Konstantinov Alexander

1953 born in Moscow
. 1977 Graduated from the Moscow Institute of Electronics and Mathematics (Department of Applied Mathematics)
. 1970-80 received artistic training in studios in Moscow
. 1987 member of the l / o "Hermitage"
.
. Collections where works
.
. The State Tretyakov Gallery, Moscow
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Collection of the Grand Duchess of Luxembourg, Luxembourg
.
. Participation in exhibitions and auctions
.

. SOLO EXHIBITIONS

. 1990 together with A. Ponomarev
. Contemporary Art Center, Moscow
1991 Gallery "Today", Moscow
1992 "Alexander Konstantinov". State Tretyakov Gallery, Moscow
1993 Moscow Collection Gallery, Moscow
1994 "Gerade und umgekehrte Perspektive des russischen Minimalismus. Ljubov Popova 1924-1994 Aleksander Konstantinov ". Palais Lichtenstein, Feldkirch, Austria
"Minimalismus als Wille und als Spiel. Einzelausstellunge ". Galerie Zolgasse 7, Dornbirn, Austria
1995 Galerie Salustowicz, Bielefeld, Germany
1995 "Kanzlei". Franz Kafka Zentrum in Prag. Prag Galerie Salustowicz, Bielefeld, Germany
1996 Exhibition of forms. Kaliningrad State Art Gallery, Kaliningrad
Galerie Art 5 III. Berlin, Germany
"Gesprach aus zwei Raumen. Francisco Infante - Aleksander Konstantinov ". Galerie Zollgasse 7, Dornbirn. Osterreich, Germany
Russian Cultural Center. Budapest, Hungary
1997 "Letterpress printing". Gallery of the "Today", Moscow
"Stand auf 49 Frankfurter Buchmesse". Frankfurt, Germany
GROUP EXHIBITIONS

1988 "Drawings of Moscow artists: Urbi et Orbi". Central House of Artists, Moscow
1990 "Vanguard-90", an international architectural and art exhibition, Manege, Moscow
ART MIF 1. Central House of Artists, Moscow
1991 "ART MIF 2". Manege, Moscow
1992 "Lessons Magnitsky. Geometric abstraction: the Moscow experience ". SRC, Moskva
1993 Graphics. Gallery of the Hermitage. Central House of Artists, Moscow
"Russian Graphic Art". Museum of Fine Arts, Ankara, Turkey
"Postmodernism and national traditions". State Tretyakov Gallery, Moscow
"ART MIF 3". Manege, Moscow
1995 "Einblicke" (Werkstatt Moskau II). Galerie im Marstall, Akademie der Kunste am Hanseatenweg, Kunstlerhof Buch, Berlin, Germany
Exhibition of gallery artists "Today". Central House of Artists, Moscow
"Graphics. East-West. Gallery Salyustovich. Bielefeld, Germany
"Synopsis". Gallery Caryatid, N. Novgorod, State Art Gallery, Perm
1996 "Artoteka, NCCA. Central House of Artists, Moscow
"Ars Vienna` 95 ". Museum of Applied Arts, Vienna, Austria
"The Cow". Municipal Museum, Cloppenburg, Germany

Criticism

... Space A. Konstantinov was not leading the structuring of the object, but rather serves as a conductor, Formed passive voice. It carried out the principle of mutual arrangement, sympathy, and mutually. It priugotovano to the adoption of structures, it is receptive and gives them myself, yielding an internal model form and inviting them to return your order, your rights and the filling simulation. Absolute indistinguishability at the time of his birth ( "numbness" and "blindness") space A. Konstantinov deploys its content through introduced into his structure - "the grid" and "strip". This space A. Konstantinov sakralizuetsya, update its properties to the division, it appears the "voice" and "appearance", it becomes audible and visible, ie, conceptualize and organic as a living being, not an empty container. At this level, it can become a sign and a signal to accumulate and generate information. Moreover, the plastic structure A. Konstantinov lightens in the space of a special, they, structures, provided a paradigm and its own order - syntagm, that is some text. This "text space" has a meaning and is generated as a result of the imposition of a living, open space of some network, weave, texture, as matter in its "oprostranstvennoy" form.
... The world picture offered by A. Konstantinov, demonstrates how changing the structure of consciousness, symbolizing the discreteness, atomizirovaniem, the dividing line on the set of points. Utopian thinking changes its sign, and awakens inner freedom. Modern society is clearly moving away from homogeneity to heterogeneity, from uniformity to diversity, and the artist ukazyaet the trend that is on the threshold of the future and from which the future depends. In place of determinism comes to recognizing the validity of a discrete nature, and to change the perception of time as a pure sequence is an instant sensation, point. This type of thinking can be called ideological waste-free, because it is not intended to outside itself - it is not targeted because it is integrally. It is revealed in one another, and not derived from another, it requires a causal link. Every phenomenon, every phenomenon here as self-sufficient, samoznachimoe and yet - as the image of other phenomena, among them is not established dominance-subordination, and compliance and vzaimoprichastnost.
. In the work of A. Konstantinova happens, in the words of R. Barthes, "the death of the author"
. It becomes a perpetual copyist, representing a true message. It turns out that he is not designing a reality, but can only ever imitate what is written first, and itself was not written for the first time. The thesis of R. Barthes' death of the author of this formula is the latest phase of minimalism. The inner essence, which plans to give today's minimalist, there is nothing, as we have finished the dictionary, from which he draws his letter, not knowing the stop. Life in art A. Konstantinova transformed into text, "it only emulates a book, but the book itself consists of characters, she imitates something already forgotten - and so on to infinity". Universalism is environmentally friendly, it refuses to combine predictive modeling and space-text and becomes an instant flash of insight, revealing the depths of humanity in its whole, indivisible "I".

V. Patsukov. "The dramaturgy of points and lines". Direct and inverse perspective Russian minimalism. Lyubov Popova 1924 - 1994 Alexander Konstantinov. Feldkirch, Austria, 1994

Bibliography

G. Elshevskaya. About the exhibition "Drawings of the Moscow Artists", the magazine "Art", N11, 1989;
. N. Danilevich Objects Konstantinova, "the newspaper" Soviet Culture ", 22/12/1990;
. A. Safarov "Moscow Palette", Journal of Decorative Arts ", N2, 1991;
. EV Gorchakov Gallery "Hermitage", Journal of Decorative Arts ", N2, 1991.