Rozmova with the artist tiberієm silvashі ideї olієyu. Tiberiy silvashi abstract artist
Tiberiy Silvashi is a Ukrainian artist, without some kind of artifice, the artistic expanse would not be the same as we know today. And here, on the right, it’s not in yoga robots and this naming sequence, with some kind of wine developing the language of abstract art, but the very specialness.
It’s easy to show that for this swirlness, for which our mystic middle is changing, it seems to be neimovirny, one and the same person can be an authority for the generation of radian artists in the 80s and revolutionary 90s, and the politicized 2000s and continue to live figure for the newest generation of Ukrainian artists.
In a unique rank, these people will combine two, mutually exclusive qualities: sensitivity to everything that can be brought to the sphere of aesthetics is borderline, and rationality is cold.
If you have known your "balance point" for a long time, then you allow him to spend more than a decade in the avant-garde of an artistic life, not spending one hour in an hour on the "reserve shop".
We talked with Tiberias about yoga robots and Ukrainian modernity, about the attention to the market, and also about the controversy of abstract art and alchemy.
ARTIST AND SUSPILITY
- How can Tiberius Silvasha live in what hour that space? In Ukraine, like 2013 fate?
On the food chain, it is important to note unambiguously. We live in a difficult hour and in a difficult society. I want to say that I am happy and I have a wonderful life.
Vernishe, life is made up of happy mites of all life and summaries of the incompleteness of people and prosperity. All my life I have been busy with my beloved robot.
At once a period, if dosvid zbіgaєtsya with the possibilities. Good luck, so organic, like zusilla, that they report in order to stink. Spend compensation for the joy that people are near.
And the fates in science and in the same suspіlstvі zmusili incited such a system of priorities, as if I were allowed to do it comfortably in any hour and space.
- What are the priorities? Could they become a universal recipe for a comfortable base?
No, I think it's mine. Shvidshe, tse ways of psychological self-defense of the body, that they allow vibudovuvat their life in such a rank, so that I can immediately practice and, obviously, take care of my family, help children.
I don’t like the word “comfortable”, because it’s not a vibudovu system of compromises, but I’m not talking about compromises, but about such a way of vidnosin, which maximally borders the possibility of any kind of supplication on me.
If you said that those who go to the maisterna are no more an artist, and those who go beyond it become a hulking man. How do you get in? Save your inner territory of freedom, staying in the middle of a permanent situation of conflict, like we are going through today?
I’m guessing that I want a little, but I’ll understand those mechanisms, the zavdyaks are functioning as a success.
Perhaps it is an illusion, but I may understand that our professional competence is included in the cycle of mechanisms, as it is in interaction with the global cultural space, then.
The whole thing in abstract art, if you ask me that one monochrome canvas looks like another, I confirm: difference is in structure. Even though you are a structural rіven, then there are a lot of mechanisms that work in science, not surprisingly, they appear in suspіlstvі.
As if our politicians have thought about those that were on the cob of the 90s in the sciences - they would have understood how these processes became the primary ones for the suspile development. Mystery, I guess, earlier I reacted to the gromads' changes. From only the requirement of їkh pobachiti.
- What do you have in mind?
For example, in the 80s, at the beginning of the 90s, a situation developed in Ukrainian art, if it was necessary to create a choice of models, which would collapse further. Tsya model signified the development of the art.
So it was more obvious that there was a confrontation between two groups - two roman structures - the narrative "Parisian Commune" and the non-narrative "Picturesque Reserve". One vivertala navivorit radyansku malovnichyu tradition, tsim prodzhuyuchi її, and іnsha called before the transition to zovsі other models.
From that hour and all procedural problems of our artistic system. For example, if the radiant system fell, we tried to subdue the western models, or else to reinforce them for the minds of the zhebratskoy land.
So, in the minds of terrible inflation, barter was a common practice. We started crying with paintings for exhibitions and projects. This is how those appeared, for whom we must fight at once.
- Otzhe, did you mess up chiu hibnu practice?
So, unfortunately, they got us through, and now no one knows how to get lost. I don’t know who the victorist її htos before us, but first we її stuck in the third "Sednev" ( to talk about the famous Sednevsk plein-airs, organized by Tiberiyem Silvash during the first hour of the year, the head of the youth section of the Kiev branch of the artist's congregation in 1988, 1989 and 1991 - ed.).
It was like a good thing, it’s obvious at once that the situation has changed dramatically, but the mechanism has been left behind, we’re sure, but we can’t change it. Unfortunately.
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- Yakby you were instructed to reform in the community, what would you change us in front of?
I'm afraid to get involved in the order of speeches, to that vin, tsey order, to take care of you, your zusil, perekonan, for which you tserobish. You robbed the singing robot, now it has changed, but only on the surface level. And on that internal structural level, it appears that there was no change.
An hour is needed for the interplay of various forces. Obviously, it is necessary to report, the axis is only the result as a whole can be similar to your scores.
- Tobto your recipe: week?
Surely so.
- You don’t believe that the building’s mittens are stuck on the wall?
Vіn vplivaє, but on the other side. Today we take it as a straight line. Zdatnіst pour in without a hitch. That's how an artist is spitting in another way.
We must remember that Picasso's formula about those who can ignore artistic gains is fair, but the stink all the same will come to you at the booths near the toilet bowl.
The art allows the light to flow from the middle. Lyudina calls out on the surface, and the artist makes mutual speeches between himself. Links are attached. The price of painting: the artist of the building sings, like the streams of power flowing together, tody yak great person zalishaєtsya on the equal surface of the canvas.
- And what about Boyce's assertions about those who are a skin person - an artist?
I guess, having warmed up wine. If you guess Merab Mamardashvili, then he said that you need more money to be rich in people, and even in order to be rich in an artist, it is necessary, possible, more expensive.
- In other words, navit rozumіyuchi, like a mustache, trapleyaetsya, that the artist needs to praise the political decision on the territory of art. For example, as if in a rush from the stuffed robot of Volodymyr Kuznetsov at the Mystetsky Arsenal. In this situation, everyone who took part in the exhibition "Great and Great", all professional sportsmen, were embarrassed to take a position. At once it veered into a boycott. Whomever has the inconsistency of your theory: only razums can not live alone.
My first bazhanny, if I knew about the incident, it was necessary to take my work from the exhibition, for it was really screaming. But for a year I realized that it was impossible to work. At once, after an hour, I think it was the right decision.
Insanely - it's an act of vandalism, but it's also unproductive to join the boycott situation, if we can rightly with the institution not fully formed.
Miraculously, it is possible to boycott institutions with tired functioning mechanisms. With us, everything is still in the molding process, and here we need not just a little resistance, but a dialogue. And in the middle of my head, it dawned on me that there would be no dialogue. Having shown the result, the dialogue is not viishov.
I more, maybe more. Aje behind the scandal, behind the bands' selections, against the vanities, a unique twist was used to analyze what can be called the matrix of Ukrainian visuality. Andzhe on this exhibition in one expanse, create the artistic code of those, having read it respectfully, giving the opportunity to work out the regularity of the historical development of our visual knowledge.
Moreover, the wines of the prescriptions of the exposition itself. And nobody wants to look at it. And there is laid the root cause of rich processes, with which we are stuck in the artistic life and no less.
As for the boycott, I don’t understand why no one else has privatized artists. This is a brilliant media situation, as you can flare up at the hour.
Possibly, we have a calculator for management, but the determinism of ideology has become stronger for the instinct of the artist and the choice of a point option. And if you want to boycott in a fair way, then you need to boycott everything. What is it like to boycott one institution? As if you want real changes, it is necessary to boycott the system. All.
