Vasiliy Ryabchenko

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Vasiliy Ryabchenko
Born (1954-07-23) 23 July 1954 (age 69)
photo, objects, installation
Movementexpressionism, neo-expressionism, postmodernism
Awards"Golden Section" (1996)
Websitewww.vasiliyryabchenko.com

Vasiliy Ryabchenko (born 23 July 1954, in

painter, photographer, and installation artist.[1] One of the key artists in contemporary Ukrainian art, and the "New Ukrainian Wave".[2][3]

Biography

FloweringTime, 70 х 75 cm, oil on canvas, 1987
Odesa in the family of a Soviet graphic artist Sergey Ryabchenko.[4]

His art education started in 1966 at the Odesa Art School located on the territory of the

Odesa Art College
. In 1969, he entered the painting department of the Odesa Art College which was named after M. B. Grekov.

1974 - 1976 he was auditing courses at the Leningrad Higher School of Art and Design named after Mukhina in Leningrad. After returning to Odesa, he acquainted and made friends with Valentin Khrushch and others who would be known as the Odesa "nonconformists".[5]

From 1978 to 1983 Vasiliy Ryabchenko studied at the South Ukrainian State Pedagogical University named after K. D. Ushinsky at the art and graphics faculty, where his teachers were Valery Geghamyan and Zinaida Borisyuk.[6]

Since 1987 – a member of the Union of Artists of the USSR, later the National Union of Artists of Ukraine.[7] During this period, a group of artists from Odesa appeared: Sergey Lykov, Elena Nekrasova, Oleksandr Rojtburd, Vasiliy Ryabchenko. Known as the “Odesa Group”. In the late 1980s, this group, which was not very popular among "official" environment of the Union of Artists and wasn’t connected with the unofficial environment – these new "nonconformist", held two major high-profile exhibitions "After Modernism 1" and "After Modernism 2" in the space of a state institution, the Odesa Art Museum. The themes, plots of works, and large-scale formats marked the beginning of a new direction in the fine arts of Odesa. This period included paintings from Vasiliy such as: "Coast of Unidentified Characters" (1989), "Red Room" (1988), "Victim" (1989), "Death of Actaeon" (1989), Diptych "Catchers" (1989), "Method of Temptation" (1990) and others.

In between the two above-mentioned exhibitions, an exhibition, "New Figurations", was held at the Odesa Literary Museum, in which, young artists from Kyiv were involved.[8] This was the beginning of the integration of the "Odesa Group" into the context of the all-Ukrainian art movement that was a current trend at that time.[9] Vasiliy Ryabchenko's works which were displayed at that exhibition were: "Rejection of Grace" (1988) and "Love - not Love" (1988).

Vasiliy Ryabchenko, was among the first who started working in the genre of installation, and his very first work in this direction was "Swings for Stumps", for a project "Steppes of Europe" at the Ujazdowski Castle (1993), curated by Jerzy Onukh.[9] Later on, he created a great number of installations: "The Great Bambi" (1994), "Dedication to Madame Recamier" (1994), "Princess" (1996), "Academy of Cold" (1998), and others.

Since the early 1970s, the artist was constantly experimenting with photography.[10] At first, the main subjects were non-staged, still lifes from everyday objects. He followed that by photo fixation of improvisations involving different objects and the human body. In which he used “emptiness” and asymmetry, which was characteristic of the Eastern tradition.[5] He used this style for a series of photographs, which were put together in the project "Naked Dream" (1995). For this project Vasiliy Ryabchenko received an award along with the title of "Best Artist of Ukraine" according to the results of the first all-Ukrainian art festival "Golden Section" in 1996. In the same year he founded a creative association "Art Laboratory".[2]

Work

Deterrence, 140 х 170 cm, oil on canvas,1989

Vladimir Levashov identifies several periods in the work of Vasiliy Ryabchenko. The early works of the artist, dating back to the late 1970s – early 80s, are notable for a synthesis of "Western" and "Eastern" approaches to painting: an almost "English" aristocratic asceticism of the language, organically drifting towards the Chinese "dance of a brush", in other words restraint is balanced by freedom and lightness.

