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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

Semen Faibisovich Natanovich

( Artist)

Comments for Semen Faibisovich Natanovich
Biography Semen Faibisovich Natanovich
photo Semen Faibisovich Natanovich
1949 born in Moscow.
1966-72 studied at the Moscow Architectural Institute.
1977-89 Member of the Municipal Committee of graphs
.
. Collections where works
.
. European Trade Bank, Moscow
. Firm "Idigov Product", Moscow
. Phyllis Kind Gallery, Chicago, New York, USA
. Struve Gallery, Chicago, USA
. Museum Ludvig, Cologne, Germany
. Neue Galerie Sammlung Ludwig, Aachen, Germany
. Gallerie Inge Baecker, Cologne, Germany
. Kunsthalle in Emden, Emden, Germany
. Museum of Modern Art, Lodz, Poland
. Galerie P. Sprovieri, Rome, Italy
. Time Magazin, New York, USA
. Nancy and Norton Dodge collection, Zimmerly Art Museum, Rutgers University, New Brunswick, New Jersey, USA
. J. Stewart, A. Lobell, New York, USA
. L. Pollock, Chicago, Boston, USA

.

. -------------------------------------------------- ------------------------------
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1988 Phyllis Kind Gallery, New York, USA
. 1989 Phyllis Kind Gallery, Chicago, USA
. 1990 Phyllis Kind Gallery, New York, USA
. First Gallery, Moscow
. 1991 Galerie Inge Baecker, Cologne, Germany
. 1992 "The latest demonstration"
. Regina Gallery, Moscow
1993 "Evidence". Regina Gallery, Moscow
1994 "Chronicle of Current Events. Yakut Gallery, Moscow
1995 "Farewell anniversary" (with B. Orloff). Regina Gallery, Moscow
1997 "A chill ran for the gate". L Gallery, Moscow
GROUP EXHIBITIONS

