Artist Series

Postmodernism as an artistic space. the world of photography the artist Chezhin

Black and white (and, more recently, photography in color) always insists on the dividing line between the intersection of the time (s) and space (s), the intersection and interpenetration today and yesterday, today and tomorrow – of my life and someone else € ™ s. Note the case experienced by a person (someone we know or donâ € ™ t know, I even only one person, the nature or society as a whole) when that caught my attention is directed to the registration rectangular frame that has been and gone and still present in my life as long as I look (remember) that.

Those are our lives, the reality of our experience, images Photo is measured as a reporter do a new aesthetic as well as director, and all UPA € â € ~ â € ™ ~ Please DM, eyeâ € ™ – as the archivist who acts as custodian of past. And yet sometimes subordinate to the past (not history, that is not the past in the form of events) is too narrow for a role of the photographer becomes an artist. An artist himself and his subordinates time, space and the reality of time and space, the meaning of facial expressions of the principal actors of his art – that is the time (considered as a stream of passing time) and events. In its hands the camera negative, positive, exhibitions and other tools of the trade become instruments for achieving higher goals. Here's how was that at some point in your photo Career Chezhin Andrey did not become a master of the title = "art" art photography "or any other particular type of photography, but an artist the wing color style of our time – the style that critics love to slate, postmodernism.

Andrey Chezhinâ € ™ s rebirth occurred in the not too distant past, in the context of historical events that had broken the consciousness of generations condemned witness the change of direction experienced by the giant ghost ship Soviet Russia as it has from socialism to capitalism and paralysis their total executive idiocy.

It was natural that oÂnly awareness of the photographer / artist to be with the power to dispose of clumsiness and slipping out of its old skin. simple recording of social reality accompanied by clicks of the camera shutter has led to the directed interest in photography and experiments with exhibitions (Sometimes three or more). In addition, Chezhin need a proper object of research – with hands, legs and head, etc., and this lack of other Candidates wishing to go to the extent necessary, is the artist himself, always obedient and trusting your own address. It this time, the end of 1980, Chezhinâ € ™ s early compositions – Black Square (1988) and Red Square (1990) – have emerged. These, of course, refers Kazimir Malevich, a recent exhibition of his works in RussianMuseum triumphantly pointed to a new era in the history art and, more specifically, the elimination of taboos NAO interest in the various stages of development of art the 20th century.

Black Square and Red Square, as noted, the compound works each composed of four parts. Were designed by Chezhin not as a series of photographs or a frame sequence of images, as in the movie, but as the main structure, where each part is not just a brick that support the overall balance of the entire structure. The main character here is the man. In the first case, the man is NAO represented by a black square forehead / brain, in the second, he is shown breaking the chains that bind.

The first part of the Place Red indicates an individual standing horizontally extended arms and legs apart. His face is limited (Drawing and return) at the end – which are the end points a geometric shape – By a line / cable, which recalls Leonardo € ™ s Quest for Gold â € ~ € ™ article in the proportions of the human body. The Red Square contains all the space whose boundaries are marked and defined by the rope line, and the man himself Included in this space. Then in the next two parts of this work, he manages to get rid of the chain head, arms and legs are placed in the same time, while at the same time, the area of control exercised by the NAO Red Square in the field of photography grows progressively narrower. Finally, the last part of this work, the rope or is deemed to be situated within that € ™ s artist studio NAO as a sheet of paper, in the red zone. The viewer becomes a witness of how a cultural symbol – the â € ~ € ™ Red Square, Malevich, Suprematism, etc. – became a sociocultural Oane: the man takes off the rope – which initially trace the outline of a star (head, arms, legs) – and you free of red tape that is outside of ideology (the rope or chain / red – a sign of danger, remember). Red is defeated, the man is free.

It was at this time, namely the late 1980s – to be exact, in 1988 – he began a series Chezhin NAO itself that is not completed until today. photographs of the artist – with hair, without hair, with his wife, with a rule, photographs of hands (Erotica) photography itself, himself, and himself. At the same time began working NAO € ™ â € ~ types for his series of portraits (1990) and continuous recording social reality (material to be used in pairs, a series executed in 1987-1990-1997).

Chezhinâ € ™ s absurd, meaningful and took pictures of types of meaning without a name / characters exude a powerful feeling, unpleasant semiphysiological / memory of a bygone era officials for men and women of the seal of the brand of bass, not reduced awareness of social disadvantage. Here Chezhinâ € ™ s photo avoids outright any attempt to convey the psychological state or mood of the subject, which is the image that stands out pyschoanalysis or psychologism beyond any expression of the â € ~ € ™ psychic. They are still lifes in which things (objects) are credited to the mind or the time or staff or a personal experience or a living space or â € ~ € ™ face. Individuality has been corrected, leaving the property types oÂnly the face of the socialist society. This was achieved in 70 years of Soviet rule. The artist here merely reflects the success Chezhin ideology now deposited in shaping Soviet personality.

