Переглянути повну концепцію проєкту

Куратори: Андрій Сидоренко, Ірина Яцик.
Андрій Пучков (НАМУ), Ігор Абрамович (ІПСМ), Наталія Шпитковська (ЦСМ M17).
Медіапартнери: Антиквар, МІТЄЦ, Арт Курсив.
Свідок землі | Eyewitness of the ground
Свідок землі | Eyewitness of the ground
Опис | Description
Назва: “Контрнаступ” | Title: “Counteroffensive”
Серія: “Квіти чи вибухи?” | Series: “Flowers or Explosions?”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2023 | Date of creation: 2023
Місце написання: Київ | Place of creation: Kyiv
Розмір: 150*150 см | Size: 150*150 cm
Тип: Картина | Type: Painting
Техніка: Масло, акрил, аерозоль, олівець | Technique: oil, acrylic, spray paint and stencil
Матеріал: Полотно | Material: Canvas
Галерея | Gallery
Опис | Description
Назва: “Знайомий грунт 2” | Title: “Familiar ground 2”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2022 | Date of creation: 2022
Місце написання: Київ | Place of creation: Kyiv
Розмір: 70*60 см | Size: 70*60 cm
Тип: Картина | Type: Painting
Техніка: Змішана | Technique: Mixed
Матеріал: Полотно | Material: Canvas
Статус: в приватній колекції | Status: in private collection
Опис | Description
Назва: “Це вітер чи працює ППО? ” | Title: “Is it a wind or Air defense at work?”
Серія: “Квіти чи вибухи?” | Series: “Flowers or Explosions?”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2023 | Date of creation: 2023
Місце написання: Київ | Place of creation: Kyiv
Розмір: 80*60 см | Size: 80*60 cm
Тип: Картина | Type: Painting
Техніка: Масло, акрил, аерозоль, олівець | Technique: oil, acrylic, spray paint and stencil
Матеріал: Полотно | Material: Canvas
Пов’язані картини | Related paintings
Опис | Description
Назва: “Свободу леопардам” | Title: “Free the leopards”
Серія: “Квіти чи вибухи?” | Series: “Flowers or Explosions?”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2023 | Date of creation: 2023
Місце написання: Київ | Place of creation: Kyiv
Розмір: 80*60 см | Size: 80*60 cm
Тип: Картина | Type: Painting
Техніка: Масло, акрил, аерозоль, олівець | Technique: oil, acrylic, spray paint and stencil
Матеріал: Полотно | Material: Canvas
Пов’язані картини | Related paintings
Опис | Description
Назва: “Рожевий живий” | Title: “Pink’s not dead”
Серія: “Квіти чи вибухи?” | Series: “Flowers or Explosions?”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2023 | Date of creation: 2023
Місце написання: Київ | Place of creation: Kyiv
Розмір: 100*150 см | Size: 100*150 cm
Тип: Картина | Type: Painting
Техніка: Масло, акрил, аерозоль, олівець | Technique: oil, acrylic, spray paint and stencil
Матеріал: Полотно | Material: Canvas
Пов’язані картини | Related paintings
Опис | Description
Назва: “Свідок землі” | Title: “Eyewitness of the ground ”
Серія: “Квіти чи вибухи?” | Series: “Flowers or Explosions?”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2023 | Date of creation: 2023
Місце написання: Київ | Place of creation: Kyiv
Розмір: 120*160 см | Size: 120*160 cm
Тип: Картина, диптих | Type: Painting, diptych
Техніка: Масло, акрил, аерозоль, олівець | Technique: oil, acrylic, spray paint and stencil
Матеріал: Полотно | Material: Canvas
Виставки: “Концентрація волі” в Центр сучасного мистецтва M17, (Київ, 2023);
Exhibitions: “Concentration of will”, at M17 Contemporary Art Center, (Kyiv, 2023);
Галерея | Gallery
Пов’язані картини | Related paintings
Опис | Description
Назва: “Перші березневі тюльпани” | Title: “First March Tulips”
Серія: “Квіти чи вибухи” | Series: “Flowers or Explosions”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2022 | Date of creation: 2022
Місце написання: Київ | Place of creation: Kyiv
Розмір: 70*50 см | Size: 70*50 cm
Тип: Картина | Type: Painting
Техніка: Акрил, пастель | Technique: acrylic, oil pastels
Матеріал: Полотно | Material: Canvas
Галерея | Gallery
Пов’язані картини | Related paintings
Опис | Description
