Gutov Dmitry

1960 born in Moscow
. 1978-80 studied at the Moscow State Pedagogical Institute
. 1992 graduated from the Institute of Painting, Sculpture and Architecture im.I.E.Repina, St. Petersburg (Department of Theory and History of Art)
.
. Collections where works
.
. The State Russian Museum, St. Petersburg
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
.
. Participation in exhibitions and auctions
.
. PERSOHALHYE SHOWS
. 1991 "Trifles our lives"
. Gallery in Tryokhprudny Lane., Moscow
1992 "How I became an artist" (with S. Albeptom). "Laboratory", Contemporary Art Center, Moscow
1992-93 "Portraits" (action). Regina Gallery, Moscow
1993 "60-e: once again about love" (together with E. Andreeva). Contemporary Art Center, Moscow
1994 "Above black mud" (together with T. Hengstler). Regina Gallery, Moscow
1995 "Mikhail Lifshits. 90 years from the date of birth ". Contemporary Art Center, Moscow
1996 "Dilettantism in Art. Gallery M. Gelman, Moscow

GROUP EXHIBITIONS

1988 XVIII Exhibition of Young Artists. Manege, Moscow
"Eidos". Palase Youth, Moscow
1989 "Hedopogoe Art. The southern and northern Gallery, Moscow
"Outside zhanpa". Palase Youth, Moscow
1990 "wives". Kashirka, Moscow
"There - Here". Peresvetov Lane., Moscow
XIX Youth Exhibition. Artist's House at Kuznetsky Most, Moscow
"For kultupny rest". "Kashipka", Moscow
"Traditions of Russian Painting". Museum of History and Reconstruction of Moscow, Moscow
ART MIF 1. Central House of Artists, Moscow
1991 "Ppivatnye occupation". 1.0 Gallery, Moscow
"Aesthetic Experiences". Kuskovo Museum, Moscow
"Mother-to-space. Propeller Gallery. 100 Profsoyuznaya St., Moscow
1992 "Moscow Romanticism". Central House of Artists, Moscow
"Diaspora. Central House of Artists, Moscow
"Problems of Art". L Gallery, Moscow
"The Art of the One family puk, apology or embarrassment". Regina Gallery, Moscow
On transparency. Regina Gallery. d. Zimenki, Moscow Region.
3rd International Istanbul Biennale. Istanbul, Turkey
1993 "Art as a power, the power of art". Central House of Artists, Moscow
"Trio acoustico" (Osmolovski, Gutoff, Lejderman). Centre de Creation Cont., Tours, France
"Conversion". Gallery M. Gelman, Central House of Artists, Moscow
1994 "Hamburg Project". Contemporary Art Center, Moscow
"New Vision". Artist's House at Kuznetsky Most, Moscow
"Displacement and Change" (Six artists from Europe). Bangor, United Kingdom
Cetinjski Bienale II. Cetinje, Montenegro
1995 "Kunst im verborgenen. Nonkonformisten Russland 1957-1995 ". Collection of Contemporary Art Museum Tsaritsino ". Wilchelm-Hack Museum, Ludwigshafen am Rhein; Documenta-Halle, Kassel;
Staatliches Lindenau Museum, Altenburg, Germany
"XLVI La Biennale di Venezia". Padiglione Russo, Venice, Italy
"Konjugation" (within the project "Kraftmessen"). Kunsthalle, Munich, Germany
"Monument". Riga, Latvia
"Copyright-96". Aidan Gallery, Moscow
"Ergebnis". Galerie am Marstall, Berlin, Germany
1996 "Interpol". Center for Contemporary Art, Stockholm, Sweden
Pan European Art Manifestation "Manifesta". Rotterdam Netherlands
"Anti-fascism and anti-anti-fascism". Contemporary Art Center, Moscow
"Compromising". Gallery M. Gelman, Moscow
1997 "Moscow - Urjupinsk. To Russia with love ". Uryupinsk museum
"History in Faces" (from the collection of the Museum of Modern Art Tsaritsino). Samara, Perm, Novosibirsk, Yekaterinburg (catalog)
Third Biennial of Contemporary Art. Cetinje, Montenegro
1998 "City Urjupinsk. 1997 ". Bs "At Kashirke", Moscow
Criticism

In the context of the strategy for development of the reality of the poetics Dmitry Gutova very individual: it can be called a poetics of the critical reality. The original provisions of the poetics of the polemic as a protective conservatism Vadim Zakharov and germenevtov, but do not join with vitalism Osmolovsky Anatoly and Oleg Kulik: reality from his point of view does not make sense, but is fraught with values. Main draw consciousness at its thoughtful comprehension of reading rooted in her senses. Therefore, the main problem of the critical poetics of reality - is gaining the ability to objectively felt to be references which would not be text, a - the reality. From her understanding of deconstruction as a pure scholasticism, and the requirement of the critical remarks of clarity and analytical capacity. In the artistic practice, this means setting a maximum reduction of language: the reality is manifested, where language reaches its limit and minimize transparency. In other words, being emerges where the art disappears. This aesthetic asceticism shows internal ethical pathos of the critical poetics of reality, its fundamental continuity of the tradition of Russian critical realism п?1п? and twentieth centuries. However, the ethical rigor of the poetics does not prevent her to give utmost importance act of representation: it objectively judge, as a new found to be proclaimed loudly. Tourist Office. art, first reduced and then ekzaltiruetsya to enchanting entertainment.
. However, as the reference objectively vskazyvaniya poetics critical realnostiN predstavalyayut fact they are nothing but variations of installation works davnengo and recent past
. In other words reference works Gutova is not credible reality, and reality fiction. Samoreduktsiya language is not the identification of reality, but only procedures tautology, ie. closure of the language itself. So harsh critical realism turns into a refined aestheticism. Symptoms of this poetics is to identify the conflicts in it becoming a new critical consciousness: the ideological basis of poetics Gutova is vozvrashenny from oblivion Marxism, . so-called "Leninist theory of reflection", . theoretical heritage Michael Lifshitz,
. The logical setting for his analytic rational opposition to the field of nonsense and entropy, the new criticism nonetheless deprived of self-sufficient and the methodology is the result of recycling. His new orthodoxy Gutov professes no less obsessed than the one with which Osmolovskii and Kulik cause demons of power and chaos.

V. Misiano. "Fatal strategies". Catalog of the exhibition "No Man` s Land. Art From the Near Abroad ", Volume 1. Copenhagen, Denmark, 1995