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Elagin Elena

( Artist)

Comments for Elagin Elena
Biography Elagin Elena
1949 born in Moscow
. 1962-67 studied at the Moscow Art School
. 1967-72 studied with Alice whips
. 1972-75 studied at Orekhovo-Zuevo Pedagogical Institute (Faculty of Literature)
. 1969-78 worked as an illustrator in the "Knowledge Is Power"
. 1979-89 member of the "collective action"
. Collections where works
. The State Russian Museum, St. Petersburg
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Ludwig Museum, Cologne, Germany
. North Carolina Museum of Art, USA
. Duke University Museum of Art, Durham, USA
. Berliner Gallery, Berlin, Germany
. Galerie Art 5 III Inge Herbert, Berlin, Germany
. Ogein Lombard, New York, USA
. Participation in exhibitions and auctions

. 1990 "Closed Fish Exhibition" (together with I
. Makarevich). MANI Museum, Moscow Region.
1992 "Within the limits of beauty" (with and. Makarevich). L Gallery, Moscow
1993 "Girls and death" (with and. Makarevich). Velta Gallery, Moscow
"Closed fishing exhibition and other installations (together with and. Makarevich). Krings-Ernst Galerie, Cologne, Germany
1994 "Life in the snow". SRM, St. Petersburg
"Story writer". Central House of Artists, Moscow
1995 "The game of croquet" (with and. Makarevich). Gallery "Obscuri viri", Moscow
"Life in the snow. Travel on the ice ". Gallery Krings-Ernst. Cologne, Germany
"How to survive in the summer snow". Gallery "Coats", Moscow
"Flight - Care - Disappearance. Moscow Conceptual Art. Prague, Czech Republic, Berlin, Kiel, Germany
1996 "Laboratory doing great". Gallery "Obscuri Viri", Moscow
"How to Draw a Horse (Part Two)". Central House of Artists, Moscow
"Visiting a fairy tale" (curator A. Sargsyan). Contemporary Art Center, Moscow (catalog)
"Fluxus. Yesterday. today. tomorrow. History Without Borders. Central House of Artists, Moscow
"Artoteka, NCCA. Central House of Artists, Moscow
International art fair ART-MOSCOW. Central House of Artists, Moscow (catalog)
Zone ". State Tretyakov Gallery, Moscow
"10 Years of Avant-gardists Club". Peresvetov Lane., Moscow (catalog)
Three Card. ROSIZO, Moscow
"Russian atelier". Amsterdam, Netherlands
"The boundaries of interpretation". State Humanitarian University, Moscow (catalog)
"Moscow Studio", Gallery "Hemistayl, Washington, USA
1997 "The second paragraph". Cultural Center of Phoenix, Moscow Conceived and paint.. Pivovarov. Prigov. Yelagin.
"Makarevich". Krings-Ernst Gallery, Cologne, Germany
"Collective Action". Exit Art Gallery, New York, USA
III Biennale of Contemporary Art. Cetinje, Montenegro
"The world of sensible things in the pictures - the twentieth century", Gallery M `ARS. Pushkin Museum of. Pushkin, Moscow
"Mystical correctness". Gallery Diana Hohenthal, Berlin, Germany
1998 "The World of Eye - 2". Chuvash State Art Museum, Cheboksary (catalog)
"Renovation". Exhibition Hall in the Cultural-historical center of "Slavic", Moscow
International art fair ART-MOSCOW, gallery M'ARS. New Manege, Moscow
"Willer and Boxing. 250 years "(with I. Makarevich, S. Anufrieva, T. Novikov, S. Bugaev (Africa), L. Bereza, D. Lukanin, Yu ostrich, etc.). Exhibition curator A. Yakut. Manege, Moscow

