Perevezentsev Peter Yul'evich

1962 born in Moscow
. 1985 Graduated from the Moscow Institute of Technology (Faculty of Arts and Technology)
. since 1987 member of the Youth Association of MOSH
. 1989 Member of the MOSH
.
. Collections where works
.
. State Museum of Fine Arts
. Pushkin, Moscow
. Kaliningrad Art Gallery, Kaliningrad
. Anna Akhmatova Museum, St. Petersburg
. Gallery M'ARS, Moscow
. Moscow Collection Gallery, Moscow
. Victoria & Albert Museum, London, United Kingdom
. A. Sandretti, Milan, Italy
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. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1992 "ABRAXAS
. Bilder von Pjotr Perewesentzew ". "Studio im hochhaus", Berlin, Germany
Peter Perevezentsev. Graphics. Moscow Collection Gallery, Moscow
1995 "Peter Perevezentsev. New Objects ". Kaliningrad Art Gallery, Kaliningrad

GROUP EXHIBITIONS

1985-91 member of more than 20 in Moscow, All-Union and republican exhibitions
1988 "IV Internationale Triennale der Zeichnung". Kunsthalle, Nuremberg, Germany
1989 "IBA-89". Leipzig, Germany
1990 "XIII Convegno internazionale del fumetto e del fantastico". Prato, Italy
"Konkret. Russische visuelle poesie ". Galerie "Am Markt", Annaberg-Buholts, Germany
"Visuelle poesie international". Schloss Friedenstein, Gotha, Germany
"Transfutur". Galerie "Kasseler Kunstetage", Kassel, Germany
1992 "Transfutur". Galerie "Pankow", Berlin, Germany
1993 "Book of Russian artists of the twentieth century. Tradition and Modernity ". Dag HammarskjцІld Library. Lenin Moscow
"ART MIF 3" (exhibition and auction). Manege, Moscow
1994 "Theater Paper-2. Anna Akhmatova Museum, St. Petersburg, Kaliningrad III Biennial of Graphic. Kaliningrad (2 nd prize and medal)
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. Autobiographical notes
.
. One endless story: narrow, narrow range of images, archetypes, penetrating through the whole creative experience of passing symbols.
. And - the desire for the infinite expansion of the expressive tools, plastic "confusion of tongues"
. My work is trying to succeed in inhospitable areas between arts, between genres, between eras.
. Russian Futurism, Empire, pozdneevropeyskaya painting - all ground up and melted down for the needs endless narrative.
. Parallel searches of capacious, compact model that can serve as a kind of "encyclopaedia" of my image-plastic system and introduce the above "story" in a certain direction.
. Thus, from the 2 nd half of the 80-ies I'm working on the topic Kopysov
. This story is a fictional city - midway between utopia and myth. A price absurd utopia without ideological Supertask and myth, not amenable to structural analysis.
. The effect Kopysov anyway zatoronuty all of my work: graphics, author's book, visual and phonetic poetry, spatial objects.
. This whole idea, with its provocative, playful character - like a mask to cover face of my creativity, mask, similar to those that are residents Kopysov obeying pereuslozhnennomu ritual of city life
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. Criticism
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. Attempt to clarify the kind of name or group name for the former graphics Peter Perevezentseva point of reference, virtually doomed to failure
. The foundation of his work began style features, with very different properties. Most often it is not structural features, and some conventional trappings of a particular style, woven into a whole. Octahedral frame era Empire style vignette of the same time side by side with special lettering font, invasive of another graphic image and bringing the elusive fragrance of the Vienna Secession. Specials, contour, slightly overact outline of human figures remind us of our intellectual chamber graph seventies.
. Playing the role of characters, objects, means of their images, the organization in paper space amazingly equalized in rights
. When confronted, they form a totally unexpected, but the sound image system. Moreover, the more sheets Perevezentseva viewer sees, the greater becomes the sense of style, within which limits his artist. It is tempting to write: an artist style ... And then you realize that this style does not exist outside the work schedule, and you just fell under the spell of artistic myth, created by him.
. Myths Perevezentseva differ astonishing feature - not having vivid plot strings, they are impressed by the mysterious inclusiveness
. The artist did not elect a symbolic stories, not rethinking everyday situations, bringing them to the biblical generalizations, it is not customary in the late eighties by myth. His myths are strange, independent, and do not have parallels with the eternal story. Their strength lies in our view, not in plot or symbolic interpretation of images, and a new understanding of spatial elements and decorative sheet.
. Complexity and some encoding myths Perevezentseva, . every way kamufliruemaya elegance of color and formal relationships in his easel sheets, . disappears, . if you understand the basic relation between meaning and artistic means of transmission, . found artist,
. The fact that the meaning lies in the thickness of the visual language. This is the inseparability of content and means of expression, the unknowability of one without the other and creates the uniqueness of its graphics. It also makes us the customary Perevezentseva destroy space-time and Composite benchmarks and create new.

M. Nenarokomov. 'Art to create myths. " - Creativity, 1988, N 7