// Born in Novosibirsk on October, 25, 1955. Studies at the
faculty of Architecture of the Novosibirsk Engineering and Construction College
up 1972 to 1977. Works as a teacher of drawing at the Faculty of Architecture
of NECC, the art circle at the Palace of Pioneers, the Faculty of Art and
Graphics of the Novosibirsk Teacher Training College and the Novosibirsk Art
School 1 during 1977-1988. 1986 — creative dachas: «Baikal» (in Irkutsk),
Senezh (near Moscow). 1989 — entry into the Russian Federation Union of
Artists. Now works and lives in Novosibirsk.
Today Michael Kazakovtsev is a quite mature master. He has
gained that necessary self-reliance when the accumulated spiritual and
intellectual potential begins to turn into the matter of form in compliance
with the creative individuality and professionalism. It should be noted that
the artist?s creative individuality was determined by one important fact from
the very beginning. He has the education of an architect and the artistic
thinking of a painter. Thus, two people seem to coexist in him — an architect
with impeccable logic, uncommon precision and austerity of lines and spatial
constructions, and a painter with boundless imagination and a desire to
realize it in colour. One should not forget about this paradox when analyzing
the process of the formation of the artistic style which distinguishes every
work by Kazakovtsev in spite of the variety of professional techniques and
results of creative pursuit. Turning the viewer?s interest back to the traditional
picture, he keeps on surprising us not only by variety, which testifies to
amazing inner freedom, but also by the virtuosity and ease with which more
and more seemingly impossible creative objectives are set and attained. With
talent, confidence and professionalism… It
is the professionalism that is one of the most unquestionable characteristics
of M. Kazakovtsev?s painting noted from the appearance of his first pictures
up to the present time. He has been the participant of various exhibitions
since 1979. Besides the already mentioned professionalism enviable in such a
young artist, we can distinguish some other aspects in his early pictures —
both those which were developed in his further work, and those which became
merely a fact of time and evidence of certain priorities in the initial
period. Even then certain genre preferences were defined: first of all, it
was landscape (mostly urban) and close variations on this theme, and also
still life, interior, and, more seldom, portrait. This did not only allow to
convey his own vision and understanding of the world in full measure (this
objective was most important then, in spite of the traditional method of its
attainment), but also revealed from the very beginning those properties that
later on attracted unfailing attention and singled out these pictures from
many others at the exhibitions, — peculiar subtle lyricism in combination
with very well thought-out composition based on clear rhythms and spatial
relations. One was won over by the clarity and precision of the main theme
and the portrayal of the poetic side of everyday life. In this attempt to
catch the hidden nerve of urban life, to convey the special charm of usual
places and objects, he kept to the beaten track of the method in art which
was popular at that time. It was a less rough, more romanticized and poetic
variant of photorealism with the use of the snapshot effect in the
composition and the image blurring to depict movement, fleetingness, and
fortuity. But for all that, there was enough artistry, intellectual energy
and freshness of perception in his early works that allowed to forget the
formality of his techniques. And it was just at that time, according to the
artist?s words, when he sometimes made involuntary experiments with
materials. He kept these experiments in mind for the time being, and, though
they were not reflected in the «official» exhibitions, their real results
became apparent later. With
time he moves further and further away from the traditional landscape and the
techniques of photorealism. And it happens rather fast. In the effort to
create a certain synthetic image reflecting the human state through a
visionary landscape which, on the one hand, preserves some real elements of
the outward things and, on the other hand, acquires imaginary, fantastic
features under the master?s influence, M. Kazakovtsev more and more often
uses the techniques of modern painting. By definition of Moscow critics,
modern painting practices the so called «fiery» and «spiny» styles, but
Kazakovtsev introduces his own understanding into this doctrine. Michael
Kazakovtsev is an artist of a marked intellectual type. This becomes apparent
in his wonderfully subtle associations and in the constant elaboration of new
plastic ideas. He is attracted not only by the portrayal of commonness, but
by the opportunity to give it a certain outlook, to penetrate into the
essence of the phenomenon. It is achieved through further deviation from
concreteness and the special representation of the illusiveness of life in
the picture when the outlines and silhouettes are either blurred, or
deliberately accentuated with expressive, bold, bright brushwork. The new
