Japan, Kamakura, 2000
India, Almora, 1999
An annexation of Dabloid flag in Athens, Greece, 1999
12.1.09
11.1.09
Divers from Heaven at Compton Verney Gallery UK
Leonid Tishkov
Divers from Heaven, 2005-2006
Textile and photographs
Utilising old photographs and scarp of fabric found after his mother’s death, Tishkov’s Divers from Heaven refers to the future of man in cosmic creation, as expressed in the writing of the radical spiritual thinker , Nikolay Fyodorov (1829-1903). Fyodorov speaks of time when “…the earth will begin to give back those whom it has swallowed up and will people the heavently starry worlds with them”. (Nikolay Feodorov: What was man created for?)
http://www.comptonverney.org.uk/?page=exhibitions/thefabricofmyth.html
http://thefairlyconstantreader.blogspot.com/2010/06/art-versus-bullies.html
10.1.09
9.1.09
“Farewell to the Christmas Tree” in Brooklyn
'Farewell to the Christmas Tree' by Leonid Tishkov in collaborated with Sergey Tishkov,2001, 15 min., music: Membranoids, Sergey Starostin.A video and photographs showing portraits of abandoned dead pine trees lying in dustbins after the feasts. The video shows the burying of a pine tree in Tsaritsino cemetery, Moscow.
Walking a Fine Line:Parables of the Sublime and the Subversive in Russian Video Art
January,9
Artists confront mystification and sacralization, engagement and spiritual detachment with strategies ranging from epatage to derision, eccentricity, and radical activism. Whom to blame? What to do? The viewer is invited to ponder upon these and other perennial "Russian" questions and find his/her own "fine line" of authentic response. Research on characteristics of national and local identity is one of the main foci of the Ekaterinburg NCCA. The search for identity in post-Soviet Russian society and the development of a new value system have been raised in interdisciplinary projects like "Novorusskoe (The NouveauRussian)" (2005), "In Transition Russia 2008", videoprogram "Dreams in the Epicenter" (2007), and others. The penchant to extremes, paradoxicality, and irrationalism have become stereotypical characteristics of "Russianness". In such a way, contemplative submersion sometimes rather easily turns into subversion, an arrant hooliganism. The fact of contemporary reality is that the radical other is embedded into the surface of what is already here, which is none other than the everyday, the event of life itself. Shifting perspectives, whether as a radical gesture, or just slightly, we are all groping to find that most authentic fine line that connects the limit and its beyond, the spiritual self and the social other. Russian artists demonstrate how a national feature speaks the common or universal truth.
Artists include: Leonid Tishkov, Provmyza, Victor Alimpiev, Blue Soup, Victoria Ilyushkina, Yury Vasiliev, Victor Davydov, Alexey Buldakov, Olga Chernysheva, Blue Noses, PG, Bombily group, Dmitry Bulnygin, Veronika Rudyeva-Ryazantseva, and others.
Curated by: Ksenia Fedorova (ksenfedorova@gmail.com)
Alisa Prudnikova (alisa@uralncca.ru)
http://www.monkeytownhq.com/1_9_09.html
Nikodim in Napoli EM Arts and in Seattle
Nikodim on Northwest Film Forum Seattle in November 6, 2008Stars of Russian Video Art
1. PROVMYZA (Galina Myznikova and Sergey Provorov, Nizhny Novgorod, Russia)“Wet chicken” (3min 40sec)“Fugue” (19min 10sec)“Slippery mountain” (6min 25sec)These artists work in various spheres of contemporary art employing a wide range of multi-media means.
2. Victor Alimpiev (Moscow, Russia)“Sweet nightingale” (6min 50sec)Victor Alimpiev assumes the isolated viewpoint of an observer in order to capture both spontaneous and controlled nuances of human expression and behavior.
3. Lyudmila Gorlova (Moscow, Russia)“Happy end” (6min 30 sec)Lyudmila Gorlova films wedding parties on Vorobiovy Mountain, which is where the newly wed of Moscow traditionally visit. 4. Olga Chernyshova (Moscow, Russia)“The train” (7min 15sec)Chernysheva’s best know work The Train (2003) is a remarkable video journey through the carriages of a Russian intercity train that recalls the Constructivist cinema of Dziga Vertov.