1988 Second Exhibition of Avant-gardists Club. Peresvetov Lane., Moscow
1989 "Perspectives of Conceptualism". Peresvetov Lane., Moscow
1990 "Towards the Object". Kashirka, Moscow
"Shizokitay". Avant-gardists Club. Exhibition Pavilion on Frunze Embankment, Moscow
"Worker". Exhibition Hall, Oktyabrkaya, 26, Moscow "Exposition". Museum Tzaritzyno. Profsoyuznaya 100, Moscow
1990-91 "Between Spring and Summer: Soviet Conceptual Art in the Era of Late Communism". Tacoma Art Museum, Tacoma; ICA, Boston; Des Moines Art Center, De Moines, USA
1991 "Novecento". L Gallery. Central House of Artists, Moscow
"In de USSR en Erbuiten". Stedelijk Museum, Amsterdam, Netherlands
"Aesthetic Experiences". Museum Kuskovo, Moscow
"Ppivatnye occupation". Galepeya 1.0. Exhibition Hall Solyanka, Moscow
"MANI Museum - 40 Moskauer Kunstler im Frankfurter Karmelitenkloster". MANI. Frankfurt, Germany "Perspectives of Conceptualism". The University of Hawaii Art Gallery, Honolulu;
Clocktower Gallery, Public School 1, New York, USA
"Contemporary Soviet Art: From Thaw to Perestroika". Collection of contemporary art museum Tzaritzyno. Setagaya Art Museum, Tokyo, Japan
"Artistos Russos Contemporaneos". Santiago de Compostela, Spain
"Kunst: Europa, Sovietunion". Kunstverein Hannover, Hannover, Germany
"Visit". Club of the avant-garde Moscow
"V izbah / in the room;. Dom kultury, Bratislava, Slovakia
1992 "Ex USSR". Groninger Museum, Netherlands
"Heart of four". ISI. House officers, Moscow
1992-93 "Perspectives of Conceptualism". North Carolina Museum of Art, Raleigh, USA
"Humanitarian aid parcels for Germany. 27 Moscow Artists ". Central House of Artists, Moscow;
"Humanitare Hilfe, Packchen fur Deutschland". Tranenpalast, Berlin, Germany
1993 "After Perestroika: Kitchenmaids or Stateswomen". Center for Contemporary Art, Montreal, Quebec, Canada "Art Koln". Cologne, Germany
"FIAC". Paris, France
"Art Hamburg". Hamburg, Germany
Monuments: Transformation for the Future, "ICA, New York, ICI, Moscow, Central House of Artists, Moscow;
"Adresse provisoire pour l'art contemporain russe". Musee de la Poste, Paris, France
"From Malevich to Kabakov". Museum Ludwig, Cologne, Germany
1994 Cetinjski Bienale II. Cetinje, Montenegro
1995 "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
"Art of Dying". Yakut Gallery. Manege, Moscow
"Action Force". Kunstverein, Munich, Germany
"Zeichnungen der Moskauer Szene". Galerie Hohenthal & Littler, Munich, Germany
"Worker-2". L Gallery, Moscow
"Esotericum". XL Gallery, Moscow
"Copyright-96". Aidan Gallery, Moscow