Adzhe navit did not finish her functioning institute "Arsenal" - part of the global system. You can get a letter of inquiry from all the world's medical institutions with relevant applications. And then let’s pick up the documents until the end of the book, so we can see later.
І to take care of sim after all life. At great forums like the Venice Biennale and others, at Basel and other fairs, I don’t say anything about the auctions there anymore, you can be physical, demonstrating criticism of institutions.
Ter-Oganyan was dreadful in Paris, protesting against the fact that yoga robots were exhibited in the Louvre. And here is the global project of institutional criticism. Tse radical position, then boycott. 1st artistic gesture.
- What do you think about the current Ukrainian artistic process?
Not everyone is amazed, not everyone wants to, but otherwise everything is a subject of analysis for me. I have long forgotten the words "befits" or "do not fit" in my lexicon - the analysis of aesthetic codes is being depleted.
They knew the episode from Marichka. The one de vagitna descended from the mountain, and the grandmother-witch went to the zustrіch їy. A significant group climbed up the hill, and I already wrote a sketch and went down the hill. Paradzhanov and Yakutovich stood leaning on the parkan, and checked until the group rose.
I approached them with a sketchbook and grinned Parajanov's ironic grin, saying to me: "Well, have you written a new leaflet?"
The axis of this phrase, it seemed, was abandoned in passing, struck a majestic expression on me, I don’t know why. Tobto after the fact - understood! The axis of what I’ve been like so far, to finish without a turbo, a student, who’s been timidly right, trying to build a craft, mastering the mastery, - good luck, then after the first episode I seriously thought about those who are such a mysticism.
The axis of this phrase made me take up the theory. Learn to understand yourself, understand what you see in the world, what you see in the world. Books, albums, going to museums, collaborating with artists, I was lucky for people. Life has given me zestrich from impersonal prominent features, skins from some of them, leaving me, changing them.
Then, richly pіznіshe, having gone through a lot of tests and tests in other types of medicine, I turned around to see what I need. The robot huffed me for an hour. It dawned on me that it was a long journey. On the other hand, I tried to practice with it in mimetic forms and it turned into chronoralism, and then into abstraction, and then away. I don't know where we can hang out later.
- Who is your main teacher for such a time?
I always name three people. Okrim Tetyany Yablonska, insanely, on me even a strong injection was celebrated by friendship with the elder Yakutovich and Danilo Danilovich Leader.
Talk with them for a long time, they gave me a lot of money. Valya Ulyanova, yak laid babies with us. Valery Kononenko, a wonderful painter, who finished Stroganovka. Indeed, there are a lot of people, as I have learned. You can change the word differently, or the robot can be changed. Tse yak at the gathering: "The teaching is ready and then the teacher is called."
I just used such an antenna that I caught, like I absorbed everything that could be captured. It dawned on me that I didn’t catch everything instantly, that Duchamp and Malevich came later. Malevich, before speech, through theoretical work.
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Photo by Masha Bikova |
- Why did Tetyana Yablonska start you?
Vaughn, at first glance, is not small for any particular method. Shvidshe, the head of a robot, is tied up with a deep cultural depth. The axis of that "norm", which was at the institute, seemed to stand against it. Vaughn taught us to accept the whole history of art as a cultural layer, which would make you an artist.
Zvichayno, in a purely professional technical plan, it gave even richer. Vaughn was a fantastic master, but it wasn’t about those who would say yes to come. Shvidshe was laid down, which transformed your bachenny with the year.
Vaughn, for which we were even criticized, led the serious practice of copying. A number of outdoor productions, we made copies of masterpieces. Today's Fayum portrait, the upcoming semester of Brueghel - which was not in the originals, was copied for reproductions. At the Museum of Western Art they wrote the Infanta of Velazquez, like other robots. In another semester, they went to St. Sophia Cathedral, on the other, on top, where there were mosaics from St. Michael's Cathedral and copied mosaics.
This was a post-factually non-intermediate living of the history of art. Materials were insured at the head of the school. Aje we have a buv monumental faculty. Transition from painting to mosaic, from mosaic to sgrafito.
Let's say, the figurine of the mistress the last time vuhilliam, after that won was translated into a dosit mental form, cardboard and then the image was transferred to sgraffito. So one image, realistically broken, could practically become a sign - in a spiritual form. І tse vykhovuvalo zovsіm іnshe stavlenya to the art.
Maybe, it was intuitive in it. Ale tse buv is also a competent way of vihovannya artist. Tse bulo expansion of the possibilities of the bachelor. From natural painting to a series of smart speeches, smartly transform those that you bachish in space.
ABSTRACT MYSTERY AND ALCHEMY
- Does your art require more understanding?
Bachiti is the whole tool, understanding is the result. I all at once - a unique dosvіd.
How about once a spectator comes to your exhibition, who has not yet learned to bachiti, but even if he wants to learn to be smart, what will you please?
It’s hard for my mind to finish it. This is the problem of analytical painting. This is the last drop. I’m already convinced, as if someone was watching here, then I already may have been informed about those who are looking for wine.
- Is it not enough without a middle ground?
We can talk about those who, in the very painting itself, are the fields of force, which act without intermediary on the people. Ale, sing, a person has grown up even more knowing, like a "cultural" dosvіd, like "preemption", like blocking yoga without an intermediary dosvіd.
Smartly. A person stands in front of a monochrome canvas and thinks. It’s nothing, it’s just a farbowed surface, why did you put it up and call it a vitvor of art?
So for this people, the sequence of thoughts is this: a furrowed one can be a wall or a door, but in the gallery I want to be more broken. Adzhe vin cannot admit that this is another form of rottenness. Aje, there is no visual reminder here. Winning is just a farbovane canvas and robing the whiskers "I can do it like that."
And here we are talking about it, as if an uninterrupted message is blocked by such thoughts.
If you don’t know anything, you need to work on the name zusilla in order to understand what is right in front of you. Іz tsim zavzhdi practiced Skhidne mystotecstvo. You marvel at suviy, but suviy in front of you is only a papyrus with ink - only leads to penetrate into yourself. Meni zdaєtsya, tse such a way to develop in the ninth culture of the rose. Vtіm, vіn tsіlkom old and traditional.
We still understand. We check that we are given the finished product. We can take it easy. And in such a rank, what was given - more in culture, the culture of rozvaga prevails. We check that we can be zdivuvati, rozvazhit, hit us hard. And there is one more word ninishnyoї "culture" - the word "cool". The axis is like our "cool" mystetstvo.
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| Photo by Masha Bikova |
You often say that all your life you write that same robot. What is the process of understanding painting like this for you. Why don't you guess the practice of alchemy in search of a philosopher's stone?
Awesome! Zvichayno, a chain of knowledge. Hermeticism is based on different equivalences of vіdkrittya-prihovannya, knowledge. And if you are asked "what is a painter" you can tell, what a painter can earn a living, walking far away, you can say what a way to put a farb on a canvas by the singing method.
And on the third, fourth equal, you begin to understand that about those, as if dead, the inert matter of the barn is transformed into a metaphysical camp of light.
For me, it’s not unusually common for me to see a red canvas called “painting cinnabar” ( Until another leaf fall near the Shcherbenka art center, you can watch the exhibition of Tiberius Silvash "Monochromia"- ed.).
Everything, as you might think, is far from the radical transformational pathos of the Ukrainian art scene with its political faucets and collective marches, which are given, but you are from the other planet, but you know.
I have a period, if I already take an active part in the transformation of our artistic society. I'm far away. The one that we can at once, that camp, who knows our artistic talent, has a great part of my work.
I think that more critical science, politically biased science - the result of working with the problems of the new hour - should not be reactive practice. What is important in its own way. Scope of Swedish response Criticism of power, її mekhanіzmіv vymagaє osoblivih forms of work, that th, I think, singing temperament.
