏÛÒ ÂËÈßÍÈß ÄÈÑÒÀÍÖÈÈ ÍÀ ÂÎÑÏÐÈßÒÈÅ ÏÐÅÄÌÅÒÀ. ÊÀÇÀËÎÑÜ ÁÛ, ÝÒÎ ÑÀÌÎ ÑÎÁÎÉ ÐÀÇÓÌÅÞÙÈÅÑß ÂÅÙÈ.
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.

ÈÌÅÍÍÎ ÒÅ,  ÌÈÐÅ ÊÎÒÎÐÛÕ ÌÛ ÆÈÂÅÌ. È ÒÎËÜÊÎ ÈÇÌÅÍÅÍÈÅ ÒÎ×ÊÈ ÂÎÑÏÐÈßÒÈß È ÐÀÊÓÐÑÀ ÂÇÃËßÄÀ ÌÅÍßÅÒ ÎÒÍÎØÅÍÈÅ Ê  ÎÁÙÅÏÐÈÍßÒÎÌÓ ÏÎ ÓÌÎË×ÀÍÈÞ, ÅÑÒÅÑÒÂÅÍÍÎÌÓ È ÑÀÌÎ ÑÎÁÎÉ ÐÀÇÓÌÅÞÙÅÌÓÑß, ÎÑÒÀÍÀÂËÈÂÀÅÒ ÂÐÅÌß È ÍÀÏÎËÍßÅÒ ÁÛÒÈÅ ÑÌÛÑËÀÌÈ.
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.




ÍÎ Â ÊÐÀÑÍÎßÐÑÊ ß ÍÅ ÓÅÕÀËÀ, ÏÎÒÎÌÓ ×ÒÎ ÇÀÁÎËÅËÀ ÌÎß ÑÎÁÀÊÀ ÏØÅÍÎ...
... BUT I DIDN’T GO TO KRASNOYARSK BECAUSE MY DOG PSHENO GOT ILL…




ÏÐÈØËÎÑÜ ÊÎÂÀËÅÂÑÊÎÌÓ ÏÅÐÅÄÀÒÜ ÌÎÄÅËÜ ÌÍÎÃÎÃÐÀÍÍÈÊÀ, È ÎÍÈ ÄÅËÀËÈ ÂÑÅ ÑÀÌÈ ÇÀ ÌÅÍß.
SO I SENT A MODEL OF MY POLYHEDRON TO KOVALSKY AND THEY DID IT BY THEMSELVES FOR ME.

ÏÐÈ ÏÎÈÑÊÅ ÔÎÐÌÛ ß ÑÄÅËÀËÀ ÄËß ÑÅÁß ÎÒÊÐÛÒÈÅ: ÏÐÅÆÄÅ, ÈÌÅß ÄÅËÎ Ñ ÊÐÓÃËÛÌ Â ÑÅ×ÅÍÈÈ ÏÐÓÒÎÌ, ß ÍÅ ÑÒÀËÊÈÂÀËÀÑÜ Ñ ÒÅÌ, ×ÒÎ ÃÐÀÍÈ ÏÐÈ ÈÇÌÅÍÅÍÈÈ ÍÀÏÐÀÂËÅÍÈß ËÈÍÈÈ ÍÅ ÑÎÂÏÀÄÀÞÒ, Ò.Å., ÎÊÀÇÛÂÀÅÒÑß, ÎÍÈ ÓÕÎÄßÒ Â ÐÀÇÍÛÅ ÏËÎÑÊÎÑÒÈ
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 DON’T COINCIDE WHEN THE DIRECTION OF LINE CHANGES AND THEY GO TO THE DIFFERENT PLANES.

ÄÅËÀß ÌÍÎÃÎÃÐÀÍÍÈÊ ÍÅÏÐÀÂÈËÜÍÎÉ ÔÎÐÌÛ ÑÎ ÑÌÅÙÅÍÈÅÌ È ÎÁÐÀÒÍÎÉ ÏÅÐÑÏÅÊÒÈÂÎÉ, ÏÐÈØËÎÑÜ ÏÎÑÒÀÐÀÒÜÑß, ×ÒÎÁÛ ÑÒÐÓÊÒÓÐÀ ÂÛÃËßÄÅËÀ ÇÀÊÎÍÎÌÅÐÍÎ È ËÎÃÈ×ÍÎ.
MAKING IRREGULAR POLYHEDRON WITH A SHIFT AND INVERSE PERSPECTIVE I HAD TO DO MY BEST FOR THE STRUCTURE SEEMED LOGICAL AND NATURAL.

