The exhibition «The day of Knowledge»

September 1-15, 1991

Participants: Konstantin Zvezdochetov and “E.T.I.” movement              Gallery “Regina-Art”
Curator-exhibitor: Îëåã Êóëèê 

1. Opening

Konstantin Zvezdochetov exhibited in the gallery space three objects, which formed the central axis of the exhibition. The first object was pseudo-theatrical decoration with Kremlin wall, on top of which was located the image of a 17th century gun. The second object was semi-abstract shield with the inscription: “Drokova smokes”. The third object was “Zaev. Shit. Impotent” in the form of three nailed slogans in the aesthetics of Soviet propaganda. In view of the failed putsch in 1991, this slogan was full of meanings.

Our works were hung on the walls. It were desks suspended at different angles, on the surfaces of which were cut graffiti with a drill, and the cracks were filled with paint.

The most famous became a slogan “Sex Marx Karl Pistols”, which went to masses and was used by punks, was replicated on t-shirts and stickers. Also it was used by group “RADEK” in the action “Demonstration” in 2001.

In general, all this graffitism was associated with aesthetics of groups “Mukhomor” and “Chempiona Mira” (“World Champions”), with one significant exception. If they used Soviet ideological symbols as a mark of their own ironic attitude to politics and ideology, we had no irony – it was a direct negativist youth statement.

2. Closing

At the closing of the exhibition desks were taken from the walls and were brought some more to create a large plane. To enter the hall viewers had to go on this desks, on which raw meat were scattered. There we also held a performance.

3. Performance “A parody of the human chain at the White House”

August, 1991 at the White House people were holding hands so as not to let pass the storming troops. In our performance the participants stood up in a “chain” by putting their hands in the pants oà each other.

4. «Tombstone of Russian Democracy» on the exhibition “The Day of  Knowledge” from 1 to 15 September, 1991. Description and photos of the action.

album "opening"

album "closing"

Performance “A Parody of the human chain at the White House”.

The exhibition «The Day of Knowledge»

Ïåðèîäû òâîð÷åñòâà

1987 – 1990 («Ìèíèñòåðñòâî ÏÐÎ ÑÑÑл)

1989 – 1992 (Ý.Ò.È.)

1992 – 1994 (Necesiudik)

1992– 2001 (Personal projects)

1997 – 2000 (Ïðîòèâ âñåõ)

2000 – 2002 (Íîíñïåêòàêóëÿðíîå èñêóññòâî)

2002 – 2012 (Personal projects)


12/02/2015
Artist’s Talk: Anatoly Osmolovsky

 Artist’s Talk: Anatoly Osmolovsky

27 Feb 20156:30 pm | Nash & Brandon Rooms | £8.00 to £10.00

Book Tickets

Russian artist, writer and theorist Anatoly Osmolovsky delivers a lecture examining the history of Russian Actionism and its value system. Osmolovsky began his career as a writer in the (then) Soviet Union and has been engaged in radical publishing and collective art-making throughout his career. The artist was involved with the Radek Community of the 1990s and early 2000s, collectivising Moscow Actionist-inspired artists who made a number of key public protest performances. Osmolovsky lead the younger artists in actions like Barricades (1998) and Against Everyone (1999), for which the group stormed the Lenin mausoleum, unfurling a banner with the titular words printed in large letters. Osmolovsky has since founded the independent art school Institute BAZA (2012).


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19/11/2014
Post Pop: East Meets West (26 November 2014 - 23 February 2015, Saatchi Gallery, London)

Post Pop: East Meets West

26 November 2014 - 23 February 2015

Post Pop: East Meets WestThe exhibition brings together 250 works by 110 artists from China, the Former Soviet Union, Taiwan, the UK and the USA in a comprehensive survey celebrating Pop Art's legacy. Post Pop: East Meets West examines why of all the twentieth century's art movements, Pop Art has had such a powerful influence over artists from world regions that have had very different and sometimes opposing ideologies.

The exhibition celebrates the art being produced in these four distinct regions since the heyday of Pop, and presents them in relation to each other through the framework of six themes: Habitat; Advertising and Consumerism; Celebrity and Mass Media; Art History; Religion and Ideology; Sex and the Body. 


