Who is there? Exhibition of paintings by Boris Grebenshchikov

Boris Grebenshchikov has been exploring for many years       painting as a practical opportunity for creative expression of will.       The fact of unquenchable interest in all the wonderful diversity that leaves the broad brush of such a familiar and incomprehensible Boris Grebenshchikov remains phenomenal.       “Who is here?” Is an exhibition of paintings created by BG       for several decades. Lyricism, surrealism, irony, colorfulness and philosophicality are woven into a single and very hospitable Universe, where everyone who hears and sees the researcher of life will find his place.              The museum expresses its deep gratitude to the author and friends of the Maxim & Yana Lande museum, Stavnitser Andrey for the unique opportunity to introduce the viewer to another, visualized world of the master of BG on the underground platform of Odessa Museum of Western and Eastern Art       Curator Ekaterina Mikheytseva              BG as an artist belongs to the field of artistic culture, which, with the light hand of an English critic Roger Cardinal, was called OutsiderArt (this term       the most conventional to date, although it is used in the United States and Europe with slight differences). In the USA, for example, it is much more elastic and covers much more material, which includes, in addition to the art of traditional naive and autodidacts, also folk art, the art of various ethnic and professional groups and children. In Europe, the conceptOutsiderArt has a more social connotation and is also applied to the art of people with violated social, psychological and behavioral standards.              Primitive, naive, the art of marginals and sociopaths have always influenced contemporary art - this is truism. But in recent decades, OutsiderArtist's well-being has changed. He is not satisfied with the position “behind” the great art. What is the reflexive or intuitive purpose of this art? Alexander Borovsky:       I think, first of all, in the representation of the work of consciousness. It can be somnambulistically self-immersed, individualistic or collective-matrix, twilight or, conversely, enlightened, but consciousness, moreover, in its special, not typological, so to speak, authorized states of it.       In the case of BG, its alienation, isolation from any kind of workshop standards (whether it is an image culture or a concept culture) is quite meaningful. In fact, turning to the visual, he always knew (perhaps at first felt) what he needed. And he just had to work with states of consciousness, broadcast them, share them and, to some extent, get rid of them.       In the works of BG there is no “history of development” in the traditional sense: building up skill, a picturesque culture, the evolution of manners and other things.       The concept of development is not so relevant here, and the concept of design is generally forbidden. He does not look forward. And, of course, does not look back. Of course, the pillar in this case, as history shows,       can easily turn into salt.              ❗ Just two weeks!⏳ From August 31 to September 13       Painting by Boris Grebenshchikov at the Odessa Museum of Western and Eastern Art       ⏳ Daily (except Wednesday) from 10:30 to 18:00       Pushkinskaya, 9       #weart_musem # bg #who are here?