log in
Enter site
Login to use Arthive functionality to the maximum
Masculine. Loss of the middle.
Exhibition 6 − December 20, 2023
Masculine. Loss of the middle.
on December 6, 2023, at 19:00, Omelchenko Gallery opens the exhibition.
The philosopher of art Hans Siedlmayr wrote a book in the twentieth century called The Loss of the Middle. In it, he presented a personal version of what happened to art in its movement from the Middle Ages to modernism. And what happened, according to Zedlmayr, a catastrophe: the thinning of all divine, the replacement of God with idols and imitations. In the process of civilization development, faith, including faith in ourselves, waned. In the Middle Ages, in the Renaissance, in the Baroque, the center of the world was the Temple, the Church. In the New Age: Museum and Theater. In the newest - Industrial concern, Office. Man loses his footing in the meaningful structure of the universe. Giant perspectives of meanings about God, giving hope for eternal life and filling earthly life with meaning are replaced by a world with a hole in the center. And this hole is simulatively covered by the ghosts of entertainment or business. And man stands naked, lost, alone in an empty universe.
I think that Tanya Strelbitskaya's art depicts this tragedy in her images with a dislocated soul and joints. And her main characters are representatives of the stronger sex, which can turn out to be very weak.
After the Second World War, it became clear that the masculine machista civilization had suffered a crushing defeat in the deepest crisis of humanism as such. Attempts at its restoration today are doomed. Since the end of the Second World War, artists who deny any canon and beauty in art have emerged in Europe as a powerful front. Self-humiliation, literally - trampling in the mud, destroying a beautiful painting - these were the methods of therapy for the bleeding wounds that the war had inflicted. The reaction to the atrocities of Nazism was the humiliation, the self-mutilation of art, the relegation of the artist to the role of victim rather than genius. Michel Tapi, Jean Dubuffet, Wols, Fautrier, and the international association CoBrA became the founders of the styles of Art Brut, Tachisme, Informel. The artists showed themselves adherents of "matierism" - rough painting, created as if a spatula on the plaster. In this painting, the main thing was the dough itself, the earth of the substance. It oozed blood, and strange mutants, either monsters or humans, were born from it. They squirmed and suffered. The wounds of war, the traumas of the psyche had to be overcome in an honest artistic gesture.
Tanya Strelbitskaya, a unique Artist, guru of the unofficial art of the present day, has taken upon herself the cross and responsibility to re-suffer all the squirming and pain of art-brut. Unlike the genius bearer of the brut-punk idea Basquiat, Strelbitskaya made a projection of this method not on a specific biography, but on the male species as a whole. Leaders, warriors, chiefs... On her canvases they grieve, suffer. Their bodies are dislocated, their postures broken. The rough surface of the painting molds their figures as if in relief, makes their faces like the stage masks of Oedipus, Tiresias, Achilles or Piero from comediadell'arte. Strelbitskaya's male civilization are not leaders at all, but children, victims of a cruel world. They demand protection, attention. And the revival of the "dirty" aesthetics of art-brutus becomes a unique therapy, according to the principles of contrast - appealing to tenderness, compassion, love.
One of the portraits at the exhibition is dedicated to the director Roman Viktyuk. Roman Viktyuk was for Tanya Strelbitskaya a mentor, a friend, a model of honor and truth in creativity. He was able to uniquely expose the anatomy of the soul, using all the fierce, brutal styles of theater art, from Brechtian drama to cabaret guignol. Viktyuk was able to debunk the myth of the hero without fear and reproach, to expose the innermost, defenseless that defines the essence, the core of the character. The string of images seems to embody this reflective, anti-heroic essence of Strelbitskaya's poetics, which was influenced by Expressionism, Art Brutus, and the method of anatomy of the soul at the Viktyuk Theater.
Sergey Khachaturov
The opening of the exhibition will take place on 06.12.2023, 19:00
The gallery's opening hours are Tuesday through Sunday
Dates: 07.12.2023 - 20.12.2023
Working hours: WT-PT from 13:00 to 20:00
Sat-Sun from 12:00 to 20:00
Address: m. Kropotkinskaya, Arbatskaya, Smolenskaya,
Starokonyushennyushenny per. 32
Website www.omelchenkogallery.com
E-Mail omelchenkogallery@gmail.com
E-Mail tanyafund@yandex.ru
on December 6, 2023, at 19:00, Omelchenko Gallery opens the exhibition.
