"Return to the Square" - personal exhibition of Victor Reshetnikov

The personal exhibition of Victor Reshetnikov “Return to the Square” will be held in the Belyaevo Gallery from February 5, 2014 to February 18, 2014.

The author defines the concept of his decorative objects as a new minimalism and constructivism. The designer presents a laconic aesthetics of an elementary form. Studying the energy of rhythm, he works with objects as a logical system, as if collecting from them pictures of compositional invariance. The laconic surfaces of the original forms of ceramic sculptures look completely natural, giving the impression of a peculiar, impeccable natural hi-tech. The concept of the modern Japanese school of ikebana “Sogetsu”, founded in 1927 by Tesigahara Sofu, has a certain influence on Reshetnikov’s work. The main principle of Sogetsu is the statement that ikebana can be created from any improvised materials. Working with such materials, Reshetnikov creates not so much interior decoration elements or floristic compositions as independent objects that organically exist in the exhibition space.

Minimalism, closely connected with Japanese art tradition, functionalism of European design, constructivism of the Russian avant-garde - all this influenced the work of Victor Reshetnikov, who managed to find his own interpretation of these ideas in decorative ceramics.

Curator of the exhibition Vitaly Patsyukov:

“The art of Victor Reshetnikov is located in a special zone where the traditions of geometric culture reign, and harmonic balance is found in every plastic element, observing the principle of agreement in a unit of time and space. The images of Victor Reshetnikov, building ideal artistic realities, at the same time preserve natural connections with the immediacy of life, with its creative matter and its organic forms. Turning in his strategies to the art of ceramics, to objects-things in which aesthetic virtues are inseparable from functionality, utility, the artist creates unique designs that can overcome plastic limitations and expand the semantic context.

In the works of Victor Reshetnikov, discoveries and innovations that arose in the culture of the Russian avant-garde in the first decades of the last century are returned. The plastic “square” of Kazimir Malevich becomes the matrix, model, genetic code of the visual and semantic position of the artist. Its geometry is considered by Victor Reshetnikov as a source of creative energy, as a generator of constructive creative forces, providing any form of life-building. Actualizing contemporary art, Victor Reshetnikov’s plastic views appeal to the cultural memory of civilization, to its origins, to those beginnings when the geometry of the square determined the place of our planet in the cosmological picture of the world. In his work, the artist reminds us that in all ancient cultures the planet Earth was fixed by the symbol of the square, its integrity, the manifested symmetry and equality of the parties. This sign, which became the basis of artistic evidence of Viktor Reshetnikov’s visual philosophy, does not lose its fundamental and universal qualities today, linking practical achievements in the field of nanotechnology, bonding any matter with radical scientific research on the origin of our universe. The image of the square is transformed in Victor Reshetnikov’s art into a model, into a toolbox that combines art practice, technology, matter and an ideal creative phenomenon. The artist considers it as a living organism, as a subject, as a mediator and mediator of human thought.

A square as a symbol, as an art program, opens up in Victor Reshetnikov’s art not only new aesthetic possibilities in the space of culture, but also ethical principles that harmonize the emerging social structures.

Forming exhibition areas, Victor Reshetnikov’s visual mythology freely crosses the boundaries of the artistic and social, possessing the ability to focus in any dimensions. ”

Victor Reshetnikov

Born in 1951 in the city of Vladikavkaz. He graduated from the Higher Art and Industrial College. IN AND. Mukhina (1972-1975, Leningrad), State Art Institute of the Estonian SSR (1975-1979, Tallinn). As a member of the Union of Artists of Russia, the author constantly participates in Russian and international exhibitions, such as “Art and Design” - 1st and 2nd World Ceramic Biennale Korea International Competition and “Form Between Continuity and Innovation” (Museo Internationale Dell Ceramiche in Faenza fondazione, Italy)