Vladimir Salnikov

1948 born in Chita
. 1971 Graduated from the Moscow Institute poligpafichesky (gpafichesky faculty)
. 1971-88 worked for the Moscow publisher illyustpatorom
. 1972-82 ppepodavatel at the Moscow Institute poligpaficheskom
. 1980 member of the USSR Union of Artists
.
. Collections where works
.
. Mayakovsky Museum, Moscow
. Art Museum of Tomsk, Tomsk
. Muzeum sztuki w Lodzi, Lodz, Poland
. Museum of Czech Literature, Prague, Czech Republic
. Collection of the Grand Duchess of Luxembourg
. Property E. Peshler, Switzerland
.
. Participation in exhibitions and auctions
.
. SOLO EXHIBITIONS

. 1992 "The Artist and CRITICISM"
. Gallery "Studio 20", Moscow
1992 "Hauchenie body" (with M. Mikhal'chuk). Institute of Philosophy, RAH, Moscow
1993 "unsuspecting spouse". Velta Gallery, Moscow
1994 "Victory and defeat. The niece of the artist Hitler ". Institute of Contemporary Art, St. Petersburg
"Victory and defeat". Gallery "Obscuri viri", Moscow
"Ostrolistovy Forest". Gallery "Studio 20", Moscow
1995 "Saving Spaces". TV Gallery, Moscow
"Thoughts. Gallery "Studio 20", Moscow
"Saving Spaces". Seminar on "Man in the era of electronic technology". TV Gallery, Contemporary Art Center, Moscow

GROUP EXHIBITIONS

1987 "Representation". n / a "Epmitazh". Profsoyuznaya st., Q. 100, Moscow
"Retrospective of Moscow Artists. 1957-1987 ". l the "Hermitage". Profsoyuznaya st., Q. 100, Moscow
"Dwelling". n / a "Epmitazh". Profsoyuznaya st., Q. 100, Moscow
1988 "Hovoe Soviet Art". Exhibition Hall, Oktyabpskaya, 26, Moscow
Internatonal tpiennale pisunka. Vpotslav, Poland 1989 "Form and CL". Sumi, Ukpaina
"The plots of Moscow artists: Urbi et Orbi". Central House of Artists, Moscow
1990 "Tpoe". Gallery Moscow palitpa ". Central House of Artists, Moscow
"Soviet Avantgarde Art, 1920-1980". Gallery "Moscow Palette", Minsk
1990-91 "The Pyramid Show". Gallery Moscow palitpa ". Sydney, Adelaide, Australia
1991 'of Contemporary Artists - Malevich. State Tretyakov Gallery, Moscow
"ART MIF 2" (program "Names"). Manege, Moscow
1992 "In the Distance mipa". Tomsk Regional Museum, Tomsk
'KKKK'. Central House of Artists, Moscow
"Kennen Sie diese NamenN". Raissa Galerie, Epfupt, Fpankfupt-on-Main, Bayreuth, Germany
"Hatyupmopt end of XX century". Gallery Moscow palitpa ". MARCHI Moscow
1993 "Monuments: Transformation for the Future. ISI, CHA, Moscow; ICA, New York, USA
"National traditions and postmodernism". State Tretyakov Gallery, Moscow
"Indorossiya" (together with H. Boiler). Laboratory SRC, Moscow
1994 Monumental Propaganda. ICA, World Trade Center, New York, USA
"Pool" Moscow "(exhibition-action). Pool "Moscow", Moscow
"My little experiment with realism". Project "ESCAPE". Workshop facilitators CSR. Contemporary Art Center, Moscow
"Images of Russia". Gallery "Moscow Palette", Moscow
1995 "Party" turnkey ". Guelman Gallery. Polytechnical Museum, Moscow
"Apocalypse". Russia State Humanities University, Moscow
1996 "Gallery in the Gallery". State Tretyakov Gallery, Moscow
"Artoteka, NCCA. Central House of Artists, Moscow
"New Berlin Art Association", German Cultural Center im.Gete. Central House of Artists, Moscow
1997 "Credo" (curator L. Kashuk). Russia's Culture Fund, Moscow
"Metamorphoses" quiet life "and inanimate nature. Subject environment. Late twentieth century "(curator L. Kashuk). Russia's Culture Fund, Moscow
"Reconstruction of the latest draft of the artist Andrew Blagova" (action; by M. Perchihina, curator N. Palazhchenko). Gallery "Spider & Mouse", Moscow
"Salon Digita1" (action in the Internet Center for Art and Media Technology in Karlsruhe; EXPO-2000 Germany; Goethe Institut, Hoskau; TV Gallery). Im.Steklova Mathematical Institute, Moscow
"Kalashnikov" (curator A. Maslaiev). District showroom B. Sadovaya 3, Moscow
International Art Fair "Art Manege", TV Gallery, Contemporary Art Center. Manege, Moscow (catalog)
"Russia is a real and imaginary". Russia Cultural Center, Budapest, Hungary
.
. Autobiographical notes
.
. What I generally do in iskusstveN
. Where a move - under pressure are difficult to trace and, of course, uncontrolled forces: the curiosity and unwillingness to fit into the overall frame
. To God forbid! imperceptibly to himself not mimikrirovat - I can not take my eyes from his silhouette: it looks at the general foneN What, of course, accompanied by some difficulties, yet deadly. But, I do not gniyu alive, that certainly would happen, start over, I strictly follow all the rules and prohibitions that define the configuration of modern Moscow artist. But I can afford at one and the same time composing geopolitical theory, . make television sermons (in accordance with the teachings I also created a "Saving Spaces") and engage in a portrait, . write nudity, . symbolizing perfect, . upon which the Soviet regime,
. Do not be not be an abstract, simply kalkuliruemym, accounted for, handy, easily coded - and has been for me the art. To avoid all this, to remain infantile, capricious, and volyuntaristichnym shizoydnym, behave like a prima donna, ie. have the right to be regressive - and has been for me the art. And how to achieve it - is the philosophy. Being in the arts - is to be in the womb.

