Plavinskaya Dmitry Petrovich( Artist)
Comments for Plavinskaya Dmitry Petrovich
Biography Plavinskaya Dmitry Petrovich
1937 born in Moscow
. 1956 Graduated from the Moscow Art School in memory of 1905 (Theater Department)
. since 1975 member and regular participant of exhibitions Municipal Committee of the graphs in the Little Georgia
. since 1978 member of the Moscow Artists
. 1991 lives and works in New York and Moscow
. Collections where works
. The State Tretyakov Gallery, Moscow
. State Museum of Fine Arts
. Pushkin, Moscow
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. The State Russian Museum, St. Petersburg
. Simferopol Art Museum, Simferopol, Ukraine
. Museum Ludwig, Cologne, Germany
. Metropolitan Museum of Art, New York, USA
. Museum of Modern Art, New York, USA
. Norton and Nancy Dodge Collection, Zimmerli Art Museum, Rutgers University, New Brunswick, USA
. Duke University Museum of Art, North Carolina, USA
. Private collections in Russia, Germany, France, USA etc.
Participation in exhibitions and auctions
1958 MSU named. Lomonosov Moscow
1960 Exhibition at the apartment I. Tsirlina, Moscow
1970 House of Science, Joint Institute for Nuclear Research, Dubna
DK 1985 Institute of Atomic Energy. Kurchatov, Moscow
1990 Gallery "Today", Moscow
1993 Alex & Edmund Gallery, New York, USA
"Exhibition of Painting and Drawing". Mansion receptions Foreign Ministry, Moscow
1995 Gallery House Nashokin, Moscow
1957 III exhibition of young artists in Moscow and Moscow region. Artist's House at Kuznetsky Most, Moscow
1957 Exhibition of young Soviet artists. IV World Festival of Youth and Students. Academy of Fine Arts, Moscow
1957 international exhibition of artists studios. IV World Festival of Youth and Students. Central Park of Culture and Rest, Moscow
1958 IV exhibition of young Moscow artists. Artist's House at Kuznetsky Most, Moscow
1959 V exhibition of young Moscow artists. Artist's House at Kuznetsky Most, Moscow
1960 Exhibition at the apartment I. Tsirlina, Moscow
1960 Exhibition at the apartment G. Kostaki, Moscow
1960 Exhibition of the Art School graduates memory of 1905. Central House of Arts, Moscow
1964 "Aspects of Contemporary Soviet Art". Grosvenor Gallery, London, United Kingdom
1965 "The Fielding Collection of Russian Art". Arleigh Gallery, San Francisco, USA
1966 Wystawa prac. XIX festival sztuk plastycznych. Sopot, Poznan, Poland
1967 "exhibition of twelve artists'. Club Friendship, Moscow
1967 "Paintings and Drawings from the collection of A. Glezer". CX Georgian SSR, Tbilisi
1967 "A Survey of Russian Painting, Fifteenth Century to the Present (including the Huntington Garford Collection)". Gallery of Modern Art, New York, USA "Quindici giovani pittori moscoviti". Galleria il Segno, Rome, Italy
1967 "Peinture nouvelle d` URSS ". Maison de la Tour; Galerie ABC; Saint-Restitut (Drome), France
1968 "Autumn Exhibition of Moscow Artists". Showroom MOSH on Running, Moscow
1969 Institute of World Economy and International Relations, Moscow
1969 "Neue Schule von Moskau". Galerie Interior, Frankfurt; Galerie Behr, Stuttgart, Germany; Galleria Pananti, Florence, Italy
1970 "Exhibition" in the open air "in the courtyard of the mansion of the American journalist E. Stevens'. Street. Ryleeva d. 11, Moscow
1970 "Panorama de la jeune peinture slave". L `atelier du soleil, Versoix, Geneva, Switzerland
1970 "Nuove correnti a Mosca". Museo Belle Arti, Lugano, Switzerland
1970 "Russische Avantgarde in Moskau heute". Galerie Gmurzynska, Cologne, Germany
1970 "Alexei Smirnov und Russische Avantgarde von Moskau". Kunstgalerie Villa Egli-Keller, Zurich, Switzerland
1971 "10 Kunstnere fra Mosca". Komune Kulturfond i Samarbejde med Billedkunstnernes Forbund Nicolai, Copenhagen, Denmark
1973 "Avant-garde russe de Moscou 73". Galerie Dina Verny, Paris, France
1974 "Progressive Stromungen in Moskau 1957-1970". Museum Bochum, Bochum, Germany
1974 "8 peintres de Moscou". Musee de Peinture et de la Sculpture, Grenoble, France
