SULYAGIN Vladimir

Born in 1942, in Mr.. Nizhny Tagil in the Urals. In 1972 - graduated from the Higher Arts - Industrial College of. NG. Stroganov now University in Moscow.
Activity: painting, monumental art, collage, flat or dimensional, portrait, the book as art.

Collections where works

Works are in the State Museum of Fine Arts. Pushkin;
. Museum of Modern Art, Paul Getty, Los Angeles, USA;
. Gallery 'East - West', London, UK;
. Lyurik - Cabinet Gallery, Munich, Germany;
. in private collections in Austria, Britain, Germany, Israel, Italy, Canada, USA, Finland, France, Sweden
.
Participation in exhibitions and auctions

1992 Personal exhibition 'writers under Stalin'. Museum of Modern Art. Oxford. Kingdom;
1991 Personal exhibition 'writers under Stalin'. Royal Festival Hall. London. Kingdom;
1992 Personal exhibition 'writers under Stalin'. Literary Festival. Cheltnheym. Kingdom;
1992 Personal exhibition 'Painting, collage, book'. 'East - West Gallery'. London. Kingdom;
1993 Personal exhibition 'Painting, collage, book'. 'East - West Gallery'. London. Kingdom;
1995 Personal exhibition 'Painting, collage, book'. 'East - West Gallery'. London. Kingdom;
1996 Personal exhibition 'Paintings, collage, book'. 'East - West Gallery'. London. Kingdom;
Scenic contest 'My Russia - my world', 2 prize, the United Nations Information Center in Moscow;
1990 'Dorotheum', Art Auction. Vienna. Austria;
1994 'Contemporary Art - 94', Art - Fair, Business Design Center. London. Kingdom;
1993 'Adresse Provisoire'. Contemporary art of Russia, Postal Museum. Paris. France;
'3-Eme biennale du livre dartiste en limousin '. Uzersh. France;
1995 'Book Garden, contemporary artists books'. The John Rylands University Library. Manchester. Kingdom;
1995 -1999 'Phoenix', Art Center, Moscow;
1995 Personal exhibition 'Birthday';
1996 Personal exhibition 'Parent Saturday';
1999 State Museum of Fine Arts. Pushkin (private collection). 'Artist's Book'
.
. Autobiographical notes
.
. My portrait matured and came to light in the restructuring Gorbcheva: it unbearable to hide his love for the simple truth, and to my favorite person age: you can try to comprehend the act of nature: that is not now and almost always do - to emphasize only the typical, . relevant to this fate: and so each portrait - choose fateful fact (the cause) and under the plastic and pictorial solutions (by Matisse, . collage and painting there - because the color, . and sculpture - as a relief) and more important: the portraits were born (or demand) and that's when the place (!) and later (yesterday - tomorrow - now) they do not repeat:,
. PS
. Portraits of Van Gogh - something the next - freedom more indirectly with a large roster of meanings, . accents, . shares, . turns: and even inconsistencies: only same price: just want to escape from these eyes and protect his soul from turning - so I do not know what to call it psycho-saving - to be able to visit their friends and be able to return,


. The book chudyatsya gardens dreams and meanings: Guttenberg with his paged brick and rolled east in white gloves and holidays for watching: the computer, . defraud tactile proposals to the real (the virtual) contact - the book is syncretic, . immediately and forever - for both the sculpture and the thing, and home and garden, . place for pleasure and shelters - the object or idea nevoplotimaya, . Games dream, . where it, . almost magical (for Aristov) reads us,


. If you think, . painting - its real (existential) price as follows: Invisible or transparent content between the canvas and an idea - the existence of not only the feelings of the whole - a bunch of formulas or alleged payments - but yesterday's weather, . nature of tomorrow rain, . fluid from the dried flower of the forgotten her glass: color floating past her dress: seed germination: is something indescribable: that we were a bit optimistic to the discreteness of existence: let him in my heart something tender and sad, not only moves,
.

Vladimir Sulyagin 1999.

