Umělec 1997/2 >> Lyusya Voronova (Pictures From A Different Space) Просмотр всех номеров
Lyusya Voronova (Pictures From A Different Space)
Журнал Umělec
Год 1997, 2
2,50 EUR
3 USD
Послать печатную версию номера:
Получить подписку

Lyusya Voronova (Pictures From A Different Space)

Umělec 1997/2

01.02.1997

Lenka Lindaurová | artist | en cs

Moscow-based painter Lyusa Voronova (born in 1953) is one of the artists who are hard to define, living on the periphery of high art, a periphery which is starting to occupy the territory on the other side of bright news. She has been taking part in various exhibitions around Europe since mid 80´s and at the beginning of this year, she presented her work briefly in Prague´s Hermit Gallery.
Her seemingly unconspicuous, “diary-like“ work does not lack vigour of communicating symbols which have always been used in people´s effort to understand each other. Lyusa, however, does not decode any news: she draws and paints because there is nothing else for her to do. Instinctively, she finds forms that do not appear impassioned, utilizing used materials, paper with print, paper destined for destruction.
Lyusa´s drawings are as intense as first expressions of a child filling the area of the paper systematically while subconsciously either using the underlying print or denying it completely. With an obsession of a scientist of artistic expression, she covers areas which had served other purposes before, reaching emotional effect which is similar to the first steps on the surface of the Moon.
Lyusa´s direct approach may evoke impression that her work is a well thought out concept, based on social subtexts or intentionally banal products of consumer society. Juxtaposed to it may be aesthetics of emotions which are invisible to human eyes. It seems, however, that Lyusa´s message comes from a completely different space.

Lyusa Voronova: Texts


It´s impossible to get used to
The fact that everybody is the same.

Time has no length, pain
Does not die with time. The pain is so
Strong just like in the first moment, it burns
And bothers, sometimes it burst so
Strong that it is almost unbearable.
Nothing can be limited by time,
Everything happens at once, now
It stretches out. It is not time that heals
But clear skies, blows of wind, sudden
Melody.

Winter is here - spring time is about to come.

In the morning I look out of the window with curiosity
Trying to see whether the countryside is still the same.

I don´t understand what is big and what is small.

Art - just like nature - has no
Frontiers in time and space.

I speak - I feel, I listen - I feel.
It´s impossible to do it just like that.
(pages 12 through 13)





Комментарии

Статья не была прокомментирована

Добавить новый комментарий

Рекомендуемые статьи

Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy
Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006 Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
Acts, Misdemeanors and the Thoughts of the Persian King Medimon Acts, Misdemeanors and the Thoughts of the Persian King Medimon
There is nothing that has not already been done in culture, squeezed or pulled inside out, blown to dust. Classical culture today is made by scum. Those working in the fine arts who make paintings are called artists. Otherwise in the backwaters and marshlands the rest of the artists are lost in search of new and ever surprising methods. They must be earthbound, casual, political, managerial,…
Contents 2016/1 Contents 2016/1
Contents of the new issue.
My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution My Career in Poetry or: How I Learned to Stop Worrying and Love the Institution
An American poet was invited to the White House in order to read his controversial plagiarized poetry. All tricked out and ready to do it his way, he comes to the “scandalous” realization that nothing bothers anyone anymore, and instead of banging your head against the wall it is better to build you own walls or at least little fences.