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Author: "pARTisan"/ Olga Kopenkina
Keywords: art market, auction, painting, self-organized
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Photo of the event (courtesy of “pARTisan”)
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Photo of the event (courtesy of “pARTisan”)
Date: May 1982
Participants: Alena Byalyaeva, Uladzimer Lapo, Khvedar Saroka, Henadz Khatskeich, Maksim Klimkovich, Ukladzimir Stsyapan, Leanid Eutukh, Ihar Tsyshyn, Valiantsin Dzialendzik, and others
Organizer: Adam Hlobus
Location: Belarusian Art and Theater Institute, Minsk
This underground exhibition-auction took place in the Belarusian Art and Theater Institute in Minsk (now known as the Academy of Arts). Participants included students from the Institute, and untrained artists or painters. Artists exhibited their work for sale so that other artists and friends could buy the work in exchange for a token payment. This was the first attempt to exhibit (and sell) artists’ works outside of the official institutions entiteled for the selection and ranking of the works.
Source: Volha Archipava. Belarusian Avant-garde of the 1980s. ‘pARTisan’s Collection’ series. Minsk 2012. http://partisanmag.by/
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Author: "pARTisan"/ Olga Kopenkina
Keywords: artists’ union, censorship, painting
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Exhibition “1+1+1+1+1=6.” Invitation card for the exhibition. From Andrei Plesanov’s archive. Courtesy: “pARTisan”.
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Exhibition “1+1+1+1+1=6.” On the steps of the House of Writers’ union. Minsk, February 12, 1985. Artists: Ihar Kashkurevich, Ludmila Rusava, Adam Hlobus. Courtesy: “pARTisan”.
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Exhibition “1+1+1+1+1=6”. The visit of the official committee appointed by Ministry of Culture and government agency, which later banned the exhibition. House of Writers’ Union. Minsk, 1985. Photo from Adam Hlobus’ archive. Courtesy: “pARTisan”.
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Exhibition “1+1+1+1+1=6”. View of the installation. Artist Serhey Malishevski. House of Writers’ Union, Minsk. 1985. Adam Hlobus’ archive. Courtesy: “pARTisan”.
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Exhibition “1+1+1+1+1=6”. View of the installation. House of Writers’ Union. Minsk, 1985
Courtesy: “pARTisan”.
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Hanging exhibition “1+1+1+1+1=6” at the House of Writers’ Union. Ihar Kashkurevich’s painting “Still-life” is carried upside down. From Adam Hlobus’ archive. Minsk, 1985. Courtesy: “pARTisan”.
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View of exhibition “1+1+1+1+1=6” at House of Writers’ Union, Minsk. 1985. From Adam Hlobus’ archive. Courtesy: “pARTisan”.
Date: 12 February 1985
Participants: Adam Hlobus, Ludmila Rusava, Ihar Kashkurevich, Siarhei Malisheusky, Jauheniya Lis, Uladzislau Kufko
Organizers: Union of Writers
Location: House of Union Writers, Minsk
The exhibition was organized with support from the Union of Writers, thanks to the efforts of Viktar Karamazau, Mikhas Stratsou and Maksim Tank. Nevertheless, the authorities banned the exhibition even before it was opened. Union of Painters allowed using their premises for a day-long exhibition of paintings. Number of official painters, among which were well-known Mikhail Savitsky and Zair Azgur, subjected the exhibition to heavy-handed criticism blaming the participants in betrayal of socialist realism. The show was met with great appreciation in Belarus artistic circles and stands out as the first open attempt to show to the public new artistic forms and ideas.
Source: Volha Archipava. Belarusian Avant-garde of the 1980s. ‘pARTisan’s Collection’ series. Minsk 2012. http://partisanmag.by/
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Author: "pARTisan"/ Olga Kopenkina
Keywords: artists’ union, painting, self-organized, thematic exhibition
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Exhibition “Painter’s Studio”. Republican House of Art and Theater Union, Minsk, 1987. Painting by Volha Sasikina. From the collection of Andrej Pliasanau. Courtesy: pARTisan.
