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Неабстрактное искусство : Михаил Палинчак

There are no translations available.С 15 декабря 2017 по 28 января 2018 в Музее современного искусства Одессы... more ...

С улицы - в музей : Алексей Салманов

There are no translations available.15.12.2017 - 21.01.2018 Алексей Салманов – украинский художник, в своих практиках сочетающий работу с разными медиа. На... more ...
Hall 8. Between the “COLD” and the “HOT”.

The new trends of art in Odessa may be comfortably placed between the two imaginary poles – the Cold and the Hot. Migrations toward one or the other largely determine the specifics of its development over the last thirty years.
In the early 1980s there forms in Odessa a generation of artists (Sergei Anufriev, Leonid Voitsekhov, Yuri Leiderman, Svetlana Martynchik and Igor Stepin – further known as “The Martynchiks”, Ludmila Skripkina and Oleg Petrenko – “The Peppers”, Larisa Rezun-Zvezdochetova, Igor Chatskin and others) tending towards conceptual art. Their immediate historical predecessors were the outstanding representatives of Odessa modernism – Valentin Khrushch and Vladimir Naumets.

The young conceptual artists began to speak of a work of art as primarily a gesture in the cultural space. Odessa assimilated conceptual art owing mainly to the contacts with Moscow where there had formed, in the 1970s, a circle of authors whose art was defined as “Moscow romantic conceptualism”. Like their Moscow elder brothers in art, conceptualists in Odessa worked within the lines of unofficial art, carrying on the tradition of the 1970s Odessa non-conformism. Their works were presented at the “apartment exhibitions”;actions that happened in public places were unauthorized ones.

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«veteran»
«No Third Way»
«Confidently striding in the world to come»
«Peter the Great. Odessa»
«Political Testament»
«Intoxication with power»
«Life Saving - the handiwork of drowning»
«From the series  "Belka" "With sister"»
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Unlike the Muscovites, the Odessans were a product of the underground rather than the academic medium. Their art was closely connected with the informal tendencies of youth culture of the 1980s, from punk to new wave. It was created in the conditions of cultural isolation, of constant pressure from the surrounding monolithic Soviet world, which excluded the possibility of exchange with the outer world, and induced the artists to work out their own means of intellectual survival. Among such means was a resort to the imaginary “world of contemporary art of the West” – an idealized and largely invented world. Many works made by Odessa conceptualists were the product of dreams about this ideal world, and expressed a desire to look at one’s own situation, one’s cultural space with the eyes of an outsider and determine one’s “objective” location in this imaginary world. These dreams were nourished by reproductions, rumours of conceptualism, bits of information about current trends in Western art, mostly of Moscow origin. The chief supplier of these rumours was Sergei Anufriev, one of the leaders of the group who shuttled between Odessa and Moscow in the first half of the 1980s.

Considering that Moscow romantic conceptualism is a version, rather far removed from the classic conceptualism – it’s a different conceptualism, -- the Odessa version in the historical context is a completely different conceptualism. This art is distant from social pathos, it’s vital and ironic in the fashion of Odessa , it’s careless and slightly childish…
Nevertheless, with all the specificity of this artistic phenomenon, it is obvious that the features of a properly conceptualist mode of artistic thinking are clearly seen in the work of the most consistent representatives of the Odessa conceptualist circle : in the first place, an understanding of art as a research, as an activity consisting in the study of generation of meaning in culture. In the late 1980s a large part of these artists moved to Moscow where the conceptualist “archaeology of meanings” had by that time become the dominating style.

In the late 1980s there forms a group of young Odessa painters who offer a kind of opposition to the conceptualists : Sergei Lykov, Elena Nekrasova, Alexander Roitburd, Vasily Riabchenko and others.. While existing in the context of the “Ukrainian trans-avant-garde neo-baroque” they were oriented towards the international trans-avant-garde painting. An ironic historicism, a quasi-mythological manner in combination with the aesthetics of the 18th century Ukrainian baroque are characteristic of their painting.

By the early 1990s, during the “Russian boom” period in Moscow, these artists were earmarked as representatives of “the new Ukrainian wave” The wave was initiated by Kiev painters who had grown a new art on the soil devastated by the long and virtually total domination of socialist realism. But Odessa, unlike Kiev, had its own plastic tradition, independent enough from the official art. And while the Kiev “New poetics” was related to excessive plastic, their Odessa colleagues \, rather than kill the old plastic , made it produce a new kind, the new plastic. Many critics regarded this trend as a fruitful alternative to Moscow’s coldish post-conceptualism and the rapidly declining social art, and described it as “hot”, picturesque in a neo-baroque kind of way, and sensual, and pointed out its relation to the tradition of the Odessa artistic mentality.

Exhibitions of this group of artists became landmark events in the cultural life of Odessa. Unlike the Odessa conceptualists who merged with the artistic community of Moscow, they made an attempt to position themselves as a national phenomenon; at the same time they identified their search with general European tendencies. The Ukrainian transavant-gardists were rather successful on the Moscow art market where a number of independent galleries capable of selling “new Ukrainian painting”had been functioning by that time.

In the early 1990s a process of institutionalization of underground trends began in Odessa. The centre of modern art “Thyrse” (curator M.Zharkova) with the “New Art” association which appeared under its roof (curators A. Roitburd and M. Rashkovetsky) the “Level 14” league (curator Uta Kilter) stimulated an unusually quick and intensive expansion of modern arts that weren’t traditional for Odessa: objects, installations, video-installations, performances.

