At the personal exhibition "Invisible", Ivany Gleb shows his works have been made for last three years. Here the author goes farther symbolism and utilizes a conceptual element of an artwork. Ivany discusses about dependence of an artwork and a viewer creating special circumstances of artwork existence that untie the ones from a fact of a viewer, the creator and humanity being. These works display modernity spirit via striving to autonomy and independence of an artwork and viewer.
Gleb actualizes an issue of dependence of art nowadays and presennce of a viewer, because art was created by human exactly. That's why an object called "art" by human becomes the art. Therefore, if there is no viewer, no human - there is no artwork.
The exhibition is development of breaking up from a visual art theme and a discussion of existence of an artwork without a viewer essentially. Also rises a question what to be done next - under circumstances when, on the author's opinion, all possible forms of an image have been opened, all things to be crossed have been crossed and searching of new images has reached a dead end. Gleb suggests a solution: not only image rejection, but redefinition of an artwork generally.
By analogy with International System of Units, in there all of main units were untied from physical objects completely in 2019 and redefined via physical constants, here takes place redefinition of arts system - detaching of an artwork from a viewer and constituting of interaction between artistic elements inside the works.
A viewer of "Invisible" does not have an ability to see the artworks. The ones are created under such circumstances and for such circumstances in which things seeing by a viewer are not the artworks. The artworks thus arranged that a human has no ability to prove or refute the ones being. Under this circumstances, a fact of the artwork being does not depend on presence or absence of a viewer, because this fact does not change a status of the artwork.
Thus, a role of that one, who gave a status to an artwork and interact with it, transfers to artwork elements themselves and thereby unties art from a human. A viewer can join to the works, but not as an element of art interaction, creator or judge, only as an autonomous spectator. A human ability to imagine and ponder of work content is an important exhibition element, because this is a part of redefinition of a viewer position and whole art system. Ideas of these works are reflection of time and art condition at this moment and transfer of time spirit itself, not the one's attributes.
Gleb actualizes an issue of dependence of art nowadays and presennce of a viewer, because art was created by human exactly. That's why an object called "art" by human becomes the art. Therefore, if there is no viewer, no human - there is no artwork.
The exhibition is development of breaking up from a visual art theme and a discussion of existence of an artwork without a viewer essentially. Also rises a question what to be done next - under circumstances when, on the author's opinion, all possible forms of an image have been opened, all things to be crossed have been crossed and searching of new images has reached a dead end. Gleb suggests a solution: not only image rejection, but redefinition of an artwork generally.
By analogy with International System of Units, in there all of main units were untied from physical objects completely in 2019 and redefined via physical constants, here takes place redefinition of arts system - detaching of an artwork from a viewer and constituting of interaction between artistic elements inside the works.
A viewer of "Invisible" does not have an ability to see the artworks. The ones are created under such circumstances and for such circumstances in which things seeing by a viewer are not the artworks. The artworks thus arranged that a human has no ability to prove or refute the ones being. Under this circumstances, a fact of the artwork being does not depend on presence or absence of a viewer, because this fact does not change a status of the artwork.
Thus, a role of that one, who gave a status to an artwork and interact with it, transfers to artwork elements themselves and thereby unties art from a human. A viewer can join to the works, but not as an element of art interaction, creator or judge, only as an autonomous spectator. A human ability to imagine and ponder of work content is an important exhibition element, because this is a part of redefinition of a viewer position and whole art system. Ideas of these works are reflection of time and art condition at this moment and transfer of time spirit itself, not the one's attributes.
INVISIBLE
This is Gleb's transitional work that initiates thinking of independence of an artwork. Work's composition is arranged to make feeling of fragmentation of big movement which is outside the canvas and color gradient and symbolism create logic of how to be looked the center and its outside-the-canvas elements.
The important element of the work is color symbolism that is at intersection of psychological and cultural meaning. If light appears in front of the work, the center starts to shine revealing the truth and eclipsing all other parts.
The work still interacts with a viewer and raises the task of to create understandable, obvious movement to block a path and to force a viewer to look into the barrier, to envision farther movement by oneself. But the work starts to reflect those ideas which changed the author's creativity direction fundamentally.
«The Celestial» reflects a stream of any humanity activities from the moment of an idea appeared, its development and studying to dead end and crisis. Also it shows us possible exit being at the opposite, unobvious side, but revealing a path where cognition moved to.
The important element of the work is color symbolism that is at intersection of psychological and cultural meaning. If light appears in front of the work, the center starts to shine revealing the truth and eclipsing all other parts.
The work still interacts with a viewer and raises the task of to create understandable, obvious movement to block a path and to force a viewer to look into the barrier, to envision farther movement by oneself. But the work starts to reflect those ideas which changed the author's creativity direction fundamentally.
«The Celestial» reflects a stream of any humanity activities from the moment of an idea appeared, its development and studying to dead end and crisis. Also it shows us possible exit being at the opposite, unobvious side, but revealing a path where cognition moved to.
THE CELESTIAL
The work is reasoning of self-positioning in outside. Whatever it is an action, spoken word, written book or, as in this case, self portrait. Attention focuses on «private» and «public» and their interrelation. Interact with the artwork as with «the Other», we can only read up on outside, «public» casing, but interior content remains be hidden. Here comes into force an ability to fill in, imagine what can be interior side of an object. But that filled in image is not the true, it is true only for outside world, but not for interior one. When a human releases anything from the one's interior world to outside - the one releases as much as the one considers acceptable to release, even for a personal dairy, self-study and self-reflection. Therefore, a human's true personality, what the one keeps inside, forever remains in there.
