argument

Act 2. 2 | Act 2. 4

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ОПИС | DESCRIPTION 

Назвa: “Act 2. 2” та “Act 2. 4” | Title: “Act 2. 2” & “Act 2. 4”

Серія: Механічний балет | Séries: Ballet mecanique

Художник: Альона Кузнєцова | Artist: Alena Kuznetsova

Розмір: 200*80 см | Size: 200*80 cm

Дата створення: 2019 | Date of creation: 2019

Місце написання: Київ | Place of creation: Kyiv

Тип: Картина | Type: Painting

Техніка: Змішана | Technique: Mixed

Материал: Полотно | Material: Canvas

Виставки: “Траєкторія” (2019), галерея Міронової (Київ), 2019

Exhibitions: “Trajectory” (2019), Mironova Gallery (Kyiv, Ukraine), 2019

Атрибути: Сертифікат автентичності | Attributes: Certificate of authenticity

Пакування:  Картона чи дерев’яна коробка, Тубус | Packaging: Carton or wooden box, Tube

Ціна: За запитом | Price: On demand

Статус: Доступна | Status: Available

ТЕКСТ | TEXT

Серія “Механічний балет” є художнім дослідженням  таких понять, як рух, динаміка, композиція, їх взаємодії та впливу на емоційні поля, створення певних настроїв, які народжуються при поєднанні або перетинанні траєкторій рухів окремих об’єктів, масс, особистостей.

Динамічний безпредметний живопис Альони Кузнєцової із серії «Механічний балет» своєю композицією, фактурою, поєднанням різних медіа (від акрилу до емалей та аплікації) нагадує незвичайну музику (механічну чи може електронну), яка своїм звучанням складає оригінальні траєкторії танцю, що триває не тільки в просторі, але й у часі.

Ця серія картин присвячена художньому однойменному фільму, задуманому, написаному та спільно зрежисерованому художником Фернаном Леже у співпраці з режисером Дадлі Мерфі, який містить музичну партитуру композитора Джорджа Антейла 1924 року.

 

This series of works by Alena Kuznetsova departs from the previous, completely dissolved, and tranquil liquid series and addresses the composition, graphics bordering abandoned esthetics, layers of lines, and planes. There, traditional color as an independent medium is subjected to the form and is essentially of secondary significance. It is a separate musical instrument in an orchestra: it just plays its part. Continuing the tradition of mixed technique, Alena takes these media apart into layers as the layers of memory, working without sketches and deciding at every stage on the choice of the next layer: acryl, oil, spray paint, oil pastel, enamel, and again acryl (the order may vary).

Ballet Mécanique movie is known for its radically repetitive style and instrumentation. The musical score for the film was written by composer George Antheil, combining atonal music and jazz rhythms. This film, included in the exhibition together with the documentation of the work process and the works of the artists themselves, creates a complex organism-orchestra that unites different eras, ideas, artistic expressions, and art forms.

ПУБЛІКАЦІЇ | PUBLICATIONS

ГАЛЕРЕЯ | GALLERY

ІМПЛЕМЕНТАЦІЯ | IMPLEMENTATION

Interview for «Argument» (Paris, France)

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An excerpt from my new interview to @iryna_belan for @revue_argument #9 about my #flowersorexplosions series and how my art changed with the full-scale invasion of russia to Ukraine.
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@iryna_belan: Nowadays it is trendy to talk about storytelling, about creating a narrative in painting. What role do you assign to storytelling in your work? Why, it seems to me, for the first time in your work, did you develop a powerful linguistic component?
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@kuznetsova_artist: Thank you that you have noticed that. I remember that in my interview with revue_argument in 2022, I said that I didn’t know what my art would be like after the full-scale invasion, but it would have to change, because everything had changed, including me. I can’t be in my bubble anymore, I feel like a part of Ukraine, my home, culture, and loved ones. And when our antagonists are trying to destroy all of this, I simply cannot ignore it and remain silent. I want to tell the world about it, despite the pain and difficulty of such a narrative. In the spring of 2022, when the Russian attack on us was so unexpected and the situation was critical, I had to act quickly and felt that I could not remain silent: I gave many oral and written interviews to journalists, TV channels, platforms, bloggers and art critics about the events that were happening right next door. I think I’ve learned how to tell stories since then. Art is an even better way, although it is a slower one, to tell the truth to the world and express your position.

And, indeed, in the Flowers or Explosions series, each painting is a special story, because it was created literally in the middle of the war, when everything was very acute, because we all closely followed what was happening in Ukraine every day…”
‼️continue to read in the comments…

‘Pink’s not dead’ (150*100 cm), mixed technique on canvas from Flowers or Explosions show, Kyiv, 2023, @forsagallery

My interview to Morgane Walter for Argument (2022)

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There is one thing that strikes the viewer at first about your works available online: their extreme variety, both in their technique and in their motifs. Oil paintings, pastels, acrylics, digital works, mixed media, watercolours, sculptures, installations, … Gentle lyrical abstractions and roadside landscapes as if captured on the spot, reflections on image and communication …

With regard to this extremely prolific and eclectic body of work, how would you define both the singularity of your artistic practice and its red thread?

Through the years of my presence in art, I’m trying to answer this question. You may often hear about the artist’s recognizable style, it’s the common discourse. This question disturbed me and was even painful some years ago because I’m the kind of artist always seeking. But then, in the time of the darkest crisis, I understood one simple thing: I don’t care about this thing much. Art for me is about sincerity first, and it is not something due to someone’s expectations or rules. I don’t want to become a machine, that has found some approach once, and uses it for the rest of his life. Life and the world change so quickly and unexpectedly, that my art just does the same. So, I realized the fact, that CHANGES are the only thing that defines my artistic practice.

(Read here)