Piganov Ilya( Photographer)
Comments for Piganov Ilya
Biography Piganov Ilya
Every item is worthy of explanation
. Exhibition by artist-photographer Ilya Piganova 'Volume I'.
. Hardcover fixtures, . similar to the ornamentation of antique jewelry, . patterns leather bindings XVIII century, . old photographs, . torn jeans, . Thin pieces of rotten meat untouched, . angels Raphael, . architectural details and many other articles and images turned into an endless ornament,
. Total decorative features of Art - that's what first comes to mind at the exhibition Ilya Piganova. No work has no name, that makes all the creativity of the artist in an endless stream of indivisibility and incoherent imagery, poured into the surrounding space.
. In retrospect, collected over a hundred works of Ilya Piganova executed in the technique of prepared pictures, which is somewhere between collage and easel painting
. A third of the exhibited artworks belong Volgograd branch of the Savings Bank of Moscow. The sponsors of the exhibition are the magazine 'The Matador', 'Alarm-Service', First City Bank and 'M Office Plus'.
. Decorative features of Art works Piganova recalls oriental carpets or floors typesetting, but coming from them flicker, so close to the element of water and light, makes the viewer feel the physiological reality of the mysterious world
. This gives each of these works kaleidoscopic variety, marked by extraordinary unity, devoid of the slightest dissonance.
. Since the art since the Middle Ages gave up the angelic spheres, wherever it may subsequently rushed, even in open space, it still remained, and remains dependent on his life on earth
. Loss of physical tangibility of this connection, . the long-awaited and ended, . in the end is so painful, . after a certain illusion of newfound paradise 1960, . doomed the poor state of the art of the Eternal Jew, . homeless wandering the world academic community, . oratory for complacency, . and international exhibitions, . organizes international tusovka for international subculture.,
. Can not say that Piganov is always considered an outsider 'modern process', has not experienced the burden of this 'hard' freedom
. His work is the 1980's are full of elegant simplicity of the avant-garde language, inherited from the great revolution of 1960. Masterfully made photographs of objects directly appeal to the aristocratic hooliganism freedom Marcel Duchamp. Primus whether, iron it, urinal, or something else - completely irrelevant. Main - detachment of the artist, the creator of his own world, where all these items can be purchased is not the inherent value. This artist does not have to completely answer to anyone in the, . what is happening in his world, . proudly seated in his divine solitude, . enjoying uncertainty, . tormenting visitors, . - What is the difference between broken iron in their homes from a broken iron at the exhibition,
. What makes a masterpiece, and the second - an unnecessary thing?
Longing for certainty for many has become painful. When the euphoria of a false sense of ease soaring, it became increasingly obvious desire of physical and physiological significance, as associated with the acquisition of a vanished adequacy of consciousness. This desire, which originated in the 1980's, has now become a problem that has to deal with each artist. Most attempts to solve it the traditional way of understanding the involvement of national unity, often very primitive treating it at the level of political demonstrations, such as the St. Petersburg avant-garde, into the arms of limonovskoy Party. But basically you can talk about the two leading today's quest for the lost art of communication with mankind, . would help him escape from the 'cruel' boundaries of its psevdosvobody, . designated 'urinal' Duchamp and 'black square' Malevich,
. On the one hand, . is more explicit integration of art in the area of mass-culture, . when it ceased to use it as material for the, . to prove once again its exclusivity, . as it was in the pop-arte, . the contrary, . gave himself entirely at her disposal, . thereby assimilating the mass-culture, . itself completely dissolved in it,
. Since 1970, this trend is called post-modernism, . and the most striking example of the fine series, . it illustrates, . was the work of Derek Jarman, . deliberately tangled video, . philosophy, . tradition, . Present, . past, . Future, . high, . low, . religion and the commandments of political correctness,
. The second trend was formulated before all Peter Greenaway, . hold an exhibition in Rotterdam under the title Physical self ( 'Physically, I'), . where he insisted on self-identification of art with a man, . on the return of the art of being a physiological, . which alone can save him from the alienation, . leads to unnecessary, . it has made in recent years,
. A grandiose spectacle, organized by Jean Clair for the last Venice Biennale, was a convincing demonstration, proves the reality of such a solution the problem of reincarnation art.
. In the works of Ilya Piganova these two trends merged with surprising ease
. Physically measurable flow emanating from his works, the sum of what each object or image, so seemingly randomly selected by the artist, has, it is easier to perceive than to explain. Apple is as much symbolic as worn jeans, Raphael Fornarina close to pornographic cards beginning of the century. Such sacrilegious mix reminiscent of the great art of the video stream and imagery Dzherlina. However, the heroic pathos, so characteristic Dzherlinu, is withdrawn and klipovoe mel'teshenie delayed a thin film of transparent paper, reminiscent of a layer of varnish on the paintings of old masters. This concept is subtle, almost imperceptible shell, which is present in all recent works Piganova absolutely adequate to the consciousness of the author, with a whimsical and gentle directness combining things, which seem incompatible.
. Elegantly ephemeral art of Ilya Piganova ideally flows into the interior space
. We must give a good intuition capital of banks rated this dignity. In a constant desire to please, in the cloudless children demand constant pleasure, infinite joy of the game and felt the desire to Elijah Piganova self-identified with Raphael. Well, . in the unity of souls favorite artist of the Roman bankers, and modern secular favorite clubs would like to distinguish the features of the coming Golden Age of Pope Leo X, . otherwise, . the new Rafael somewhat like a character from the movie Borovchika, . filming costume gegi on the XVI century, . not so important - who among us is without sin, . let him first cast a stone.,
. Arkady Ippolitov.