Kupriyanov Vladimir

1954 Born in Moscow
. 1976 graduated from the Institute of Culture (specialty theatrical director)
. 1984-94 Associate Professor of the Moscow Polygraphic Institute
.
. Collections where works
.
. Bank Inkombank, Moscow
. Galerie Wewerka & Weiss, Berlin, Germany
. Pacific Press Service, Seoul, South Korea
. P. Halonen, Helsinki, Finland
. M. Pausebach, Cologne, Germany
.
. Participation in exhibitions and auctions
.

. SOLO EXHIBITIONS
. 1983 Edition "Building the newspaper
. Moscow
1990 "Mittelrussische Landschaft". InterArt Agentur fur Kunst, Berlin, Germany
1991 "Forum Stadtpark". Graz, Austria
1992 "Rodionova". Shkola Gallery, Moscow
1994 "On the ghostly". Shkola Gallery, Moscow
1995 "The Hermitage". "Gallery 21, St. Petersburg
"Photoarbeiten 1981-1995". Haus am Waldsee, Berlin, Germany
"Miniaturen". Art 5 III. Galerie Inge Herbert, Berlin, Germany
1996 "Methods for permission vanishingly small quantities (together with D. Prigov). XL Gallery, Moscow
"Prehistory". SRM, St. Petersburg
1997 "Power-area-art". Gallery of the "Today", Moscow

GROUP EXHIBITIONS

1980 "Five young photographers". Youth Club "Rainbow", Moscow
1984 Graphics in the city ". Center for Technical Aesthetics, Moscow
1985 "Portrait". Artists' House at Kuznetsky Most, Moscow
1986 "All-Union Exhibition of book graphics" Central House of Artists, Moscow
1987 "Photo exhibition". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
"Kupriyanov and Shcherbakov". Home sculptor, Moscow
1988 "Zeitgenossische Sowjetische Photographie". Photographie-Museum, Lausanne, Switzerland
Portrait of Graph. Central House of Artists, Moscow
"Exposition of today's artistic consciousness". M'ARS Gallery, Moscow
1989 "Fotomost". Avant-gardists Club. Peresvetov Lane., Moscow
"I Internationale Phototriennale". Villa Merkel, Esslingen, Germany
"150 Years of Photography". Manege, Moscow
1990 "The logic of paradox". Youth Palace, Moscow
"Da Mosca". Turin, Italy
"Op-positions: Commitment and Cultural Identity in Contemporary Photography" II International Biennale of Photography. Center for photography, Rotterdam, The Netherlands
1990-91 "The Missing Picture: Kupreyanov, Mikhailov, Piganov, Serebryakova, Shulgin". MIT, Boston, USA
1991 "Heimat". Galerie Wewerka & Weiss. Berlin, Germany
"Photo Manifesto. Photography of Perestrojka ". Baltimore, Southampton, United States
University, New York, USA; Museum for Contemporary Arts, Baltimore, USA
1992 "Rauma Biennale Balticum '92". Kunstmuseum, Rauma, Finland (exh. catalogue) "Internationale Foto-Triennale". Esslingen, Germany
III International Istanbul Biennial. Istanbul, Turkey
"Litza. Contemporary Portrait Photography from Russia, Byelorussia and Ukraine ". Foundation "CIRC", Amsterdam, Netherlands
"a Mosca ... a Mosca ... ". Villa Campoleto, Ercolano; Galleria Comunale d'Arte Moderna, Bologna, Italy
1993 "Krieg. Osterreichische Triennale zur Fotografie ". Neue Galerie am Landesmuseum Joanneum / Forum Stadtpark, Graz, Austria
"New Territories of Art. State Art Museum, Krasnoyarsk
1994 "Photo - Reclamation. New Art from the former Soviet Union ". John Hansard Gallery / Photographers Gallery, Southampton, United States
"Europe '94. Junge europaische Kunst in Munchen ". Kongress-zentrum MCC, Munich, Germany
The Art of Contemporary Photography. Russia, Ukraine, Belorussia ". HEAD House of Artists, Moscow
"Fur FNNietzche in der bildenden Kunst der letzten 30 Jahre". Stiftung Weimarer Klassik, Schloss Belvedere, Weimar, Germany
1994-95 "Neue Fotokunst aus Russland". Badischer Kunstverein, Karlsruhe; Galerie im Karmelitenkloster, Frankfurt; Kunsthalle Faust, Hannover; Museum Volk und Wirtschaft, Dц?sseldorf; Neuer Berliner Kunsverein, Berlin; Hertener Fototage, Herten, Germany 1995 "ARS '95". Museet for Nutidskonst, Helsinki, Finland
"Where is Abel, thy BrotherN". National Gallery of Contemporary Art Zacheta, Warsaw, Poland
"FotoRaume". Landeskulturzentrum Salzau, Kiel, Germany 1995 "Beyond the borders". Kwangju Biennale 1995. Korea (catalog)
"Interregnum. Russische Kunst zur Zeit ". Kunsthalfe, Nuremberg, Germany (catalog)
"Zeitgenossische Foiokunst aus Moskau". Neuer Berliner Kunstverein, Berlin, Germany (catalog)
"Mesiac Fotografie". Bratislava, Slovakia (catalog)
1996 "Methods for permission vanishingly small quantities". XL Gallery, Moscow (catalog)
"Die Wiederkehr des Vergangenen Ende der Utopien!". 1 Ars Baltica-Triennale der Photokunst. Schleswig, Berlin, Germany (catalog)
"Back to the photos (an annual exhibition of Soros Center for Contemporary Art, Moscow) in Moscow Forum of Art Initiatives. New Manege, Moscow (catalog)
"Habitus". Galerie Folohof, Salzburg, Austria (catalog)
"In-version. Modern technology in art ". All-Russia industrial and art exhibition in Nizhny Novgorod (catalog)
"Eastern Europe: SPATIA NOVA". IV Biennane Petersburg, St. Petersburg
"Multilingual Landscapes" (an annual exhibition of Soros Center for Contemporary Arts, Lithuania). Vilnius, Lithuania
"Face and l` Histoire. 1933 - 1996 ". Centre Georges Pompidou, Paris, France (catalog)
1997 "Moscow 1980-1990". Within the photo-festival "History of Moscow eyes of Russian and foreign photographers, on the 850-velopment founding of Moscow. Manege, Moscow (catalog)
"Russia is a real and imaginary". Russia Cultural Center, Budapest, Hungary
International Art Fair "Art Manege", NCCA (Artoteka). Manege, Moscow (catalog)
"Fok` 97 ". 1 exhibition-festival of new visual culture. Central House of Artists, Moscow
1998 "Operation Photo" (with V. Efimov, V. Koshlyakov, I. Piganovym, H. Chahal). Manege, Moscow
Autobiographical notes