1975 "Painting Exhibition at VDNKh. VDNH, pavilion "Beekeeping", Moscow
1975 "Russischer Februar 75 in Wien. Sammlung Alexander Gleser ". Kunstlerhaus, Vienna, Austria
1975 "Nonkonformistische russische Maler. Sammlung Alexander Gleser ". Kunstverein Braunschweig; Kunstverein Freiburg; Kunstamt Charlottenburg, West. Berlin, Germany
1976 "Seven Artists". Gorka schedules, Moscow "Exposition au Musee Russe en Exil" (collection A. Glezer). Montgeron, France
1976 "Nonkonformistische russische Maler. Sammlung Alexander Gleser ". Stadtgalerie 1976 "Die Fahre", Saulgau, Germany
1976 "Deuxieme Biennale Europeenne de la Gravure". Meluzov, France
1976 "Nonkonformistische russische Maler. Sammlung Alexander Gleser ". Kunstverein, Konstanz, Germany
1976 "New Art from the Soviet Union". Convention of the American Association for the Advancement of Slavic Studies, San Luis, USA
1976 "Image of Modern Russia (A. Glezer Collection)". Parkway Focus Gallery, London, United Kingdom
1976 "La peinture russe contemporaine". Palais des Congres, Paris, France
1977 "Unofficial Art from the Soviet Union". Institute of contemporary arts (with the collaboration of the Russian Museum in Exile, Mongeron). London, United Kingdom
1977 "Biennale Internationale des eaux-fortes". Mulhouse, France
1977 "Autumn Exhibition of Painting". M., 28, Moscow
1977 "La nuova arte Sovietica". La Biennale di Venezia, Venice, Italy
1977 "Russian and Soviet Painting. An Exhibition from the Museums of the USSR ". The Fine Arts Museums of San Francisco, San Francisco; The Metropolitan Museum of Art, New York, USA
1977 "Arts et Matiere. Avec la partipation des artistes russe contemporains ". Orangerie du Luxembourg, Paris, France
1977 "Les peintre non-officiels de l` Union Sovietique ". Maison de la culture, Saint-Maur, France
1977 "New Art from the Soviet Union". Herbert F. Johnson Museum of art, Cornell University, Ithaca; The Arts Club of Washington and the Kiplingert Editors Building, Washington, USA
1978 "L` art russe non-officiel ". Musee des Beaux-Arts; Musee du Vieux Chateau, Laval, France
1978 "Rassegna sul dissenso culturale nell` Est europio ". Scuola Art e Mestiert, Aula Magna Scuola cantonale di Commercio, Aula Magna Municipio, Sala Patriziale, Bellinzona, Switzerland
1978 "Russische Maler der Gegenwart Peretz Auktion 76". Modern Galerie Auktionshaus Peretz. Saarlandmuseum, Saarbrucken, Germany
1978 "La nuova arte sovietica". La Biennale di Turin. Palazzo Reale, Turin, Italy
1978 "Libera arte sovietica". Milan, Italy
1978 "Contemporary Unofficial Soviet Art". Municipal Museum, Tokyo, Japan
1978 "Aspetti e documentazione degli artisti non conformisti dell` Union Sovietica ". Museo Civico di Lodi, Lodi, Italy
1979 "Color, space, form". M., 28, Moscow
1979 "20 Jahre unabhongige Kunst aus der Sowjetunion". Kunstsammlung. Museum Bochum, Bochum, Germany
1980 "19 Moscow Artists". M., 28, Moscow
1980 "Exhibition of New Acquisitions 1970-1980". Pushkin Museum of. Pushkin, Moscow
1980 "L` art russe a Paris a 75 ans ". Galerie Chantepierre, Aubonne, Switzerland
1980 "Primier Biennale des peintres russes". Centre des art et Loisirs de Vesinet, Vesinet, France
1980 "15 de Moscou". Galerie Moscou-Petersbourg, Paris, France
1980 "Biennale de l` Art Graphique-80 ". Galerie Moscou-Petersbourg, Paris, France
1980 "Nonconformist Russian Art". Vancouver, Canada
"Exhibition of Russian unofficial art". Salon Fieristico, Rimini, Italy
1981 "25 Years of Soviet Unofficial Art: 1956-1981". Museum of Soviet Unofficial Art in Exile. CASE, Jersey City, USA
1981 "Autumn Exhibition of Painting and Drawing". M., 28, Moscow
1981-82 "25 annees de l` art sovietique contemporain ". Museum of Contemporary Russian Art, Montgeron, France
1982 "10 Moscow Artists". M., 28, Moscow
1982 "50 years of MOSH". Central House of Artists, Moscow
1983 "Unofficial Art from the Soviet Union". Capitol Hill, Cannon Rotunda and Russel Rotunda, Washington, USA
