Maxim Ksuta

russian artist, contemporary art, sculpture, installation, photography

Tag: event

My objects from the series – “Exile from Eden” in the film.

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My objects from the series “Exile from Paradise” 2006\2007 in the film “AJI” directed by Anastasia Berezovsky, 2018

New exhibition – At the Fringes

At the Fringes

At the Fringes

At the Fringes

At the Fringes is an exhibition organized by the Department of Research Arts, a center for artistic research projects focused on the Russian territory. This new project shows the life at the fringes and in the border territories of Russia, where fringes are not exclusively state borders but also natural boundaries, land areas, divides and limits of space.

Areas that have been historically considered “remote”, “disconnected,” “isolated,” become especially interesting in today’s society as the means of communication have been organically integrated into the human ecosystem and transformed our perception of space. The fringes are closer than ever now but still remain somewhat distant. These can be spaces well within the country’s landmass as well as border territories.

Cohesiveness of space, in Russia and globally, is not uniform which produces modern forms of geographic inequality. The non-uniformity can be observed as some parts of the country are better known while others remain “uncharted territories”; the project takes this disparity as its starting point.

The exhibition opens with documentary projects where each presents an interpretation of archival or documentary records (photographs, official documents, sketches, field notes, video) covering a fringe region.

A stand-alone part of the project is its “permanent exposition.” It comprises painting and photography that recreate the image of a fringe with varying degrees of visual approximation. Complementing it, there is a library section that offers insights into the history of the Russian space and its landmark social, philosophical and artistic concepts.

In the third part of the exposition, the acoustic experience is just as important as the visual. The audience is immersed into the fringe space through installations and objects.

The project is supported by the Presidential Grants Foundation.

Artists
Evgeniya Buravleva
Sofya Gavrilova
Alexander Gronsky
Maria Gruzdeva
Olga Davydova
ZAPOVEDNIK research group
Elizaveta Konovalova
Taisia Korotkova
Alexey Korsi
Maxim Ksuta
Anton Kuznetsov
Alexander Morozov
Ivan Napreenko
Valeri Nistratov
Sergey Novikov
Nikolay Onischenko
Pavel Otdelnov
Alexander Povzner
Egor Plotnikov
Sergei Prokofiev
Igor Samolet
Maria Safronova
Maxim Sher
Natasha Timofeeeva

New exhibition. ATTRACTION: MANEGE — TRIUMPH GALLERY (MOSCOW). OTHER SHORES. St. Petersburg

Triumph Gallery (Moscow) will present its key artists at the Other Shores Exhibition in Manege. This project reviews opportunities to keep and pass on experience and knowledge through personal notes, maps and routes. The exhibition is based on the idea of a psychogeographic drifting or studying urban environment through one’s aesthetic and emotional experience (the term was introduced by Guy Debord). In their works, the artists conceptualize the changes in today’s world. The reality they recreate in installations, videos, paintings and sculpture becomes a true mosaic of observations, collective memory fragments and fantasies of a potential future.

The name of the exhibition alludes to a number of cultural narratives. One of them is Vladimir Nabokov’s autobiography that takes us back to certain episodes of his childhood and adolescence, as well as his relocation from one continent to another.

A Memória da Pessoa /O Destino da Sociedade. Rússia

A Memória da Pessoa /O Destino da Sociedade. Rússia

Artistas:
Maxim Ksuta

Nikita Pirogov

Svetlana Pozharskaya

Dmitry Vyshemirsky

Curadora:
Irina Chmyreva
em parceria com PhotoVisa, International Festival of Photography, Russia

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New group exhibition -“CONTEXT OF THE MEDIUM” CultProject Gallery 09112017

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CultProject Gallery

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New group exhibition -“Structures Fractals” CultProject Gallery 04052017

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http://kultproekt.ru/proekti/66102052017123728963/

The Kultproekt gallery begins a series of new exhibitions – “Environment contexts”.

News

2015 — The exhibition “Russian Chrestomathy”

NCCA, Nizhny Novgorod, Arsenal. Curator: Vera Pogodina

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

Maxim Ksuta “Topsy-Turvy”

Maxim Ksuta is perhaps the only Russian artist who, from project to project, consistently  studies the technical and technological capabilities of photography: the focus for his interest lies not in the sphere of the photographic image as such (Ksuta, it seems, is not about the image and its suggestive characteristics), but in manipulations of the image received, the decomposition of the photographic process into separate stages and incredibly varied mechanical deconstructions of the image in order, from the artifacts resulting from that deconstruction, to recreate a whole, to reorder the pieces that have broken up and to establish new links.

Ksuta plays with reality, using his construction set on it, as it were, as if it can be put through a basic reconstruction as the player wills it; at the same time, he is motivated by another significant circumstance which, in one way or another, could be seen in his very earliest works.

Ksuta is categorically at odds with visible reality: at odds with it in the sense that he unavoidably seeks symmetry and order within it, a visual logic which even in its faults helps us to discover beauty.He is always searching for a certain structure, he often invents it, he “imposes” it on landscapes, people, objects; he embeds a skeletal framework into the mass of chance visual impressions.

