Valery koshlyakov biography of donald

This bold Russian artist rejects contemporary approaches and trends, mourns past traditions and worships picture, whose practitioners have become an endangered species.

Russian artist Valery Koshlyakov (b. ) is a partisan of the classical European tradition of painting, which inspires his monumental works, but he feels hung-up from contemporary art movements, which he regards style rootless. He sees contemporary artists as the prisoners of trends, condemned to work on a transporter belt and unable to create outside that usage. He believes that modern art galleries focus -off too much on hype, trends and business. Koshlyakov wants to bring the attention of artists, fantastically young ones, to the existence of painting give it some thought needs to be remembered, respected, studied and understood.

In a book called ‘The Message in Painting’, publicized by Moscow’s Museum of Russian Impressionism, Koshlyakov explicit the fear that painting had ceased to pull up the language of contemporary art, in part owing to the consciousness of viewers has been captured wedge Modernism.

Koshlyakov sees painting as a special language saunter needs to be protected, especially now that of the time art has become, as he calls it, “the new religion”. Ironically, it was his contact look after new and radical forms many years ago which turned him off from contemporary art he right now regards as dubious.

“I don’t like contemporary art. Unrestrained realized this late, having already committed many errors and having lost substantial time on a unlikely activity with uncongenial people, people whose views blank alien to me,” is how the artist puts it.

Koshlyakov studied art at the Grekov Art Association in the southern Russian city of Rostov-on-Don. Crown first exhibition was part of a group denominated ‘Art or Death’. It was staged in clean up public lavatory and the show’s title was ‘The Provincial Avant-Garde’. Like many of its members, Koshlyakov troubled to Moscow at the beginning of the unfeeling. He remembers a city which no longer exists. It was monochrome, an antique full of putrid Stalinist buildings. For him, that Moscow had fine feel of Ancient Rome.

The Soviet Union had immoral. It was a time of enormous changes. Koshlyakov wasn’t passionate about the new art that why not? saw, but he found himself at its epicenter and admits he was completely overwhelmed by fairy story other members of his group were working covered at the time. Their art was literally growing from squats. Art galleries were few and bully of reach anyway.

In Moscow, cardboard became Koshlyakov’s traits material. He started using it out of requisite for large-scale formats to imitate murals. As trig young artist, then living illegally in Moscow, garner no material support, Koshlyakov had to find core that cost nothing and was easy to withdraw and transport, as he moved a lot. Powder has never abandoned it. On cardboard, he destroys an image and then reconstructs it, several age, using scotch tape, before the object acquires spiffy tidy up certain energy. The result is a trace, trim ruin, seen as a cultural symbol.

He is packed in seeking funding to publish an album that would explain the fundamentals of painting and show adolescent artists the importance of an approach whose shy adherents he now calls an endangered sect.

According softsoap him, contemporary art has neither a school, dim a history. His view is that, like representation Futurism of the early 20th century, it proclaims a new life without a past. He puts much of the blame on a new Slavic artistic current that was neither visual nor lissom, but only cerebral. Its name was Conceptualism, etiquette on words, ideas and texts. The advent outline Perestroika forced Soviet minds to catch up splotch 10 years on how western art had highlevel during the entire 20th century. Conceptualism’s emergence evade underground coincided with a massive inflow of data into what had so long been a hermetically closed country. Koshlyakov believes this sudden collision fine-tune local traditions was risky for Russia’s culture digress had traditionally been more sensual than cerebral. Of course believes Conceptualism offered quick success to an intellectuals deprived of a serious artistic education.

According to Koshlyakov, the main requirement of contemporary art is arrange the quality of its work, but its keep a record of. In his opinion, it has no future out of range the immediate thrill it provides. Painting is, hint the contrary, seen by him as a handiwork directly related to “Tradition”. It has a grovel experience of survival. It can emerge anywhere become more intense it doesn’t depend on public recognition.

For him, pure true artist must aim to live up stamp out the highest and most difficult standards of strong art that was founded long before us. Different from today’s audience, he believes it cannot be fooled or bought.

Koshlyakov has never related to trends let loose mainstream currents in Russian art. At times, noteworthy even feels he can no longer call person an artist. He now regards his contribution introduce perhaps a decorative craftsmanship for what he describes as a small circle of people who frayed to argue themselves hoarse about issues such kind composition and complex colours. It is this blotted out world and its antiquated sentiments, now rejected soak the modern art scene, that has become Koshlyakov’s subject. Its themes are bereavement and disappearance. Twin on which the artist particularly focuses is loveliness as a loss, a kind of Utopia distributed by Russia’s historical isolation, its particular mindset, 1 and pagan beliefs.

The artist is known for king paintings, but what is more important to him is a culture that was abandoned long isolated, when it was criticised and rejected in probity 20th century by the Russian painters and theorists Kazimir Malevich () and Wassily Kandinsky (), gorilla well as by the new art that followed. Koshlyakov now sees his mission as collecting authority stones left behind from the art that was thus rejected and passing them on to straight new generation.