Ivan Chuikov
Window Nr. XXXIII (Hommage à Malevich)
Artist
Ivan Chuikov
Additional Description
Mischtechnik mit Lack auf Holz. In Plexiglas-Objektrahmen. 2000. Ca. 100 x 100 cm (Rahmen ca. 117 x 117 cm). Verso signiert und datiert.
Period
(1935 Moskau - Köln 2020)
Technique
Sculpture/Object/Multiple
Ausstellung
Vorletzte Wahrheiten. Russische Kunst zwischen Metaphysik und Konzept, Stiftung Ahlers Pro Arte/Kestner Pro Arte, Hannover 2013, farb. Abb. S. 34 u. S. 47.
Provenance
Galerie Marina M. Sandmann, Berlin;
Privatsammlung, Norddeutschland, 2013 bei Vorgenannter erworben.
Privatsammlung, Norddeutschland, 2013 bei Vorgenannter erworben.
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Description
- From the important series of window paintings
- Since 1977, Chuikov has also been allowed to exhibit in Western countries and has lived alternately in Moscow and Düsseldorf
- Works by the artist can be found in the AZ Museum in Moscow and in German private collections
The motif of the window, which Ivan Chuikov first took up in 1967, is of central importance to the oeuvre of the Russian-German artist. With over 80 works, the window paintings later developed into his most extensive and important series. The idea of painting as a window to the world has existed since the Renaissance. For centuries, artists have used the window motif as a metaphor for painting itself and what it can make visible. Ivan Chuikov takes this Renaissance metaphor literally: he not only treats the window as a symbol, but also transforms it into a material, three-dimensional structure. For him, the window frame replaces the traditional canvas and stretcher frame. However, behind the relief of the frame there is no illusionistic space, but a hermetically sealed, painted surface. Instead of a movement into the depths, the viewer is presented with a three-dimensional object that includes the window frame and, in this case, the window handle. The present window painting "No. XXXIII (Hommage á Malevich)" - black circle on a white background - with its direct reference to the most important innovator of Russian modernism, Kazimir Malevich, is a subtle reference to the cultural origins of Ivan Chuikov, who has lived and worked not only in Moscow but also in the Rhineland since 1990.
- Since 1977, Chuikov has also been allowed to exhibit in Western countries and has lived alternately in Moscow and Düsseldorf
- Works by the artist can be found in the AZ Museum in Moscow and in German private collections
The motif of the window, which Ivan Chuikov first took up in 1967, is of central importance to the oeuvre of the Russian-German artist. With over 80 works, the window paintings later developed into his most extensive and important series. The idea of painting as a window to the world has existed since the Renaissance. For centuries, artists have used the window motif as a metaphor for painting itself and what it can make visible. Ivan Chuikov takes this Renaissance metaphor literally: he not only treats the window as a symbol, but also transforms it into a material, three-dimensional structure. For him, the window frame replaces the traditional canvas and stretcher frame. However, behind the relief of the frame there is no illusionistic space, but a hermetically sealed, painted surface. Instead of a movement into the depths, the viewer is presented with a three-dimensional object that includes the window frame and, in this case, the window handle. The present window painting "No. XXXIII (Hommage á Malevich)" - black circle on a white background - with its direct reference to the most important innovator of Russian modernism, Kazimir Malevich, is a subtle reference to the cultural origins of Ivan Chuikov, who has lived and worked not only in Moscow but also in the Rhineland since 1990.