Chernysheva, Olga

1962 born in Moscow
. 1986 graduated from the All-Union State Institute of Cinematography (Department of artists film)
. 1989 member of gopkoma The plots
.
. Collections where works
.
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Ministry of Culture of Russia, Moscow
. The State Russian Museum, St. Petersburg
. Duke University Museum of Art, Durham, USA
. Library of MOMA, New York, USA
. Private collections in Austria, Belgium, Britain, Germany, Italy, Spain, the Netherlands, France, Sweden
.
. Participation in exhibitions and auctions
.
. 1992 "Olga Chernysheva"
. 1.0 Gallery, Moscow
1993 "Anton Olshvang. Olga Chernysheva ". Cinema Museum, Moscow
"Olga Chernysheva". Krings-Ernst Gallery, Cologne, Germany
1994 "Anton Olshvang. Olga Chernysheva ". Krings-Ernst Gallery, Cologne, Germany
1995 "Pro-serving". SRM, St. Petersburg

GROUP EXHIBITIONS

1986 XVII Exhibition of Young Artists, Moscow
1989 "Furmanny Zaulek". Dawne Zaklady Norblina, Warsaw, Poland
"Exhibition of unfinished work". Workshop K. Zvezdochetova, Furmanniy Lane, Moscow
1990 "wives". Kashirka, Moscow
"Towards the Object". Kashirka, Moscow
"There - Here". Peresvetov Lane., Moscow
"Furmanyj in Factory: Sowjetische Avantgarde * Kunst". Kulturfabrik Salzmann, Kassel, Germany
"Kunstler der Furmannstrasse. Russland zu Gast ". Limburg, Germany
"For a cultural holiday". Kashirka, Moscow
"Traditions of Russian Painting". Museum of History and Reconstruction of Moscow, Moscow
1991 "Weight and Madness". Galeria Fernando Duran, Madrid, Spain
"Private Lessons". Center for Contemporary Art. 1.0 Gallery, Moscow
"In de USSR en Erbuiten". Stedelijk Museum, Amsterdam, Netherlands
"In Vacio / In Emptiness". Auditorio de Galicja, Santiago de Compostela, Spain
"Hinderloppet". Tomililla, Sweden
"Aesthetic Experiences". Estate Museum Kuskovo, Moscow "Novecento". L Gallery. Central House of Artists, Moscow
"V izbah / in the room;. Dom kultury, Bratislava, Slovakia 1992 "a Mosca ... a Mosca ... ". Villa Campoleto, Ercolano; Galleria Comunale d `Arte Moderna, Bologna, Italy
"Festival of Moscow Contemporary Art". Helsinki, Finland
"New Works". Storm Gallery, Amsterdam, Netherlands "Landscape". Velta Gallery, Moscow
1992-93 "Humanitarian aid parcels for Germany. 27 Moscow Artists ". Central House of Artists, Moscow; "Humanitare Hilfe, Packchen fur Deutschland". Tranenpalast, Berlin, Germany
1993 "Prospekt` 93 ". Frankfurt, Germany "Kontext Kunst 90". Kunstlerhaus, Graz, Austria "Watt. Witte de With ". Rotterdam, Netherlands "Exchange / Exchange". Moscow
1994 "Fluchtpunkt Moskau". Ludwig Forum. Aachen, Germany
"Fine - mon amour". Contemporary Art Center, Moscow
Cetinjski Biennale II. Cetinje, Montenegro "Exchange II / Datsja" (Exchange II / Cottage). Almere, Flevopolder, Netherlands
"Open Atelier". Rijksakademie, Amsterdam, Netherlands 1995 "Kunst im verborgenen. Nonkonformisten Russland 1957-1995 ". Collection of Contemporary Art Museum Tsaritsino ". Wilhelm-Hack Museum, Ludwigshafen am Rhein; Documenta-Halle, Kassel; Staatliches Lindenau Museum, Altenburg, Germany Kraftmesse. Kunstlerwerkstadt Lothringerstrasse, Munich, Germany
"I don` t actually have to go ". Lumen Travo Gallery, Amsterdam, Netherlands
"in Moskau ... in Moskau ... ". Badischer Kunstverein. Karlsruhe, Germany "Interregnum". Kunsthalle Nurnberg, Nurnberg, Germany

Criticism

Chernyshev sometimes blamed for what her "cakes" (objects, imitating the masterpieces of culinary art) repeat what has already been done Oldenburg or Kosolapova. This accusation is absurd: in the twentieth century than ever before formal similarity does not mean absolutely nothing. The artist could work with this resemblance, but it is clearly not interested in historical references and work with other people's art. Not knowing yet that it helps, not hurts. She examines some givens (eg, other people's ideas), and develops its own projects. Now, leaving the confectionery theme (which made her famous), Chernysheva fully proved to be a gesture by the artist, not material. Because it is important gesture, she has no shortage of material. It can deliver any household inspiration - but, as a rule, not art.
It is difficult to calculate the rules by which it bases its work. Their commonality is a gesture of revival - but not killing, lurks in any reduction. Her line of conduct in the arts - animation (maybe someday it will come to mind and do it). Books acquire jackets with mittens, . pictures of animals in people's attitudes, . exhibition is in memory of the mushrooms, . that was dangerous to eat (not implemented because of irrelevance, . as still eat), . or show "around" the anonymous performers of artistic works (not yet implemented, too),
. The last example demonstrates the meaning of her actions - the individualization of standard. Her cakes for all their simulative were also personalized embedded manual labor, crafts (distanced, "cool"). Big picture of the cookbook (largest and most famous of the project) ontologizirovany prointonirovannymi cautious in their associations with "days of creation" with cosmogonic creativity without the samples and references. The maximum authenticity and original "truth" is typical of the works Chernysheva, even frankly imitative: its object-cake she proudly told the hostess "is - a puff". He and the truth of layers, and on the other hand, is fully consistent not only the structure of confectionery products, but also generically paintings, because made in the technique of "oil on canvas". The authenticity of the creative gesture is, however, not only its instrument, but rather its subject, the subject of personal myth, devoid of an infantile self-centeredness of personal mythology. This applies to the said project "around cookbook, which serves a metaphor for the craft pastry arts. This craft is the creation for the most, . creation of the formless chaotic test on the other hand, . Creativity is not free, . as personal invention it is limited to "canon", . recipe, . which can not be avoided without the risk of spoiling the end result,
. Confectionery Arts in Chernysheva - art "to the freedom of creativity" and her own works - the art of "after" such freedom that owns a chain of fine art and reflections. In the center of this draft - a purely utopian idea of absolute art, unattainable in the past and the present and existing only in fantasy confectioner, affected by megalomania. Although Chernysheva is by no means such a pastry chef, yet she does not revel in the impossibility of creativity, masochistic sense of the insignificance of his art and the aesthetic contemplation of loss of power. Her search for "other" creativity could be linked with the feminist discourse. Here I will note one thing: despite the fact, . that the course of her thinking in any one project does not explicate and it always operates on some kind of complete integrity of the project, . hiding in their own keys (rather than open fragmented single piece), . despite the principle of non-use of its verbal code, . her art in any case does not reproduce the mythical model of "female", . pre-textual handicraft creativity,
. Her work - not only "after creation", but "after the text".

E. Tar. "Olga Chernysheva" .- Today, 1993, September 11