space, filled with the haze of the luminous pictorial substance of his
semi-abstract landscape visions, is inhabited not only by silhouettes and
outlines of phantom buildings and equally really unreal «spiny» bushes and
trees. There also exist strange man-like creatures there, who bring to mind
Jacometti?s sculptural fantasies, and who seem to have lost their way in the
streets of these cities. They are either sliding like dark shadows against
the background of the thin lines of tree branches and stems, or sitting near
a wrought iron fence of a park like exhausted sad Harlequins, forever
watching the elusive dream town fade away and appear again. The world which
the artist recreates having run it through his consciousness, calls for new
approaches, which have little in common with the usual notions of space and
colour. The play on the verge of real and imaginary requires a special
vibrating luminous picture surface with a subtle colour orchestration. In
most cases it is achieved not with the help of pictorial expression, but with
the harmony of flickering half-tints. Melancholic sadness, detachment, poetic
forsakenness and loneliness are conveyed truthfully not only from the point
of view of colouring and plastics, but also with striking artistry. All this
demonstrated the artist?s aspiration for following his own course of creative
development. While
following his own way, he was not going to become a hostage to an experience
which had been successfully applied once. Consistently realizing his creative
conception, he becomes more and more absorbed in the world of abstract
constructing of pictorial and plastic structures of the new artistic
thinking. The mysterious harmony of rhythmically syncopated geometrical
figures placed in the luminous colour space gave enormous opportunities for
plastic and colouristic experiments (probably because of the seemingly simple
general conception in combination with a great number of variations). Active
picture surface, multi-layer texture, the richness of colour hues — these are
the qualities which allow us to speak about the topicality of the new plastic
approach and prove the consistency of the search for the pictorial stylistics
which would most adequately reflect the artist?s creative individuality. Confidence
in the correctness of the chosen way allows M. Kazakovtsev to use more and
more new means and opportunities for creative experiments without being
afraid of losing his individuality. This work results in the variations of
his usual favourite themes: city scenes, bouquets, trams; pictures that
continue the series «Life on Land» (peculiar archetypes of the consciuosness
of a modern man who is trying to decipher the formula of existence with the
help of plastic metaphors); the series «Puppet Show»; compositions united by
common technique and beige colour (probably, one more experiment, test of
mastery). But for all that variety, we can easily follow the general tendency
to concentrate on the solution of inner tasks. The creative rethinking of his
own cultural and visual experience and high professionalism give practically
unlimited opportunities for interpretations and further development of the
artist?s pictorial system. The desire to experiment with big picture sizes or
technique and materials (in the «Hunters» or «Old Man and the Tree»), as well
as some unexpected associations occuring with it are quite accountable.
«Having learnt the rules you will succeed in the changes.» (Shi Tao) But the
main thing is that inner freedom fosters even more austerity and orderliness
in the choice of means of the realization of creative fantasies. The very
pictorial «minimalism» which Michael Kazakovtsev has always practiced both in
colour and in the other elements of the pictorial language allows him to
avoid «literariness» which is so characteristic of many of his colleagues. It
is not necessary for a painter to be «verbose» to express his thought.
Meaningful laconicism, clarity and precision of expression are much more
convincing. These qualities are one of the strongest sides of Michael
Kazakovtsev?s art. The painter has managed to resist many temptations which
are dangerous for a modern artist, and has retained his own original self.
And this ability «to retain one?s own self» probably constitutes the genuine
topicality of modern art. / Svetlana Kogan / |
Primary
exhibitions:
·
1982 — All Union
Exhibition of Young Artists «Youth of the Nation». Moscow.
·
1984 — Republican
Exhibition «Artists of Russia to BAM». Chita.
·
1985 — 6th Zonal
Exhibition. Kemerovo (Kuzbass).
·
1987 — All Union
Exhibition of Young Artists «Youth of the Nation». Moscow.
·
1987- Republican
Exhibition of Young Artists «Youth of Russia». Moscow.
·
1987 — Collective
exhibitions of 8 Novosibirsk artists.
·
1988 — Republican
exhibition «Science and Space». Moscow.
·
1989 — All-Union
Exhibition of Young Artists «Youth of the Nation». Moscow.
·
1989 — Republican
Exhibition of Young Artists «Youth of Russia». Moscow.
·
1989 — Collective
exhibitions of 8 Novosibirsk artists.
·
1990 — One-person
exhibition. Berdsk.
·
1990 — Collective
exhibitions of 8 Novosibirsk artists.
·
1991 — Collective
exhibitions of 8 Novosibirsk artists.
·
1992 — Collective
exhibition of Novosibirsk artists. Tomsk. Tomsk Regional Art Museum.
