The Taïss Gallery is participating actively in the 2010 Year of Russia and France by organizing, under Olga Sviblova, director of the Moscow Maison de la Photographie, four exhibitions, monographs and collectives, exploring different facets of contemporary Russian creation; from photography to drawings, passing through in situ installations and video.
On the symbolic date of January 12, eve of the Russian new year, Taïss will inaugurate this season with and exhibition by Leonid Tishkov, originally from the Urals, who lives and Works in Moscow. In the gallery that he has transfigured, you are invited to voyage through the artist's imagination, through his paintings, drawings, sculptures and poetic installations.
Tishkov's most recent creations will be shown for the first time in France, notably his installations associating the sometimes-trivial elements of daily life-- an iron bed, a bucket, a trash bag...-- with an unearthly light that confers upon them a poetic aura. Such is the case with Lac de rêve (Dream Lake) (2009): a large metal bed, which comes from Tishkov's birth home, is covered with salt, evoking the snow-covered lakes of the region of his birth. In the center, a projection of light digs into the whole ensemble. On the edge of the bed, a little figure-a miniature alter ego of the artist? - seems lost in contemplation of the pierced luminosity. The difference in size between this figure and the bed itself does not go without evoking a childhood filled with mysterious worlds for which his fascination endures.
In another area, all the senses, or nearly, are called upon by Solveig (2004). This video installation takes the form of a snowy landscape in which a solitary figure, again miniature, evolves. Mountains, a troubling projection, the Spectator is once again caught up in the artist's mythology and plunged into a dream-like universe. Leonid Tishkov insists on the autobiographical dimension of his work, on the importance of memory magnified by imagination. On the landscape of his past, he therefore describes visions of the Ural Mountains, of a child on the Snowy road to school...
The voyage continues in the different parts of the gallery, with drawings, installations of buckets overflowing with glowing light, trash bags filled with stars, so many parts of the simplest daily life, at times borrowing from Russian folklore.
Finally, on the last floor, Leonid Tishkov reunites with his muse, the moon, which he has appropriated for his vast project Private Moon, underway since 2003. His video or photographic mises en scène, realized with the complicity of the photographer Tim Parchikov, are based on drawings and scenarios that associate a Crescent moon with a stage and a character incarnated by the artist. Traditionally the symbol of change and of return, associated with Artemis in mythology and with the Virgin in religious iconography, for the artist the Crescent moon is the symbol of solitude.
Tishkov reactivates the proceedings with a new series that is specifically Parisian. His arrival in the French capitol has given him the opportunity to create a scenario adapted to the place. In this unseen version of Private Moon, he takes possession of Paris, from the Tuileries to Montmartre, and tells a new story there.
In a very intimate atmosphere, the visitor is invited to enter into a dream of contemporary art, composed of light and poetry, where tradition and modernity hold a mischievous discussion.
Fanny Drugeon
On the symbolic date of January 12, eve of the Russian new year, Taïss will inaugurate this season with and exhibition by Leonid Tishkov, originally from the Urals, who lives and Works in Moscow. In the gallery that he has transfigured, you are invited to voyage through the artist's imagination, through his paintings, drawings, sculptures and poetic installations.
Tishkov's most recent creations will be shown for the first time in France, notably his installations associating the sometimes-trivial elements of daily life-- an iron bed, a bucket, a trash bag...-- with an unearthly light that confers upon them a poetic aura. Such is the case with Lac de rêve (Dream Lake) (2009): a large metal bed, which comes from Tishkov's birth home, is covered with salt, evoking the snow-covered lakes of the region of his birth. In the center, a projection of light digs into the whole ensemble. On the edge of the bed, a little figure-a miniature alter ego of the artist? - seems lost in contemplation of the pierced luminosity. The difference in size between this figure and the bed itself does not go without evoking a childhood filled with mysterious worlds for which his fascination endures.
In another area, all the senses, or nearly, are called upon by Solveig (2004). This video installation takes the form of a snowy landscape in which a solitary figure, again miniature, evolves. Mountains, a troubling projection, the Spectator is once again caught up in the artist's mythology and plunged into a dream-like universe. Leonid Tishkov insists on the autobiographical dimension of his work, on the importance of memory magnified by imagination. On the landscape of his past, he therefore describes visions of the Ural Mountains, of a child on the Snowy road to school...
The voyage continues in the different parts of the gallery, with drawings, installations of buckets overflowing with glowing light, trash bags filled with stars, so many parts of the simplest daily life, at times borrowing from Russian folklore.
Finally, on the last floor, Leonid Tishkov reunites with his muse, the moon, which he has appropriated for his vast project Private Moon, underway since 2003. His video or photographic mises en scène, realized with the complicity of the photographer Tim Parchikov, are based on drawings and scenarios that associate a Crescent moon with a stage and a character incarnated by the artist. Traditionally the symbol of change and of return, associated with Artemis in mythology and with the Virgin in religious iconography, for the artist the Crescent moon is the symbol of solitude.
Tishkov reactivates the proceedings with a new series that is specifically Parisian. His arrival in the French capitol has given him the opportunity to create a scenario adapted to the place. In this unseen version of Private Moon, he takes possession of Paris, from the Tuileries to Montmartre, and tells a new story there.
In a very intimate atmosphere, the visitor is invited to enter into a dream of contemporary art, composed of light and poetry, where tradition and modernity hold a mischievous discussion.
Fanny Drugeon
