ГАЛЕРЕЯ СОВРЕМЕННОГО ИСКУССТВА ЛУЧ
Куратор Света Николаева | +7 919 990 42 25
...AND, OF COURSE, FOOTBALL!
Group Exhibition at the Museum of Moscow | LUCH Gallery
27 April – 5 August, 2018
Artists: Denis Egelskiy, Kirill Kipyatkov, Andrey Krisanov
During the Football World Cup, the Moscow Museum, together with the LUCH Gallery present an artistic parallel to the main sport event of 2018 in Russia.
The exhibition presents contemporary paintings united by the theme of different kinds of sport and, of course, football. Contemporaty art of St.Petersburg is known for its picturesque tradition. The authors are unanimously fascinated by classics as an opposition to modernist conceptuality. Sport in its antique origin is an embodiment of the ideas of humanism and beauty. This is the main fundamental idea for all three artists.
Group Exhibition at the Museum of Moscow | LUCH Gallery
27 April – 5 August, 2018
Artists: Denis Egelskiy, Kirill Kipyatkov, Andrey Krisanov
During the Football World Cup, the Moscow Museum, together with the LUCH Gallery present an artistic parallel to the main sport event of 2018 in Russia.
The exhibition presents contemporary paintings united by the theme of different kinds of sport and, of course, football. Contemporaty art of St.Petersburg is known for its picturesque tradition. The authors are unanimously fascinated by classics as an opposition to modernist conceptuality. Sport in its antique origin is an embodiment of the ideas of humanism and beauty. This is the main fundamental idea for all three artists.
Денис Егельский. Зеркальный футбол
Кирилл Кипятков. Гол
Андрей Крисанов. Штрафной
Денис Егельский. Вбрасывание
ANDREW KHLOBYSTIN | THREE ARTISTS, SPORTS AND, OF COURSE, FOOTBALL
Art Historian
The era of the "sports Renaissance" at the turn of the XIX-XX centuries considered sports as a kind of human activity related to physical and intellectual culture. Today the topic of "sports and art" deserves a special conversation, as the quantity of meanings and forms is increasing.
The game (English word "sport" comes from the old French word "desport" which means game), skill, exercise, technique, improvement, competition, show, passion - these are essential concepts both for sports and art. Today the global mass media, business, fashion, tourism and entertainment industries are merging with them; there is no need to talk about the increasing importance of their political component, in spite of everything. Huge funds are spent on the architecture of sports facilities, competitions that turn into grand theatrical performances and making films about sports. At the same time, the endless fragmentation of sports and art into special subsections of sociology, philosophy, economics, psychology, pedagogy, journalism, etc. leads to their loss of substantiality.
The extraordinary expansion of the understanding of sport, that started to include previously marginal and extreme disciplines, corresponds to the extreme expansion of ideas of what art is. The development of science – the fusion of sports with special sections of medicine and pharmacy corresponds to the development of science art in contemporary art.
The study of contemporary art and sports helps us to observe and explore the most pronounced social, physical and aesthetic metamorphoses of a person. Without losing their original, archaic and dark essence as mysteries and sacrifices to supreme power, art and sport, together with the accelerated development of technology, demonstrate new "upgrades" of the body. So, the corseted figure of the XIX century in the new century is replaced by a newly organized athletic body for the stadium and the beach, ready both "to work and defense" and to shine in the glamorous trade. The new millennium opens up dizzying and risky prospects for reformatting our bodies and psyche with the help of the latest technologies, where sport and art exist at the extreme edge.
The exhibition "...and, of course, football!", opened at the Museum of Moscow by LUCH Gallery of Contemporary Art, presents sports in the genre of painting, which can tell a lot, despite its traditionalism. At the beginning of the 20th century it was this genre that presented the unprecedented image of an athlete in the world-famous masterpieces of Henri Rousseau, Kazimir Malevich, Pablo Picasso, Alexander Deineki, Nicolas de Stael, Alexander Samokhvalov... After that, the ideals of body beauty and our place in the world changed many times as well as the understanding of human plasticity and the meaning of sports. The paintings of three contemporary artists of the Saint Petersburg school – Andrei Krisanov, Denis Egelsky and Kirill Kipyatkov, shown in the exhibition, demonstrate us the understanding of the body and sports in Russian art of the late 20th and early 21st centuries.
