24.6.19

Drafty House

Drafty House. 2018.
Installation: carpets, fans, lamp, news paper, motion detector.

Carpets, apparently ordinary, were hanging in Ossetian, Ingush and Russian houses. Houses with high strong walls, on the slopes of mountains, under a high sky. It seemed that nothing was stronger than a home, in which was safe and warm. But disasters break to people "from behind the carpet". This is our common home, because you can not destroy someone else's house without destroying your own.

At the exhibition "Moving Point" in The State Tretyakov Gallery, 3th floor, hall 34, June-July 2019


https://vimeo.com/290110258

19.4.19

The Moon in Setouchi


The Moon of Hitomaro. 2019. Old boat, metal, arcrylic glass, LED. Setouchi Triennale from 26th April. Shamijima, Sakeido, Seto Inland Sea, Japan. 

In imagination, the one who is already gone begin to live in the landscape. We miss the expanse and the infinity of a field. The school was abandoned and become alone. As bookshelf was. The voices of children were hidden between the pages of books, however the books flew away following heron. Now, instead of books, there are the Moon and the Sun floating above the salt hill in the empty book shelves. A bit of bitter salt remains, and there are waves of sky blue and white. The shape of one human being goes crossing the wilderness. At the unmanned shore, unmanned boat is awaiting him. Look, the sailboat of the moon is shining above that.

In the sea of heaven

Cloud waves rise and the moon boat sails

Into a forest of stars,

Then is seen no more

Kakinomoto Hitomaro Manyoshu(Volume 7, 1068)



Solveig in Japan


Solveig. Landscape of Memories. 2004-2019. Salt, video, wood, wool, music by E.Grieg. Installation in Setouchi Triennale from 26th April 2019. Shamijima, Sakaide, Seto Inland Sea, Japan

The Sun in Setouchi


"The Moon and the Sun in empty bookshelves". 2019. Acrylic glass, salt, LED, wood. Setouchi Triennale, from 26 April
Shamijima, Sakaide, Seto Inland Sea, Japan.

7.4.19

La Lune privee a Grand Palais







The 50-year anniversary of the first human step on the Moon is an opportunity to study, present and celebrate the long history that links humans with this familiar celestial body, through the artworks and objects that embody the countless visions and emotions it has inspired. This five-part exhibition is a journey to the Moon, through dimensions both real and imaginary. Each stage takes visitors on a voyage through time, revealing artistic creations from Antiquity to the modern day, produced mainly in Europe but also by African, Arab and Far Eastern civilisations.


22.3.19

Cosmism of Leonid Tishkov






Cosmism of Leonid Tishkov in National Center for Contemporary Art, Vladikavkaz. Until 20th April 2019




8.3.19

The Wall







The Wall, installation dedicated to deaf blind writer Olga Skorokhodova
in NCCA, Moscow until 6th May 2019

19.1.19

Space Flight





https://iz.ru/828220/sergei-uvarov/komicheskii-reis-rosizo-osmyslilo-khudozhestvennye-predely-gravitatcii

The central figure of the project is Tishkov himself. The space is organized precisely by his works - the “Ion Sun” (2006) hanging from the ceiling, whose rays are made of macaroni, the “Knitted rocket for space travel” (2011), the huge ball “The Return of Jupiter” (2018), referring to Kazimir Malevich’s idea of future on a distant planet. By itself, this object is devoid of artistic and reminds, rather, an exhibit of the planetarium. But here it is located above another installation - “Sugar Architectones” (2010), and this combination is impressive.

15.1.19

La Lune

 
La Lune, de la réalité au rêve, au Grand Palais

Cinquante ans après que l'homme a marché sur la Lune, le Grand Palais célèbre la longue histoire qui relie l'humanité à cet astre familier, à travers les œuvres d'art et les objets qui l'évoquent. Du voyage réel de la mission Apollo 11 de juillet 1969 au voyage imaginaire, qui transforme la Lune en divinité de forme humaine, qui en fait une source de fantasme et de peurs ou qui invite à une promenade méditative sous son regard. Du 3 avril au 22 juillet 2019. 
 