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20/09/2014
9/09-30/11 2014,Mike Nelson selects the first in a series of four displays of the V-A-C collection at the Whitechapel Gallery

Mike Nelson selects from the V-A-C collection:
Again, more things (a table ruin)

Known for his atmospheric, immersive installations British artist Mike Nelson (b. 1967) transforms the gallery with sculptures drawn from the V-A-C collection.

The space, with a rough wooden floor and mass of modelled figures, is suggestive of an artist’s studio, but it is filled with sculptures of the body by some of the 20th century’s greatest artists.

Displayed on this common ground, Constantin Brancusi’s The First Cry (1917) dissolves the human form into elliptical shapes, and Alberto Giacometti’s Femme Debout (1957) elongates a woman’s body into abstraction. While contemporary artist Pawel Althamer’s depiction of three figures around a campfire becomes a focal point around which the other sculptures – by artists including Petr Galadzhev and Anatoly Osmolovsky - seem to be gathered.The display highlights the V-A-C collection, Moscow, as part of the Whitechapel Gallery’s programme of opening up rarely seen collections from around the world.

The publication for this exhibition will available from the end of September.  More (press-release)


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02/04/2012
Exhibition BLIND HOLE - 31/03/2012 – 04/06/2012, Thomas Brambilla gallery, Bergamo, Italia

Thomas Brambilla gallery is proud to announce on Saturday 31 March 2012 the opening of the
group show Blind hole, with William Anastasi, Lucio Fontana, Udomsak Krisanamis, Anatoly
Osmolovsky, Nathan Peter, Grayson Revoir.

31/03/2012 – 04/06/2012
Opening: Saturday 31 March 2012 h.18.30.
Opening hours: Tuesday - Saturday h.14:00-19:00.

Thomas Brambilla
Via Casalino 25
24121 Bergamo Italia
Ph: +39 035 247418
www.thomasbrambilla.com
info@thomasbrambilla.com


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07/07/2011
Ostalgia VIP Preview Invite

New Museum will present “Ostalgia,” an exhibition that brings together the work of more than fifty artists from twenty countries across Eastern Europe and the former Soviet Republics. Contesting the format of a conventional geographical survey, the exhibition will include works produced by Western European artists who have depicted the reality and the myth of the East.

The exhibition takes its title from the German word ostalgie, a term that emerged in the 1990s to describe a sense of longing and nostalgia for the era before the collapse of the Communist Bloc. Twenty years ago, a process of dissolution began, leading to the break-up of the Soviet Union and of many other countries that had been united under communist governments. From the Baltic republics to the Balkans, from Central Europe to Central Asia, entire regions and nations were reconfigured, their constitutions rewritten, their borders redrawn. “Ostalgia” looks at the art produced in and about some of these countries, many of which did not formally exist two decades ago. Mixing private confessions and collective traumas, the exhibition traces a psychological landscape in which individuals and entire societies negotiate new relationships to history, geography, and ideology.

 


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28/10/2010
Saulius Stonys. Ieškant ryšio (fotoreportažas)

2010-10-16

Fotoreportažas iš Rusijos šiuolaikinio meno projekto parodos „Estetika VS Informacija“ atidarymo (paroda veiks iki lapkričio 14 d.)...


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07/10/2010
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Ïðåçåíòàöèÿ è îáñóæäåíèå ïåðâîãî íîìåðà æóðíàëà "ÁÀÇÀ" ñîñòîèòñÿ 12 ñåíòÿáðÿ â 20.00 â êíèæíîì ìàãàçèíå "Ãèëåÿ" ïî àäðåñó: Òâåðñêîé áóëüâàð, 9. Âõîä ñâîáîäíûé.


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06/10/2010
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Óâàæàåìûå ó÷àñòíèêè êðóãëîãî ñòîëà, ê ñîæàëåíèþ ÿ íå ìîãó ïðèíÿòü ó÷àñòèå â îáñóæäåíèè, òàê êàê â ýòîò ìîìåíò íàõîæóñü â ïîåçäå Ìîñêâà-Âèëüíþñ. Áóäó÷è ïåðâûì îáëàäàòåëåì ïðåìèè Êàíäèíñêîãî ìíå, êîíå÷íî, íå áåçðàçëè÷íà ñóäüáà ýòîé â âûñøåé ìåðå áëàãîòâîðíîé èíèöèàòèâû, ïîòîìó ÿ ïðåäëàãàþ âàøåìó âíèìàíèþ ñîáñòâåííûå ñîîáðàæåíèÿ.