In a similar way, in his project for Triumph Gallery, Ksuta purges reality, demonstrating in space the basic photographic principle of positive/negative.

At the same time, he distinguishes one state from another with a barely visible, almost transparent border. For Ksuta, the image of the border, of division, is in fact very important – it is a special space, around and within which we can find everything that exists, and reality (as if confronted by a certain danger) acquires a very concentrated form; the border is a manifestation of the essence, passing through it is always a symbolic act of changing one’s state, and Ksuta skillfully plays with this within the space of the gallery.

The Topsy-Turvy project (the ironic title does nothing to diminish the seriousness of the undertaking) returns the spectator to another consideration that is key to the history of photography: Where does its objectivity and “truthfulness” begin and end, how far apart are visible and photographic reality?

Frequently repeated doubts regarding photography’s ability to reflect what is happening or what exists (this can be seen most distinctly in the works of the artists of the Düsseldorf School) find their latest expression in Maxim Ksuta’s project.

He does not try to get to the essence of reality, nor to capture the transience of movement or the equilibrium of color; instead, he concentrates on the essence of photography itself, the photographic process, breaking the shot down into the positive and the negative, mercilessly laying bear the structure.

Ksuta is not drawn to the visionary, he is drawn to the laboratory type of approach, employing serious scientific apparatus and the required devices. And, intriguingly, it is in this that the artist’s real ethic is revealed, the honesty of the gesture, the coherence of the program that makes possible not just the creation of new photographic series but also the ability to think with space, with physical volumes where marvelous transitions and transformations take place.

Ekaterina Inozemtseva

My project is entirely devoted to a comprehension of a stunning technology discovered about 150 years ago that has become very commonplace and everyday in recent times thanks to its mass distribution as a very convenient tool for the conveying of information. I tried to lay out and note the striking semantic and spatial emphases that form both the process itself and the discussion around modern photography.

The series of works follows a principle whereby the experience of modern art is founded on contradiction, on non-conformism, and a thesis which maintains that every subsequent step rejects the preceding step. As a result of that, I’m continuing my experiment in the changing of “photography’s state of equilibrium,” taking it out of the sphere of a documentary reflection of events and into the space of the atmospheric and the purely sensual.

Exhibiting the project as site-specific art, I’m striving to get the spectator involved in the scene of the installation, further activating his sensitivity. “The border of the division” – that’s the main conceptual highway around which the body of the composition of the project is constructed. The constructive element is the direct negative and the large photo accumulation. Why specifically the “border”?

The “border” implies a broad range of opening horizons and vectors in notional tendencies. The border and marginality are fields that haven’t been studied in great depth In the photographic process. Photography is so objective that this super-reality firmly links us with stereotypes of interpretation, shackling the imagination. Nevertheless, it is the border of the “negative”-“positive” division that fundamentally links the concepts of before and after.

A key role in the installation is played by the unfolding story of a journey between realities that are both objective, as they have been through the obyektiv — the Russian for “lens” – and been captured, but there are qualitative differences in content, as they are elements in the world and anti-world – who or what lies on which side is for you to decide.

Maxim Ksuta

All photos … … … …

СONTEMPORARY DRAWING (Marble Palace)

The general aim of the exhibition is to present the specifics of functioning of drawing in contemporary Russian art. The basic section on the show brings together the works of the 1990-2000’s but also there are presented the earlier materials connected mostly with conceptualism of Soviet time. The exposition presents the different ways of actualization of art of drawing and its technique side. Nowadays the drawing is not linked only with the pencil and paper and deviates from norm – it conquers new territories and tests new untraditional materials. It also  breaks the narrow frameworks of this view of art and like such new media as photography and video become one of universal languages in contemporary culture.

The exposition presents the following views of actual drawing:

  • Traditional drawing connected with new forms, expressive means and situations, manipulation with expressive means of academic study drawing, enlargement to the dimension of canvas, including in the installations.
  • Conceptual drawing including the period of creation of this trend (Medical Germenevtika Inspection project, D.Prigov, D.Alekseyev).
  • Postconceptual drawing as the reaction on the virtual reality (I.Razumov, J.Zastava, M.Sha).
  • Expansion of drawing on the territory of photograph and active intercommunication with this view of art (M.Ksuta, E.Gor, G.Majophis, V.Mamyshev-Monro).
  • So-called Another drawing, where the pencil and quill are substituted with acetylene welding outfit, laser and point, line – with metal cane, wire, needles and cottons, and sheet of paper – with wall or real space (D.Gutov, T.Ahmetgalieva, M.Arendt).
  • Drawing that uses the traditions of comic strip (J. Alexandrov, G.Litichevsky).
  • Contemporary so-called Societal drawing – reportages from meetings and judge sessions, graffiti (V.Lomasko, V.Salnikov, Pasha 183).
  • Drawing on alien surfaces (human body) (Tanatos Banionis, ESCAPE program, V.Aizenberg)
  • Drawing, video and computer: forms of intercommunication (D.Ter-Oganjan, V.Pushnitsky).        

 The exhibition is supported by Peter and Irene Ludwig Foundation

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