Mikhail Roginsky. Beyond the Red Door. Organized by: IN ARTIBUS Foundation. Venue: Ca' Foscari University, Venice
"Beyond the Red Door", organized by the Mikhail Roginsky Foundation in cooperation with Centre of Studies of Russian Art CSAR, Ca' Foscari University will accompany the14th Architecture Biennale in Venice. The exhibition presents work from the artist’s mature period (1978-2003), following his emigration from Moscow to Paris in 1978, where he remained until his death in 2004. The exhibition offers a unique perspective, since it is the first time that Roginsky’s Paris era is covered so extensively. The show presents 120 paintings made during his final decade as an artist, supplemented with photographic and video materials. Many works will be on public display for the first time.
The documentary film "Artist Mikhail Roginsky" (25 min) by Vadim Zakharov will also be presented. Zakharov, who represented Russia at the Biennale last year at the Russian Pavilion, portrayed Roginsky in his Paris studio in the year 2000.
Roginsky was as interested in the conceptual meaning of painting as he was in the essential themes of color, form and composition. This approach makes his work perfectly suited to the theme of this year’s Architecture Biennale: “Fundamentals”, curated by Rem Koolhaas. The exhibition design is by renowned Russian architect Eugene Asse. Meanwhile, his stylized, conceptual works also tell a more human story: that of the 20th century émigré who is unable to find a new identity after the loss of his homeland, remaining forever bound to his past.
Roginsky believed that there was too much repetitiveness and conventionality in painting. Throughout his career, he sought to redefine artistic language into something that was universal and new, unburdened by tradition or what he believed to be the hypocrisy of many ideologies. His attempts to tackle specific problems in painting during his last decade as an artist are traced in the exhibition’s eight sections.
His subjects are often deceptively mundane, from teapots to street scenes, which remain strongly evocative despite their faded colors and near-abstraction. In two sections of the exhibition, the artist reframes and portrays everyday objects. The eight exhibition sections testify how Roginsky’s work is both instinctive and analytical. A rational, conceptual approach to painting plays as big a part in his work as the more personal influence of memory. Well-versed in the techniques of the 20th century’s various movements, he parodies, distorts and draws upon a wide spectrum of styles, including advertising, social realism, expressionism, cubism and new objectivity – echoes of art history viewed through the prism of exile.
The exhibition begins with Roginsky’s iconic "Red Door" (1965), the only Russian piece in the show. The other works present life literally and figuratively beyond this Red Door: the works by an exile artist who has broken through the iron curtain. In his Paris works, it appears as though a cloudy gray filter has been placed over a more brilliant color scheme. Resulting – despite the subdued colors and everyday themes – in a body of work that is unexpectedly arresting.
The documentary film "Artist Mikhail Roginsky" (25 min) by Vadim Zakharov will also be presented. Zakharov, who represented Russia at the Biennale last year at the Russian Pavilion, portrayed Roginsky in his Paris studio in the year 2000.
Roginsky was as interested in the conceptual meaning of painting as he was in the essential themes of color, form and composition. This approach makes his work perfectly suited to the theme of this year’s Architecture Biennale: “Fundamentals”, curated by Rem Koolhaas. The exhibition design is by renowned Russian architect Eugene Asse. Meanwhile, his stylized, conceptual works also tell a more human story: that of the 20th century émigré who is unable to find a new identity after the loss of his homeland, remaining forever bound to his past.
Roginsky believed that there was too much repetitiveness and conventionality in painting. Throughout his career, he sought to redefine artistic language into something that was universal and new, unburdened by tradition or what he believed to be the hypocrisy of many ideologies. His attempts to tackle specific problems in painting during his last decade as an artist are traced in the exhibition’s eight sections.
His subjects are often deceptively mundane, from teapots to street scenes, which remain strongly evocative despite their faded colors and near-abstraction. In two sections of the exhibition, the artist reframes and portrays everyday objects. The eight exhibition sections testify how Roginsky’s work is both instinctive and analytical. A rational, conceptual approach to painting plays as big a part in his work as the more personal influence of memory. Well-versed in the techniques of the 20th century’s various movements, he parodies, distorts and draws upon a wide spectrum of styles, including advertising, social realism, expressionism, cubism and new objectivity – echoes of art history viewed through the prism of exile.
The exhibition begins with Roginsky’s iconic "Red Door" (1965), the only Russian piece in the show. The other works present life literally and figuratively beyond this Red Door: the works by an exile artist who has broken through the iron curtain. In his Paris works, it appears as though a cloudy gray filter has been placed over a more brilliant color scheme. Resulting – despite the subdued colors and everyday themes – in a body of work that is unexpectedly arresting.
