"CHECKPOINT", CCA "FACTORY", 2012
Checkpoint - the reference point of the route, save point.
Normal practice dictates the order of the exhibition of the topic through multimedia, to take account of all possible points of view and ways of interpretation. This exhibition implies the presence of only one point where the painting as the only medium through which the participants of the exhibition looks at the world and it is a conscious departure from the traditional pluralism. Submit mono look like tunnel vision limited, which can not cover the situation as a whole, is an attempt to build a microcosm whose boundaries even some 150 years ago and housed the zeitgeist, and the essence of the era. Today painting - a piece of a possible vision in conditions of equality of the media, but it's not nostalgia for the past, and a statement that such may be incomplete and is self-contained and self-sufficient. Another reference point of the exhibition is an attempt to understand within himself as an artist who practices the art. Identify and associate themselves with the time and the environment in which it operates.
Deliberate demonstration of the limited exhibition may be evidence mediumnogo escapism and mediumnoy obsession, but in both cases we are not talking about any mediumnoy fetishization or the inability to break with the past academic fine, here we are on the position of the artist. "How to be an adequate time and, at the same time, be adequate media?" - Very accurately expressed B. Miziano mentioning that the painting as a form of visual art has its own life, and he was exhausted. Indeed, many artists of this medium insist that what they are doing - not a painting, thus pointing to its completeness as an innovative project of modernity. It is also important that the artists involved in painting today is not painters, because the latter implies the identity himself with painting as technique, kind of fine arts, is "sticking" to radically limit the horizons of the artist, and this is a luxury today. Plastic languages other representational paintings codes - all this is now in the service of meaning. Painting practically does not solve their internal problems, it caters to different discourses, theories, and so on. By the way, today the fact painting classes may be more valuable than what the artist does in his paintings. I must admit that the main landmark achievements of painting in the past, their postmodern reincarnation, too. Painting inevitably dies and turns all its great heritage in style, and it is quite close to the "cabin". Its possible renewal - is throwing a old skin.
Today media reality penetrated all spheres of life, its images, meanings and signs dictate the nature of existence. Technical images generated by photographic, video and other types of reproduction inevitably come into conflict with manual labor picturesque practice. Today, virtually every painting can be seen as melodramatic excess man-made, which could easily be implemented would not even hand of the artist, that it would be in the spirit of post-conceptual discourse. One could argue that the painter's brush and computer mouse already largely identical concepts. Manual work of the artist and is today regarded as a kind of added value to the work of art, like that on the one hand reduces the archaic, the other gives vitality and enhances its commercial value. But there is one more thing - on the background of many multimedia technologies, practices conceptualism - painting always anthropological, it is always for human corporeality. Therefore, it is painting today - a person, as opposed to all the historical antagonism arising permanently.
It is difficult to imagine a wave of young modern painting still some 10-15 years ago, on this occasion there is a succinct statement of the Moscow artist "In the 90s only an idiot could paint." Every time dictates the conditions artistic process, since the beginning of teens brings a new line of next generation.
Exhibition «Checkpoint» - a conditional preservation and fixation of the "profit", which recently allowed to pay attention to changes in the medium. This marking allows you to separate these processes and to consider more carefully and thoroughly in order to understand whether they are a new type of artist, and if so, on what grounds anthropological this happens, what changes have led to this?
150х125 см., холст, масло, 2012
125х150 см., холст, масло 2012
190х160 см., холст, масло
150х125 см., холст, масло, 2012
Photos from the exhibition