Назва: “Ліс Київської області повний розквітаючих квітів” | Title: “The Forest of Kyiv region is full of rising flowers”
Серія: “Квіти чи вибухи” | Series: “Flowers or Explosions”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2022 | Date of creation: 2022
Місце написання: Київ | Place of creation: Kyiv
Розмір: 70*50 см | Size: 70*50 cm
Тип: Картина | Type: Painting
Техніка: Акрил, пастель | Technique: acrylic, oil pastels
Матеріал: Полотно | Material: Canvas
Галерея | Gallery
Пов’язані картини | Related paintings
Опис | Description
Назва: “Дружній батальйон збирає гроші на оптичні приціли” | Title: “My friend’s battalion is raising money for optical sights”
Серія: “Квіти чи вибухи” | Series: “Flowers or Explosions”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2022 | Date of creation: 2022
Місце написання: Київ | Place of creation: Kyiv
Розмір: 70*50 см | Size: 70*50 cm
Тип: Картина | Type: Painting
Техніка: Акрил, пастель | Technique: acrylic, oil pastels
Матеріал: Полотно | Material: Canvas
Галерея | Gallery
Пов’язані картини | Related paintings
Відкриття виставки | Opening evening
В галереї | At the gallery
Роботи | Artworks
Press | Преса
Відкриття | Opening evening
Опис | Description
Назва: “Терра Україна” | Title: “Terra Ukraїna”
Серія: “Квіти чи вибухи?” | Series: “Flowers or Explosions?”
Художник: Альона Кузнєцова | Artist: Alena Kuznetsova
Дата створення: 2022 | Date of creation: 2022
Місце написання: Київ | Place of creation: Kyiv
Розмір: 65*130 см | Size: 65*130 cm
Тип: Картина | Type: Painting
Техніка: Масло, акрил, аерозоль, олівець | Technique: oil, acrylic, spray paint and stencil
Матеріал: Полотно | Material: Canvas
Виставки: “Пробудження” в Музеї Києва, (Київ, 2023);
Exhibitions: “Awakening”, at the Museum of Kyiv, (Kyiv, 2023);
Статус: доступна | Status: available
Галерея | Gallery
Пов’язані картини | Related paintings
Terra Ukraїna, 2022
Flowers or explosions series 🌷💥
65*130 cm, oil, acrylic, spray paint, and stencil on canvas.
На виставці “From Ukraine with love”, що відбувається зараз в Копенгагені, представлені роботи дев’яти українських художників, які продовжують творити в такі складні для нашої країни часи. Буду знайомити вас з учасниками експозиції. Альона Кузнєцова – талановита мисткиня з Києва. Ми говорили з нею про творчість під час глобальної кризи та ресурси, що підтримують сили та надихають рухатися вперед.
Куратор: Юлія Дмух (Копенгаген, Данія)
Відео з інтерв’ю: https://www.youtube.com/watch?v=07JtnUN2Uus
The @revue_argument magazine ❤️
The issue about Ukrainian artists!
The interview with me by Morgane Walter, about my art practice during the war.
Three different series were published: Ballet Mechanique (abstract, 2018-2019), Gamma (abstract, 2020), and Broad perspective (figurative, 2021).
Very thankful to everyone involved 🙏💛💙
Paintings
Exposition
Exhibition opening evening
Interview with Alena Kuznetsova
Facebook event: https://www.facebook.com/events/881606536545600?ref=newsfeed
Paintings | Живопис
Експозиція | Exposition
Au jour de l’indépendance de l’Ukraine “Argument” avec l’artiste Alena Kuznetsova et d’autres artistes ukrainiens, tel que “Interesni Kazki” et Ivan Marchuk.
‘Art through War’ Exhibition of contemporary art and charity auction at Urban Space 500 from 12 till 28 of August (Kyiv, Ukraine) with “Flowers or Explosions II (70*50 cm, 2022)
Today is my last day at Ukrainian non-production residency in Vyzhnitsa (south-western Ukraine), organized by @cultural_traffic 💛💙
This is the first residency with six more artists where I actually can do nothing, just go deep into the local Bukovina culture and enjoy thinking, walking around the beautiful nature, reading, and sharing thoughts with others. I had much time during these two weeks to think about my topic – Heterotopia, after Michel Foucault, about ‘the other place’. Vyzhnitsa and this residency are perfect places to get a little rest from the sirens, the big city, and the war.
