Brener Aleksandp

1961 born in Alma-Ata
1978-80 Leningrad State Pedagogical Institute. Geptsena (Philological faculty)
. 1988 emigrated to Israel
. 1989-91 permanent sotpudnik weekly sign of time of "Tel-Aviv, Israel
. 1992 lives in Moscow
. since 1993 member of the "Netseziudik" (with A. Osmolovsky, O. Mavromatti, D. Pimenov, A. Revizorovym, A. Zubarzhukom)
. since 1994 member of the Group with no name "
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1993 "My vagina
. Guelman Gallery, Moscow
1993 "He likes - dislikes" (together with A. Osmolovsky). XL Gallery, Moscow
1994 "Conformists" (with B. Mamonov). Guelman Gallery, Central House of Artists, Moscow
1994 "The Last languor". Guelman Gallery, Moscow
1995 "Chimera, me!". Contemporary Art Center, Moscow
1995 "A cloud, circumnavigate the journey, should not approach the aircraft". TV Gallery, Moscow

GROUP EXHIBITIONS

1989 "Here". House painter, Iepusalim, Izpail
1990 "The heat acts as an anesthetic". Galepeya Deadend, Tel Aviv, Izpail
1993 "War ppodolzhaetsya". Contemporary Art Center, Moscow
1993 "Conversion". Guelman Gallery. Central House of Artists, Moscow
1993 "Labor and Capital". Central House of Artists, Moscow
1993 "You and I are of the same blood" (You and I - we're one blood). Hamburg Art Messe, Hamburg, Germany
1993 "777 Distance Communication". Aspex Gallery, Portsmouth, United Kingdom;
1993 Kunstnernes Hus, Aarhus, Denmark; Storm Gallery, Amsterdam, Netherlands;
1993 Galeria Nova, Bratislava, Slovakia; Reykjavik Art Museum, Reykjavik,
1993 Iceland; Gallery M. Gelman, Moscow
1993 "ART MIF 3". Manege, Moscow
1993 "Transition". Gallery M. Bratislava, Slovakia
1994 "Conversion". ISEA, Helsinki, Finland
1994 "Wandering through the darkness at midnight". Festival Videoart. Petrovsky Boulevard, Cinema Center, Moscow
1995 "No Man's Land". Contemporary Art Center "Nikolaj". Copenhagen, Denmark
1995 "Bodily Space". National Center for Contemporary Art, Gallery M. Gelman. Central House of Artists, Moscow
1995 "Kraftmesse". Kunsthalle, Munich, Germany
1995 "Jenseits der Mauer". Kleine Humboldt-Galerie der Humboldt-Universitat. Berlin, Germany

SHARES AND PERFORMANCES (main)

1991 street actions and performances (in collaboration with R. Baembaevym). Tel-Aviv, Israel
1993 "Art and Life" (together with O. Mavromatti). "ART MIF 3", Manege, Moscow
1994 "tower" (with, A. Litvin, A. Revizorovym, in the exhibition-action "pool" Moscow "). Pool "Moscow", Moscow
1994 "100 years of MAO (Yellow Devil in GUM)" (in the "Group Untitled"). GUM, Moscow
1994 "Hunger rules the world" (together with O. Mavromatti and D. Pimenov). Gallery M. Gelman, Moscow
1994 "Languages" ( "With no name). McDonalds, Moscow
1994 "The last taboo, guarded by a lone Cerberus" (with O. Kulik). Guelman Gallery, Moscow
1994 "Plagiarism" (with B. Mamonov and A. Litvin). Pushkin Museum of. Pushkin, Moscow
1994 "Rendezvous". Pushkin Square, Moscow
1994 "The Snows of Kilimanjaro". Ulitsa Arbat, Moscow
1994 "The Man in the soap". Contemporary Art Center, Moscow
1994 "Self-portrait with his father". Regina Gallery, Moscow
1994 "The Last languor". Guelman Gallery, Moscow
1995 Untitled. Action in Yelokhovsky Cathedral, Moscow
"Poetry and Prose" (with I. Yarkevichem). Contemporary Art Center, Moscow
1995 "The first glove". Red Square, Moscow
1995 "Why not finish David. Lubyanka Square, Moscow
1995 "Architecture" (in conjunction with the Studio really good works "). The building of the Ministry of Defense, Moscow
1995 "gift!. Artist House, Arbat Street (on the evening DA Prigov)
1995 "Quiet!" My mother wants to sleep! ". Speech at the party Evtushenko. Polytechnical Museum, Moscow
1995 "They think that we will kill each other" (with J. Mogutinym). Contemporary Art Center, Moscow
1995 "anti-heroes" (with L. Lunin). Central House of Artists, Moscow
1995 "throwing raw eggs nonentities" (within the "Party" turnkey "). Gallery M. Gelman, Polytechnical Museum, Moscow
1995 Action seminar M. Ryklina memory M. Mamardashvili (A. Brenner, A. Ilevsky, A. Litvin). Contemporary Art Center, Moscow
1995 "Russia in the Shadows" (A. Brener, D. Gutov, A. Ilevsky, A. Litvin, B. Mamonov). Artist's House at Kuznetsky Most, Moscow
1995 "Hello. I'm your new commercial director. Lubyanka Square, Moscow
. 1996 No nazvaniya.Aktsiya at the exhibition "Interpol", Stockholm, Sweden
. 1997 No nazvaniya.Aktsiya at the museum "Stedeliyk, Amsterdam, Netherlands
.

