Andrievich Nikolay

1944 born in Moscow
. 1963-65 studied at the Moscow Polygraphic Institute
. 1967 began work in advertising and Workshop Industrial and Applied Graphics (Promgrafika)
. 1983-85 first abstract and serial graphic work since the late 80-ies has introduced color into their work
. Collections where works
.
. The State Tretyakov Gallery, Moscow
. Museum of Fine Arts
. Pushkin, Moscow
Ekaterenburgsky Museum of Fine Arts I. Krasil'shchik, Moscow
SG Kazovsky, Israel
Participation in exhibitions and auctions

SOLO EXHIBITIONS

1983 Personal one-day exhibition in Promgrafike ". Street. Nemirovich-Danchenko, Moscow
1992 "Graphic Series". Gallery "Moscow Palette". Central House of Artists, Moscow
1993 Moscow Collection Gallery ". Karetnyi number, 3, Hermitage Garden, Moscow
1995 "... boxes, archeology, dumps ...". Gallery "Moscow Palette", Cook Street., Q. 35/28, Moscow
1995 "... boxes, archeology, dumps ...". Gallery "Moscow Palette", Moscow
1996 "Mixed media" (with A. Krasulin). Gallery Manege, Moscow
1997 "Tobacco". Moscow
1997 "Artist of the Open Society. Open Society Institute (Soros Foundation), Moscow
1997 "The surveillance system. Moscow

GROUP EXHIBITIONS

1975 "Preliminary apartment views to the All-Union exhibition". Moscow
1976 "Exhibition of Works by Moscow Artists". VDNH, Pavilion House of Culture ", Moscow
1977 Exhibition of Painting. Low, 28, Moscow
1987 "The visual arts culture". l the "Hermitage". Profsoyuznaya st., Q. 100, Moscow
1987 "Retrospective of Moscow Artists. 1957-1987 ". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
1975-1987 "Dwelling". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
1988 "Drawings of Moscow artists: Urbi et Orbi". Central House of Artists, Moscow
1992 "Still life end XX ...". Exhibition autolithography. Gallery "Moscow Palette". Moscow Architectural Institute, Moscow
1993 "ART MIF 3" ( "Moscow Palette"). Manege, Moscow
1993 "ART MIF 3" (auction). Manege, Moscow
1993 "Learn to knit" (exhibition of lithographs by author). Gallery "Moscow Palette". Berlin, Germany
1993 "Learn to knit" (exhibition of lithographs by author). Gallery "Moscow Palette". Ost-West Club Initiative, Osnabruck, Germany
1993 "Still life end XX ...". Exhibition autolithography. Gallery "Moscow Palette". Berlin, Germany
1994 "Images of Russia". Association "Moscow Palette". Albertina Museum, Vienna; Gallery "Moscow Palette", Moscow
1995 "Entgegen der Schwerkraft". Galerie "Raissa", Erfurt, Germany
1995 "Entgegen der Schwerkraft". Galerie "Raissa", Erfurt, Germany
1996 "Kaliningrad - Koenigsberg. Third International Biennial of Easel Graphic. Kaliningrad Art Gallery, Kaliningrad
1997 "Reverse perspective - Russian minimalism" to the Days of the New Russian Art in Rzhev
1997 "Gallery of Olga Khlebnikova". Central House of Artists, Moscow
1997 "Assorted". Central House of Artists, Moscow


Autobiographical notes

Circle of my interests are the subject and the space (subject iprostranstva its components, object and space in which onsuschestvuet; habitat subject, their design and structure). Although it should be stipulated, that the subject for me a very broad concept. And the sign and the spot, and the thing - for me the same things. Seriality, repetition - it is the desire to more fully express my admiration for the subject. His task I'm trying to solve the traditional plastic means.


Criticism

Image of Nicholas Andrievich already on the external impression, not fear of being wrong, can be called "avant garde" in the widespread sense of the word. However, from a barrage of stream of modern art antitraditsionalistkogo, . in which they are involuntarily forced to swim today, . distinguishes them is, . they are the avant-garde and to the point: using the graphics capability, . Andrievich implements it consistently striving to analyze the nature of artistic activity, . probing and overcome its known boundaries,
. In his desk he works without much noise and special declarations are not just found a new combination PRIE and forms, as a way to problematize his image.
. Accessing frank, . "untrained" gesture leads to, . in the manner of many sheets Andrievich (despite clearly embodied in it the beginning of analysis and self-consciousness) at the beginning is often irritates some childish carelessness, . nedodelannost, . external rudeness, . for which only later discovered and subtlety of observation, . and unerring accuracy rhythmic dekystvy,
. Reminiscence "training" (or maybe amateur) productions in his early series, of course, not accidental. He seemed to be re-built the very notion of drawing, . rejecting certain ideas about professional maestro pen and brush, and thinking of the original, . elementary nature of the drawing - technique, . in which relations with the base material are the most frank, . and sometimes demonstrative dialogue.,
. "Vslushivanie" in this dialogue does not force the artist to slow down the movement of hands, but it leads to an increase in the scale of the elements themselves, those "box", of which there is an image that profoundly alters the very structure of the picture ..
. Consolidation of the elementary buildings - a solution that does not think of a romantic image as a magic mirror, which reflects the world, "Skipped through the prism of temperament" of the artist. It, . more, . reproduces the effect of magnifying glass, . familiar, . example, . so, . who studied the ancient engravings: the characters of sacred history characterized carefully and with love for details, . but, . closer to his image magnifier, . we see only a well-designed grid Stroke,
. Images Andrievich like "include" a magnifying glass in its internal structure: we simultaneously perceive and object (if something really depicted), and the abstract logic of generating the graphical structure. The increase does not allow "smear" the construction of some conditional maestricheskim reception and only leads to an acceleration of the shapes - this is some haste in carrying out deliberate, . entails some irregularity, . roughness, . energetic and lively, . is replaced by a maestro,
. Subject, as it were only "remember" within their own existing design lines - the plastic relation between them is just like the signs that existent in the language, represents its delicate figurative equivalents. The artist is worth nothing in what - a fragment of a series of "weaken" the memory of an object (say, . some sheets "Marshes" individual graphemes stop that - that portray themselves, and "residual" value continues to maintain the rhythm of an abstract pattern), . in another series to make it at all, only associative,
. So, . object becomes a "theme", . transferred free composition of conditional and specific signs, . and the theme of such songs is increasingly becoming not just any number of objects (eg, . "Learn to crochet), . and some form of notation, . way of fine or conditional graphical coding,
.

Kantor. From the introduction to the catalog of the exhibition "Graphic Series". Gallery "Moscow Palette", Moscow, 1992