Âõîä â ëè÷íûé êàáèíåò         RU  EN

Êîëëåêöèÿ «Ñîâðåìåííîå èñêóññòâî»

Î êîëëåêöèè    Ñïèñîê èçäàíèé

Íàéäåíî èçäàíèé: 1268




Çåðêàëî. Ïîñëå ñêàçàííîãî — 2017

Çåðêàëî. Ïîñëå ñêàçàííîãî — 2017

Ëó÷øèé ôîòîêëóá ÑÑÑÐ 1987 ãîäà, îáëàäàòåëü 11 çîëîòûõ ìåäàëåé ÂÄÍÕ ÑÑÑÐ, çà âîñåìíàäöàòü ëåò ñâîåé äåÿòåëüíîñòè êëóá «Çåðêàëî» äàë îòå÷åñòâåííîé ôîòîãðàôèè öåëóþ ïëåÿäó òàëàíòëèâûõ àâòîðîâ, ÷üè ðàáîòû è ñåãîäíÿ ïðîäîëæàþò îêàçûâàòü âëèÿíèå íà ñîñòîÿíèå ðîññèéñêîé ôîòîãðàôèè. Ïîìèìî ãëàâåíñòâóþùåãî õóäîæåñòâåííî-äîêóìåíòàëüíîãî æàíðà, â êëóáå ïîëó÷èëè ñâîå ðàçâèòèå åùå äâà íàïðàâëåíèÿ: ôîðìàëèñòè÷åñêîå, äëÿ êîòîðîãî íàèáîëåå âàæíûìè áûëè ïðîáëåìû êîìïîçèöèè, ñâåòîòåíè è äðóãèõ ñðåäñòâ âûðàçèòåëüíîñòè, è ðåïîðòàæíîå, ìãíîâåííî ðåàãèðóþùåå íà àêòóàëüíûå ñîáûòèÿ â òîì ÷èñëå íà ñòðàíèöàõ îôèöèàëüíîé ïðåññû. Õóäîæåñòâåííóþ äîêóìåíòàëèñòèêó ïðåäñòàâëÿëè Ïåòð Ëåáåäåâ, Ñåðãåé Ïîäãîðêîâ, Áîðèñ Ìèõàëåâêèí, Ëþäìèëà Èâàíîâà, Ëþäìèëà Òàáîëèíà, Åâãåíèé Ìîõîðåâ, Àëåêñàíäð Êèòàåâ, Àíäðåé Óñîâ. «Ôîðìàëèñòàìè» áûëè Þðèé Ìàòâååâ, Ñåðãåé Àðñåíòüåâ, Àëåêñåé Òèòàðåíêî, Ãåííàäèé Òêàëè÷, Àíäðåé ×åæèí, Âàëåíòèí Êàïóñòèí, Äìèòðèé Øíååðñîí. Ðåïîðòàæíîé ôîòîãðàôèåé çàíèìàëèñü òàêèå àâòîðû, êàê Áîðèñ Áóëãàêîâ, Àëåêñàíäð Íèêîëàåâ, Àíàòîëèé Ìåäâåäíèêîâ, Åâãåíèé Ðàñêîïîâ è äðóãèå. ×åì áûëî çàíÿòèå ôîòîãðàôèåé äëÿ ëþäåé â Ñîâåòñêîì Ñîþçå?  êàêèõ óñëîâèÿõ ñîçäàâàëèñü ñîâåòñêèå ëþáèòåëüñêèå è ýêñïåðèìåíòàëüíûå ñíèìêè? ×åì îíè îòëè÷àëèñü îò «ïðîôåññèîíàëüíîé» ôîòîãðàôèè êàê ñïîñîáà çàðàáîòêà? ×òî ïðåäñòàâëÿëè ñîáîé ôîòîêëóáû è â ÷åì âûðàæàëàñü èõ ñîöèàëüíàÿ ôóíêöèÿ? Íàêîíåö, íóæíû ëè ëþáèòåëüñêèå ïðîôåññèîíàëüíûå îáúåäèíåíèÿ ñåãîäíÿ è êàêóþ ðîëü èãðàåò êîììóíèêàöèÿ â ñòàíîâëåíèè õóäîæíèêà?

