Twenty-first century. Wide horizons of contemporary art
The portal ARTinvestment.RU launching a new large-scale project "XXI century. Contemporary Russian art"
the Culture of the first quarter of any century — phenomenon is special and very rich: it was at this time the company is aware of the cultural heritage of the previous time and is moving forward, discovering new styles and trends.
Particularly interesting and varied were the first quarter of the twentieth century, when the time has accelerated, driven by wars, development of technology and successive industrial revolutions, and with him quickened and changes in society, culture and art — and the usual rule of a single "Grand style" in art was replaced by the rapid development of many individual areas.
In the twentieth century in addition to the varieties of realism, impressionism, Fauvism, coming from the NINETEENTH century, formed a set of directions, which flowed smoothly and at the beginning of the XXI century: post-impressionism, postfovism different directions of abstract art, constructivism, expressionism, surrealism, primitivism, kitsch, conceptual art, etc.
Since the late twentieth century in the art of postmodernism all these areas quietly began to stir and used by today's young artists. Quotations of the past have created new contemporary art.
the First quarter of the XXI century in Russia, almost recorded the creativity of all artistic generations, who began freely to form and be detected since the late 1950-х years. For a short period of fathers, children and grandchildren were in the same art space, presenting art movement that originated in the twentieth century.
Especially fruitful in the first quarter of this century continue to work with the artists, the formation of which occurred in 1990-е years time adjustment. This era has provided the modern Russian artists before the incredible possibilities for the free artistic development in a variety of ways. Particularly attractive to these artists have become destinations such as abstraction, expressionism in different variations, pop-арт, photorealism, etc.
the Portal ARTinvestment.RU starts a new large-scale project "XXI century. Contemporary Russian art". The aim of the project — to submit as widely as possible the works of famous Russian authors, working in different fields whose works have for many years adequately exist in museums and exhibition spaces around the world, in private collections, in galleries of contemporary art, but whose work is not appreciated by the market of contemporary art.
ARTinvestment.RU will be presented articles about the work of artists, interviews, review and analysis of the various trends in contemporary Russian art. In addition, we propose to consider some aspects of contemporary Western art, to conduct reviews of auction sales of contemporary artists. It is planned to conduct joint exhibitions and publishing catalogs, one or more themes.
3 February ARTinvestment.RU we opened our first auction in a series of curatorial auctions "XXI century", where different curators will present one picture of the ten chosen authors and talk in the articles about them and their work.
At the first auction "twenty-first century. Contemporary art" curated by PhD Larisa Kashuk is Her work Seeds Agroskin, Diana Vouba, Yelena Gorina,Konstantin Zvezdochetov, Irina Korsakova, Vladimir Nasedkin, Anatoly Purlik, Mary Siemienska, Vladimir Semensky, Natalia Turnovo.
Simon E. Agroskin (1961) tries his hand in different spheres of creative activity, working on the creation of installations, graphic series, art-объектов and sculpture, his primary artistic practice is painting. The artistic nature Agroskin the finest painter, and above all he is engaged in formalistic explorations, using the construction of the compositions is complicated perspectives, fragmentation, light contrasts, complex views, etc.
Color painting Agroskin simple and concise. The paints themselves are quite monotonous, if not endless complex game of shades, from silver-серых to Buffy-коричневых. A sense of mystery world creates sharp contrasts of light and shadow, verticals and horizontals, geometric shapes and broken lines.
However, the choice of household plots, creating a series based on the same themes, motifs, objects, existential atmosphere in the paintings give his work a very modern conceptual sound.
Diana vouba Sotona (1958) works primarily in the space of abstract art, as evidenced by the fascination with form, color and line, geometrical textures. However, in her work there is the genre of portrait and landscape. Last years actively working as a sculptor.
Her minimalist landscapes — are real landscapes, and not abstract images. Using colors and lines, the artist conveys the state of nature, thus talking about their emotions and feelings. Pays special attention to the images of colors, which, she believes, contains the dynamics of perpetual motion and renewal. This dynamic and the rhythm it transmits through the creation of color shapes art formula. Diana Vouba likes to work in cycles, in each of which solves a specific task. For example, "the Way home" — is a series of almost abstract-минималистичных landscapes inspired by nostalgia for his native Abkhazia.
the Work Helena Gorina (1954) is not restricted to one kind of art: the artist experimenting in the field of painting, graphics, arts-прикладного art, creates art-объекты and owns many fine tools. A great influence on her artistic formation was provided by the works of the Russian avant-garde and old Russian icon, which it introduced father, a legend of the national restoration of Ivan Petrovich Gorin, founder and first Director of the Institute of restoration (now Gosniir). In her works, great attention is paid to color and light, which in interaction become the primary means of expression state of mind and emotional experiences. This attitude towards colour changes from conflict and expressive colors in the cool, harmonious solutions with a predominance of silver shades. The complex spatial environment of the works of E. Gorina is built on active contrasts, the finest of colour nuances, aquarelliste paint and expressive color spots, which give rise to the layering and sensuality of her subjects.
