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Page 1 news- 01.01.-31.06. a k k u kunstleratelier uster- 11.11.-04.12. m.a.x.museo- 24.09.-15.12. infocentro alptransit
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Text of the presentation by Francesca Strozzi Cecini-Saturday, June 11, 2011 for the opening of the exhibition of Ivan Grebenshikov.Good morning everyone. the artist, Ivan Grebenshikov, whom I met almost two years ago at an exhibition at Bibliomedia Biasca and that hit me right away for his talent. Ivan lives and works in his studio in Semione and - as the name, Grebenshikov, suggests - is of Russian origin. He has 29 years, he was born in Karaganda, Kazakhstan, and spent his childhood in St. Petersburg. At 12 he came Varese, and finally graduated in painting at the Accademia di Brera in 2010, with a diploma entitled Emerging Synchronicity: Quantum mechanics, Optics and in Psychology, oriented to the visual arts.I mentioned the full title, not at all simple, of his thesis because it offers an idea of the artist and his works, which also are not simple.For those unfamiliar with Ivan, talk to him reality-depiction of the relationship means being submerged for hours by a multitude of complex terms and concepts derived from physics, chemistry and psychology. Reading his thesis has certainly helped me to get closer to his vision of the world - vision that is reflected in his paintings - allowing me to rework at cold our discussions to focus quietly on several notions that I could hardly understand.So I decided, as an introduction to his work, to touch on some key content of his writing, simplifying to the bone, so as to highlight its interest to the vision and representation.Ivan has been involved in optics and visual perception, thinking about what happens when we look - from the eye to the brain to aesthetic experience. He reflected on the fact that when we see, the eye is never still, even if we do not notice.The eye, unlike a camera is constantly moving and that when we see, according to the new probabilistic interpretation, in the brain there is a search for relationships between the information coming. Our brain implements a selective encryption - which affects form, color, movement - information and research data that respond interactively to a constant comparison with previously stored perceptual synchrony.His writing is also based on concepts derived from a new science, neuro-aesthetics, a term coined by Semir Zeki ten years ago - the famous professor of neurobiology and behavior, father of discovery of the visual brain, namely those parts of the brain dedicated to vision. This recent discipline, the neuro-aesthetics, explores the biological mechanisms of aesthetic appreciation, that is, attempts to understand and explain the aesthetic experience at the neural level, to understand how the brain reacts to the encounter with the work of art.On this subject he wrote a fascinating book entitled The view from within: Art and the brain, whose reading was suggested to me by Ivan. In summary, Zeki writes that when we look as an artist, the brain extracts information about essential aspects of our visual world, constants from a mass of constantly changing data. And through a series of examples that include famous painters such as Michelangelo, Rembrandt, Magritte, Mondrian and Picasso, to name a few - Zeki takes the reader on a journey into the neuro-aesthetics, linking art and how the visual brain works.He describes how different brain areas react to the elements of visual art - color, shape, line, movement - by working separately, depending on what kind of visual art we look. For example, kinetic art activates a specific, distinct from that triggered by the works of artists such as Mondrian and Nicolson, that activate only one on the abstract color; and portraits, figurative art, it activates a still different from previous.This premise was intended to emphasize the importance and attention to specific aspects unique to Ivan, the empirical sense since these affect the realization of his works. With them, Ivan wants us to reflect on the fact that the images we perceive are a summary of the processed and transformed in part real, and this again refers to Gestalt psychology, the concept that the whole is different from the sum of its parts.In many of his works still fragments of reality, moments of life.He uses images of all kinds, especially photographs, made by himself or taken from magazines, newspapers or by the internet - these images that we may have already seen, unconsciously assimilated or transposed - and then reassembles them pictorially to create new opportunities for perception.cromodynamic archangel gabriel, 2011, 98x96 cm, oil on sewn canvasesAfter having "stolen" them to everyday life, emancipating them from their original ambit, he not limits himself to decontextualizing them, but doing so breaks the reality, it divides, and then reassemble it in a personal order. In short, he use different images as raw material to make more pictures. At the macroscopic level sometimes he does something similar, combining his painted canvases - usually by stitching and tying them, and with the following pictorial intervents, but also simply placing them into approaching compositions. These paintings are a kind of artistic pieces, special material to create a sort of abstract figurative mosaic painting that the beholder is lost enchanted and sometimes puzzled to observe.In his paintings the illusion of perspective may fail to create a new completely non-dimensional space, into which are realized surreal hallucinations, as in Chromodinamic Archangel Gabriel. These its dimensionless surfaces are never dull or discounted, because Ivan distorts reality to make room for new visions in front of which we are forced to ponder. The density of some of his images show us the complexity of the perception of space as seen at the speed of life that moves, condition that pushes the viewer to adapt, to try to understand in order to react to the disorientation.Just for the dynamic and elusive essence of his work is often difficult to catch and stop, because it seems to have different solutions, different balances, but never entirely definitive.If, taking Zeki, when we look, the brain makes a choice between all available data comparing the selected information with stored memories, the works of Ivan is as if tdisconnectedf the brain and on the other they wanted to over-stimulating it, activating more parts.His paintings lend themselves to a double readinuch as For the domain of oil or Chromodinamico image can not be grasped in a single glance, since the iconography is complex: to get an overview - that however, is never completely stops or defined - the eye of the beholder has to move continuously on the painted surface.Right, left, up, down: the maze color abstract figurative each must find his own way.The iconography are based on different themes. Some belong to the contemporary, ranging from the problem of oil, war, environmental pollution and the media. Others are abstract, conceptual, close to the dream and vision, drawn from the imagination of the artist or with reminiscences from disparate sources: can be drawn from the cinema - as in Pasoliniana, where you see the face of the young Madonna from the movie The Gospel A