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...

"Áðàòüÿ Õåíêèíû: îòêðûòèå. Ëþäè Ëåíèíãðàäà è Áåðëèíà 1920 - 1930-õ ãîäîâ", âûñòàâêà, Áðàòüÿ Õåíêèíû: îòêðûòèå. Ëþäè Ëåíèíãðàäà è Áåðëèíà 1920 - 1930-õ ãîäîâ. [êàòàëîã âûñòàâêè, 1 èþëÿ - 24 ñåíòÿáðÿ 2017 ãîäà] — 2017

Ôîòîãðàôèè, ñîçäàííûå áðàòüÿìè Õåíêèíûìè, ðàññêàçûâàþò èñòîðèþ æèçíè äâóõ ãîðîäîâ, Ëåíèíãðàäà è Áåðëèíà, â êîíöå 1920-õ — íà÷àëå 1930-õ ãîäîâ. Îäíàêî îíè ðàññêàçûâàþò åå ÷åðåç âçãëÿäû, æåñòû, ìàíåðó îäåâàòüñÿ, êîòîðûå îêàçûâàþòñÿ êðàñíîðå÷èâåå ëþáûõ ôîðìàëüíûõ îáîáùåíèé. Çäåñü íà ïåðâûé ïëàí âûõîäèò çàâîðàæèâàþùàÿ ìàãèÿ ôîòîãðàôèè, ÿâëÿþùàÿ çäåñü è ñåé÷àñ ïîäëèííîñòü ÷åëîâå÷åñêîé æèçíè è èñòîðè÷åñêîãî ìîìåíòà.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Ìàëè÷ Ê. À., Ñåðãåé Ýéçåíøòåéí.

Ìàëè÷ Ê. À., Ñåðãåé Ýéçåíøòåéí. "Îêòÿáðü" â Çèìíåì — 2017

«Îêòÿáðü â Çèìíåì» — ïîïûòêà ðåêîíñòðóèðîâàòü èñòîðèþ ðàáîòû Ñ.Ì. Ýéçåíøòåéíà è Ã.Â. Àëåêñàíäðîâà íàä ôèëüìîì «Îêòÿáðü», ñíÿòîì â 1927 ãîäó ê äåñÿòèëåòèþ îêòÿáðüñêîãî ïåðåâîðîòà. Òðóäíî ïåðåîöåíèòü çíà÷åíèå ýòîé êèíîëåíòû íå òîëüêî äëÿ èñòîðèè ìèðîâîãî êèíåìàòîãðàôà, íî è äëÿ íàøåé êîëëåêòèâíîé ïàìÿòè î ðåâîëþöèè. Òîëïà, áåãóùàÿ ÷åðåç ïëîùàäü íà øòóðì Çèìíåãî äâîðöà. Ìàòðîñ, ïåðåëåçàþùèé ÷åðåç ãëàâíûå âîðîòà. Ïåðåñòðåëêà íà ïàðàäíîé Èîðäàíñêîé ëåñòíèöå. Ýòè êàäðû îêàçàëèñü íàñòîëüêî ÿðêèìè è óáåäèòåëüíûìè, ÷òî âïîñëåäñòâèè íåðåäêî èñïîëüçîâàëèñü êàê äîêóìåíòàëüíàÿ êèíîõðîíèêà, ðàçîøëèñü íà æèâîïèñíûå è ïëàêàòíûå öèòàòû, ïîâòîðÿëèñü èç ôèëüìà â ôèëüì. «Îêòÿáðü» ïðåâðàòèëñÿ â àïîêðèô, íà÷àëî ãåðîèçèðîâàííîé ëåãåíäû î ðåâîëþöèè

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Hagar Schmidhalter. Collection Cahiers d`Artistes 2017 [— 142] — 2017