And yet, how is the work with the structures of thought more critical in terms of the world, less unbiased reaction to the deeds of the day?
That is why you do not fall out of the social context, but on the other hand, practice with speeches, as if it is attached to inject into the mechanisms of thought. Ale same stink and mad suspension processes, artists of critical directness react to this.
Tse i є alchemy. The alchemists also wanted to change the world, which is not sovereign. Ale not on the surface, but on the structural level.
Same way. ( smile)
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| Photo by Masha Bikova |
MARKET I ARTISTIC VALUE
Your robots have a rich philosophy. In fact, the stench of the documentation of the Rozum process. And tse is a special, intimate sphere. How do you feel about the stench becoming a commodity, an object on the market?
I divided their life into life in the main, if we speak together, and those who are called social butts. There, the stench is included in the collection of folded goods, pennies, and prices.
Perebuvayuchi in a different place, the stench is included in a different context, which can also be supra-lingually cicavim.
- How do you put yourself up to the market - absolutely necessary for the basic system of science of today's structure. Chi stezhite vy for tim, scho vіdbuvaetsya on the market? You wrote that the recent scandal from the feed of your work was becoming violent.
So, vipadkovo I just shook the catalog with my robot, and she called out to me sumniv. I can’t say that the circulation of my blood works for me, but for the time being I can live and practice, taking care of the life of my family, but I don’t get it. The first topic of the ratings, which is constantly being carried out by the press, with the use of the words "nay, samiy" ...
If I went in for sports, but I didn’t know how to become a professional athlete, because I don’t have the spirit of improvement, so here.
- Why don't you give your jobs at the auctions?
That's the problem with the system. Unsatisfactoriness of її mechanisms in our country. Ale, madly, here are signs of my skepticism on the introduction to the regulatory function of the market in science.
Well, the market knows everything. There is nothing that I would not digest. How to show the sum total to conceptualism, how to get out of the support of the market. But sometimes I give my robots at a favorable auction.
- Do not take part in commercial auctions - is it a political decision for you?
IN song sensation so. For me, it is obvious that the actual price is practically in no way afraid of the insane artistic price. And for me, the problems of prices will always be higher, lower prices. But knowing the uncertainties of the lives of minds, I cannot turn off the fact that at any given moment I happen to change my decision.
- Well, why don't you try?
- (long think) I do not know the axis of navigation. Never thinking that I don’t get chogos.
Tiberiy Silvashi - Ukrainian painter, esseist, philosopher. The integrity of yoga, that paradoxicality of yoga ideas, gives us a miraculous opportunity to talk with him about the link between painting and cinematography. In this manner, a series of materials about the transition of cinema with other types of art, we publish a conversation between Oleksiy Tyutkin and Tiberii Silvashi.
How does the world borrow cinema from the world of painting (I know that you call yourself a painter, and not an artist) that thinker Tiberius Silvashi?
For our generation, cinema was for everyone - to learn more, lower profession, like we were robbed. Today is the hour of great directors. Obviously, we were amazed. About the fifth wound they stood in black, to marvel "Half and a half" at the festival screening. Well, Antonioni is like a filter. If we use the test "Tolstoy and Dostoyevsky", then we have a new one: Antonio chi Fellini.
Antonio! I Bergman! I sche Miklosh Jancho, Zoltan Husarik (wonderful "Sinbad", "Chontvari" and short films). І kіlka more young todi Ugrian - for example, Bodi Gabor (Vіn died young, laying his hands on himself) - at the new miracle robot "Narcissus and Psyche" with Udo Kirom in the lead role) and also a sprinkling of experimental short films; in the 1960s and 1970s at the studio of Beli Balash, robots were working. Even more richly, I marveled at the Ugric TV broadcast. God knows how they got Godard's films in French - I remember, a girl from Belgium, as she studied at the graphic faculty, translated "Karabineriv".
You were named the classics without a trace, they created the film landscape of the 60-70s. But why marvel at the films of directors who have become famous in the past - such as the brothers Dardenne, David Lynch, Jim Jarmusch, Lars von Trier and Bela Tarr? What films of the rest of the fates made you zdivuvu, zvrushil, zmusilis over them?
Obviously, I marvel at the films of all the directors, whom you have named - but the stink of the different world is on me. Trier, maybe, lesser abo, shvidsche, in a different way. Є y іnshі authors, і stupіn zakhoplennya-zaperechennya іnshiy. Bila Tarr, for example, grandiose! I love this kind of cinematography. All the same, you are the first, the youthful stench of the stench. Narazі turn on other centers when spryyatti. I, apparently, I'm afraid to look over those films.
I want to bring cinema to painting with you, to bring cinematography to mirror painting. Axis of food: how does an artist marvel at cinema?
Os naivna vіdpovіd - like an artist. Well, but seriously, there is no retail: a peeping man, who sits at the cinema, does not especially look at a peeping man, who marvels at the picture. The principles are the same. The picture is a window at the light from the fixed point of the dawn. Cinema is the same vikno, children are the ones who call. І ty also fixing at home. This is the only way to find out the knowledge that during the sessions of illusion, to separate the people.
Frame from the film "The Rest of the Ship", dir. Bela Tarr
But here is important vіdminnіst: hour. Cinema is a piece of art that develops at the hour, painting - at the hour, a robot with color, shape, creation of a special hour-by-hour world. Am I sorry?
No, obviously, don't have mercy! And for painting, the problem of the hour has become respectful, for the picture itself, like the form of the hour, zupinil. The first generation of artists was inspired by the ability to express themselves, educate themselves, edit plots from the life of the characters - either following the principle of in-frame editing, or mechanically moving them on the square near different yards. Aje hour buv warehouse ritual and visual space at the gothic cathedral and at the orthodox temple. For me, the problem seemed to be important for an hour, if there was a crisis in the post-institutional crisis for the “object” of painting. As soon as it appeared, the next hour.
The power axis, on a yak, perhaps, is not so easy to understand. The hour of cinematography, as I understand it, is the hour of imagining images on different clothes (I wonder what cinematography is, it’s what gave us the opportunity to think about an hour) - the hour of guessing, diy, vodchutya, is depicted on swimmers. Current hour, so be motion. And what is the hour of painting? Tse hour color?
In painting, as a phenomenal proof of the reading of different temperatures of warm and cold weather (their hour is different), so is the proof of warmth, and ale wine is also brought to the exit from painting practice.
Look and feel - it’s such a wild background and image for a human being (it’s also necessary to develop it), so that today’s painting is unique to understand such a traditional image. Here is the "reality" of the fact-colour itself. And so - the color itself on its own may be an hour. I have a difference in the definitions of an artist and an artist. These are two different positions: the artist is more understanding, the artist is more specific.
And in the cinema - for the image of your likeness to the “artist”, that “painter” - what is the name of the film directors? For the principle of setting up to one o'clock, for example?
Antonioni is the artist of the hour. Fellini is an artist. Jarmusch, Tarr - artists. Trier is an artist. To get lost at the borders of your list: Lynch is an artist.
I’ll try to give my interpretation of your dichotomy “painter/artist” (you can read more about her in your “Painter”), but you can correct me: the painter is the one who practices the day of painting, with color and light, in your words , and the artist works with genre and narrative, using painterly methods to master them? Abo, rudely: the artist professes the essence of painting, the artist professes himself? Is it true that a film director-painter works from the day of cinema, with a rush that hour, and a film director-artist from history, shown for a help of cinema?
