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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

Orlov Boris Konstantinovich

( Artist)

Comments for Orlov Boris Konstantinovich
Biography Orlov Boris Konstantinovich
Born 1941 in Khimki, Moscow Region
. 1960-66 studied at MVHPU (Department of monumental and decorative sculpture)
. since 1975 member of the USSR Union of Artists
. 1976-86 one of the organizers of the regular evening and day-long exhibitions in the Club sculptors in the House of Artists in the Kuznetsk bridge
. 1987 one of the organizers of the First Creative Association of Moscow Artists
.
. Collections where works
.
. State Museum of Fine Arts
. Pushkin, Moscow
. The State Tretyakov Gallery, Moscow
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Guggenheim Museum, New York, USA
. Art Institute Museum, Chicago, USA
. Museum fur Modern Kunst im Martin Gropius Bau, Berlin, Germany
. Neue Galerie - Sammlung Ludwig, Aachen, Germany
. п¦ollection of contemporary sculpture
. Seoul Olimpic Park, Seoul, Korea
. Nancy and Norton Dodge Collection, Zimmerli Art Museum, Rutgers University, New Brunswick, USA
. J. Gory, Pistoia, Italy
. M. Cogan, of New York, USA
. V. Ovcharenko, Moscow
. Sidorov, Moscow
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1980 One-day exhibition
. Artist's House at Kuznetsky Most, Moscow
1988 "Orlov and Prigov". Struve Gallery, Chicago, USA
1990 "Orlov". Struve Gallery, Chicago, USA
"Boris Orlov". Sonsbeek Art Center, Sonsbek, Netherlands
1991 GцTtterdцгmmerung. Regina Gallery, Moscow
1994 "Parade of astral bodies". Regina Gallery, Moscow

GROUP EXHIBITIONS

1969 Exhibition of Young Artists. Artist's House at Kuznetsky Most, Moscow
1972 Spring Exhibition. Artist's House at Kuznetsky Most, Moscow
1973 One-day exhibition (jointly with D. Prigov, I. Shelkovskiy, L. juices). Artist's House at Kuznetsky Most, Moscow
1975 Spring Exhibition. Artist's House at Kuznetsky Most, Moscow
1976 "Spring apartment exhibitions" (pre-exposure to the forthcoming exhibition at the Exhibition Hall at the Running street.). Studio M. Odnoralova, Moscow
1981 "Nouvelles Tendences de l` art Russe non officiel 1970-1980 ". Le Centre culturel de la Villediue, Paris, France
1987 "Folk traditions in professional and amateur art". Kashirka, Moscow
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
"Art and Design. Showroom VNIITE, Moscow
1988 "Geometry in Art". Kashirka, Moscow
2-I of the First Exhibition of the creative association of Moscow artists. Artist's House at Kuznetsky Most, Moscow
"Ich lebe - ich sehe". Kunstmuseum, Bern, Switzerland
"Olympiad of Art". Seoul Olympic Park, Seoul, Korea
Labyrinth. Youth Palace, Moscow
"Glasnost". Kunsthalle, Stuttgart, Germany
1989 "ART FAIR". Chicago, USA
"Mosca - Terza Roma". Sala 1, Rome, Italy
Dear Art. Youth Palace, Moscow
1990 "Towards the Object". Kashirka, Moscow
"The logic of paradox". Youth Palace, Moscow
"G. Bruskin, A. Grositsky, N. Kasatkin, Boris Orlov, D. Prigov". Kashirka, Moscow
"ART FAIR". Chicago, USA
"Adaptation & Negation of Socialist Realism". Aldrich Museum of Contemporary Art, Ridgefield, CT, USA
"Basel ART" (International Art Fair). Basel, Switzerland
ART MIF 1. Manege, Moscow
"Miami Beach Art Fair". Miami, USA
1991 "In de USSR en Erbuiten". Stedelijk Museum, Amsterdam, Netherlands
"Art Europe 1991 - Soviet Union". Kunstverein, Hannover, Germany
"Back to Square One". Berman Gallery, New York, USA
"Contemporary Soviet Art: From Thaw to Perestroika". Collection of contemporary art museum Tzaritzyno. Setagaya Art Museum, Tokyo, Japan
1992 Exhibition of recent earnings. Pushkin Museum of. Pushkin, Moscow
"Sots Art". Collection of Contemporary Art Museum Tsaritsino ". State Lenin Museum, Moscow
Festival installation "Animalistckie projects" (action "Catherine"). Regina Gallery, Moscow
"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
1992-93 "Humanitarian aid parcels for Germany. 27 Moscow Artists ". Central House of Artists, Moscow; "Humanitare Hilfe, Packchen fur Deutschland". Tranenpalast, Berlin, Germany
1993 "Philosophy of the name". Contemporary Art Center, Moscow
"Adresse provisoire pour l` art contemporain russe ". Musee de la Poste, Paris, France
1994 Cetinjski Bienale II. Cetinje, Montenegro
1995 "Farewell anniversary" (with S. Faibisovich). Regina Gallery, Moscow
New Sincerity. Goethe-Institut, German Cultural Center, Moscow