the Work Konstantin Viktorovich Zvezdochetova (1958) filled with satire and caricature: the artist uses the famous images of the Russian history, Soviet cinema, literature, and refers to stereotypes about Russian life, popular in the country characters. His art — is kitsch, a kind of parody on the Russian culture and traditions, but it is a parody, filled with wit, sparkling humor and hidden semantic associations. The comic and ironic nature of their works by K. Zvezdochetov emphasizes technique: linear, graphic language, violation of compositional principles, planar image, brightness and saturation letters. Ridiculing the individual features of Russian and Soviet life, the artist becomes the heir of neoprimitivistic seeking expression of people's aesthetic.
Decisive influence on the choice of future profession and the formation of artistic style Irina's Korsakov (1960) had her father, the artist Leonid Mikhailovich Korsakov. Until 1990 he worked in the field of easel graphics, after became interested in oil painting, the main theme of her work was and still isthe theme of childhood. Compositional principles of its work, posing models, rich color, detailed brushwork somewhat similar to a stylized Russian Rococo and Baroque. However, it created children's images are out of certain cultural contexts, it is primarily the characters that are not dependent on a particular time and epoch. Artist imbued with a sense of nagging insecurity of children who from an early age find themselves in the cruel world of adults. In recent years, I. Korsakov is engaged in painting of interiors and glass.
Vladimir Nikitovich Nasedkin (1954) believes that the artistic value of the paintings determines the rhythm, color system, plastic, and the plot only helps to perceive the purely artistic merits, to reduce them to unity. The universal language of lines and simple geometric forms goes back to the artist from the ancient traditions of Egypt and Babylon to the avant-garde art, El Lissitzky and Malevich. The idea of a plan, drawing, or code loses its specific binding kristallizuetsya and transformed into art. Integrating techniques and means of expression of Suprematism, constructivism and minimalism and being in the context of different cultures, traditions and languages, the artist creates their artistic-композиционную system.
the basis of the art method Anatoly Nikolayevich Publica (1956) is synthesized perceptions of the directions of the end XIX — the first half of the twentieth century, particularly the works of members of the group the Nabis, post-Impressionists, the fauves, German expressionists and Russian poster and theater. The artist creates his own "construction of reality" depicts the reality as a reflection of its internal state, which is reflected in deformation of the forms and expressive color. A. public works in the genre of still life, landscape and Nudes, however, often connects them, thereby complicating the meaning of their works and the degree of their emotional impact.
Maria Petrovna Siemienska (1974) seeks to portray the surrounding space — real form, status, experiences. But her surreal worlds, like dreams, which rely on individual interpretation of mythology, allegories, codes, and national traditions. Being a visionary, M. Semensky uses a rich artistic language, which creates an exaggerated surreal images and invites the viewer to take in alternative materialnet filled with phantasmagoria paint and plastic explosions. Using the technique of photo-realism and photo-montage, M. Semensky seizes the language of postmodernism, which creates a layered artistic images that require interpretation and knowledge of cultural codes.
Vladimir Semensky (1968) studied at the St.-Петербурской state art-промышленной Academy named after A. L. Stieglitz. A year after the receipt of the future artist left school at the Academy, faced with dry, as he had believed, academic curriculum, and started looking for his own creative life. In 2000, together with his wife M. Semensky became a member of the independent creative Association "the Village of artists Fiolent" for seven years, the community staged a joint exhibition projects, removed the author's fiction and documentary films. In his works, the artist as M. Semensky, trying to create their own world, but not phantasmagoria, but the real world observations and experiences. The language of his painting material and corresponds to the nature of real experience. Although sometimes his approach resonates with expressionistic, emotional manner, which the artist reaches with a sweeping, broad, and pasty smear, free from philosophical interpretations inherent in the expressionist, and due to real time and the context in which the author.
Natalya Petrovna Turnovo (1957) as an artist primarily interested in people. Many of her works were written in the portrait genre and is made in the typical abstract expressionist manner. In 2000-е the years the artist has created a cycle of portraits that seem not real people, but generalized images of States or experiences, inner movements and expressions of human emotions, which embodies Turnov with forced bright colors and deformed shape — techniques borrowed from her beloved Matisse and the expressionists. Moving away from detail, the artist gives the color with which she seemed to vyleplivaet shape of the depicted figures and objects full freedom.
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