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Exhibition “Painter’s Studio”. Republican House of Art and Theater union, Minsk, 1987. Painting by Vladzimir Akulau. From the collection of Andrej Pliasanau. Courtesy: pARTisan.
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Exhibition “Painter’s Studio”. Republican House of Art and Theater Union, Minsk, 1987. Painting by Aleh Arlou. From the collection of Andrej Pliasanau. Courtesy: pARTisan.
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Exhibition “Painter’s Studio”. Republican House of Art and Theater Union, Minsk, 1987. Painting by Valery Churkin. From the collection of Andrej Pliasanau. Courtesy: pARTisan.
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Exhibition “Painter’s Studio”. Republican House of Art and Theater union, Minsk, 1987. Painting by Ihar Kashkurevich. From the collection of Andrej Pliasanau. Courtesy: pARTisan.
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Exhibition “Painter’s Studio”. Republican House of Art and Theater Union, Minsk, 1987. Painting by Viktor Shelko. From the collection of Andrej Pliasanau. Courtesy: pARTisan.
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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Author: "pARTisan"/ Olga Kopenkina
Keywords: censorship, environment / installation, irony, non-conformist art, political reflection, site-specificity
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Poster for exhibition “On Kalektarnaya”. Hall of the Institute “Minskgramadzianproject”, Kalektarnaya street, Minsk. September 1987. From archive of Adrej Plesanov. Courtesy: Journal “pARTisan”.
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“On Kalektarnaja”. 1987. View of the exhibition. From archive of Adrej Plesanov. Courtesy: Journal “pARTisan”.
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“On Kalektarnaja”. 1987. View of the exhibition. From archive of Adrej Plesanov. Courtesy: Journal “pARTisan”.
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“On Kalektarnaja”. 1987. View of the exhibition. From archive of Adrej Plesanov. Courtesy: Journal “pARTisan”.
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“On Kalektarnaja”, Minsk, 1987. View of the exhibition. From archive of Adrej Plesanov. Courtesy: Journal “pARTisan”.
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Exhibition “On Kalektarnaja”, Minsk, 1987. Artur Klinau is giving interview. From archive of Artur Klinau. Courtesy: Journal “pARTisan”.
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Exhibition “On Kalektarnaja”, Minsk, 1987. Participants of the exhibition. From archive of Adrej Plesanov. Courtesy: Journal “pARTisan”.
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Exhibition “On Kalektarnaja”, Minsk, 1987. “Patriarch” by Vitaly Rozhkov (a.k.a. Bismark), oil painting. Courtesy: “pARTisan.”
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Exhibition “On Kalektarnaja”, Minsk, 1987. “Murder on Kastrychnickaja Street” by Artur Klinov, oil painting. Courtesy: “pARTisan.”
Date: September–November 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, which 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!”
Document: Nataliya 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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Author: "pARTisan"/ Olga Kopenkina
Keywords: censorship, environment / installation, painting, unofficial event
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Preparations of exhibition “Perspektiva” at Belarusian Institute of Information Technology. Minsk, December 1987. From archive of Alexander Zabauchik. Courtesy: “pARTisan”.
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Exhibition “Perspektiva”. General view. The show room of Belarusian Institute of Information Technology, Minsk. December 22, 1987. From archive of Alexander Zabauchik. Courtesy: “pARTisan”.
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“Another slap in the artists’ face”. The banner of the meeting against the banning of exhibition “Perspektiva”. December 1987, Misnk. From archive of Andrei Plesanov. Courtesy: “pARTisan”.
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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Author: "pARTisan"/ Olga Kopenkina
Keywords: abstract art, avant-garde, environment / installation, painting, performance
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Exhibition “Blo Association”. View of the installation. Courtesy: pARTisan.