Autobiographical notes

In the late 70's, anticipating the end of empire, I decided to create its "generalizing image". The place was vacant. Took first isolate arhimodel imperial art as a thing-in-itself and then to highlight the realities of life around. It was a completely free individual action which had resulted in an eclectic style of the magic of form and content.

Criticism

In the center of creativity Boris Orlov - no style, not plastic (with all their brightness and originality), not metaphysics, not folklore motives and social mythology. Each of these elements finds its aesthetic value, and new meanings are distinguishable only because of what they are. And are they - their own myth of the artist, in which they are fully loaded and the energy of which they are charged. For this myth - the myth of the possibility of Epifanio and artistic representations of Super-individual image.
Of course, in the myth of the artist, it is not talking about the religious, the religious metaphysics of the icon or mandala. Most - about the postmodern reflection on the themes of Freudian super-ego "or the teachings of Jung's archetypes of the" leader "and" Hero ", born from the womb of collective unconscious. Naturally, this reflection on the psychoanalytic and socio-cultural myths, transferred to the art itself becomes a myth - the myth of the artist on the above in various ways. It is this myth is that the central point, . in which "by themselves" converging lines of force deep archaic and avant-garde utopian proektivizma, . Roman ceremonial portraits and sacred Byzantine mosaics, . art of monumental propaganda of totalitarian regimes and the products of mass culture.,
. However, this myth of the myth - is not merely a reference to the postmodern paradigm, transcode and deconstruction, it is also the artist's response to the tragic experience of unfreedom, . Found in the Soviet empire, . and evidence on the experience of the liberation, . initiated decades of avant-garde art there is forbidden.,
. Orlov was one of the first artists who have turned to PEREKODIROVANIyu prevailing socio-ideological sign system
. Like artists, Sots Art ", he also uses the language of irony, the grotesque, simulations, carnival alerting. But this language is directed at him not to "expose", not to educate "demythologization", and to identify the underlying structures of mythological and archetypal images, the underlying socio-political metaphysics. Appear travesty, he took on the role of the artist himself, on his own initiative, began to create "real" art of the empire. Arts regulated, religious, iconographic calibrated - art limitless Triumph, greatness, valor, heroism.
The starting point in creating such art was the distinction between a person, personality, mask, mask. So to clarify the role of independent mass social virtues, ritual, totem signs "in the modern social Heraldry. There was a totemic line construction totem, which was stacked front classic portrait, spurred on in any of the imperial era. The character turned out necessarily a hero, as if repeating a magical function of the archaic heroes: the Great Man, Man Above all, the decree, Steering, Big Man, the most important person ... That is how the system ceremonial portraits of imperial busts, totems, the heroes of the revolution, war, labor, sports. These images, . mifoporozhdayuschemu way back to the most important man, . hierarchical emanations which they are, . self-sufficient in its presence, . and therefore can be implemented in different styles: baroque or Suprematism, . Constructivism and Pop Art,
. However, it will always be the dominant image of the facade - his triumph, a dazzling temptation, supra greatness, shining glory.
. However, . as totems of the Spirit of the Empire, . Images Orlova, . along with the Apollonian clarity, . bear in themselves as an imperial asymmetry: the ambivalence, . duality, . inescapable insoluble contradictions between the facade and the commonness, . order and nature, . sacred and profane, . completed and becomes,
. The fundamental dualism of the empire is assigned an artist with an aesthetic play of the ambivalence of the mark and denotations, emblems and meaning.
. But, . now, . when the kingdom of the Third Rome has deep cracks and there are many reasons to believe, . that the Soviet imperial cult art will soon become the property of archaeologists, . sculptures and objects of Boris Orlov acquire a new dimension: they are the only possible representation, . indestructible, . Eternal Empire - Celestial Empire myths, . legends and artistic imagination,
.

E. Barabanov. From the article "Singer imperial freedom". Catalog of the exhibition "Orlov". Struve Gallery, Chicago, USA, 1990


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