2001 experiments introduction of contemporary art practice in street portraiture. (Postmodernism).

The situation of postmodernism, I realized when I saw in the window of a furniture salon very expensive leather sofa over which hung a very cheap and vulgar picture (of foam punched a hundred pieces a day). Here it is a gold mine, I thought then, and created a series of post-modern works of better quality than those that hung in furniture stores. But the bottom was not gold, but a double, and ternary. m. d. 

Realizing the situation of postmodernism, I joined Van Gogh with Malevich, then joined the Fayum portraits advertising HUGO BOSS. 

In early 2001, I organized the exhibition as if Fayum portraits, which invited all the street. Everyone could take part completely free and uncensored… The presence in the exhibition Fayum characters dressed in modern clothes transformed all the exhibitors in the postmodern artists. (Residents of the ancient Fayum and modern humans was impossible to distinguish portraits .

Modern street artists draw near Fayum portraits. They draw, as it were, Fayum portraits. In the era of postmodern artists draw like simulacra Fayum portraits. 

In February 2001, it was the second exhibition of street portraitists in Youth Museum. (The first was held in May 2000 at the Chapaeva 10). During the exhibition, it became clear that for the exhibition activity is necessary to create special portraits. 

In 2001, everyone started to fit into the global artistic context. All began to bring well-known and little-known Western artists and organize joint exhibitions with them. We Razhev Marina also brought a certain emptiness famous Yves Klein and made him joint exhibition titled “Filtering”. That’s how we fit into the global context of contemporary art. At first glance it may seem that in the global context of contemporary art, we are void. But in fact it was a simulacrum of emptiness.

Simulacrum VOID Yves Klein was successfully sold, and with the money bought a book on contemporary art. Very handy book. It is very comfortable to sit when you paint on the street.

In 2001, I drew portraits of the mysterious, not clear concepts, with various mysterious marks (then the astrological portrait emerged of the astrological signs). I drew portraits of alien personalities, as the aliens go on the dam and advertise some products … 

In 2001 I painted multilayer portrety.Potom postmodern concept of “like” and multilayered concept helped me to introduce in portrait installation, performance and video art .

The other picture was 2001 

Painting

2000 (Pop Art, Conceptual Art).

2000.  Experiments introduction of contemporary art practice in the  street portraiture.

In February 2000, thanks to Viktor Davydov, I managed to get an order for cartoons radio presenters. Studio U7 at this time to sell the film about Andy Warhol. Inspired by the works of Warhol, I did pop art radio hosts on Photoshop. And he made pop art, having painted copies by hand.

Pop art: painted copies with colored balls was popular at the dam. If working with multi-colored balls, not to put a signature of Dali, then they may well pass for pop art.

At the beginning of the new millennium, it became clear that the local contemporary art production nobody wants. Grants under it do not get. In general, globalization. Apples can be reduced from Poland, tomatoes can be brought from Israel and contemporary art can be imported from Europe, Asia and America.

For his exhibition “Virtual World”, which was devoted to the visual revolution, I took a picture from the internet flower shops in Paris and Silicon Valley, and made of them pastels. The images have disappeared, and the work remained.

The exhibition opened on May 18th. At the opening, which still Vadim Ankudinov came beside me, though I gave over a hundred invitations to the seminar on the international contemporary art. “If we do not fit into the modern art, contemporary art is necessary to enter into our work” - I said at the opening. And he began to enter the modern art in the street portrait.

Contemporary art among us, provincial artists, considered the capital Moscow Conceptualism. And I began to introduce conceptualism in outdoor portrait. before you draw a model, I made her a verbal concept, then recorded these concepts in a notebook (conceptualism Journal).

In 2000, I painted bad portraits, but conceptualism has taught me to do them look like a model. This fact has opened up a new perspective on contemporary art for me. The introduction of contemporary art in the street portrait brought unexpected results.

The other picture was 2000.

1999 experiments introduction of contemporary art practice in street portraiture. (Street Cubism - is sur).

After the studio YU7 production of commercials with my participation, which went on all channels. I began to learn on the streets and ask for autographs (but only if I got up on a bench to put a frame on the TV screen, and delivered his advertising texts).