 ÊÐÀÑÍÎßÐÑÊÅ ÂÎÑÏÐÈÍßËÈ ÝÒÎÒ ÎÑÍÎÂÎÏÎËÀÃÀÞÙÈÉ ÔÀÊÒÎÐ ÔÎÐÌÎÎÁÐÀÇÎÂÀÍÈß ÊÀÊ ÍÅÇÍÀ×ÈÒÅËÜÍÓÞ ÏÎÃÐÅØÍÎÑÒÜ ÕÓÄÎÆÍÈÊÀ, ÊÎÒÎÐÛÉ ÍÅ ÌÎÆÅÒ ÑÄÅËÀÒÜ «ÐÎÂÍλ È ÑÄÅËÀËÈ ÂÑÅ ÂÏÎËÍÅ «ÏÐÀÂÈËÜÍλ. ÒÀÊ ÈËÈ ÈÍÀ×Å, ÂÐÎÄÅ ÁÛ ÂÑÅ ÎÑÒÀËÈÑÜ ÄÎÂÎËÜÍÛ.
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.



















ÂÑÊÎÐÅ ÍÀ×ÀËÑß ÏÐÅÄÁÈÅÍÍÀËÜÍÛÉ ÑÈÍÄÐÎÌ Â ÌÎÑÊÂÅ. ÏÜÅÐ ÁÐÎØÅ ÑÎÁÈÐÀËÑß ÄÅËÀÒÜ ÏÐÎÅÊÒ «ÍÎÂÛÅ ÈÌÅÍÀ»  ÊÎÌÏËÅÊÑÅ ÁÀØÍÈ «ÔÅÄÅÐÀÖÈß».
VERY SOON PRE-BIENNALE SYNDROME COVERED MOSCOW. PIER BROSHER PLANNED TO DO A PROJECT “NEW FACES” IN THE GROUP OF BUILDINGS OF FEDERATION TOWER.

ÝÒÎ ÁÛË ÅÄÈÍÑÒÂÅÍÍÎ ÂÎÇÌÎÆÍÛÉ ÝÏÈÇÎÄ ÌÎÅÉ ÏÐÈ×ÀÑÒÍÎÑÒÈ Ê ÌÎÑÊÎÂÑÊÎÉ ÁÈÅÍÍÀËÅ, È ÎÍ ÌÅÍß ÂÏÎËÍÅ ÓÑÒÐÀÈÂÀË, Ò.Ê. ÒÀÌ ÁÛËÎ ÌÅÑÒÎ, ÃÄÅ ÐÀÇÂÅÐÍÓÒÑß.
IT WAS THE ONLY POSSIBLE EPISODE OF MY PARTICIPATION IN THE MOSCOW’S 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.

È ß ÑÎÁÈÐÀËÀÑÜ ÄÅËÀÒÜ ÍÀ ÏÎËÍÎÌ ÑÅÐÜÅÇÅ ÈÍÑÒÀËËßÖÈÞ «ÇÂÎÍÎÊ ÄÐÓÃÓ». ÊÎÃÄÀ ÏÎÄÎØÅË ÑÐÎÊ ÌÎÍÒÀÆÀ, ÎÊÀÇÀËÎÑÜ, ×ÒÎ ÏÐÎÅÊÒ ÁÐÎØÅ ÍÅ ÑÎÑÒÎÈÒÑß.
BUT WHEN IT WAS TIME TO INSTALL THE EXHIBITION, IT TURNED OUT THAT THE PROJECT OF BROCHER WOULDN’T BE REALIZED.
















ÏÎÒÎÌ ÂÄÐÓà ÏÐÎßÂÈËÑß ÏÅÐÌÑÊÈÉ ÌÓÇÅÉ. ÄËß «ÐÓÑÑÊÎÃÎ ÁÅÄÍÎÃλ  «ÊÐÀÑÍÎÌ ÎÊÒßÁÐÅ» ß ÑÄÅËÀËÀ «ÊÎÌÍÀÒÍÎÅ ÐÀÑÒÅÍÈÅ. ×ÀÑÒÜ ÂÒÎÐÀß».
THEN MUSEUM OF PERM APPEARED SUDDENLY. SO FOR THE “RUSSIAN POVERA” IN THE RED OCTOBER ART CENTER I DID “INDOOR PLANT. PART 2”.
