In the second half of the 1980s, Vasiliy Ryabchenko got interested in the ideas of the transavantgarde. Yet while in general, the Ukrainian transavantgarde gravitated toward the aesthetics of the baroque, Ryabchenko's works of this time can be described as "new rococo". The transavantgarde period of the artist is characterized by programmatic emptiness, well-balanced aestheticism, frivolous playfulness and mechanistic combinatorics.[11] "Cats" is an example of the works of the second half of the 1980s, which is a story about two rival cats. In the next version, created when relations between the two superpowers were aggravated, which led to the collapse of the USSR, the plot changed its semantic context due to a change in size, color, painting style and the title – "Deterrence".[5]

The "rococo line" can still be seen in Ryabchenko's subsequent works, right up to those created recently. However, they’ve become more emotional and slightly confusing, and a trace of irrationalism and anxiety appear in his paintings. Pastoral carelessness gradually gave way to reflection and growing drama.[11]

Ukrainian art historian and art critic, Mikhail Rashkovetsky, said about Vasiliy Ryabchenko: “In his works Vasiliy Ryabchenko is a mediator of objective emptiness along the laws of beauty. Moreover, figurativeness does not diminish, but enhances this intention. To embody the vacuum, the artist multiplies the elegance of rocaille, the stylization of modernity and the luxury of the high-society baroque by the absolute deconstruction of mythological meanings.”[12]

Exhibitions

Swing for Stumps, 200 cm, installation, wooden constructions, stump, chain,1993
Big Bembi, installation, barrels, linear lamps, deer horns,1994

Collections

Odessa Art Museum
Collection)
  • Zimmerli Art Museum at Rutgers University (New Jersey, United States)
  • Udmurt Republican Fine Arts Museum (Izhevsk, Russia)
  • National Art Museum of Ukraine (Kyiv, Ukraine)
  • Museum of Modern Art of Ukraine [40](Kyiv, Ukraine)
  • Soviart Contemporary art Centre (Kyiv, Ukraine)
  • Odesa Fine Arts Museum (Odesa, Ukraine)
  • The Museum of Odesa Modern Art[41] (Odesa, Ukraine)
  • Nikanor Onatsky Regional Art Museum (Sumy, Ukraine)
  • Chernihiv Regional Art Museum (Chernihiv, Ukraine)
  • Ministry of Culture of Ukraine
    (Kyiv, Ukraine)
  • Exhibitions directorate of the National Artists Union of Ukraine (Kyiv, Ukraine)
  • Zaporizhzhia Regional Art Museum (Zaporizhzhia, Ukraine)
  • Cherkasy Regional Art Museum (Cherkasy, Ukraine)
  • The Korsaks’ Museum of Contemporary Ukrainian (Lutsk, Ukraine)

Bibliography

  • Steffy Antony, "Interpretation of Emotions Through Colors and Patterns used in "Red Room I" by Vasiliy Ryabchenko" / International Journal of Innovative Technology and Exploring Engineering (IJITEE) / ISSN: 2278-3075,Volume-8, Issue-7C2, May 2019
  • Museum collection "Ukrainian Contemporary Art 1985–2015 from private collections" / Art Arsenal – Kyiv, 2015. – p. 52 – 53
  • Contemporary ukrainian artist. – Rodovid, 2012. – p. 136 – 143
  • Myth. Ukrainian Baroque / National Art Museum of Ukraine. – Kyiv, 2012. – p. 39, 161
  • All-Ukrainian Triennial of Painting, Kyiv – 2010 / National Union of Artists of Ukraine. – 2010. – p. 37
  • Ukrainian New Wave / National Art Museum of Ukraine. — Kyiv, 2009. — p. 164 – 171
  • Visual art. From avant-garde shifts to the newest directions. The development of visual art of Ukraine of the XX-XXI century. — Modern Art Research Institute — Kyiv, 2008. — p. 119
  • Modern art of the times of independence of Ukraine: 100 names. – Mysl. – 2008. – p. 536–539, p. 640
  • Odesa Regional Organization of the National Union of Artists of Ukraine. – Grafikplus, 2006. – p. 117
  • Farewell to arms / Art Arsenal. — Kyiv, 2004. — p. 67, 121
  • Portfolio. The art of Odesa in the 1990s. Collection of texts / Soros Center for Contemporary Art-Odesa. – Odesa, 1999. – p. 13, 15, 22, 24–26, 36, 52–53, 60–65, 164–167, 294–301, 312
  • Ukrainian art of the 1960s – 1980s. – Soviart. – Mammens Bogtrykkeri A / S. – p. 9 – 20. p. 88 – 89

References

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  2. ^ a b "Virtuosity as an ideology | odessa-journal.com". odessa-journal.com. 23 May 2020. Retrieved 2020-06-11.
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  4. ^ "Одесский художник Сергей Рябченко: настоящее искусство не стареет : Одесса : Новости : Викна-Одесса". Викна-Одесса: Художественная интернет-галерея. Retrieved 2022-03-26.
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  40. ^ Vasiliy Ryabchenko, "Prayer" – Museum of Contemporary Art of Ukraine // https://modern-museum.org.ua Archived 2017-08-17 at the Wayback Machine
  41. ^ Vasiliy Ryabchenko // http://msio.com.ua/en/

External links

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