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KANTOR Maxim Karlovich

( Artist)

Comments for KANTOR Maxim Karlovich
Biography KANTOR Maxim Karlovich
1957 born in Moscow
. 1980 graduated from Moscow Polygraphic Institute
. Collections where works
.
. The State Tretyakov Gallery, Moscow
. The State Russian Museum, St. Petersburg
. Novosibirsk Art Gallery, Novosibirsk
. Perm State Art Gallery, Perm
. Ekaterinburg Museum of Fine Arts, Ekaterinburg
. Sprengel Museum, Hannover, Germany
. National Gallery, Berlin, Germany
. Galerie Eva Poll, Berlin, Germany
. Private collections: Germany, Luxembourg, Milan, Italy
. Stadtlisches Kunstinstitut und Stadtlische Galerie, Frankfurt, Germany
. Museum Bochum, Bochum, Germany
. Kunsthalle Emden / Stiftung Henri Nannen, Emden, Germany
. Museum Ludwig, Cologne, Germany
. Neue Galerie - Sammlung Ludwig, Aachen, Germany
. Ulster Museum, Belfast, United Kingdom
. Patrick and Beatrice Haggerty Museum of Art, Milwaukee, USA
. Shedhalle, Zurich, Switzerland
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1988 Galerie Eva Poll, Berlin, Germany
. Centraal Museum, Utrecht, The Netherlands
. 1989 Goethe-Institut, Duesseldorf, Germany
. Landesvertretung der Freien und Hansestadt Hamburg beim Bund, Bonn, Germany
. 1990 "Facing Apocalypse"
. Newport Art Museum and Art Association, Newport, Rhode Island, USA
"Russia: Within and Without". The Patrick and Beatriche Haggerty Museum of Art, Milwaukee, Wisconsin, USA
Galerie Lupfert, Hannover, Germany
1991 Stuart & Co. Gallery, New York, USA
Galerie Asbaek, Copenhagen, Denmark
Galerie Eva Poll, Berlin, Germany
"Art Cologne" (Galerie Eva Poll), Cologne, Germany
1992 "Maxim Kantor - Retrospektive". Museum Bochum, Bochum, Germany
Galerie Lupfert, Hannover, Germany
1993 "Art Frankfurt" (Galerie Lupfert). Frankfurt, Germany
"Salle d'Exposition de l'Hotel de Ville". Colmar, France
Galerie Lupfert, Hannover, Germany
"FIAC" (Galerie Asbaek), Paris, France
Galerie Eva Poll, Berlin, Germany
1994 Stiftung Henri Nannen. Kunsthalle Emden, Emden, Germany
Galerie Asbaek, Copenhagen, Denmark
Galerie im Haus Dacheroden, Erfurt, Germany
1995 "Retrospektive". Tutesall, Luxembourg; Berliner Kunsthalle, Berlin, Germany; Pori Taidemuseo, Helsinki, Finland
1995 "Maxim Kantor. Paintings and etchings, "Playing the 5 th festival of Richard Wagner. Bayreuth, Germany
1996 "Maxim Kantor. Paintings 1982 - 1994 ". Rostock, Emden, Germany Herning, Denmark; Lausanne, Switzerland
"Maxim Kantor," Playing the name of Richard Wagner Festival. Bayreuth, Germany
"Art Cologne" (Galerie Eva Poll). Cologne, Germany
1997 Royal College of Art, London, United Kingdom
Pulp Chronicle. XLVII Biennale di Venezia, Russia Pavilion. Venice, Italy (catalog)
"Maxim Kantor". Leneburg, Germany
Maxim Kantor. Painting. Etching. Pushkin Museum of. Pushkin, Moscow
GROUP EXHIBITIONS
1987 "30 years of avant-garde and underground in Russia". Moscow
1987-89 "Schrecken und Hoffnung - Kunstler sehen Krieg und Frieden". Hamburger Kunsthalle; Munchener Stadtmuseum; State Tretyakov Gallery, Moscow The State Hermitage, St. Petersburg
1988 "Glasnost - die neue Freiheit der sowjetischen Maler. Ausstellung zeitgenossischer russischer Kunst ". Stiftung Henri Nannen; Kunsthalle Emden; Galerie Valentien, Stuttgart, Germany
"Artisti sovietici contemporanei". Studio Marconi, Milan, Italy
"Sowjetkunst Heute - Aus der Neuen Galerie Sammlung Ludwig". Museum Ludwig, Cologne, Germany
1989-90 "Von der Revolution zur Perestroika. Sowjetische Kunst aus der Sammlung Ludwig ". Kunstmuseum, Lucerne, Switzerland; Palau de la Virreina, Barcelona, Spain; Musee d'Art Moderne, Saint-Etienne, France
"Glasnost - Sowjetische Bilder aus der Sammlung Henri Nannen". BAWAG Fondation, Vienna, Austria
1990 "Classic and Modern Sculpture". Gallery Nielsen, Boston, Massachusetts, USA
"Die Meisterwerke der Sammlung Henri Nannen und Skulpturen der Klassischen Moderne". Kunsthalle Emden, Emden, Germany
1991 "Graphik der klassischen Moderne und der Gegenwart". Wolfgang Wittrock Kunsthandel, Dusseldorf, Germany
1995 "charity auction to benefit the Burn Center at Children's Hospital, N9.
Contemporary Russian paintings and drawings ". Sotheby's, "ART MIF. Hotel Metropol, Moscow
Autobiographical notes