ÄËß ÀÉÄÀÍ ÒÀÈÐÎÂÍÛ ÍÀ ÀÐÒ-ÌÎÑÊÂÓ ß ÑÄÅËÀËÀ ÐÀÁÎÒÓ «ÑÏÅÖÈÀËÜÍÎÅ ÌÅÑÒλ – ÎÔÈÑÍÛÉ ÑÒÓË. ÊÎÃÄÀ ÇÀÊÎÍ×ÈËÀ, ÄÀÆÅ ÑÀÌÀ ÓÄÈÂÈËÀÑÜ ÒÎÌÓ, ÊÀÊ ÎÍ ÎÊÀÇÀËÑß ÏÐÅÊÐÀÑÅÍ.
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.

ÏÎÒÎÌ ÅÃÎ ÎÒÂÅÇËÈ ÍÀ ÔÈÀÊ, monsieurdesign.blogspot.com/2009_10_01_archive.html, È ÑÅÉ×ÀÑ ÏÐÈÂÅÇËÈ ÎÁÐÀÒÍÎ.
LATER IT WAS BROUGHT TO FIAC, monsieurdesign.blogspot.com/2009_10_01_archive.html, AND RECENTLY IT WAS DELIVERED HOME.

…È ÏÐÛÃÍÓËÀ  ÓØÅÄØÈÉ ÏÎÅÇÄ «ÐÀÁÎ×ÅÃÎ ÄÂÈÆÅÍÈß» Ê ÑÅÐÃÅÞ ÕÀ×ÀÒÓÐÎÂÓ. È ÒÎ,  ÑÂßÇÈ Ñ ÒÅÌ, ×ÒÎ ÕÓÄÎÆÍÈÊ ÈËÜß ÒÐÓØÅÂÑÊÈÉ ÐÅØÈË ÓÑÒÓÏÈÒÜ ÌÍÅ ÑÂÎÅ Ó×ÀÑÒÈÅ Â ÝÒÎÌ ÏÐÎÅÊÒÅ.
… 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.




ÍÎ Ê ÒÎÌÓ ÂÐÅÌÅÍÈ ß ÓÆÅ ÏÐÅÁÛÂÀËÀ  ×ÅÌÎÄÀÍÍÎÌ ÑÎÑÒÎßÍÈÈ, Ò.Ê. ÄÎËÆÍÀ ÁÛËÀ ÅÕÀÒÜ Â ÃÅÐÌÀÍÈÞ ÍÀ ÑÈÌÏÎÇÈÓÌ Ê ÑÂÎÅÌÓ ÄÐÓÃÓ ÊÐÈÑÒÎÔÓ ÂÀÉÑÓ, www.galerie-brache.de.  ÄÅÍÜ ÎÒÊÐÛÒÈß ÌÎÑÊÎÂÑÊÎÉ ÁÈÅÍÍÀËÅ ß ÏËÛËÀ ÍÀ ÏÀÐÎÌÅ ÈÇ ÕÅËÜÑÈÍÊÈ Â ËÞÁÝÊ.
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.




ÊÐÈÑÒÎÔ ÂÀÉÑ ÏÐÈÃËÀÑÈË ÃÐÓÏÏÓ ÏÐÎÂÌÛÇÀ, ÅÔÈÌÎÂÀ Ñ ÄÅÍÈÑÎÂÛÌ È ÌÅÍß ÑÄÅËÀÒÜ ÂÛÑÒÀÂÊÓ Â ÅÃÎ ÍÎÂÎÌ ÏÐÎÑÒÐÀÍÑÒÂÅ Â ÎÊÐÅÑÒÍÎÑÒßÕ ÃÀÌÁÓÐÃÀ Â ÌÀËÎÈÇÂÅÑÒÍÎÌ ÍÀÑÅËÅÍÍÎÌ ÏÓÍÊÒÅ ÁÐÀÕÀ.
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.




ÍÀÇÛÂÀËÀÑÜ ÝÒÀ ÈÑÒÎÐÈß «ÕÎÐÎØÈÉ ÊÓÑÎÊ ÐÎÑÑÈÈ», ÏÎÝÒÎÌÓ ÊÐÈÑÒÎÔÓ ß ÎÒÂÅÇËÀ ÌÅÒÀËË È ÖÅÌÅÍÒ.
THE PROJECT WAS CALLED “A GOOD PIECE OF RUSSIA”, THAT’S WHY I BROUGHT TO CHRIS METAL AND CEMENT.
