Hagar Schmidhalter. Collection Cahiers d`Artistes 2017 [— 142] — 2017

Hagar Schmidhalter (born 1968 in Raron, CH) lives and works in Basel. She studied visual arts at the Hochschule fur Gestaltung und Kunst, Basel and at the Ecole Cantonale des Arts Valais, Sierre. Numerous key galleries and museums such as PM8 have featured Hagar Schmidhalter's work in the past.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Yves Scherer. Collection Cahiers d`Artistes 2017 [— 141] — 2017

Yves Scherer. Collection Cahiers d`Artistes 2017 [— 141] — 2017

Yves Scherer (1987) is a Swiss-born New York-based artist whose practice deals with questions regarding gender, celebrity, and mediated realities. Scherer works with various media - from sculpture, photography, and painting to installations and collages containing everything from paparazzi images to tatami mats, combining personal narratives with fan fiction to explore the relationship between the private and the public. Interested in surfaces and screens, Scherer often uses tatami mats or fake grass cut outs as part of his work - a reference to the artist's own living habits, and typical of this form of contemporary Arte Povera. Scherer holds an MFA from the Royal College of Art, London. His work has been exhibited at international institutions and galleries like ICA London (UK) and the Swiss Institute (NYC). He was the recipient of the Swiss Art Award in 2015 and was listed on Forbes 30 under 30 —art and design— (2016).

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Florence Jung. Collection Cahiers d`Artistes 2017 [— 140] — 2017

Florence Jung. Collection Cahiers d`Artistes 2017 [— 140] — 2017

Florence Jung is a Postwar & Contemporary artist who was born in 1984. Numerous key galleries and museums such as MGKSiegen have featured Florence Jung's work in the past.Florence Jung is an anonymous artist who lives and works in Paris and Biel. Florence Jung has no documentation of her works, and her website features only news articles. She is interested in forms of social scripts and contracts.Florence Jung writes scenarios that infiltrate reality. Her scripted situations are built around a system of clues, absence, and rumor. Drawing from the social sciences as well as economics, literature and philosophy, her work explores our contemporary anxieties, our relationship to uncertainty, and the narrative potential of suspicion.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Karin Hueber. Collection Cahiers d`Artistes 2017 [— 139] — 2017

Karin Hueber. Collection Cahiers d`Artistes 2017 [— 139] — 2017

Karin Hueber lives and works in Zurich. She holds a BA degree from the Academy of Art and Design in Basel and a MA degree from the Zurich University of Arts. Karin Hueber works with sculpture, its conditions and implications.The material and processing she employs for her often site responsive installations feature a contrast between industrial and hand made aesthetics frequently appearing within one work at the same time. This contradiction corresponds to the play with intimacy and distance; another central theme in Karin Huebers work. Both evoke a feeling of uncertainty within the viewer: we feel simultaneously attracted and rejected, we recognize something but don't identify what it really is —like knowing someones name but not getting it out. Karin Hueber questions our relationship to architecture, fashion or interior design — to any created environments,but also to the human body and its gestures or to sculpture and its context as such. She often uses literature as an inspiration and also crosses the border of art and other disciplines in her collaborations with fashion and product designers. She enters a dialogue about common truths concerning our perception of art and the world.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Charlotte Herzig. Collection Cahiers d`Artistes 2017 [— 138] — 2017

Charlotte Herzig. Collection Cahiers d`Artistes 2017 [— 138] — 2017

Charlotte Herzig was born in 1983 in Vevey, Switzerland. She holds a Bachelor—s in Visual Arts (2007) from ycole Cantonale d—Art de Lausanne (ECAL) and a Master—s in Painting from the San Francisco Art Institute. She lives and works in Brussels, Belgium. For the artist, painting is a limitless explosion, an immensity to be explored, a dreamlike —elsewhere—: her paintings seem to have the texture of our memories and dreams. They offer us an imaginary space behind the structured and logical domain of our daily images. Their interstice is close to the one we create when we let ourselves go to look at the clouds, to play with the sharpness of our perception by observing wallpaper, by believing that we can read in the banal and insignificant visible signs of another still enchanted place.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Mathis Gasser. Collection Cahiers d`Artistes 2017 [— 137] — 2017

