19 Ekim 2012 Cuma

Alexey Terenin

About Terenin
   Alexey Terenin luckily combines the architect’s training and painter’s practice in his work, which embraces the aesthetic environment of modern man.
   Having got the education at the Moscow Architectural Institute in 1986-1993 Alexey Terenin started his career of exhibiting graphic artist and painter in 1992 with most prominent Moscow galleries Art Moderne and M’ARS.
   Grown up Prague and living in Moscow he as an artist has become a digger for the layers of imagination that can never be identified historically, but absorbed the heritage of many cultures of the West and East. The language of reminiscence and association chosen by the artist enabled him to build up a big city of dreams inhabited with the ghosts of the past and heroes of the present in the most peculiar and unpredictable way. In the depths of his fantasy the artist was given a power to choose the time, the place and the rules of the game and then to set off to a journey with his personages.
   Prague surely inspired Terenin’s “Gothic” expressiveness, while Moscow gave him the constant sense of interlacement of epochs, that history’s masquerade, which is obviously present in his paintings. The artist found his own way of discovering the world. A mask, instead of concealing and hiding the meanings, became a sign, a symbol, and an image of reality, which otherwise in this way or another escapes our comprehension, and only the mask provides us the understanding of the theater of life.
   Not accidentally Terenin worked for the theater, the Bolshoj Theater of Moscow. Scenery may serve the key world for his work, be it interior mural, easel painting, or furniture design. There is no literature, no subject, but only a situation. Narration is left up to some unknown and independent playwright. The abovementioned pictorial journey endeavored by Terenin’s personages can be only possible if the artist and the viewer know nothing about the end of it. Also the attaching of meanings and titles is in discord with the nature of the game. What we have for sure is the perfect architectonics of the newly discovered world that anyone could probably have seen in some other life.

       Alexei Vakhmanov

Alexey Terenin’s Exhibitions.
1992 - M'ARS gallery,Moscow.
1993 - Joint exhibition "Lilja Zakirova Art" Overlun, Netherlands.
Joint exhibition "Post-Immoderacy", M'ARS gallery, Moscow.
M'ARS gallery,Moscow.
1994 - MIMO gallery, Prague.
M'ARS gallery, Moscow.
"Jakubska" gallery, Prague.
"Russian Collection-End of XX Century", M'ARS gallery, Moscow.
"REF. Kirchgemeindehaus zum Guggel", Basel, Switzerland.
"Christmas Fantasies", Lobby Gallery, New York City.
1995 - NB gallery, Moscow.
M'ARS gallery, Moscow.
1996 - Art Expo, New York City.
Central House of Artists gallery, Moscow.
"Michalska" gallery, Prague.
Exhibition (graphics), Central House of Artists gallery, Moscow.
"Jakubska" gallery, Prague, Czech Republic.
1997 - Joint exhibition "Russian Collection in the Palace of Nations", Geneva.
Joint exhibition, "Windows", "Belyaevo" gallery, Moscow.
Joint exhibition, "The World of Sensual Things in Pictures - the End of XX Century", Pushkin State Museum of Fine Arts, Moscow.
Art Director in "Capriccio" ballet by Stravinsky, Bolshoi Theatre, Moscow.
Art-Manezh-97 exhibition, Moscow.
1998 - Art-Manezh-98 exhibition, Moscow.
Joint exhibition in exhibition hall "Usadyba Golizino", Moscow.
1999 - Joint exhibition in "Redisson-Slavyanskaya" hotel, Moscow.
M'ARS gallery, Moscow.
2000 - International Foundation of Culture, Moscow.
Ash Information Centre gallery, Ash city, Chech Republic.
"Art CDKh" International Art Fair, Central House of Artists gallery, Moscow.
"X-Art" gallery, Amsterdam, Netherlands.
2002 - "Jakubska" gallery, Prague.
"MIMO" gallery, Prague.
Joint exhibition "Russian Spring", "Fortnum and Mason PLC", London, UK.
"Ve vezi"gallery, Melnik, Czech Republic.
"4.KUNSTMESSE", Berlin, Germany.
International Festival of Nonverbal Theatre, Kolin, Czech Republic.
2003 - "Colliers" gallery, Newcastle, UK.
"ALBERMARLE" gallery, London, UK.
Joint exhibition "Russian Charm", The Inter-Continental Hotel, London, UK.
Private exhibition, Gevelsberg, Germany.
2004 - "MaxArt" gallery, Prague, Czech Repablic.
European prize for fine arts by the European union of arts. Prague.
Joint exhibition "50 works of fine art from Russia", Maison du Monde, London.
"Cerna Labut" gallery, Prague, Czech Republic.
2005 - Joint exhibition Collyer-Bristow Gallery, London
Joint exhibition "The Biscuit Factory" Gallery, Newcastle(Great Britain)
Jorgensen Fine Art Gallery, Dublin
Gallery in VHS 3 Volkshochschule, Wien
2006 - Gallery C.A.O.S., Rome, Italy
Galerie Lamber, Valkenswaard, Netherlands
Galerie Image, Wien Austria
Galerie de Arte Carmen Terreros Andreu, Zaragoza, Spain
Joint exhibition: Medici Gallery, London, UK
Joint exhibition: "The Biscuit Factory" Gallery, Newcastle, UK
2007 - Gallery Hannah, Herent (Belgium)
Affordable Art Fair, London
2008 - Affordable Art Fair, London
Affordable Art Fair, Paris
Affordable Art Fair, New York
Bohemia Galleries, East Yorkshire, UK
The Oriel Gallery, Dublin , Ireland.

