ГАЛЕРЕЯ СОВРЕМЕННОГО ИСКУССТВА ЛУЧ
Куратор Света Николаева | +7 919 990 42 25
A BOOK OF SPACE | SERGEY BORISOV
Solo Exhibition | LUCH Gallery
Constantine Palace, Strelna
27 July – 30 September, 2009
LUCH Gallery presents an exhibition of sculptures by Sergei Borisov in the ensemble of the Constantine Palace. A bizarre kind of petrified calligraphy is the first association that arises in front of the sculptures by Sergey Borisov.
Solo Exhibition | LUCH Gallery
Constantine Palace, Strelna
27 July – 30 September, 2009
LUCH Gallery presents an exhibition of sculptures by Sergei Borisov in the ensemble of the Constantine Palace. A bizarre kind of petrified calligraphy is the first association that arises in front of the sculptures by Sergey Borisov.
ANDREW KHLOBYSTIN
Art Historian
Art Historian
It is poetry of a paintbrush which has acquired a three-dimensional form reaching the eternity expressed in the stone and metal.
It can also be compared to multidimensional characters as well as "churinga" - magical objects of the Australian Aborigines and Europeans of that distant era when people were communicating with the stones as if they were living creatures.
Externally spontaneous sculptural abstraction by Sergei Borisov internally calm, balanced with rhythmical energy pulsating in them. They are like plastic skeletons of sea shells continuing to lure in its emptiness, and in this sense goes back to the model of the maze. It is not flesh, not organisms, but some kind of essence, the elements, sometimes represented the likeness of a landscape or scene, inspired by a light melanchonical irony of the author. Iin particular in following art-works works: "The Iron Wind", "Game of whales," "go away".
In terms of content and plastic works of Borisov - not the result of rational thought and not a spontaneous outburst - they exist on the boundary of nature and culture. These "semi-natural" objects sooner or later become masterpieces of classical music - washes their time, erasing the alluvial and bustle of leaving to become noble.
In his art work Sergei Borisov goes from the drawing, in which adheres to the formalist method. This tradition is in many ways defined by the painters of the "Hermitage" and in particular by famous St.Petersburg artist AP Zaitsev.
It can also be compared to multidimensional characters as well as "churinga" - magical objects of the Australian Aborigines and Europeans of that distant era when people were communicating with the stones as if they were living creatures.
Externally spontaneous sculptural abstraction by Sergei Borisov internally calm, balanced with rhythmical energy pulsating in them. They are like plastic skeletons of sea shells continuing to lure in its emptiness, and in this sense goes back to the model of the maze. It is not flesh, not organisms, but some kind of essence, the elements, sometimes represented the likeness of a landscape or scene, inspired by a light melanchonical irony of the author. Iin particular in following art-works works: "The Iron Wind", "Game of whales," "go away".
In terms of content and plastic works of Borisov - not the result of rational thought and not a spontaneous outburst - they exist on the boundary of nature and culture. These "semi-natural" objects sooner or later become masterpieces of classical music - washes their time, erasing the alluvial and bustle of leaving to become noble.
In his art work Sergei Borisov goes from the drawing, in which adheres to the formalist method. This tradition is in many ways defined by the painters of the "Hermitage" and in particular by famous St.Petersburg artist AP Zaitsev.
These years were analyzed museum masterpieces of Old Masters from the standpoint of the theory and tools of modern art.
The Seventies - Rudolf Arnheim era of popularity and his work "Art and Visual Perception." In the composition of the painting by Poussin and Rembrandt "ermitazhniki" looking for hidden structural relations based on the nature of human vision. As a result, receives a mysterious, gloomy, hard-abstraction. In this tradition Borisov learns the fundamental laws of the organization of artistic space, but away from the "scientific mysticism" of Gestalt psychology.
Sergei Borisov concentrates on the great-forms as a result of the internal workings and practices of "smart" the contemplation of a release of the unconscious. Then "the names of the gods", and textured plastic equivalents of the elements are themselves.
The "Book of Space" by Sergey Borisov was a reflection of the research sculptor propensity to monitor the behavior of their works in an open public environment. The author puts a "sculpture garden" in the ensemble of the Constantine Palace.