Mathis Gasser. Collection Cahiers d`Artistes 2017 [— 137] — 2017

Mathis Gasser is an ultra-contemporary artist. Mathis Gasser is a swiss male artist born in Zurich (CH) in 1984. Mathis Gasser—s first verified exhibition was A NEW SPIRIT IN LASAGNAS at Circuit in Lausanne in 2009, and the most recent exhibition was Mathis Gasser: Heroes and Ghosts at Schiefe Zahne in Berlin in 2022. Mathis Gasser is most frequently exhibited in Switzerland, but also had exhibitions in United Kingdom, France and elsewhere. Gasser has at least 14 solo shows and 51 group shows over the last 13 years (for more information, see biography). Gasser has also been in no less than one art fair and in one biennial. A notable show was Mathis Gasser: Le mus™e et la plan˜te at Centre culturel Suisse in Paris in 2017. Other notable shows were at Schirn Kunsthalle in Frankfurt/Main and Mamco - mus™e ddart moderne et contemporain in Geneva. Mathis Gasser has been exhibited with Marta Riniker-Radich and Vittorio Brodmann

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Gilles Furtwangler. Collection Cahiers d`Artistes 2017 [— 136] — 2017

Gilles Furtwangler. Collection Cahiers d`Artistes 2017 [— 136] — 2017

Gilles Furtwangler was born in Lausanne, Switzerland, in 1982. He lives and works between Johannesburg and Lausanne. After graduating from the Art School of Lausanne (ECAL), Switzerland, in 2006, Gilles Furtwa¸ngler has since been developing his artwork based on text, using spoken words as the trigger of his visual production, Furtwa¸ngler works with different techniques as drawing, painting and printing to create plastic support for his texts. Trough collecting found texts Furtwa¸ngler works on retelling and rewriting what he hears and reads, using contexts, colors and substances to question ways of thinking and representing in our era.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Gina Folly. Collection Cahiers d`Artistes 2017 [— 135] — 2017

Gina Folly. Collection Cahiers d`Artistes 2017 [— 135] — 2017

Gina Folly (1983, CH) lives and works in Paris and Basel. She has been directing the artist-run space Taylor Macklin since 2013. Her work studies the effects that political, cultural and social changes have on individuals— habits, personal conceptions and everyday realities. Her current research concerns the concept of manipulation, of seduction, in the sphere of daily life. As a result, everyday objects and situations play a crucial role in her works as motifs and materials, in search of a confrontation between humans and their private and public spheres. These relations and exchanges are accentuated by the way Folly uses industrial production processes, altering them and mixing them with home-made artisanal techniques. Her work has been presented at the Kunsthaus Baselland, Basel; Hard Hat, Geneva; Studioli, Rome; Almanac, London; Ermes-Ermes, Rome; and S.A.L.T.S., Birsfelden. She has participated in group exhibitions at Bel Ami, Los Angeles; Latvian Centre for Contemporary Art, Riga; Swiss Institute, New York; Museion, Bolzano; Galerie Nagel Draxler, Cologne; Kunsthalle Basel, Basel; Freedman Fitzpatrick, Paris; Sommer Contemporary Art, Tel Aviv; K¦lnischer Kunstverein, Cologne; Casa Tomada / House Taken Over, Mexico City; Istituto Svizzero, Rome; Galerie Bernhard, Zurich; Freymond-Guth Fine Arts, Basel; 13. Triennale Kleinplastik 2016, Fellbach; Le Doc, Paris.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Paweò Althamer. Aachen Projects 1992/2010/2014 — 2017

Paweò Althamer. Aachen Projects 1992/2010/2014 — 2017

Time and again Pawel Althamer questions the limits of the art industry with his self-reflective or socially engaged work and initiates collective activities, which stimulate alternative practise and set creative and communicative processes

