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Postmodernism as an artistic space. the photographic world of the artist Chezhin

Black and white photograph (and, more recently, photography in color) always emphasizes the division line between the intersection of the time (s) and space (s), the intersection and interpenetration of today and yesterday, today and tomorrow - of my life and that of another person. Notes to the event experienced by a person (someone we know or do not know, myself, just someone, nature or society as a whole) at the time that my attention turns to the rectangular frame recording that has already been and gone and still present in my life as long as I'm looking (remember) that.

Those who turn our lives, the reality of our experience in the photographic images is measured as a news reporter does, give aesthetic as a filmmaker, and "establish" frames "pleasing to the eye '- As the archivist who acts as custodian the past. And yet sometimes subordinate to the past (not to history, that is, not the past in the form of events) is too narrow a role for the photographer and becomes an artist. An artist who makes himself and his time, space and the reality of time and space, the direction of the facial expressions of the main actors in their art - ie the time (considered as a flow of passing time) and events. In his hands the camera negative, positive, exhibitions, and other tools trade become instruments in achieving higher goals. This is how it was that at some point in his photographic career title = "Chezhin"> Andrey Chezhin became not a master of fine art photography , or a particular genre of photography, but an artist in high color on the wings of style of our time - the style that critics love to slate, postmodernism.

Andrey Chezhin reincarnation occurred in the not so distant past, in the context of historical events that had broken the awareness of generations condemned to witness the change of direction experienced by the giant ghost ship USSR-Russia, since it went from socialism to capitalism and the total paralysis of its structures executive to idiocy.

It was natural that the awareness of the photographer / artist-to-be Power to dispose of clumsiness and slip out of its old skin. simple registration of social reality accompanied by clicks of the camera shutter gave way to interest in staged title = "Russia"> photography and experimentation with exhibits (sometimes up to three or more). Moreover, Chezhin needed a suitable object of research - complete with hands, legs and head, etc., and this, for lack of other candidates willing to surrender to the extent necessary, was the artist himself, always obedient and trusting your own address. It was at that time, in the late 1980s, the first of the works composed Chezhin - Black Square (1988) and Red Square (1990) - made their appearance. These, of course, to Kazimir Malevich referred to a recent exhibition of their works triumphantly noted RussianMuseum a new era in the history of art and, more specifically, the elimination of taboos interest in the various stages of development of 20th century art.

Black square and Red Square, as already noted, composed, each consisting of four parts. Were designed by Chezhin not as a series of photographs or a frame by frame sequence, as in the movie, but as structural work, where each part is not just a brick that hold the whole balance of the entire structure. The main character here is the man. In the first case, man is represented by a black square in the forehead / brain, in the second, he is shown taking off the chains that bind him.

The first part of Red Square shows an individual standing with arms outstretched and legs horizontally placed wide apart. Her figure is limited (Drawing and return) at the ends - which are the end points geometrical shape - for a line / cable, which brings to mind Leonardo search for the "golden section" in the proportions of the human body. The square Red contains all the space whose boundaries are marked and defined by the rope-line, and the man is himself trapped in this space. Then in the next two parts of this work, he manages to get rid of the string of his head, arms and legs are released at the same time, while at the same time, the area of control exercised by the red square surface of the photograph is growing increasingly narrow. Finally, in the latter part of this work, the rope or the measure is seen in the interior of the workshop the artist on a sheet of paper, on the red square. The viewer becomes a witness of how a cultural symbol - the square 'red', Malevich, Suprematism, etc - becomes a cultural one: the man takes off the rope - which initially mark the outline of a star (head, arms, legs) - and released red strip ie outside of ideology (the rope or chain / red - a sign of danger, remember). Red is overcome, man is free.

It was at this time, ie in the late 1980s - to be exact, in 1988 - he embarked on a series of self Chezhin is unfinished to this day. The artist himself photography - with hair, without hair, with his wife, with a ruler, photographs the hands (Erotica), photographs yeah, yeah, and himself. At the same time began work on "types" of her series Portraits (1990) and continuing to record the social reality (material that would be used in pairs, a series executed in 1987-1990-1997).

Chezhin absurd, meaningful and meaningless carried photographs of unnamed types / characters emit a powerful sense semiphysiological unpleasant / memory of a bygone era of male and female staff and workers stamped with the hallmark of the low, not reduced awareness of social disability. Here the picture Chezhin emphatically avoids any attempt to convey the psychological state or mood of the subject, what is the picture that is outside or pyschoanalysis psychologism, regardless of any expression of the psychic. "These are still lifes where things (objects) are credited with neither time nor spirit personal or personal experience or living space or appearance. "Individuality has been resolved, leaving only the general characteristic of the type of grin socialist society. This is what they managed to achieve in the 70 years of Soviet rule. And the artist Chezhin here merely reflects the success enjoyed Now ousted by ideology in shaping Soviet personality.