Because of this opportunity, I had the occasion to do a very tiny artwork To scatter stones.
There is a river Cheremosh and I just love the huge field of stones on its banks. I just remembered how I drew on the stones in Crimea which is now occupied by russia, on the seashore in 2011 and 2012. Here, the landscape much reminded me of that and I just painted short quotes and drawings, I was thinking about. Red, black and white.
…
“Man and animal differ in history, and memory, both on a personal and social level.
Our relationships are also our stories, shared with others.
Our values are the stories that motivate us to action. Our culture is our collective history. The stories we tell ourselves can destroy us, and they can heal us.
There is no life without our body, but our stories created in the body live longer than corporeality. We remember people longer than their bodies live, and our traditions live longer than our buildings. Even if we don’t influence the passage of time, we do influence exactly how we use it and what stories we leave behind.
…
Saatchi prints and delivers posters on their own, checking the quality. I receive half of the price you pay in 30 days (excluding % of platform and delivery expenses). The other way is to order a digital file in good quality from me directly and to print it yourself in your city. You just need to write me, say what print do you want, and send money via PayPal (info@alenakuznetsova.com). In this case, any print will be $30.
Also,
You can find prices right under each artwork. All these graphics are original artworks on paper. With or without framing.
#standwithukraine
#supportukrainianartist
#alenakuznetsovaartist
What exactly interests me about mushrooms is that this is the most mysterious, the most ancient of all living things, and perhaps the least studied kingdom, endowed with its own intelligence.
They (mycelium, fungi) are everywhere and much closer in the genome to humans than to plants! This is a web that connects different organisms and transmits information, in fact, they are the prototype of the Internet.
These are saprophytes that at the end of the food chain break down matter, turning it into a nutrient soil for further life, and, therefore, they are at the beginning of the chain at the same time! They teach us not to be afraid of death because it is an integral part of the program. There is a theory that it was psilocybin that contributed to the fact that primitive people began to realize themselves, found a language and a tool of labor …
My passion for this kingdom is multifaceted. As an artist, I am interested in the diversity of the external form of fruiting bodies, and as a person, I am interested in the use in medicine, biodesign, construction, and even robotics. Somehow I feel like we can learn a lot from these often inconspicuous and humble creatures.
Photo by @andriikuzminph
My Grail sculpture (ceramics, glaze) and painting from the new Stripes-10 series (diptych, oil on canvas).
In advertisement design for cars is on the top all the time, the truth is that art has also been important to it. Sometimes it has objective representations, like on a new logotype or color, but there are also several other cases where it takes an abstract, almost transcendental way.
In short, a car which appearance was changed in a way to suit the artist’s own aesthetic, desires, and personality. As mentioned earlier, this situation poses a notable contrast because cars are frequently associated with design; everything in them is planned and executed to serve commercial purposes, even its visual identity and style-related parts.
Cars have become a big part of our lives; we interact with them every day and many decisions are influenced by them regardless of whether we actually own one. Art is an invaluable form of self-expression, so it was just a matter of time for people to start applying it to cars.
Art cars made by well known artists of other types, people who became famous artists because of art cars, and countless amators who have made their own art cars as well. People who engage in this type of creation are often referred to as car artists or, more informally, cartists.
As you can imagine, people have used a wide number of themes to make their art cars. Some represent the artist’s culture, others send a message regarding the current social context, and others simply materialize their author’s point of view.
Art cars prove that even such rational and precise products can be enhanced by the sensitivity and the power of self-expression.
Visiting Prada foundation several years ago we saw the floor with Walter De Maria’s artwork with cars and his well known minimalist iron bars (triangle, circle, square).
He has connected own minimalistic stainless steel sculptures with famous model of Chevrolet Bel Air two-tone hardtop classic cars.
Trilogies—installations that explore the conceptual, the monumental, the minimal, and the real − expresses some of the defining features of Walter De Maria’s work.
Location: Prada foundation, Milan, Italy
The anti-painting of Joan Miró is not an actual technique as it is more of a statement. He didn’t mean to violate or to deconstruct the norms and traditions of painting, but rather to remove all sacred qualities and status of the artistic work. It began with his claim:
“I want to assassinate painting.”