1983 "Exhibition of the works of Moscow Artists". University of San Jose, Costa Rica
1983 "exhibition object. Artist's House at Kuznetsky Most, Moscow
1984 "Unofficial Russian Art". Meerbuscher Kultursommer, Meerbusch, Germany
1984 "Exhibition of Drawings". Galerie Marie-Terese, Paris, France
1984 Exhibition of Painting. M., 28, Moscow
1985 Exhibition of Painting. M., 28, Moscow
1986 "GTR and art". Central House of Artists, Moscow
1986-87 Exhibition of Painting. M., 28, Moscow
1987 "Retrospective of Moscow Artists. 1957-1987 ". l the "Hermitage". Profsoyuznaya st., Q. 100, Moscow
1987 "Watercolor, drawing, printmaking,. M., 28, Moscow
1988 "SOTHEBY` S. Russian Avant-Garde and Soviet Contemporary Art ". World Trade Center, Moscow
1988 "Ich lebe - Ich sehe". Kunstmuseum. Bern, Switzerland
1988 "Exhibition of Moscow Artists". Museum Bochum, Bochum, Germany
1988 "Exhibition of Soviet Artists". Copenhagen, Denmark
1988 "Exhibition of works of art XVI-XX centuries from the collection of G. Basmadzhyana", State Tretyakov Gallery, Moscow The State Hermitage, Leningrad
1989 "Festival of avant-garde art". Museum of Musical Culture. Glinka, Moscow
1989 "Spiritual Art" (in collaboration with the Moscow Patriarchate). Exhibition Hall Solyanka, Moscow
1989 "Phillips Auction". London, United Kingdom "Graphic Moscow Artists". Central House of Artists, Moscow
1989 "Von der Revolution zur Perestroika. Sowjetische Kunst aus der Sammlung Ludwig ". Kunstmuseum, Lucerne, Switzerland
1990 "Towards the Object". Kashirka, Moscow
1990 "ART MIF 1. Central House of Artists, Moscow
1990 "Anniversary Exhibition of the Municipal Committee of graphs". Manege, Moscow
1990 "Exhibition of New Acquisitions 1980-1990". Pushkin Museum of. Pushkin, Moscow
1990-91 Other Art. Moscow 1956-1976 ". Gallery Moscow Collection. State Tretyakov Gallery, Moscow; RM, Leningrad
1991 "Contemporary Soviet Art: From Thaw to Perestroika". Collection of contemporary art museum Tzaritzyno. Setagaya Art Museum, Tokyo, Japan
1991 "Modern Art from Russia - Contemporary Artists". Tang Collection, Hong Kong
1991 "Russian Art Now: the Moscow Avant-Garde". Gregory Gallery, Washington, USA
1991 "Shemiakin, Tselkov, Plavinsky etc.". Alex & Edmund Gallery, New York, USA
1991 "V izbah / in the room;. Dom kultury, Bratislava, Slovakia
1991 "In de USSR en Erbuiten". Stedelijk Museum, Amsterdam, Netherlands
1992 "Moscow Romanticism". Central House of Artists, Moscow
1992 "New Directions". Selected from the George Riabov Collection of Russian Art, the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union, the Gordon Henderson Collection of Stained Glass Design. The State University of New Jersey, Rutgers, Jane Voorhees Zimmerli Art Museum, New Brunswick, USA
1993 "The George Riabov Collection of Russian art". The State University of New Jersey, Rutgers, Jane Voorhees Zimmerli Art Museum, New Brunswick, USA
1993 "National traditions and postmodernism". State Tretyakov Gallery, Moscow 1994 Cetinjski Biennale II. Cetinje, Montenegro
1994 "Nie i Konformosci". Krolikarnia, Warsaw, Poland 1995 "On the 20 th anniversary of" Bulldozer Exhibition ", Gogol Boulevard., Q. 10, Moscow
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 1995 Mimi Ferzt Gallery, New York, USA
I was born in Moscow in 1937 in Arbat lanes. In the same year, had been deported my mother, with whom I had met eleven years. Drawing began with ten years of age, many copied from accidentally discovered in the library of his father's three-volume history of art Gnedich.
From 1951 to 1956 he studied at the theater department of art school memory in 1905. Managed office VA Shestakov, in the past - the main artist theater. Meyerhold. Another teacher - Leonid Fedorov - accustomed me to the mysteries of painting techniques. Tracks, as will transform a white sheet, of course, I owe Ovseyanu wonderful teacher, with whom we worked in 1952. At various times in the same learned my future colleagues: Krasnopevtsev, Sveshnikov, Zverev.