Is to shape that personality, in my opinion is the theme of the series of works titled Kharmsiada executed in 1995 for an exhibition called "The purpose absurd. An exhibition of gifts by D. Kharms St. Petersburg artists in honor of the 100th anniversary of his birthday.

A face brick, facial features stripped off, or sewn with thread, changed the face by a knob or a pin: these and other pleasures associated with methods training of 'new people' Chezhin used this series to present a kind of handbook for the emerging power-lovers or diary of obedience - a warning to the "masses", ie precisely that material that should be noted, this is molded. The man becomes plastic Chezhin warns us, if you leave thinking and the will to resist out of it - if he forgets his own authenticity, the essence and individuality.

Especially interesting from this point of view is Chezhin work on the creation of its time making life-drawing-Pins, including the series of drive-Pins Drawing and Drawing Pin and Modernism ". The Pin and it is their peers, as it turns out, the main characters highly desirable in cases taken from daily experience or recording, absurd situations provided by the artist and the reality that surrounds it. The unitary character of hero of the piece Chezhin gives unprecedented freedom to destroy individuality, while creating their own drawing pin mythical world, absurd to the point of being recognizable, and while allowing the viewer to conclude - only partly Chezhin itself upon us - that "We are all drawing-pins, gentlemen ... '.

Chezhin interest in the personal expressions of humanity, no doubt explains the constant use he makes the genre of self. Here we note a number of different stages in the artist studio of himself as a representative of the human and natural worlds and the actual Reality: generalization, reduction to a common denominator, and the identification of the image (the same). There are no established opposition between "I" and "them." Chezhin question is not about "me or anyone else?", But instead set out to find an answer to the problem of "I" as "they." Study sees statically man - not in action and movement, but movement or change of weather. What is important for him is the nature of man and the human body - anatomy and anthropology, as such, but man in their different dimensions, the self-knowledge and self-realizations (either with a ruler either with or without hair.)

Self-portraits of several different years, series and cycles of any element of game coming out in moments of transition switches participation between, say, action and reality, the artist / man, reality / actual photographic / artistic reality / deceit / the reality of desire of the artist and his creative effort and the destination.

In all the photographs from the series Self Portraits (1988-1997), Andrey Chezhin face is identical: the barely perceptible changes escape attention - despite slipping in Chezhin, the pile of material to be examined by the spectator, the versions of himself with and without hair. This recording is intentional deliberate, identical emphatically puts us on edge, makes our eyes to the slow and steady in their tracks ...

As modernism and postmodernism have developed the art is often one way or another face and deal with issues related to time, space and movement as a process. The man, the human body and its parts, and the face as it expresses and contains the essence of man have been recurrent themes for all types of artists and an art object of discourse in general. But the only example that comes to mind of a brilliant artist in complete self-examination and thorough search of it, his ego, and his face as the image of the "I" goes back to the 18th century and one of Rembrandt himself Mr. representing mood, gestures, etc.

To Chezhin humans (the "I") is an object change in the temporal space and time changed (which is practically non-existent), which emphasizes the paradox, for example in the non-binding, casual nature of a situation, on the one hand, and the importance of recording time and recorded on the other.

Another interesting feature in man Andrey Chezhin (Himself, the "I" from his self-portraits) is a self-sufficient in that, regardless of everything external, the "I" dissolves in the world a second person and that dissolves the world of another person in the "I" (in this case could include the three 1991 series called Your mine, where the female elements and merge into a single male "I"). Here the "I" is the artist's ego and his wife. The viewer is presented with a bonding free of conflicts of man and that got its start in women, in nature. Chezhin In the work of the self and the representation of man is an inexhaustible subject, with many typical characteristics. one such feature is the use of other signals Chezhin sociocultural and symbolic resonances - eg a red square, the square black, the rope, the man, a recognizable urban landscape.

series of self Chezhin today's life as a series of changes in the artist. Its multi-part work of self-observation Calendar (1990-1991) describes a range of situations / day / incident - in other words, daily life routine - An examination of the idea temporal changes experienced by a static object in a situation where measurement is evening time. These works grow in time, over time, and the artist.