The philosopher of art Hans Siedlmayr wrote a book in the twentieth century called The Loss of the Middle. In it, he presented a personal version of what happened to art in its movement from the Middle Ages to modernism. And what happened, according to Zedlmayr, a catastrophe: the thinning of all divine, the replacement of God with idols and imitations. In the process of civilization development, faith, including faith in ourselves, waned. In the Middle Ages, in the Renaissance, in the Baroque, the center of the world was the Temple, the Church. In the New Age: Museum and Theater. In the newest - Industrial concern, Office. Man loses his footing in the meaningful structure of the universe. Giant perspectives of meanings about God, giving hope for eternal life and filling earthly life with meaning are replaced by a world with a hole in the center. And this hole is simulatively covered by the ghosts of entertainment or business. And man stands naked, lost, alone in an empty universe.
I think that Tanya Strelbitskaya's art depicts this tragedy in her images with a dislocated soul and joints. And her main characters are representatives of the stronger sex, which can turn out to be very weak.
After the Second World War, it became clear that the masculine machista civilization had suffered a crushing defeat in the deepest crisis of humanism as such. Attempts at its restoration today are doomed. Since the end of the Second World War, artists who deny any canon and beauty in art have emerged in Europe as a powerful front. Self-humiliation, literally - trampling in the mud, destroying a beautiful painting - these were the methods of therapy for the bleeding wounds that the war had inflicted. The reaction to the atrocities of Nazism was the humiliation, the self-mutilation of art, the relegation of the artist to the role of victim rather than genius. Michel Tapi, Jean Dubuffet, Wols, Fautrier, and the international association CoBrA became the founders of the styles of Art Brut, Tachisme, Informel. The artists showed themselves adherents of "matierism" - rough painting, created as if a spatula on the plaster. In this painting, the main thing was the dough itself, the earth of the substance. It oozed blood, and strange mutants, either monsters or humans, were born from it. They squirmed and suffered. The wounds of war, the traumas of the psyche had to be overcome in an honest artistic gesture.
Tanya Strelbitskaya, a unique Artist, guru of the unofficial art of the present day, has taken upon herself the cross and responsibility to re-suffer all the squirming and pain of art-brut. Unlike the genius bearer of the brut-punk idea Basquiat, Strelbitskaya made a projection of this method not on a specific biography, but on the male species as a whole. Leaders, warriors, chiefs... On her canvases they grieve, suffer. Their bodies are dislocated, their postures broken. The rough surface of the painting molds their figures as if in relief, makes their faces like the stage masks of Oedipus, Tiresias, Achilles or Piero from comediadell'arte. Strelbitskaya's male civilization are not leaders at all, but children, victims of a cruel world. They demand protection, attention. And the revival of the "dirty" aesthetics of art-brutus becomes a unique therapy, according to the principles of contrast - appealing to tenderness, compassion, love.
One of the portraits at the exhibition is dedicated to the director Roman Viktyuk. Roman Viktyuk was for Tanya Strelbitskaya a mentor, a friend, a model of honor and truth in creativity. He was able to uniquely expose the anatomy of the soul, using all the fierce, brutal styles of theater art, from Brechtian drama to cabaret guignol. Viktyuk was able to debunk the myth of the hero without fear and reproach, to expose the innermost, defenseless that defines the essence, the core of the character. The string of images seems to embody this reflective, anti-heroic essence of Strelbitskaya's poetics, which was influenced by Expressionism, Art Brutus, and the method of anatomy of the soul at the Viktyuk Theater.
Sergey Khachaturov
The opening of the exhibition will take place on 06.12.2023, 19:00
The gallery's opening hours are Tuesday through Sunday
Dates: 07.12.2023 - 20.12.2023
Working hours: WT-PT from 13:00 to 20:00
Sat-Sun from 12:00 to 20:00
Address: m. Kropotkinskaya, Arbatskaya, Smolenskaya,
Starokonyushennyushenny per. 32
Website www.omelchenkogallery.com
E-Mail omelchenkogallery@gmail.com
E-Mail tanyafund@yandex.ru
