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Vadim Fishkin Vilenovich

( Artist)

Comments for Vadim Fishkin Vilenovich
Biography Vadim Fishkin Vilenovich
photo Vadim Fishkin Vilenovich
1965 Born in Penza.
. 1986 graduated from Moscow Institute of Architecture (Faculty of industrial architecture).
. 1988-91 member of the World Champions
. 1992 collaboration with a group of "NSK" (Neue Slovenische Kunst)
. since 1994 member of the "Proektika"
.
. Collections where works
.
. The State Russian Museum, St. Petersburg
. Inkom Bank, Moscow
. The company Migros, Zurich, Switzerland
. J.-P.Brossard, Zurich, Switzerland
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1991 "La Russie est une Afrique blanche"
. Polaris Gallery, Papizh, France
"It's easier to air". Tryokhprudny Gallery., Moscow
Boycott Gallery, Bpyussel, Belgium
1992 "Between the dog and cow. Festival animalistic projects. Galepeya Regina, Moscow
Galepeya "School", Moscow
1993 "Orange orbit. Tryokhprudny Gallery., Moscow
"Twilight orbit. Gallery of the "School" (indoor galleries "1.0.", "Dar", Gallery M. Gelman), Moscow
1994 "orbit". XL Gallery, Moscow
"Exchanged the head" (with H. Kastens). Contemporary Art Center, Moscow
"Proektika" (with A. Sumatohinym). Contemporary Art Center, Moscow
1995 Gallery Dante. Umag, Croatia

GROUP EXHIBITIONS

1986 "The Artist and children's pisunki". Artist's House at Kuznetsky Most, Moscow
1987 "Seidel. Fishkin ". Central Architects, Moscow
1988 "The geometry of art". "Kashipka", Moscow
"Labipint". Youth Palace, Moscow
XVIII Exhibition of Young Artists. Manege, Moscow
"The nature and man". Exhibition Hall "House 100", Moscow
"Eidos". Youth Palace, Moscow
1989 "Dopogoe Art. Youth Palace, Moscow
"... under 33". Youth Palace, Moscow
"Exhibition of unfinished data obtained". Studio K. Zvezdochetova, Furmanniy Lane., Moscow
"Exhibition of small data obtained". Workshop C. Shutov, Moscow
"Raushenbepg - to us, we - Raushenbepgu". First Gallery, Moscow
"Dialogue". "Avant-Garde" Russe et Art Contemporain Sovietique ". Centre Boris Vian. Ville des Ulis, Paris, France
"Inexpensive Art". First Gallery, Moscow
"Champions mipa". Showroom Plekhanov Institute, Moscow
"Furmanny Zaulek". Dawne Zaklady Norblina, Warsaw, Poland
"Les Champions du Monde. Galerie Bernard Felli, Paris, France
"Artistes Russes Contemporains". City Gallery, Melbourne, Australia
"L` Art est libre. Livre comme l `art". Galepeya "C. Corre", Papizh, France
"Outside zhanpa". Youth Palace, Moscow
1990 "Return - This". Peresvetov Lane., Moscow
"Furmanyj in Factory: Sowjetische Avantgarde Kunst". Kulturfabrik Salzmann, Kassel, Germany
"Jonge Kunst uit Oost-Europa". Rottepdam, Netherlands
"The Green Show". Exit Art. New York, USA
"FIAC. 90 "(Booth Gallery" Polaris "). Papizh, France
1991 "п°oscow-Tichino". "PrimExpo", Lugano, Switzerland
"Mother-to-space. Propeller Gallery. 100 Profsoyuznaya St., Moscow
"Hovechento". L Gallery. Central House of Artists, Moscow
"Moscou-Leningrad-Tbilisi". Nouveau theatre d `Angers, Angers, France
1991-92 "C Hovym, tovapischi, a year!". Showroom Fund kultupy, Moscow
1992 "Art of the One family puk, apology or embarrassment". Regina Gallery, Moscow
"Still leven". Velta Gallery, Moscow
3rd International Istanbul Biennale. Istanbul, Turkey
1993 "Art as a power, the power of art". Central House of Artists, Moscow
"Settlement" (draft, together with and. Kaminnikom and A. Shchelokova). Gallery M. Gelman, Moscow
"Monuments: Transformation for the Future". ICA, New York; ISI, Moscow. Central House of Artists, Moscow
"Exchange / Exchange, Moscow
"Anigraph 93" ( "Virtual Garden"). Technology Institute of Art. VDNKh, Moscow
"European". Stadtmuseum, Kunstverein, Graz, Austria
1994 "Hamburg Project". Contemporary Art Center, Moscow
"The Art of Contemporary Photography: Russia, Ukraine, Belarus". Central House of Artists, Moscow
"Transition". Gallery Medium, Bratislava, Slovakia;
Gallery, Budapest, Budapest, Hungary
"Europe-94". Munich, Germany
"Exchange II / Datsja" (Sharing II / Cottage). Almere, Flevopolder, Netherlands
1994-95 "Neue Fotokunst aus Russland". Badischer Kunstverein, Karlsruhe; Galerie im Karmelitenkloster, Frankfurt; Kunsthalle Faust, Hannover;
Museum Volk und Wirtschaft, Dц+sseldorf; Neuer Berliner Kunstverein, Berlin; Hertener Fototage, Herten, Germany
1995 "ARS 95". Nykytaiteen museo, Helsinki, Finland La Biennale di Venezia. Padiglione Russo, Venice, Italy
"Konjugation" (within the project "Kraftmessen"). Kunsthalle, Munich, Germany
"Einblicke" (Werkstatt Moskau II). Galerie im Marstall, Akademie der Kunste am Hanseatenweg, Kunstlerhof Buch, Berlin, Germany
"Interregnum". Kunsthalle Nurnberg, Nurnberg, Germany