È ÑÄÅËÀËÀ ÑÅÐÈÞ ÏÐÅÄÌÅÒÍÛÕ ÊÀÐÒÈÍ Â ÑÂÎÅÌ ÁÓÍÊÅÐÅ, ÃÄÅ ÍÀÕÎÄÈÒÑß ÑÊËÀÄ ÌÎÈÕ ËÞÁÈÌÛÕ ÎÒÅ×ÅÑÒÂÅÍÍÛÕ ÏÐÅÄÌÅÒÎÂ.
AS WELL I DID A SERIES OF FIGURATIVE PAINTINGS IN MY BUNKER, A PLACE WHERE MY FAVOURITE NATIONAL OBJECTS ARE PRESERVED.































ÅÙÅ Â ÁÐÀÕÅ ÌÍÅ ÇÀÕÎÒÅËÎÑÜ ÍÀÐÈÑÎÂÀÒÜ ÍÅÑÊÎËÜÊÎ ÏÐÀÂÈËÜÍÛÕ ÎÒÂÐÀÒÈÒÅËÜÍÎ-ÇÅ˨ÍÛÕ ÏÅÉÇÀÆÅÉ, È ÒÀÊ ÏÎËÓ×ÈËÀÑÜ ÐÀÁÎÒÀ «ÇÅËÅÍÛÉ ÓÃÎËÎÊ» – ÆÈÂÎÏÈÑÜ, ÇÀÃÍÀÍÍÀß Â ÓÃÎË.
IN BRACHE I WANTED TO PAINT SEVERAL DISGUSTINGLY-GREEN CORRECT LANDSCAPES. SO I DID A WORK “GREEN CORNER” – PAINTING DRIVEN INTO THE CORNER.

ß ÂÛÅÇÆÀËÀ ÍÀ ÑÂÎÅÌ ÌÀËÅÍÜÊÎÌ ÄÆÈÏÅ Â ÏÎËß, ÎÑÒÀÍÀÂËÈÂÀËÀÑÜ ÍÀ ÕÎËÌÅ È,  ÍÅ ÂÛÕÎÄß ÈÇ ÀÂÒÎÌÎÁÈËß, ÐÈÑÎÂÀËÀ ÂÈÄ Â ËÎÁÎÂÎÌ ÎÊÍÅ – ÂÈÄ ÑËÅÂÀ, ÂÈÄ ÑÏÐÀÂÀ È ÂÈÄ ÑÇÀÄÈ. ÏÎÒÎÌ ÌÅÍßËÀ ÕÎËÌ È ÎÏßÒÜ ÐÈÑÎÂÀËÀ – ÒÀÊ 4 ÐÀÇÀ = 16 ÊÀÐÒÈÍ, ÆÈÂÎÏÈÑÜ – ÏÐßÌÛÅ ÏÎÑÒÀÂÊÈ.
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.

 ÌÀËÎÈÇÂÅÑÒÍÛÉ ÍÀÑÅËÅÍÍÛÉ ÏÓÍÊÒ ÁÐÀÕÀ ÏÐÈÅÇÆÀË ÊÎ ÌÍÅ ÏÐÎÔÅÑÑÎÐ ÁÎÐÈÑ ÌÀÍÅÐ, ÊÎÒÎÐÛÉ ÁÛË ÌÎÈÌ ÑÏÅÖÈÀËÜÍÛÌ ÊÓÐÀÒÎÐÎÌ Â ÂÅÍÅÖÈÈ.
PROFESSOR BORIS MANNER, WHO WAS MY SPECIAL CURATOR AT VENICE BIENNALE, VISITED ME IN THAT LITTLE KNOWN VILLAGE BRACHE.

ÁÎÐÈÑ ÌÀÍÅÐ, www.borismanner.net.
BORIS MANNER, www.borismanner.net.

ÎÑÎÁÅÍÍÎ ËÅÑÒÍÎ, ×ÒÎ ÏÎÑËÅ ÂÈÇÈÒÀ Â ÁÐÀÕÓ ÎÍ ÎÒÏÐÀÂÈËÑß Ê ÑÂÎÅÌÓ ÄÐÓÃÓ ÊÈÔÅÐÓ Â ËÎÍÄÎÍ, 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

ÏÎÑËÅ ÎÒÊÐÛÒÈß ÂÛÑÒÀÂÊÈ Ó ÊÐÈÑÒÎÔÀ ß ÏÎÅÕÀËÀ  ÁÅÐËÈÍ ÂÑÒÐÅ×ÀÒÜÑß ÑÎ ÑÂÎÈÌÈ ÏÎÄÐÓÃÀÌÈ – ÍÀÑÒÅÉ È ÌÀØÅÉ, www.mariakosh.com/works/66.html, eliseeva.mosaicglobe.com/gallery/3669.
AFTER THE OPENING AT CHRISTOPH’S I WENT TO BERLIN TO SEE MY FRIENDS NASTYA AND MASHA, www.mariakosh.com/works/66.html, eliseeva.mosaicglobe.com/gallery/3669.

