Mukhin Igor

1961 born in Moscow
. 1977-81 studied at the Construction Institute
. since 1987 member of the l / of the "Hermitage"
. 1989-91 member of the group "Immediate Photography"
. since 1990 member of the Moscow Union of Photographers
. since 1993 member of the Union of Photographers of Russia
. since 1994 member of the International Federation of Artists (IFA)
.
. Collections where works
.
. Museum of History and Reconstruction of Moscow, Moscow
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Museum of photographic collections, Moscow
. Ministry of Culture of Russia, Moscow
. XL Gallery, Moscow
. Victor Barsokevitch Museum, Kuopio, Finland
. Paris Audiovisuel - Maison Europeen de la Photographie, Paris, France
. K. Roberts, San Francisco, USA
. M. Pauseback, U. Herbrand, Cologne, Germany
. B. Strathmann, Hamburg, Germany
. JFBizot, Paris, France
. Private collection, United Kingdom
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS
. 1987 "Young of the Young"
. House of Culture of Moscow State University, Moscow
1988 Club plant Uralmash, Sverdlovsk
1989 Gallery, Kuibyshev
Club photographer, Ukhta
1990 Gallery, Leningrad
1993 "The study of Soviet monumental art". Gallery, Yoshkar-Ola
1994 "Benches: Transformation for the Future". XL Gallery, Moscow
1995 "40 photos". Museum of the Revolution, Moscow
1996 "Life in the City". Latvian Museum of Photography, Riga, Latvia
"The Changing Landscape" (in the framework of the exhibition "New myths and new realities. Contemporary Russian Photography "). Artist's House at Kuznetsky Most, Moscow
1997 "Moscow. Moscow ". "Slepenais experementa" club, Riga, Latvia
"Soviet epoch: Benches and Monumentes". Photohouse, Riga, Latvia
"Crossing". Goethe Institut, Moscow
Park Cultural. Memoirs. Festival of Arts "KUKART III". Substitute Palace, Tsarskoe Selo
"V. Siomin & I. Moukhin: Contemporary russian photography ". The Camera Obscura Gallery. Denver, USA
"Moscow: City & People". LEK, Ljubljana, Slovenia
"I. Moukhin". Galeria Gerulata, Month of photography, Bratislava, Slovakia

Selected Group Exhibitions

1986 "Photo 86". Low, 28, Moscow
1987 "Photo 87". Low, 28, Moscow
"Photo exhibition". l of the "Hermitage", Profsoyuznaya st., q. 100, Moscow
1988 "Contemporary Soviet Photography". Stockholm, Sweden; Museum of Photography, Odense, Denmark
"Exhibition of the Moscow Photography. Photographic Museum, Lviv
1988-89 "Smile, please!" ( "Smile, please!"). Galerie Comptoir de la Photographie, Paris, France; Portfolio Gallery, London, UK; Cinema Center, Moscow
1989 "Fotomost". Peresvetov Lane., Moscow
"150 Years of Photography". Manege, Moscow
"Exposition des photographes sovietiques". Theatre de Cherbourg, France
1990 "Looking East". Gallery Image, Aarhus, Denmark
"For a cultural holiday". Kashirka, Moscow
1991 "Changing Reality". Corcoran Gallery of Art, Washington, USA
"Photo Manifesto. Photography of Perestrojka ". Baltimore, Southampton, United States
"Russie-USSR 1914-1991". Changements de regards, Paris, France
1992 "Aktuelle Kunst und Fotografie aus Moskau". Gallery Albecht, Munich, Germany
"Litza. Contemporary Portrait Photography from Russia, Byelorussia and Ukraine ". Foundation "CIRC", Amsterdam, Netherlands
"Experiences Photographiques Russes". L `Atrium de Grand Ecran (Mois de la Photo a Paris), France
"II International Foto-Triennale". "Erfundene Wirklichkeiten" Esslingen, Esslingen, Germany
"Premiere photographie". Gallery du Jour, Paris, France
1993 "A la recherche du pere". Espace Photographiques de Paris, Paris, France
Who yaN "The Art of Choice". Gallery of the Union "; Shkola Gallery, Moscow
"Moscow dust". Museum photo collection, Moscow
"Monuments: Transformation for the Future". ISI, CHA, Moscow; ICA, New York, USA
"ART MIF 3". Manege, Moscow
"New Territories of Art. State Art Museum, Krasnoyarsk
1994 "Art of Contemporary Photography. Russia, Ukraine, Belorussia ". Central House of Artists, Moscow
"Who's Who: Celebrities new Russia" (an exhibition of portraits). Central House of the Actor, Moscow
"The artist instead of the product". Central House of Artists, Moscow
"Monuments and Memory: Reflections on the former Soviet Union". The Gallery of Sacred Heart University; Fairfield and Akus Gallery; Easter Connecticut State University, Willimantic, Connecticut, USA
"The surface of meaning. Overlay sheets ". 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 "Russian Photography"
. Museum of Contemporary Art, Tampa, USA
"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
"Vision of Russia". Fotofestival Naarden, Naarden, The Netherlands
"Werkstatt Moskau" (Zeitgenossische Russische Fotokunst). Akademie der Kunste im Marstall, Berlin, Germany
"Five Years Later" (Month of Photography). Dom Kultury, Bratislava, Slovakia
"Night over Asia". The Swedish Exhibition Centre, Gothenburg, Sweden
"5 years Marat Gelman Gallery". Artist's House at Kuznetsky Most, Moscow
"About Russia". Artist's House at Kuznetsky Most, Moscow
1996 "New myths and new realities. Contemporary Russian Photography ". Artist's House at Kuznetsky Most, Moscow
"Moscow today" in the Photobienalle `96. New Manege, Moscow
"From the Collection: Resent Acquisitions of Photography". The Corcoran Gallery of Art, Washington, USA
Biennale of International Photography, Photographic Center of Skopelos, Greece
"Anti-fascism, anti-anti-fascism,. Contemporary Art Center, Moscow
"Russia: Chronicles of Change". Southeast Museum of Photography, Florida, USA
"Renewal and Metamorfosis. Russian Photographers from the Late Soviet Era to the 1990 `s" MIT. Museum, Fitchburg Art Museum, USA
"Biennale". St.Petersburg
"Compromising". Guelman Gallery. Moscow
1997 "Moscow in the works of Russian and foreign photographers". Manege, Moscow
"The photography 1994-1996". Central House of Artists, Moscow
"FOTOESTAFETA: from Rodchenko to our day," Gallery "A-3". Museum of Photographic Collections, Moscow
"Russia: Chronicles of Change". Washington Center for Photography, Washington DC. USA
"Maison Europeenue de la Photographie". Paris, France
"Moscow today". Baku, Azerbaijan; Vologda, Maikop
"Russia is a real and imaginary". Russia Cultural Center, Budapest, Hungary
Third Biennial of Contemporary Art. Cetinje, Montenegro
"The Russian image". G. Ray Hawkins Gallery, Santa Monica, USA
1998 "Courage". Contemporary Art Center, Moscow
Criticism