The forms of painting by Andrey Krisanov (born in 1966 in Novorossiysk) inherit to the greatest extent the modernist, futuristic tradition of the early 20th century, refracted through graffiti and comics in the 1980s by the Leningrad group "New Artists", which included Krisanov. The movement "New Artists" gained an all-Union fame and changed the image of Soviet culture in the late 80s thanks to the film "ASSA", where Andrei plays a cameo role. There was no specialization: the artist was at the same time a musician, poet, actor, fop, etc.
The game (English word "sport" comes from the old French word "desport" which means game), skill, exercise, technique, improvement, competition, show, passion - these are essential concepts both for sports and art. Today the global mass media, business, fashion, tourism and entertainment industries are merging with them; there is no need to talk about the increasing importance of their political component, in spite of everything. Huge funds are spent on the architecture of sports facilities, competitions that turn into grand theatrical performances and making films about sports. At the same time, the endless fragmentation of sports and art into special subsections of sociology, philosophy, economics, psychology, pedagogy, journalism, etc. leads to their loss of substantiality.
The extraordinary expansion of the understanding of sport, that started to include previously marginal and extreme disciplines, corresponds to the extreme expansion of ideas of what art is. The development of science – the fusion of sports with special sections of medicine and pharmacy corresponds to the development of science art in contemporary art.
The study of contemporary art and sports helps us to observe and explore the most pronounced social, physical and aesthetic metamorphoses of a person. Without losing their original, archaic and dark essence as mysteries and sacrifices to supreme power, art and sport, together with the accelerated development of technology, demonstrate new "upgrades" of the body. So, the corseted figure of the XIX century in the new century is replaced by a newly organized athletic body for the stadium and the beach, ready both "to work and defense" and to shine in the glamorous trade. The new millennium opens up dizzying and risky prospects for reformatting our bodies and psyche with the help of the latest technologies, where sport and art exist at the extreme edge.
The exhibition "...and, of course, football!", opened at the Museum of Moscow by LUCH Gallery of Contemporary Art, presents sports in the genre of painting, which can tell a lot, despite its traditionalism. At the beginning of the 20th century it was this genre that presented the unprecedented image of an athlete in the world-famous masterpieces of Henri Rousseau, Kazimir Malevich, Pablo Picasso, Alexander Deineki, Nicolas de Stael, Alexander Samokhvalov... After that, the ideals of body beauty and our place in the world changed many times as well as the understanding of human plasticity and the meaning of sports. The paintings of three contemporary artists of the Saint Petersburg school – Andrei Krisanov, Denis Egelsky and Kirill Kipyatkov, shown in the exhibition, demonstrate us the understanding of the body and sports in Russian art of the late 20th and early 21st centuries.
The forms of painting by Andrey Krisanov (born in 1966 in Novorossiysk) inherit to the greatest extent the modernist, futuristic tradition of the early 20th century, refracted through graffiti and comics in the 1980s by the Leningrad group "New Artists", which included Krisanov. The movement "New Artists" gained an all-Union fame and changed the image of Soviet culture in the late 80s thanks to the film "ASSA", where Andrei plays a cameo role. There was no specialization: the artist was at the same time a musician, poet, actor, fop, etc.
This was exactly the way of work of the creator of this group, Timur Novikov, as well as its members Viktor Tsoi and Georgy Guryanov, who were also the stars of the "Kino" music group, where Krisanov was also a musician. The accurate and angular plasticity of Krisanov's characters and genetically related "square-headed" characters in Tsoi's art reflects the aesthetics of the culture of the "new wave" - lapidary like petroglyphs, bright and witty. Tsoi was a fan of martial arts, Guryanov cultivated bodily valor and perfection, so that the vital power of his friends' art was in tune with the cheerful
topic by Krisanov, who devoted a number of his works to sports. Over the years, the artist has not changed his style of the era of Leningrad romanticism of the 80s: the canvases "Game" (2006) and "Penalty" (2018) shine with the positivity and joy of the era of "new romantics".
