INTARSIA, OR IMPOSSIBLE CONNECTION

Impossible combination, our contemporaries. This time the Tambov Regional Picture Gallery gathered masters of all kinds: painters, graphic artists, sculptors. Their works are united by two opposite tendencies: on the one hand - tribute to tradition, on the other - focus on experiment. The line of "preservation of tradition" today is no longer thought through the opposition of "academy" and "avant-garde". "Traditional" in contemporary art practice implies a connection with the inherent human need to depict - to depict both the visible and the invisible, using various materials and technical means. The "leap" that took place at the turn of the 19th-20th centuries from the representation of objects to the analysis of the visual language as such and the own possibilities of painting, graphics and sculpture, the search for an absolute visual language and the emergence of objectless representationalism not only preserves but also aggravates the awareness that art belongs to aesthetic space and has the right to artisticity. The emergence of redimage, and later the development of digital technology, has called this right into question. The transfer of the process of creating a work of art from the artist's hands into the hands of the worker leads to a devaluation of his or her professionalism. And not only that. The basic component of artistic practice - connection with the outside world, emotional experience of impressions and the search for graphic and expressive equivalents corresponding to them - is suppressed. The artists represented in the exhibition are open to experiment, continuing the line initiated by the avant-garde in a contemporary context, in a dialogue with postmodernist trends and artifacts. They are moving away from the dilemma of the objective-unobjective toward a new problematic field: the being-virtual. Their images are graphic, aspiring to the sign, reminiscent in part of the work of Aristarkh Lentulov, Pavel Filonov, Vladimir Tatlin, Paul Klee, Piet Mondrian..... But the actualization of beingness and its connection to reality suggests a shift toward sensuality, emotionality, lyricism, and, perhaps, a greater spontaneity. However, this shift towards the living human feeling remains the indispensable transformation of the latter, thanks to the professional gesture and mediator material, into the rhythm of masses, forms, color spots, lines, points and the organization of this rhythm on the plane or in space, which guarantees the preservation of the works in the field of aesthetics.

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