Pair Skating. Contemporary Art of the Ural region
Ural contemporary art has a history of its own. It started in 1960s with the development of independent art groups, informal communities of artists and the emergence of Ural actionism in late 1980s. New interpretations of art that had been inspired by Sverdlovsk Film Studio, an animated cartoons union and a school of documentary films, played a significant part in the evolution of contemporary art in the Urals. Informal, non-institutional art and performances peaked in the middle of 1990s. Russian rock music and contemporary dance were the areas of 鈥渞eal鈥� art, independent and uncensored. 2000s have seen a shift from the cultural boom to the ongoing systematization and regulation鈥攖he art life in Ekaterinburg has become much more structured. Today, there are more and more new institutions working with contemporary artists.
Arbitrarily pairing the artists with each other, the exhibition is trying to highlight the relations in a vast and heterogeneous field of contemporary art of the region. Abandoning the age, gender, geographical or any other approach allows us to focus on finding the common meaning and drawing parallels between contemporary artists without making direct comparisons.
What can merge street art, painting, photography, animated cartoons, sketches of stage setting, and covers of music albums into a unified art field? From the works of photographer Ildar Ziganshin to the paintings of Misha Shayevich Brusilovsky, from the animated cartoons of Nina Bisyarina to the slogans of Timothy Radya鈥攚hat unique pairs can we put together in this field?
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Ural contemporary art has a history of its own. It started in 1960s with the development of independent art groups, informal communities of artists and the emergence of Ural actionism in late 1980s. New interpretations of art that had been inspired by Sverdlovsk Film Studio, an animated cartoons union and a school of documentary films, played a significant part in the evolution of contemporary art in the Urals. Informal, non-institutional art and performances peaked in the middle of 1990s. Russian rock music and contemporary dance were the areas of 鈥渞eal鈥� art, independent and uncensored. 2000s have seen a shift from the cultural boom to the ongoing systematization and regulation鈥攖he art life in Ekaterinburg has become much more structured. Today, there are more and more new institutions working with contemporary artists.
Arbitrarily pairing the artists with each other, the exhibition is trying to highlight the relations in a vast and heterogeneous field of contemporary art of the region. Abandoning the age, gender, geographical or any other approach allows us to focus on finding the common meaning and drawing parallels between contemporary artists without making direct comparisons.
What can merge street art, painting, photography, animated cartoons, sketches of stage setting, and covers of music albums into a unified art field? From the works of photographer Ildar Ziganshin to the paintings of Misha Shayevich Brusilovsky, from the animated cartoons of Nina Bisyarina to the slogans of Timothy Radya鈥攚hat unique pairs can we put together in this field?
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