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Ambroz V., Akce Actions. monographs — 2017

Ambroz V., Akce Actions. monographs — 2017

V­pravn‘ kniha vbec poprv™ p edstavuje pr‘ci brnËnsk™ho performera a konceptu‘ln�ho umËlce Vladim�ra Ambroze. V sedmdes‘t­ch letech minul™ho stolet� chtËl d‘t sv™mu .ivotu nal™havËj� smysl a sou½asnË reflektovat pok ivenou dobu. Proto po cel­ den sledoval nesnesiteln­ program tehdej� televize, s‘m sebe na ulici zaparkoval jako automobil, nebo vyrazil do mËsta se zrcadlem v ruk‘ch a nastavoval je vemu, co mu p ilo zvl‘tn�. Dosud prakticky nezn‘m‘ ½innost Vladim�ra Ambroze na poli performance, intervenc� do ve ejn™ho prostoru a projev bl�zk­ch inscenovan™ fotografii trvala jen nËkolik let. V druh™ polovinË sedmdes‘t­ch let pat il k okruhu brnËnsk™ umËleck™ sc™ny psob�c� vnË tehdej�ch ofici‘ln�ch instituc�. Ambrozovy pr‘ce z tohoto obdob� reflektuj� obecn‘ civiliza½n� t™mata a sou½asnË reaguj� na temnou atmosf™ru vrchol�c� normalizace. êíèãå-ïîâåñòâîâàíèè âïåðâûå ïðåäñòàâëåíû ðàáîòû áðîíåíñêîãî ïåðôîðìåðà è õóäîæíèêà-êîíöåïòóàëèñòà Âëàäèìèðà Àìáðîçà.  ñåìèäåñÿòûõ ãîäàõ ïðîøëîãî âåêà îí õîòåë ïðèäàòü ñâîåé æèçíè áîëåå àêòóàëüíûé ñìûñë è â òî æå âðåìÿ îòðàçèòü èñêàæåííûå âðåìåíà. Ïîýòîìó öåëûìè äíÿìè îí ñìîòðåë íåâûíîñèìóþ ïðîãðàììó òîãäàøíåãî òåëåâèäåíèÿ, ïàðêîâàëñÿ íà óëèöå, êàê àâòîìîáèëü, èëè åçäèë ïî ãîðîäó ñ çåðêàëîì â ðóêàõ è íàñòðàèâàë èõ íà âñå, ÷òî êàçàëîñü åìó ñòðàííûì. Äîñåëå ïðàêòè÷åñêè íåèçâåñòíàÿ äåÿòåëüíîñòü Âëàäèìèðà Àìáðîçà â îáëàñòè ïåðôîðìàíñ-èñêóññòâà, âûñòóïëåíèé â ïóáëè÷íîì ïðîñòðàíñòâå è âûñòóïëåíèé, áëèçêèõ ê ïîñòàíîâî÷íîé ôîòîãðàôèè, ïðîäîëæàëàñü âñåãî íåñêîëüêî ëåò. Âî âòîðîé ïîëîâèíå 1970-õ ãîäîâ îí ïðèíàäëåæàë ê êðóãó õóäîæåñòâåííîé ñöåíû Áðíî, äåéñòâîâàâøåìó âíå òîãäàøíèõ îôèöèàëüíûõ èíñòèòóòîâ. Ðàáîòû Àìáðîçà ýòîãî ïåðèîäà îòðàæàþò îáùåöèâèëèçàöèîííûå òåìû è â òî æå âðåìÿ îòâå÷àþò ìðà÷íîé àòìîñôåðå çàâåðøàþùåéñÿ íîðìàëèçàöèè.  ñðåäå ÷åõîñëîâàöêîãî ïåðôîðìàíñà îíè óíèêàëüíû ñâîèì àêöåíòîì íà âûðàçèòåëüíîñòü ôîòîäîêóìåíòàöèè. Ïîñëåäíèå ÿâëÿþòñÿ íå òîëüêî ñðåäñòâîì çàïå÷àòëåíèÿ ïåðôîðìàíñà, íî è áëèçêè ê ïîñòàíîâî÷íîé èëè ýñòåòè÷åñêè âïå÷àòëÿþùåé êîíöåïòóàëüíîé ôîòîãðàôèè. Îí òàêæå áûë ïåðâûì, êòî ñîâìåñòèë ïåðôîðìàíñ ñ âèäåî íà íàøåé òåððèòîðèè.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Notes from the Underground Art and Alternative Music in Eastern Europe 1968 - 1994: 22.09.2016—15.01.2017 — 2017