Interior side of the artwork does not depend on interaction with outside world. It is autonomous. Physical being of the interiority is proof of a fact it's being, without evaluative sight of others. An act of artistic interaction between two layers of the work stay unchangeable regardless of environment.
Interior side of the artwork does not depend on interaction with outside world. It is autonomous. Physical being of the interiority is proof of a fact it's being, without evaluative sight of others. An act of artistic interaction between two layers of the work stay unchangeable regardless of environment.
SELF PORTRAIT
"Selfportrait", 2020
canvas/oil/cloth, 205x90 cm
«Verge» is represented as a canvas turned away from its environment. The artwork initially conceived to exhibit backside and nobody, except the author, is going to see that one. Nevertheless, Gleb has created the one for three years to bring it to perfection. The painting is composed the way of having meaning only if this artwork is trying to interact with environment behind, which hides from that one.
«Verge» is created with intention to «cognition». It has no material tools for this act, the artwork interacts with the environment immaterially. We can make an analogy of looking for the eternal questions, which reflect in religious, sciences and cultures.
An artistic contact between the artwork and a viewer replaces an artistic interaction between the work and the world around. The backside of the canvas is not an artwork, the backside contains the author's inscriptions, patches, a crosspiece of a stretcher bar, turned up the ends of fabric. This is an ordinary backside of a canvas. An external viewer can only imagine the painting itself, think over striving of the one to connection with unreachable space. A human also can become a part of this invisible world.
«Verge» is created with intention to «cognition». It has no material tools for this act, the artwork interacts with the environment immaterially. We can make an analogy of looking for the eternal questions, which reflect in religious, sciences and cultures.
An artistic contact between the artwork and a viewer replaces an artistic interaction between the work and the world around. The backside of the canvas is not an artwork, the backside contains the author's inscriptions, patches, a crosspiece of a stretcher bar, turned up the ends of fabric. This is an ordinary backside of a canvas. An external viewer can only imagine the painting itself, think over striving of the one to connection with unreachable space. A human also can become a part of this invisible world.
VERGE
"Verge", 2019-2021
canvas/oil, 300х400 cm
An image of exhausted crucified Christ is a symbol of whole European culture. Painting on the sculpture is a consequence of how the author to feel cold, flows of morning wind and light reflecting from the body and the cross. The sculpture of crucified Jesus itself is not the artwork, it's only a tool which keeps traces of the artwork. The artwork is the landscape that unveils in front of crucified Christ. Beams of sunrise barely have touched Christ's eyelids and He has slightly opened his eyes to look at.
Artistic interaction in the work is between the landscape, which can be only envisioned, and Christ being in moment that beams dropped on His face. A viewer cannot behold the landscape and can only envision what Jesus sees. There is no artistic interaction between a viewer and the artwork since it's replaced the interaction between the landscape and Christ.
Artistic interaction in the work is between the landscape, which can be only envisioned, and Christ being in moment that beams dropped on His face. A viewer cannot behold the landscape and can only envision what Jesus sees. There is no artistic interaction between a viewer and the artwork since it's replaced the interaction between the landscape and Christ.
SUNRISE IN FRONT OF THE CALVARY
Mirrors standing entirely close to each other cannot tell a viewer anything, they can interact only to each other. Infinitely reflecting themselves, they infinitely communicate. Darkness enclosed between the mirrors does not enable them to interact by the main ordinary ways. Here the interaction takes place a metaphysical feature and it starts to transcend its material casing. The mirrors do not have a gap between, but the ones hypothetically create infinite space within, splits the whole universe into two parts.
An ability of imagination affords a viewer to envision what can happen inside the mirrors. A human can make an analogy with oneself as bonding of two people having no bodily boundaries and made inner comprehension of each other. Also, the closer people's comprehension gets, the more the people take features of each other. Thus, they reflect each other bigger.
An ability of imagination affords a viewer to envision what can happen inside the mirrors. A human can make an analogy with oneself as bonding of two people having no bodily boundaries and made inner comprehension of each other. Also, the closer people's comprehension gets, the more the people take features of each other. Thus, they reflect each other bigger.
SPACES
"Spaces", 2021
mirrors/wood, 275х160 cm
I've met Gleb since an art school for teenagers. The path he went is similar to development of art history. Gleb's life has radical religion period and negation one. His creativity strived to academism, then started to prevail symbolism and Gleb became to think over about conceptual element of his works and how arts system arranged. We can feel self-sufficiency and striving to independence in these works. When I shared my ideas to Gleb, it turned out he had been working in this way for a couple of years. I was really interested by intellectual work Gleb has done at that time. He didn't just embody system of interior interaction, he has made the one in different ways.
«Invisible» tells us not only about becoming of Gleb as an art theoretic and his growing up as a personality. The exhibition makes us to muse of "growing up" of whole arts system. Art is engendered by humanity and it has done a long path from sensuous embodiment through rational "brining up" it reached to first requests to be independent that showed up in modernism. Art didn't get acceptance from its "parent" and started "youth rebellion". This rebellion was postmodernism. The exhibition is about accepting of one's independence. Likewise each grown up person accept oneself independent and having the right to make a decision.
«Invisible» tells us not only about becoming of Gleb as an art theoretic and his growing up as a personality. The exhibition makes us to muse of "growing up" of whole arts system. Art is engendered by humanity and it has done a long path from sensuous embodiment through rational "brining up" it reached to first requests to be independent that showed up in modernism. Art didn't get acceptance from its "parent" and started "youth rebellion". This rebellion was postmodernism. The exhibition is about accepting of one's independence. Likewise each grown up person accept oneself independent and having the right to make a decision.
THE CURATOR'S DISCOURSE
Vasily Kuznetzov
Contacts
+7 983 443 48 85
glebivany@gmail.com
glebivany@gmail.com
