Kulik Oleg

1961 born in Kiev
. 1981-84 worked as director of rural club, Selizharovsky rn, Tver Region.
. 1990 Fellow Pollock-Krasner Foundation (New York)
. 1990-93 collaborated with Regina Gallery
. 1995 Fellow of the Berlin Senate
.
. Collections where works
.
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. European Commercial Bank, Moscow
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1988 "The paradox of a method
. Exhibition Hall of the Sevastopol region, Moscow
Dialogue. SRI distant radio, Moscow
1989 "Anticipation of unfreedom". Youth Palace, Moscow
1994 "I Love Gorby". Gallery M. Gelman, Moscow
1995 "The Same and Skot". XL Gallery, Moscow
"My family, or Nature is perfect!". Gallery M. Gelman, Moscow
"The End of History". XL Gallery, Moscow
"Kulik visiting Emperors". XL Gallery, Moscow
"The End of History". XL Gallery, Moscow
1997 "Virtual Dog". Gallery M. Gelman, Moscow
"I bite America and America bites me" (together with Mila Bredikhin). Deitch projects, New-York
"Family of the Future". Gallery M. Gelman, Moscow
1998 "Claire Kuilti Jr.". XL Gallery, Moscow
GROUP EXHIBITIONS

1989 "Outside the genre". Youth Palace, Moscow
"Collection-89". Helsinki, Finland
1990 Exhibition of young Soviet artists. Poland
XIX Youth Exhibition. Artist's House at Kuznetsky Most, Moscow
"The logic of paradox". Youth Palace, Moscow
"Traditions of Russian Painting". Museum of History and Reconstruction of Moscow, Moscow
"Wives". Kashirka, Moscow
Vanguard-90 ". Manege, Moscow
1992 "Art of the One family puk, apology or embarrassment". Regina Gallery, Moscow
Festival installation "Animalistckie Projects. Regina Gallery, Moscow
On transparency. Regina Gallery. D. Zimenki, Moscow Region.
Philosophy of the name ". Contemporary Art Center, Moscow
1993 "VII Congress of People's Deputies is dedicated". Gallery M. Gelman. Central House of Artists, Moscow
"Avant-garde and tradition. Books by Russian artists of the 20 th century. Russia State Library, Moscow
"Two Museums". Sala Communale, Rome, Ciampino, Viletra, Italy
Philosophy of the name ". Contemporary Art Center, Moscow
1995 "No Man's Land". Copenhagen Contemporary Art Center, Copenhagen, Denmark
"Party" turnkey ". Gallery M. Gelman. Polytechnical Museum, Moscow
"Kiev Art Meeting". XL Gallery. Center "Ukrainian House", Kiev, Ukraine
"Art belongs to the people". CSR. The shop windows, Moscow
"5 years Marat Gelman Gallery". Artist's House at Kuznetsky Most, Moscow
1995 "The Same and Skot". XL Gallery, Moscow
"My family, or Nature is perfect!". Gallery M. Gelman, Moscow
"The End of History". XL Gallery, Moscow
1997 "Virtual Dog". Gallery M. Gelman, Moscow
"I bite America and America bites me" (together with Mila Bredikhin). Deitch projects, New-York
"Family of the Future". Gallery M. Gelman, Moscow
1998 "Claire Kuilti Jr.". XL Gallery, Moscow

EXHIBITION PROJECTS

1990 "The logic of paradox". Youth Palace, Moscow
"Traditions of Russian Painting". Museum of History and Reconstruction of Moscow, Moscow
Natalia Turnova ". Regina Gallery, Moscow
"Femininity and power (b). Central House of Arts, Moscow
From lubok before installing ". Palace of Arts, Minsk
1991 "Nude on the background of Sots Art". Regina Gallery, Moscow
"Neighborhoods Regina Gallery-Art". A. Monastyrskii ". Regina Gallery, Moscow
"Day of Knowledge". Regina Gallery, Moscow
"The autonomy of art. O. Voices. Central House of Artists, Moscow
Barak. A. Petrov. Cinema House, Moscow
"Traces on the podium". Regina Gallery, Moscow
1992 Festival of installation "Animalistskie Projects. Regina Gallery, Moscow
"Apology of shyness, or art firsthand. Regina Gallery, Moscow
On transparency. Regina Gallery. D. Zimenki, Moscow Region.
1993 "Reality and Realism", the festival. Regina Gallery, Moscow