Notes from the Underground Art and Alternative Music in Eastern Europe 1968 - 1994: 22.09.2016—15.01.2017 — 2017

Notes from the Underground explores the close and often dynamic relationship between visual artists and musicians in Eastern Europe under communist rule. The vibrant cultures that formed at the crossroads of art and music subscribed to the idea that they presented an alternative to mainstream tastes and social conventions.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Ïðóäíèêîâà À., Êóëüòóðà êàê ïðåäïðèÿòèå. 4-é Óðàëüñêàÿ èíäóñòðèàëüíàÿ áèåííàëå ñîâðåìåííîãî èñêóññòâà 23-24 îêòÿáðÿ 2017 ãîäà — 2017

Ïðóäíèêîâà À., Êóëüòóðà êàê ïðåäïðèÿòèå. 4-é Óðàëüñêàÿ èíäóñòðèàëüíàÿ áèåííàëå ñîâðåìåííîãî èñêóññòâà 23-24 îêòÿáðÿ 2017 ãîäà — 2017

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Åãîð Êîøåëåâ. [êàòàëîã âûñòàâêè] — 2017

Åãîð Êîøåëåâ. [êàòàëîã âûñòàâêè] — 2017

Åãîð Êîøåëåâ — âíèìàòåëüíûé íàáëþäàòåëü ñîâðåìåííîé êóëüòóðû, åå êðèòèê è èðîíè÷íûé êîììåíòàòîð. Áëàãîäàðÿ àêàäåìè÷åñêîìó îáðàçîâàíèþ, ïîëó÷åííîìó â Àêàäåìèè èìåíè Ñòðîãàíîâà, îí áëåñòÿùå âëàäååò õóäîæåñòâåííûì ìàñòåðñòâîì. Îäíàêî â òâîð÷åñòâå Êîøåëåâà ðåàëèñòè÷åñêàÿ øêîëà ñîâåòñêîé æèâîïèñè ñòàëà âñåãî ëèøü áàçîé, â êîòîðóþ âêëèíèâàþòñÿ è êîòîðóþ òðàíñôîðìèðóþò ñàìûå ðàçíûå ñòèëè. Êîøåëåâ èñïîëüçóåò èñòîðèþ èñêóññòâà êàê áàãàæ, èç êîòîðîãî äîñòàåò ðàçëè÷íûå èñòîðèçìû — îò ìàíüåðèçìà äî ôóòóðèçìà è íåîãðàôôèòè. Êàê áóäòî ßêîïî Ïîíòîðìî, Ïàáëî Ïèêàññî èëè Óìáåðòî Áî÷÷îíè âäðóã ïîïàëè â ÕÕI âåê è ñòàëè ñîàâòîðàìè ñîâðåìåííîãî õóäîæíèêà. Èñïîëüçóÿ ðàçíûå õóäîæåñòâåííûå ÿçûêè, îí íå ïåðåïèñûâàåò èñòîðèþ èñêóññòâà, íî äîáàâëÿåò èõ â ñâîå òâîð÷åñòâî, êàê êðàñêè â ïàëèòðó.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
0331ñ, '3016' — 2017

