"Twenty-first century. Contemporary Russian art" — XI
ARTinvestment.RU   14 апреля 2020

Introducing the work of ten contemporary authors: Diana Vouba, Marina Tenevoi, Anna Lavrova, Sergei Maksiutina, Vladimir Nasedkin, Valeria Sahatova, Alexander sigutina, Natalia Tolstoy, Maria Chuikova, Marina Salita

In the work of artists that we are presenting today, abstract art has its place. Sometimes it is a pure abstraction, sometimes in combination with figurative elements or hint at them. Abstract art, or abstract art, originated in the early twentieth century. Modern masters as well as their predecessors a century ago, embodying on canvas their ideas, imbuing their own meaning, refuse (fully or partially) from real images, and thus allow the viewer to interpret the meaning of each piece by-своему. They strive for harmony of colour combinations, geometric forms, so the viewer has an own images and associations.

Diana Vouba

"the Art of Diana Vouba — inspired improvisation. But the real improvisation, in my opinion, is only possible on the internal theme to which the artist lives. This improvisation turns into a clamorous rhetoric. This is one such case, and so the picture of Diana Vouba breathe authenticity and get pleasure" (Fazil Iskander).

"Some people are able to see sound and hear color. In science, this perception of music as naturally and spontaneously manifested color spots, stripes, waves, called musical-цветовой synesthesia. Synesthesia (synaesthesia) — is a special way of cognition, which is manifested when there is an unusually close connection of thought and system of the senses" (Diana Vouba, vouba.com ).

"I am not a teacher of life, not a philosopher and mystic. I — finder new beauty. My task — to see the invisible and make it visible to others.

the Purpose of my work — is not a-то static result, and the sense of movement alone, attempt to achieve the merger of two rhythms: the moments of contemplation of the rhythm of the picture with the instant disclosure of the rhythm in real life" (Diana Vouba).

Diana vouba Sotona likes to work in cycles. They manifested a fuller artistic statement, the author seems to see a theme or motif from different angles, and each work cycle complements the previous and the next, each cycle — is a kind of spatial polyptych, which is embodied wholeness of the author's vision.

the Range of interests of Diana Vouba huge — nature, people, real objects, concepts, symbols, numbers, sounds. It is difficult to fit the work of this artist in the genre framework. The boundaries of the areas in which it operates, Diana Vouba, blurred. She is known worldwide for its living, speaking portraits, fragile, sensual abstraction, graphic improvisations on the theme of space and universe images. Positioning itself Diana Vouba as an artist-абстракционист. Her schedule has some hyperbolic mirror in contact with a book of her work to the reader opportunities deep dives inward, almost cosmic introspection.

"Diana Vouba expresses her emotional and intuitive experiences associated with the concept of time, of knowledge of ourselves and the world throughcolor, shape, line and space, freely manipulating with textures. In a continuous creative process, balancing on the edge of ideas and matter, the artist creates a line, on one side of which is subjective, and on the other @external mdas. Diana is imbued with dignity and greatness of even the smallest things in the world" (Natalia Kolodzei, curator, art historian, Director of the Kolodzei Art Foundation, USA).

Marina Sencheva

a Key influence on the work of Marina Georgievna Tenevoy has had its membership in the Studio "New reality" under the direction of Elia Belutin, teachers which in turn was Aristarkh Lentulov and Pavel Kuznetsov. Thus artistic pedigree tenevoi the Association can be traced back to the pioneers of Russian avant-garde, the echoes of which can be found in the works of the artist.

In his works Sencheva looking for ways to get in plastic form emotional and mental impulses of specific people, erected to the level of universal phenomena. This desire can be directly linked with the ideas of Russian avant-garde about the spiritual foundations of life and the existential destiny of art in need of urgent forms of expression (artinvestment.ru).

Anna Lavrova

Anna M. Lavrov was also a member of the Studio "New reality" under the direction of Elia Belutin. She was a member of almost all the exhibitions of the Studio until the end of the existence of the "New reality", including the famous steamboat trip on the Volga in the early 1960-х years. Painting classes Lavrov, combined with the work in the applied arts, designing clothes for the Soviet textile industry and participating in international exhibitions (including in Moscow, London, new-Йорке and Warsaw). Even working with large-scale forms, Lavrov created a balanced and technically sound composition, filled with drama of human emotions.

Following the "theory of common ability to contact" Belutin, the participants of the "New reality" has developed its own system for expression in the art of deep human emotions. "Write what you see and what it makes me feel. Create a likeness of the subject, but the complexity of the experiences which you at the moment work is part of", — Belyutina these words more accurately describe the creative credo of Anna Lavrova. (artinvestment.ru).