You interpret everything correctly. I had to walk around with stakes very quietly, and we began to talk about it. So it’s too rich to become faint and at the same time the whole process, but it’s necessary to recognize what is fundamentally important for me. We live in an era of changing paradigms, analogous to the tієї, which was experienced in the transition from the middle to the Renaissance. Tse I know about our game in the dichotomy "artist / painter". For whom the whole sense of the artist is like an autonomous subject, a product of the New Hour. All of our sights are in the light, so chi іnakshe, we can see through the blue hour / space. The same stench is basic and in our country. Therefore, I have developed our heroes for these primary understandings.
In this rizikovanіy grі in the parallels of "painting-cinema" riziknu bring one more butt in order to clarify my thought. Albert Serra is an artist. Vіn pratsyuє іz an hour, like a “growth” in the new one in the frame. Designated "growth" - from the organic world. Derek Jarman, regardless of those who work with color, is an artist: he constructs reality, inheriting painting, that is the hour of the new picture. Serra posterizes and fixes (it is organic for the program of a new medium - a movie camera), Jarman designs the same program.
As a reminder, you become a painter, if your profane "I" enters ubik, knows. This is such an impersonal position. And the mitets - tse zavzhdi clearly christened the prevalence of "I". Well, I'm starting a super-hot spot on the author's cinema, but we're talking about some kind of special mood, some kind of meanings by the wonderful couple "artist / painter". To the point, it seems, having identified this problem first, Giorgio Vasari, contrasting the “Venetian painters” with the “Florentine artists”, and describing how the figure itself took away autonomy, Heinrich Wölfflin. Tse vin poznіv podіl on the draughtsmen and colorists. Well, axis, I’m up to that, to say a sprat of words about myself.
І about an hour. The artist worked as Eon - tse potik hour of no dismemberment; and the mitt of such a time works with Chronos. I'm guessing that there is a connection between the flow of the hour and the flow of the color. І for men, the call is uninterrupted. The first color potik is the only one for all painters, all hours. І tsі people, which we call painters, in different parts of the earth for all hours write one work. Tse is a meta-canvas, mentally seemingly. And the axis of the picture is a product of alphabetic culture, the other is a product of literary centricity. The picture is an hour. Painting, navіt near the form of the picture, stretched to the front point of the lancet color. Obviously, such a picture has more than just a convention.
A frame from the film "Humbling Head", dir. David Lynch
Todi straight to the point of non-narrative cinematography or painting as a pledge to the work of its day. Your works - you and yourselves support the rich interviews - the colors of the objects (your description is about Oleksandr Zhivotkov: “The color of the object is the whole picture, I forgot about those who were out of the world”) . Cinematographers had authors who didn’t spiral on the narrative of any different meaningful words, so they didn’t tell stories - Sten Brekidzh, a lot of films like the first screenings of Kandinsky’s paintings; Peter Cherkasky with his optical collages, film abstractionist Gregory Markopoulos; late period Godard - all the way to such a non-linear and fragmentary narrativeness, which is sometimes given, but there is no narration. Why is it necessary to argue so categorically with the narrative in order to understand and then show everyone the essence of the painting of cinematography?
Vіlem Flusser, in his book about the philosophy of photography, divide cultural epochs into epochs of the image and alphabet of the epoch. The image is the magic space. With the alphabet, history and horizontal length are revealed, and light is taken from the sight to understand. It is obvious that the painter is rebuying the “magic” space - like a “painter” director. I don’t know what the “cinema” has lost its essence with these directors, as if they practice narration, even if it’s such a way to play/think about the world. It’s sing-song, it’s similar to those who marvel at the water, hopping on a birch tree, or get bogged down in it.
In “The Artist as an Outsider,” you wrote: “The idea of novelty is the ostentatiousness of criticism, as the art of the two remaining hundred years, to go near the past, lived. The smut for contemporary art becomes not so created a new creation (text), like a new interpretation. Today's mysticism is revealed through context, through reflection on contexts, through its actualization. More foldable from cinematography: the axis to enter Godard's new film "Farewell to my", And someone else, even without marveling at it, already checks what it is to slander at it. How can cinematography, painting, photography do without discourse?
For painting food. I for me it's natural. I respect the importance of sounding and changing the scope of the discourse as much as possible. In our group "Alliance22" we inspired a whole program for a whole lot of things. Mayzhe pivroku pracyuvatimemo with the basic elements of visuality. Persha - "hour". At 22 zhovtnya, a theoretical part is recognized. And dahl pratsyuvatememo practical.
Well, marvel, maybe all the "basic" sciences stick together with this problem. Poetry is trying to turn to an audial, performative form, which was powerful on my back. Those same vіdbuvaєtsya with music, theater. The cinema appeared as a new media, like the alphabetic era, and cors- tuates with all the formal-categorical apparatus of the past. Well, don’t point out Warhol’s textbook butt (film without two years), but still video. Well, the rest of the scene "playing in tennis" Blow Up. But, amazingly, it’s miraculous in contrast to this, how “history” develops. Cinema, like music, is a “horizontal” art and practice. Painting - practice with similarities. There is a difference for each other (despite the fact that we played with you in similarity), and the role of discourse is different.
Leather in his own way, Francis Pikabia and Georges Braque spoke about those who stink for help painting, who lie on that painting. I’m wondering what they can say about cinematography, or they could say a lot of directors, like they joke about transcendental things that lie on that movie. How close is this position to you, what do you think?
Painting is immanence itself. Abo, as it was said in my formulas on the cob of the 90s: "Not everything that is written in farbs is painting." And it’s the same – it’s deschhonomovno: “Painting is dumb, she’s using it herself, like a buttya, she’s using the arrow of painting.” I picture. The very seed of the problem, and it will be out in a little more than an hour.
Exposition of the work of Tiberiya Silvashi
In one of the interviews, you said that you have some ideas for author films. Let's remember: yakby raptom painter Tiberiy Silvash virishiv filming, and vіn mav such a possibility, about scho bіn buv? Yakim win buv bi?
Well… so… If I haven’t yet formulated those things that we were talking about more, for example, the 60s, it’s not surprising, I’m basing reality through caution, then I’m closer to being robbed of Antonion, and at the same time Tarr chi – with caution – Serra. Tse schob not to spread names, important є straightening, vector.
For example, I think of an idea for a film, I tried to get rich, then I wanted to, I told it, but to no avail. They said that it was impossible to know, it was boring and boring. I, sing-song, malice. This is really boring, but not for me. In my life, it was repeatedly traplelisya and in painting tezh. If it is necessary to go through outside the hostile ones. Aje scho can be “nudniche”, marudnishe for monochrome. The same story with my film ideas. It's just that cinema has not become a right life.
Well, the axis, but the idea is this. In the city (admittedly, in Kiev) we are responsible for the lives of two people. A man and a woman. Young people. Zvichayne life, work, training, evenings, picnics, funerals. Ale stink not to know one alone and not to get confused. Wander once at the trolleybus, and you will ask yoga: "Do you come out?". The stinks came to a rock concert at once. A friend and I have about a ten-line record of a rock concert. The axis of this symbolic space, the space of the concert, the geometric center of the film stinks at once. And far away the stench, without looking at one another, without looking one in the eye, continue to live. I don’t know and I don’t want to know, which stinks were recognized by one to one. Like bi stinks lived their lives, yakbi vin gave his hand, helped him get off the trolleybus and spoke. I don’t know, because the important flow of life in materiality is the illusion of the film. And, obviously, to the woeful lack of communication, it doesn’t look like a hundred years.
Well, good narration is present here, but a minimal world, in this, like a presence in our skin life. And if we pedaluєmo nation, we construct history, transforming it into a genre. So, I think that at once I would not have changed my position as a person, as if I were making a film.
Tiberiya Silvashi is often called a classic of Ukrainian abstract painting, although at the age of 30 years it is considered to be relevant to modern art. Until then, Sylvashi, even though they don't sell their paintings at international auctions, will be able to enter the first dozens of the most expensive visceral artists.
