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Alexei Chistyakov
Alexei Chistyakov (* 01. July 1962, Leningrad – † 11. September 2012, St. Petersburg) is a Russian abstract artist.
Biography
Alexei Chistyakov is a famous Russian abstractionist artist.
Born on July 1, 1962 in Leningrad.
From 1978 to 1982 he studied at the Tavricheskaya Art School at the Department of Restoration.
From 1984 to 1989 he studied at the Saint Petersburg Art and Industry Academy at the Faculty of Textile.
In the 1980s he worked as a restorer at the Hermitage Museum.
In 1991-92 he worked in Munich (Germany) to create a series of works for three solo exhibitions in Germany and England.
Since 1992, he has been a member of the Monumental Painting Section of the Artists Trade Union of Russia, and since 1993 he has been a member of the Free Culture Partnership at Pushkinskaya 10.
Participant of exhibitions since 1982.
From 1989 to 2012, the artist's studio was in the legendary House of Artists on Pushkinskaya 10 in St. Petersburg (before the repair of the building - apartment number 48).
His works are in the collection of the Russian Museum and in private collections in Russia, Germany, America, Australia and Nepal.
The creative heritage of the artist includes more than 300 paintings, hundreds of sketches to the paintings (in pencil and color), innovative theories and techniques of painting.
Alexey Chistyakov has created his own visual language, which is based on the author's invention of the artist - the technique of "double canvas", multi-layer oil painting (from 5 to 25 layers) and author's painting techniques.
"Double canvas" is when paint is applied to the canvas, then the sack is applied and then the letter goes on. The paint dries up and glues the sack", - said the artist.
Alexey Chistyakov has been working in the technique of "double canvas" since 1995.
The technique of "double canvas" is a part of Alexey Chistyakov's artistic practice, which illustrates his author's theory. Since the artist's main task in his work was to create a new language of painting as a symbolic system of text-code, his theory is based on many years of research in the field of semantics, philosophy and esoterism, as well as the theories of the artists of the Russian avant-garde and the theory of communication.
"Double canvas" is an embodiment in practice of the idea of double reading of the text, a sign and a symbol, an idea of the shown and unpublished (good and evil), which in Slavic mythology is identified with number 2, as well as the image of the idea of the intertwining and unity of the two monads (in the interpretation of the monad from the book "The Rose of Peace" by Daniil Andreev), the divine and human, external and internal - the "spiritual pendulum" by Kandinsky, the concept of Yin and Yang of ancient Chinese natural philosophy. "Double Canvas and multi-layered painting represent the multidimensionality of Genesis, in two aspects - material and spiritual - creating a sign space as a generator of meanings, which are visually embodied on the painted surface of the paintings in the form of abstract text, That is, deliberately coded, because the task of searching for a visual language, which the artist solves at this stage of creativity - from the field of aesthetics, not linguistics, respectively, the meaning of abstract text on the surface of the picture is designed for aesthetic and intellectual reading by the viewer. Some of Alexei Chistyakov's paintings of this period are called "Text" or "Texts", which emphasizes the concept of the artist - the painting is a "text in text", based on the theory of the philologist and cultural historian Yuri Lotman: the artist develops and interprets it, mainly to his own language of painting.
Interactivity with the viewer is known to be a necessary element of the contemporary artist's exhibition practice in our time, but in this case Alexei Chistyakov put a deeper meaning into this action. Painting, objects in the form of numbers and video installations with the artist's poetry encoded in all these works, being, together, artifacts, that is, objects, create an environment of the unobjective - a sign space that surrounds the viewer and contributes, in the words of V. Kandinsky, to his "deepening into the inner life of art", that is, into the inner world of the artist. Thus, all the works appear as a single text and a poetic form of expression of the artist's thoughts, if we recall the meaning of the word Poetry (Greek: ποίησις, "creativity, creation"), is not chosen by chance: deciphering the text, the viewer "creates" the artist's thought, but in his consciousness, as a poetry thought, feeling the involvement with the subtle and noble inner world of the artist. Here it is appropriate to recall Lotman's words - "an innovative work of art is a work in an unknown audience of language that has yet to be reconstructed and assimilated by the addressees".