Leonid Tishkov, "Private Moon", 2003-2017, Plexiglas, Led et générateur, Collection de l'artiste et Ram radioartemobile  
 

13.1.19

Savina Museum's rooftop



Such a moon gives the meaning of concentricity and healing. Paul Verlaine

http://monthlyart.com/05-article/dec_exhibition_focus/


Private Moon exhibition in Savina Museum o Art, Seoul, 2018

8.1.19

The Stairs to the Moon



Installation The Stairs to the Moon. Savina Museum of Contemporary Art. Seoul, South Korea

30.12.18

Mirror Moon 02

Leonid Tishkov. Mirror Moon 02, Moscow, installation in Shelepikha riverfront



30.11.18

Premonition of the Cosmos




Premonition of the Cosmos, National Center of Contemporary Arts until February 17th 2019

Red Sun

Leonid Tishkov. Red Sun or Le Banquet. Homage to Rene Magritte. 2018. Lights On Romania, Cluj

Light Endless Column

Leonid Tishkov.Light Endless Column,
homage to Konstantin Brancusi. 2018. Lights On Romania, Cluj



15.10.18

Cosmism of Leonid Tishkov









Exhibition in Belyaevo gallery, Moscow, until 11 November

16.9.18

Drafty House





https://vimeo.com/290110258

Drafty House. 2018.
Installation: carpets, fans, lamp, motion detector.

Carpets, apparently ordinary, were hanging in Ossetian, Ingush and Russian houses. Houses with high strong walls, on the slopes of mountains, under a high sky. It seemed that nothing was stronger than a home, in which was safe and warm. But misfortune breaks into people's lives literally "from behind the carpet", destroying the cozy space of the house. This is our common home, because you can not destroy someone else's house without destroying your own.

At the exhibition "Beslan. A Minute of Silence" in the North Caucasus Branch of the NCCA-ROSIZO, September 2018



30.6.18

Tumbleweed




Steppenläufer (Tumbleweed). 2018

Installation: archive photo, textile, latex, ventilators. Places exhibition in Jewish Museum, Moscow. Human condition project, session 4. Curator Viktor Misiano
The tumbleweed is a bushy steppe plant that grows into a spherical form which,once uprooted, can be carried over long distances by the wind.

My stepfather Alexander Davidovich Hilgenberg was a Russian German. His life, like that of many of his countrymen, was difficult. He was born in 1912 in the Volga region, in the village of Phillipsfeld, but in 1941 his entire family – his father David Davidovich, brother David and sisters Irma, Erica and Olga – were deported to Kazakhstan and Siberia. From there, Alexander Davidovich was conscripted into the Labour Army, and sent to the Ivdel work camp in the Northern Urals, where he married a German woman named Emma Mayerle, who was also serving in the Labour Army. They were later moved to the Vizhai special settlement, where they had two daughters – Lilya and Vera. In 1968, Alexander Davidovich went to live in the village of Nizhniye Sergi, in Sverdlovsk Oblast. He was director of the local forestry enterprise until his retirement. After the death of his wife, his adult daughters left for other cities and he was left alone, and so my mother, having by that time lost my father, became his support. They changed their flats for a single “two-roomer” and moved in together, my mother looking after him when he suffered a stroke. He died at home, in the Urals, and is buried beside my parents. His life story is my story too. And I want to talk about him, but not just about him. The lot of the Russian Germans has been unfairly tragic. Invited to Russia in the second half of the 18th century by Catherine the Great, they settled along the Volga, in the Southern Ukraine and Crimea. In September 1941, right at the beginning of the Great Patriotic War, all of them without exception were evicted from their native Volga to Siberia and Kazakhstan. About a million people were expelled from their homes. Of these, around 300 thousand were then drafted into the Labour Army and sent to the most remote areas of the USSR, where they worked and lived in special settlements and camps. Only in 1955 were they allowed to return to the original places of deportation – to Kazakhstan and Siberia, though the Germans were forbidden from returning to the Volga region where they had lived up until 1941. The Russian Germans never resettled in their homeland – in the 1990s the new Russian leadership did everything to prevent the restoration of the Volga German Republic. Many Germans then left Russia, emigrating to Germany. Russian Germans are a wandering people, they put down roots in Russia and it became their real motherland, but the Soviet government cruelly tore up a whole people from their native land. The Russian Germans have been driven around the world, just like the wind chases the dried out balls of the tumbleweeds that my stepfather saw so much of in the steppelands, where he was taken and left to survive in as best he could, back in the autumn of 1941.

Leonid Tishkov


The author would like to thank the wolgadeutsche.net  website and express his personal gratitude to Alexander Spaсk for providing copies of photographs from the family albums of the Volga Germans.

https://vimeo.com/290116844



10.6.18

The star in bed

A star settles on the edge of my bed
she's old and full of cracks, 2003. Light, fish net, metal, neon.