These canvases are needed by the middle western collectors for painting, and they are often exhibited in Europe. Axis i zustrіch zhurnalіstіv Vidanov "Novi hour" s Tіberієm Sіlvashі vіdbulasya pіslya Yogo Povernennya of vіdkrittya velikoї vistavki of Ukrainian hudozhnikіv in znamenitіy londonskіy galereї Saatchi Gallery - tієї samoї, zvіdki pochavsya zlіt one of naydorozhchih hudozhnikіv suchasnostі Demієna Hirst that bagatoh іnshih Yogo uspіshnih more farmers.
Silvash rozmovlyaє z NV at his maisterna, roztašovanіy on the rest of the splendid Kievan rich top-surface on the street Antonovicha - here the high stele is naturally light, which falls from the attic window. "This apartment was designed on the back of the head for an art studio," the artist explains, while getting ready.
- How did they take Ukrainian artists from Saatchi?
- I was most afraid that the exhibition would be hit by less Ukrainians, like they were lingering at London. Ale, on the vіdkritti buli in basic English, moreover, people came in style, so through the first year with [artists] Oleksandr Solovyov and Oleksandr Roytburd left the gallery.
On the next day, there were a lot of people - at the skin hall, 10-15 osibs, most importantly young people, as they painted robots and photographed them. Chi is not on your own background, as it is fashionable at the same time, but the robot itself. The whole thing was marvelous: the stench sat on the bed, they painted, they walked and marveled, as if it were ruined.
- How many Ukrainian artists are inscribed in modern art?
-Community. An hour, if we looked around at someone, passed. And deyakі tekhnіchnі foldedness - a lot of modern creations require serious financial contributions, but from the point of view of the quality of ideas, we are absolutely on the level of light.
For a long time, we did not reduce the natural development in the art. They were alone in their posts, but there were daily reflections and criticism, so few people knew about them. IN Radian hour like a mitt timidly timidly, they didn’t give respect to the new one in the shortest time, and in the first time they stunned the divine. For example, we have a wonderful performance artist Fedir Tetyanich, but there was no way to understand the performance. Art in our country was parallel to society: artists lived their lives, and society lived theirs.
At the same time, for a bagatma parameters, we were vibrated with the solution of the world. Ale the first already, maybe, we won’t become. Behind the art of ever invisible shield stand the economy of the land, and the docks of Ukraine will be the land of the third world, we will be the artists of the land of the third world.
- You see the ideologist in the 90th artistic group of the Picturesque Reserve, which included Anatoly Krivolap and Oleksandr Zhivotkov. Can you tell me how the modern Ukrainian art started?
- In the mid-1980s, two artistic groupings spontaneously emerged - the Parisian Commune and the Malovnichy Reserve. Artist Oleksandr Klymenko knows an empty house on Mykhailivskyi Street near Kiev. Oleksandr Gnylitsky, Vasil Tsagolov, Oleksandr Solovyov and others arrived before the new one, they called their group Pariska Komuna [this is the old name of Mikhailovskaya Street]. The group was engaged in figurative painting, imbued with cultural quotations, references to mythology.
Less tsikavila robot with colors, and I started the jokes of artists, as if they were close to me with ideologies. At the result of 1992, a small group settled down: me, Anatoly Krivolap, Oleksandr Zhivotkov, Mykola Krivenko and Mark Geyko. The name for the group was given by a friend of mine, also an artist, with whom I used to live in Paris. Marveling at our robots, they said in wonder: "Listen, this is a reserve, there is nothing like it anymore!" Later, I recognized that in parallel, in other little corners of the planet, groups were blamed, that they worked with similar ideas - that very New York Radical Painting.
We were all close to abstraction. Some had more color, some had less, some worked out the texture, some didn't. The skin boule has its own internal program, but when we did it, they threw the minds to the past - artists, as they practiced in the 1960s, to the avant-garde of the 1910-1920s, and more far - to the icon and sacred painting.
- And why did the Malovnichsky Reserve fall apart?
- If we created the Zapovidnik, I said that whether a group could create five rokiv or five exhibitions. It's too early for internal principles, with which mitts unite, to repair supercity for their needs. So it happened: a group gained a singing status, and with it the status of a boot and leather from us, and then we broke in a solitary voyage.
The 90s were an hour of synchronization with the processes that were experienced at Sunset. We zapovnyali in the Ukrainian art, which was missed for the fates of the Radyansk government, those who went through the natural path at Zakhod. Only a few years later in Ukraine, current leaks began to appear.
- What can be done today in the art of revolution?
- Well, everything is ruined and found guilty. At once pіd sumnіv to put the term mystetstvo. Without a doubt, one of the most important food, like an artist can say for himself: what is the function of the art in today's world? Іsnuyut epochs, if you are given vіdpovіdі, і epochs, if you set supply. We live in the era of nutrition, and it is more important.
- So you don’t have any food allowances, like a function of the science at once?
- I'm afraid I don't have any clear evidence. For 20 years now I have been setting the chains for sensible people, and no one has noticed a new opinion. Alone, for whom it is good, - the function of the art has changed a lot. It has become zagalnodorechnym, we save mysticism and constantly want something new. You know, in the 1950s, the rocks were very popular: soon I will become an artist. So the axis, it turned out, is not about those who could create a virtuoso of art, but about those who, looking at it, become part of the artist's idea. Your interpretation of the art should lie with your knowledge, cultural baggage, as you have lived your life.
- In one interview, you said that all your life you paint one picture. What is it about?
- Tse such a figurative viraz. Painting, as I її declare, is a process, de personal creativity of a particular artist, part of a great process. I do painting as a daily ritual. It doesn't matter what you write, baiduzhe, what kind of mood, baiduzhe, chi є nathnennya.
Tiberius Silvashi via Facebook
- How many pods, which are seen at the same time at the edge, are driven on your robots?
- If I fix the doors of the minestern, the bulky Silvashi is left behind the boundaries. Obviously, everything that I react to the posture of mastery seems like a rank in the structure of creation. But I didn’t want to translate my speech - the stink of being stuck behind a veil of farboi. For less honest and organic, take part in favorable auctions, less like in your robots.
- You are one of the most expensive Ukrainian artists, but with whom you know you do not take part in commercial auctions. Why?
- They wouldn’t take pennies at auctions, they stink all the same as lieutenants. The system of science dictates the rules of the game, and I don't want to play in them. I have the will in this situation to be free and not join the race.
Photo: Oleksandr Medvedev / NV, Tiberiy Silvashi via Facebook
The artist Tiberius Silvashi is rightfully called the patriarch of Ukrainian abstract art. With a stretch of ten years of sleep, you may be left with not only one of the most demanded Ukrainian mitzvahs, but also one of the most significant articles of modern Ukrainian art in a zagal. Tiberiy Silvashi is not just an artist, he is also a serious theorist of art and a thinker. Irrespective of those who, as an artist, always have unique narratives, Silvash’s life has a marvelous message. Like yogo mystectvo, yogo іstories reveal new images to the listener, bring yogo to the new level of understanding of abstract painting. For this sensei, Silvashi is the absolute conductor of change.
About the domination of the matrix of Ukrainian visuality, about those that make the painting look like a picture, and also about the work of the pictorial series “Robots on paper” by Tiberiy Silvashi rozpov in the ART UKRAINE magazine.
Tiberiy, at the gallery "Bottega" your new personal exhibition "Robots on paper" has recently ended. Tell me, please, about the whole project. Why don't I have mercy, part of the work has already been shown as part of the Book Arsenal this spring?
