Chuikova Maria Mikhailovna

1960 born in Moscow
. 1979-85 studied at the Moscow Institute of Architecture (Faculty of Urban Development)
. 1987 rinimaet participate in the activities of the Inspectorate "Medical Hermeneutics"
. 1989 flax International Federation of Artists
. Since 1993 the bottom of the founders of culturological artistic laboratory (together with O. Ziangirova and N. Kamenets) in Rossiyskom State University for the Humanities
.
. Collections where works
.
. Country MANI Museum (Moscow archive of New Art), Moscow Region
. Museum of Contemporary Art, Odessa
. Galerie Krings-Ernst, Cologne, Germany
. Galerie Grita Insam, Vienna, Austria
. C. Jolles, Zurich, Switzerland
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS (with O. Ziangirova and S. Anufrieva)

. 1993 "Aqua Vita"
. Museum of Contemporary Art, Odessa
1994 "Mentale Landschaften Russlands". Galerie Parzival, Berlin, Germany
"Auf der Such nach neuen" Nervi rerum ". Sprinkenhof, Hamburg, Germany
1995 "Passenger node (within the project" Aqua Vita "). Museum of Contemporary Art, Odessa
1996 "10 years Club Avant-gardists". Peresvetov Lane., Moscow (catalog)
GROUP EXHIBITIONS

1987 First Exhibition of Avant-gardists Club (CLAVA). Peresvetov Lane., Moscow
1989 "Expensive Art. Youth Palace, Moscow
1990 "Return - This". Peresvetov Lane., Moscow
"For a cultural holiday". Kashirka, Moscow
"Shizokitay". CLAVA. Exhibition Pavilion on Frunze Embankment, Moscow
1991 "MANI Museum - 40 Moskauer Kunstler im Frankfurter Karmelitenkloster". MANI. Frankfurt, Germany
"Visit". Peresvetov Lane., Moscow
1992 "Zero Arkan". Central House of Artists, Moscow
"Heart of four". ISI. House officers, Moscow
Malevich center in the Paleontological Museum. Paleontological Museum, Moscow
1993 "Creation of happy dreams". Russia Academy of Fine Arts, Moscow
"ART MIF 3". Manege, Moscow
"After Perestroika: Kitchenmaids or Stateswomen". ICA, Montreal, Canada
1994 "Architektur der Ideen". Kunsthaus, Hamburg, Germany
1995 "Apocalypse". Russia State Humanities University, Moscow
"Worker-2". L Gallery, Moscow
Together with a group of "Inspection Medical Hermeneutics" 1989 "Three children" (Catalog "Dead children are not lying on the road"). Gallery of the young, Prague, Czechoslovakia 1990 "Orthodoxe Ablutschungen-Umschlage und Abschlusse. Zwei Installationen der Gruppe MH ". Kunsthalle, Dusseldorf, Germany
1991 "Military Life of Small Paintings". Krings-Ernst Gallery, Cologne, Germany
1992 "Blickwinkel: Das Sakrale in der UdSSR". Grita Insam Gallery, Vienna, Austria "Switzerland + Medicine". Shedhalle, Zurich, Switzerland
"19-91". Walcheturm Gallery, Zurich, Switzerland 1993 "Switzerland + Medicine". Swiss Institute, New York, USA
"Golden Icons and the Black Line". Kunstverein Hamburg, Hamburg, Germany
1994 "We are your grandfather!". Raum der Inspection Medizinische Hermeneutik festival "Europa 94, Munich, Germany
"Illumination in the Tower". Galerie Inge Baecker, Cologne, Germany
"PARAMEN". Galerie Grita Insam, Vienna, Austria
Processes. Human Space Art Center, Milan, Italy
1996 "Visiting the tale" (curator A. Sargsyan). Contemporary Art Center, Moscow (catalog)
"White box" (together with the group Medical Hermeneutics). Felolafig, Germany
"10 Years of Avant-gardists Club". Peresvetov Lane., Moscow (catalog)
1997 "Ecology of Emptiness". ISI Moscow
"The second paragraph". Cultural Center of Phoenix, Moscow
"Koln Messe". Gallery Hohnthal und Bergen, Cologne, Germany
"Reconstruction of the last project of artist A. Blagova" (by M. Perchihina, curator N. Palazhchenko). Gallery "Spider & Mouse", Moscow

