Pasākumu organizēLaimīgās Mākslas Muzejs
Galleria Riga (Dzirnavu iela 67 7.stāvs) 300m2 100 krēsli WIFI WEB TV, AUDIO VIDEO 13-22 bez brīvdienām Rīkojam septīto gadu vairākas jaunas izstādes mēnesī no kaimiņvalstu un Latvijas Mākslinieku u...
Happy Art Museum dāvā 2014 sākot mākslas šovu "ĀDAMA RIBA" Ivans Koršunovs MaskavaEXPO
Galerija „Happy Art Museum” Galleria Riga telpās dāvā Ziemassvētkos iespaidīgu mākslas šovu no 18.decembra līdz 16.janvārim aicinot apmeklēt Maskavas gleznotāja Ivana Koršunova izstādi „Ādama riba”. Gleznotājs savos darbos ar tradicionālo sižetu palidzību apcer sievietes lomu mūsdienu sabiedrībā. http://www.draugiem.lv/laimigas-makslas-muzejs/gallery/?aid=50967556 Sieviete, kura bija radīta, lai palīdzētu vīrietim, bet sen jau izrāvusies no atkarības „stiprajam dzimumam”. Iegūstot vēl vairāk neatkarības, viņa ar to pārstāj būt par „otro pusīti”, no līdzgaitnieces pārvēršoties par karotāju un patērētāju, ar to bieži vien sevi nolemjot.... uz vientulību un mužigiem meklējumiem. Mākslinieks meistarīgi glezno hiperreālistiskā manierē uz lielformāta audekliem, izmantojot to lai balansētu starp arhaiskiem sižetiem un jaunu jēgu meklējumiem.
Kā vienu no veiksmīgākiem Krievijas jauniem māksliniekiem Ivanu Koršunovu iepazinām “Art Moscow” un Beļģijas mākslas fstivālos, kuros Happy Art Museum bija aicināts pārstāvēt Latvijas mākslu ar mākslas meistariem, kuru izstādes pastāvīgi dāvājam mūsu galerijā. Patreiz mūsu meistaru Jura Dimitera, Sergeja Djomina, Zigmunda Bieļa, Daga Viduleja, Vijas Dzintares, Otto Zitmaņa, L. Milbreta, Laimas Eglītes, K. Vītola, Ilzes Jaunbergas, Artūra Bērziņa utt 70 darbu kolekcija turpina Eiropas tūri. Pretī rīdziniekiem apmaiņai esam noorganizējuši 6 valstu mākslas izstādes 2014 gadam, lai atzīmētu Rīgas kļūšanu par Eiropas kultūras galvaspilsētu. Izstāžu transportēšanas finansiālo pusi esam nokārtojuši, taču lūdzam sadarbību mākslas intersesentiem un iestāžu vadītājiem, kas var piedāvāt interesantas publiski pieejamas telpas izstāžu pieņemšanai Rīgā.
Izstādes atklāšana 17.decembrī plkst.18.00 Varēsim redzēt ne tikai iespaidīgu mākslas šovu, bet arī tikties ar interesanto viesi Rīgā. Savu darbu sēriju koncepcijas vēstījumu I. Koršunovs sacer pats, jo ir Mākslas zinātņu doktors...
Ieeja izstādē kā vienmēr brīva katru dienu arī svētkos no 13-21
„HAPPY ART MUSEUM”
Dzirnavu iela 67, 5.stāvs
SECRET. SACRAMENT. MYSTERY
(Research of the Artist)
The person of the artist is the object demanding infinite introspection. Generation behind generation, «authors of art», conducted by a similar steadfast sight on themselves, make efforts to creation of something, approving unique individuality, but recognizing presence of mystical, mysterious spheres which supervise over them. But that transforms the artist into the shaman to whom are peculiar prophetical an enlightenment and opening from area of noosphere – for ever remain a unsolved secret
It is impossible to tell, that anybody is not interested in such secret, except for artists.
Historians of art frequently «solve» quite «terrestrial», «profane» a material resources supporting ideology of the artist, or build a history of art as change of historical styles in which the artist, in their opinion, does not play the most important role.