1976-88 Exhibitions at Georgia M., 28, Moscow
1984 XV Youth Exhibition, Moscow
1985 XVI Youth Exhibition, Moscow
1987 "Direct from Moscow". Phyllis Kind Gallery, New York, USA
"International Art Fair". Chicago, USA
"Retrospective of Moscow Artists. 1957-1987 ". l the "Hermitage". Profsoyuznaya st., Q. 100, Moscow
"Post-Socialistic Realism: New Soviet Reality". Firebird Gallery, Alexandria, USA
1988 "Ich lebe - Ich sehe". Kunstmuseum, Bern, Switzerland "International Art Fair". Chicago, USA
"Art Fair Cologne". Cologne, Germany
"Art Messe". Basel, Switzerland
"Glasnost". Kunsthalle in Emden, Emden, Germany
"Behind the Ironical Curtain". Galerie Inge Baecker, Cologne, Germany
Labyrinth. Youth Palace, Moscow
1989 "Picture of painting". First Gallery, Moscow
"Behind the Ironic Curtain". Phyllis Kind Gallery, New York, USA
"Interart". Poznan, Poland
"Moscow-3. Eva Poll Gallery, West Berlin
"International Art Fair". Chicago, USA
1989-90 "Von der Revolution zur Perestroika. Sowjetische Kunst aus der Sammlung Ludwig ". Kunstmuseum, Lucerne, Switzerland; Palau de la Virreina, Barcelona, Spain; Musee d `Art Moderne, Saint-Etienne, France
"Wirklichkeit Als Konzept II. Die Jungere Generation ". Galerie Inge Baecker, Cologne, Germany
1990 "International Art Fair". Chicago, USA
"Adaptation and Negation of Socialist Realism". Aldrich Museum of Contemporary Art, Connecticut, USA
"FIAC". Paris, France
"Art Fair Cologne". Cologne, Germany
"Traditions of Russian Painting". Museum of History and Reconstruction of Moscow, Moscow
"Painting in Moscow and Leningrad". 1965-1990. Columbus Museum of Art, Columbus, USA
1991 "Staats Portrait". Galerie Inge Baecker, Cologne, Germany
1992 "Art of the One family puk, apology or embarrassment". Regina Gallery, Moscow
"a Mosca ... a Mosca ... ". Villa Campoleto, Ercolano; Galleria Comunale d `Arte Moderna, Bologna, Italy
"My Father` s House Has Many Mansions ". Phyllis Kind Gallery, New York, USA
"Glasnost Under Glass". Ohio State University, Columbus, USA
1993 "Monuments: Transformation for the Future". ICA, New York, ICI, Moscow. Central House of Artists, Moscow
"White Night". Yakut Gallery, Moscow
"Art-Hamburg" (The Art of Eastern Europe). Galerie Inge Baecker. Hamburg, Germany
"M` AIDEZ / MAYDAY ". Phyllis Kind Gallery, New York, USA
1993-94 "Old Symbols, New Icons in Russian Contemporary Art". Stewart Levy Gallery, New York, USA
1994 "Art Fair Cologne". Galerie Inge Baecker. Gallery Sprovieri. Cologne, Germany
"Before Neo and After Post - The New Russian Version". Lehman College Art Gallery, Bronx, New York, USA
1995 "Art of Dying". Yakut Gallery. "Manege", Moscow
"Walking over the horizon". Profsoyuznaya 100, Moscow
1995 "Nonconformist Art from the Soviet Union". Zimmerly Art Muzeum. Rutgers University, New Jersey, USA
1997 "History in Faces" (from the collection of the Museum of Modern Art Tsaritsino). Samara, Perm, Novosibirsk, Yekaterinburg (catalog)
International Art Fair "Art Manege", project "of the Association of Moscow galleries" ( "Moscow hyperrealism. Exhibition of five). Manege, Moscow
Series exposition and catalog projects L. Kashuk. Moscow
"The world of sensible things in the pictures - the end of the twentieth century", Gallery M'ARS. Pushkin Museum of. Pushkin, Moscow
Symposium Pereslavskij dialogues ". Gallery of the "Today", Moscow
International Art Fair "Art Manege", gallery "Today" ( "Universal Greeting"). Manege, Moscow (catalog)
Autobiographical notes

What I have done so far, is divided into two main periods. The first - the seventies-eighties - was defined by the existence in the area of tremendous forces of gravity, crushing, pinned inside a totalitarian force field, frozen mirage. Staged magic all around you, any arbitrarily given moment of time and space, hypnotized, causing the game in daylight in the manner of a rabbit and boa. Able to look away, only transferring it to your own canvas. Expropriated by the wretched of the lens, sometimes with the risk to health and safety, vibrating pieces zamorochennoy reality and deal with domestic appropriation. Achieving coherence and unity was not included in the range of artistic problems: reality itself, as befits the product of high art, offers amazing, total integrity. On the other hand, this unity was something nizkokletochnoe when any slightest fragment contains and carries the whole, its print, code, chromosome set, re-presents it as a drop of water. The second period is connected with a new visual and psychological reality, . which is in contrast to the previous perceived as fragmented, . completely immaterial, . and no more need to get rid of delusions - disappeared much, . declared by the firm, . while the former only a dense,
. However, after removing the external voltage has to know about yourself inside, like a deep-water fish, high and dry. What to look eyes, . bulging of orbitN What to do, . if the voltage went, . a habit of intense, . constant glaring ostalasN Gradually, attention has focused on the visible manifestations of physiological processes, . occurring in your own eye,
. As word, . spoken many times in a row, . loses its usual, . everyday meaning, . bubbled, . foliated and multiplied by different meanings in different dimensions, . and the constant glaring at the world around us shows the vibration of the visual space, . existence of a middleware, . passing through which, . being processed them, . visual impressions are transformed, . and then find a different nature: you can always watch the emerald-purple springs, . changing the configuration and run out of sight, . the mechanisms of residual vision, . projecting on the closed eyelid, . as screen, . kind of negative version of the, . had just seen his eyes open, . morning or alcohol reproduction of objects, etc.,
. In all these processes is evident demonstrates ineradicable subjectivity, calling into question its long everyday, the usual meaning.
. Products neizmyshlennogo visual perception, . realistic, by definition, . now and then look abstract, . objectivity smoothly flows into its opposite, . and internal working permanent ingestion external; flickering textually-contextual exchange smacks of conceptualism and suck up to postmodern, . plastic nature of some of the results decimated by surrealism, . but in aggregate there is an innovative field, . including solutions for the pictorial space problems,
.

