Maxim Ksuta

russian artist, contemporary art, sculpture, installation, photography

Tag: art now

New solo exhibition – “Architectonics”, Triumph gallery

Zen Garden
Maxim Ksuta’s artistic practice is extremely diverse, operating on the iterface of various media, including painting, drawing, photography, video, installation, as well as going far in terms of thematic variety, adding intellectual, scholarly, even almost scientific elements on top of the creative. The new project remains faithful to Maxim’s knack for serialised production, which enables a contemplative and consistent, almost lablike deep dives into the techniques and effects that are of interest to the artist. The new Architectonics exhibition comprises several series by the artist.
Projects by Ksuta have repeatedly addressed the links between the particular and the abstract. In his project The Expulsion dating back to 2007, the dense calligraphy and lettering produced emergent anthropomorphic figures, whereas the 2013 photo series CY, which was inspired by the art of Cy Twombly, had pictures of natural objects that were freely combined into natural abstractions. The Horizons series of canvases, based on EEG readings of the brain, transforms the brain waves into mountainscapes, whereby the outlines of mountain peaks are gradually dissolved in the pastel-coloured atmospheric fog.
The Tectonic Painting monochrome series was inspired by the projectionists of the Method Group and here the artist explores the intricacies of interaction between richly textured painting and the viewer’s gaze as a function of lighting effects and point of view. It’s hard to tell whether the audience becomes the subject of the experiment or the artist’s co-contributor. These works by Ksuta are much closer to canvases by Pierre Soulages who is obsessed with the idea of manifesting the substance of light than, for example, the sculpture-like canvas planes of Jason Martin’s black series. Unlike Soulages, however, Ksuta’s uninterrupted brushwork generates mirages of abstracted landscapes that depict sand dunes and futuristic cities.
The Shards of Memory series of objects features small, tabletop sculptures that emanate proper traits of monumental and even grand pieces. Carved in different stone varieties, these are almost like uncovered ancient artefacts, partially submersed in sand and partially washed out by time. It is hard to discern at first glance whether one is looking at some miniature mock-ups of sacred buildings or, similarly to Carroll’s Alice in Wonderland, has grown to immeasurable proportions after having taken the potion. This exhibition by Maxim Ksuta virtually places us into a Japanese Zen Garden, intended for meditation and connection with nature. As one’s eye glide over the wavy black surfaces of the Tectonic Series or examine the coarse surfaces of the miniature Shards, it is there, at the epicentre of an endless whirlpool of urban energies, where one actually feels the time freeze in the still crispy air, while the body is infused with calm and content. The magic in Maxim Ksuta’s work provides the viewer with a remarkable experience of an aware, evenly paced, lived moment in all its fullness, purity, and uniqueness.
Polina Mogilina

Tectonic painting
My current practice focuses on paintings that interact actively with the ambient lighting due to their execution: monochrome (soot black) and textured uninterrupted brushwork. The brushwork structure is such that the painting plane interferes with and diffracts the light. This produces a visual effect of a fluid flow whenever the viewing angle is altered. Grouped ogether, these works are dedicated to the Method Group, an early-20th century members of the rojectionism movement.
‘The theme should be given such autistic expression and such mode of presentation that the viewer, when he perceives it, not only receives new knowledge of the system of modernity, but also undergoes new biomorphic processes, develops new mental systems, new systems for perception of the world’, the projectionists claimed. The idea that this completely different functional purpose for a painting is possible
inspired me to make the Tectonic Series.

Muqarnas
As I continued to explore pseudoperiodic mosaics and fractals, I investigated aperiodic ornaments, the kind that do not form a repeated pattern on the wall. Then, the variations of scale came into play: massive ornaments can be seen at a distance whereas finer patterns, the comprising parts of the larger ones, can only be seen up close. In order to build each element, I was guided in the application and orientation of my brushwork based on Penrose tiling. The resulting structure appears threedimensional and changes dynamically depending on the angle of viewing. It is also not unlike the reference I used — muqarnas, a common element in traditional Arabic and Persian architecture.

Horizons
The paintings, which look like aerial views, are in fact modified brain electroencephalograms. The curves were plotted by an EEG machine during a small experiment. The subject hooked up to the machine was shown panels colored in one of several earth tones, and the response of the nervous system to this stimulus was recorded. The signals corresponding to the tones were then used to paint the landscapes

New solo exhibitioin in Kultproekt gallery (CUBE), Moscow – “Steel life”


В свое время мне довелось побывать на двух больших выставках американского художника Сая Туомбли. Первая была его ретроспективой в Tate Modern, на которой я познакомился с его творчеством, а вторая, проходившая в Dulwich Picture Gallery, поразила меня неожиданным сопоставлением двух казалось бы совершенно разных художников – Туомбли и Николя Пуссена. Размышления о природе абстракции и творческом феномене этого загадочного, но безусловно великого абстрактного художника долгое время не оставляли меня и со временем вылились в этот проект.

