Orlov Valery

Born in 1946, Mr.. Island of the Pskov region
1969 Graduated from Moscow State Pedagogical im.V.I.Lenina (art-graphic faculty)
1971-80 worked in the studio of. II Nivinsky
. 1980-85 he taught a course at the Faculty of Print HTOPP Moscow Polygraphic Institute
. since 1983 member of the Union of Artists
.
. Collections where works
.
. The State Tretyakov Gallery, Moscow
. Ministry of Culture of Russia, Moscow
. State Museum of Fine Arts named after AS Pushkin, Moscow
. Art Gallery Tyumen, Tyumen
. Kaliningrad Art Gallery, Kaliningrad
. Art J. Paul Getty Center, Los Angeles, USA
. Museum of Contemporary Art, architecture and photography, Berlin, Germany
. Education Center Herental, Belgium
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1992 in the loop "Graphic Seasons"
. Tverskaya, 25 (Hall of Artists Union), Moscow
Moscow Collection Gallery, Moscow
"Drawings". Gallery "Studio 20", Moscow
1994 in the framework of III International Biennial of Easel Graphic Art "Kaliningrad Koenigsberg 94. Kaliningrad
State Art Gallery, Novosibirsk

GROUP EXHIBITIONS

1972 "Figure. Watercolor ". Studio II Nivinsky, Moscow
1973 Exhibition of Young Artists. Studio II Nivinsky, Moscow
1974 Reports exhibition Art Studio II Nivinsky, Moscow
A 1975 Youth Exhibition. Artist's House at Kuznetsky Most, Moscow
1977 Exhibition of Painting. M., 28, Moscow
1981 "VI All-Union Exhibition of Print". Central House of Artists, Moscow
1989 Exhibition Picture. Artist's House at Kuznetsky Most, Moscow
"Graphics of Moscow artists: Urbi et Orbi". Central House of Artists, Moscow
1990 All-Union Exhibition of the Artists' Union. Manege, Moscow
1991 "Exhibition of printed graphics. Senezh. Central House of Artists, Moscow
"ART MIF 2". Manege, Moscow
1992 "Letter to Bulgakov". Central House of Artists, Moscow
"Festival of Russian Art". Edinburgh, Scotland
"Kennen sie diese NamenN". Galerie Raissa, Erfurt, Germany
1992-93 "Humanitarian aid parcels for Germany. 27 Moscow Artists ". Central House of Artists, Moscow; "Humanitare Hilfe, Packchen fur Deutschland". Tranenpalast, Berlin, Germany
1993 "Moscow Artists. New Income. Pushkin Museum of. Pushkin
"Avant-garde and tradition. Books by Russian artists of the 20 th century. Russia State Library, Moscow
"Livres d` artistes russes et sovietiques: 1910-1993 ", Espace Vezere, Uzersh, France
"ART MIF 3". Manege, Moscow
Graphics. Central House of Artists, Moscow
"Russische Kunst der 60-90 Jahre". Osnabruck, Germany
"Pointless tradition in Russian art". National Museum of Painting and Sculpture, Ankara, Turkey
1994 "The abstract graphics". Museum of Fine Arts, Eagle
"Russian Contemporary chart". Central House of Artists, Moscow
"Entgegen der Schwerkraft". Erfurt, Germany
"Selectie Grafiek 1993". Frans Masereel Centrum Voor Grafiek. Belgium
"Seasons. Russian Graphic Art ". Arts Center, Odense, Denmark
1995 "The Book Garden. Contemporary Russian Artists Books ". Off-Centre Gallery, Bristol; The John Rylands University Library, Manchester; Glynn Vivian Art Gallery, Swansea; Aberystwyth Arts Centre; Stormont Rooms, Rye (96), United Kingdom
"Einblicke" (Werkstatt Moskau II). Galerie im Marstall, Akademie der Kunste am Hanseatenweg, Kunstlerhof Buch, Berlin, Germany
.
. Autobiographical notes
.
. For me art practice - is that generated by the sensory inner impulse and the need to express this feeling.
. It depends on the sensory state at the moment and can be defined within the refined elegance and savage brutality.
. It's part of my existence, my experience and perception of the environment.
. Awareness of brevity and the unreliability of passing life, . opposites and paradoxes of human thoughts and deeds, . strengthens my desire to the fullest extent possible, and sharper than accept it, . witness to what I am, . and the desire to express it becomes a natural requirement, . as breath, . rumor, . vision.,
. Currently I am working with paper pulp
. It is for me now, it seems the most appropriate material and a means for expressing my feelings. In it I realize, in my opinion, with a certain fullness of their experiences. I'm trying to write passing through visual, tactile, acoustic characteristics

