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Exhibitions of Igor Gusev and Sergey Anufriev held in Montenegro

From October 21 to October 27, the Slovonovo Forum of Russian Culture in Europe organized by Marat Gelman was held in Montenegrin Budva. Among the exhibitions opened during the Forum, there were also exhibitions of two Odessa citizens, Igor Gusev and Sergey Anufriev, who performed a little earlier as the art group MIR, and now present their works separately.The works of Igor Gusev, written in the style characteristic of his newest creativity - a bright, festive reflection of the artist on the Montenegrin landscape that surrounds him. The development of the genre from antiquity to the present day: how religion and the invention of oil painting techniques contributed to the formation of the genre in Europe and why the river is so important Hudson? Read more . The first time they were exhibited in the same place, in Montenegro, at the exhibition “Confession of a resident”.The artist's house in Kotor, where Gusev had a residence, was a building of the former Montenegrin Shipping Company. Wet, half-rotten books were lying around in the rooms, and the artist decided to give them a second life. Thus, in addition to landscapes, a series of flowers appeared, painted on sections of old books.The works presented by Sergei Anufriev are completely different, they represent the author’s attempt to reflect on the sphere of the unconscious. Presented in three halls, the project is called: "Guide to the unconscious."Here is what the author himself says about the project:
“Guide to the unconscious. 1 room. Islands. This line is unique in my creative pattern, it plays the role of “appearing basis”.
Beginning in 1989, after a six-month stay in West Berlin at the age of 24, this series has been going on for almost 30 years, which for me, an adept of wind and flow, is extremely uncharacteristic. Once I just "saw" islands in graphic design, like classic prints and drawings. They were messages in a language in which elements of the landscape become letters of the alphabet. The conceptual project essentially gained clarity of expression at the expense of a certain degree of conventionality of the visual language, which creates the effect of the presence in the “inner space” of the image. The game of perception distracts the viewer's mind from the monotony of the same type of pictures, reminiscent of encryption, coded message diaries, vintage expedition albums or retro style guidebook. For the author, this line, opposing the innovation, balances the dynamics of the process, similar to the practice, where there are dynamic and static forms. The islands are a meditation on Amrita, an affirmation of perfection, peace, clarity and grandeur in the midst of the chaos of existence. The true meaning of the series will be revealed after the 1000th island. ”“Hall 2 Silhouettes. Since childhood, I have been fascinated by classicism. Classicism has firmly established itself in the European art of the 17th century, having surrendered its positions only in the first third of the next century. Classicists worshiped antiquity, piously believed in the idea of ​​the order and logic of the universe, as well as in the limitless possibilities of the human mind. Read further, and as an indication of the tradition of ingenious simplicity and divine perfection, coming from ancient art, and as a harmonious and divine symphony of intellect and spirit. In particular, I have always loved Russian classicism. Classicism firmly settled in the 17th century European art, having surrendered its positions only in the first third of the next century. Classicists worshiped antiquity, piously believed in the idea of ​​the order and logic of the universe, as well as in the limitless possibilities of the human mind. Read further, where the main thing for me was the magical art of Fyodor Tolstoy. In particular, he admired his mastery of silhouette, and this admiration intensified many times from the parallel children's imprint. In Odessa, in Deribasovskaya Street, in the City Garden, old Jews, speaking Yiddish among themselves, in berets with bird eyes, cut out silhouette portraits of passers-by, and did it literally on the move, instantly and fantastically exactly, glittering in the sun with nail scissors. The silhouette cut out of black paper was so consistent with the profile of the original that it seemed like a miracle. By the way, for me the secret of such skill remains incomprehensible to this day. Vigilant eyes and scissors worked masterpieces in the heart of Odessa for many years. Today, this professional specialization is “bent” along with the old masters, true artists, in the anonymity of their following ancient and classicist traditions. ”“Hall 3 Guide to the Unconscious. To understand the new series, you need to know about the coordinate system in which the statement is made. Modernism made the conquest of a new continent (opened by Z. Freud), to the conquista of the Unconscious, whose aggression was embodied by the avant-garde ideology. Postmodernism colonized, mastered and mapped the conquered continent (described by J. Lacan through an analogy with language), in its ideology an incomparably greater knowledge of the nature of the Unconscious is expressed.
Patterning in this scheme is similar to tourism. This infrastructure appears as an add-on in a colonized area and is a civilization in its true meaning. Instruktivizm - the main state in the field of patterning, - likens art to the Unconscious Guide, atlas and navigator, the artist here is a guide, stalker, guide, conductor, guard of portals, and the work becomes Ariadne's Clew in the Labyrinth, a compass, a vine and a guide star. Instruktivizm helps to live in a new picture of the world - Multiverse. You can finally say that in this picture there is no place for the Unconscious, it simply does not exist anymore. So - there is no unconscious! ”.At the same time, exhibitions of Alexey Plutser-Sarno (“The History of the War Group”), Vladimir Dubosarsky, Dmitry Vrubel and Victoria Timofeyeva, Yaroslav Schwarzstein and Vladmir Sorokin opened at the “Slovonovo”. After the show in Montenegro, Igor Gusev and Sergey Anufriev plan to present their works in London and Kiev. Arthiv: read us in Telegraf and look in Instagram
The author of the text and photo: Evgeny Demenok.

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