·
1992 — Collective
exhibitions of 8 Novosibirsk artists.
·
1994 — One-person
exhibition. Novosibirsk State Picture Gallery.
·
1994 — «MONART».
Collective exhibition of Novosibirsk artists. Novosibirsk.
·
1994 — Exhibition of
Novosibirsk Artists. Gallery «Polar». Moscow. Central House of Artists.
·
1996 — Joint
exhibition together with S. Mosienko. Novosibirsk State Picture Gallery.
·
1996 — «Man in the
Space of Time». Regional exhibition. Omsk. Municipal Museum «Omsk Art».
·
1996 — «Russian
Provinces», Moscow, V. Ryabov Gallery.
·
1997 — «Modern
Russian Art from Novosibirsk». Congress Centre. Frankfurt-on-Main. Germany.
·
1997 — One-person
exhibition. Frankfurt-on-Main. Germany. Gallery «Brumme».
·
1998 — One-person
exhibition. Novosibirsk State Picture Gallery.
·
1998 — «Unknown
Russia». Collective exhibition. Leuven. Belgium.
·
1998 — «Unknown
Europe». Novosibirsk State Picture Gallery.
·
1998 — One-person
exhibition. Frankfurt-on-Main. Germany. Gallery «Brumme».
·
1999 — Exhibition of
Graphics on Folding Japanese Fans. Novosibirsk.Gallery «Le Vall».
·
1999 —
«Art-Novosibirsk». Novosibirsk State Picture Gallery.
·
2000 — One-person
Exhibition. Novosibirsk. House of Scientists of the Siberian Branch of the
Russian Academy of Sciences.
·
2001 — One-person
exhibition. Novosibirsk. LeVall Gallery.
·
2002 — One-person
exhibition. Frankfurt-on-Main. Germany. Gallery «Brumme».
·
2003 — One-person
exhibition, Novosibirsk. Old Town Gallery.
·
2003 — Third
International Biennale of Modern Graphics. Novosibirsk.
·
2003 — Ninth
Regional Art Exhibition. Irkutsk.
·
2003 — Third
International Biennale of Modern Art. Florence.
·
2004 — One-person
exhibition. Novosibirsk. Old Town Gallery.
·
2004 — Exhibition
«Inner Asia. Northern Version». Khanti-Mansiysk.
·
2004 — International
Biennale of Graphics «White Inter Nights». St. Petersburg.
Pictures
are in
·
Novosibirsk State
Art Museum;
·
Museum of Modern
Art, Vladivostok;
·
Museum of Modern
Art, Birobidjhan;
·
private collections
in Russia, Germany, USA, Japan…
ОСНОВНЫЕ
ВЫСТАВКИ:
·
2008 —
Региональная
выставка
Сибирь-Х.
Новосибирск,
НГХМ
·
2007 —
Пятая
Международная
Биеннале
современной
графики.
Новосибирск,
НГХМ
·
2007 —
Персональная
выставка «По
ту сторону
моря».
Новосибирск,
галерея
«Старый
город»
·
2006 — Selectie
experimentele vlaams-be dischf en Russishe hedehdaldse grafiek. Frans mastreel
centrum
·
2006 —
Персональная
выставка.
Томск,
Томский областной
художественный
музей
·
2006 —
Персональная,
Дом
художника,
Красноярск;
·
2006 —
Международный
фестиваль «aniGma»,
НГХМ,
Новосибирск;
·
2005 —
Голоса
территорий.
Образы и
символы архаических
культур, ООМИ
им. М. Врубеля,
Омск;
·
2005 —
Персональная
выставка-акция,
НГХМ, Новосибирск;
·
2005 — IV
Всесиб.
