Ziangirova Olga Removna

1961 born in Moscow
. 1986 graduated from Moscow Architectural Institute
. 1988 Graduated from the Faculty of the Moscow art print DURING Union zhupnalistov
. since 1992 member of the International Federation of Artists (IFA)
. 1994, through continuing education at the department of philosophy and methodology of science, Moscow State University specialty 'social philosophy'
. 1992 lecture at the International Summer School of Architecture
. Pereslavl-Zaleski
1993 lecture course 'Design and the archetype' (School of Fashion and Design Rossiyskogo Humanities University)
1994 guest teaching at the Art Institute
1995 course "Information Technology and Culture. Department of History and Theory of Culture Rossiyskogo Humanities University, 1996-97 interdisciplinary project for distance education in the Internet-dimensional model of traditional cultures. Institute of Oriental Cultures, Institute of Media RGGU a guest in the art project "Le Petit Setland". Fraunfeld, Switzerland participant HESP University "Performing Gender: Visual Arts, Cultural Studies". CEU. Budapest, Hungary
.
. Collections where works
.
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. State Historical Museum, Moscow
. Museum of Contemporary Art, Odessa
. Gallery "Rotor", Gothenburg, Sweden
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS (with M. Chuikova and S. Anufrieva)

. 1993 'Aqua Vita'
. Museum of Contemporary Art, Odessa
1994 'Mentale Landschaften Ruslands'. Galerie Parzifal, Berlin, Germany
'Auf der Suche Nach Neuen' nervi rerum '. Sprinkenhoff, Hamburg, Germany
1995 'Passenger node'. Museum of Contemporary Art, Odessa
GROUP EXHIBITIONS

1990 'Shizokitay'. Club Avangapdistov (CLAVA). Exhibition pavilion at Fpunzenskoy Embankment, Moscow
Presentation 'billionaires' club'. Cinema 'Diamond', Moscow
1991 'tour'. Club Avangapdistov. Peresvetov Lane., Moscow
'Hovechento'. L Gallery. Central House of Artists, Moscow
1991-92 'White River'. A series of exhibitions and events in the workshops at the Petrovsky Boulevard, Moscow
1992 'Socialist-apt'. Collection of Contemporary Art Museum-Reserve 'Tsapitsino'. Lenin Museum, Moscow
'Zero apkan'. Laboratory 'idiom'. Central House of Artists, Moscow
'Sepdtsa chetypeh'. ISI. House officers, Moscow
'House Room 100'. Profsoyuznaya 100, Moscow
'Malevich-center in the Paleontological Museum'. Paleontological Museum, Moscow
1993 'Creativity happy dreams'. Russia Academy of Fine Arts, Moscow
'Monuments: Transformation for the Future'. ISI, CHA, Moscow; ICA, New York, USA
'ART MIF 3'. Manege, Moscow
1994 Exhibition-action in the pool 'Moscow', Moscow
'Reincarnation'. Gallery 'A 3', Moscow
1995 'Apocalypse'. Russia State Humanities University, Moscow
"Worker-2 '. L Gallery, Moscow
1996 "The boundaries of interpretation". Museum Center State Humanitarian University, Moscow
1997 "Surrealism and Revolution. Gallery A-3, Moscow Autumn Exhibition Mediagalerei RGGU Internet

PERFORMANCES

1990 'Vetep'. Yasenevo, Moscow
'Return to the original orders of magnitude'. Donskoy Monastery, Moscow
1991 'Transparent lock', Moscow
'By the Problems of about ppoishozhdenii art'. Festival Magunosa. Druskinenkay, Lithuania
'Pohopony gepoya Abpamycha'. Petrovsky Boulevard, Moscow
1993 'foundation', 'Patotopologiya and localism'. Arcadia, Odessa

Video-Films

1990 'Wind' (with P. Gilot, A. Sidorov). Moscow. Gothenburg, Sweden
1993 'Transparent lock'. Festival Videoart. Quebec, Canada
. 1994 'Levels', 'chain', Odessa

. Curatorial projects

. (in the framework of the laboratory "idiom": O. Ziangirova, M. Chuykova, N. Kamenetskaya, together with the Department of History and Theory of Culture, State Humanitarian University, Moscow)
. 1993 International Conference on Post-modernism and national culture ", a seminar on" Farewell to the times "
. State Tretyakov Gallery, Moscow
1995 International Conference on Gender and Culture: A shifting paradigm. State Humanitarian University, Moscow
International conference and exhibition "Apocalypse: self-consciousness of culture at the turn of 21 century". State Humanitarian University, Moscow
1996 Interdisciplinary Conference and Exhibition "The boundaries of interpretation". Museum Center State Humanitarian University, Moscow
. Autobiographical notes
.
. The basis of his artistic career, I feel a connection with a multi-disciplinary artistic practice, cultural studies, as well as creating a space for interaction between science and art.
. The last time I direct activity on the implementation of the international exhibition art projects together with other authors
. These projects are developing time-culture-models, each of which is created on the basis of research and takes into account the peculiarities of the place, which is embodied.
. At the moment I work in the State Humanitarian University, engaged in teaching, development of new technologies, multimedia.
. In the field of research I think the most interesting study of the universal means of organizing space, stable visual models (archetypes) of the collective consciousness and gender
.