In 1957, Russian artists first became acquainted with modern art in Europe and America at the Moscow International Youth Festival. It was a powerful impetus for the emergence of new art in Russia. This time agonizing search for a path. "Still life with scissors," "The girl at the window" (Zimmerli Art Museum, New Brunswick, USA) - the first work built on a combination of different textures.
In 1958 - first trip to Central Asia. Opening for a brilliant poetry of Khlebnikov. Start abstract real time. Attention to texture.
In 1960, opened my first solo exhibition at the apartment of a progressive art historian Ilya Tsirlina. George Kostaki, world-renowned collector of Russian avant-garde 20-ies, gets from this exhibition of my work "Screaming fish". This work opens the broad topic of fish, turtles, lizards, beetles, butterflies. A year later, Nina Stevens begins to collect my work. By the 50 th anniversary of Soviet power in 1967 in New York at the Museum of Modern Art opened the exhibition of Russian art 15-20 centuries. Stevens puts his collection of contemporary Russian avant-garde. It had before it the twenty-two of my works. Three of them became the Museum of Modern Art in New York.
. In 1962 the track "Voices of Silence" (Museum of Modern Art, New York), first develops the theme of Time, where the fate line of multi-cultures of mankind, interwoven with each other, give the impression hiromantichesky universal time.
. In 1965, the picture was written "Tselokant" (Museum of Modern Art, New York)
. It is given a dramatic image of the ancient fish, in the throes of giving birth to human. The dark night of Stalinism sought to hide the impenetrable gloom of the great cultural past of the Russian people. We passionately began to restore the destroyed no connection. Since 1959 I have traveled and worked in Northern Russia: Novgorod, Pskov, Ferapontov Monastery, Yaroslavl, Kostroma gave me a great deal of material on modern catastrophic state of ancient Russian culture. I enthusiastically worked in local museums and monastic libraries of Slavic paleography. On the basis of this material was written by a number of works, chief among them being: "The Gospel of John, in 1966 and" Word ", 1967 (Tretyakov Gallery, Moscow).
. In the song "Word" the first phrase of John's Gospel: "In the beginning was the Word and the Word was from God," mathematically multiplied by itself, evolving from the center of the picture in the cryptogram to its ends
. Here, given the view of words on earth, granted by God to man.
Since 1969 I have long lived in the village. Before me is a tragic picture of extinction and unbearable life of Russian peasants. The subject I have devoted a series of etchings, which has developed over 15 years. Rustic theme, I finished the painting "Running in the darkness" ( "Dog") - acquired by the Museum Ludwig, Germany. Complex architectonic structure "Cross", 1976, sums up my ideas for almost twenty years.
In 1977, I abruptly turn on the texture and poluobemnyh works to varnish-lessirovochnomu space, absorbing object and its dematerialized. The focus becomes not an object, and space.
My many trips to Central Asia, I summarized in a series of "Skull and the Koran" and in a complex object "Asia. City of the Dead "(Museum of Modern Art, Tsarina, Moscow). In my new lessirovochno-spatial system were written in the picture: "Old Armchair" (1977), "Flying Fish" (1978), "Skat" (1981), "Turtle" (1982).
. I am always searching for communicating not only with the artists, how many people really enrich my inner world: poets, musicians, mathematicians, geologists and astronomers.
. Since 1988, I include songs, rhythmic construction notation of Bach, Mozart, Stravinsky, and here in America - working with Notation of American composer George Crumb.
. By the will of fate, being in New York, I discovered that the Earth really is round
. And the circle as the geometry of the pattern adopted in my painting. In the circle, there is essentially no bottom and top, the concepts of right and left shifted. Linear perspective of Renaissance loses its meaning on a spherical surface, where the view is shifted from the Earth to space. These ideas formed the basis for installation "Genesis". It is both the creation of the music world and the creation of the music world.
I, as an artist formed in the 60's, involuntarily belong to the followers of the ideas of the early twentieth century German philosopher Spengler. Its morphological approach to culture - the seed, flower wilting - the basis for the expanded left to right, as a record of thoughts, songs, from Mozart to Salieri. In the first part, the left, given the tree - the symbol of the natural development of culture. In the central part, through the concentric steps of the ancient theater to the ruins of a Greek temple gradually unfolds the world of Mozart's divine harmony. Right, the final part, entitled "Night of Salieri is a topic of high ideals in the collapse of the soulless modern electronic world.