In any structure / work created by Andrey Chezhin social reality through changes and there is a movement from one state to another, a shift before and after imperceptible movement from edge to edge. The couple series (1987-1997), for example, comprises compound leaves in 1997 from pairs of photographs complement Over the period 1987-1990. Together, they form a collection of works that are, as a sign and legible. Its meaning can be found on the basis of associations and feelings that exploits Chezhin mechanisms of perception, alogism, absurdity, logic, and direct and reverse the direction of training. Take, for example, the road Why do not Aficionado Moscow? On top of this piece has been placed Chezhin trick photography - an overlap of one of the skyscrapers and a birch Chechulin spread. At the bottom, beneath the beautiful pattern formed by the branches of a bush, a dead dog is seen lying on the ground. What could give a lighter or lack impression of expression of the artist's fondness for this city? The double negative, absurd situations semantics, image fidelity to reality, and coincidences Plastic & Reference: all exploits is correct, logical reasoning and trial and finds an echo in the correct tone in which these couples are perceived by the viewer. This is the case with the other sheets in the series as well.

In its compounds, multi-structure, the cyclic transformations of work (1991-1997; cyclic insofar as a repetitive rhythm start-end, from the end of long runs) Chezhin provides horizontal rows, movies, moments. The heroes of these films are immutable, what changes is the space around them, their environment, and conditions of the game or the existence in which they are taking part. For example, photographs the area Chezhin granite in the island Vasil'evsky grill on all sides. And, seen from all sides, the sphere is a sphere, but the space in establishing changes dramatically around - Of water waves architectural landscape.There could not be better Matyushin illustration of the theory of "seeking expansion. Or take the sequence of clocks (Mechanisms of street / objects) photographed at certain points in time. Here the protagonist is the time and their attributes - Dials, hands and enclosing structures clock mechanisms. Or the issue could be viewed as a sequence of movie: road leg of the road. And so on. In this work compounds each line is a question whose solution is only possible for the artist as a question or problem, moreover, to be dealing with not so much for him as for the resolution to live through. Click here for all the eternal questions posed by the art in the 20th century: the identification of oneself and the world itself, knowledge of self and the outside world; review of the basic categories for the construction (and creating) the reality of self-realization, the main issues of life and eternity; game according to the laws of existence and contexts for this game; incidentalness and regularity. Finally, this album manages to embody a sense of change over time and space and space in time.

The photographic world created by photographer and artist Andrey Chezhin also has room for the art of the cartoon, for a physiognomic builder, of St. Petersburg city-as-text, and geometric studies of an Esher. This World is very large, paradoxical, sometimes illogical (from viewpoint of the average person) - yet fascinating. It is a space that acts like a whirlwind: just take the first step in that direction, become in a bit of interest, and you find You Can not stop looking, it loses its way out as you blunder on the labyrinth of consciousness artist, from a level to another, from a series of works to another, bumping riddles, laws, traps set by the artist carefully observing - and gradually come to realize that the main hero Chezhin works is time. Time for him is a major category by which we come to know - and recording - the world. It is divided into seconds, moments, moments units of experience. Time set as a sticky viscous mass flows freely or as a homogeneous substance - liquid, elastic and fluid. In the self-portraits 1988-1997 time is an existential substance, an attribute of history and historical development of society and man as a representative of this company and as part of their culture. The artist is able to move in time, and this becomes a characteristic playfulness of his work (the presence of physics in real space and real, the right almost comical the artist to choose his own contemporaries - and their work - for itself.) Similarly, it is able to impose the simultaneity of events that are separated in time, as Self-Portrait in the group of works (1994) and Visit Bulla (1994).

Andrey Chezhin Time is expressed in specific objects. In his hands is something clearly marked defined limits. These limits, however, are not human dimension, but in history, at the specific time / from a given event in the history of this country and in the abstract time, generally in the archaic, the immutability eternal stagnation presence of man in the world as he begins to discover their own dimension. To Chezhin even today's time is divided into smaller elements flash drives past seen through a train window or screen a television, computer, or another miracle chronometric type devouring human time, the genius and intuition.

It is the movement of time that defines the feature space works of Chezhin. They are real space in each unit of time, but unreal, ghostly and ghastly at each time-units after this time.

The perceived space, experienced, and recorded by the team and the man during the passage of time is held by the artist. This space changes each time the progress of time in each time is time that this man lived through the experience of this time in this space. The artist confronts the viewer with no warping of space, but with the space is changed over a long stretch of time.

There is nothing accidental in the choice of Chezhin compositional structure of his works. As a rule, are structures composite materials to individual exposure through multiple (eg, group portraits or processing). The framework of these pieces is a living structure, which active influence is felt only when its various elements form a semantic link, plastic with one another. This link becomes sensitive elements the structure of power and fuel each other.

Time, space, man, object, the game are the engines driving the interest of perpetual photographer Andrey Petersburg Chezhin in achieving a balance in the relationship between the "outside world" and'the world yourself. "The artist uses his art and photography as tools. The photographer Andrey Chezhin is an artist of the late 20th century, the rise of Postmodernism.

About the Author

Mariya Sheynina (Terenya), member of the International Association of Art Critics (Russia);

Translated by John Nicolson;

Published by www.amassart.com