So, in fact, part of the work from the exposition was already exhibited at the Book Arsenal. Marina Shcherbenok came up with the idea to show the project near the Shcherbenka ArtCentre.
But then it became clear to me that the robots could be exhibited on white walls and we moved the exhibition to the expanse of Bottega. Call me already to read the notice about the exposition and the process itself takes me a small hour. Having arranged the robots, adjusted the windows, paused and mayzhe without changing it. With this exhibition, everything was wrong: my very concept and exposition were broken by the very passports, or rather, their expansion. The white expanse is specifically applied to us, which is connected with monochrome and geometric abstraction: the leather element, which is brought in, becomes a part of the creation, and this structure, for which you work. So it happened here.
For example, I want to expand robots in blocks of 4 hours 6 robots. Ale, it appeared that the stench in such a time should be strongly dispersed in the open space. And the white paper gives the passport such a zigzag-like relief. Tіnі vіd paper tezh began pratsyuvati, creating an additive rhythm in the expanse of the gallery. In those blocks with an active color, the stench simply “ripped apart” the walls. Zvichayno, in singing vipadkah it is possible to bullo bіgrati і z zim rozryv. But there was another story here, I had a chance to take part in cardinal changes and choose the exposition from black and white robots and robots from even a small number of colors.
I’m already ready to reshape the exposition. Thus, the project has also received robots, which were previously shown at the Book Arsenal. As a result, about 30 ready-made "papers" of the series were added to the exposition of the exhibition "Robots on Paper" by about 15.
Have you had a chance to specially add all the robots for the exhibition already ready?
No, everything was already ready. Robots on paper, I work for a long time, in parallel with the great expansions on the hosts.
So “Robots on Paper” is not a one-time exhibition project, but a series of long-drawn-out pictorials?
So loud. This series continues with me for a long time already. The first time in 1993. At Toulouse. Meni n_yak could not bring ganchirki for vytirannya brushes, but in the main, there were hundreds of French newspapers, as if I started victorious with this method. I axis, rubbing the farba into them, I showed that the cicavio should come out for its lack of effect. Moreover, ce buv, which is called, “the effect of the fall”, if you do not wonder, do not think, you simply automatically make gestures with your hand and accept the result for yourself. Well, vlasne, tse buv such a clean "automatic sheet" of surrealists. Zagalo me it turned out supernaturally tsikavim. І the technology itself is quite simple, and the mechanism of the robot is falling apart. From that hour, I started order with canvases, preparing myself for work, like a lot of paper and cardboard, where, if it were, I could transfer some ideas, over some pratsyuvav. Year by year, obviously, I pishov in the same expressive system, in which the first robots fought, and step by step passed to the mastery of the robotic hand. І less vapadku.
Surely, one and the same color can be used in a different way on canvases and papers. Tse so?
You know, singsongly, there are more early speeches. There tsya raznitsa є that vіdchuvaєtsya. IN stay rocky tsia vіdmіnіst is erased, that number of plastic elements has shrunk to a minimum. There is one more important element: farba closes the text. The text of the writings and farba hides the information and the facts of everyday life.
Robot from the series "Robots on Paper"
Age color is one of the foundations of your artistic practice. The color you have is truly magical, addictive looking inside the robot.
Well, I agree... So, the color is one of my main tools... You know, some of these metaphysical speeches are here, no doubt, present.
You have a color, maybe, a larger, lower color: it’s “color-light” or “light-color” ...
I myself write like this, through a hyphen, “color light”. And on the right, there is not only in the physical presence of pigment, material, like olive farba, watercolor, tempera, emulsion, or acrylic, or like industrial enamel. Naygolovnіshe — vіdmіnіst міzh flats, mentally seeming, closed farboi, and flats, closed farboi, like multiplying colors, transforming yoga into color-light or light-color, as you wish. The first axis is important here, that difference, about which I have been talking all the time - difference in definitions between “painters” and artists.”
Adzhe you have a classic education, you studied at the course with Tetyana Yablonska ...
So, I started studying monumental painting, and the academic school was even better. And the monumental faculty gave the opportunity to try out different materials, to see the difference between them, the difference between them, and, obviously, to practice with space.
How is your primary interest in abstract painting?
The price of history, it didn’t start in one day, and it started from something else - from the sign of science, important to me. I can’t be more aware of those that I want, but knowing for sure what I don’t want to work and I won’t. This whole period of trials, having become familiar with the forms that did not dominate me, until it became clear that there were some interests of my interest, even far from the nature of painting itself. It turned out that this category is the hour.
The hour, the order of colors, is also one of the key vectors in your artistic practice. So the category for an hour squawked you from the very beginning of your work, from your youth?
So, the whole interest was shown during the first hour of training and in the first years after the institute, if I felt hopelessness in front of an unformulated problem. So the axis, the category itself, for an hour brought me to what is called abstraction, and then we went further. Since the institute already realized that still life, landscape and portraits should be painted less. Obviously, I’m all the time, but I’ve already understood, what, maybe, more, more, more “beyond the boundaries”. For example, if you write a stool, it means that the image can be turned on, inscribed. It is important not only to write a good object, but to tell a story about yoga. Might as well.
Step by step, the idea produced more or less clear outlines. They became sensible and clear plastic forms and realizations. In the 78th rotation, the program of chronorealism was still fixed for me. Sens її, vlasne kazhuchi, polagat at that, which is the hour of the subjective and the hour, as if I signified yoga, metaphysical. This is the moment, in which we are rebuying and experiencing yoga subjectively, even precisely showing the moment itself, and the context, in which the wines of the premises. Ale, at the same hour, those who are called the luminous metaphysical hour rush us by. The axis of the substitution of the two time-hour categories was less clear. Axis so zealous began to swell those who later had to get exact formulas from Chronorealism. The scheme, behind which the expanse of the picture will be, was simple, for a specific episode that is described, but the scene of the subjective hour shows a more hyperrealistic image, and for the expanse of the metaphysical hour - a plane of pure color. Є color, є the specific situation that is being depicted, and at the same time there is a scene behind the boundaries, which cannot be explained.
I know it was not easy to implement. As if in the door, then, perhaps, it will work 5-6 of that period more or less to confirm what I am talking about at once. There was one more problem. Aja needed to get together on one flat, two expanses with a different flow of time, like, like on me, they didn’t waver. The third element was consumed, which did not belong to the living space, but instead established a link between them. Such an element for me, becoming taken from the surrealists, is an automatic sheet, such Pollock's brining - "driping". The introduction of the third mechanical element at two non-stop hours created a singing eclectic expanse, allowing me to set the task of linking the subjective and the metaphysical hour. Such software eclecticism. It is necessary to say that the classical picture was still singing the world, with the mustache of її elements. Navіt frame at the looking thin wooden lining was present, and "horizontal flow of the hour" explanation-naratsіy. Zagal dosit naїvna idea, but for me it's an important step. І axis at the exhibition of "high Ukrainian artists" at the Central House of Artists, at Moscow, I saw this topic as finished.
I began to crumble myself at the bіk metaphysical hour, and in such a manner I myself went through the transition to what I called abstract painting, more so, that I have been interested in something new for a long time. I've come to the point where I can't work for those who have worked up to that moment. І at one time it was necessary to continue, because I was constantly taking part in some projects. The propositions of the exhibitions, according to the agreement, that and in Kiev, the exhibition took place after the exhibition. Zagalom treba bulo pratsyuvati. And yet it dawned on me that there was another stage ahead of me.
Rozbudova began, I was taken as the secretary of the Kiev branch of the National Union of Artists from a work of young artists. I'm head over heels at the robot. There was a great number of organizational work, and it turned out that for two years I could not work as an artist. In such a rank, as I planned, it went two decades ahead: those who did not grow up a little in the 86-87th rotation, collapsed closer to the 89-90th. Alecia interruption allowed the singing rite to comprehend rich speeches.