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02/10/2010
Òóðèíñêèé ãàìáèò. Âûñòàâêà «Ìîäåðíèêîí» â Ôîíäå Ñàíäðåòòî Ðå Ðåáàóäåíãî.

Ãàçåòà «Êîììåðñàíòú» ¹ 180 (4480) îò 29.09.2010

Âûñòàâêà "Ìîäåðíèêîí" ñ÷àñòëèâî ñîåäèíèëà äåíüãè îëèãàðõîâ ñ êðåàòèâíîñòüþ õóäîæíèêîâ.


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24/09/2010
Ïîñòóïèë â ïðîäàæó ïåðâûé íîìåð æóðíàëà ÁÀÇÀ

Æóðíàë î ñîâðåìåííîì èñêóññòâå ÁÀÇÀ, ¹ 1 ñáîðíèêå ïóáëèêàöèÿ öåíòðàëüíîãî ýññå íåìåöêîãî ôèëîñîôà Ãàððè Ëåìàííà «Àâàíãàðä ñåãîäíÿ». Ïîäáîðêà ñòàòåé è ëåêöèé Êëåìåíòà Ãðèíáåðãà. Íîâûé ïîýòè÷åñêèé öèêë ïîýòà Äìèòðèÿ Ïèìåíîâà. Ïîëèãðàôè÷åñêèå õóäîæåñòâåííûå ïðîåêòû Ñ.Îãóðöîâà è Ñ.Øóðèïû. À òàê æå àíàëèòè÷åñêèå ñòàòüè ñîâðåìåííûõ ðîññèéñêèõ õóäîæíèêîâ ïî òåìå «Ïðîèçâåäåíèå èñêóññòâà».


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24/09/2010
23 ñåíòÿáðÿ–27 ôåâðàëÿ,Âûñòàâêà «Ìîäåðíèêîí.Ñîâðåìåííîå èñêóññòâî èç Ðîññèè», Fondazione Sandretto Re Rebaudengo (Òóðèí,Èòàëèÿ)

23 ñåíòÿáðÿ–27 ôåâðàëÿ,Âûñòàâêà «Ìîäåðíèêîí.Ñîâðåìåííîå èñêóññòâî èç Ðîññèè», Fondazione Sandretto Re Rebaudengo (Òóðèí,Èòàëèÿ)Ýòàáëèðîâàííûé ôîíä ñ øèêàðíûì âûñòàâî÷íûì çàëîì Sandretto Re Rebaudengo (Òóðèí, Èòàëèÿ) è íîâûé ðîññèéñêèé ôîíä «Âèêòîðèÿ — Èñêóññòâî áûòü ñîâðåìåííûì» (Ìîñêâà) ïîêàçûâàþò âûñòàâêó ðóññêèõ õóäîæíèêîâ ñåãîäíÿøíåãî äíÿ, êóðàòîðàìè êîòîðîé âûñòóïèëè Ôðàí÷åñêî Áîíàìè (õóäîæåñòâåííûé äèðåêòîð ôîíäà) è Èðåíå Êàëüäåðîíè. Âûñòàâêà èñõîäèò èç ãèïîòåçû (íàâåÿííîé èäåÿìè Àíàòîëèÿ Îñìîëîâñêîãî), ñîãëàñíî êîòîðîé ðóññêîå èñêóññòâî ðàíüøå èìåëî ðàäèêàëüíóþ è ïðîâîêàöèîííóþ ýñòåòèêó, à íûíå âñòóïèëî â íîâóþ ôàçó ñâîåãî ðàçâèòèÿ, ãäå ïðÿìîå äåéñòâèå óñòóïèëî ìåñòî áîëåå ýñòåòè÷åñêîìó ïîäõîäó.


