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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

Nicholas L. Selivanov

( Artist)

Comments for Nicholas L. Selivanov
Biography Nicholas L. Selivanov
1961 born in Baku
. 1977-81 studied at the Moscow Art School memory of 1905
. 1982-87 studied at the Moscow Higher School of Industrial Art (Ceramics Branch)
. 1987 Head of the author's workshop in Krasnopresnenskaya "children's art school
. 1990 founder and artistic director of the "workshop of the future
. Art Technology and Education
1991 invented a method of optical imaging (certificate RAIS, 1993)
1994 one of the curators of the educational project "United Art Workshops. Contemporary Art Center, Moscow
. 1994 author's training program in visual culture for different age groups of students in special schools
.
. Collections where works
.
. Ministry of Culture of Russia, Moscow
. Video Archive Champ libre, Montreal, Canada
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1991 "Kizhi" (author's project)
. Kizhi Island, Karelia, Moscow
1992 "Optimization of illusions". Showcases Design Center VNIITE, Moscow
Danae (and live performance model). Design Center, VNIITE, Moscow
1993 "Moscow Art Nouveau" (Exposure Draft). Moscow
"Purple Pyramid". Shkola Gallery, Moscow
1994 "After Surgery". Shkola Gallery, Moscow
Copyright 1995-96 course "Principles of visual culture", "Information Technology in the Arts", "Video Equipment in the art of knowledge", "Multimedia" in RGGU
GROUP EXHIBITIONS

1987 XVII Exhibition of Young Artists. Artist's House at Kuznetsky Most, Moscow
1988 XVIII Exhibition of Young Artists. Manege, Moscow
"Eidos". Youth Palace, Moscow
1989 XIX Youth Exhibition. Artist's House at Kuznetsky Most, Moscow
1993 "Supervesch". Central House of Artists, Moscow
"ART MIF 3". Shkola Gallery. Manege, Moscow
"New Territories of Art. State Art Museum, Krasnoyarsk
1994 "NewMediaTopia". Central House of Artists, Moscow
1995 "19 The demonstration of the international video and electronic art". Montreal, Canada 1996 "Workshop Creators". Museum Center of Russia's State Humanitarian University. Moscow
International Art Fair "Art Manege", ( "Multi"). Manege, Moscow
International art fair ART-MOSCOW ( "Carpet Meyerhold"). Central House of Artists, Moscow (catalog)
1997 ARS ELECTRONICA `97 (" Moscow Colossus "). Linz, Austria

VIDEOGRAPHY

1995 "Skeleton. Frame ", Hi-8 master, 11 minutes
"The winners and their wives," Master Hi-8, 6 minutes
"Warning. Transgression ", Hi-8 master, 30 minutes
"Hermitage", Hi-8 master, 30 minutes
1996 "Drawing the pattern, the master Hi8, 6 min

NETWORK PROJECTS

1997 "Moscow Colossus". Virtual Museum
"Carpet". Virtual Museum
"Nothing". WEB poetry
"Open-air museum. Educational Science Museum of Russia's State Humanitarian University (jointly with the Soros Center for Contemporary Art, Moscow). Moscow
1998 "TAM (tamogochi)". Netart
Autobiographical notes

The fact that post-modernist strategies, electronic technology is one of many ways of representation, such as painting, installation, or your own body. Central location for the postmodern paradigm devoted to justifying the choice of one or another form of representation. These intelligent arguments are described in a special vocabulary, mostly translated from French. But the lexicon was itself so compelling, charming and self-sufficient, which often has to displace all the "extra" from the art project, leaving only the most necessary, so as not to lose the territory of artistic culture. Strictly, . for optimal implementation of the projects appeared two presentable canon: the first began to look like a set of two sheets of paper - presentable description and reflection, . criticism of this description, . with an optional intermediate artistic act, and the second canon, . simpler, . when a representative description is replaced by an act of vague affectation, . opens up limitless possibilities for critical interpretation,
. With all the artistic self-esteem of these phenomena, their obvious dependence on the literary descriptions. And this is natural, since they are the product of the constructions carried out in the framework of the structuralist vocabulary. This lexicon, created to review the written literary text, in the artistic culture of the means to describe an end in itself, having lost the object of art.
. The situation began to change when the artistic culture became actively penetrate electronic technology
. These electronic media have opened up new space for artistic activity. But it is curious that the artistic intelligentsia, who have mastered the structuralist and post-modern experience, the majority ignored the opportunity to engage in this process. The point here, obviously, not in formal constraints - high cost and complexity of the development of technology, and in rejection of the electronic means for artistic expression as a foreign. Such rejection is very symptomatic, it is based on the heterogeneity of the two types of cultures - the written and visual. And electronics, except for maintenance of the dominant type of written culture, was so powerful and versatile tool that became the basis for the formation of a new visual culture. The young nekanonizirovannoy culture, as in any of the cultures, has its own characteristics. They manifest themselves primarily in the perception of the world in carriers of this culture. These ideas are just forming, but the most significant are already known - is a global unity of information space and Artificial Intelligence. Based on these representations, it becomes possible to speculate on the specifics of artistic expression in the electronic technologies.

Criticism

In the dimly-lit room looking over the wall are two glowing eyes. Or we, as ophthalmologists, see inside someone's retinas and finds the simplest structure - patterns that are found Malevich and Tatlin, the first surgery of Russian art: circle, triangle, square, cross.
By Arnheymu, perception tends to achieve the most structurally simple configuration. Regardless of whether the object plane or volume, the perception is always based on visual images, projected through the lens of the eye on the eye. The images reflected on the retina are two dimensional, like a picture painted on the bottom of the bowl.
Each projection on the wall - it is three layers: as if the retina of the eyeball, a black character, and the inverted flame. Nikolay Selivanov, long and seriously concerned with the theory of visual perception, is alchemical studies in search of a new universe, and as a scientist who understands even the familiar in a completely different light. His works are not read by uniquely offering each viewer his suite for a walk. Two black and white projection in the niches where the shade is so deep that creates a background of black nothingness. The projection of the first: a magical star of David and "God's chosen" the phallus, the second - the Greek letter omega, inside which the gigantic shadow of an ant. During the opening day a little ant performs the dance of death, projecting their movements onto the retina. Conquerors of the Earth, ants, feels the world antennae. Other antennal segments have different purposes: the twelfth segment is specialized for distinguishing the spirit of the nest, the tenth sees traces on ant trails, sixth and seventh - the smells of enemies. Eyes working ants distinguish only light from the darkness. Themselves as they seek to escape into the shadows, into darkness. Red ants do not see it for them no different from black - from the darkness. However, other colors look for ants other than for human. Ants see invisible things we. Their eyes are a kind of magnifying glass of time, which would increase as compared with the number of human eyes moments per unit time and increases the resolving power of. That is, the ants, as in the ultra-sensitive photographic plates, you can record the phenomena elude observation: the moments of transition or phase of flight.
Exhibition impresses laws of visual perception. These include: the contrast of figure and background, the ratio of part and whole, vertically and horizontally, maintaining a constant image. We see all this rational mechanics, and at the same time, we only believe what we see: when the gallery off the light, the walls spotlessly clean. Magic mirages, only a fraction of a second delayed by inertia on the retina of our eyes.

E. Rukhin. Ant "dance makabr". - Today, 1994, April 27


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