. Criticism
.
. The climax of rapid career Brener has three criminal cases pending against him in Israel, Russia and Holland, and the glory of the most annoying and noticeable figure among the Russian artists of the last decade
. In 1994-95, in Moscow, no one is talking as much about Brener. Some thought that, . he does, . totally unacceptable, . Other, . opposite, . most interesting, . others simply did not know, . as it is necessary to respond, . but in any case until the yet Brener not left Moscow, . he managed to keep the voltage of the entire artistic community,
. His ambition appeared at once - they are shocked. One of the first of its shares Brener arranged at the Museum of Fine Arts. Pushkin, where the Hall on his knees in front of Van Gogh's canvas screaming 'Vincent! Vincent! " imitated the act of soiling. This is a public confession of his weakness, his insignificance before the Great very little, however, resembled a simple humility
. Brener passionately sought recognition, . rightly considering, . that deserves more, . than to be one of a dozen Russian artists, . wandering on small galleries, . and once he made the author an exhibition at the Moscow Center for Contemporary Art, . which is claimed to scale at least European celebrities (and that much more embarrassingly - this scale Withstand),
. Of course, it ought to see the thoughtful artistic gesture, perhaps, not without irony - it is more or less present in excessive ambitions Brener. Arranging rally in Pushkin Square, . where Brenner is trying to directly in front of the crowd to perform sexual intercourse with his wife, . he is not satisfied with the mere role of the Artist, . crossed all boundaries of what is permitted - it is a more subtle game, . exposing themselves more and pathetic failure, . whose irrepressible desire to publicly assert itself ends disgraceful debacle ( "I can not!" - the key phrase of this action).,
. To what extent Brener destroy conventionality inherent artistic activity - a question that can not be answered, it can only be infinitely set
. It is clear that the actions Brener have only the appearance of improvisation, in fact, invented as a result of pre-script. But in order to perform these actions, it takes at least overcome the natural sense of shame and cowardice of the ordinary human (and this paragraph in any scenario is not recorded).
Brenner is looking for such sensations, which are not given the gift (and even more so credible), they are useless to declare, they can only experience, or, rather, endure. Is it any wonder that the reaction that occurs sometimes in the audience - the painful feeling of awkwardness or sudden fright - naturalnaN
Brenner believes that true art requires exhausting effort. At one show he was within a few hours knock tap dance, sweat, and explicitly illustrate this simple truth. After this, it becomes clear that frenzied maximalism, with whom he comes to everything going on in the artistic life. He is a fierce opponent conforme middle and always prefers the extremes, calling them much further than is. This is true not only of its shares, . but everything else: his tongue, . example, . in which high syllable (discouraging her passionate intonation) with obscene language represented a contrast, . but not the conflict, his ability to combine the sublime and the frankly obscene, and the main, . As it played out its drama and grandeur of nothingness artist Alexander Brener,
. Like many, Brenner believes that the arts - there is an area of freedom, and this is perhaps the only difference from his life (this may only add to the everyday life of excess concentration of emotion, stress and risk). But what svobodaN For Brener it means avoiding the possibility of dropping the pretense of decency and all called by their names. This requires a pretty daring, special talent and complete disregard for normal human ethics. And then walked to the end, Brener gradually burned for themselves all the bridges in the area of business and human relations, and has ensured that the official art circles became persona non grata. On the other hand, . this principle was another - a significant - effect: in his works Brener return things their only, . literal, . at that time was really great credit (after the conceptual manipulation of things, not only ceased to mean themselves, . but, . seems, . completely lost the ability to mean anything),
. As if in mockery of all sorts of conceptual interpretations, wandering between signifier and signified, he presented himself, a naked Alexander Brener, as the last authenticity in art. In January 1997, at the museum in Amsterdam Stedeliyk Brener paid a dollar sign with green paint on the picture of balonchika Malevich's White Square on a gray background (the insured value of $ 10 million). While such an action is in the style Brener, for the first time he's all shocked. The newspaper Kommersant - daily "is an explanation which he gives Brener this action, saying that the way he witnessed the defeat and the end, crowned artists attempt to change the world. This comment should be only what is in the works Brener much more precise and frank than in interviews (though perhaps this version was intended for judicial assessors). To explain this action - all the same, that chew the obvious. In the western mind Malevich one embodies all Russian art of the twentieth century. This avant-garde Rafael overshadowed his gigantic shadow all the others, dead and living. Meanwhile, change the number of zeros in the prices of his work - the only event that could shake the minds of today in connection with the name of Malevich. Brener war with the specter of encroaching upon the place of living
. This action Brenner puts an end to that part of his biography, which began 4 years ago in Moscow.

N. Tamruchi

Bibliography

Own compositions:
Over feet. Moscow, 1993
Breast. Album Press, Moscow, 1993
My vagina. Guelman Gallery, Moscow, 1993
The art of people, Moscow, 1993
Chlamydia, Moscow - Jerusalem, 1994
Alexander Brener tired. Nauka, Moscow, 1995

Publications in conjunction with R. Baembaevym:

BONANZA. Nenaebnaya Ptitsa Press, Tel-Aviv, 1991
Secret Life Butoh. Nenaebnaya Ptitsa Press, Tel-Aviv, 1992
Japanese god! Nenaebnaya Ptitsa Press, Tel-Aviv, 1992
Manifesto. Nenaebnaya Ptitsa Press, Tel-Aviv, 1992
SupepVasya. Nenaebnaya Ptitsa Press, Moscow, 1993
Cemetery nudists. Nenaebnaya Ptitsa Press, Moscow, 1993
D. Pimenov, A. Bpenep. Crazy pazvedchik. Nenaebnaya Ptitsa Press, Moscow, 1993