Criticism

Hotya Faibisovich not avoid explicitly political imagery in his work, his approach is still far from Sots Art. Just as Komar and Melamid, he noted this year as a grand farewell to communism. But unlike them, and from his older friend of Eric Bulatov, . which is also exposed and ridiculed the ideological roots of the Soviet visual mythology, . Faibisovich mesmerized organically visible manifestations of Soviet reality with its cloth, . colors, . air (or its lack),
. Could the air be perceived as sovetskiyN And even paint the car train, wallpaper in the apartment, the asphalt on the streets, stucco houses would be as ideologically okrashenyN And the sky color of the party flagaN Faibisovich proves just that.
. In his genre paintings have nothing on Hogarth, . because its subject is not a social evil, . and the air itself, . atmosphere of doomed optimism, . prevailed in Soviet streets and in public places, . mood, . apparent not only in the grimaces on the faces of Soviet citizens, . but above all in that special light and color, . can not be found anywhere else in the world,
.

Z. Zinik. From the article "Pictures of My Moscow Friends". - "Modern Painters". A Quarterly Journal of the Fine Arts. England, Winter 1993

Through the picture, as if through a window, through absolute reality - the art of life inherits. But our heritage and the arts, and I think that life will often have color and flavor of transparent painting Seeds Faibisovich. Admire through anything unlimited, multi-layered transparent screen becomes a necessary condition for world vision.

L. Bredikhina. From the article "The latest demonstration". Regina: September 1990 - July 1993. Chronicle. Moscow, 1993

Fight with life in its most concrete, most commonplace, the cheapest terms begins when art ceases to be a known "good", and begins to be such, it should be. When it occurs by itself, is not clear from what. Who's Who Who pobeditN peretyanetN In a duel of art with the life of one of the two should make another change its nature ". Why this over-pristalnostN Perhaps, in order just to see the divergent sutures visibility oche-visibility. Notice how the evidence reveals its ghostly nature and remit the plastically. Overcoming the material, overcoming materiality, objectivity, ideally - aimless painting.

M. Eisenberg. From the article "Vernissage on the background of the holiday". Regina: September 1990 - July 1993. Chronicle, Moscow, 1993

Simon Faibisovich undoubtedly belongs to the space of so-called modern art - an art concept, interpretation, hard work with the cultural meanings. However, it has always featured some kind of innate belief in the value of plastic visual experience. In terms of actual artistic space, . reminiscent of an interdisciplinary colloquium on the philosophy, . History and Cultural Studies, . his confidence seemed, until recently, a slightly archaic, . but now, . in a crisis as plastic, . and conceptual directions, . artistic language Faibisovich perceived as the most relevant,
. Belief in the non-exhaustion of visual experience for art allowed him to use all the expressive means of photographic, . abstract and figurative painting and, . creating a complex field of interaction of various cultural and historical contexts, . achieve the effect of a holistic perception of emotional,
.

A. Medvedev. From the article "red on black and white". - "General Newspaper". N20 1995


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Semen Faibisovich Natanovich, photo, biography
Semen Faibisovich Natanovich, photo, biography Semen Faibisovich Natanovich  Artist, photo, biography
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