... The arts - for me the need for a completely organic. If I do not draw, it means that I eat, I'm going somewhere, make love or derus.
... I have always proceeded from the simple things: all that live - oblivious, but there are things that I want to make unforgettable.
... The most important criterion of "completeness", the desire to get across, stop the current time. And denote the value of having no time limits. I started with portraits. I wrote them as the faces. In this trashy, empty, alternating with my life, I recorded the person as something that is meant to stay.
... My values were formed in a very closed world. I grew up in a family where honor the concept of family and tradition. Historically and narrow understanding of "their" world, and another - "vnepolozhennogo.
... For many years ago I formulated a basic principle - a principle of individual standing. It was as a "separate" I recorded the images of people and things. First of all, I wanted to separate. I do not like scenes, I do not like still lifes, landscapes, I do not like, I would stay separate.
... "Individual" and "Regulations" may be common. "Engagement" and the connection of course there. But the main thing "separateness" - infinitely lonely and infinitely independent finding itself in the world.
... is certainly a separate book - one of my paintings, drawings, etchings, articles, stories, plays. In this book, the characters wear their overcoats, . they have their glasses, . precisely because they drink wine, . they are just so fond of women, . they both lie in bed, . a movement take off his pants, . a movement to unbutton his shirt, . so they eat dumplings, . so they embrace each other or father ..,
. This is their way of life. And I can not imagine a great artist who no the conglomerate, the complex images.
... Art, like any other manifestations related to me with such a concept as the responsibility. And at home, and in the household, and in the minimal social manifestations, which are inherent in me, and in studies of creativity, I am guided always by a single feeling - a sense of responsibility.
... In everyday life - is responsible for passing. In art, as such, no liability. There is my responsibility to the world, understood very broadly and very narrow at the same time. It manifests itself in everything from household trifles to study painting and literature. So I understand the freedom.

