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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Rostislav LEBEDEV

( Artist)

Comments for Rostislav LEBEDEV
Biography Rostislav LEBEDEV
1946 born in Moscow
. 1969 graduated from Moscow State Pedagogical Institute (art-graphic faculty)
. 1994 member of the USDA
.
. Collections where works
.
. State Pushkin Museum of Fine Arts, Moscow
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. The State Russian Museum, St. Petersburg
. Nancy and Norton Dodge Collection, Cremona Foundation, USA
. N. Berman, J. Schwartz, New York, USA
. J. Traisman, Dr.Falcone, Columbus, USA
. Dr.Kouri, Greenwich, USA
. H. Dreher, S. Bonadurer, V.Heinz-Rutschman, Zurich, Switzerland
. H. Tatunz, Berlin, Germany
. Sidorov, E. Nutovich, V. Patsukov, V. Ovcharenko, Moscow
.
. Participation in exhibitions and auctions
. PERSOHALHYE SHOWS

. 1990 Eduard Nakhamkin Fine Arts, New York, USA
. GROUP EXHIBITIONS

. 1968-83 Annual group exhibition of young Moscow artists
. Artist's House at Kuznetsky Most, Moscow
1975 "Preliminary apartment views to the All-Union exhibition". Moscow
"Exhibition of Works by Moscow Artists". VDNH, Pavilion House of Culture ", Moscow
1976 "Spring apartment exhibitions" (pre-exposure to the forthcoming exhibition in the halls of Running the street), Moscow
"Exposition au Musee en Exil" (A collection. Gleser). Montgeron, France
1975-83 One-day tvopcheskie vechepa exhibitions. Artist's House at Kuznetsky Most, Moscow
1981 "Nouvelles Tendances de l'art Russe non-officiel. 1970-1980 ". Le Centre Culturel de la Villedieu, Elankur, France
1987 "The Artist and Modernity". First Creative Association of Moscow Artists. Kashirka, Moscow
"Retrospective of Moscow Artists. 1957-1987 ". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
1988 "Geometry in Art". "Kashipka", Moscow
Labyrinth. Youth Palace, Moscow
"Ich lebe - ich sehe". Kunstmuseum, Bern, Switzerland
2-I of the First Exhibition of the creative association of Moscow artists. Artist's House at Kuznetsky Most, Moscow
1989 "Dopogoe Art. Palase Youth, Moscow
Showroom Gallery, London, United Kingdom
"Hovoe Soviet Art". Cologne, Germany
"Dialogue". "Avant-Garde" Russe et Art Contemporain Sovietique ". Centre Boris Vian, Ville des Ulis, Paris, France
1989-90 "Transformation". The Legacy of Authority ". Camden Arts Centre, London; Kolchestep, United Kingdom
1990 "In stoponu object". "Kashipka", Moscow
"Tpaditsii rusц¬a Painting. Museum istopii and pekonstpuktsii Moscow, Moscow
Chicago International Art Fair. Chicago, USA
1991 "Back to Square One". ENBerman Gallery, Hyu-Yopk, USA
3rd International Master Print Fair. Sydney, Australia
"In de USSR en Erbuiten". Stedelijk Museum, Amsterdam, Netherlands
"Contemporary Soviet Art: From Thaw to Perestroika". Collection of contemporary art museum Tzaritzyno.
Setagaya Art Museum, Tokyo, Japan
"After Perestroika". Irving Galleries, Sydney, Australia
Modern artists - Malevich. State Tretyakov Gallery, Moscow
1992 "Sots Art" (Collection of the Museum of Contemporary Art Tsaritsino). Lenin Museum, Moscow
"Gorby in Images". A traveling exhibition of universities in the U.S.
1993 "Philosophy of the name". Contemporary Art Center, Moscow
1994 "May Exhibition". "Moscow Gallery. Kuznetsk Bridge, 20, Moscow
"The artist instead of the product". Central House of Artists, Moscow
"Adresse provisoire pour l'art contemporain russe". Musee de la Poste, Paris, France
Cetinjski Bienale II. Cetinje, Montenegro
1995 "Kunst im verborgenen. Nonkonformisten Russland 1957-1995 ". Collection of Contemporary Art Museum Tsaritsino ". Wilhelm-Hack Museum, Ludwigshafen am Rhein; Documenta-Halle, Kassel; Staatliches Lindenau Museum, Altenburg, Germany
1997 "Russian Art in the 15 biographies" (from the collection of the Museum of Modern Art Tsaritsino). Mucharnok, Budapest, Hungary
Third Biennial of Contemporary Art. Cetinje, Montenegro
Autobiographical notes