There were youth exhibitions, Sednivsk plein-airs, a lot of cicada work. The nameless energy of change permeated everything. "Molodizhna" exhibition in 1987 marked the fate of more richly. Itself there (and even earlier it was allowed by the youth exhibition), the core of the future "Sednoviv" was formed. Under the hour of the exhibition, we took the addresses and telephones from the lads, formed lists on the future. It was clear that they needed to be taken together for a sleepy job. This is how the idea of the Okremo group was born.
Robot from the series "Robots on Paper"
What was the curatorial function for?
So, singly, this is the first curatorial project. Sasha Solovyov took over the function of communication with the artists, and the necessary phone numbers and addresses. We have a great list of artists, with whom they planned to practice. Tse buv 87th river, and in the spring of the 88th bov plans the first Sednevsky plein air.
Make a difference, it’s true, a new curatorial project, because it was necessary to select people, formulate a program, create an exhibition for pіdbags plein air — zagalom, a new range of curatorial functions.
Another one of my functions at the Sednevsky plein-airs was to talk to the artists about their work. Today I went around the mustache of the masters, and consulted with the artists, “suggesting” to their skin, what could help with yoga robots. I had a chance to learn to "remerge", passing from one master to another - I called it "plastic mimicry", and I constantly tried to switch on to the plasticity of the dermal s of the authors, and understand what you want to say, and how to help you. Not everyone, zvichayno, to that part of the lads with a plastic system, which was absolutely molded, and maisternist vykonannya. You can get into them.
The first Sednevsky plein-air became a breakthrough for all the senses.
On the first day of Sednev there was such a unique atmosphere of friendship, that day, after the end, the artists did not want to be separated, they gave one to one for the riddle of robots. Axis i in me are saved small collections of stars (showing one of the walls of the master - author's note).
I do respect that the main result of the first plein-air was not those who chose a group of authors, and not those who were born as a program, but those that artists realized for themselves as a generation. The stench v_dchuli todі nezvichaynu need one of one. Here, until the middle of the arrival in Kiev, there were a few things that “it was possible to fight like that” there, pilgrimage began, lads came from Ukraine. Htos priїzhdzhav on weekends, dehto zalivavsya for a long time. The crowning glory of history was the arrival of the youth commission from Moscow. Rapture call from the Union of Artists: “Get ready, the Moscow Commission is ahead of you!”. And I, obviously, knowing these people, and knowing what they gave beyond Moscow and Senezh (a creative base near Moscow), the stench can’t be seen anywhere. Then in the autumn there was a youth exhibition in Moscow, in the Manege that exhibition did not lower its hands for the hour of voting for our robots. And before the cim there was an exhibition at the Budinka of the artist near Kiev. The ideological decision of the Central Committee “debuffed” us on the stage discussed, and at the press. But even then everything collapsed to the 91st fate, and there was no time for us to cross over.
After another "Sednev" we were given the opportunity to organize an exhibition at the National Museum. It was not clear that Sednev had become a manifestation. The National Museum had a great exposition, but they gave us three halls on a different version. The whole thing was important, the shards of the robots were more large-format, simply majestic. I also said that if you hang a clean canvas on the wall with a size of 1.5 x 1.5 m, then it will be just a clean white canvas. If you take a pure five-meter canvas, then the same concept (laugh - author's note). The canvas of such a world is already practiced monologically. Tse buv is a more important experiment, tying up painting from the worlds, about those who practice it in a rank. Well, obviously, the energy of such a canvas is strained. That one worked the lads productively - for example, Oleg Golosіy or Pasha Kerestey could produce 2-3 great canvases for nothing. After another plein air, it was like a break. It was not like that, we began to repeat ourselves. It was obvious that everything was thumping and not far away from collapsing. We wished to miss the 90th river, and to hold the third Sednevsky plein air already on the 91st.
Turning to your personal artistic practice. If you have updated її then interrupt?
Tse buv 89th river. At that point, I was already ready to turn to active work. Ale bula one phrase, yak pіdshtovkhnula zrobiti tse negainno. One of the critics, having written an article about Sednev, says, in a Polish magazine, and in his material there was a riddle about the "organizer of the plein-air Tiberia Silvashi". Understand, I am not an artist, but an “organizer”?! The next day I'm at the master's.
Well, I, obviously, for the whole hour "pause" for an hour of understanding important problems for me. In addition, I was surprised to the artists, who gave ideas close to me, and because of the nature of their gift, they were close to me. Then I saw them in a small group just for sympathy and friendship, without any specific meaning.
Obviously, what do you say about the "Picturesque Reserve". From your description, it is obvious that you are also a curatorial project.
... So melodious ... . (grins - author's note). At the conversations, during the hour of discussion, the work of the masters, the vibudovuvanni lansy of the frontmen, the logical line of offensiveness, the throwing of the "bridges" between the famous practices of the artists in the 50-60s rr. , the avant-garde of the 10-20s. that sacred mystetstvom. Vlasne, "Zapovidnik" has taken upon itself the work of filling the lacuna of modernism. Before the speech, practically one-hour vindication of the "Paris Commune" and the "Picturesque Reserve" is a paradoxical manifestation in its asynchorosis. Qiu asynchrony mi vіdchuvaєmo і dosi in suspіlstvі ta kulturі. І, perhaps, it fits into the dual model of the development of the suspense - Wilder's model (Wilder Pensfield, author of the dual development model - author's note).
"Paris of the Commune" and the whole transavant-garde of promptings on the mechanisms of narration, robots with myth, on the vibudovation of singing cultural codes, similarly to speech, connected with abstraction, with which they practiced in the "Picturesque Reserve" we, as a narration, were unique. The very same at 92-93 pp. I started to work on the great project “Non-narrativity”, which is the result of the implementation, I guess, on the 95th. Non-narrativity was an even more important element, which, let's say, stood up to the narration evoked by the artists of the Parisian Commune.
It appears that the artists of the "Paris Commune" and the "Picturesque Reserve", like a vertical and a horizontal, have simultaneously tamed like a matrix of Ukrainian visuality.
... you are absolutely correct. You immediately formulated it yourself, as I named the text, which I can’t finish anyway - “The Matrix of Ukrainian Visuality”. It can be said that the vertical line of the matrix robbed "Zapovidnik", and for the horizontal line of the nation, "Parizka komun" sang. Tse does not mean that the instructions from these groups did not have anything wrong. Tse zovsіm negarazd. It's just that the songs of the evils of history bare the construction of what we have designated as a matrix. Attached to the singing hour, the mental mechanisms, the structures of the artistic movement begin to be attached to the choice of artistic strategies. And yet, intuitively, it’s not possible to struggle with your choice, it doesn’t matter. Tse okremy vipadok dії istorichnyh forces.
And even more important is the rich on the formal level. Because everything we say is superimposed on the history of the picture as such. The picture is blamed only if it blames the problem of subjective-objective visions. Autonomous subject, which is seen through a vikno-picture of light as an object. Not everything that is written by Farboi is painting. I'm tired of thinking that a painter is a picture. We say painting and Bachimo yoga only in one form, the form of a picture. Ale, like on me, we don’t call it like that. Painting was created before the appearance of the picture, and after it. Stained-glass window is such a painting itself, the purpose of installations at the hour is light. Works of the same Rothko - tse color installations in the space, tse same painting, which is already in the middle of the picture.