Mikhail Roginsky. Beyond the Red Door. Organized by: IN ARTIBUS Foundation. Venue: Ca' Foscari University, Venice
"Beyond the Red Door", organized by the Mikhail Roginsky Foundation in cooperation with Centre of Studies of Russian Art CSAR, Ca' Foscari University will accompany the14th Architecture Biennale in Venice. The exhibition presents work from the artist’s mature period (1978-2003), following his emigration from Moscow to Paris in 1978, where he remained until his death in 2004. The exhibition offers a unique perspective, since it is the first time that Roginsky’s Paris era is covered so extensively. The show presents 120 paintings made during his final decade as an artist, supplemented with photographic and video materials. Many works will be on public display for the first time.
The documentary film "Artist Mikhail Roginsky" (25 min) by Vadim Zakharov will also be presented. Zakharov, who represented Russia at the Biennale last year at the Russian Pavilion, portrayed Roginsky in his Paris studio in the year 2000.
Roginsky was as interested in the conceptual meaning of painting as he was in the essential themes of color, form and composition. This approach makes his work perfectly suited to the theme of this year’s Architecture Biennale: “Fundamentals”, curated by Rem Koolhaas. The exhibition design is by renowned Russian architect Eugene Asse. Meanwhile, his stylized, conceptual works also tell a more human story: that of the 20th century émigré who is unable to find a new identity after the loss of his homeland, remaining forever bound to his past.
Roginsky believed that there was too much repetitiveness and conventionality in painting. Throughout his career, he sought to redefine artistic language into something that was universal and new, unburdened by tradition or what he believed to be the hypocrisy of many ideologies. His attempts to tackle specific problems in painting during his last decade as an artist are traced in the exhibition’s eight sections.
His subjects are often deceptively mundane, from teapots to street scenes, which remain strongly evocative despite their faded colors and near-abstraction. In two sections of the exhibition, the artist reframes and portrays everyday objects. The eight exhibition sections testify how Roginsky’s work is both instinctive and analytical. A rational, conceptual approach to painting plays as big a part in his work as the more personal influence of memory. Well-versed in the techniques of the 20th century’s various movements, he parodies, distorts and draws upon a wide spectrum of styles, including advertising, social realism, expressionism, cubism and new objectivity – echoes of art history viewed through the prism of exile.
The exhibition begins with Roginsky’s iconic "Red Door" (1965), the only Russian piece in the show. The other works present life literally and figuratively beyond this Red Door: the works by an exile artist who has broken through the iron curtain. In his Paris works, it appears as though a cloudy gray filter has been placed over a more brilliant color scheme. Resulting – despite the subdued colors and everyday themes – in a body of work that is unexpectedly arresting.
The documentary film "Artist Mikhail Roginsky" (25 min) by Vadim Zakharov will also be presented. Zakharov, who represented Russia at the Biennale last year at the Russian Pavilion, portrayed Roginsky in his Paris studio in the year 2000.
Roginsky was as interested in the conceptual meaning of painting as he was in the essential themes of color, form and composition. This approach makes his work perfectly suited to the theme of this year’s Architecture Biennale: “Fundamentals”, curated by Rem Koolhaas. The exhibition design is by renowned Russian architect Eugene Asse. Meanwhile, his stylized, conceptual works also tell a more human story: that of the 20th century émigré who is unable to find a new identity after the loss of his homeland, remaining forever bound to his past.
Roginsky believed that there was too much repetitiveness and conventionality in painting. Throughout his career, he sought to redefine artistic language into something that was universal and new, unburdened by tradition or what he believed to be the hypocrisy of many ideologies. His attempts to tackle specific problems in painting during his last decade as an artist are traced in the exhibition’s eight sections.
His subjects are often deceptively mundane, from teapots to street scenes, which remain strongly evocative despite their faded colors and near-abstraction. In two sections of the exhibition, the artist reframes and portrays everyday objects. The eight exhibition sections testify how Roginsky’s work is both instinctive and analytical. A rational, conceptual approach to painting plays as big a part in his work as the more personal influence of memory. Well-versed in the techniques of the 20th century’s various movements, he parodies, distorts and draws upon a wide spectrum of styles, including advertising, social realism, expressionism, cubism and new objectivity – echoes of art history viewed through the prism of exile.
The exhibition begins with Roginsky’s iconic "Red Door" (1965), the only Russian piece in the show. The other works present life literally and figuratively beyond this Red Door: the works by an exile artist who has broken through the iron curtain. In his Paris works, it appears as though a cloudy gray filter has been placed over a more brilliant color scheme. Resulting – despite the subdued colors and everyday themes – in a body of work that is unexpectedly arresting.
ARTPR@SVERGUN.RU
+7 (905) 544-18-83
ARTPR@SVERGUN.RU
+7 (905) 544-18-83