Miró tortured the canvas with unconventional methods: he burnt it, wounded it and perforated it in order to create a grotesque disfigurement.
By challenging the very notion of painting, Miró questioned its economic value and the interests of the art market. Thus, he used art to join the growing struggle for freedom that emerged towards the end of the Franco dictatorship.
With his statement “I want to murder painting”, Joan Miró was part of the avant-garde discourse questioning artistic practice in order to go beyond the limits of creativity. The Miró works from this era suggest a breaking away, through the contamination of painting itself using anti-artistic elements such as industrial materials and others from the recently born mass-culture.
Location: Joan Miro Foundation (Barcelona, Spain)
Color as complete medium
A monochrome or monochromatic painting is one created using only one color or hue. It can use different shades of one color but by definition should contain only one base color. For more than a hundred years artists have used a single color as a vehicle for exploring both the potential and limitations of painting, using this reductive formula to experiment with formal concerns of composition and tonality or to advance theories related to nature, the sublime, and analogous spiritual concerns. Rendered with geometric precision or with the nuance of expressive brushstrokes, the monochrome is an enduring idiom of avant-garde modernism.
Even long before these 20th Century philosophical ponderings, color in art has had a long, multicultural history of representation and symbolism. Purple has represented royalty, wealth, and power across civilizations due to the historic difficulty in acquiring its pure pigment; Red represents luck in China, but also its bright, destructive relationship to fire has lent its meaning to various depictions of hell; Blue, often a calming and natural color seen in the sea and sky, also carries with it connotations of despair, depression and the cold.
“The chief function of color should be to serve expression as well as possible. I put down my tones without a preconceived plan. If at first, and perhaps without my having been conscious of it, one tone has particularly seduced or caught me.”
Location: EMST Museum of contemporary art (Athens, Greece)
Art and factory: look to the production
‘Production’ is a word with many meanings. It can refer to the making of something, or to a final product like a performance. It can be the process of bringing a song or musical work to life. Or honing that work to perfection. ‘Production’ might conjure images of factory production lines or the theories of Karl Marx. Production is labour, capital, and the invisible groundwork of modern society. And it can be as simple as making a clay pot with your hands. Production is at once mechanical and biological – think of ‘reproduction’ – and ultimately human.
Production is at the heart of making art. Artists and theorists have long acknowledged its importance as both an artistic action and an idea to be explored. And as the role of production has shifted in our lives, so have the ways which artists have responded to it. While some contemporary artists foreground production as a tool, others use their work to explore ideas around production we might otherwise overlook.
Painters and sculptors of the 1960s sought a more mechanized “look” for their art. The changes reflected in the art have their source in a deeper shift – a shift at the level of production, expressed in new studio practices as well as in the space of the artworks themselves.
In the period immediately before, during, and after World War II, the dominant peack of the artist’s career was genius, been alone in studio, witness of creation of own art. Since 1960s, against of heroic modernism, engaged in a different rhetoric and practice, one based on the models of industry and business. The studio of Andy Warhol, named the “Factory,” is viewed as great change, with its rudimentary assembly line and highly social mode of production.
Warhol’s Factory became “place of knowledge” – the space with Warhol’s paintings and objects, and the new social space in which they signify. The context for that signification thus becomes crucial to our understanding of the “Warhol phenomenon” celebrated in popular and arthistorical texts. The ambivalencies embedded in Warhol’s Factory, where the artist’s role oscillated between manager and proletarian worker, are seen as a function of their context. Conflicting signals are also broadcast by the works of art, which speak in the dialect of mass production with the accent of the irreplaceably unique.
Photo from solo show by Andy Warhol at Caixa Forum, Barcelona, Spain
Art and nature have always found ways to intersect with one another, the latter being a huge source of inspiration for artists. Found across many forms: rural and historical for the Classicists, grandiose and wild for the Romantics, or sensitive and poetic for the Impressionists. But it was only much later that the artist became aware of the environment’s fragility.
Art subsequently became the preferred medium to express this. Nature began to be depicted beyond pure aestheticism, as art and nature found themselves at the heart of this political battle. In fact, nature’s deterioration has profoundly changed the relationship between artists and the landscape.
Today, environmental approaches towards art and nature are very varied. From raising awareness to militant action, representations of ecological issues are everywhere in art fairs and exhibitions. Through their work, artists try to raise public awareness in order to create a better world, placing humanity in harmony with the environment.
