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Exhibitions

Authenticity & Russian avant-garde /September, 20 until November, 11/



15.09.2017

Authenticity & Russian avant-garde /September, 20 until November, 11/

                               Gallery Geneve

In 2017 it is celebrated the 100th anniversary of the October Revolution in Russia. Dramatic political and social changes associated with this historic event inevitably had its reflection in art. At that time one of the most famous phenomena of world culture - Russian avant-garde – was being formed.

ArtDynasty Gallery in Geneva dedicates a new exhibition project – Authenticity to the event.

The period of the late 19th and early 20th centuries became a turning point for the world of culture. At the beginning of the 20th century art "broke through" to a new height of comprehension of the world, to a new level of vision. The role and the place of art in those processes were fundamentally reconsidered. The experiment became the embodiment of the pathos of changes that everyone was seized by. And the term avant-garde entered the lexicon of art as a metaphor for the process of experimentation, opening new possibilities of artistic understanding of the world. Avant-garde trends in art, which were based on a revision of the classical tradition, rejecting the idea of a simple reflection or repetition of visible reality in favor of the construction of a new reality, experimental approach to the creation of images, shapes, objects, opened up a huge potential for new ideas, meanings, forms of expression.

By 1910’s, Russian artists anticipating the revolutionary events of 1917 became pioneers in the overall culture movement, they were in the centre of philosophical and artistic ideas. Artists created their own schools and movements. Due to that diversity Russian art of that time was extremely variegated phenomenon. That period gave Russia brilliant artists, writers, musicians, directors. Their names are all world known: Kandinsky, Malevitch, Lissitzky, Chagall, Rodchenko, Tatlin, Rachmaninoff, Prokofiev, Scriabin, Stravinsky, Meyerhold and Eisenstein.

The influence of avant-garde in the art of the 20th and 21st centuries is really very huge. It is difficult to find a contemporary artist, whose works would not have manifested an internal dialogue with the avant-garde ideas. And the way of experiment became the main line of contemporary art.

The theme of the influence and refraction of discoveries of the avant-garde in the works of its followers became the basic idea of the Authenticity exhibition project. More than thirty works of Russian and Georgian artists form the exposition. The exhibition consists of two parts and covers a longer period of time, starting from 1916 to present time.

The first part is dedicated to the historical context, the time of the revolutionary events. Here are briefly presented works of more documentary character that conditionally fix the time borders of avant-garde period, starting with the revolutionary sketches and ending with pictures of life of victorious socialism.

The exhibition begins with the early works of the master of Georgian art - Lado Gudiashvili (1896-1980), a series of rare graphic works (1916) on the revolutionary theme for the Georgian literary and artistic almanac. This part also features works by prominent master of the Georgian monumental painting Robert Sturua (1918 - 1982), whose works are always penetrated by solemnity and theatrical action. The exposition is completed by brilliantly made watercolor sketches by Tengiz Mirzashvili (1934 - 2008) an artist of later generation and many others.

The second part of the exhibition is the heart of the exposition and is given to the works of artists of the so-called second and third waves of Russian avant-garde. They in their own very personal way have reconsidered avant-garde influence and found their own individual style through experimental methods. Here are the works by Georges Artemoff (1892-1965), an artist with an unusually wide range of artistic search, representative of Paris school. Different periods of art of painting of the first half of the 20th century are reflected in his works. Based on post-impressionism and modernism, Artemoff succeeded in his creative method to give strong impulse to the first expressionistic influence of Cubism, Fauvism, Suprematism. 

Informal art is represented by works of a master of the second (third) wave of Russian avant-garde Vladimir Nemukhin (1925 - 2016). In his work, he tried to erase figurative marks, eliminate the laws of optical art, including tendency to natural motives. The artist pays much attention to abstract collage-assemblage which create several layers of reality, overlap each other, shine through one another, interact, creating a non-optical reality. Favorite techniques of the artist are collage, assemblage, ready-made. Using Suprematist compositions, geometry and color lets the artist create generalized images, showing the essence of objects, rather than their optical reconstruction.

In his works Dmitry Lyon (1925 - 1993) draws upon the idea of the primary elements of the world, discovered by the avant-garde artists. The artist uses signs and symbols, hieroglyphs, strokes and whimsical lines to create his imaginative world. These movements, left on paper, start with premonitions in the form of nerve lines and then smoothly pass into the consciousness-processed story images and verbal texts. From the chaos of strokes and lines, that look like random graphic sketches, hints of the objective world are formed and meanings are manifested.

Sergei Shtremm, starting from the foundations of the compositional construction of Suprematist works by Malevitch, develops the idea of the geometricity of the world. His works are performed in an abstract geometric manner in the best traditions of the futurists of the early 20th century. To create a "dynamic abstraction," the dramatic interaction between an object and space, the artist uses the line and colour. The underlined geometricity of the works causes the viewer to break away from the ordinary. The artist is interested in the fractality of the world, the nature of the connections of its constituent elements. Geometric parts connected by connecting axes, lines of influence, create constantly changing spaces in a kaleidoscope, form a "perpetual motion", where new and new semantic constructions are born.

A special place belongs to Serge Diakonoff. His creative path is inseparably linked with his lifeline. The spirit of his works reminds both the metaphysical works of Giorgio de Chirico, and the works of the surrealists of the early 20th century, and the traces of ancient civilizations ... His sculptural compositions and installations are a collective image of the culture of the world - antique forms, totemic African images are combined with modern elements and mechanisms. Special ornamentality of compositions is added by original ornamental art. This creates paradoxical allusions, based on a generalized knowledge of the history of culture. Diakonoff uses the method of collision of several semantic layers in one work, which do not destroy, but complement each other. The artist manages to find a balance between modernity and the past, new and traditional, manages to create a synthetic image of cultural priorities.

In Vesna Boskovic’s works, the method of the ultimate generalization, as if in the icon or children's creativity, organically combines with the conceptual introduction of verbal texts into the composition. This gives the paintings of a small format the semantic richness of the monumental work.

Aron Zinstein and Valery Mishin are artists of Saint-Petersburg school. Despite the difference in their creative ways, they are associated by characteristics peculiar to this particular school - irony, emotion, figurativeness pictorial expression.

Different shades of the avant-garde are also perceived in the art of Piotr Bletkin, Vakhtang Advadze, Oleg Khvostov.

The Authenticity exhibition project explores the development of avant-garde throughout the century, but also opens up the works of contemporary artists who continue the tradition of the avant-garde today. Authenticity is a sincere reflection on the limits of the visible, of the individual ways in art. Authenticity is this rejection of specular reflection of reality in favor of the personal sense of perceiving the world, the rejection of the illusion, imitation and deception.