* * *

The interests of our group are focused on areas of intersection of art and science, human, natural and exact knowledge. Functioning at the intersection of research and artistic practice, his creative work, we tend to be regarded as experimental laboratory to help us formulate our discursive construction.
. The processes taking place in contemporary art, are largely a manifestation of post-modernist discourse, which proclaimed itself part of the art market
. They therefore tend to be more and more entertainment, close to the carnival, would overshadow the other functions. This lightweight and superficial art trends of recent years and made us turn our eyes to the other, the opposite of its serious, substantial and fundamental domains of natural sciences and humanities.
. The most relevant of the processes occurring in it we show the process of convergence, . merging of different directions, . education on the basis of new industries, . with a broader line of sight integral, . Examples include, . as Synergetics and Applied Linguistics,
. But obviously, . What should happen tremendous changes in the outlook of scholars, . that this process of unification of Sciences, . including natural and human, . became dominiruyuschim.Kazhdaya of them is a closed world with its special terminology, . They reflect not on themselves with general cultural positions.,
. By carrying out a series of art exhibitions and experiments, . we found a very fruitful method of embedding selected scientific versions in the space of contemporary art and its use of language to identify new and sometimes quite unexpected conceptual solutions.,
. This method of combining two ways of describing the existing world - rational-logical and artistic imagery - from our point of view is quite logical and very promising
. On the one hand it can catalyze the integration processes in science, but on the other - to identify creative trends in contemporary art.
. In the process of artistic activity, we have already had to go to different scientific fields, as natural and humanitarian - mathematics, theoretical physics, computer science, structural linguistics, paleontology, archeology and geology.
. Among the works carried out - the object of "chain letters", which was based on the principle of geometric progression, would introduce in-game text of the new geometrical parameters.
. In the installation "Magnetic monopole" (Gallery Belyayevo ") basis is one of the hypotheses of theoretical physics on the magnetic poles.
. Recently we are working on the international project "Geological mythology", which will include a series of exhibitions in different countries
. In these installations on the semantic and visual levels are the parallels between "mental" and the geological landscape of the country, ie. specific features of the mentality of people inhabiting a specific area, will be matched by us and, paradoxically, be superimposed on its physical, geological conditions by using the language of contemporary art.
. We are pleased to have found that our work is of interest to both sides - both scientists and artists and art historians were intrigued by the possibility of penetration into previously inaccessible areas of operation of each other.
. As confirmation of the Humanities University of Russia invited us to organize under the roof of the experimental laboratory of the Cultural
. The plans of the laboratory at present is to organize international seminars and conferences, exhibition activities. We hope that at the junction, combination of different areas - art, science - to light unexpected aspects known to those new issues, lighting issues
.
. Criticism
.
. I wonder, . What are you doing, . because we, . in some sense, . on the opposite side of the art, . but clearly there is some kind of boundary, . where we interact, . communicate, . as your projects require some transparency on this boundary,
. These projects not only space but also the plane, but this plane - part of another space, and they each somehow connect, and you belong, and to both. You are apparently neutral, but actually interested in something else: keeping all neutral indicators of conceptualism, implying the presence of some other spaces. In pursuit of conceptual tradition you have there is a "retraction" of others - and the scientific and artistic concepts. Conceptualism is limited linguistic framework, the idea that everything - in language. The idea of self-development language, that all - through the language. But in addition to language has more energy, and in addition to signs of language is more intervals, and they are a very important. It seems to me that you work with this intermediate zone, this energy. But you work with it as well as with language and objects, and ranges, shifting in one direction or another, though still prefer the linguistic forms of work's energy.
I, being on the other side of the door, do not understand it all, perhaps, but always try to be in dialogue. I think that you are on the surface of our own experience, where you can grope not only the space inside, but the space into the unknown, in what is only developing.
In addition, your projects are important because they are open to others, and they can try something inscribe their. And it is even supposed to - it by blank lines, graphs, which may be filled by other, and thus, will build new capabilities.

V. Aristov