Born in 1961 in Moscow. In 1988. began to cooperate with the agency RARNO (Paris). Actively works with many publishers, performing documentary photography related to the history of Russian Contemporary Art. In the late 80-ies created a series of photographs - 'Monuments', a concept which provides a parallel with the work of Friedlander. The process of photographing is supplied by the artist in this series as a means of monitoring the works of art, their hidden life. Mukhin use different perspectives, seeking the set of visual effects: the overhangs of the monument above the town, "revival" of individual parts and t. d.
The next series, conceived by the artist as an alternative to 'big' style - 'benches'. However, despite the seclusion, the genre of the topic itself, an artistic decision here preserves the scale, energetic perspective, big plans, so that the benches were brought by the same 'monuments'. It is noteworthy that, if the sculpture theme 'secondary' photos (picture is after the completed monument) is obvious, program applied for, then the series 'benches' this line being much thinner. Sense that the photograph - a minimalist sculpture, but not destroyed by the bench, very sharp, but it is difficult to formulate, as it is impossible to indicate the analogue.
Participating in exhibitions since 1986 and abroad since 1988.

Igor Mukhin. From the catalog "Kunst im Verborgenen. Nonkonformiste Russland 1957-1995 ". Prestel, Munich-New York, 1995

. Documentary photography potential to be particularly severe criticism when a photographer, for example Constructivists, uses documentary itself as an artistic device that makes Igor Mukhin in its series of 'Monuments'
. This collection of monumental sculptures of the Soviet period (and is not very well known), filmed in the style of photos 20x's, but in a strange term, and unexpected angles, using the 'look Rodchenko' as the workpiece (Readymade). Only Mukhin replaces the living model Rodchenko - Athletes, . Pioneers, . Writers - gypsum players and Yuri Gagarin in metal: so it exposes the ideological nature of the work of Rodchenko and shows, . that the poetics of constructivism is not essentially different from the rhetoric of Stalinist art,
.

E. Tar. From the 'New Moscow Photography Pictures of Utopia and Scepticism'. "Contemporary Photographic Art from Moscow". Prestel, Munich-New York, 1995

Igor Mukhin also explores the theme of the photographic image, because it works with the signs and symbols of Soviet power. As soon as the Soviet cultural symbols become blurred and disappear in the Mukhina, they also lose their ideological meaning: having lost its function of retaining the ballast system, they lose the old aura of monumentality. Destabilization of these symbols is obtained owing to the perspective that Mukhin elect in relation to its subject matter: Prospects unstable and directly opposite the monumental compositions Technology. Mukhina interested in the role that photography plays in the process, titled Jan Assmann 'cultural formation' characters.
. Symbols of state power (such as monuments and memorials) are reduced in the process of historical change of power structures at other levels of cultural consciousness of society
. Having lost their utilitarian and didactic, they become open radical rethinking. They mutate from a positive role model in an anti-model in the light of changed circumstances.
Photography is able to provide the same character, and as a carrier of power, and as the exponent of this power loss. We Mukhina its subject becomes commonplace, reduced from 'high' to 'low', high to low relevance.

K. Becker. From the 'Photography versus Art. Art and Photography '. "Contemporary Photographic Art from Moscow". Prestel, Munich-New York, 1995