SHARES AND PERFORMANCES

1994 "New Sermon". Danilovskiy Market, Moscow
"Freedom of Choice. Patriarch's Ponds, Moscow
"Mad dog, or the last taboo, guarded by a lone Cerberus" (with A. Brener). Gallery M. Gelman, Moscow
The Sandpiper - your MP, the election disco in a night club "Pilot", Moscow
1995 "Reservoir Dog". Kunsthaus, Zurich, Switzerland "Alter Aegis". Contemporary Art Center, Moscow
"With you I am a beast". Polytechnical Museum, Moscow
"A man with a political face". Tverskaya Street, Moscow
"Experiments zootsentrizma". Moscow Zoo, Moscow
1995 "Kulik - it's still a bird". Gallery 21, St. Petersburg
"Missionary". Sand Street., Moscow
"Russian Safari. Gallery M. Gelman, Moscow
"Police dog". Night Club Rozentol, Moscow
1996 "Not a word, and the body, Museum of Revolution, Moscow
"Suspended". Kunstlerhauz Bethany, Berlin, Germany
Pan European Art Manifestation "Manifesta" ( "Pavlov's dog"). Rotterdam Netherlands
Museum Van Hedendaagste Kunst, Ghent, Belgium
"I love Europe, but she did not". Kunstlerhauz Bethany, Berlin, Germany
"My place in art". NBK, Berlin, Germany
Battleship for your show. Museum of Modern show, Ghent, Belgium
1997 "Kulik Kulik eye vyklyuet". Gallery M. Gelman, Moscow
Two Kulik ". Esplanade Palace, Merano, Italy
Autobiographical notes

I am an artist who has a strong projection will. My projects are interesting as far as they are dangerous or disgusting to the public. When I was able to realize their fantasies of ghosts, using the knowledge of the mechanisms ralnosti, I feel supreme bliss, which seek to attract and their fans and admirers
.
. Criticism
.
. Anyone who works with children studying Karl Marx's famous formula, demonstrating the essence of the teachings of that great philosopher: "Man - it is a social animal (zoon politicon), which is only in society and can stand apart."
. Oleg Kulik often uses the same term when speaking of the metaphysical foundations of his work, but does so with a different emphasis than the ideologue of the dictatorship of the proletariat
. He understands the term "political animal" - literally referring to the animal, wished to enter politics. The irony of such a course only apparent. He has a history. Suffice it to refer to the "farm animals" Orwell, . gle pigs - a totem animal Kulik, . he simultaneously deify, . and deadens - seize power, . led by the Marxist-minded male pigs Napoleon, . prototype of which was, . is known, . Stalin,
. Hryakov was and ideological opponent of Napoleon named Snowball, which is guessed Trotsky. Dogs that like to turn Kulik, in Orwell's work served as a KGB ". In short, we can say that the political theater Kulik relies on a solid tradition. Literary line in this tradition is the cat Murr, and political - talking horses Swift, wise ruler whose people are in roles of service personnel (the famous "yehu").
. However, literary associations is not limited
. Zoophilia Kulik has a logical-philosophical origins. Among the stories mentioned in the logic of the principles of identity "is a little-known principle of the identity of God and the animal, the identity of someone in the absolute power you are, and of whose fate you can fully dispose. This identity beings prnadlezhaschih to another order of being than man, is unintelligible to him, because they are outside of language and speech. Kulik uses this principle of identity in the action "New Sermon" in which the pompous Christ of the Gospels in the context of the transformed series Danilov meat market in mute God's animals.
. Like other artists, to determine the actual direction of the Moscow Art, Kulik has heightened social intuition, the ability to accurately navigate the constantly changing social context
. On the one hand, the traditional quality of Russian artists. All four major styles of the last hundred years in the art of Russia - Wanderers, . classic avant-garde, . Socialist Realism and Moscow Conceptualism - determined by its social function: in two cases, apologetic and in two cases, critical,
. The history of Conceptualism and Sots-art, trends and still retain its influence, only confirmed the importance of social constants in Russian culture. Kulik many of their shares look directly continuer Sots-art, so do not accidentally understanding of these shares by the founders of Sots Art Komar and Melamid, the latter whose ideas were similar zootsentrizmu Kulik.
. However, you can approach this phenomenon in another
. In reality it is not about reflection. Just reflexive ability, especially the social skills of reflection, with new artists are much more developed than that of Conceptual-outsiders flowering period of this trend.
. Since all new is such only in relation to the tradition, the artist is forced to seek a tradition and is reflected above it
. For Sots Art and Conceptualism this tradition was all official Soviet semiotics, and language to describe it was synthesized on the basis of observations of the languages of the European and American modernism. What is a tradition for Kulik and other Moscow aktsionistovN seems, . that we should talk about the semiotics of Tartu school, . Russian structuralism Lotman and Uspensky, . Ivanov and Topo, . because that is what this school has created a theory of consciousness of the Russian intelligentsia,
. This theory was the only full-fledged tradition of intellectualism in the Soviet post-war culture, representing an alternative scientific and philosophical thinking.
. Of course, it does not matter whether familiar Kulik and Brener Osmolovskii with the works of Tartu school or they were limited familiarity with the works of the great French associates: Foucault and Lacan, Levi-Strauss and Barthes
. Tradition - and because it is a tradition that its action does not depend on whether we know about his involvement in it. Tradition is like the law, ignorance of which does not exempt from LIABILITY for its violation. And since the drama of today's situation is, . that the Act can not be upset if they wanted to, . because you never know, . where does the jurisdiction of the "Law of the State" and where does the jurisdiction of the "thieves' law", . it can only violate the moral law, . universal law of Reason,
. What makes a great artistic effect "Lonely Cerberus" - a new "political animal" Kulick, the new hero of our time.

I. Backstein