When the audience asked for my autograph, I said that I am a modern artist and autographs put only on the street who draw portraits with the style of modern art. But me and said: “No matter what you draw out there, put the main autograph.” So I could draw every cubism, futurism, and so on and so forth. And when the commercials are over, a week later you forget about me. And stay away from me only immature Cubism, and the thought of the possibility of introducing contemporary art in outdoor portrait.

In the last year of the 20th century, I would like to better understand the artistic trends of the outgoing century: sezanizm, cubism, futurism, surrealism and. t. d. I was able to paint portraits of the street in these styles for fun and entertainment for the public.

Surprisingly, the drunken crowd loves cubism. However, no one wants to pose, they all want to look and have fun. Everyone wants signature cubist Picasso - no one wants to work. Cubist portrait of a street - it’s not real, it’s surreal.

Realizing this idea, I began to introduce surrealism. In order to become a street portrait of a la Sur, enough to put a signature Dali and draw the colored balls. I put and drew, painted and set.
Working in the framework of surrealism, I also painted several portraits via the Internet. Scripture paintings through the Internet ended with an exhibition of contemporary art titled “The Virtual World”.

In connection with the visit to our city UNESCO Secretary General, artists from the park thrown in the alley and gave a start melkokriminalnyh elements. Of course, I shook the hand of the secretary general, although I wanted to spit in his face. During the handshake, I was arrested, although later released.
Alley is located between two busy traffic flows. By the end of the day the head of the alley becomes a lead. Many fled cheap tincture of hawthorn, which destroyed them.

After the alley, I was walking on the dam, drank cheap vodka with poet Boris Red (my former colleague on the protection of the geological Museum). Boris portrayed of himself the poet Esenin, and I screamed that I am loved by the artist critique of Benjamin H. D. Buchloh, All money earned in an alley left for medicinal vodka which healed me from lead head. During use, I discovered a strange pattern: the more drunk, the more avant-garde become portraits. And in the end everyone ends black square.

The fact that we kicked out of the Square has played a big role in my fate. When street portraitists went to complain to the regional Ministry of Culture, we were invited to do an exhibition on Chapaeva 10. No one's ever exhibited portraits, street fairs, and we took and put. 

I painted quickly, which allowed that allowed me to take a competitive niche double and triple cartoons. This path has led me back to the drama. (Knowledge of the laws of drama is very important for a portrait).

At the end of the year I made sketches of the characters in the theatrical marathon in Kolyada Theater and surrealistic drawings the theater Roman Viktyuk.

The other picture was 1999.

1998 experiments introduction of contemporary art practice in street portraiture. (Modernization).

At the beginning of ‘98 in the studio U7TV I mastered Photoshop and 3D graphics. After mastering computer programs it became more clear to me from what I could not understand in the traditional teaching. Modern technologies have helped me understand the principles of the modernization of its portraiture.

Between antiquity and the Middle Ages was a religious renaissance painting. Having the experience of church paintings, you can start to upgrade their “Fayum” portrait art to the level of the Renaissance and on to the romantic academism. What I was doing during the summer of '98.

In ‘98 I was working in the same way in the art of baroque three pencils. Then I worked with a romantic vzglyadom.Rabotaya in the salon style of romanticism, so that the girls were like psycho surrounded by nature, I imitated Andrei Petrovich Chertkov.

Chertkov hero Gogol novel Portrait, writing custom portraits salon romanticism style. With the money he bought a work of realistic art and not cut them apart. (Forerunner of Cubism and Futurism).

After hobbies iconography I started doll disease: drawing portraits with big eyes, a long nose and a small mouth. To combat the disease doll, I began to draw cartoons with big lips and small eyes.

In the summer of ‘98 after drawing in the park on the area of ​​the fifth year, in the evening, artists began to paint at the dam. On the dam drew mostly cartoons. In the evening in the dark like a drunken crowd of fun.

Romantic academicism ended with the arrival of cold weather. (Fallen down leaves). We can say that he was expelled impressionism during the natural course of time. Drawing portraits in twenty degrees of frost is almost impossible, but you can draw experience from the model.

