Valery Turchin

Natalya Nesterova. PORTRAIT OF AN ARTIST


Valery Turchin, Alexander Morozov, Natalya Nesterova, Yuri Rost, Alexander Rozhin
Natalya Nesterova. PORTRAIT OF AN ARTIST

#2 2020 (71)

Let the game begin. Have these hollow cocoon-bodied figures really reached us from some metaphysical remoteness, or does it just seem that way? Their figures are wrapped with bandages of playing cards, like the wounded or the mummified dead of Ancient Egypt. They are speechless, they have nothing to say, yet we understand that they are arrivals from unknown lands in which passion burns souls to ashes, which is to say that they are allegories in the most banal and most elevated sense with regard to style and the meaning of the figure. We also know that it was the artist herself - Natalya Nesterova - who invited them: it is at her canvases that we are looking, those are her colours and her images. On a table in her studio on Arbat Street there is a partial deck of cards, a game of solitaire spread out nearby. Let the cards foretell.


Valery Turchin
Burganov’s Motifs: The Assault of Images Operating in Space. Dialogue with Chaos

#2 2010 (27)

According to Alexander Burganov, art is perhaps one of the few types of evidence that most accurately reflects the general confusion in our souls. Intellectual, sensual, experimental, traditional… There are many options available for understanding Burganov's art. His oeuvre should not be reviewed chronologically – chronology is irrelevant here. Nor should we concentrate on typology, because the composition of his art will appear to have more complexity than any possible classification can accommodate. Perhaps it is more appropriate to review separate works. To understand their meaning and form, and the techniques used to create them. Then we can proceed to conclusions…



#1 2003 (01)

Comprising about 170 paintings, drawings and prints, including outstanding works on loan from many of Europe's most important museums, the exhibitions impressively visualize the interaction between Russian Cubism and the predominantly French Cubist movement in Western Europe. Thus, following its significant exhibition of Italian Futurism in 2001, the Sprengel Museum in Hannover and the Tretyakov Gallery in Moscow documented, in the equally comprehensive exhibitions, a further international artistic movement of the beginning of the 20th century. As the first modern art movement of the 20th century in Western Europe, Cubism immediately became known through such famous artists as Pablo Picasso, Georges Braque and Juan Gris, above all in Russia, but also in Germany. Confrontation with early Cubism as a movement that waived realistic depiction and divided the subject matter into geometrical, primarily cubic shapes decisively triggered the development of avant-garde ways of thinking in Russia and resulted in the abstract movements of Suprematism and Constructivism and, ultimately, in a return to representational principles.




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