Today at the State Museum of Fine Arts named after AS Pushkin presents "Around the terrain, which will showcase the ancient Egyptian monuments and abstract landscape of the twentieth century

Today, 28 May, in the main building of the State Museum of Fine Arts named after AS Pushkin presents "Around the terrain", which will be presented to the ancient Egyptian monuments and abstract landscape of the twentieth century from the collection of the Pushkin Museum Pushkin and private collections.

idea to put in one space stone altars era of Ancient Egypt and abstract reliefs contemporary artists originally appeared as a paradox - so comparable circumstances in which these works were created. If the Egyptian artist was under the strict rules that are dictated by tradition, canon, finally, the function of this ritual object, then the modern artist is absolutely free to search, in choosing the right creative strategy. The irony of this idea led to an exhibition experiment. The goal - not carry out of the bracket no knowledge of the historical context, nor on the present artistic situation, to focus on "direct vision" works.

of the chronological number was chosen extreme links - the oldest type Egyptian relief and experiments of our contemporaries. The point of this comparison - in an effort to answer the question: Are there some general formal laws architectonics surface, organized by the voids and volumes, and if so, as identified: a degree of conditionality in the original image or logic design.

sacrificial table - the subject of the ritual, which is strictly defined role in an ancient funeral rite. This course is not intended for contemplation. It was functional: it was supposed to place products on its surface - to pour milk or water. Bread, both located on it and figured, was the food for the invisible essence of the deceased, which was perceived as the ancient Egyptians, embodied in his own image. Thus, the image of bread on the altar "becomes bread.

hallowed historical aura, three Egyptian altar placed in the center of the exhibition intentionally moved into a completely different context. Assuming that the ancient Egyptian altar may exist among the plastic experiments of recent decades, we test your perception. What to us these ancient stones? And it can withstand this neighborhood works carried over from the workshops of artists?

Each of the ten artists represented, finding its own individual form relationships with the world, searching for some timeless patterns of the plastic. All felt the influence of objects created by masters long periods - or Sumerian archaic, or Chukchi everyday objects, or Russian icons ... The relief, according to Andrew Krasulina , is recognized today as "remarkably reliable and capacious device for storing information about all round human knowledge and understanding. The shape of the relief as if loaded, compounded by millennia of tradition. And turning to it requires the release of the superficial, momentary, requires "immersion" into the deep layers of perception of reality.

Maria Elkonin carefully uses the term "relief", preferring to call his paintings. She began to complicate the surfaces of their paintings in the mid 1950's and continues today to work consistently in this direction. Contact material - wood - to realize the artist as a kind of spiritual kinship.

In wooden reliefs Oleg Kudryashov , transforming the entire universe into the language of abstract graphics. Since the mid 1970's Oleg Kudryashov complicates the surface of its grand size prints, transforming them into three-dimensional structures.

to Mikhail Roginsky treatment for the relief for 1988 was brief, but important step before the creation of his later paintings cycles. A relief Boris Turetsky , created around the same time - in 1988-1989, represent a final, spatial version of his pointless graphics.

In 1988, Valery Orlov began his experiments with paper hand and continues to ebb in decades, creating your own concise version of abstract language. The contrast of the paper sheets are reliefs Orlov Viktor Lukin, created in 1993 out of metal, with a mean use of color. These work perfectly illustrate the global strategy of the artist - a way out of the picture plane in three dimension, in physical space. For Lukin abstract relief - an independent art form, and he systematically examines its expressive possibilities.

Valentine Apukhtin its surface reliefs recognizes as "membrane" - between internal and external, heaviness and lightness, space and the plane. However, her latest work - a result of alienation from their creative work: the relief material was not paper, but their own watercolor painter, rolled and wrapped in foil.

may itself appeal to an abstract form of relief is a result of individual propensity to abandon excess, self-restraint, asceticism in the expression and the very existence. This ethical principle plays the role of a single existential matrix that defines a way of life and creativity of the artist. Andrew and Kirill Alexandrov Krasulin in the full sense of the word implement a program of "ecological existence" in the world. Both are masterly use a variety of material - wood, metal, clay, but the original impetus comes not from the mother, but from some internal pantheistic sense. And the purpose of searching is not the abstract forming shapes, but the finding of a single plastic formula, resulting in knowledge of the living and the dead to the common denominator.

exhibition runs until July 18, 2010.

Source: museum.ru /gmii