Training is the personality that I think is the theme of the book series entitled Kharmsiada executed in 1995 for an exhibition entitled â € ~ The aim absurd. An exhibition of gifts by artists from St. Petersburg in honor of D. Harms 100th Anniversary ™ € of his birth.

A brick siding, torn facial features, or sewn with thread, a face transformed by a door knob or a drawing pin: these and other pleasures associated with the training methods of new â € ~ ™ € People are used by the Chezhin this series to present a sort of manual for amateurs emerging power or a newspaper of obedience – a warning to â € Massese ~ € ™, which is precisely the material of which it is to be noted is molded. The man becomes plastic Chezhin warns us, if you stop to think and will resist him – if he forgets his own authenticity, the essence, and individuality.

Particularly Interestingly, this view is Chezhinâ € ™ s creation NAO work of his time to drawing-pins, including the series of drive-drawing and Pins Pin and Modernism. "Pin and partners, as is, the main characters highly desirable in these cases from everyday experience or registration, absurd situations provided by the artist and the reality that surrounds him. The unitary character of the hero of the piece gives a Chezhin unprecedented freedom to destroy individuality, while creating their own drawing pin mythical world, absurd as to be recognizable, and while allowing the viewer to conclude – oÂnly Chezhin game is on us – that â € ~ we are all tacks, gentlemen … â € ™.

Chezhinâ € ™ s interest in the personal expressions of humanity, probably explains the constant use because the genre of portraiture. Here, we note a number of different stages of the artist € ™ s study itself as a representative of the universe natural and human reality itself: generalization, reduction to a common denominator, and the identification of image (itself). There is no opposition between established â € ~ â € ™ MEA and theyâ € ™ € ~. Chezhin is not concerned asking â € ~ I or someone else? â € ™, it is to find an answer to the problem of â € ~ â ™ That MEA € € ~ theyâ € ™. Static Study sees man – not in action and movement, but movement or change of weather. What is important is human nature and the human body – anatomy and anthropology as such, but man in their different dimensions, self-knowledge and self-realizations (either with a ruler or with or without hair.)

Self-portraits of several different years, sets and cycles of any element of game that comes out in moments of transition that switches between, say, action and reality, the artist / man, the reality / real photographic / artistic reality / deception / the reality of desire ™ s Artist € and for his creative effort, and the destination.

In all the photographs from the series Self Portraits (1988-1997), Andrey Chezhinâ € ™ face is identical: the only noticeable change to escape the attention – even if Chezhin slips between the lot of material to be considered by the viewer, versions of itself with or without hair. That something intentionally voluntary registration, focusing on identical NAO puts us, is eyes on the slow and steady their subjects …

As modernism and postmodernism have developed the art is often in the form Oane or another face and dealt with issues concerning time, space and movement as a process. The man, the human body and its parts, and the face because it expresses and contains Mana € ™ s gasoline have been recurring for all types of artists and an art object of discourse in general. But oÂnly example that comes to the mind of a brilliant artist in complete self-examination and thorough search of himself, â € ~ Iâ € ™, and his face as the image of a date Iâ € ™ € ~ from the 18th century and Mr. Rembrandt € ™ s self-portraits, mood gestures, etc.

For humans Chezhin (â € ~ Iâ € ™) is an object in the change of time and space temporarily changed (Which is virtually non-existent), where the focus is the NAO paradox, for example, the NAO not mandatory, the casual nature of a situation, NAO Oane hand, and the importance of recording time and recording, the NAO others.

Another feature of Andrey Chezhinâ ™ € s interest in man (himself, € ~ Iâ € ™ of his self-portraits) is self-sufficient in which, independently of all external costs, â € ~ Iâ € ™ dissolved in a second ™ € s character in the world and others the world € ™ s character is dissolved in the â € ~ Iâ € ™ (in this case can be made to three series in 1991 called your mine, where male and female elements are merged into a single â € ~ Iâ € ™). Here, the â € ~ Iâ € ™ is the artist € ™ s â € ~ Iâ € ™ and his wife. The viewer is presented with a conflict without interpenetration of man and that has emerged among women, in nature. In Chezhinâ € ™ s the work of the self-portrait and description of the man is an inexhaustible subject Typical with many features. Another feature is Oane Chezhinâ € ™ s use of cultural signs and their symbolic resonance – for example, a red square, black square, rope, the man, an urban landscape recognizable.

Chezhinâ € ™ s series of contemporary life itself as a series of changes in the artist. His work Multi-part self-observation schedule (1990-1991) describes a series of situations / day / incident – in other words, the routine examination of daily life – the idea of the temporal evolution experienced by a static object in a situation where the measurement of the flow of time is hidden. This work will develop over time, time, and the artist.

