Olshvang Anton Yul'evich

1965 born in Moscow
. 1988 Graduated from the Moscow Art Theater School (ц?ц?цў Branch)
. 1989 member of gopkoma The plots
.
. Collections where works
.
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Ministry of Culture of Russia, Moscow
. The State Russian Museum, St. Petersburg
. Bank Inkombank, Moscow
. Museum of Contemporary Art, Avignon, France
. Neue Galerie - Sammlung Ludwig, Aachen, Germany
. P. Sprovieri, Rome, Italy
. Private collections in Austria, Belgium, Britain, Germany, Italy, Netherlands, United States
.
. Participation in exhibitions and auctions
.
. PERSOHALHYE SHOWS

. 1989 "Hovye Employment" (with A
. Miponovym). Sculpture Studio, Glasgow, United Kingdom
1991 Krings-Ernst Galerie, Cologne, Germany
1992 "New Works". Storm Gallery, Amsterdam
The "Duets" (with I. Zatulovskaya). Dominus ". MARCHI Moscow
1993 "A. Olshvang, OA Chernyshova". Cinema Museum, Moscow
1994 "Anton Olshvang. Olga Chernysheva ". Krings-Ernst Galerie, Cologne, Germany
"Polyethers". SRM, St. Petersburg
"June 30. 23-15 ". GRM (Stroganov Palace), St. Petersburg
"Polyethers". 1.0 Gallery, Moscow

GROUP EXHIBITIONS

1988 "Eidos". Palase Youth, Moscow
1989 XVIII Exhibition of Young Artists. Manege, Moscow
"Exhibition of unfinished data obtained". Mastepskaya K. Zvezdochetova, Fupmanny pepeulok, Moscow
"... up to 33". Youth Palace, Moscow
"Hedopogoe Art". The southern and northern Gallery, Moscow
"Dialogue". "Avant-Garde" Russe et Art Contemporain Sovietique ". Centre Boris Vian. Ville des Ulis, Paris, France
"Furmanny Zaulek". Dawne Zaklady Norblina, Warsaw, Poland
1990 "Furmanny in Factory". Kassel, Germany
"Medgepmenevtika and another in". Krings-Ernst Galerie, Cologne, Germany
"UdSSR Heute: Sowjetische Kunst aus der Sammlung Ludwig". Aachen, Germany; Saint-Etienne, France
"Towards the Object". Kashirka, Moscow
1990-91 "Exposition". 100 Profsoyuznaya St., Moscow
1991 "Contemporary Soviet Art: From Thaw to Perestroika". Collection of contemporary art museum Tzaritzyno. Setagaya Art Museum, Tokyo, Japan "In de USSR en Erbuiten". Stedelijk Museum, Amsterdam, Netherlands
"Ppivatnye occupation". Gallery 1.0; Solianke Exhibition Hall, Moscow
"Hovye rusцїa artists". Santiago de Compostela, Spain
"Weight and madness". Galepeya F. Dupan, Madpid, Spain
Art of europium ". Kunstverein, Gannovep, Germany
"Opera". Academia dell `arte, Perugia, Italy
"V izbah / in the room;. Dom kultury, Bratislava, Czechoslovakia
1992 "Moscow Romanticism". Central House of Artists, Moscow
"Waste". National Center for Contemporary Art. Museum Plastova, Moscow
"a Mosca ... a Mosca ... ". Villa Campoleto, Ercolano; Galleria Comunale d `Arte Moderna, Bologna, Italy
1992-93 "Humanitarian aid parcels for Germany. 27 Moscow Artists ". Central House of Artists, Moscow; "Humanitare Hilfe, Packchen fur Deutschland". Tranenpalast, Berlin, Germany
1993 "Exchange / Exchange". Moscow
"Kontext Kunst 90". Kunstlerhaus, Graz, Austria
1994 "Europe` 94 ". Munich, Germany
Cetinjski Bienale II. Cetinje, Montenegro
"Exchange II / Datsja" (Sharing II / Cottage). Almere, Flevopolder, Netherlands
1995 "Kunst im verborgenen. Nonkonformisten Russland 1957-1995 ". Collection of Contemporary Art Museum Tsaritsino ". Wilchelm-Hack Museum, Ludwigshafen am Rhein; Documenta-Halle, Kassel; Staatliches Lindenau Museum, Altenburg, Germany
"Configura 2. Dialog Der Kulturen ". Erfurt, Germany "Prospects". Vagart, Sweden
"in Moskau ... in Moskau ... ". Badischer Kunstverein, Karlsruhe, Germany
1995 "Open Atelier". Rijksakademie. Amsterdam, The Netherlands
1996 "Massig und gefrassig". MAK-Osterreichisches Museum fur Angewandte Kunst, Vienna, Austria Russisch Atelier. Universiteit Museum, Amsterdam, The Netherlands
Criticism

Aluminum objects and installations Olshvang against the absolute domination of the "Art Text" felt aestheticism alternative conceptualism, and the writer - an agent of minimalism. Olshvang, however, not a formalist.
Putting their work at the dump, he realizes the key metaphor postsotsartistskogo Art 80. Then stepped in discourse and creative description of the USSR as a dump - empty things and devalued ideas. Every thing looked originally Soviet moth garbage. Olshvang not immerses things in the element of debris, and remove them from there, not making a gesture of reducing. He brings art to zero. He is not keen on the idea of an empty plate. Forms and signs should be "succinct, meaningful. In his famous installations "Tactics", . where the table with a moth-eaten cloth with witty direction is interpreted as a geographical map, . it sublimes in the natural and cultural landmark status, . resulting work becomes an endless train of associations, . providing its "life".,
. Against the background of reductionist and reproduktsionistkih practices gesture Olshvang looks like a persistent restoration of uniqueness, staging buried "aura"
. Stamped and industrial (waste production) is presented as an authentic and unique.
Aura creates ritual. Unknown ritual serves to build many "mifogennyh" works Olshvang, for example, in the form of a spiral.
Working with debris in contact with environmentalism consciousness, but this similarity is deceptive. Recycling is the apogee reproduktsionizma, free exchange of one signifier to another (modified form of the subject, remelted in the pot) for ignoring the strong aura and sense of things. Olshvang, by contrast, are interested in meanings, embodying the memory - so in addition to municipal landfills scope of his search are older apartments with their piles sentimentally meaningful things.
. "Archetypes" Olshvang, like a large boat with a strengthened her human guise, sometimes on the verge of kitsch, like the very concept of the archetype
. The best thing Olshvang - those where it does not obscure the characters assigned to the collective unconscious, but to the individual-psychological, and responsibility for the surreal takes personal obsession, translucent in the hidden story. This is referred to "tactics" with its invisible character - a crazed retired commander (this interpretation, . course, . is free), . this is the player with two pickups, . creating effect of the delayed sound of the second vote, . and made posthumously paired photograph next to the bride and groom,
. And in that, and in other work the artist is engaged in hyperbole randomness that makes an old photograph unintentionally suggestive. The strength of the art Olshvang - a rare ability to hoax - that may show a set of actions, conceived as a work for this project.

E. Tar Baby. "Anton Olshvang." - Today, 1993, September 11