"Filled with drama, human emotions, transmitted through a very personal and acute perception, expressed by contemporary avant-garde art, art Anna Laurel appeals to the thoughts and emotions of modern humans. Her "Tree of life", although exhausted by the cruel winds of fate, is a lively and warm area in the infinite world in which we live is fleeting, and then merges with the eternal being" (Agnieszka Dobroczynski, art historian).

Sergei Maksyutin

If the early works SergeyV. Maksiutina is filled with complex visual metaphors, allegories and symbols, then the phase of Mature creativity becomes the basic genre of the landscape, existing outside of narrative and specifics. His fragmentary sketches — is abstract images, the images of the elements, eternal nature and life. In the artist's works appear to be missing the pattern and the scheme of construction — paintings like immediately as possible.

Maksyutin avoids promising reductions and separation plans — he is interested in the fragment he like pictures of the eye and transfers to the canvas. His attention is primarily focused on the weird and wonderful substances and phenomena as interaction of water and sky, when the water includes the heavens and the earth not just as a reflection, but as an image of unity.

In simple combinations of pale colors the artist conveys a living breathing, movement and at the same time the constancy.

the Artist believes that his work should not be the exact coordinates, they are not unambiguous. Even a single work, seem to change its essence, if you look at it a few times with small breaks. Color and sensual nature is expressed sufficiently even in a small area of the canvas which often can be regarded as full of emotion abstraction... the Color of the works is built on a combination of pure, natural shades that reflect the sensual, organic nature of his works (artinvestment.ru).

Vladimir Nasedkin

Vladimir Nikitovich Nasedkin 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 (artinvestment.ru).

"In 2000, my wife, the painter Tania the Badanin, organized an international Symposium in Nepal and Tibet and reached the capital of Tibet, Lhasa, which was not able to walk nor Roerich, nor Blavatsky. And here, in the Potala Palace where was the residence of the Dalai-ламы, I saw ancient paintings of the monks, surprisingly reminiscent of the paintings of Russian constructivists of the 1920s-х years and the American abstractionists of the 1950s-х. Based on photographs of fragments of these paintings, I have created this cycle as the quintessence ofwonderful and challenging trip where we have crossed five mountain passes, four of which were more than 5 000 meters high" (Vladimir Nasedkin).

Valery Sakhatov

Valery Taganovich of Shatov — artist-интуитивист. In the early 1980-х he had a drift from the figurative to non-figurative art, disappeared reference to a recognizable reality and paramount importance of compositional structure, color and texture.

the artist's Works are characterized by brevity, the main thing in them — is the painful experience of color surfaces as a pictorial space. The pictorial plane is processed by a special technique with wax, masonry paint with a palette knife, touch of paint, and applying texture blade.

Valery Sakhatov — is one of the few modern artists abstract lines, which absorbed achievements of world art — French impressionism, Fauvism, Russian constructivism, ancient Russian icon painting and the Turkmen carpet creates individually-авторские "intellectual" work (shr-khv.ru).

Alexander Sigutin

Alexander Sigutin in the works 1990-х — 2000-х years manifests itself as a consistent follower of postmodernism. This is reflected in the game and the "simulation" nature of the works of the quoting, borrowing, the use of different artistic languages of the twentieth century. Work 1990-х differ deliberate didacticism — for example, the series "Comparative still life" (1991), "Comparative landscapes" (1992), "Comparative abstraction"(1993), "Samples of children's work" (1993-1995), "Educational games" (1995), "Irregular curves". The art of modernism is interpreted Alexander by Sigutinym primarily as an intellectual game adult. The series called "Educational games" is built on the intersection of two visual lines: graphic scheme of a child's puzzle and colors of the Dutch group of artists of the early twentieth century "De Steyl" (artinvestment.ru).

In the works of the early 2000-х the author makes an attempt to see the classics of modernism through the prism of contemporary culture. This is reflected even in the names of series in those years: "the apology of the Russian avant-garde" (2000), "favorite places of the Russian avant-garde" (2000), "Supremacy" (2001).

In 2000-х trying to reflect this new post-Soviet Russia, the phenomenon of religious discourse. Making it as detached, in a postmodern key, as in the works 1990-х. This series "Life of remarkable people" (1998-2003), "Supremacy with life" (2004-2006), "Byzantine Suprematism" (2013), "Graphics" (2007-2018).

