Elbeg Zandraev's exhibition In you beautiful world

Result #1

Elbeg Zandraev's exhibition In you beautiful world: A retrospective of the post-Soviet artist, curated by Slavina Gezohkova, was organized in collaboration with the Ukrainian Ministry of Culture and Science, the University of Virginia, the Institute of Contemporary Art and Design, and the Museum of Contemporary Art in the United States. In the last two decades of the 20th century, the first generation of Soviet artists, the so-called post-avant-garde, continued to flourish in the fields of art, design, and architecture, while the second generation of artists, born during the 30s and 30s, continued to pursue the artistic field. In the last few decades, however, the post-avant-garde artists, many of whom came from the avant-garde milieu, began to disappear from the art scene.Many of the artists who participated in the post-avant-garde are among the most important figures of the 20th century. The post-avant-garde artists, especially those born during the 30s, have been one of the most important elements in the development of avant-garde art. For example, Mikhail Gorbachev's late friend and political mentor, the late Aleksandr Rodchenko, was an avant-garde artist in his own right, as was Yuri Andriyev, the younger brother of the avant-garde master Sergei Rodchenko. The post-avant-garde artists, on the other hand, are mostly forgotten. In the early 60s, for example, the post-avant-garde artists were considered the major precursors of the avant-garde movement. Although they were not officially represented in the post-avant-garde art world, they did manage to establish a positive influence on the artistic milieu.

Result #2

Elbeg Zandraev's exhibition In you beautiful world, at the Center for Contemporary Art, New York, was a high-tech display of the artists work. The show was divided into three parts: the first, a retrospective of Zandraev's work, presented as a series of two-dimensional paintings; the second, drawings and collages; and the third, a vast array of framed prints and drawings. The first part of the show, titled In you beautiful world, comprised a group of painted canvases that Zandraev had hung on the walls of the gallerys front room. The paintings had been painted on the same white canvas, a common material used for painting in the Soviet era, that Zandraev had used as a base for his work. The collages were made of found objects and found objects, as well as old and new photographs. The drawings, paintings, and prints were made from the same materials as the paintings, and were hung on the walls of the gallerys front room. The photographs were printed on the backs of canvas panels, which were often broken into rectangles. In the back room, Zandraev presented a series of collages made from photographs of the same found objects as the paintings. The collages, all dated between 2006 and 2008, were organized according to the artists favorite subject: flowers. In the middle of each collage was a small, framed photograph of a flower. The collages were made from the same materials as the paintings, and the flower images were placed on the back wall of the room. Zandraev selected a particular flower from each collage, and the flower was then carefully cut out and framed with a wooden block. The flower was then glued to the back wall of the room, and the block was attached to the collage. The flowers were arranged in a grid, like a composition in a musical score, and the collages were placed in a single row on the wall.

Result #3

Elbeg Zandraev's exhibition In you beautiful world, 2007, drew from the collections of the Metropolitan Museum of Art and the Museu de Arte Reina Sofía, where it was first exhibited in 2004. Here, the exhibition introduced a number of themes: the history of modernism, the role of the museum in contemporary art, and the relationship of art to society. The exhibition was organized in a chronological sequence, with a focus on the early twentieth century.The exhibition took its title from an article by the historian Max Wechsler published in 1962, in which he identified modernism as a reaction to the social, political, and economic conditions of the time. Wechss statement was echoed by Wechsler's own essay in the catalogue. Wechsler, in his essay, explains that modernist art aimed to develop a new type of social order. Modernism is not to be understood in terms of any of the institutions that Wechsler, and his followers, regarded as the sources of modernism. Modernism is a social order. Modernism is not an institution that is a means to an end; it is an institution that is an end in itself. Wechsler sees modernism not as an institutional, but rather as an ideal of social order. Modernism is a kind of social order. Modernism is not an institution, but rather an ideal that is the result of an institutional structure. Modernism is not a social order, but rather an ideal that is the result of an ideal structure. Modernism is not an institution, but rather an ideal structure. Modernism is not an institution, but rather an ideal structure. Modernity is not an institution, but rather an ideal structure. Modernity is not an institution, but rather an ideal structure.Modernity is not an institution, but rather an ideal structure. Modernity is not an institution, but rather an ideal structure. Modernity is not an institution, but rather an ideal structure.

Result #4

Elbeg Zandraev's exhibition In you beautiful world, 2013, represented the culmination of a series of meetings between the artist and Zandraev, which took place in the artists studio in the same building as the gallery. In the past, Zandraev had demonstrated that she was able to create and assemble polyhedral shapes in a single sheet of paper. But since then, she had also developed a new technique for her work, using a laser to create the shapes and then assembling them on canvas. In this latest series of works, she was able to combine the two materials. The resulting works, titled In you beautiful world, 2013, allude to the relationships between geometry and architecture, and also to the unity of the human body. The first works are made of stacked cubes of various shapes, from triangles and rectangles to cubes and rectangles. The last, in the form of a rectangle, was made of three stacked cubes. Zandraev then layered the layers in a grid, which is based on the same principle as the grid used to build the buildings in the exhibition. The result is a complex and multilayered system, with the result that the complexity is not only in the internal structure but also in the external environment. The grid is the basis of all physical laws, and the body is the foundation of all physical laws.The sculptures and constructions on display here are derived from Zandraev's previous works, such as the polyhedron sculptures, from 2010, and the geometric constructions, from 2013. The most striking thing about these works is the sheer number of objects that they contain, which is more than the number of people who have visited the gallery. In addition to the sculptures and constructions, Zandraev also uses the same materials in her drawings. In the drawings, each object is comprised of three discrete units—the building blocks of a building—that she has used in previous works. The drawings are also based on a mathematical system that she developed for the polyhedron sculptures.

Result #5

Elbeg Zandraev's exhibition In you beautiful world, which was organized by the Galeria Onderzo in Vienna, was on view for the first time in a museum exhibition. The show was divided into three sections: a series of slides and videotapes, some of which were accompanied by a photograph; a large wall-mounted video; and a hand-drawn map, one of the artists own.The first of the two-channel video installations, In you beautiful world, 2008, was based on the notion of an image, a certain world. The artist-performers, who range from young artists to older masters, include the poet, novelist, and philosopher Anish Kapoorswamy, filmmaker and film director Anant Chitrakarshi, and the writer, writer, and poet N. N. M. W. Nauman. The artists take turns playing various roles in the video, which is shot in the middle of a natural setting: The artists live in the middle of the desert, and their scenes are filmed in an abandoned house, the desert itself, and other places. They also use a robotic arm to play the video, which is projected onto a wall-mounted monitor, and that casts shadows on the walls. The video itself is divided into three sections: a sequence of stills taken from the beginning of the video, a sequence of stills from the middle of the video, and a sequence of shots of the desert.In the middle of the video, the artists engage in a dialogue with a mysterious figure, who appears as a balding man who looks out from the camera and speaks to them in German. The artist-performers also appear as disembodied heads. They sit on the floor, speak with one another, and exchange information about their lives. The video is divided into four sections: a sequence of stills from the beginning, a sequence of stills from the middle, and a sequence of shots of the desert.