Alexei Chistyakov died on September 11, 2012, in his apartment on Vasilyevsky Island in St. Petersburg. He is buried in the Smolensk Cemetery in St. Petersburg.
A friend of the artist, photographer Dmitry Verkholat said: "It was an absolute surprise. I was in his studio a couple of weeks before my death, and everything in the room was prepared for work in the autumn-winter period. Besides, he had a lot of ideas, which were decorated on dozens of pieces of canvas".
Personal exhibitions
Selected exhibitions and projects by artist Chistyakov
- 1990 Personal exhibition within the framework of the Festival of Non-fiction Films. "Cinema House, Leningrad
- 1991 Personal exhibition of painting. Munich, Germany; art actions in England (London, Dorij)
- 1992 Personal exhibition, "Rose of the World" project. Rosenheim, Germany
- 1994 Personal exhibition in "Gallery 21", Pushkinskaya, 10, Saint-Petersburg
- 1995 Return to the Future Project, Soros Foundation grant
- 1998 Personal exhibition "Color Metamorphoses", gallery "XXI Century", St. Petersburg
- 1999 Personal exhibition "Summer practice", "Art-Poligon", Pushkinskaya, 10, Saint-Petersburg; presents the modern art of Russia at the auctions held by the International Internet Gallery ArtLink@SOTHEBY'S
- 2000 Creation and development of the STRIDGE project (Modern Technologies of Russian Iconic Painting)
- 2001 Project "ОХРА - Zemlya", gallery "Navicula Artis", personal exhibition within the project "Abstraction in Russia. XX century". State Russian Museum.
- 2002 Project "Body", gallery "On Gorokhovaya"; Participation in the international festival "Master Class", projects "ОХРА - Earth", "Body", "Manege, St. Petersburg"; "Paintings of the last period from St. Petersburg, Russia", tour of the USA by 7 artists of the association "Free culture".
- 2003 "Time is Life", solo exhibition at the Museum of Non-Conformist Art, St. Petersburg; "Art against drugs", action at the international music festival "Windows Open", Stadium. Kirov, St. Petersburg; "On the border", Russian-Swedish-Finnish project in Stockfors Gallery, Kotka, Finland
- 2004 Personal exhibition of paintings in Bella Casa Gallery, St. Petersburg
- 2005 Painting exhibition, master class in Eisberg, Denmark
- 2007 "Undeclared". AL Gallery, St. Petersburg
- 2010 "Figures". AL Gallery, St. Petersburg
- 2013 "Archive". AL Gallery, St. Petersburg. Exhibition-retrospective. AL Gallery, St. Petersburg
Quotes
It is interesting that Alexei Chistyakov, a virtuoso of abstraction, an artist who had studied all the whims of a pictorial texture, the magical nature of a colourful surface, a gourmand of objectivity and a philosopher who reveals meanings in the nuances of the mobile monotony of his canvases, did not consider himself an abstractionist himself. Like his great predecessors, Pollock, Rothko and Newman, he gradually moved away from the youthful and furious excess, the unbridled element of paint, the happy neophyte audacity of his heroic squatting period at Pushkinskaya's studio, and came out to the possibility of creating his work with an exact economical gesture. Later on, the Zen-Buddhist meditative immersion into the colorful density of the canvas, the intoxicating variation of the same technique gave way to the specifics of today's computer reality, when a random combination of numbers suddenly turns into a secret meaning, an encrypted message. From now on, the surface of his canvas becomes a field of intersection and revelation of infinite possibilities of two basic visions of the surrounding world - abstract and figurative, and painting leaves the space of pure aesthetics and esoterics into the space of the language, the sign nature of which is clear and defined. - Gleb Yershov - 2013