Тема поиска образов в окружающем мире интересует меня уже долгое время, но в данном случае мне было интересно найти и сфотографировать природные объекты, стихийно (спонтанно) сложившиеся в естественные абстракции. Фотографию в данном случае я рассматривал как инструмент для создания работ, пограничных с графикой, и даже живописью. Рассматривая отснятые слайды, я заметил, что практически все кадры из этой серии явно напоминают абстрактные композиции Сая Туомбли! Это открытие вдохновило меня на поиск и отбор работ Туомбли, близких моим фотографиям по настроению и композиции.

Вторая часть проекта, отчасти определившая его название, вдохновлена работами и творчеством американского художника – Клиффорда Стилла.
Его манера была определена выдающимся критиком Климентом Гринбергом, как произведения «цветового поля». Это направление можно рассматривать как разновидность абстрактного экспрессионизма, хотя иногда его классифицируют как род минимализма.
Стилл считается одним из выдающихся художников цветового поля — его нефигуративные картины во многом связаны с сопоставлением разных цветов и поверхностей. Его неровные вспышки цвета создают впечатление, что один слой цвета был «отодран» от картины, показывая цвета под ним. Картины напоминают сталактиты и первобытные пещеры. Композиции Стилла нестандартны, зазубренны и имеют изрытую тяжёлую текстуру и резким контрастом поверхности.
Работы этих художников объединены темой спонтанности, «детскости», медитатции в действии, что роднит их с мастерами дзен буддизма, которые находили равновесное состояние ума в созерцании природы.
Максим Ксута.

New group exhibition-“Rome-ours”!

“Hearthrug” – TOPSY‑TURVY series

Hearthrug

 

 My photo -“Hearthrug” in SpallArt

The private art collection SpallArt initially evolved from the enthusiasm for the diversity of possibilities that photography uses to obstruct, to deny and to challenge our perception.
The art collector Andra Spallart acquired first contemporary photographic works in the mid 1980s – after its move to Vienna in 1995, the constantly growing collection got a clear orientation and emphasis: contemporary photography from Austria – certainly with reference to the European context.

http://www.sammlung-spallart.at/en/

http://www.sammlung-spallart.at/en/kuenstler/381/maxim-ksuta/

“With the world on a string”

The project is about communication and relationships.
“With the world on a string”
Dear friends, I ask you to send me the segment of the thread of any length and color.
Thank you.
Location – in a personal message.

“Intertext”. Group exhibition

The group project “Intertext” explores the question of text and image interpenetration.

The exhibition brings together both Moscow conceptualists (Dmitriy Prigov, Yuri Albert, Andrey Filippov) and contemporary european and russian artists working within the raised problematics.

Some artists, such as Leonid Tishkov, Nikita Alexeev, Victor Umnov, and Babi Badalov, can be equally considered writers, since their visual images complement their textual creatures.

Contemporary text in the form of digital or figure poetry is often created using computer technologies. Generating an image by various digital codes, the media poets and video artists Natalia Fedorova, Anna Tolkacheva, and Charles Sandison partially delegate their role to the machine.

A part of the exhibition, presented by works of Tania Mouraud, Victor Panov, Maxim Ksuta, EvgeniyDobrovinskiy and Ilya Grishaev, is dedicated to the symbolic image as a graphic element, automatic writing and calligraphic practice. Not only the signs, but also the gaps between them, the intentional concealment or understatement become a means of artistic expression.

Such artists as Semen Motolyanets, Georgyi Ostretsov, and Valery Chtak use texts as slogans, tags or symbols associated with popular culture, politics and social intercourse. The text slogans mark the very nature of social communication, based on the same sign system.

Each text, featured at the exhibition, is not a separate statement, but only a fragment of the universe verbal-textual structure. The texts, presented by the artists in various forms, don’t always require reading; very often they just serve a reminder or a link to the other texts outside the exhibition space. The exposition does not imply an immediate and consistent reading; it rather serves a starting point for numerous narrations. Intertextuality becomes not just a research vector, but the practice itself.

 

Participants: Nikita Alexeev, Uriy Albert, Nadezhda Anfalova, Babi Badalov, Evgeniy Dobrovinskiy, Ilyia Grishaev, Ludmila Konsatntinova,  Olya Kroytor, Maxim Ksuta, Georgiy Litichevsky, Semen Motolianets, Denis Patrakeev, Sergei Pakhomov, Dmitriy Prigov,  Tania Mouraud, Georgyi Ostretsov, Charles Sandison, Marina Smorodinova, Leonid Tishkov, Anna Tolkacheva, Andrey Filippov, Alexandr Tsikarishvili, Victor Umnov, Natalia Fedorova, Dmitriy Shagin, Kristina Yatkovskaya.

Curator of the exhibition — Elizaveta Shagina.

Monumentalgraphics

2011

News

2015 — The exhibition “Russian Chrestomathy”

NCCA, Nizhny Novgorod, Arsenal. Curator: Vera Pogodina

2015 — The exhibition “Sound Moebius Strip” exhibition (Belyaevo Gallery)

Five hours of travel in the constellation Ursa Major

Five hours of travel in the constellation Ursa Major

“Five hours of travel in the constellation Ursa Major”

445х215 см

Work on the bugs.

10_958 Mosaic03 9_168 Mosaic