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Zubenko Yuri Stepanovich

( Artist)

Comments for Zubenko Yuri Stepanovich
Biography Zubenko Yuri Stepanovich
Born April 26, 1959 in Cahul, Moldova.
From 1970 to 1977 he studied at the Republican specialized secondary Art School. I.D. Vieira (Kishinev).
From 1977 to 1983 he studied at the Moscow State Art Institute. VI. Surikov (workshop Tutevol KA).
From 1985 to 1987 - Fellow of the Union of Artists.
Since 1988 - Member of the USSR Union of Artists.
Since 1991 - Member of the Moscow Association of Artists of monumental and decorative art of the Moscow Union of Artists
.
. Collections where works
.
. Works are in MK USSR, USSR Academy of Arts, RF Ministry of Culture, CX USSR,
. State Art Museum of Moldova
. collection of Dr. Homzelya (Bielefeld, Germany),
. Dr. Vitsera (Gyutersloo, Germany),
. Company "GSP Honsel", "Wehmeier GMBH & CO", "Wilhelm Honsel GMBH" (Bielefeld, Germany),
. as well as in the collections of collectors of United States, Austria, Belgium, Ireland, Finland, Poland, Yugoslavia, Norway
.

Participation in exhibitions and auctions

More than 45 exhibitions (all-Union, republican and international).
1984 "Young Soviet Painters". Berlin. Dresden;
1993 "Avant-garde in art and technology". Bielefeld. Germany. Organized galleries "Schumacher", firms "Veymaer und Kastrup GmbH", "SBS Honzel GMBH & CO.", "Mermaid". Moscow representative office of "Volkswagen". Bielefeld;
1994 "The Sequel". Gallery Russian Collection. Moscow;
1995 Exhibition, Symposium Doberitser Heide. 2 years of silence ". Berlin. Falkensee. Germany.

Autobiographical notes

Clearly, every element of nature is perfect in itself and there is great in it regardless of the person. Nature itself creates and regulates its condition, quality and quantity. Miracle is created without human intervention, and often in spite of it. But. Once a person (in this case, Man Artist) raised the stone with the Earth and separates it from the Earth, thus depriving it of its natural state - there is precedent for the Act of Creativity (in philosophical inquiry made). This is a very important moment of the beginning of a new "life", "life", given to him by man and for man. Next stone is treated as a "bunch of Time", "bunch of Cultures", "bunch of emotions", etc.. In connection with the "arheogennym baggage" Man-artist - he gets more emotional, plastic strain and treatment. Speaking of stones, not on earth more ancient material. No other natural element does not contain such a capacious historical energy potential. So Man Spectator, . considering Stone, . subconsciously (by virtue of his intellectual and emotional culture) feels the touch of Sverhmaterii, . Arhimaterii, . on what basis and there is experience of and reflection on the reporting of a work of art,
. Artists working with such materials is possible only for a moment - forefathers, Prabratom, Praobrazom ancient material (recognizing themselves in the same elements of nature) and on an equal co-exist with him during the creative process. Then there is the afloat between man and nature, the understanding and sense of themselves as part of nature, the same as the rest of its elements. The circle. Further, by virtue of their professional opportunities, are treated in historical and cultural environment as sverhdrevnyuyu subject matter, as the dialectic of this environment. Every item is treated as a "simulation" life situation, a story about the life, thoughts about life. Every thing is - as the issues of Nature and the Artist, as well as answers to the questions of Nature and the Artist. At the same time, the material itself is the bearer of a unique plastic-emotional information. Considering its, . You can read his life history and philosophy, . structural organization, . a long time finding echoes in my personal understanding of the subject, . and only "heard" it in such a way, . and slightly changing its "face" (if necessary), . give him the next life, . almost without touching it, . but only in accordance with his thought and feeling - to fill up his new, . and perhaps the Old, . content,
.

Criticism

Yuriy Zubenko. This is a young artist who does not fit any officially supported by the line "Young Art", or in group structures formed in the "informal art" of the preceding period. This new line is emerging in contemporary art. Turning to the western analogy to adoption of the term, the artist most comparable with the line of "individual mythology", the art of the "new image", with Transavantgarde. Although, . observed techniques and language of the letters of the young artist did not give rise to a direct identification with the language of artists of the West, . it is rather a coincidence at the level of general cultural perspective: the principle of free and eclectic new game with the dictionary of painting, . vzaimoobratimost concept and image in the process of artistic mythmaking,
. Featured artists can be attributed to neofigurativnym currents of modern art. Not breaking completely with the image, . with the language of painting and painting, . it nevertheless allows himself to an independent treatment of these, . materials borrowed from the past, . subjects receiving the letter and an arsenal of images free reinterpretation, . mixing, . seemingly, . incompatible givens to the stage of indivisibility of the individual "alloy",
. Mostly new picture. Here, referring to the dцLjц= vu - to the cultural memory, are present in the form of fugitive, elusive hints that only usugblyayut neodnaznachnost, the plurality of reads in contact with such art.
. Rethinking space of painting, Yuriy Zubenko refers to non-traditional materials
. In his works, the foundation serves as a tree. This is a painting without color, where the scanty means, he says a lot about many things. Big does not reduce the severity of the presence of magic, ritual, mystery, rooted in the image of the environment and the secrets of the author's technology performance.
. In their tactics eclectic mixing and radical shifts this artist prefers to use explosive, . trudnouzhivayuschiesya mixture, . compositions, . ingredients, . without fear of undermining the foundations of plastic inside, all the values and long-standing unspoken canons of "good painting", . blur the hierarchy and the system of reference.,
. The ongoing experiment gives them the opportunity to trace the origin of the myth and his death, he stood out and disappearing traces
. Investigate latent mythology, indirectly giving itself felt in art and in everyday experience. Artist takes the reversibility of the myth in its historical incarnations, . Myth and Archetype are displayed in their quality of ambivalence, . ambiguity, . multilevel, . referring to the equally sacred and profane, . elitist and kitsch emanations are often one and the same archetypal structure, . given, . that the original matrix is not pokazuema, . in fact it's not at all - there are only a fan of inexhaustible variations, . change "masks", . branching structure without a center and purpose,
. For it is at mythopo possible compatibility seemingly incompatible principles and forces, . possible detection of continuity in the eternal game mark with the intent, . ideas with the way, . thoughts with a sense of, . game, . where divergent convergent, . but eternal volatility carries a variable sedentary Eternity,
.

Alma Troshchenkova. The art "East Gallery". Moscow, 15 September 1994
.
. Bibliography
.
. More than 25 publications in journals and newspapers in Russia and Germany.
. Journal "Bielefeld Live", P.42-43, 1993;
. The newspaper "Neue Westfalisce", 25.09.93;
. Newspaper "Westfalen Blatt", C.7, 24.09.93;
. Newspaper "Bielefelder Zeitung";
. Newspaper "Bielefelder Spiegel", N 19, 1993;
. The newspaper "Neue Nauner Rundschau", 16.09.95, 30.09.95;
. Newspaper "Blickpunkt", 1.11.95;
. The newspaper "Gulf Daily News", 10.06.94.


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