The 1990s in Odessa meant an unrestrained, renaissance-like confidence in one’s own strength and ability, a cheerful enthusiasm and optimism. It was an attempt at a radical reconstruction of the local socio-cultural situation through the new art. A whole constellation of young painters, representatives of the 1990s generation, makes itself heard: Anatoly Gankevich and Oleg Migas, Dmitry Dulfan, Andrei Kazandjiy, Gleb Katchuk, Edward Kolodyi, Miroslav Kulchitsky and Vadim Chekorsky, the “General Condition” group (Vadim Bondarenko, Igor Gusev, Yulia Depeshmod), Filip Perlovsky and others. At the same time the representatives of the older generation following the “Renaissance”trend – Alexander Lisovsky, Sergei Lykov, Dmitry Oreshnikov, Alexander Roitburd, Vasily Riabchenko, Zoe Sokol, Alexander Shevchuk -- continue their active work in Odessa.

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«The incident in the forest (diptych) »
«The incident in the forest (diptych) »
«The incident in the forest (art object) »
«The incident in the forest 2 »
«Warm Night»
«Self-portrait»
«Caravaggio and Noh Theatre. Nadzikoro's dream»
«Untitled»
«In the image and likeness»
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The legendary curator exhibition projects of 1994-96 (curators M.Rashkovetsky, A.Roitburd, E.Mikhailovskaya, M.Kulchitsky and V.Chekorsky, V.Besprozvanny) became famous far beyond Odessa. The exhibitions largely determined the shape of the period and prepared the ground for the institution, in 1997, of the Odessa Soros Centre of Modern Art (from 1999 – CMA-Odessa) which played a key role in the art process in Odessa in the second half of the 1990s –the early 2000s.

By the mid-1990s a crisis sets in the Odessa art : post-modernist practices are mostly exhausted. Though the artists still emphasize the reconstruction of cultural myths, local stereotypes and the absolute value of the aesthetic product, this controversial period is the time when the foundation for new artistic approaches is laid. “Black soil” for the young generation is provided by the elements of the new post-Soviet reality – home video, satellite TV, video and audio products, mobile phones, the Internet, fast food places, supermarkets, glossy magazines and commercial slogans. The young generation begins to work actively with the current pop culture, and reviews the conceptualist experience of the previous decades. The role of the context, of the relations among the audience, of the social aspects of the artist’s individual experience is actuated. Art becomes more open and medial.

The neo-conceptual (contextual) tendency of the second half of the 1990s-early 2000s characterized by art critics as “cold”, “non-spectacular”, one where contextual meanings prevail over the textual, manifested itself in the work of such artists as Igor Gusev, Gleb Katchuk, Miroslav Kulchitsky, Andrei Moskvichev, Filip Perlovsky,Vadim Chekorsky, Alexander Shevchuk.

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«Lord's Supper»
«NEED, Fedor! NEED!»
«Monologue »
«King»
«Will you and squirrel. A whistle will be also»
«Ankh»
«I declare war on Russia. From the series  "Heaven letters"»
«Memory about the Past»
«Hens»
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The continuous exhibition activity of the late 1990s recorded the opposition of two main tendencies in modern art in Odessa – the “Renaissance” (“hot”) and the neo-conceptual (“cold”).
At the same time, there appeared in Odessa in the late 1990s a group of young artists who resuscitated painting practices – Sergei Zarva, Vladinir Kozhuhar, Alexander Panasenko, -- the painters whose artistic potential was fully revealed in the next decade. The second half of the 1990s was the period of artistic formation for Oksana Mas who also appeared on the large art stage in the 2000s. A number of Odessa artists whose formation fell on the 1980s-1990s, such as Sergei Anufriev, Igor Gusev, Dmitry Dulfan, Sergei Zarva, Miroslav Kulchitsky, Yuri Leiderman, Oksana Mas, Larisa Rezun-Zvezdochetova, Alexander Roitburd, the Martinchiks – achieve wide international fame : their works are exhibited at major museum venues of the world, international biennials and other prestigious forums of contemporary art.

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«lightning»
«Feel the Difference»
«Just Add Water»
«God Perun reproaches the prince Vladimir»
«Conceptual gospel. Sign of the light»
«Psychedelic invasion of battleship Potemkin in tautological  hallucinosis of Sergei Eisenstein»
«Psychedelic invasion of battleship Potemkin in tautological  hallucinosis of Sergei Eisenstein»
«We go everywhere»

The beginning of the new millennium turned out far less productive for artistic life in Odessa. The art stage has become noticeably scanty and unable to carry its usual stream of initiatives, events and new artists. Even at this time, though, there were in Odessa splashes of artistic activity. In particular, the long-term project “Art Raiders”(curator I.Gusev) became a noticeable event; it united Odessa painters of various generations and , to some extent, anticipated the “Okupai”movement and became the first invasion of artists into the urban environment in the history of art in Odessa.
In the 2000s there appear new names of the next generation : Apl 315, Maria Gonchar, Roman Gromov, Stas Zhalobniuk, Olga Lannik, Nikolai Lukin, Francoise Oz, Bogdan Pervertun, Stepan Riabchenko, Inna Khasileva and others who mark a new turn in the history of Odessa art and tend, in their different ways, to its “cold” or “hot” pole.

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«Ukraine»
«Gas floret»
«"Odnoklassniki.ru/"»
«Princesses d`nt defecate»
«Starokonny market. Videodocuments.»
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«Lenin is always with you»
«Lenin is always with you»
«One country, one song»
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