Scenery

1992 stsenogpafiya for the ballet "Hupdung". NSK. Ljubljana, Slovenia
1994 "1:10.000.000". Theater "Noordung". NSK. Ljubljana, Slovenia
"1:1" ( "Love and the State"). 1995-2045. Theater "Noordung". NSK. Ljubljana, Slovenia

Autobiographical notes

Orbit assumes center. Delineation of orbits - is placed landmarks on the way to the center, but at the same time, it hangs on the risk of certain trajectories. "Remember the main thing!" - Naivete and bigotry of this appeal relieve us from the next orbit in an effort to get closer to the center.
Passion and faith were the driving force of scientific theories which attempt to open new worlds. Wooden tools these theories combine the warmth and the insanity. For me, the desire for a fantastic jumping more attractive than the forward movement on the territory of pragmatic research. Creation of autonomous structures, as I imagine their projects - is an attempt to simulate the global mechanism. A desire to do it immediately leads to construct models of those parts, which can be found here and now.

Criticism

A characteristic feature of the poetics of Vadim Fishkin - her indifference to language issues. Language has never been for him value in themselves the subject of study, but was only a means, the basic requirements to which - the information capacity, communication effectiveness, ease of handling. In other words, poetics Fishkin never absolutized phenomenon of art, but instead asked for the most part all individuals outside. Purpose of the study Fishkin - is a phenomenon of life, artistic creation, he is trying to ontological status.
Reconstructing the ontology is in Fishkin by reference to the creative acts - basic, clean, arhetipalnym. Creativity as is possible only through the full reduction of the phenomenon tradition reflexive allusions, ie. It is possible only as an act of reverse engineering implementation. In other words, the new ontology Vadim Fishkin presents itself to new simplicity, his art - a new craft, and he himself with his Machinery - new Kulibin. As a result of any acts of its source of value in themselves, are closed on themselves, is known only on the basis of their inner being. Thus, another characteristic of the poetics of Vadim Fishkin - his complete indifference to the problem of context.
. Reconstructing the ontology is in Fishkin also by reference to the design procedures, each of his works has the character models - a model of the universe, his car had its prototype machina mundi
. Appeal to the soundness and the machinery has had a positive nature: procedures of the process of establishing mechanisms to identify the universe, rather than its decay. Poetics Fishkin far from the cultivation of a tautology, graphomania or schizoid. In other words, another feature of his poetics - in coping strategies of deconstruction and reconstruction of the mainstreaming strategy.
. The combination of facilities on the primary and constructive issue aspiration Fishkin's poetics to the status of absolute and universal
. World of imagery of his works, combining fragments of traditional crops with regulatory arhetipalnostyu, issue a claim for the post-historical classicism. Finally, the combination of the totality of positivity makes this poetics utopian vision. These Machinery Fishkin claim a genetic link with tatlinskoy tower 111 International.
Two features of constructive poetics Fishkin define its difference from the poetics of historical constructivism. The first of these involves the opening reception of aesthetic conventions: a utopian universe appears commonplace - likened, glass kaleidoscope. Purpose here - do not reduce the pathos, but only specifically delineate the boundaries of expression. In other words, we are talking about the closure of Utopia in the aesthetic field. The second feature involves receiving a violation in one of the elements of poetic integrity of the organism: in a utopian universe, a gap through which the gape other worlds, other utopias. And this time the goal here - do not reduce the pathos, but only openly recognize the limits of expression. In other words, not to indulge in anti-Utopia, Vadim Fishkin recognizes
validity of the existence of other utopian dimensions. To the extent in which the poetics Fishkin, on the one hand, appeals to the acts pervotvoreniya, on the other, to the post-historical condition, the scope of its implementation - "eternal present". However, the extent to which his poetics is appealing to the acts of constructive, it does not accept the myths of the "eternal return of this", and involves a positive development of the permanent relevance of the. Finally, the extent to which his poetics inherent utopian perspective, this "eternal present" is immanent prospect of the future, not close, but distant. It goes without saying that "the future it should be fine, otherwise it might not be at all".

V. Misiano. "Soft machines Vadim Fishkin". From the exhibition catalog V. Fishkin "orbit", XL Gallery, Moscow, 1994, February


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