"a Series of "Byzantine Suprematism" includes about twenty works. The reason for the creation of the serieswas visual similarity of the work of Kazimir Malevich "the Cross" with images of crosses on the garments of the saints (e.g., St. Basil the Great or Gregory the theologian) in Byzantine and Russian icons of the sixteenth century" (Alexander Sigutin).

This series, the artist was presented in the main project 5-й Moscow Biennale of contemporary art "More light!" in 2013 in the Arena.

Natalia Tolstaya

the Legacy of the avant-garde read in the works of Moscow artist Natalia Olegovna Thick. Like the avant-garde, the artist began with figurative art, but as creative development Natalia Tolstaya departs from realism and delves into the study of possibilities of shapes and colors. Following in the footsteps of the Cubists and Dadaists, the artist adheres to this principle, complementing the canvases of various elements: fragments of tissues and photographs, metal plates, threads and wire. They enliven the planar image and become the "speaking" parts — kind of signs and illusory tricks. They allow the artist to vary the plastic space, add volume and tangibility of his compositions.

Natalia Tolstaya reveals the complex visual images that Express artistic aesthetics of the XXI century. The severity of the lines and shapes of her canvases is adjacent to the active monochrome color combinations and minimalist visual plasticity, thanks to which works are becoming monumental, majestic nature. With the intention of geometrization, multi-faceted images and mysterious symbols, like the artist plays with the subconscious of the viewer, pushing him to the reflections and philosophical reasonings (artinvestment.ru).

the Artist looks at the world with open space with paintings filled with bright colors. "Now I'm interested in painting the combination of uniform colors: white on white, red on red or contrast — white and black, red and green." The pull of the sonorous cinnabar color comes from the Novgorod icon with its special luminous color system. <...> Thick Natalia hopes that her work "will be able to release the viewer from negative emotions and to bring into his life a little optimism" (artpanorama.su).

Maria Chuikova

Your "culinary" project by the artist Maria M. Chuikova beginning in 1992 in Zurich, prepared in the exhibition space of one of the Swiss galleries lunch composed of dishes of traditional cuisine just collapse of the USSR.

"I practically do not speak-английски, but many have asked me for recipes, so I drew them. Then when I came to a well-known gallery owner there, I saw that here is my sloppy sketch, which was needed only in order to explain how many carrots should be put in a soup, hanging next to Andy Warhol. Curator of the project “Switzerland Medicine” Claudia Jolles said it was a great find. When collapsed "Medgermenevtika", I continued to make such "culinary" work"(Maria Chuykova, artuzel.com).

Since "reading housewife" Maria Chuykova not hide from the viewer the secrets of her kitchen, alternating between pencil and paint, which she "wrote" recipes of dishes and captures the flight of heroes "heavenly cuisine", with natural products — carrots and potatoes, onions and the-нибудь exotic, like sweet potato. The act of perception of the work becomes a natural process of absorption of spiritual food turns into material.

in Addition to creating edible works and the accompanying treats of the audience, the artist Chuikov busy "doing", expanding the concept of liberated debris from a specific physical space to mental space, epistemological, social (ncca.ru).

In each individual project Maria Chuykova reveals certain humanitarian aspects of his artistic activities: social, philosophical, political. She often turns to the theme of "prestigious and not prestigious professions — or human activities" in the comparison of labour cleaners, cooks, homemakers with the work of artist, musician, sculptor and poet in collaborative performances.

Maria Shalito

"the Task of creating a space remains in each of my main work. When-то my teacher was voluntary, the shutter in the Studio, where I worked in solitude for years, reverently leafing through the albums of the artists of the Renaissance, collected by my father — architect. Need to hear myself was my primary objective in the beginning of my career, as important it remains today. <Потребность> to feel, hear, while working as if all at once, all of it, makes me again and again to seek the means of expression. The work would remain unfinished, and that's good, because I'm not doing the painting, just painting, not dying" (Maria Shalito).

Maria Andreevna Salito as a successor to the metaphysical movement in painting captivate magical symbols and mysterious meanings, hidden metaphors and allegories. In the work the artist rejects traditional interpretations of reality. Her works are full of mystery sounds, magic alienated the world and some frozen, desolate space, and asceticism. Maria's world Saleto similar dream in which occur one after the other, her images mesmerizing beauty still and stiffening in the air. Despite the real, everyday things, the artist goes beyond the conventional logic and immersed in a world of unreality, filled with symbolic meanings and allusions, inhabited by things and single people that freeze on her canvases, like statues. Watercolor, hazy brushwork and predominantly cool, silvery colors convey a mood of calm and detachment peculiar to the world of her work.

of theseartists can be purchased at the XI auction "twenty-first century. Contemporary Russian art".