Autobiographical notes

I was born in Moscow in 1949.
My father was a children's writer, and my mother a chemist. They were men of his era. In the family album there are photos where the mother-school girl sitting next to Valery Chkalov, and his father in the group of pioneering naturalists imprinted with the patriarch of the breeder Michurin. I must say that from an early age in my combined often controversial interest in word and image. In more mature age, I identified it as two areas of my creative aspirations. I wrote the play and ironic studied in MSHSH. Later worked at Ernst Unknown sculpture and painting at the Alice whips, while attending lectures Philology University. Workshop of the Unknown, (where I worked for twelve years, until his departure), in a sense can be called a center of intellectual and artistic atmosphere of an era of development of our neofitsalnogo art.
. Alice I. whips put me "merry natyurmortiki, talked about his teachers Petrov-Vodkin and Filonov, showed surreal staged photography oberiutov
. A close friend of Kharms and Vvedensky, she had hitherto unpublished archive of manuscripts, diaries, unique photographs.
Since 1979, I began to constantly participate in actions of the "collective action". In the late 80-ies I have succeeded in their work to combine two elements that were previously centrifugal thrust. Now separate the highlighted word is accompanied by a number of objects in my visual elements, commentary on it and enter with him multiple relationships. Working with word, . I found it, . what I call the "pathos neuter", . focusing on the process substantivizing adjective and participle neuter: The word loses its original concrete meaning, . instead of buying something abstract sublime,
. Thus, tautology verbal-visual series creates an illusory cultural-specific semantic space. The external structure of objects using various types of traditional ideological clichц?s. On the one hand, verbal stereotypes, materializing can acquire specific tangible form, and on the other - utilitarian objects acquire the status of the global symbol. Since 1990, often in large projects I am working in collaboration with Igor Makarevich.


Elena Elagina and Igor Makarevich has for several years engaged in Soviet archeology, history, character evidence, which we have observed for decades. For their installations are anonymous texts of the Stalinist period, . then the maximum massiveness, . but now safely neglected, under the guise of a modest role of an artist-restorers, . they seek out for a visual equivalent of these texts and thus arouse them enclosed in spontaneity, . direct effects,
. Bringing clarity to the narrative connected with some dramatization - the viewer requires the ability to believe in the fiction against him, to learn to move it.

M. Ryklin. Catalog of the exhibition "Life in the snow and other installations". The State Russian Museum, St. Petersburg 1994

. That line of contemporary artistic consciousness, which represents not only Makarevich and Elagina, but, for example, the writer Vladimir Sorokin, is striving to efficiently describe, not analyze, but seemed to respond to the resulting culture assignment
. Tasks, . not yet completed, . and the book as an elderly peasant lame, . and indicate the Red Army, . how to bury his remains in the snow, . do not belong to the sphere of professional culture, . but that layer between it and reality itself, . which in the twentieth century gave rise to the most amazing, . bizarre phenomenon, . envy post-totalitarian generation,
. Can be compared with them except by such as Plato, whose name calls to mind the atmosphere of the exhibition. Makarevich and Elagina - artists-Mythology. These installations reigns heavy spirit of romantic fairy tale with a bad end. They describe the world of ideology, but on the fundamental level, when she was still only a problem of survival. Locally-exotic (scraper and snowshoes) appears here as a primitive universal.
. "Glass, tin, wood" - three glorious exception, describing the "nature of things, from Makarevich and Elagina sound like" wood, snow, fish.
. Exclusive, wrong, strange, and is the most significant
. The combination of universalism and marginality, . importance and insignificance was not only the charm, . but the glory of the reflective art 70-ies, . from which the left Makarevich and Elagina, . in the past, members of the legendary conceptualist group "Collective Action",
. After Russia, de jure or de facto left the major representatives of this line of domestic art, . and some remaining found themselves discharged, . Makarevich and Elagina stand at his post in anticipation of a historically significant razvodiastchy, . which is not visible,
. These installations noticeable, perhaps, fatigue and decadence, but it is of great decadence of the era, with which they are infinite and deeply pessimistic forgiven.

E. Tar "Life in the snow ends in tragedy". Kommersant-DAILY, 1994, June 6

. Gesture Makarevich and Elagina is, . thus, . something quite the opposite Sots-art: not in priraschivanii under the ideology of another, . ironic, . subtext in the form of a new "edeologii", . and to emphasize, . opposite, . plan meaning, . physical presence of art, . Open view,
. "Top floor" sign is free from the connotations that this system avoids (no accident for the "Fish of the exhibition" substantially return to their words denotational, ie, the literal meaning). All this makes it the rejection of the ideology for the sake of the ontology.

E. Tar Baby Name Fishes ". Artograph, 1993, N 1

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