Alexey Shulgin

1963 born in Moscow
. 1987 headed fotosektsiyu l / o "Hermitage"
. 1987 founded the group "Immediate Photography"
. 1994 Teaching in the Laboratory of contemporary photography in the "United Art Workshops"
. 1994 created electronic images "Hot Pictures" in INTERNET
. SOLO EXHIBITIONS

. 1984 property exhibition, Moscow
. 1988 "Strange Photography
. Photoclub g. Ukhta, Komi Republic
1989 "Living Pictures" (with C. Leontiev). Kashirka, Moscow
"Alexei Shulgin". Gallery "Finnfoto". Helsinki, Finland
1992 "10 years in art". Gallery in Tryokhprudny Lane., Moscow
"Latent energy". L Gallery, Moscow
1993 "Who yaN - The Art of Choice". Shkola Gallery. Gallery of the Union ", Moscow
1994 "Television. 1989-1993 ". XL Gallery, Moscow
"Strange Photography. Central House of Artists, Moscow

GROUP EXHIBITIONS

1987 Photofestival. Krasnogorsk
"Representation". l the "Hermitage". Profsoyuznaya st., Q. 100, Moscow
"Photo exhibition". l the "Hermitage". Profsoyuznaya st., Q. 100, Moscow
XVII Exhibition of Young Artists. Manege, Moscow
1988 "Die zeitgenossische Photographie in der Sowjetunion". Photography Museum, Lausanne, Switzerland
"Contemporary Soviet Photography". Museum of Photography, Odense, Denmark
1989 "Contemporary Soviet Photography". Kunsthuset, Stockholm, Sweden
"Fotomost". Peresvetov Lane., Moscow
"Exhibition of unfinished work". Studio K. Zvezdochetova, Furmanniy Lane, Moscow
"Moskau-Wien-New York / Kunst zur Zeit". Messepalast, Wiener Festwochen, Vienna, Austria
"150 Years of Photography". Manege, Moscow
1990 "The logic of paradox". Youth Palace, Moscow
"Mosca - Moscow - Moscow. Sala Umberto Boccioni, Milan, Italy
"Da Mosca". Unione Culturale / Mostre, Turin, Italy
"Art Summer` 90 ". Diocletian Palace, Split, Yugoslavia
"Artedomani` 90. Punto di Vista ". "Ex-Ostedale San Matteo degli Infermi", Spoleto, Italy
"Oppositions / Fotografie Biennale Rotterdam - II". Holland American Lijn. Rotterdam, Netherlands
"Mosca - Moscow - Moscow` 90/II ". Provincial Museum of Modern Art. Ostend. Belgium
"Eroosio. Soviet Conceptual Art & Photography of the 1980 `s". Amos Anderson Art Museum, Helsinki. Finland
1990-91 "The Missing Picture: Kupreyanov, Mikhailov, Piganov, Serebryakova, Shulgin". MIT, Boston, USA
1991 "Photo Manifesto. Photography of Perestrojka ". Baltimore, Southampton, United States
IV LA. International Contemporary Art Fair `90. Gallery of the Union ". Los Angeles, USA
1992 Albrecht Gallery, Munich, Germany
"Tokyo Art Expo` 92 ". Gallery of the Union ". Tokyo, Japan
"Art Frankfurt` 92 ". Gallery of the Union ". Germany
"Die andere Malerei". Sammlung Talotschkin. Kunststation, Klyaynzassen, Germany
"Herbarium / Die photographische Reflexion in der zeitgenossischen Kunst". Kunsthalle "Exnergasse & Fotogalerie Wien", WUK, Vienna, Austria
"Waste". National Center for Contemporary Art. Museum Plastova, Moscow
II Internationale Foto Triennale `92. Erfundene Wirklichkeiten, Esslingen, Germany
1993 "Shop". Shop "Constantine". Olympic Complex, Moscow
"New Territories of Art. State Art Museum, Krasnoyarsk
"Exchange / Exchange, Moscow
1994 "Art of Contemporary Photography. Russia, Ukraine, Belorussia ". Central House of Artists, Moscow
"Hamburg Project". Contemporary Art Center, Moscow
"Depositary". Acquisitions Fund Rossiyskogo Ministry of Culture. Exhibition Hall Solyanka, Moscow
Spring exhibition of Moscow Union of Artists. Artist's House at Kuznetsky Most, Moscow
"Escape". Contemporary Art Center, Moscow
"Night of Arts. Night club "Pilot", Moscow
"PHOTO-reclamation. New Art from Moscow & Saint Petersburg ". John Hansard Gallery, University of Southampton, Street Level Gallery, Glasgow, United Kingdom
"The surface of meaning. Overlay sheets ". Central House of Artists, Moscow
"The border zone of Art. Festival of Contemporary Art. Art Museum, Sochi
"Minima Media". II MedienBiennale Leipzig. Leipzig, Germany
"NewMediaTopia". Central House of Artists, Moscow
"Exchange II / Datsja" (Exchange 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 "PHOTO-reclamation. New Art from Moscow & Saint Petersburg ". The Photographers Gallery, London, United Kingdom
"Neue Fotokunst aus Russland". Kulturhaus Osterfeld, Pforzheim, Germany
"No Man` s Land ". Copenhagen Contemporary Art Center "Nikolaj". Copenhagen, Denmark
"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
"KUKART". Tsarskoe Selo
"Apocalypse". Russia State Humanities University, Moscow
"Art belongs to the people". SRC, shop windows, Moscow
"Copyright-96". Aidan Gallery, Moscow