5. The Blue Soup Group (Moscow, Russia)“Panorama”, “Vestibule”, “Gas” (4min 20sec) The piece references the early days of cinema when dioramas and panoramas were in common use. The camera’s 360 panning shot can be read as a metaphor of man’s life, seen as a whole.
6. The Blue Noses (Moscow-Novosibirsk, Russia)“Sex-art” (3min 10sec)“If I were Harry Potter” (4min)The term “Nailed-up Video” was coined by Viacheslav Mizin and Alexandr Shaburov in 2003. The works they produce are formally inventive yet extremely cynical in terms of content.
7. Leonid Tishkov (Moscow, Russia)“Nikodim” The story of a man’s journey (6min)Tishkov’s continually evolving narrative and space is mapped in drawings, photogrphs,prints, illustrated books, paintings, sculptures, plays and video installations. Today his work is widely shown throughout Europe and the United States, as well as in Russia. The film offers a figure of a man, an artist himself.
http://nwfilmforum.wordpress.com/2008/10/31/stars-of-russian-video-art/
http://www.em-arts.org/independent/films/nikodim
8.1.09
Knitling at Compton Verney Gallery UK
KNITLING
In Memory Of My Mother
On this old photograph I’m in the center, puny and week,
surrounded by my relations, all of them bursting with life,
merriment and happiness. This is the wedding of my cousin
Boris in 1959 in the town of Polevskoye in the Sverdlovsk region.
Many of those from that photograph are no longer with us. Their
clothes were distributed among the relatives. When clothes
become threadbare they are torn into strips and used for knitting
rugs. Each such rug in the Urals houses preserves the memory
of deceased people as if it were a laser disk bearing recordings of
their voices and faces.
When my mother was 85 I asked her to make a knitted
suit for me out of the clothes that used to belong to our relatives.
When you put it on it preserves you, it hugs and embraces you,
like my relatives did in that old photograph. I called that suit
In Memory Of My Mother
On this old photograph I’m in the center, puny and week,
surrounded by my relations, all of them bursting with life,
merriment and happiness. This is the wedding of my cousin
Boris in 1959 in the town of Polevskoye in the Sverdlovsk region.
Many of those from that photograph are no longer with us. Their
clothes were distributed among the relatives. When clothes
become threadbare they are torn into strips and used for knitting
rugs. Each such rug in the Urals houses preserves the memory
of deceased people as if it were a laser disk bearing recordings of
their voices and faces.
When my mother was 85 I asked her to make a knitted
suit for me out of the clothes that used to belong to our relatives.
When you put it on it preserves you, it hugs and embraces you,
like my relatives did in that old photograph. I called that suit
“Knitling” from the Russian word for a “knitted garment”.
Now it is a new being created by the two main
components of my art: the phenomena of time and place.
Knitling keeps the warmth of my native village as it
embodies the memory of it. The threadbare coverlets of my family
are torn into strips and are wound into numerous balls bringing
to mind the ball of threads leading the heroes of the Russian fairy
tales.
Knitling keeps the warmth of my native village as it
embodies the memory of it. The threadbare coverlets of my family
are torn into strips and are wound into numerous balls bringing
to mind the ball of threads leading the heroes of the Russian fairy
tales.
The Urals folk craft of rug knitting was thus turned into a
magic ritual conjuring up the spirits of our ancestors, connecting
the souls into a spiral of eternity, a solar sign, and a cocoon of
memory; and so we obtain a new mythical being: a knitted
creature who joined the series of ancient surrealist types, such
as the house-spirit and the bathhouse spirit. Putting on such a
Knitling you wear a piece of clothes from several generations at
once becoming a nameless and faceless being, and so you attain
immortality.
magic ritual conjuring up the spirits of our ancestors, connecting
the souls into a spiral of eternity, a solar sign, and a cocoon of
memory; and so we obtain a new mythical being: a knitted
creature who joined the series of ancient surrealist types, such
as the house-spirit and the bathhouse spirit. Putting on such a
Knitling you wear a piece of clothes from several generations at
once becoming a nameless and faceless being, and so you attain
immortality.
Leonid Tishkov, 2002
Stills from video "Knitling", 2002, 6 min
http://www.newstatesman.com/200510240031
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