Nevertheless, according to well-known statement of Bourdieu, art and sociology get on badly. Historians of art are sociologically deaf, and sociologists of art are aesthetically blind, – probably on that only to the reason, that in a basis of a art criticism history one more «has lain too long» «divine secret of the individual genius» which only it is possible to admire, and various sociological approaches to art – aspire «to open and condemn – prove» this secret that refers to, on all severity of the law.
Research of this problem is difficult, however safely it is possible to declare consideration of this question, that the present state of affairs in art shows, that it (art) is «private affair» and «private life» of everyone who is engaged in it. As though strange did not sound it's an intimate process. In what a genre operated, what strategy wouldn't used by the author, all over again he needs to go through it inside itself. And is farther as will carry, well or will not carry. It too a mystery.
«Talent» also is shrouded in «fog», and it is no wonder, that scientifically proved researches of talent is not observed almost.
Thus, from what side try to analyze the purposes, functions, «creative units», and a nature of art with prospects of its development remain rather and rather mysterious.
And what the artist would not appear at us in our perception, from the aforesaid it becomes obvious, that today for an estimation of his activity is not produced uniform and high-grade «the conceptual device».
But, despite of it, subjective versions are possible.
Ivan Korshunov's creative credo and his person is not a collective portrait of young generation of the Moscow artists or the character nominal, but can illustrate some theses of the given text clearly.
Today in Russia the certain role is not imposed to the artist: to prove, to discredit, to experiment, to shock. Basically from a tacit consent it is possible to make all. That you can, that you want, well and as too. However any artist all the same is in system of continuity of cultural development, rather difficult process, deprived linearities. Thanking and contrary to this processthe person of the author is formed.
The vector of creative efforts of Ivan Korshunov is at first sight directed just on «fundamental» secrets. To anyone in the slightest degree understanding clearly, that «food» of his products is the powerful stream of infinite number of bible plots and parables which «had» christianity and all West-European, and then and Russian painting.
Sacrament of birth, sacrament of love, sacrament of death – the big themes which in modern perusal are treated by Ivan Korshunov. And all would be simple before us only one of new versions of Bible plots, if not mentioned before personal experiences.
Ivan Korshunov's creative activity is similar to returning to sources and the bases, but whether it is caused by intention to reveal in passed ways of art dead approaches in a due measure and methods – it is not known. Nevertheless, his painting (he works in this genre) is an attempt to see through the last present. Certainly, this tendency is not new. In general it's characteristic for a postmodernism dominant in last decades. At the same time for a postmodernism typically that its maintenance is not new at all.
Faster echoing, rather than contradicting Baudrillard's idea (as the ideologist of a postmodernism), that each work of art reproduces something, that in itself already is reproduction, Ivan Korshunov uses a photo as a basis of picturesque product. Combining receptions late academic painting with opportunities of images-media, the artist creates the pictures aspiring «to discredit» the spectator risky, almost on the verge of foul display of a sensual nature «pseudo-fine» and «apparent» non-standard of treatment of known plots. It is original ambiguous game in academism: the postmodernist attitude to «an arsenal of the past», mixed with advances with a certain «depersonalized mass» spectator. The volumetric maintenance of a plot becomes flat, and flat, «frontal» expression of a plot gets that mysterious substantial depth. Originally abstracting from images of concrete persons and characters (which he paints) and simulating «consumer goods», and also «baroque» emblems, clear as now it is accepted to speak, in «past epoch», Ivan Korshunov searches for ways to express environmental life and a life as «sacrament».
However attempt to contain in space of a picturesque cloth «performance» a theatrical masquerade with photo-fixing of «changing clothes of the ordinary» in «sacral» turns around a game reflection concerning a symbolical interlacing of destinies of «figurants of cloths» with their historical prototypes. Sense addressing to substantial aspects of the Bible, Ivan Korshunov brings serious hint in considered «hackneyed enough» reception, complicating it and inverting.
And the strike of mystery formed at manipulations with figurative ranks, apparent or really present, in a combination with creative and full recognition of the represented motive should approach in recognition of the potential spectator of border real and irreal, that, most likely, is one of tasks of «aesthetic research» young artist.
Whether and there it will be or not it is a secret too. Let it is small secret.