0331ñ, '3016' — 2017

Ëåòîì ýòîãî ãîäà â ìîñêîâñêîé ãàëåðåå RuArts ïðîøëà äâîéíàÿ âûñòàâêà ñòîëè÷íûõ ãðàôôèòè-õóäîæíèêîâ, â ðàìêàõ êîòîðîé îíè ïðåäñòàâèëè ðàáîòû íà ãðàíèòå

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
0331ñ, 0331c è Ãðèøà — 2017

0331ñ, 0331c è Ãðèøà — 2017

Ìîñêîâñêèé ìóçåé ñîâðåìåííîãî èñêóññòâà ñîâìåñòíî ñ Ôîíäîì ñîäåéñòâèÿ ðàçâèòèþ ñîâðåìåííîãî èñêóññòâà RuArts ïðåäñòàâëÿåò ïðîåêò «Ñàæà» — âûñòàâêó ãðàôôèòè õóäîæíèêîâ 0331ñ è ÃÐÈØÈ.Ïðîåêò «Ñàæà» âûïîëíåí â òåõíèêå «êîï÷åíèÿ» — ðèñîâàíèÿ îãíåì. Õóäîæíèêè îòõîäÿò îò òðàäèöèîííûõ ãðàôôèòè-ïðèåìîâ, ðàçâèâàÿ è ðàñêðûâàÿ ñóòü ãðàôôèòè êàê ïðîÿâëåíèÿ ãîðîäñêîé êóëüòóðû è íàèáîëåå èíòåðåñíîãî íàïðàâëåíèÿ ñîâðåìåííîãî èñêóññòâà. Ïðîåêò ïîçâîëèò çðèòåëþ óâèäåòü â ãðàôôèòè íå àêò âàíäàëèçìà, à ðàñêðîåò â íåì ñàìîñòîÿòåëüíûé æàíð ñîâðåìåííîãî èñêóññòâà, êîòîðîå èìååò ïðàâî ïðåòåíäîâàòü íà ìóçåéíóþ öåííîñòü.Ïåðâûå ñëåäû ÷åëîâåêà, äîøåäøèå äî íàøåãî âðåìåíè — íàñêàëüíûå èçîáðàæåíèÿ. Ïîìèìî âûñå÷åííûõ èçîáðàæåíèé íà êàìíå, ñóùåñòâóþò ðèñóíêè, ñäåëàííûå ñ ïîìîùüþ îãíÿ. Ãðàôôèòè, ñîçäàííûå òûñÿ÷è ëåò íàçàä, íåñóò â ñåáå ýíåðãåòèêó ñâîèõ ñîçäàòåëåé. Ñ÷èòàåòñÿ, ÷òî îñíîâíàÿ öåëü ëþáîãî ãðàôôèòè õóäîæíèêà — ýòî «ïåðâîáûòíîå» æåëàíèå îñòàâèòü ñëåä ñâîåãî ïðèñóòñòâèÿ â êîíêðåòíîì ìåñòå. Èñïîëüçóÿ óëè÷íîå ïðîñòðàíñòâî êàê õîëñò, ãðàôôèòè õóäîæíèê ñîçäàåò àêòóàëüíîå èñêóññòâî äîñòóïíîå êàæäîìó

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Äàíí Ý., Ñïåêóëÿòèâíûé ìèð — 2017

Äàíí Ý., Ñïåêóëÿòèâíûé ìèð — 2017

Äèçàéí íå òîëüêî äåëàåò íàøó æèçíü êðàñèâîé, óäîáíîé è áåçîïàñíîé - ñ ïîìîùüþ äèçàéíà ìîæíî ïåðåïðèäóìàòü ìèð, â êîòîðîì ìû æèâåì. "Ñïåêóëÿòèâíûé ìèð" Ýíòîíè Äàííà è Ôèîíû Ðýáè - ýòî ìàíèôåñò êîíöåïòóàëüíîãî äèçàéíà - äèçàéíà, êîòîðûé ñîçäàåò íå íîâûå ôîðìû, à íîâûå èäåè, ïîçâîëÿåò óâèäåòü íàøå îáùåñòâî ñ íåîæèäàííîé ñòîðîíû è ïðåäëàãàåò ïðîåêòû åãî ðàäèêàëüíîãî ïåðåóñòðîéñòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
Øóðèïà Ñ., Äåéñòâèå è ñìûñë â èñêóññòâå âòîðîé ïîëîâèíû ÕÕ âåêà. Òðóäû ÈÏÑÈ Òîì 3 — 2017 (Òðóäû ÈÏÑÈ. ò. 3)