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Exhibition “Blo Association”. General view. House of Cinema. 1987. Courtesy: pARTisan.
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Exhibition “Blo Association”. View of the installation. Courtesy: pARTisan.
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Exhibition “Blo Association”. View of the installation. Courtesy: pARTisan.
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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Author: "pARTisan"/ Olga Kopenkina
Keywords: environment / installation, non-art venue, occupied venue, painting, performance
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Exhibition “Panarama” (first survey of the non-official art of Republic of Belarus) at an abandoned building. Minsk, October 13, 1989. Exhibition booklet’s cover. Courtesy: “pARTisan”.
Date: 13 October–4 December 1989
Participants: Individual artists and artist groups such as Galina, Kvadrat, BLO, Forma, Pluralis, Komi-Kon, Bismark, and others
Organized by: Belarusian Cultural Fund (BFK)
Location: Empty house on Handlevaya Street, Minsk
The exhibition “Panarama,” organized by the Belarusian Cultural Fund, was held in an old deserted house on Handlevaya Street in Minsk. It was a very significant event of the decade. Paintings and installations exhibited in empty apartments created an atmosphere of artistic underground. Performances by Belarusian and international artists happened throughout the exhibition. The exhibition catalog “First Survey of Belarus Non-Official Art” was later published. In his introductory article, the artist Ales Taranovich wrote:
“To answer to the question asked by the Belarusian Cultural fund, ‘What kind of exhibition would you like to see the most?,’ the majority of the audience answered, ‘unofficial art.’ When making the decision to organize this exhibition, BFK’s goal was to show the direction that contemporary Belarus art was going by that showcasing the presence of non-Realist traditions: Expressionism, Surrealism, Conceptualism, Pop art, installation, performance, and others.”
Source: Volha Archipava. Belarusian Avant-garde of the 1980s. ‘pARTisan’s Collection’ series. Minsk 2012. http://partisanmag.by/
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Author: "pARTisan"/ Olga Kopenkina
Keywords: art education, avant-garde, collaboration, performative practices, photography
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Exhibition “Beginning”. Dom Kino (House of Cinema), 1989, Minsk. Photograph from series “Red Square” by Vladimir Shaklevich. Courtesy: Vladimir Shaklevich
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Exhibition “Beginning”. Dom Kino (House of Cinema), Minsk, 1989. Photograph from series “Neformali” by Galina Moskalyova. Courtesy: Galina Moskalyova
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Exhibition “Beginning”. Dom Kino (House of Cinema), Minsk, 1989. Sergey Kozhemyakin, “Glasnost”, photograph. 1987. Courtesy: Sergey Kozhemyakin
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Exhibition “Beginning”. Dom Kino (House of Cinema), Minsk, 1989.
“Transformation of an Image” by Sergey Kozhemyakin. 1988. Courtesy: Sergey Kozhemyakin
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Exhibition “Beginning”. Dom Kino (House of Cinema), Minsk, 1989. Photograph from series “Persona non grata” by Uladzimir Parfianok. 1988/93. Courtesy: Uladzimir Parfianok.
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Exhibition “Beginning”. Dom Kino (House of Cinema), Minsk, 1989. Photography from series “Persona non grata” by Uladzimir Parfianok. 1988/93. Courtesy: Uladzimir Parfianok.
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Exhibition “Beginning”. Dom Kino (House of Cinema), 1989, Minsk. Photograph from series “Red Square” by Vladimir Shaklevich. Courtesy: Vladimir Shaklevich
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Exhibition “Beginning”. Dom Kino (House of Cinema), 1989, Minsk. Photograph from series “Elections” by Galina Moskalyova. Courtersy: Galina Moskalyova.
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 1981–86.
Concurrently, informal, creative associations of self-taught photographers such as Pravintsyia, Meta, Bielaruski Klimat, and Panorama started exhibiting between 1987–91.
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