ARTE A VENEZIA: VALERY KOSHLYAKOV We Have Never Stopped Building Utopia

0
1213
VALERY KOSHLYAKOV  
         We Have Never Stopped Building Utopia

Valery-Koshlyakov-Palazzo_-2017-tempera-on-cardboard-289-x-408-cm

May 11–June 29, 2017
Ca’ Foscari Esposizioni, Venice
in cooperation with the Museum of Russian
Impressionism, Moscow
and
Ca’ Foscari University’s Centro Studi sulle Arti della
Russia (CSAR).
Valery Koshlyakov will unveil a large-scale solo exposition at Ca’
Foscari Esposizioni on May 11, thus returning to the shores of the Venetian Lagoon,
where in 2003 he represented Russia at the 50th Venice Biennale.


Valery-Koshlyakov-Utopia-PROJECT_Elisions_-2015-2016-Detail-of-installation_-Tempera-collage-on-canvas_410x500-см

Koshlyakov is rightly considered one of the most respected and interesting
figures in Russian contemporary art
. His works have been shown in the major
museums of Russia, Europe, and the United States, including the Louvre,the
Guggenheim Museum in New York and Guggenheim Museum Bilbao, the MACRO in Rome,
Centre Pompidou, the Pushkin Fine Arts Museum, the Tretyakov Gallery, and, of
course, the Museum of Russian Impressionism, which recently staged a solo show
by Koshlyakov and has collaborated on the new show in Venice.


Valery-Koshlyakov-photo-Vlada-Krassilnikova

Koshlyakov was born in 1962 in the city of Salsk, Rostov Region, and
studied at the Rostov Art College. In 1998, he joined the group Art or Death,
which brought together young Russian artists of the new era.


Valery-Koshlyakov_-Spring-time_-2017-tempera-collage-on-canvas-290-x-450-cm

Koshlyakov’s large canvases record images of internal disintegration, of
things that have survived turmoil and shock, and frozen into classical ruins,
as if trapped in empty monumental shells. The phantasms of cities, peoples, and
eras succeed each other, the outward guises of an art that relentlessly demands
the incarnation of Utopia. They are memories and daydreams in which the reality
of landscape is imbued with the hunger for a miracle come true. The Kremlin,
Notre Dame,


Valery-Koshlyakov-Minister-of-Foreing-Affairs-1995_tempera-on-cardboard-Center-Pompidou-collection-310×185-cm

the Colosseum and the Parthenon, the ruins of Pompeii, and
Stalin-era buildings are the places we identify in Koshlyakov’s paintings,
where they walk the fine line between dream and reality. Here, these
magnificent buildings take on the vague aspect of ghostly ruins. By blurring
the outlines of civilization’s great monuments, Koshlyakov seemingly reveals
their true essence, attempting to capture the fragility of the utopian dream
and the greatness doomed to inevitable disintegration that we find in these
mighty symbols of power.
Valery-Koshlyakov-Utopia-project_-Gorky-city_-Detail-of-Elisium-installation_-Tempera-on-canvas-playwood-300-x-540

In this sense, Venice itself, with its magnificent borderline splendor,
harmonizes perfectly with Koshlyakov’s grandiose pictures of magnificent decay.
The Venice show will feature works dealing with this fabulous city on the water
and its famous palaces. Moreover, the subject of architecture and palace
interiors, whether Muscovite or Venetian, is the exhibition’s backbone. Koshlyakov’s
large paintings resemble, rather, stage scenery, as if we were in the audience
at a play entitled The Seven Sisters of Moscow, in which the starring
roles were played by Moscow’s famous Stalin-era skyscrapers, exemplars of
socialist classicism. In a sense, we can talk about gigantism in Koshlyakov’s
work. Employing a variety of media, including cardboard, packing tape, plastic,
and metal, his magnificent panoramas generate an impressive space that
captivates the eyes and imaginations of viewers.
“All of Koshlyakov’s work teeters on the edge of instability and
fragility, the nervous oscillation between high culture’s refined nobility and
the brutal reality of garbage, between a conscious pride in possessing all the
riches of the historical legacy and the capacity to hear the ruthless rattling
of the present day. Skilled at
generating forms and spaces, this master is not afraid of rude means of
expression. His person combines the subtle poet and the savage warrior,” writes
Danilo Eccher.
Two floors of the gallery space at Ca’ Foscari University will house
large-scale paintings, sculptures, and art objects. The show’s curator, Danilo Eccher, is well known
in Italy,
having worked in the past as director of some of the country’s major
contemporary art museums. Eccher has been following Koshlyakov’s career for
more than ten years. In 2005, he first presented Koshlyakov’s work to Italian
viewers at the MACRO in Rome, and in 2016 he curated the show Elisions
at the Museum of Russian Impressionism.
A monograph on Koshlyakov and his work, edited by the Museum of Russian
Impression and Silvana Editoriale, will be published on the occasion of the
show’s opening.
The project is a collaboration with Ca’ Foscari University’s Centro
Studi sulle Arti della Russia (CSAR). Silvia Burini and Giuseppe Barbieri will
serve as the project’s research consultants.
  
Opening hours: from
Wednesday to Monday: 10 am- 6 Pm
Closed on Tuesday
Free Entrance

 #art
#venice
#cafoscari
#venezia
#arte
#mycultureinblog

Articolo precedenteFOTOGRAFIA A BRESCIA: STEVE MCCURRY. LEGGERE
Articolo successivoMUSICA A ROMA:THE HELIOCENTRICS DAL VIVO IN ITALIAI: IL 2 AGOSTO A ROMA INCONTRA IL MONDO, E CHIUSURA INSIEME AD ORLANDO JULIUS IL 18 AGOSTO ALL’ARIANO FOLK FESTIVAL
Ciao, sono Emanuela, donna, moglie, madre e blogger con studi classici e formazione giuridica, eclettica per natura e per destino, “nerd” quanto basta.

LASCIA UN COMMENTO

Please enter your comment!
Please enter your name here