The axis of the dominance of the picture form in all її species (from transavant-garde to abstract) in Ukraine and Kiev, as in the case of two of our groups, as well as in all of their other varieties, gave the opportunity to look and analyze the difference of species. Then it became clear to me that not everything that is written in farbs, is painting, and I understand for myself the “artist” and the “painter”, as two positions with absolutely different strategies and butting within the framework of art. But there is only one part of the problem, and the other is the function of the “picture” under the hour of disintegration of the “subject-object”, if the gaze becomes part of the space of creation. Behind this is already the end of minimalism. And with the entry into the electronic era, Rozmov’s fired up again ...
Turning up to the category of the hour, for which we were sorry. In the old Greek philosophy, there is not one, but a sprat of gods, like they speak in an hour. Є Chronos, which vouchsafes an hour for the term - in seconds and hvilin to the fate of that century. Eon, what a pratsyuє z an inexhaustible hour. It's an hour, which is not possible, it's going to be an hour. So the axis, the "painter" works with Eon, with an endless hour. And the "artist" always works out of the joint hour, out of Chronos. І the most important part of the hour is the basic viniknennya of the picture. The paintings are framed at the same time in the open space, with a direct perspective, at the same hour that day, like the artists rushed to the bottom, letting go of the mighty cunning. The rational expanse of the images is like a story or a story about the podium. At that hour, like a “painter-painter”, navіt іsnuyuchy in the form of the picture, - zavzhd undifferentiated potіk hour. The first image plays an additional role in a new one. Plasmatic expanse of artists on a different principle. It is possible, about the words of Lacan, that in the "object of gazing" it is like the "blind flame" of the visual bajan, as if it were called "gaze". Ale cei's glance does not belong to the subject, but is an invisible attribute of speech itself (painting).
After Lacan, at whom "look" the subject loses his self and falls into the unfamiliar reality of his foundation. Here, on the right, there are images, and between the continuum of the action of the elements, which gave rise to painting. Vvazhayut painting mustache, scho written farbs. Formally. I there, and there the surface is stuffed with farboi. Hocha, even though Vasari distinguished “Venetian painters” and “Florentine artists”, indicative of the prevailing form in the rest. So, if you turn on those who, by the natural gift of bachiti, light like a colorful pot (and we call such people colorists), then it’s less than time for a victorious hour to understand the nature of what we call “painting”. The right painting on the “black dirka” square is buried for an hour and a space. In front of such a painting, one spends a physical hour and falls into the new, as if the gravity of the expanse-continuum has been relieved. This is not an estimable thought, but a test of the analysis of nature, such a phenomenon as a painter.
So the axis, continuing the history of the "Zapovidnik" ... As if mit, here in the middle of the 90s, we saw the exhaustion of collective activities. And, as they said, they grew up in individual swimming, skinning with their own ideas and priorities. For me, it is important to know Iva Klein, minimalist artists, and monochromatic artists. And, obviously, it was impossible not to lie to the good of conceptualism, to say the least. And then I tried to work with these problems: from the “colourful objects” the replacement of the picture; with “colorful space”, uniqueness of “moving mountains”, changes in visual elements. Blago i Marina Shcherbenko, i Pavlo Gudimov (Gallery owners and curators, with whom Tiberiy Silvashi worked - author's note) they figured out that I'm working, she helped with the zdіysnі projects. Ale, zvichayno, I saw myself on my own with my ideas. I had a chance to spend more than a generation, while new people showed up, they seemed to be close (to a bigger and smaller world) of my ideas. So vinikla group "Alliance 22". Vzagali, scho gave, the more I work with artists, as they are drawn into the whole process.
Tell me about the work of this group. Adzhe vnnostno recently іsnuє?
Third river. Artists Badri Gubianur, Sergiy Momot, Kostyantin Rudeshko and I, three years later, before the father-founders, and a woman, philosopher Yana Volkova, joined the group. It all began with an international seminar on non-figurative art at the Bottega Gallery. Everything was miraculous, but it was obvious that something was missing. I todi Badri having proponuvav Bulgakov's museum like a Maidanchik, de mi could conduct a discussion about that. From that hour of the 22nd day of the skin month, we show the personal project of the artist. Zzvichay, tse one robot - painting, object, photography. Obov'yazkovo was created by spіvpratsi z kimos іz representatives of other professions - a musician, philosopher and other artist. First few parameters - minimalism, geometric abstraction, monochrome.
In its hour, the “Picturesque Reserve” was picked up here, in my master’s room, for 27 chests. Now the tradition has fallen down "Alliance 22". Chantly, it was tied with my love to the ritual and repetition, and moreover, I renew us to the cyclical hour.
What is Alliance 22 working on now?
For the past year, we have played in the third season to reformat our work and practice it according to the production with song categories such as “Hour”, “Colour”, “Light”, “Material”, “Structure”, “Mova”. The first two projects in this format were theoretical and were dedicated to that hour. I think that we can continue to see those. Like Bachite, those who started from chronoralism step by step turn the axis of such a form.
You said that they minted on mitzvahs, with which they could continue rozpochat with the “Picture Reserve”, for a whole generation, for over 10 years. And how do you talk about a new generation of young artists, quiet, who is called "new blood"? Chi bachite ve quiet, who is the axis-axis more dihati at the back of the 30-35-letter?
So, zvichayno, tse yakraz for a long time to comprehend that one’s place in the sciences. I’m here, they’re continuing your own ideas, like a generation of artists rose before. The stench is critical, social, more felt in the choice of medium and form. Quiet, how many of them to squawk problems, with which they started pratsyuvati "Zapovidnik". Ale, obviously, everything else and more. And if you talk about modern painting, then it is important that the painter recognizes that mastery of his own intelligence, “autonomous” and structured according to his own internal laws. And it works like "reality" itself through its intelligence.
For me, the uniqueness of whether the function of the nation is an important word. For example, I write to complete a lot of texts in order to understand those for which I practice. However, I try to maximize the practice of painting in the discussion field, minimizing the scope of interpretation. For me, it’s much more important at once those, as the mechanisms of visual vibration will be. How open spaces are created, more open for creation and people, included before the new one. This is not a glimpse of a “beautiful” object, but a description of the situation, which is so unique for the poster. I can see - only a part of the circuit of the scheme of re-engineering between the creation and the posterigach. One monochromatic vіdomy said once: "The world's style is color - we live in reality, de absolutely everything is color." But it’s true, especially at once – the first nature today is overshadowed by another.
The other nature is technological, the number of media images, holograms, superfluous colors of advertising clichés is great, all the same the picture is strong. So the axis of the monochrome "visualizes" the color from the hypercolor light and to try to isolate it. Vin isolate those that are everywhere. It can be said that monochrome is the most critical of the most modern society itself through those that surround it. You choose and interchange the color and say: That's all. It's all the same, take it on the beach and paint a square on the dog. Surround the square of the middle of the gіr pіsku. It's not so easy to clean up the internal exchange.
Turning to those young artists. Deyakі from them today will be their career, bypassing Ukraine as a zone of interest. Navit pratsyyuchi in Ukraine, stink to think after her. Are you not bothered by such trends? Chi tse okay?
Tse is absolutely normal. I don’t run into anything terrible, until then, at the very same time, I’ll read it at some varto mandruvati. That and understand that such a modern system of art. The industry of art with usma її іnstitutsіyami, scho to establish the structure of power. In a word, today an artist can make an individual choice — you choose to be included in the qiu system of chi ni, maximally or minimally podlashtovuvatisya under it.
I can not help but put food about the interaction of a peeping for your art. The fashion for art as a kind of entertainment has given rise to those who look today most often at the sight of art of attractiveness. And yet your peeping man, perhaps, is still more thoughtful and "watching"?
Think so. Alas, there is still a small number of people. You know, if on the cob of the 90s we started working on the "Picturesque Reserve", those who worked for us were "their own" for poor people. Surely, everything has changed over the years. I think you can say that you pissed off your peep.