 ÁÅÐËÈÍÅ ÎÊÎËÎ ÂÎÊÇÀËÀ ÌÍÅ ÄÎÂÅËÎÑÜ ÂÑÒÐÅÒÈÒÜ ÑÈËÜÍÎ ËÞÁÈÌÎÃÎ ÌÍÎÉ ÕÓÄÎÆÍÈÊÀ ÌÅÇÅ, 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.

ÍÓ È ÏÎÊÀ ß ÐÈÑÎÂÀËÀ ÊÀÐÒÈÍÛ Â ÁÐÀÕÅ, ß ÂÑÏÎÌÍÈËÀ, ÍÀÊÎÍÅÖ, Î ÑÂÎÅÌ ÏÐÎÅÊÒÅ «ÎÁÚÅÊÒ ÍÀ ÐÀÉÎÍÅ» È ÐÅØÈËÀ ÑÄÅËÀÒÜ ÂÛÑÒÀÂÊÓ ÒÀÌ Â ÎÊÒßÁÐÅ ÏÎÄ ÒÀÊÈÌ ÑÎÓÑÎÌ:
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.

«ÆÈÂÎÏÈÑÜ ÍÀ ÐÀÉÎÍÅ». ÒÅÏÅÐÜ ÆÈÒÅËßÌ ÊÐÀÑÍÎÃÂÀÐÄÅÉÑÊÎÃÎ È ÊÀËÈÍÈÍÑÊÎÃÎ ÐÀÉÎÍΠÄÀËÅÊÎ ÕÎÄÈÒÜ ÍÅ ÍÀÄÎ, ×ÒÎÁÛ ÏÎÑÌÎÒÐÅÒÜ ÑÎÂÐÅÌÅÍÍÎÅ ÈÑÊÓÑÑÒÂÎ!  ÑÐÅÄÓ 28 ÎÊÒßÁÐß – ÂÅ×ÅÐ Â ×ÅÑÒÜ ÑÐÅÄÛ!
“PAINTING IN A DISTRICT”. FROM THIS TIME ON RESIDENTS OF KRASNOGVARDEISKY AND KALININSKY DISTRICTS NEEDN’T GO FAR TO SEE CONTEMPORARY ART! ON WEDNESDAY, OCTOBER 28 – AN EVENING IN HONOUR OF ENVIRONMENT!

11 ÊÀÐÒÈÍ 11 ÂÅÄÓÙÈÕ ÕÓÄÎÆÍÈÊΠÏÅÒÅÐÁÓÐÃÀ: ÀÍÄÐÅÉ ÐÓÄÜÅÂ, ϨÒÐ ØÂÅÖÎÂ, ϨÒÐ ÁÅËÛÉ, ÝÍÂÅÐ, ÅÊÀÒÅÐÈÍÀ ÅÆÊÎÂÀ, ÂÅÐÎÍÈÊÀ ÐÓÄÜÅÂÀ-ÐßÇÀÍÖÅÂÀ, ÅÂÃÅÍÈß ÃÎËÀÍÒ, ϨÒÐ ÐÅÉÕÅÒ, ÈËÜß ÃÀÏÎÍÎÂ È ÊÈÐÈË ÊÎÒÅØÅÂ, ÂÅÐÀ ÑÂÅÒËÎÂÀ, ÀËÅÊÑÀÍÄÐ ÄÀØÅÂÑÊÈÉ.
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.

ÌÎÆÅÒ ËÈ ÕÓÄÎÆÍÈÊ ÁÅÇ ÑÐÅÄÛ? – ÍÅ ÌÎÆÅÒ! È ÅÑËÈ ÂÀÌ ÄÀËÅÊÎ ÅÕÀÒÜ ÈÇ ÖÅÍÒÐÀ ÍÀ ÏÐÎÑÏÅÊÒ ÌÀÐØÀËÀ ÁËÞÕÅÐÀ, ÒÎ ÂѨ ÐÀÂÍÎ ÏÐÈÅÇÆÀÉÒÅ, ÏÎÒÎÌÓ ×ÒÎ ÑÐÅÄÀ ÝÒÎ ÂÀÆÍÎ!!!
CAN THE ARTIST LIVE WITHOUT ENVIRONMENT? NO, HE CANNOT! COME TO THE PROSPECT OF MARSHAL BLUCHER, EVEN IF IT’S FAR FROM YOUR PLACE, BECAUSE ENVIRONMENT IS SOMETHING THAT IS VERY IMPORTANT!!!