Fragments of an interview with G. Nikich

Criticism

The spirit of rejection, ridicule and rebelliousness - that's how we habitually think, characterizes the art of XX century. It demistifitsiruet and exposes the relentlessly. Jean-Francois Lyotard declared that this demystification does not coasts and never ends. Excellent perspective - Western art revels in this freedom, the dismantling of values and truths, as a kind of drug. And Eastern Europe gets used to it after a long sleep under a fixed, as tombstone officially communist ideology.
Born in Moscow, Maxim Kantor - rather like-minded Sartre and Picasso than Lyotard, and post-modernists. It seems cruel to objects, shapes and space. He twisted them, compresses, almost breaks. Crackling skin and bones in his portraits. Hardly able to stand it "riser", as if half-crushed a monstrous force. People are attracted and cling to each other, sought support each other in the face of failure and emptiness of life in the midst of tottering walls, littered vacant lots, corridors underworld types ( "In the wasteland," "corridor," "Father and Son"). They something hope, although we are not yet clear on what. Excellent graphics list "lonely crowd" rather confirms the fact that these accidents are not able to get rid of his loneliness, of his inferiority and tortured, though they clung to each other
. With the same, . Another cynic from Eastern Europe, . as if they were in the West maloN not whether he is mocking the victims of the era, . not it time for us to protest, . as Christians protested against the blasphemous "Virgin" by Max Ernst, . and humanists - against the "Night Porter" Liliana KavaniN,
. Maxim Kantor speech always goes on casualties and injuries
. Large - more than two meters high - painted relief "married couple" - this is like two bloody deformed shells of people remaining after the processing of some terrible machine, borrowed from Franz Kafka. "The extent of his rights are measured by volume loss" - the artist wrote in his essay "Fragments of Existence". This is even part of the idea of his literary and philosophical texts. He - man of his word to the same extent as the person's eyes, that is, the philosopher and the artist at the same time.
Address of his philosophy is easily recognizable. The value of rights (the "scale") is determined by the ruins and the remains, which mark the existence of each of us. The existence of empties, but that devastation is the main wealth. Karl Jaspers wrote half a century ago that the outcome of every life - the inevitable defeat, das Scheitern. As this bytN Modern mass culture and elitist postmodern advised: mock and demystify. Create a "merry apocalypse" (as one critic wrote) and "fun dosmerti" (as stated in another). But it is not satisfied with Maxim Kantor in any way.
He does not always tragically serious. He - by a series of still lifes, in which he, in his own statement, refuted the idea of certainty and stability materiality of the object - a thought that is peculiar to the classical still-life (eg, Dutch). What is the object obektN Thickening Does this matter - or vice versa, and tear a hole in existence, through which is visible a void, NichtoN Both options mockingly offered to our gaze. Again, this is about loss, of loss, of defeat - but it turns out, and amusing, and aesthetically refined. The artist knows how to play concepts and be witty.
What it does not suit, it is a farce on the edge of the precipice, a farce of errors and misfortunes, that is the very thing that's most interesting contemporary art. Monumental OpenCards "Maxim Kantor reminds me of those" archives retired lives, which makes the French artist Christian Boltanski. Faced with the possibility of coming emptiness, armed with their losses and defeats people - almost turned into a ruin, in the shadow - emits some inexplicable consciousness of their spirituality. In this artist from Russia agrees to Rembrandt, the creator of amazing portraits of old men and women, and with Pascal, who spoke about the "thinking reed" ...

Yakymovych. "Maxim Kantor,

Bibliography

R. Menzel "Exhibition" Eight "with the Kuznetsk bridge", the magazine "Bidlende Kunst", N1, 1987;
O. Polyanskaya "Maxim Kantor", journal Ogonyok ", N11, 1989;
Yakymovych. Debuts. Young artists of the eighties. Moscow, 1990;
Catalog of "Maxim Kantor. Facing the Apocalypse, "New Port, USA, 1990;
Catalog of "Maxim Kantor, Hanover, 1990;
Catalog of "Maxim Kantor, Copenhagen, 1991;
Catalog of "Maxim Kantor, Berlin, 1991;
Catalog of "Maxim Kantor. Retrospective, Bochum, 1992;
V. Meyland "Time free choice", Journal of Literary Studies ", N5, 1987.


* - Information provided by the Soros Center for Contemporary Art, Moscow.


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