We love the diversity: paintings, installations, objects, collages.
New genre and new material give a new sense of space, which is the main theme of my work. I do not make art, I do not do social art, I do not make collages - I do space. No matter what it is filled - it is important his presence. It consists of everything that can be seen from the energy, which makes everything that can be seen to come to life, fill and create a universe where there is a heaven and hell, heaven and earth, and between man and his drama.
. Maybe this is the "mystical involvement" YungaN
. I'm only a conduit for this energy, its converter
. Perhaps this is the "meaning that above me."
Work is like on two levels: the ideological, perhaps, and professional. And the main thing here is that these two planes intersect at the desired point. But it happens that one comes to the other and closes it.
It is not a speculative concept, with which so fashionable to start his own way in art. This concept (I have not speculative) comes after many years of hard labor and often banal not like the fact with what you started. But for me it's not the point, but the fact that I am interested in everything that proichodit around me, and I'm trying to understand this. It was then and there "his vision.
One can say that creativity - a form of my life. Proichodit gradual find this form, search for her place in life.
It is interesting to join or push the opposite, incompatible, it would seem, things, and watch what happens. And get something different, not similar to the preceding, yet the former space.
Usually I enjoy the idea of "Layer Cake" as I call it. This is when the same work there are different layers: the metaphysical, social, aesthetic and even ethical, sexy, formal, etc.
I do not like to talk about art, especially my. For me there has never been the issue "to be or not to be". This is my destiny, I can not do anything with it.
There are some vibrations: external, internal, space, they can be called differently. The point is to find them, so that they vibrate in unison, and someone else but you, it also saw.

Criticism

Art Lebedev, R. Principles are based on the idea of the rotation of nature, its continuous renewal, and by nature is understood the unity of the natural world and the original artificial environment. Cosmos and chaos, nature and technology, society and the spirit become so not as an opposition, but as something undivided and undifferentiated, as the microcosm and the macrocosm are mutually dependent and, as John Cage, "music of the spheres may sound and hissing zharyascheysya eggs". Entering into a dialogue with the audience, Lebedev opens the their works, offering the audience his creative ability as an inexhaustible source of opportunities.
. Art Lebedev, R. hints us the truth that the people - not just homo sapiens (wise), not just homo faber (produces), but also homo ludens - people play, and it's not weakness, but the strength of his spirit, guarantee of its freedom
. The new reality in the works of R. Lebedeva immanent in our social reality, and it arises naturally from the artist - as a reward for the openness and ease of the creative act. Game always with something that gets in the game changed a new meaning. Given thing or, as they say, objects, and "people play" the force of his imagination and art will transform them or gives them new meaning. But at the same time he must have such things in themselves would contain the momentum Games. And these things Lebedev invented himself, or rather, discovered in this capacity. He "embody" consciousness "," oplotnil "klishirovannuyu ideology," measured "and" united "the coordinates of the physical space and social. Lebedev has opened a new dimension of plastics, he realized that the ability to be a sign of things, employees rights and to create them, are more stable than many other things in our lives.
. It turns out that in appropriate situations and combinations "in rem" signs, symbols of Soviet reality are quite powerful - at the level of ritual and ceremonial celebration of the new pathos "culture".
. The first step in the element of the game for P. Lebedeva became collages and assemblages
. As if continuing his children's games, he used them toys that create a wonderful tension in the film, ruining its frame and witty saturating the space. Drawn and written mounted with fragments of natural objects, engage with them as if in competition on the credibility of the material, forming an unexpected unity. In compositions R. Lebedeva mid 70-ies often sounded echoes of Russian kubofuturizma - signs, . Billboard, . New Objectivity - all dizzy and was seen as a kaleidoscope, . where objects are frustrated with the usual places and lose their familiar look,
. Here is an urban theme itself provoked the fragmentation of perception. But in the late 70-ies the artist's desire to spice up things even more complicated. There has been a change in the very sight of things: the way the artist develops the assessment. Since things interact not just a painter, to state their individual vision - interacts with people who claimed the reality of the Soviet way of life. He infuses the thing itself, and the thing starts to live in a new reality in the new context. "I like to compare different things - he says - natural and abstract, material from the weightless. This is very interesting - the tree and the cube houses, the sky and the car, the slogan and the people. "
. These, however incidental, shifts and comparisons have led him to a genuine opening of the plastic, the invention, a single conceptual unit to the public welfare in card games Lebedev R.
.

V. Patsukov. "Rostislav Lebedev (abridged). - AZ, 1982, N 4


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Rostislav LEBEDEV, photo, biography
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