Maxim Ksuta

russian artist, contemporary art, sculpture, installation, photography

Tag: photo

New Barbarians

There is no document of civilization which is not at the same time a document of barbarism.
/Walter Benjamin/

New Barbarians

New Barbarians

New Barbarians

 

New Barbarians set…

New Barbarians

New Barbarians

New BarbariansRome

+ series – New Barabarians

Fresco of Vasilisa

Fresco of Vasilisa+ series – New Barabarians

Piranesi in Belarus

Piranesi in Belarus

Piranesi in Belarus

Piranesi in Belarus

Halshany Castle

From Wikipedia, the free encyclopedia
The ruins of Halshany Castle.
Halshany or Holszany Castle (Belarusian: Гальшанскі замак) is the ruined residence of the Sapieha magnate family in Halshany, Hrodna Voblast, Belarus. It was erected in the early 17th century in place of an older seat of the Holszanski princely family.
Also known as the Black Castle (although it is built of red brick), the residence formerly rivaled Mir Castle as the most elegant private château of the Grand Duchy of Lithuania. The name Black Castle in fact originally applies to a fictional building from a book by Uladzimir Karatkievich, which was loosely based on Halshany Castle.
The castle was devastated by the invading Swedes in 1704 and, due to financial stress experienced by the Sapiehas in the wake of the Domestic War, has never been restored. After Sapiehas’ immigration to France, the castle was passed to Russian landlord Gorbanyov. In 1880, he had the castles’ towers pulled down and made money by selling the bricks.
Currently, the castle continues to crumble away. An annual tournament is held near its walls each summer.

 More images

Teleport

Teleport from maxmaxovich on Vimeo.

 

Teleports in process
Maxim Ksuta & Mikhail Kiselev – Pechersky Gallery – Vinzavod

Maxim Ksuta – “Fred Sandback”

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Fred Sandback, a photo by Max Ksuta on Flickr.

Frederick Lane Sandback was born in Bronxville, New York where, as a young man, he made banjos and dulcimers. He majored in philosophy at Yale University (BA, 1966) before studying sculpture at Yale School of Art (MFA, 1969) where he studied with, among others, visiting instructors Donald Judd and Robert Morris.

“Шиворот-навыворот”\”Topsy-turvy”

Tarasovka-3

"Шиворот- навыворот""Topsy-turvy"

“Шиворот- навыворот”

Идея этой серии заключается в том, что в России все иначе. Наша самобытность проявляется с разных сторон, что мне и захотелось подчеркнуть…, вы можете видеть прямую печать негативов, обычных – обыденных сцен , таким образом я получаю некоторый (странный) визуальный результат не доводя дело до логического конца, как это часто у нас и происходит.

EN ________________________________________________________________________________________________________________

 

Skygraphics

To fail to find a way in a city is an ordinary thing. Another matter is to lose
your way there, like you do in a forest. This requires practice.

Walter Benjamin “Childhood in Berlin at the Turn of the Century”

Skygraphics

Losing your way in your own city is next to impossible: you need to possess Benjamin’s skills of a flaneur to stray from your habitual routes.  anging around without any certain purpose is a task hardly feasible for the modern city dweller. A lonely walk is, rather, an attribute of literature, a true companion of romantics and melancholics, not of people always in a hurry on some extremely important business. At the very moment when an imaginary city map with a fantastic topography starts to form in Benjamin’s mind, Maxim Ksuta shifts his gaze upwards, and his routes lie in a different plane where the sky of the city is lined with electric wires turning it into a graphic surface. Fussy reality seems to draw back, the space is cleaned to a near sterility — before us there are “sheets” which resemble either works by the American minimalists — from Agnes Martin to Fred Sandbeck, or the static compositions of the Russian constructivists.

The comparison with minimalism in this case is far from being casual: Ksuta’s works come in a series. The same theme can be endlessly and  aturally varied — the artist consciously uses his means sparingly, intensifying at the same time the effect of recognizing more than just specific electric cables in abstract lines and spirals. The serial nature of the works contain a different energy and another type of movement, the change of focus is dynamic, the viewer is led not by the logic of reality, but by the dimensional arrangement of each composition. In a certain sense, Ksuta does not build a photographic frame working with proportions, dimensions and density of real objects, but solves purely artistic tasks, as if he is free
to cover the sky of the city with lines of the required thickness, to build or to break the symmetry. There were few who allowed themselves the liberty to reshape visible reality: among them are Alexander Rodchenko and Laszlo Moholy-Nagy, who turned photography into a valuable artistic means which provided the artist with no fewer opportunities for imagination than traditional painting and drawing.

Ksuta skilfully maintains the balance between the specific and the entirely abstract. In his series you can even feel the almost imperceptible rhythm when in a row of ideal geometrical constructions are inserted images of a clearly identifiable landscape, of birds caught in the wires, of posts and other marks of the Moscow landscape. he doesn’t remove from the city its symbolic and visual essence which might express, indicate, determine. There is nothing exceptional in his attitude, no desire to make a grand gesture. On the contrary: his series develops steadily
and tactfully in relation to the viewer and, notably, not at all in the space, which is everywhere the same: the grey sky, the wires, but within time. All the photographs are marked with the date when they were taken, and one doesn’t even feel like seeking logic here: it’s hardly relevant, if there is any at all. It’s just that once you stray from what is familiar and come to see the previously unknown systems, structures and forms of life (as in the video ‘16072010’, which features in the exhibition), which are visible only to the perceptive eye of a flaneur. And the moths flying unbelievably fast around the lantern in Ksuta’s video turn into galaxies, clusters of strange, glowing objects. We lose our usual perception of gravity, scale and reality itself, falling readily for the power of the image which is capable of revealing a different, phantasmagoric space.

Ekaterina Inozemtseva

Out of Time

 

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Repeatedly drawn attention to some places that are timeless. This is not a historical artifact, this is the stage of life atrebutirovat which is not possible. What makes them quite unique.