"PICTURE AFTER PAINTING." Exhibition of contemporary St. Petersburg painting. 16+ Automatic translate

The exhibition "Painting after Painting" continues a series of projects on contemporary art of St. Petersburg, carried out by the North-West branch of the NCCA as part of an in-depth study of contemporary trends in St. Petersburg art. The exhibition presents the work of contemporary Petersburg artists, as well as teachers and graduates of the St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I. Repin at the Russian Academy of Arts.

In the modern art process, the "picture" as a genre of fine art is again gaining great importance. Exhibitions of "new painting" were successfully held all over the world. The goal of the project is to show how contemporary Petersburg artists work in easel art, how the “picture” is involved in the fabric of contemporary art, and how the classical visual medium becomes the new media. The exhibition features more than 30 works by 23 St. Petersburg artists of different generations. Participants in the exhibition: Marina Alekseeva, Lyudmila Belova, Anna and Alexei Gan, Ilya Gaponov, Ivan Govorkov, Valery Grikovsky, Elena Gubanova, Alexander Dashevsky, Vladimir Kozin, Alexey Kostroma, Vladislav Kulkov, Vladimir Kustov, Grigory Mayofis, Semyon Motolyanets, Igor Pestov, Vitaly Pushnitsky, Kerim Ragimov, Andrey Rudyev, Olga Tobreluts, Leonid Tskhe, Petr Shvetsov, Vladimir Shinkarev.

“A painting, and especially painting after painting, may not have structural ordering, plastic unity, brightness and memorability of the image-image, metric and rhythmic unity, expressed by individuality. The only requirement for it is to be planar, to be media complex, to be included in the system communication of modern culture, and ultimately - in auto-communication about one’s own status. ” (Ivan Chechot. “Painting” and “painting” after painting, or how to look at things freely ”, catalog of the exhibition“ Painting after painting ”, St. Petersburg, 2015)

“The modern cultural field makes special demands on the self-identification of the painter, on his ability to realize the semantic capabilities of his technique, to interact with audience expectations. If earlier the use of brushes and paints was perceived as an integral attribute of the artist’s practice, now it is a difficult conscious choice from many alternatives, often more attractive and in demand by the professional community. Painting, which until recently was the most direct and straightforward language of artistic expression, has been dismantled to the ground. But in this deconstructed state, the possibilities of gaining a new life are hidden. (Alexander Dashevsky “Counterattack of the painting”, catalog of the exhibition “Painting after painting”, St. Petersburg, 2015)