Criticism

Place Valery Orlov in Moscow for many years the chart was not too noticeable, but decent.
And deservedly. In light of his drawings, just touched with delicate watercolors, swirled translucent misty depths of space, wrapping barely identified, more discernible than read items ascetically stingy still lifes or interiors. The sculpted, rigorous, constructively, they still remained air, almost weightless. The artist saw to it that the things they were only compositional elements of the whole, accurately spaced milestones of its transparent medium, but did not claim it myself, not boasted of its subject matter alone.
. But a few years ago, the artist showed me his first experiments in the new, unconventional techniques
. He was cast out of thick rough paper pulp sheets, baked them in the other bits of paper, fragments of old photos or their own drawings.
. Although in comparison with later his work in the same technique, these first and then were still quite timid, they immediately occurred as some new money.
. Each sheet was now the subject rather than an abstract graphic surface
. Appealed to viewers throughout its uneven thickness of molded, the entire flesh of the material, the complexity of the multilayer structure. The artist captured the paper inside, and if his pictures were foggy drizzle of the whiteness of its surface, now he makes a work sheet. He fission, it is not an arbitrary clipping from an unstructured, mechanically uniform of cast strips, complete in itself by the very method of its manufacture. Shaggy thinned edge of the sheet is physically different from his thick middle. Uneven weight, surface roughness, exfoliated fiber and film, and even tears and holes, intrude into the flesh of a sheet - it's not defective, but strong traces of the creative work of the artist. Sheets Orlova provoke tactile perception, pointing, it seems, not so much to the eye, so much to the finest feeling in the fingers. We look at them, like, like any other, but feel and appreciate not only the quality of the visual, tactile. From this - seems a much closer contact with them than with "normal" graphics, a heightened experience of the physical concreteness of the work, his paper flesh.
. This magic man-made material, alchemy finely calculated mutual penetration, alloys and strata in itself is fascinating and draws
. Orlov - a truly virtuoso graphic crafts, endowed with an absolute sense of expressive graphic materials and techniques. Craftsman and expert technical subtleties, he is artistic in all varieties of graphs, which he happened to turn. Graphic technology - its element. But this kind of power now, it seems, is not in fashion. Partly interested in "concept", to something not susceptible to purely plastic incarnation, but it need not. And it raises, like, Orlova, with its subtle and complex needlework elusive for the latest artistic trends. Meanwhile, the inspiration of inert material, the saturation of his thoughts and feelings - in the very nature of Fine Arts. If dead matter they do not seek to revive - it threatens to degenerate. In this newly convinced, returning to the lists Orlova from any negligent and meaningful installations. There is a quality of authenticity. There is a sense, not a designated object, and merged with him closely, embodied in most of its material structure.
Paper in itself - a universal cultural symbol. Bread of culture, its universal material carrier, the main means of dissemination and preservation, the guarantor of continuity. Golf signs. For all signs - hieroglyphic, letters, musical scores, for symbols and emblems. Fields sketches for me to impress etching boards: the natural material is graphic art, meticulously, to the eye and the touch chosen for their work by the artist ...
. All these istriko-cultural overtones of his material Orlov feels inside - is the sense, organically underlying his experiments with paper
. Therefore, the "empty" list - without any inclusions or marks - he did not just invoices sketch, not a purely technological experiment. Edges rough, irregular, grainy texture - visible quality handicraft, hand-tide. They link with the history of the paper case, with magnificent old sheets from the museum folders. The artist has emphasized this irregular texture, its "living" character. Thick sheet with a rough, . as rhinoceros hide, . undulating surface, . warped, . a detached and folded edge shows the elasticity of the material, . indestructible eternity old linen papers, . donesshih to us pictures of the great masters of early prints and engravings,
. In relation to the modern, even a beautiful machine securities manual as it bears the invisible "mark of quality, high test of a good, always remember the dignity of handicrafts.
. Trim a piece of ancient Chinese books with a fine, . light colored ligature characters, squeezed into the rough a lot of paper dissimilar in shape and size of printing letters - black, . red or just white, . allocated relief; vaguely translucent through each other, web-thin layers of weightless Japanese market; clear, . dense in color geometric shapes, . dynamically mapped to each other under the laws Suprematist compositions, snatches of printed music sheets with their mobile, . neural rhythms,
. These simple signs - mighty layers of spiritual values: the century, the peoples, arts.
Valery Orlov surprisingly able to show these stretching deep into the seams: not just a mark, as it were, to re-open, to make them for us tangible. Tangible in the literal sense of the word.

Yu Gerchuk