BOILER Nina Davidovna

1949 Born in Kiev
. 1973 graduated from the Kiev Gosudapstvenny Art Institute (Department of graphics)
. 1980 pepeezd in Moscow
. 1987 member of the USSR Union of Artists
.
. Collections where works
.
. "Moscow Palette", Moscow
. Center for Contemporary Art, Moscow
. Collection of the Grand Duchess of Luxembourg, Luxembourg
.
. Participation in exhibitions and auctions
.

. SOLO EXHIBITIONS
. 1991 Gallery "Studio 20", Moscow
. 1993 "In the reversed-order"
. Velta Gallery, Moscow
"Security". Gallery "Studio 20", Moscow
1994 "Travel". Gallery "Studio 20", Moscow
"Russian delicacy". Gallery "Studio 20", Moscow
1995 "Snippets of the sky". Gallery "Studio 20", Moscow
"Toxic emissions adorn the landscape". Gallery "Studio 20", Moscow
"Toxic emissions adorn the landscape" (together with K. Gadaeva). TV Gallery, Moscow

GROUP EXHIBITIONS

1987 Exhibition of Moscow Artists. CX USSR, Moscow
1988 Troitskaya, Moscow Region.
1989 The plots. Center of Art kultupy. Central House of Artists, Moscow
"Form and CL". Sumi, Ukpaina
1990 "Soviet Art Avantgarde. 1920-1980 years ". Gallery Moscow palitpa ". Minsk
1990-91 "The Pyramid Show". Gallery Moscow palitpa ". Sydney, Adelaide, Australia
1991 "Dopogi tvopchestva". Center of Malevich. Konotop Museum, Konotop, Ukpaina
Modern artists - Malevich. State Tretyakov Gallery, Moscow
"ART MIF 2". ( "Names"). Manege, Moscow
1992 "In the center of the world". Tomsk Regional Art Museum, Tomsk
'KKKK'. Central House of Artists, Moscow
"Do you know these imenaN". Raissa Galerie, Epfupt; Fpankfupt-on-Main, Germany
"Hatyupmopt end of XX century". Gallery Moscow palitpa ". MARCHI Moscow
1993 "Monumental Propaganda". ICA, Financial World Center, New York, USA
"National traditions and postmodernism". State Tretyakov Gallery, Moscow
"Indorossiya" (together with B. Salnikov). Laboratory SRC, Moscow
1994 "Die Sonderkinderstube, Poisonous money Yasenovitsa" (with V. Salnikov). Workshop of Visual Anthropology. Contemporary Art Center, Moscow
"Pool" Moscow "(exhibition-action). Pool "Moscow", Moscow
"Images of Russia". Gallery "Moscow Palette", Moscow
"Das ewig Weibliche". Raissa Galerie, Erfurt, Germany 1995 "Apple Day". Dar Gallery, Moscow
Festival of Arts "COOK-ART. TV Gallery. Tsarskoe Selo
1996 "Gallery in the Gallery". State Tretyakov Gallery, Moscow
"Artoteka, NCCA. Central House of Artists, Moscow
"New Berlin Art Association", German Cultural Center Goethe. Central House of Artists, Moscow
"Kaliningrad - Koenigsberg, 4-th International Biennial of Easel Graphic. Kaliningrad
1997 "Credo" (curator L. Kashuk). Russia's Culture Fund, Moscow
"Metamorphoses" quiet life "and inanimate nature. Subject environment. Late twentieth century "(curator L. Kashuk). Russia's Culture Fund, Moscow
"Spaces, rescued us, are subject to the will and feeling" (curator N. Zaretsky). TV Gallery, Moscow
"Kolapssfera", TV Gallery. Contemporary Art Center, Moscow
"Reconstruction of the latest draft of the artist Andrew Blagova" (action, by M. Perchihina, curator N. Palazhchenko). Gallery "Spider & Mouse", Moscow
"The second paragraph". Cultural Center "Phoenix", Moscow
International Art Fair "Art Manege", TV Gallery, Contemporary Art Center. Manege, Moscow (catalog)
"Poteshnaya Battle" (curator Vinogradov), gallery "Navicula Artis". Nicholas Palace (Palace of Labor), St. Petersburg
1998 "From the sketches of the first Russian settlers on the Moon". Gallery of the Union ", Moscow
Autobiographical notes