Curatorial projects

1993 "Who yaN - The Art of Choice". Shkola Gallery, Gallery of the Union ". Moscow
1994 "Fine - mon amour". Contemporary Art Center, Moscow
1995 "Fine - mon amour". Copenhagen Contemporary Art Center "Nikolaj". Copenhagen, Denmark

Autobiographical notes

After the collapse of the USSR and the opening of the borders of all kinds of huge flow of information hit our compatriots. Many of them do not have coped with the sea of new knowledge, impressions, feelings, emotions, received a very short period of time. Now this - is deeply unhappy, broken inside people did not understand what happened to them.
The world had quite clearly delivshiysya of good and evil, now offers countless options for such separation. People are also largely characterized Taoist worldview and the need for good and evil runs into the difficulty of identifying them. Such an ambiguous state encourages people deeper and deeper into the information flow, vainly searching for them unconscious responses to questions.
Another thing foreigners - residents of Western Europe and North America. They childhood swimming in the ocean of information and in order not to drown, were forced to adapt. The result is known - the unification of thinking, the standardization of life, a crisis of identity. In other words, 99 percent of the population of developed countries - complete zombie, living totally mechanical and are appendages of the huge information machine.
. In the mass they seemed happier than the inhabitants of Russia, despite the higher suicide rate.
. Those few who are still alive and compos mentis, is addressed to my work
.

Criticism

In a series of 1987 "Alien photos" played the old negatives from the archives of documentation of construction projects. Found Shulgin film was originally intended to be purely utilitarian use for production purposes, . but among the major documentary footage accidentally preserved and foreign stories - bad shot, . blurred or lighted fragments, . image "private" scenes, . photographed "in memory" in between "working" Reporting and strikeout, . scratched, . photographers, . when returning from a trip to the surrender documents in the archive,
. Due to a violation of the original context of these images and make them artistic function, . not anticipated during shooting documentary photographer, . Shulgin able to use "Strange photos" in the structure and functioning of the viewer's perception of works of art,
. Recovered from obscurity neglected archives, "Strange photos" kept in their depictions of and changes in the form of scratches and damage on the surface of the film, acquired from careless storage conditions. And in such a direct form, without any input, found negatives were "mothballed" by the artist framed black perforated films, as selected for printing individual frames on photos. If the initial artistic impulse of "other people's photos" replied the nihilistic idea of the total exhaustion of art, . and their author had not sought to create a visual canon sobstvennoogo, . Determining any "new" introduction as a mindless action and artistic rather showing the empty "shell" of art, . Touching upon the importance retaining the very desire of artistic expression, . then in the process of implementing the series (which includes about 300 photographs) brought about Shulgin from others' negative visual images were, . likely, . "stronger" than the initial self-removal of copyright,
. They have designed their own visual reality, . wittingly or unwittingly come true art, . and gradually "legislate" as independent works, . so that even the black perforated film, . originally intended to testify about their origin and the author's distance, . borrowing images, . eventually became more closely resemble "outsiders" for framing photos,
. It turned out that empowerment means of expressing opposition to remove a "pure" art and mass Photoproduction and again contributes to attempt to actualize the role of direct artistic action.
. Further modification and development of the reception going on in the series "Rotating images" (sub-series - "Spinning old photos)
. If the "other people's photos" and "TV" the images were put in the audience already "ready", . decorated by the artist as, . then "Rotating images" are demanding direct involvement, . contemplation, and as works of art they exist only if direct perception,
. In the static condition, they are unremarkable old photographs enclosed in simple deep wooden frame. In the presence of the image viewer starts to make the movement without changing the image plane, so moving, gyrating with the same amplitude, all its points. Smooth the surface with a photographic meditation on the move turns out to be shimmering and pulsating, three-dimensional "picture, the subject of demand and maintaining certain potential visual reflexes. In shape perception, it begins to resemble a movie or any performance CO all the time repeating actions, or parallels with the effects puantilistskoy painting. It actualized only potential perception, but the work itself remains "open" for viewers interpretations. The semantic field of perception "fixed" static wooden frame may be a reminiscence of traditional picture frame, and reminiscent of the classical cultural archetype - the "window to the world."
. A wooden frame makes symbolically conditional operation to return the landscape fragment, form (from a window or frame) the dignity of a coherent structure
. This is a semantic equivalent of traditional easel painting in the context of the history of its origin and evolution, . history of its demand for the viewer and "habitat" as a work of art, . and a variant of reflection on the nature of art ( "artificial" and "live", . natural origin), . and amusing inversion - vzaimoobratimost background and object, . prospects and results of its projection, . and, . simultaneously, . attempt to remove the relevance of all these values through direct perception of the work, . as it returns us to the past, . pre-modern art zone reading,
.

T. Salzirn