Do you have artistic kredoN
A realistic and simple analogies to undetectable unity

. Is there a new category for you in iskusstveN
. There is, but most of it is not in art itself, but in the new orientation movement of life, which must first identify and define, and then try to assume their direction.

. What determines the originality of artistic proektaN
. Clarity of the most definitions
.

What is your opinion on the criteria of "truth" in iskusstveN
"The truth" - is correctly anticipated trends, proven history.

Orientirueshsya whether you are on some public and what onaN
Initially it was specific artists. In the process of work was necessary to see the "inflated the bar, which was based on maximalism their professional demands. Then came the need to take into account a wide range of zritieley, not as necessary a lot of satisfying the natural vanity of the artist, as well as different levels of consciousness.

How do you feel in today's post-Soviet deystvitelnostiN
In the post-Soviet time, I feel good, because the complexity of cases and their realization depends on myself. It was hard to perestroika time, two or three years, almost did not do anything. The possibilities opened up by that time, seemed to be misleading, not enough exhibition spaces, and previous experience was based on claims of individual resistance. Way out of this state was the work of "landscape Srednerussky 3, 1990.

There you have a definite strategy for artistic rynkeN
There is, because it is now difficult to imagine a professional without selecting a specific territory

. Do you have attained a certain stylistic "Kupriyanovskaya" meynstrimaN
. If I got the last word on this issue - something to do with the geographic flow of water - we can definitely say that this is mainstream, and its presence is mandatory for "klyuyuschego in one spot for so long
. On the one hand it is solidly, . and behind this thoroughness, . to which all the while striving to, . on the other hand - less than the mysterious unknown, . hiding for almost any formal way, . and concomitant fantastic opening, . for the conservation efforts which have much more, . than when the mainstream is by no means found,
. What is its present-day sostoyatelnostN to judge about this ... You can of course, but why expose themselves to the views of the top vnizN

Fragments of an interview with Dmitry Vilensky

Criticism

Vladimir Kupriyanov was born in 1954 in Moscow. He is one of the most famous Russian artists, and an active participant in the Moscow art life.
V. Kupriyanov works with a variety of materials, techniques, sign systems. He was interested in the forms of artistic activity that are most open to the past, present and future of culture, the real everyday life of our relationship to the universe, man, society. Ambiguity, . "multilinearity" his artistic designs, . sends us to the natural variability and dramatic life, . focused on communication and dialogue with the audience, . looking for the answer to the question about the possible existence of flickering and multicolor space of today's life,
. The resultant of the ground contact of the artist and the viewer can not but create a special voltage, requiring a careful and lengthy "scrutiny".
. Moving from one technology to another, . using creativity to a situation of excess signifiers, . in which meanings arise at the intersection of all the existing texts, . V. Kupriyanov not tied to the "actual" practice, . that Jean-F.Liotar called post-modernism, . not worthy of respect,
. Implemented objects, photo installation artist - evidence of his detachment from any monoid metapovestvovaniya on, of domination in the culture.
. For V. Kupriyanov important to study the material with which he works, and the careful, delicate handling of it
. Working with the context of culture and constantly feeling the natural resistance of the material, the artist overcomes demiurgic complex, specific to avant-garde art (and not just art) strategies. Evidence of a real "escape" from the Enlightenment Supercode artist and avant-garde discourse is the fear on them at the moment when you need to sign, which confirms the authorship of. Without claiming to be the "guru" or charismatic artlidera, he stresses the need for the presence of his Master, who always helps maintain flexibility, willingness to change and attempts to "be better".
. Existing so within the boundaries of the Christian-Orthodox cultural field, . Kupriyanov includes in its work the values of other cultures, not in order, . to lose a foothold and become a cosmopolitan nomad, . but in the wanderings on the borders with other cultural entities to acquire philosophical and aesthetic reasons for work,
.

L. Zybaylo