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Showing 61–70 of 70 results
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Timur Novikov. Icebreaker. 1987
£1,333.33Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. Penguins. Silkscreen. 1989
£1,250.00Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. Sun. 1989
£1,250.00Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. Sunrise over the Sea. 1989-2005. Silkscreen
£1,250.00Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Timur Novikov. White Night. 1989 – 2005. Silkscreen
£1,250.00Novikov revisits the Russian folk motifs in the style of his textile pieces by placing small iconic symbols (purposefully generalised, reduced and simplistic images) in large fields of flat, often bright, colour. His method of re-arranging, altering and proposing new semantic representation, use of symmetry and a horizontal (more rarely diagonal), division of space, became the new art language, adapting a three-dimensional world onto a flat surface, in a manner resonant of modern computer graphics or ancient hieroglyphics. Made during the perestroika years, the Horizons series reflects the youthful and optimistic spirit of the times whilst demonstrating the artist’s penchant for open perspectives – new possibilities of imagination and vision, the enlarged horizon, the greater hope.
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Yuri Avvakumov. Red Galley. 1989
£1,666.67Yuri Avvakumov is a founding member and theorist-in-chief of a group of Russian conceptual artists called the ‘Paper Architects’. This group graduated from the Moscow Architecture Institute in the early 1980s and, frustrated by the conservatism of their profession in Russia and the shortage of funds for new building, they turned instead to entering competitions sponsored by western and Japanese architectural journals, where their fantastic and unrealiseable schemes won them international acclaim. The term ‘Paper Architecture’ was a derogatory one applied to the unrealistic dreams of the revolutionary avant-garde of the early twentieth century. Red Galley – functions as an agitprop wagon too – is a galley for 40 oarsmen and one lookout/helmsman. Each seat provided with an oar, and each oar passes through the construction of the wagon wall. When oarsmen begin rowing in concert (on command), the galley begin to swing inside the wagon, thus turning into a menacing battering ram.
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Yuri Avvakumov. Tribune for a Leninist. 1988-1993
£1,500.00Yuri Avvakumov is a founding member and theorist-in-chief of a group of Russian conceptual artists called the ‘Paper Architects’. This group graduated from the Moscow Architecture Institute in the early 1980s and, frustrated by the conservatism of their profession in Russia and the shortage of funds for new building, they turned instead to entering competitions sponsored by western and Japanese architectural journals, where their fantastic and unrealiseable schemes won them international acclaim. The term ‘Paper Architecture’ was a derogatory one applied to the unrealistic dreams of the revolutionary avant-garde of the early twentieth century. Tribune for a Leninist – up-to-date reconstruction/modernization of the Lenin’s Tribune (El Lissitzky, 1924). Instead of a personal elevator there is more dynamic (and democratic) stairway.
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Yuri Avvakumov. Worker and Farmer International. 1990-95
£1,500.00Yuri Avvakumov is a founding member and theorist-in-chief of a group of Russian conceptual artists called the ‘Paper Architects’. This group graduated from the Moscow Architecture Institute in the early 1980s and, frustrated by the conservatism of their profession in Russia and the shortage of funds for new building, they turned instead to entering competitions sponsored by western and Japanese architectural journals, where their fantastic and unrealiseable schemes won them international acclaim. The term ‘Paper Architecture’ was a derogatory one applied to the unrealistic dreams of the revolutionary avant-garde of the early twentieth century. Worker and Farmer International – homage to Vera Mukhina – a sculpture within a structure (or vice versa), the skeleton of the famed Soviet monument within the Monument for the III-rd International, constructivism within socialist realism (and vice versa). Object of the permanent reconstruction.