. Panorama of New York Bay at sunset is an unforgettable spectacle grandiose
. Developing Vertical, . city as it grows from nothing and nowhere, . parallelism quartz faces of skyscrapers, . refracting rays of the setting sun, . create the illusion, . that the city was not built by human hands, . but there is a crystalline natural formation on a piece of the crust,
. He seemed to be created simultaneously with the planet, and only just two centuries ago, suddenly revealed itself from the bottom of the ocean world. At the same time I was seized with a sense of foreboding that this part of the globe in some future awaits the same fate which had the kingdom of Montezuma. These conflicting impressions and anxious mood bears the installation of seven three-meter vertical "Altar of Nostradamus". It closes a cycle of works with Notation of the American contemporary composer George Crumb, on which I worked in America for more than two years.
In conversation Dmitry Plavinsky calls himself a gypsy. That he wants to say, . that in his art, he travels spiritually and intellectually in the geological, . geographical and religious Times, . and that his art reflects more its own interests, . than the culture of his native Russia or the U.S., . where he lived since 1991,
. Indeed, the notion of motion - is the key to his art and the unifying theme of works at this exhibition. The fact that they were completed in the past year and a half in this country, less important than the fact that they convey the idea that Plavinsky nurtured over the years.
. A series of works related to music, gives an idea about the spectrum of ideas within which Plavinsky moves
. They originate in the hear more in Moscow concert of George Crumb - American avant-garde composer. Plavinsky found that the music somehow reminds the city of New York. So, . mentally combining the eye of the composer with the eye of Nostradamus, . 16 th century French astrologer, . artist allowed round "look" through the panel in the future unsolved, . and at the same time, . composition of panels are somewhat similar outline of New York at sunset,
. For Plavinsky Thus, future time is integrated with past and present in his earlier works, written in Russia. In later works, written in this country, the past tense is integrated with the present.
"Manhattan-fish" is similar thoughts about the interpretation of continuity and discontinuity over time, although the images are, paradoxically realistic. Plavinsky takes Manhattan in space and in comic terms. Perhaps only a man with a very peculiar sense of time could see the obvious - the outlines of Manhattan Island coincide with the form of fossilized prehistoric fish. But it scales or what they like, are system subway map. Combining geological and now Plavinsky, equally proficient in the game of words, see Manhattan as an island, Grounded past tense, but nevertheless, the city is absolutely modern.
. Exactly the same bizarre combination of ages is in the look Plavinsky at the Inca city of Machu Picchu, visible through the grid coordinates, used by astronauts
. This is a very clever and deeply, as the artist knows that we can not understand another civilization, remote in time, will inevitably look to the modern point of view. View from ground level or from the air gives us information, but not necessarily understanding. Offset by removal of - literally - in this case occurs when the concept of modern times, here symbolized by the coordinate system applied to the past.
. Comparison of the Dead Sea Scrolls with skyscrapers creates another interesting clash of times, paying attention to the personal and social values
. Although the scrolls appear in the form of skyscrapers, Plavinsky wants us to perceive them not as a building, but like a mirage, as a sanctuary, which magically appears in front of a wandering stranger. But the stranger, of course, brings with it its modern baggage. Competing ages, biblical and modern, suggests a conflict of ethical values. In works such as this, and in a picture of Machu Picchu, Plavinsky finds himself a moralist, in the depths of the soul seeking the truth, but knowing that it is socially conventional and uskolzayuscha.
. His most abstract statement is a picturesque series of "turtle-shell", which appeared after repeated visits to the Museum of Natural History
. It is intended to symbolize the passage of time in general, as well as the period when the earliest inhabitants inhabited continent, and in their religious rituals such as shells acquired a sacred significance. Especially in these images fascinating combination of ancient and modern textures. As in all the pictures Plavinsky, but especially in those Tortoise Shells, the image plane, frontal, centralized and devoid of any air. This means that they are based on a modern style, but call to mind the distant and ancient times and subjects, the memory is not physical, but as if seen in dreams, spiritual. At the same time, strong refined technique Plavinsky draws attention to the physical presence of the painting surface. Tensions between the subject image and style are brilliantly balanced and harmonized, . combining modern pictorial surface and the past history, . direct objectivity and intellectual imagination, . as well as an ironic comment and psychological depth,
. Few artists today are carrying out their paintings so perfectly and so simple, or invite us to a journey with changes over time in such an organized manner. Pictures Plavinsky, in this sense, and easy to read and confusing, as our understanding of present and past.
M. Beygell. From the catalog of solo exhibition D. Plavinskaya gallery Alex - Edmund ", New York, 1993