выставка-конкурс
современного
искусства
Сибири Пост №
1, галерея «Квадрат»,
Омск;
·
2005 —
Четвёртая
Международная
Биеннале
современной
графики,
НГХМ,
Новосибирск;
·
2004 —
Международная
Биеналле
графики
«Белые интер-ночи»,
Санкт-Петербург;
·
2004 —
«Внутренняя
Азия,
Северная
версия»,
Ханты-Мансийск;
·
2004 —
Персональная
выставка,
галерея
«Старый
город»,
Новосибирск;
·
2003 —
Четвёртая
Международная
Биеннале
современного
искусства,
Флоренция;
·
2003 —
Девятая
Региональная
Художественная
выставка,
Иркутск;
·
2003 —
Третья
Международная
Биеннале
современной
графики,
Новосибирск;
·
2003 —
Персональная
выставка,
галерея
«Старый город»,
Новосибирск;
·
2002 —
Персональная
выставка,
галерея «Brumme»,
Франкфурт-на-Майне,
Германия;
·
2001 —
Персональная
выставка,
галерея «Le Vall»,
Новосибирск;
·
2000 —
Персональная
выставка, Дом
ученыx «СОРАН»,
Новосибирск;
·
1999 —
«Арт-Новосибирск»,
Новосибирская
картинная
галерея;
·
1999 —
Выставка
графики на
раскладных
японских
веерах,
галерея «Le Vall»,
Новосибирск;
·
1998 —
Персональная
выставка,
галерея «Brumme»,
Франкфурт-на-Майне,
Германия;
·
1998 —
«Неизвестная
Европа»,
Новосибирская
картинная галерея;
·
1998 —
«Неизвестная
Россия»,
Групповая
выставка. Лёвен,
Бельгия;
·
1998 —
Персональная
выставка,
Новосибирская
картинная
галерея;
·
1997 —
Персональная
выставка,
галерея «Brumme»,
Франкфурт-на-Майне,
Германия;
·
1997 —
«Современное
российское
искусство из
Новосибирска»,
Конгресс-центр,
Франкфурт/М,
Германия;
·
1996 —
«Русская
провинция»,
галерея В.
Рябова, Москва;
·
1996 —
«Человек в
пространстве
времени»,
Рег.выставка,
Омск,
Городской
музей
«Искусство
Омска»;
·
1996 —
Совместная
выставка с
Сергеем
Мосиенко, Новосибирская
картинная
галерея;
·
1995 —
Выставка в
салоне
«Модерн»,
Новосибирск;
·
1994 —
Персональная
выставка,
Новосибирская
картинная
галерея;
·
1994 —
Групповая
выставка
новосибирских
художников,
Москва, ЦДX;
·
1994 —
«МОНАРТ»,
Групповая
выставка
новосибирских
художников,
Новосибирск;
·
1992 —
Групповая
выставка
новосибирских
художников,
ТОХМ, Томск;
·
1991 —
Групповые
выставки 8-ми
Новосибирских
художников г.
Новосибирск,
1977, 1989, 1990, 1991гг.
·
1991 —
Выставка
Новосибирских
художников в
галерее «Полар»(
ЦДХ), Москва;
·
1990 —
Республиканская
выставка
«Молодость России»,
Москва;
·
1990 —
Персональная
выставка,
Бердск;
·
1989 —
Всесоюзная
выставка
молодых
художников
«Молодость
России»,
Москва;
·
1988 —
Республиканская
выставка
«Наука и
космос»,
Москва;
·
1987 —
Всесоюзная
выставка
молодых
художников
«Молодость
страны»,
Москва;
·
1987 —
Республиканская
выставка
молодых художников
«Молодость
России»,
Москва;
·
1985 —
6-ая
зональная
выставка,
Кемерово
(Кузбасс);
·
1984 —
Республиканская
выставка
«художники
России — БАМу»,
Чита;
·
1982 —
Всесоюзная
выставка
молодых
художников
«Молодость
страны»,
Москва;
КАТАЛОГИ
и ПУБЛИКАЦИИ:
·
Альбом.
Михаил
Казаковцев,
живопись.
Новосибирск
2004;
·
Авторский
каталог.
Новосибирск,
1990;
·
«Неизвестная
Россия».
Групповая
выставка. Лёвен,
Бельгия, 1989;
·
Четвёртая
Международная
Биеннале
современного
искусства,
Флоренция, 2003;
·
Третья
Международная
Биеннале
современной
графики.
Новосибирск,
2003;
·
Международная
Биеналле
графики
«Белые интер-ночи».
Санкт-Петербург,
2004;
·
IV
Международная
Биеннале
современной
графики.
Новосибирск,
НГХМ, 2005;
·
IV
Всесиб.
выставка-конкурс
современного
искусства
Сибири Пост №
1, Омск,
галерея
«Квадрат», 2005;
·
Голоса
территорий.
Образы и
символы
архаических
культур в
современном
творчестве.
Омск, ООМИ им.
М. Врубеля, 2005.
РАБОТЫ
ХРАНЯТСЯ:
·
Новосибирская
картинная
галерея
·
Музей
современного
искусства,
Владивосток
·
Музей
современного
искусства,
Биробиджан
·
частные
собрания
России,
Германии,
США, Японии