Mareyev Alexander( Artist)
Comments for Mareyev Alexander
Biography Mareyev Alexander
1969 born in Moscow
. 1989 Graduated from the Moscow Art uchilishe memory of 1905 (Department of easel painting)
. He participated in rallies and exhibitions of the Association "Good friends," inspection "Medical Hermeneutics", "Cloudy Commission"
. Collections where works
. Galerie Carenina, Vienna, Austria
. P. Sprovieri, Rome, Italy
. Participation in exhibitions and auctions
. SOLO EXHIBITIONS
. 1991 "Watercolors by Sasha Mareyev"
. L Gallery, Moscow
1992 "Two weeks with the artist's life. Mareyev (A. Lima) - Gallery "Studio 20". Gallery "Studio 20", Moscow
1990 XIX Youth Exhibition. Artist's House at the Kuznetsk bridge. Moscow
"For a cultural holiday". Kashirka, Moscow
"The first day of spring". Artists' studios, Lavroushinsky Lane., Moscow
"The form and content". Trekhprudny Lane., Moscow
Group Exhibition. Gallery "Red Art", Moscow
"Before and after". Youth Palace, Moscow
"Drawings and Paintings". ART Modern ", Moscow
1991 "Wandering Jew". Youth Palace, Moscow
"Saturday Night". Lenin Museum, Lviv
"Novecento". L Gallery. Central House of Artists, Moscow
"The sea of vodka". Trekhprudny Lane., Moscow
1991-92 "C Hovym, tovapischi, a year!". Showroom Fund kultupy, Moscow
1992 Paintings and Drawings. M. , 28, Moscow
"Clarification of relationship with weapons". Trekhprudny Lane., Moscow
"Still leven". Velta Gallery, Moscow
On the transparent ". Regina Gallery. der. Zimenki, Moscow Region.
"a Mosca ... a Mosca ... ". Villa Campoleto, Ercolano; Galleria Comunale d `Arte Moderna, Bologna, Italy
"The Art of the One family puk, apology or embarrassment". Regina Gallery, Moscow
1993 "Art as a power, the power of art". Central House of Artists, Moscow
"Monuments: Transformation for the Future". ISI, CHA, Moscow; ICA, New York, USA
La Biennale di Venezia. Venice, Italy
1994 "The border zone of Art. Festival of Contemporary Art. Art Museum, Sochi
"Tyrannei des schonen" (together with P. Noeverom). MAK (Osterreichisches Museum fur angewandte Kunst), Vienna, Austria
"Drawings". Aidan Gallery, Moscow
1995 "Art of Dying". Yakut Gallery. Manege, Moscow
"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
"in Moskau ... in Moskau ... ". Badischer Kunstverein, Karlsruhe, Germany
"Einblicke" (Werkstatt Moskau II). Galerie im Marstall, Akademie der Kunste am Hanseatenweg, Kunstlerhof Buch, Berlin, Germany
1997 International art fair ART-MOSCOW, XL Gallery. Central House of Artists, Moscow (catalog)
SHARES AND PERFORMANCES
1989 ... between the two bridges, a rug and slippers ... "(together with O. Filyanovoy). Street. Osipenko Moscow
1990 "The First Day of Spring" (with A.-M. Fansoni). Artists' studios, Lavroushinsky Lane., Moscow
"Flowers for Veronica - VIII" (together with K. Reunova and A. Shmandurovoy). Gallery in Tryokhprudny Lane., Moscow
1991 "C + D = A" (together with A. Smyrna and K. Sushchev). Gallery in Tryokhprudny Lane., Moscow
1992 "No words and no name" (with H. Vlachovo). Gallery "Studio 20". Moscow
1993 "Lazy-Yin" (together with A. Melamid). Gallery M. Gelman. Moscow
1994 "Fist of the snake" (within the Sochi festival of contemporary art, together with a group of artists). Passenger train "Moscow-Sochi", Sochi-Moscow ".
"The ant and a dragonfly over the bridge under a bush". Botanical Garden, Moscow
1995 "..., ..., Homeland and Noma (in the exhibition "Art of Dying"). Manege, Moscow
"Winter" (with A. Alekseev). Artist's House at Kuznetsky Most, Moscow
"Exhibition of elite high-class, only three". On the territory of the Pushkin Museum of. A.S. Pushkin, Moscow
. Among the most meaningful and at the same time irresponsible arguments about the modern concept of the cultural history of sound options to answer the question: Is the art of at least some foundation in the physical world of nature - a non-historical, . indescribable, . untold, . not yet named AdamomN Or the whole history of art - it is the consistent expression phantoms of human speech, . mightier, . than all the physical forces of nature, . and with even greater tenacity in the hosting space space, . On the earth, the earth,
. As all the issues raised oppozitivnym thinking, this sounds silly, but that's why answers have become even more relevant and interesting.
. If it does prevent, . that works of art have the exact address in one of the threads of language, . if we are able to see and hear the rich and intonation line of action of the artist in one way or another decorated in the fields of literature, . some of Sasha Mareyev after a series of coincidences and deceptive identities will turn to the observer a strange and ambiguous stretched zone, . border with the space of languages, . of which meets the most sacred and mysterious system among the registered organizations in the Russian literature of the second half of the twentieth century,
* * *
In the context of conceptual art that were left in 1990, the basic reference model of artistic practice, the work of Sasha Mareyev looked strange. This strangeness, defined form of "strange, strange," sounded not to accept, open graphic sheet or series. It is not so much on plastic transparency, as a lack of commitment to include a description of the image. Non instructions on comments or explanatory text, the work Mareyev appeared as disorganized and superficial quoting brilliant, but difficult to remember, deprived of authorship fragments.
. In the performance Mareyev Citation, . which a lot of time and to no say in artistic environment, . different order, . that due to frequent, . too frequent and often inappropriate Multiplier "citations" lost many of the signs of quotations, . including quotes,
. So they were deprived of their basic ancestral trait. This work Mareyev announced his alibi, and so the fragments of history becomes a position of indifference to its historic status.
Citation is a draw. A circulation - is the loss of uniqueness, to be exact - an escape from the idea to the fiction, the absolute triumph of writing over spoken language, disregard for the historical integrity and coherence, and finally, the inability to select the interlocutor
. * * *
. In the preceding snippet, mainly for the reader becomes a consistent occurrence of the three definitions of Mareyev: a strange, superficial and irrelevant, as well as their sustainable combination with the noun in the language of history.
. In the "singularity" we hear the detachment, based on an indifferent attitude toward any attempts to register one (single) "history", to the very intention to assign and maintain certain universal and comprehensive "historical process".
. At the same time, artistic practice is registered only as a permanent hit the "different stories", too private, or recall the widespread in the early 90's, the word "private" in order to attend Stories
. This is not the events and stories that can be represented as an event or on-site events, stories, actually replaced in the language or history of involvement in the general strategy of modern culture. Tell a story, so-called "lies, folding in pitiful poems, replaced critical judgments and expert evaluation of the artist's work.
. Thus the essential characteristic is determined mareevskih works - it would be inappropriate, ie, the absence to date, the actual process of recording the history of art.
. And this is a case of so-called motsartianstva - an indifferent attitude toward the intention to describe the place of modern art and its involvement in the designation of this place
. And instead it was possible to slide on the surface lying fate, history and life.