With Friedensreich Hundertwasser’s painting at his named museum in Lindau, Bavaria, Germany
Contemporary art
The problem isn’t just that nobody can agree on what contemporary art is; it’s that nobody knows when the contemporary era begins.
Mark Rothko said that Rembrandt was the first contemporary artist. It Is far isn’t it? Some curators see a likely candidate in 1989: the year of the Berlin Wall’s fall. Other influential figures have offered different start dates, ranging from the early 1970s to 1945 to the 1910s. Search the prevalence of the phrase “contemporary art” in print between the early 19th and 21st centuries on Google Books, and you’ll find that the term was virtually unused for 120 years. There is no precise date in history when the contemporary era begins, any more than there is a precise answer to the question “What is the sound of one hand clapping?” But the temptation to find that date seems to be all but irresistible for art historians: By the time they get around to figuring out what the contemporary era is, it will be contemporary no longer. A quote by a great novelist (who may or may not be contemporary) comes to mind: “If they can get you asking the wrong questions, they don’t have to worry about answers.”
Location: KunstHistoriche Museum Vienna, Austria
Minimal art
In years of my artist practice i feel the empatic concentrating on the concrete experience working on with colour and minimal art has some answers for the questions in its specific context. Its rejected the metaphusis of art and thus no changed the role of beholder, who was no longer required, in an act of silent contemplation, to reflect on the unchanging significance of the work of art hanging or standing in front of him, but rather to actively percive the work which was sharing his space, to reflect on the process of his perception, thereby changing it with signoficance.
– Art is what we do. Culture is what is done to us ( Carl Andre)
Photo: Sasha Horbatiuk (Centre Pompidou, Paris, France)
Facebook-event and tickets: https://www.facebook.com/events/930994817452541
Фото: Володимир Дєнісєнков
Відео: Юлія Стєпанок
Єкспозиція | Exposition
Відкриття виставки | Exhibition opening evening
An artist who has been making art all her life. An artist who does not belong to a particular religion, but seeks awareness and practices meditation. Alena Kuznetsova is experimenting with different themes and styles, but over the years, from time to time interest in spirituality has appeared in her paintings. In a new series of paintings she paints a self-portrait at age 33 completing her personal transformational thirty-third year. The artist cares for purity and environmental friendliness – at home, consciousness, art. Alena lives the Buddhist concept of detachment – everything flows, everything changes. We observe how transformation by the internal crisis affects her work, and how therefore a new series of paintings is born.
Про мою “летнюю” мастерскую, другие мастерские, серию “Гамма”, показываю процесс работы, и задаю насущные вопросы.
Художники, напишите, как вы сейчас живете без выставок, а может вам удалось организовать что-то в 2020м? Если да, то имело ли это для вас желаемый эффект и результат?
Вчерашний процесс в мастерской.
Вернулась к серии Гамма, которую начала в марте этого года. Давно хотела вернуться к сдержанным оттенкам, идеально вторящим пасмурной погоде, осенне-зимним дням. 🖤
Могу работать над этой серией в определенном состоянии, спокойном и с мыслями вглубь.
Серия “Отношения с образом”
Виртуальный 3D-тур по онлайн-выставке “Grand Ballet mecanique” (5.07 – 31.07.2020) c 32 работами из серий “Механический балет” в двух виртуальных залах. Посмотреть выставку можно на главной странице http://alenakuznetsova.com
“Fungi 1”, “Fungi 2”
46*31 cm
бумага, смешанная техника
2020
О цвете в моей художественной практике. Период с 2008 года и по сей день. О методах работы. О чего я отталкиваюсь в работе с цветом, источники вдохновения. О любимых абстрактных художниках. Зачем классическое (полное) худ образование, если вы работаете с беспредметным, зачем нужно знать историю искусства? Обещанная в видео ссылка: https://www.artsy.net/article/artsy-e…
О том, как я стала работать именно в беспредметной живописи, что для меня абстрактное искусство и нужно ли образование, если вы пишете абстрактные картины?
Потянуло на большой размах again
Новая работа из совсем еще в проекте/процессе серии в сдержанной гамме
Эта (под рабочим названием Большая гамма) – исследование баланса между легкостью и тяжестью
И повод рядом постоять для масштаба
😁😊
#myworkspaceisart