German art historian Hans Sedelmayer considered the cultural history through the park art, which shows the ideal of his time in the relationship between man and nature. In this context, deliberately provokes Borisov to experiment in real space.
The Seventies - Rudolf Arnheim era of popularity and his work "Art and Visual Perception." In the composition of the painting by Poussin and Rembrandt "ermitazhniki" looking for hidden structural relations based on the nature of human vision. As a result, receives a mysterious, gloomy, hard-abstraction. In this tradition Borisov learns the fundamental laws of the organization of artistic space, but away from the "scientific mysticism" of Gestalt psychology.
Sergei Borisov concentrates on the great-forms as a result of the internal workings and practices of "smart" the contemplation of a release of the unconscious. Then "the names of the gods", and textured plastic equivalents of the elements are themselves.
The "Book of Space" by Sergey Borisov was a reflection of the research sculptor propensity to monitor the behavior of their works in an open public environment. The author puts a "sculpture garden" in the ensemble of the Constantine Palace.
German art historian Hans Sedelmayer considered the cultural history through the park art, which shows the ideal of his time in the relationship between man and nature. In this context, deliberately provokes Borisov to experiment in real space.
SVETA NIKOLAEVA
Curator
Art, like any language, evolves and comes into resonance with the modern life. Sergei Borisov’s art work is balancing on the edge between modernism and classic styles.
Our experiment allowed the space to consider the curious dialogue of modern plastic forms with the splendor of garden - park ensemble, conceived by Peter, as the Russian Versailles.
With this exhibition we aim to open up to the general public pages of the book of history of contemporary art, to overcome the barrier of alienation and to the phenomenon of contemporary art closer to the audience.
Curator
Art, like any language, evolves and comes into resonance with the modern life. Sergei Borisov’s art work is balancing on the edge between modernism and classic styles.
Our experiment allowed the space to consider the curious dialogue of modern plastic forms with the splendor of garden - park ensemble, conceived by Peter, as the Russian Versailles.
With this exhibition we aim to open up to the general public pages of the book of history of contemporary art, to overcome the barrier of alienation and to the phenomenon of contemporary art closer to the audience.
S.A. YANCHENKO
Honored representative of Culture of Russian Federation, Head of Exhibition Department
The idea of acceptability and admissibility of various styles and trends in contemporary art more than once occurred to me while viewing the works of contemporary artists. Particular attention was attracted by the works of those artists who, perhaps in the next few years will be in some degree of influence on the artistic life not only in their home town but also in the whole country. Benchmarks for the majority of Russian artists, as a rule, is a good classical school. If we talk about the overall impression of the work of Russian artists, then, first of all, life-affirming attitude attracts writers, regardless to the scenario, whether it was landscape, portrait, easel painting or sculpture. Thus, familiarity with the works of contemporary artists of different regions of Russia
has determined our choice of the theme of creative project, and we call it "Contemporary Artists of Russia."
The project's objective is to expose the art works of various artists. To initiate discussion of the art work of Russian artists and sculptors. To establish connection between the artists and audience.
Therefore we would like to invite you to the exhibition of St.Petersburg sculptor Sergei Borisov.
We wish success to the sculptor and we hope that the audience will enjoy our exhibition.
Honored representative of Culture of Russian Federation, Head of Exhibition Department
The idea of acceptability and admissibility of various styles and trends in contemporary art more than once occurred to me while viewing the works of contemporary artists. Particular attention was attracted by the works of those artists who, perhaps in the next few years will be in some degree of influence on the artistic life not only in their home town but also in the whole country. Benchmarks for the majority of Russian artists, as a rule, is a good classical school. If we talk about the overall impression of the work of Russian artists, then, first of all, life-affirming attitude attracts writers, regardless to the scenario, whether it was landscape, portrait, easel painting or sculpture. Thus, familiarity with the works of contemporary artists of different regions of Russia
has determined our choice of the theme of creative project, and we call it "Contemporary Artists of Russia."
The project's objective is to expose the art works of various artists. To initiate discussion of the art work of Russian artists and sculptors. To establish connection between the artists and audience.
Therefore we would like to invite you to the exhibition of St.Petersburg sculptor Sergei Borisov.
We wish success to the sculptor and we hope that the audience will enjoy our exhibition.