EFIMOV Vladislav E.

1964 born in Moscow
. since 1987 member of the l / of the "Hermitage"
. Collections where works
.
. Collection of the Ministry of Culture of Russia, Moscow
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. The State Russian Museum, St. Petersburg
. Bank Inkombank, Moscow
. Museum of Modern Art, Mexico City, Mexico
. Private collections in Russia, the USA and Germany
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1991 Untitled
. Center for Contemporary Art. Shkola Gallery, Moscow
1993 "Nature Morte". Gallery Arcadia, Odessa, Ukraine
1994 Untitled. Center for Contemporary Art. Gallery "Studio 20", Moscow
"Tables". TV Gallery, Moscow
1995 "Vladislav Efimov & Oleg Migas. Dis (crete) Moving Pictures, or the Chinese Cinema ". 1.0 Gallery, Moscow
"High". Gallery "Studio 20", Moscow
"Breath". TV Gallery, Moscow
1997 "12 months". XL Gallery, Moscow
GROUP EXHIBITIONS

1987 "Representation". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
"Photo exhibition". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
1988 Photo studio on Malaya Georgia, Moscow
Exhibition Moscow photos. Photography Museum, Lviv, Ukraine
1989 "150 Years of Photography". Manege, Moscow
1990 "ART MIF 1. Central House of Artists, Moscow
1991 "Photo Manifesto. Photography of Perestrojka ". Baltimore, Southampton, USA Presentation of Contemporary Art. Moscow
"Private Lessons". Center for Contemporary Art. 1.0 Gallery, Moscow
1992 "Vladislav Efimov - Yurij Babich". Vanha Gallery, Helsinki, Finland
1993 "Kunst-Kammer". 1.0 Gallery, Moscow
"Bestiarium". Gallery "Navicula-Artis", St. Petersburg
"Baroque end of the century". Museum of Decorative Applied Arts, St. Petersburg
1994 "Art of the internal space. Exposure 1. "Yuri Albert, Vladislav Efimov. 1.0 Gallery, Moscow Art of Contemporary Photography. Russia, Ukraine, Belorussia ". Central House of Artists, Moscow
"The surface of meaning. Overlay sheets ". Central House of Artists, Moscow
"The exhibition of the school supervisors". Center for Contemporary Art, Moscow
"Europe'94". Munich, Germany
"The border zone of Art. Festival of Contemporary Art, Art Museum, Sochi
"NewMediaTopia". Central House of Artists, Moscow
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 "Configura 2. Dialog Der Kulturen ". Erfurt, Germany
"Rencontres Internationales de la Photographie". Arles, France
"Werkstatt Moskau" (Zeitgenossische Russische Fotokunst). Akademie der Kunste im Marstall, Neue Berliner Kunstverein, Berlin, Germany
"Ergebnis". Galerie am Marstall, Berlin, Germany
"Interregnum". Kunsthalle Nurnberg, Nurnberg, Germany
1996 "Back to the photos (an annual exhibition of Soros Center for Contemporary Art, Moscow) in Moscow Forum of Art Initiatives. New Manege, Moscow
1998 "Operation Photo" (with V. Koshlyakov, V. Kupriyanov, I. Piganovym, H. Chahal). Manege, Moscow
. Criticism
.
. What gives even the most cursory glance at the retrospective work Vladislav EfimovaN probably feeling rigidity and physical density, is real, coming from a poorly identifiable objects made of
. Photography plays a role farewell frame, plexiglass, which flooded some fragile or expensive (in every sense of the word) the subject. Photo perpetuates and deadens. But, . how you can bring something of eternity, . that already in her raspolozhenoN For what are all these unseen beings, . fragments, . Samples, . Devices, . What is organic, . caught in his tight-fitting combinations of inorganic, . if not stopped moments, . interrupted zhizniN,
. But there are other combinations, other links
. Designed object, . getting into the photographic field, and thus as though experiencing their second death (the first - is his dressing, . modeling, . its placement on a simple shaded background, . that nothing distracts him from himself, . kind of mourning ritual: a kind of ablution, . remove particles alluvial mud, . in order to shroud his open nature could make the transition), . So, . experiencing double Dying, . object, . unless, . demonstrates their psevdozhizn to group parts,
. These parts fatally not completed to a. In a closed and separate residence - in the photographic sheet - they are we suddenly a full Hairiness, . then weave delicate bones, . forgetting strengthens their frame, . then, . Finally, . swarming rakovinoobraznyh Forms, . randomly clung geometrically precise figures,
. As is often found their own logic - the irreducibility of the scheme, but also as the law of the posthumous world order.
. Photographic equipment Vladislav Efimov aims to provide a documentary precision nonexistent object
. You can certainly say that this kind of bestiary that is laid between the traces of allegory, but it is unlikely to help us cope with what he saw. The photos really are deprived of speech, although, perhaps, inflame the imagination. They are so overwhelmed any narrative that remains to discuss the reception. Reception persistently returns to the facilities themselves.
. What does it mean to document vymyselN Does this mean just push two big promise - one, . coupled with the reality of a utopia, . to which we supposedly should bring photo, . another, . who has to deal with conventionality iskusstvaN This collision creates a spark (we see their marks on the photographs Efimov), . because problematiziruetsya each plant, . shifted towards the pole,
. The result is the final decline of any narrative, including the one that connected with the idea of genre.
And again we find ourselves in a troubled region shot on film sites. They seemed to exist by themselves, but to see them give only a photo opportunity. Photography, making filmed more reliable than it actually. But is there onoN Apparently, the object is incarnated when found with a camera and film, before there is no sufficient purity - it may prevent an adequate perception of the hollows, bumps, random shadow, but here is the picture it all disappears. Or, conversely, acts so that there are no ways of escaping, even the fiery sparks draws some logical pattern. We can say that the object first appears simultaneously with the negative.
Vladislav Efimov and works with the video (the most striking example - the recent exhibition of the artist in "TV-gallery). But the crumpled paper into a ball, trembling on the monitors, displays rather foreboding stopped aging and focus, passion for the rest, as mastered by dynamic texture video images Movement. This video - it nedoobekt, fragile and unstable, and in this transition state, it will remain for as long as no finds its photographic envelope.
. Photography becomes a refuge and salvation - not only in their basis of partial objects, but also our very ability to provide, beyond which it scrutinizes
. It supplies substitutes of things, but thanks to them we have benchmarks in a proprietary world. Its object saturation in Vladislav Efimov is more real than most "reality" and because, perhaps, she enchants us.
. Not enough to connect the unconnected, not to expose or hide the seams encountered - there are some neformaliziruemy surplus and it is formed at the intersection of the broken things, its delayed recognition and camera lens
.

Petrovskaya