At the turn of the 80-90s in Leningrad neoclassical art was born, which, in many ways under the influence of the Olympic movement, appealed to the ideals of ancient culture, where the physical and spiritual principles in human body were united. Timur Novikov, who transformed the "wild" "New Artists" into the New Academy of Fine Arts, wrote: "The art of ancient Greece through competitions revealed the most beautiful bodies in order to create objectively beautiful canons for worship. After many years of oblivion of this technique in the 19th century, “agonistics” was revived, and sport again became one of the prominent themes for the artist… In the 90s started a strong Russian movement for the revival of classics... Many artists have also turned to sports." Denis Egelsky (born 1963 in Leningrad) became a teacher at the New Academy, which fought for the return of classical images and the preservation of traditional skills of mastery. Turning to ancient sports motifs in their still archaic forms in the 80s ("Jump", 1988), in the 90s Egelsky achieved virtuoso effects in the depiction of exquisite textures ("Mirror Gate") and exalted states. As a research artist, he and his colleagues and students recreate ancient photographic printing techniques, applying the results of their optical experiments in painting ("Discobolus", "Horse Tamer"). As a subtle stylizer, Egelsky uses the entire arsenal of images of athletes of Soviet art of the 30s and 70s. ("Goalkeeper", "Winter", "Throw-in or trio expression").
Kirill Kipyatkov (born in 1987 in Veliky Novgorod) graduated from the Saint Petersburg Stieglitz Academy of Art and Industry. He is an artist who has presented more than a dozen solo exhibitions on the topic of sports. Kipyatkov's style, combining figurative painting and abstraction, evokes the widest range of art historical associations: from the Soviet textile design of the 20s, to the optical somersaults of the artists by the OST group and the idyll of late Soviet monumental propaganda. By harmonizing the color ornamentalism of the Russian avant-garde with the clarity of book illustrations, Kipyatkov transfers his sports compositions to large formats and achieves the rare in contemporary art effect of serenity and enlightenment, which in the best moments we get from doing sports.
All three artists represented at the exhibition, having their own preferences in traditional and new art, depict both ancient and contemporaty kinds of sports and, of course, football.
topic by Krisanov, who devoted a number of his works to sports. Over the years, the artist has not changed his style of the era of Leningrad romanticism of the 80s: the canvases "Game" (2006) and "Penalty" (2018) shine with the positivity and joy of the era of "new romantics".
At the turn of the 80-90s in Leningrad neoclassical art was born, which, in many ways under the influence of the Olympic movement, appealed to the ideals of ancient culture, where the physical and spiritual principles in human body were united. Timur Novikov, who transformed the "wild" "New Artists" into the New Academy of Fine Arts, wrote: "The art of ancient Greece through competitions revealed the most beautiful bodies in order to create objectively beautiful canons for worship. After many years of oblivion of this technique in the 19th century, “agonistics” was revived, and sport again became one of the prominent themes for the artist… In the 90s started a strong Russian movement for the revival of classics... Many artists have also turned to sports." Denis Egelsky (born 1963 in Leningrad) became a teacher at the New Academy, which fought for the return of classical images and the preservation of traditional skills of mastery. Turning to ancient sports motifs in their still archaic forms in the 80s ("Jump", 1988), in the 90s Egelsky achieved virtuoso effects in the depiction of exquisite textures ("Mirror Gate") and exalted states. As a research artist, he and his colleagues and students recreate ancient photographic printing techniques, applying the results of their optical experiments in painting ("Discobolus", "Horse Tamer"). As a subtle stylizer, Egelsky uses the entire arsenal of images of athletes of Soviet art of the 30s and 70s. ("Goalkeeper", "Winter", "Throw-in or trio expression").
Kirill Kipyatkov (born in 1987 in Veliky Novgorod) graduated from the Saint Petersburg Stieglitz Academy of Art and Industry. He is an artist who has presented more than a dozen solo exhibitions on the topic of sports. Kipyatkov's style, combining figurative painting and abstraction, evokes the widest range of art historical associations: from the Soviet textile design of the 20s, to the optical somersaults of the artists by the OST group and the idyll of late Soviet monumental propaganda. By harmonizing the color ornamentalism of the Russian avant-garde with the clarity of book illustrations, Kipyatkov transfers his sports compositions to large formats and achieves the rare in contemporary art effect of serenity and enlightenment, which in the best moments we get from doing sports.
All three artists represented at the exhibition, having their own preferences in traditional and new art, depict both ancient and contemporaty kinds of sports and, of course, football.