In any structure / Work created by changes Chezhin Andrey lived social reality and there is a movement from one state to a lag before and later, an imperceptible moving from edge to edge. The couple series (1987-1997), for example, comprises compound leaves in 1997 from pairs of photographs taken in supplement During the period 1987-1990. Together, they form a collection of works of logon that are gradually readable. Its meaning is the basis NAO accessible associations and feelings Chezhin operating mechanisms of perception, alogism, absurdity, logic and direct training and vice versa. Take, for example, Why not route Moscow amateur? On top of this piece has been placed faking Chezhin – overlapping Chechulin Oane € ™ s skyscrapers and a birch spread. Basically, under the fine pattern formed by the branches of a bush, a dead dog lying NAO saw the field. That might give an impression clearer or more expressive the artist € ™ s lack of enthusiasm for this city? The double negative, the fidelity of absurd situations semantic image with reality, and coincidences of plastic / references: the exploits of this correct, logical thinking and trial and found an echo in the right Key in which these couples are perceived by the viewer. This is the case with the other sheets of the series as well.

In its compounds, multi-structure, cyclical changes of work (1991-1997; as a cyclical repetitive rhythm of the beginning of the end, the race from start to) Chezhin provides horizontal lines, films, moments. The heroes of these films are immutable, what changes is the space around them, their environment and conditions that govern the game or the existence in which they are party. For example, photographs of the granite sphere NAO Chezhin language Vasil € ™ evsky island on all sides. And seen in all angles, the sphere is a sphere, but the space in the facility changed radically in the area – undefined landscape.There architecture NAO could not be better illustrated Matyushinâ € ™ s theory of a € ~ € ™ expanded search. Or take the sequence of clocks (Mechanisms of street / objects) photographed at certain points in time. Here, the protagonist is the time and their attributes – dials, needles, and structures contain clockwork. Or the issue could be considered as a sequence of movie: road leg of the road. And NAO. In this work, compounds each line is a question whose resolution is possible for oÂnly the artist as a question or problem, moreover, to deal with not so much resolved as life. Here are all the eternal questions posed by the art of the 20th century: the identification and oÂneself oÂneself world oÂneself and knowledge of the outside world, the examination of the basic construction categories (and create) the reality of Oane € ™ s status, major problems of life and eternity game by the laws and the existence of contexts for this game; incidentalness and regularity. Finally This album manages to embody a sense of change over time and space and space in time.

The world of photography created by photographer and artist Andrey Chezhin also a room for the art of comics, a constructor physiognomic, Saint-Petersburg city and have the text, and study a geometric Esher. This world is very large, paradoxical, sometimes illogical (from the viewpoint of the ordinary person) – but fascinating. This is a space that acts like a whirlwind: oÂnly you have to take the first step in this direction, they become a bit uneasy finds he can not stop looking, He loses his way as you despise about the maze ™ € s awareness level of artist to another series of works Oane the other, colliding with riddles, laws, traps set by the artist, looking carefully – and slowly realize that the hero Main Chezhinâ € ™ s work is time. Time for him is one of the main categories by which we know – and recording – in the world. It is divided into seconds, moments, moments units of experience. Time defined as a sticky, viscous or flowing mass as a substance free homogeneous – liquid, elastic and fluid. In self-portraits 1988-1997 time is an existential essence, an attribute of the history and cultural heritage and development of human society as a representative of this company and in the context of culture. The artist is able to move in time, and this Oane becomes entertainment of his work (the presence of physics in real space and real Artist € ™ s right to choose his contemporaries almost comical – And works – with himself). Similarly, it is able to impose the NAO simultaneous events that are separated in time, as in the Self-Portrait a group of works (1994) and visit Bulla (1994).

Andrey Chezhin Time is expressed in specific objects. In his hands is something clear boundaries. These limitations, however, are not the human dimension, but in history, at the precise moment / Of a given event in the history of this country and in the abstract time, usually in the archaic, the immutability of eternal stagnation € ™ Mana presence in the world as he begins to discover his own dimension. For Chezhin even today, time is divided into smaller drives flash last time through a train window or NAO screen television, a computer or another type of timing miracle that devours human time, genius and intuition.

It is the movement of time that defines the space characteristic Chezhinâ € ™ s work. They are space real time in each unit, but unreal, phantasmagoric and spectral units each time, after that period.

The perceived space, known and recorded by the team and the man at the passage of time is kept by the artist. This area changes at each point in time before, every moment that this time is experienced by man through the experience of that time in this space. The artist confronts the viewer with no distortion of space, but space is changed over a long period of time.

There is nothing accidental in Chezhinâ € ™ s choice of the compositional structure of his works. As a rule, are composed of structures showing the man through the Multiple (For example, group portraits or processing). The framework of these pieces is a living structure, whose influence is felt oÂnly active when its elements form a semantic link, plastic Oane others. This link becomes sensitive elements of the structure and Oane other fuels.

Time, space, human subject, the game are the engines of perpetual Petersburg photographer Andrey Chezhinâ € ™ s interest in achieving balance in the relationship between the world â € ~ D € ™ € ~ outside world will oÂneselfâ € ™. Artist uses her art and photography as tools. The photographer Andre Chezhin is an artist of the late 20th century, the rise of postmodernism.