Øóðèïà Ñ., Äåéñòâèå è ñìûñë â èñêóññòâå âòîðîé ïîëîâèíû ÕÕ âåêà. Òðóäû ÈÏÑÈ Òîì 3 — 2017 (Òðóäû ÈÏÑÈ. ò. 3)

Òðåòèé òîì Òðóäîâ ÈÏÑÈ, â êîòîðûé âîøëè èçáðàííûå ëåêöèè, ïðî÷èòàííûå â ñòåíàõ èíñòèòóòà Ñòàíèñëàâîì Øóðèïîé, ïîñâÿùåí â ïåðâóþ î÷åðåäü òåîðåòè÷åñêèì ïðîáëåìàì ñîâðåìåííîãî èñêóññòâà. Çäåñü ïðîâåäåí àíàëèç ðàçâèòèÿ ìîäåðíèñòñêîé æèâîïèñè îò èìïðåññèîíèçìà ê àáñòðàêöèè, âçàèìîîòíîøåíèé ïëàñòè÷åñêîé ôîðìû è ñìûñëà (êàê ñäåëàíî ïðîèçâåäåíèå è ÷òî îíî îáîçíà÷àåò), à òàêæå ñâÿçè ñîâðåìåííîé õóäîæåñòâåííîé ïðàêòèêè è àêòèâèñòñêîãî èñêóññòâà. Øóðèïà ïîêàçûâàåò ðîñò çíà÷åíèÿ äèñêóðñà â ñîâðåìåííûõ õóäîæåñòâåííûõ èíèöèàòèâàõ, ðîëü òåîðèè â ïðîåêòàõ, êîòîðûå ñåãîäíÿ îêàçûâàþòñÿ îñîáåííî âàæíûìè. Ñóùåñòâåííîå ìåñòî â êíèãå óäåëåíî ñîâðåìåííîé ýñòåòè÷åñêîé òåîðèè, â òîì ÷èñëå (íåî)ìàðêñèçìó, ïñèõîàíàëèçó, ôðåéäî-ìàðêñèçìó è ò. ä.

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïðîâåðÿåì íàëè÷èå...
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Ôåäåðàëüíîå ãîñóäàðñòâåííîå áþäæåòíîå ó÷ðåæäåíèå êóëüòóðû
«Ðîññèéñêàÿ ãîñóäàðñòâåííàÿ áèáëèîòåêà äëÿ ìîëîä¸æè» Ãëàâíîå çäàíèå 107061 Ìîñêâà, óë. Á. ×åðêèçîâñêàÿ, äîì 4, êîðïóñ 1
Ìåòðî «Ïðåîáðàæåíñêàÿ ïëîùàäü» (âûõîä ¹5)
Òåëåôîí äëÿ ñïðàâîê: +7 499 670-80-01
E-mail: info@rgub.ru

Ôèëèàë áèáëèîòåêè — ÈÊÊ «Îñîáíÿê Â.Ä. Íîñîâà» 107023 Ìîñêâà, óë. Ýëåêòðîçàâîäñêàÿ, 12, ñòð. 1
Ìåòðî «Ýëåêòðîçàâîäñêàÿ»
Òåëåôîíû äëÿ ñïðàâîê: +7 499 670-80-01 (äîá. 600)
E-mail: mansion@rgub.ru

ßíäåêñ.Ìåòðèêà

© Ðîññèéñêàÿ ãîñóäàðñòâåííàÿ áèáëèîòåêà äëÿ ìîëî䏿è, 2004 — 2026