Criticism

Hardly anyone around us today, artists are interested in a portrait as Vladimir Salnikov. We are accustomed to - what we learn from the picturesque tradition - that the portrait is a kind of snapshot, . beautiful replica of the person, . even if momentary final image superimposed on each other traces of time - many past sessions, . in which gradually stood out a welcome face,
. However, for the portrait of Vladimir Salnikov - is primarily the task of genre, this alignment every time with the image created by its genre framework, composite containers. But not in the sense, . All you need to balance and skompanovat - so, . to obtain convenient arrangement for the eyes (although this can never think of) the fact, . that the possibilities of the genre will get used every time parallel image emerges,
. And if so, the "realism" or "realism" of these works will be not in the similarity (the artist we have always and will please those), but to what extent the desired similarity was found inscribed in a special genre for him. In other words, . similarity will depend on its picturesque organization, . completely dictated by the specific object, . from the used and often in the course of inventing reception, . Finally, . of the inability to predict, . that of a "use" in the end it,
. Genre will be born, rather, occur together with a separate product, and this genre, I repeat, - the portrait.
. When I speak of the portraits of Vladimir Salnikov, I mean not only the portraits - mostly women, I note in passing - but the painting is formally to the portrait is not involved
. Huge canvases depicting parts of the female body, the massiveness of which curiously muted ephemeral material (it is a smoky gauze covering a series of paintings) - these canvases are the same portraits. And even hieroglyphic composition, consisting of rows of random colored characters are a kind of portrait. Portrait laid out on the fractional components, without, apparently, no relation to the person, and yet those on which the image. We can say that this is a portrait of elements izobrazimogo.
Now the question arises: what it means to "portrait" N I suppose that in the very structure portrait genre had already written the person who has already printed its main landmarks. Even if a person, as such, no, this is the original scheme (along with our body), for which we have and are moving in the world, it is labeled like a grid, screen, accepting and returning to us all of our projections. Vladimir Salnikov as if constantly asks himself the question: how do our meetings with the world, . as we meet and recognize each other, . as we master things, . as settles landshaftN He asked himself this question, . referring to the invisible, . but rigid structures, . underlying most of our lives,
. Vladimir Salnikov explores the portrait, the portrait as a way, lays us, but also laid for us. Artist as if every time makes what is usually being accomplished by force of habit: he was distrustful everything that consciousness, in obedience to the law of economy, translates into the region of bodily automatism. With every piece he re-mastering the way of people in the world, but also the pattern that allows to organize this way, making it the subject of representations, including pictorial. Vladimir Salnikov like all the time keeps the two poles: presentation and reporting mechanism itself, that is what is moving toward a possible identification, but for the time being free from them.
. It seems to me quite natural that when investigating the portrait as yet not been made element, liberated and liberating most of its foundation, the artist gives us the image of his own face, showing it on screen as the face of reading a sermon
. This consolidation, living in a time of a person who is subject to mimic the game of chance, absolutely unique and yet there is every person - again and again split the problem: the face of the scheme and how elusive an excess of living. Picturesque portrait seemed poised on the brink of - Vladimir Salnikov reminds us, as a portrait is a portrait

. Petrovskaya
.
. Bibliography
.
. "In the Artist Vladimir Salnikov", Journal of Children's Literature ", N9, 1983;
. "In the Artist Vladimir Salnikov", Journal of Friendship of Peoples ", N2, 1988;
. Smirnov, "How to draw a bird," the magazine "In the world of books", N10, 1983;
. Catalog of "Pyramid-show", 1990, Melbourne, Australia.