I was a happy child. Beautiful Soviet childhood. She studied at the elite art school in Kiev. Republican; population in Ukraine as in France, and was three times more. Fifteen people in the class, compared with three scores in the usual. Early professional identity: I - the artist. Biographies of the great - role models for me and my classmates. Especially, Van Gogh. His "Letters". "Lust for Life" Irwin Stone. The main regulators of behavior - the high ideals. So, I think I - forever ascetic: and to this day my whole life - in them. I love to portray strangers or anyone still nerisovannye and, therefore, strange things. I think I am afraid of them, drawing the same - taming. I like to watch how surprised my audience when I show them what, by what they always pass without noticing. Now draw varying objects: clouds, smoke, waterfalls. Behind them you can watch hours. Another fire and water. So, watching TV, often without a definite purpose, and not because something interesting show. They can shoot at a stationary video camera on a tripod in the style of Warhol. Then, not quite distinctly visible to traffic, the metamorphosis of form (flame, smoke, spray, waves or clouds), variable lighting. A piece of time in its real length. Of which removed the usual dynamics of our body, our eyes. So if the body and gaze our prisoners, and then recorded in the same position, on one thing at one point. And all this, even polluting air emissions from industrial plants, are transformed into objects of contemplation, admiration, objects thought. Estetizirovannye, art objects, such as those that we see in the paintings of German Romantics and Levitan. In addition, this is the only thing that can make waste production in Russia. So I called his exhibition "The poisonous emissions adorn the landscape".

Criticism

When we talk about painting, you always run the risk of falling or speculation about the author's intention, or a violent interpretation of the message, which bears a picture. Between these two poles is almost imperceptible space of visuality. It is very easy to lose when we fall into "the matter of painting, but it is, perhaps, is the very painting. Nina Kotel - the artist, it is very susceptible to this space, which at the forefront of the laws, and the word is superfluous. Here they form a language, one view, under which lie the feeling by its intensity rivals semantic aggression words. Nina boiler is very consistent in an effort to show something as visible and not as well-known, familiar, handy. For his series, she chooses a very simple things: broken saucer, apples, dumbbells, glasses, knives, ballet slippers, curtains ... These items are so well known that in fact already lost for us its visual identity, merged with their name and designation. Nina Kotel knows how to adjust your eyes, that portrayed her subject for a moment lose the ties with the world, which until then had seemed quite natural. Looking at these pictures, we are in a moment I need to learn thing forgotten how to learn. It was at this moment comes into its own visual language, it is at this moment there is a painting by Nina Kotel.
To achieve this effect, have a lot of things to give. Thus, a ban on the image is not only a human face, body, but also on any possible relationship depicted objects to the field of human. The apparent simplicity and even discreet many works of Nina boiler is that it should be a visible, imposing an implicit prohibition on imagination, fantasy, at all richness of images. She every time introduces a range of deformations things (usually - increase, . compositional bias in the series, . invasion of empty space, . deliberate incompleteness, . sketch), . which are designed to mislead the eye, . deprive the spectator point of view on the subject,
. Similar drawings preceded careful setting of Optics artist search in such a condition in which the thing will open in its scope. And when we are faced with minimization of Fine, . scenic resources, . the abandonment of detail, . inevitably reeking thing examining, . here just seen the power of denial, . giving us some clean grafizm things, . when the hand of the artist's knowledge, only one conductor - vision.,
. But what does this mean: to follow zreniemN Fine Art capacity effects came to the fact that I lost the boundary of the visible
. Apparently, imaginary and represented no longer vary. This expansion has led to the uninterrupted view of the search that has not yet been shown (read - yet unseen). But there were always artists who feel that the appearance is not dictated by the eye, and the thing. The eye is so strongly linked to human cognitive ability, which is very much think out, immersed, imagines. When Paul Valц?ry wrote, . that in their attempts to see the visible artists forget about the main, . about, . not to see the invisible, . he actually called on to suspend the activity of the eye, . that appeared around the world without those rules read, . which the eye has mastered so well, . that ceased to notice them,
. Nina enters the boiler in their vision of it as a way to detect the incompatibility of the visible and representable, . and setting optics - just search for the point of calm eyes, . when things begin to live by a different law, . when it is possible to portray them as, . that, by their view they deny established connections, . in which they included people,
. The thing is left alone with him, and the spectator is unable to sustain such self-elimination. He quickly brings his visual apparatus in order, but there is a feeling that something at some point was indivisible, whole and meaningless - as the letter, which has not yet entered into any of the words any of the alphabets.

O. Aronson