ÄÀ. È ÑÐÅÄÀ – ÝÒÎ ÄÅÉÑÒÂÈÒÅËÜÍÎ ÂÀÆÍÎ. ÂѨ-ÒÀÊÈ ÌÎß ÑÐÅÄÀ – ÄÎ ÑÈÕ ÏÎÐ ÒÀÌ,  ÏÅÒÅÐÁÓÐÃÅ-ËÅÍÈÍÃÐÀÄÅ.
YES. ENVIRONMENT IS REALLY VERY IMPORTANT. HOWEVER MY ENVIRONMENT IS STILL IN ST.PETERSBURG-LENINGRAD.

ÊÎÃÄÀ ß ÏÐÈÂÅÇËÀ ÊÀÐÒÈÍÛ ÑÂÎÈÕ ÊÎËËÅÃ-ÄÐÓÇÅÉ ÄÎÌÎÉ È ÏÐÈÃÎÒÎÂÈËÀ ÈÕ ÄËß ÝÊÑÏÎÇÈÖÈÈ, ÒÎ ÈÑÏÛÒÀËÀ ÏÐÎÑÒÎ ÊÀÊÎÅ-ÒÎ ÂËÈÂÀÍÈÅ ÍÎÂÛÕ ÑÈË È ÝÍÅÐÃÈÉ, ÏÎÍßËÀ  Î×ÅÐÅÄÍÎÉ ÐÀÇ, ÊÀÊ ß ÈÌ ÁËÀÃÎÄÀÐÍÀ ÇÀ ÈÕ ÈÑÊÓÑÑÒÂÎ È ÇÀ ÒÎ, ×ÒÎ ÎÍÈ ÅÑÒÜ Â ÌÎÅÉ ÆÈÇÍÈ
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 I’M THANKFULL TO THEM FOR THEIR ART AND FOR THAT THEY EXIST.










×ÅÐÅÇ 2 ÄÍß ÏÎÑËÅ «ÑÐÅÄÛ ÍÀ ÐÀÉÎÍÅ» ÏÅÒÐ ÁÅËÛÉ ÎÒÊÐÛË ÂÛÑÒÀÂÊÓ Â «ÝÒÀÆÀÕ» Ñ ÏÐÎÅÊÒÀÌÈ, ÊÎÒÎÐÛÅ ÁÛËÈ Â «ËÞÄÅ», ×ÒÎ ÌÍÅ ÏÎÊÀÇÀËÎÑÜ ÇÍÀÊÎÂÛÌ È ÑÈÌÂÎËÈ×ÍÛÌ, Ò.Ê. ÏÅÐÂÛÉ ÏÐÎÅÊÒ Â ÌÎÅÉ ÊÂÀÐÒÈÐÅ ß ÄÅËÀËÀ ÃÎÄ ÍÀÇÀÄ Â ÑÂßÇÈ ÊÀÊ ÐÀÇ Ñ ÌÎÅÉ ÂÛÑÒÀÂÊÎÉ Â «ËÞÄÅ».
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.

ÏÅÒÐ ÁÅËÛÉ ÄËß ÌÅÍß ÏÎÑÒÐÎÈË ÌÀËÅÍÜÊÓÞ ÊÎÌÍÀÒÊÓ, ß ÄËß ÍÅÃÎ ÑÄÅËÀËÀ ÐÀÁÎÒÓ «ÑÊÓËÜÏÒÓÐÀ È ÆÈÂÎÏÈÑÜ»... ÊÀÆÅÒÑß, ÄËß ÏÅÒÅÐÁÓÐÃÀ ÝÒÀ ÒÅÌÀ ÂÅ×ÍÀß...
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.










ÒÀÊ ÏÐÎØËÈ ÌÎÈ ÏÎÑÒÂÅÍÅÖÈÀÍÑÊÈÅ ÁÓÄÍÈ...
THAT WAY I SPENT MY TIME AFTER BIENNALE.

ÒÅÏÅÐÜ ß ÎÏßÒÜ ÌÎÃÓ ÓÅÕÀÒÜ Â ÄÅÐÅÂÍÞ.
NOW I CAN COME BACK TO MY VILLAGE.






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