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Painter’s Studio – exhibition

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Date: 18 February–3 March 1987

Participants: Uladzimir Akulau, Andrej Bialou, Volha Sasikina, Siarhej Vishanka, Ihar Kashkurevich, Artur Klinau, Andrej Pliasanau, Ihar Savitsky, Aliadsandr Taranovich, Henandz Khatskevich, Uladzimir Tsesler, and others

Organizers: Andrej Pliasanau

Location: Republic House of Artists of Belarusian Theatre Union, Minsk

The idea for this exhibition came from Andrej Pliasanau who commissioned independent painters (meaning not associated to the Artists’ Unions) to produce works on the theme of the “painter’s studio.” It was the first time that an exhibition of individual artists’ work from a private collection was organized. It included sixty-four artworks by thirty-nine artists, and was one of the first major group exhibitions of independent art. Approximately four hundred people attended the exhibition opening, and 150–200 viewers came to see the show in the following days.

Source: Volha Archipava. Belarusian Avant-garde of the 1980s. ‘pARTisan’s Collection’ series. Minsk 2012. http://partisanmag.by/


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On Kalektarnaya – exhibition

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Date: SeptemberNovember 1987

Participants: Aliaksej Zhdanau, Todar Kopsha, Artur Klinau, Andrej Pliasanau, Vital Razhkou

Organizer: Forma, the alternative artists collective

Location: Minskgramadzanproject Institute, Kalektarnaya street, Minsk

This exhibition introduced a non-conformist approach to space organization. It stirred up an official criticism resulted in several attempts to close down the show. A telegram asking for support was sent to Raisa Gorbacheva (the wife of the head of the USSR government). It read: “Dear Mrs. Raisa Gorbacheva! The first exhibition of young painters was opened in Minsk but the authorities are trying to shut it down. Please, protect our cultural endeavors!”

DocumentNataliya TATUR: Exhibition on Kalektarnaya, 4—Fragments From the Book of Remembrance (2004)

Source: Volha Archipava. Belarusian Avant-garde of the 1980s. ‘pARTisan’s Collection’ series. Minsk 2012. http://partisanmag.by/


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Beginning – photography exhibition

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Date: 1989

Participants: Galina Moskaleva, Vladimir Shakhlevich, Uladzimir Parfianok, Sergey Kozhemyakin and others.

Location: House of Cinema (Dom Kino), Minsk

Their photographic works demonstrated an approach to photography as a form of contemporary visual art that inherited the experimental and innovative traditions of avant-garde art.

“Beginning” was one of the most significant Belarusian photography exhibitions in the ‘80s. The show presented work by Valery Lobko’s students. Lobko was a prominent teacher of experimental photography, and ran workshops on creative photography between 198186.

Concurrently, informal, creative associations of self-taught photographers such as Pravintsyia, Meta, Bielaruski Klimat, and Panorama started exhibiting between 198791.

 

 


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The Perspective – exhibition

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Date: 22 December, 1987

Participants: Andrej Bialou, Sirhej Voichanka, Aliaksej Zhdanau, Aliadsander Zabauchyk, Ihar Kashkurevich, Artur Klinau, Todar Kopsha, Valery Pesin, Andrej Pliasanau, Ludmila Rusava, Uladzimir Tsesler

Location: Belarusian Institute of Information Technology, Minsk

The big-scale exhibition has become a legend of the 1980s. It is believed to be a starting point in the history of Belarusian art. The opening of the exhibition was banned and the participants under the guidance of Andrej Pliasanau and Aliaksander Dabravolsky started a demonstration and protest action. They headed towards City’s Party Committee (Gorkom) carrying posters and paintings. As a result, they got permission to open the exhibition.


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Exhibition of “Blo” Association

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Date: 1987

Participants: Ilona Baradulina, Huzel Zalayeva, Artur Klinau, Lus (Andrej Lusikau), Siathej Pilat, Valery Pesin, Vital Charanbrysau

Location: House of Cinema, Minsk

The exhibition of artists group called “BLO Association” in the House of Cinema (now – The Red Cathedral) comprised individual and collectively-produced paintings, installations and performances. “The Songs of a Superman” was performed by Artur Klinau at the opening. The exhibition was the first group show presenting the works of artists who were not associated with official Art Academy and felt unrestrained in their methods and approaches. As opposed to ‘academic’ artists who emphasized the importance of the early avant-garde tradition, geometrical abstraction, picture-based works, they used pop-culture imagery and trash in their installations.


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