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23/09/2010
Ïå÷àòíûå èçäàíèÿ Ðàäåê
Ïîñòóïèëè â ïðîäàæó ïå÷àòíûå èçäàíèÿ ãðóïïû Ðàäåê
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13/09/2010
«Òóïûå, íàâåðíîå. Êíèæåê íå ÷èòàþò»

Èðèíà Ïîñòíèêîâà /03 ñåíòÿáðÿ 2010

Õóäîæíèê, êóðàòîð, ôèëîñîô Àíàòîëèé Îñìîëîâñêèé ïîëèòèêå íèêîãäà íå áûë ÷óæä. Áîëåå òîãî, âñåãäà ñ÷èòàë ñåáÿ îïïîçèöèîíåðîì — è âëàñòü ïóáëè÷íî êðèòèêîâàë. Òåì íå ìåíåå, ìåñÿö íàçàä Îñìîëîâñêèé ïîó÷àñòâîâàë â ìîëîäåæíîì ôîðóìå «Ñåëèãåð», ÷åì èçðÿäíî âñåõ óäèâèë. Ñàì îí, âïðî÷åì, ñ÷èòàåò, ÷òî ñòåïåíü åãî îïïîçèöèîííîñòè îò ïðåáûâàíèÿ ñðåäè ïðîêðåìëåâñêèõ àêòèâèñòîâ íå óìåíüøèëàñü. Ïîòîìó ÷òî íå êîíòåêñò êðàñèò ÷åëîâåêà, à ÷åëîâåê — êîíòåêñò.


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12/09/2010
Matthias Meindl - «Ìû ïåðåøëè â äðóãóþ ýïîõó...». Áåñåäà ñ õóäîæíèêîì Àíàòîëèåì Îñìîëîâñêèì îá èñêóññòâå è ïîëèòèêå.

ÌÌ: Àíàòîëèé, ìíå èíòåðåñíî, êàê íà÷èíàëàñü Âàøà òâîð÷åñêàÿ äåÿòåëüíîñòü?

ÀÎ: ß ñàì èç Ìîñêâû, íà÷èíàë êàê ëèòåðàòîð, êàê ïîýò.  17-18 ëåò, êîãäà çäåñü íà÷àëàñü ïåðåñòðîéêà è áûëà îáúÿâëåíà ñâîáîäà è ãëàñíîñòü, ÿ ÷èòàë ñòèõè â ïóáëè÷íûõ ìåñòàõ, íà óëèöå. Íî äåëî â òîì, ÷òî ðîññèéñêèé ëèòåðàòóðíûé êðóã â èíòåëëåêòóàëüíîì ñìûñëå äîñòàòî÷íî ïðèìèòèâåí, è äîâîëüíî áûñòðî ìåíÿ è ìîèõ äðóçåé ýòà äåÿòåëüíîñòü ïåðåñòàëà óäîâëåòâîðÿòü. Ïîñòåïåííî ÿ ñòàë ñìåùàòüñÿ â îáëàñòü ïåðôîðìàíñà, à ïîòîì è èçîáðàçèòåëüíîãî èñêóññòâà.


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05/09/2010
Øåäåâðû ðóññêîé àðõèòåêòóðû: Ñâèÿæñêèé Óñïåíñêèé ìîíàñòûðü

 Âî âðåìÿ ëåòíåãî ïóòåøåñòâèÿ ïî Óðàëó ìû – ÿ, Àëåêñàíäð Ëèïíèöêèé è Ñâåòëàíà Áàñêîâà – ïðîåçäîì ïîñåòèëè Ñâèÿæñêèé Óñïåíñêèé ñîáîð. Ñîáîð ýòîò èçâåñòåí ñîõðàíèâøèìèñÿ ôðåñêàìè 16 âåêà.  Ðîññèè ñîâñåì íå ìíîãî ñîõðàíèâøèõñÿ ôðåñîê 16 âåêà. Çà èñêëþ÷åíèåì Ôåðàïîíòîâà ìîíàñòûðÿ êîå-ãäå ñîõðàíèëèñü íåáîëüøèå ôðàãìåíòû, äà è òî â êðàéíå ïëîõîì ñîñòîÿíèè. Ôðåñêè Óñïåíñêîãî ñîáîðà ñîõðàíèëèñü â áîëüøîì îáúåìå. Êà÷åñòâî ôðåñîê âûäàþùååñÿ.  íåêîòîðûõ ôðàãìåíòàõ âèäíû îòãîëîñêè «äèîíèñèåâîãî» ïèñüìà.  


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