Copyright ©Alexey Terenin

18 Ekim 2012 Perşembe

Julia Zanes

Anyone who comes in regular contact with art knows from experience the distinction between looking at a work and looking into a work. In the latter case the viewer is compelled, almost stopped in his or her tracks. Something in the art itself arrests the eye, pulls the person toward the work. The hook, if it can be called that, may be related simply to form or perhaps to narrative content. But in all such cases the viewer tends to approach the art as if wanting to look past the frame or, more viscerally still, imagine him or herself into the world of the image to better understand it. A sense of mystery and of uncertainty determine this experience. William Eggleston's photographs, Joseph Cornell's boxes, Alfred Hitchcock's films, Piero Della Francesca's work, Persian miniatures, the paintings of Balthus, Diane Arbus's photographs: these images and objects are not bound by genre, medium, or historical moment. What they share is what they do, which is to solicit us in some way. Julia Zanes' paintings share in this free-floating but significant tradition. We don't just pass by.

What, then, is it in Julia Zanes's paintings that prompts this viewer response? On the most immediate level, her work has some of the tension that enlivens early Renaissance panels. In particular, what connects Zanes's art to the work of that period is the striking effect of figures beginning to break out of their flatness but failing to do so completely. It's as though we are seeing a moment in which people are landlocked, caught between the medieval and, broadly speaking, the modern. Zanes plays with the uncanny visual effect of this historical and visual in-betweenness. The painted bodies of the early Renaissance, not yet sculptural as they would come to be in the mid and high Renaissance, belong to citizens of a more mystical world, not yet defined by the science-based thinking that would change visual representation forever. Zanes is a great explorer of this same territory, even as she makes it her own and plays with the tradition knowingly. Her tonal range, too, suggests the beauty of, in particular, early Sienese paintings. The umbers are pierced by golds and aquamarines. And again, it is this interplay, this tension between signs associated with this world, the earth tones, and the signs of another, the golds and heavenly blues, that defines Zanes's turf.

It is the dichotomies that organize modern, "rational thought-- waking/sleeping, material/spiritual, human/machine, abstract/figurative--that Zanes insists on unsettling. The effect is unmistakable. A deeply intriguing ambiguity enlivens the architectural spaces she creates, the people who walk through them, and the purpose behind their movement. Gravity doesn't quite do what it should with those buildings, people, or stories. Given that she is outspoken regarding her fascination with the Arabian Nights, classic fairy tales, Jungian thought, and the strangeness of puppetry, it should come as no surprise that Zanes is restless in her efforts to collapse such dichotomies, which, one could reasonably argue, limit art's possibilities. Creating liminal spaces where things are not quite adhering to the laws we've come to count on, where color is king, and the mystical regularly erupts in the everyday, Zanes extends her approach to the materials themselves, absorbing photography, stolen image fragments, and sometimes even sculptural elements into her paintings. In different ways, the paintings are things of layers. When we are drawn into them, it is to move through those layers, between materials, between color systems, between the rational and the mystical, between story fragments. And in so doing we are taken inside the frame, which finally acts as a kind of portal.

Copyright ©Julia Zanes

Bülent Burgaç (Bulent Burgac)

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