In the winter of 98-99, I drew portraits in keeping with Impressionism, as well as …. Cubism and Futurism.

Other images in 1998.

1997 experiments introduction of contemporary art practice in street portraiture. (Between iconography and contemporary art).

In 1997, after the academic studies, I had the idea that for a portrait best academic salon, which is located somewhere between the iconography and contemporary art. Icons - this is the ideal form and canon and contemporary art - PR and advertising.

Earlier this year, I faced the problem of their advertising portrait products. At first I used the images of famous people. Then I realized that my advertising should be hypersexual. The more sexuality in advertising, the greater the desire among consumers and the demand increases production.

This issue was dedicated to ours, with Viktor Davydov, performance «Reproduction of consumer goods sexually.“ The performance was held at the Museum of Fine Arts, the exhibition POST ENEA, and our response was the cloning of Dolly the sheep. At the end of ‘97 performance material turned into a movie and was shown on television.

After the exhibition POST ENEA, Spruce, Mizin, Bulnygin and I went to Kazakhstan to paint the church of St. Nicholas. There I painted images of saints and donators profiles (for themselves), as well as trying to solve an image problem in the plane of the curve. The entire western painting, with its volumes and points of view out of this problem.

At the end of ‘97, I twice went to Moscow. For the first time, to copy at the Tretyakov Gallery, the second
to “TV show.” On the “TV shows” we did Davydov performance: dragged on a stretcher live Telekritika. Also on 7 November, I did a performance called “The Temple of copyright on the red blood cells.”

In 1997, I made a lot of things in the field of contemporary art. It was time to move to Moscow, (given the opportunity). But I did not go, I decided to first learn how to draw portraits.

Other images in 1997.

1996. The experiments of introduction of modern art in the practice of street portraiture. (Beginning, between contemporary art and street portrait).

Between the street and a portrait of modern art huge distance. Creation of modern outdoor portrait reminiscent Fayum portrait. Two thousand years have passed and nothing has changed. The street is not a portrait of modern art, not street art, not contemporary art …

But my practice is a street portraiture began simultaneously participate in the contemporary art EVROCON project. May 31, 96 I finished training portrait in college, and then we went to meet the modern Swiss artists.

Then I took a folding chair Evgeny Arbeneva, we (to Eugene) took to the “penny” where I have drawn his portrait sauce. This was my second attempt at a street painting. 

The first attempt occurred July 2, 1995. On the advice of Alexis Cousin, my partner on the protection of the geological museum, I redrew sitting on the street, accidentally found on watch, photograph of some stranger. Since then, every July 2nd I redraw this picture. my third exit on the coin was held July 2, 1996.

The project EVROCON foreign (mostly Swiss) artists worked contemporary art at the existing plants. I also participated in the process and at the same painted portraits of contemporary artists. Generally,I am preparing to leave in the Square.

In the square, among its “Fayum” colleagues, I immediately arose a terrible reputation for avant-garde, from the desire to work for François Clouet. Work under Clouet in 96 year, I could not … Before going out in the park, on the advice of Nicolas Fedoreeva, I drew portraits of sauce, and painted them more than a hundred. But the sauce is too difficult material, and I am grateful to tip a street portrait of Vladimir Martynov switched to coal. Since mid-August, I also began to paint portraits in the techniques: dry brush, encaustic, tempera and pencil. These techniques have revealed my weak figure, so I got the idea to take a few
private lessons Alexei shovel and Galizdrina Alexander, who taught at the Architectural Institute.

At the end of the 96 year Galizdrin decided to arrange a grand exhibition in his gallery. For this exhibition came up my \"Kinetically metaphysical project on imaginary Perpetuum, which became (thanks to Oleg error Spruce), genetically-metaphysical. The same Spruce invited me to participate in church paintings. 
I wanted to write, but Spruce invited to do ornaments and I agreed. I bought the book and they painted ornaments on my imaginary eternal motors that became the basis of the exhibition \"genetics, energy, terrorism.

Later chromosomal perpetual motion on the other side I drew the first chromosomal portraits.

Other images 1996