Curatorial projects

1993 International Conference on Post-Modernism and National Culture. State Tretyakov Gallery, Moscow
Seminar "Farewell times". State Humanitarian University, Moscow
Roundtable on "Women and Business in the Arts". State Humanitarian University, Moscow
1995 International Conference on Gender. Changing cultural paradigms ". State Humanitarian University, Moscow
"Apocalypse" (Exhibition and Conference). Contemporary Art Center, Moscow
1996 "The boundaries of interpretation". State Humanitarian University, Moscow Conference "Frontiers of interpretation in human and natural sciences" (organizer). State Humanitarian University, Moscow
1997 "The second paragraph". Compiled catalog (with V. Pogodina). Cultural Center "Phoenix", Moscow 1998 "Renovation". Exhibition Hall in the Cultural-historical center of "Slavic", Moscow

Video performance (together with O. Ziangirova)

1990 "The Return of the initial order". Donskoy Monastery, Moscow
1993 "Foundation". Odessa
1995 "Levels". "Chain". Odessa
Autobiographical notes

The interests of our group are focused on areas of intersection of art and science, human, natural and exact knowledge. Functioning at the intersection of research and artistic practice, his creative work, we tend to be regarded as experimental laboratory to help us formulate our discursive construction.
. The processes taking place in contemporary art, are largely a manifestation of post-modernist discourse, which proclaimed itself part of the art market
. They therefore tend to greater entertainment, close to the carnival, would overshadow the other functions. This lightweight and superficial art trends of recent years and made us turn our eyes to the other, the opposite of its seriousness, specificity and thoroughness of the region - the natural sciences and humanities.
. The most relevant of the processes occurring in it we show the process of convergence, . merging of different directions, . education on the basis of new industries, . with a broader line of sight integral, . Examples include, . as Synergetics and Applied Linguistics,
. However, it is clear that tremendous changes have occurred in the worldview of scientists that this process of unification of sciences, including natural and humanitarian, became dominant.
. Each of them is a closed world with its special terminology, no They reflect on themselves with general cultural positions.
. By carrying out a series of art exhibitions and experiments, . we found a very fruitful method of embedding selected scientific versions in the space of contemporary art and its use of language to identify new and sometimes quite unexpected conceptual solutions.,
. This method of combining two ways of describing the existing world - rational-logical and artistic imagery - from our point of view is quite logical and very promising
. On the one hand, it can catalyze the integration processes in science, but on the other, to identify creative trends in contemporary art.
. In the process of artistic activity, we have already had to go to different scientific fields, as natural and humanitarian - mathematics, theoretical physics, computer science, structural linguistics, paleontology, archeology and geology
. Among the works carried out - the object of "chain letters", which was based on the principle of geometric progression, would introduce the text of the new settings.
. In the installation "Magnetic monopole" (Gallery Belyayevo ") basis is the hypothesis of Theoretical Physics of the magnetic poles.
. Recently we are working on the international project "Geological mythology", which will include a series of exhibitions in different countries
. In these installations on the semantic and visual levels are the parallels between "mental" and the geological landscape of the country, ie. specific features of the mentality of people inhabiting a specific area, will be matched by us and, paradoxically, be superimposed on its physical, geological conditions by using the language of contemporary art.
. We are pleased to have found that our work is of interest to both sides - both scientists and artists and art historians were intrigued by the possibility of penetration into previously inaccessible areas of operation of each other.
. As confirmation of the Humanities University of Russia invited us to organize under the roof of the experimental laboratory of the Cultural
. The plans of the laboratory at present is to organize international seminars and conferences, exhibition activities. We hope that at the junction, combination of different areas - art, science - to light unexpected aspects known to those new issues, lighting issues
.
. Criticism
.
. I wonder, . What are you doing, . because we, . in some sense, . on the opposite side of the art, . but clearly there is some kind of boundary, . where we interact, . communicate, . as your projects require some transparency on this boundary,
. These projects not only space but also the plane, but this plane - part of another space, and they each somehow connect, and you belong, and to both. You are apparently neutral, but actually interested in something else: keeping all neutral indicators of conceptualism, implying the presence of some other spaces. In pursuit of conceptual tradition you have there is a "retraction" of others - and the scientific and artistic concepts. Conceptualism is limited linguistic framework, the idea that everything - in language. The idea of self-development language, that all - through the language. But in addition to language has more energy, and in addition to signs of language is more intervals, and they are a very important. It seems to me that you work with this intermediate zone, this energy. But you work with it as well as with language objects, and ranges, shifting in one direction or another, though still prefer the linguistic forms of work's energy.
I, being on the other side of the door, do not understand it all, perhaps, but always try to be in dialogue. I think that you are on the surface of our own experience, where you can grope not only the space inside, but the space in the unknown, in what is only developing.
In addition, your projects are important because they are open to others, and they can try something inscribe their. And it is even supposed to - it by blank lines, graphs, which may be filled by other, and thus, will build new capabilities.

In. Aristov