Criticism

': collages Sulyagina very different from the bulk of Russian paintings and sculptures on display at today's sale in London - realism to the reactionaries. In the past two years among the best I have seen in the Russian art works were associated with unobtrusive materials: direct and powerful, . best collages Sulyagina belong to the world of early Russian modernism - art, . associated with the revolution,
. There is certain irony, but most of his heroes were proud and hopeful at this time. Sulyagin showed snook pomposity of Stalin's taste and subsequent decades of official art, saying more in less. " 'Independent on Sunday', 7. IV. 91, Tanya Harrod, London.

'Samizdat in the paper and glue', Tatiana Herrod. London.

'I was struck by the book by Vladimir Sulyagina, the artist, whose collage portraits now exhibited and received recognition in England. Even under Brezhnev, he began to make books of sliced pieces of paper and paperboard, developing a kind of collage technique, which dates back to Mattis and Malevich: '

. Colin Franklin 'Artist's Book: the disputed and undisputed definition of samples', Journal of decoration' N9-10, 1991, Moscow


. 'A concentrated, a symbolic method of creating a portrait: his portraits are equally originate from a passionate interest in traditional painting of icons and innovative sources of XX century:'

. John Sperling, 'Icons of the victims of our time', London
. John Spurling 'Icons of the modern martyrs', 'The European', weekend April 5-7, 1991, London

. 'Portraits - collages Sulyagina full of energy, . elegant, . economical and unexpected: his technique is probably the most similar to the technique of Japanese artists, . their ability to reduce the formal means almost to extinction, . to capture the spirit of the, . that they represent: ',

. Hilary Sperling 'Profiles of Russian writers of the paper and glue', 'The Daily telegraph', 5
. IV. 1991, London.

'The inner life of poetry and philosophy as a tool for human development - these are the two axes of his work:'

Michael Bonzi 'spiritual life of books and Sulyagin', 'Soviet weekly', 25. IV. 1991, London

. ': trying to convey in symbolism shape the fate of their heroes, . not only physical similarity: discards insignificant, . leaving simple ekpressivnye details - the burning tip of cigarette, . swollen lip, . pair of bushy eyebrows, . tie - Butterfly, . cross on his neck,
. There is something reminiscent of the Japanese art of concentration and economy. Sulyagin explains that his use of color is not natural, and 'semiotic', it seems, he had many times to explain this to the aggressive audience, which prefers the image, rather than an interpretation of reality. : each image in his gallery: has a lively and easily recognizable identity. The strange thing is that although many of them taken from a famous photograph, there is nothing second -. In each case, creates something powerful, new and complete self-expression. Sulyagin stresses, . that does not use the news, . already spent marks or logos, . but tries to give give birth to new: a difficult message to convey in a simple form of the newly established: and tries to give us a 'mark' on the brink of its emergence, . and not just when he was already well known:,
. : his work continues to dispute the role of the artist in society
. But it's nice to note that despite the tragic theme, the overall feeling left by his work is far from oppression. Here the wit, style and energy: '

Margaret Drebl. 'Masks of Stalin'. 'The Gardian', April 13-14, 1991, London.

'Absolutely astonishing: reaching the goal brilliantly: the exhibition, which should look'.

Paul Vahan, BBC, Kaleidoscope, London, 1991. Paul Vaughan, BBC, Kaleidoscope, 1991, London.

Bibliography

'Samizdat in the paper and glue', Tatiana Herrod. London;
Colin Franklin 'Artist's Book: the disputed and undisputed definition of samples', Journal of decoration' N9-10, 1991, Moscow;
John Sperling, 'Icons of the victims of our time', London. John Spurling 'Icons of the modern martyrs', 'The European', weekend April 5-7, 1991, London;
Hilary Sperling 'Profiles of Russian writers of the paper and glue', 'The Daily telegraph', 5. IV. 1991, London;
Michael Bonzi 'spiritual life of books and Sulyagin', 'Soviet weekly', 25. IV. 1991, London;
Margaret Drebl. 'Masks of Stalin'. 'The Gardian', April 13-14, 1991, London;
Paul Vahan, BBC, Kaleidoscope, London, 1991.