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Odessa Museum Of Modern Art


9 октября в Музей современного искусства Одессы пройдет открытие проекта «ТИРС»

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28 августа откроется выставка культового художника Александра Шевчука «Садово-парковая скульптура»

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Hall 6. Modernism after Nonconformism. Freedom and the search.

In the early 1980s there was no longer any need for non-conformism as a fight for the artists’right to choose their own way in art. Modernism as the Odessa nonconformists’ goal was no longer a bad word for the Communist party ideologists. It wasn’t encouraged, but it was tolerated. The information about this important trend of the 20th century art became a lot more available and ample. “Perestroika” and then the state independence of Ukraine put a stop to the attempts of the authorities to influence the artists’ creative work. Modernism won!!

«Hall 6 interior»
«Hall 6 interior»

«Hall 6 interior»
«Orange Syndrom»
«Odessa Strukture»
«Trellis (triptych)»
«The dance on the glass»
«Composition with a Yellow Circle»
«Colored Jugs No. 1»
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By the time the empire disintegrated, those of the representatives of the 1960s-70s avant-garde who were staying in Odessa had turned into self-sufficient modernist artists. Their long-awaited freedom of art achieved, they didn’t hesitate what to do next. Each went the way he had found, aware of his choice.
Looking at Sergei Savchenko’s paintings one can talk about a bright and clear “abstract impressionism”. The expressiveness of Vladimir Tsiupko’s works combines with their sufficiently precise and balanced form. No less carefully planned are Alexander Stovbur’s works drawing attention with their complete and clear harmony. Victor Mariniuk’s search for colour led him to a refined aestheticism of maximally generalized symbols. Subtle nuances of colour and refined form distinguish Valery Basanets’ works.
Evgeny Rakhmanin, one of the most expressive and dramatic masters of Odessa, is distinguished for his symbolic riders, the anxiety of his landscapes and the concentrated intensity of his abstracts.
Oleg Voloshinov’s light and emotionally positive pictures immerse the viewer into the heroics and philosophical contemplation of life. Abstracting himself to the utmost from the specific, the author departs the farthest possible from narrative painting.
Powerful and bright modernist techniques were revealed in late 20th century in the work of the next generations of Odessa artists who hadn’t participated in the nonconformist movement.
Valentin Filipenko’s bright and clear painting looks festive and light, whether it is an autumn landscape or a female portrait. His pictures are lit with rays of sun and irradiate sunshine. A combination of constructivism and Odessa-based folklore in the work of Nikolai Prokopenko produces amazing results. Seraphim Charkin’s powerful and emotional art is closer to the Post-Impressionists with their clear and generalized revelation of the form. However, this author ,with his enjoyment of warm (or, rather, hot) colours, remains true to the Odessa school of modernism.
However, the annihilation of ideological blindfolds led to the criticism of what was only recently the most “holy” and progressive – modernism itself! For the young generation, creative and well educated, the wish, and confidence in the possibility, to transform the world through art became ridiculous. The world became complex. Likewise, art and its means became complex and diverse.
Many – the most radical and courageous –rushed after the ironic post-modernism. Those of less decision tried to solve the problem by grafting new genes onto modernism.
It involved, in the first place, the use of graphic means; e.g. collage became commonly used. The use of unaesthetic details of everyday life and technical appliances in a painting let mass reality into the refined world of art.
Olga Kotova, with her installations of parts of old furniture, almost antique objects and classic paintings, managed to convey a romantic, purely modernist longing for the lost culture and humanitarian ideals.
Vadim Grinberg’s work became the next stage in the development of abstract art in Odessa.
He was the first among Odessa artists to give up canvas in favour of anodized metal , turning his works into a kind of collage where the layer of paint and the metal base were independent elements of the picture. This technique gave his works an enigmatic depth of a parallel mirror world and the streamlined shine of a fantastic machine, increasing the range of allusions and associations that come to the viewer’s mind.
A need to make the message of the works more complex, a wish to create something more than just a beautiful composition became the junction after which the artistic ways of Odessa artists began to diverge considerably. After some time, the works by Igor Vareshkin, Oksana Mas, Oleg Nedoshitko and other contemporary modernists, increasingly heavy with symbols and implications, became qualitatively different from the almost mass-produced landscapes, still lifes and nudes.