Rimma Gerlovina Valeriy Gerlovin EXCERPTS FROM PUBLICATION 2013 - 2024 |
Etre(s) Vivant(s), Living Beings, Mobil Museum, MuMO, Centre Pompidou, Feb. 5 - May 18, 2024 ("Grande Ourse")
Suppose You Are Not, the mer Ko Collection, Arter Gallery, Stambul, Turkey, Jan. 19 – Dec. 29, 2024
Franz Kafka and art of XX century, Jewish Museum, Moscow, Oct. 10 2023 - Jan. 13, 2024, link
A Network: Postal Art 1970-1980, Biennal de Arte Contemporaneous, The City Art Collection, Saco, Site of Memory, San Paulo, Brazil, link
Rimma Gerlovina and Valeriy Gerlovin, THOUGHT OF THOUGHTS Book 5: Astral Glow, 2023, link
Exhibition Prints from the Collection, N. and J. Thompson Gallery, San Jos State University, San Jos, CA, Aug. 29 – Oct. 6, 2023, link
Video Birth of Aphrodite, narrated by the collector Frank Konhaus, collection Cassilhaus, North Carolina, link
Birth of Aphrodite in permanent exposition at Nasher Museum of Art at Duke University, NC, link
Dossier pdagogique de muse dcouverte La Nuit toile, France (educational courses composed of work of art about stars from world musuems), link to PDF
Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing as Contemporary Art, edited by Steve Tomasula, University Press of Alabama, 2022 https://archive.ph/hgjq3
Elena Korowin, Lost in Translation, Gender, Politik, Performance in Zoo-Homo Sapiens (1977) von Rimma Gerlovina und Valeriy Gerlovin, Im Labirinth der Kulturen, Series: Kulturtransfer, Vol. 7 (Brill/Fink) Jan. 2022.
2022-2023 Exhibitions
Slit, Art4Ru Museum, Moscow, from Feb. 2, 2022 - Dec. 30. 2023
The Animal Within – Cteatures in (and outside), Museum Moderner Kunst Stiftung Ludwig, Wien, Sept. 22, 2022 – Feb. 26, 2023, link
Weiner Zeitung, Ein Zoo der etwas anderen Art (A different kind of Zoo") https://archive.ph/erCW
Austria Times, Ausstellung – Ein Zoo der etwas anderen Art https://archive.ph/ehnF0
Vienna Art Week https://archive.ph/tS1XP
Ferment: Metamorphoses and Reflections, the CYFEST 14 International Media Art Festival at The National Arts Club, New York, Dec.6, 2022 - Jan. 3, 2023
Collaborations, Museum Moderner Kunst Stiftung Ludwig, Wien, Austria, Jul. 1 – Nov.6, 2022 https://archive.ph/9Xvcq# and https://archive.ph/wip/9Xvcq
Re-Materialization of Language. 1978-2022. Reconstruction of the exhibition of the XXXIX Venice Biennale in 1978, Fondazioni Antonio Dalle Nogare, Bolzano, Italy, 2 Oct. 2022 3 June 2023
Thing, Space, Man, Art, XX- XXI cen., The State Tretyakov Gallery, Moscow, June 11– Sept. 11, 2022, futher info
Face, Lisa Sette Gallery, Phoenix, AZ, June 4 – sept. 24, 2022 https://archive.ph/VWjux
Fantastic Vision, Amarillo Museum of Art, Texas, USA, May 28 Sept. 4, 2022, further info
Thinking Pictures, Kumu Art Museum, Tallinn, Estonia, March 13 – Aug.14, 2022
Artists Books from Franklin Furnace Archive, 1976-2022, Pratt Institute, New York, USA, Apr. 21 June 21, 2022 https://franklinfurnace.org/46-artists-books-exhibition/
Visage – Face with a View, Cassilhous, Chapel Hill, North Carolina, USA, Feb.13 – May 8, 2022
Poetry and Performance, Dnipro Center for Contemporary Culture, Dnipro, Ukraine, Nov. 25, 2021 – Feb. 12, 2022
2021 Exhibitions
Poetry and Performance, The Kassak Museum, Budapest, Hungary, 2021
Fluxus Means Change, Jean Browns Avant-Garde Archive, The Getty Research Institute, California, USA, Sept. 14, 2021 – Jan. 2, 2022
Opening the Curtain, Fondation of Andrei Chaglakov, Moscow, Russia, 2021
Rimma Gerlovina and Valeriy Gerlovin, THOUGHT OF THOUGHTS |
The allegorical form of art can train and possibly awaken the mind with piercing glimpses into the inexplicable, expressing it in its visual meta-language. For that purpose, Zen masters used to employ their koans; similarly, we used our concepts. Art was always our thread of Ariadne that led us through the labyrinths of life: as in Russia, so in America. The running streams of ideas and forms in our art have been fusing in one organic union, whose balance is maintained as in a live organism. On every occasion, it was necessary to rise in consciousness above the limitations of the moment, to break free from the temporal aspects of events and to glance from the particular to the universal in such case geographical localities become less significant than expected. The surviving idea of antiquity concerning the necessity of self-knowledge (nosce te ipsum) suggests that one has to gain the maximum independence from the collective mind, which entails another equally old rule that one has to carry in himself all that one needs (omnia mea mecum porto). Consequently, these parables were repeated in our life just like in lives of many others who traveled the same way before us. ((p. 7) (further...)
Exhibition Little Secrets of the Soviet Underground 1966-1985, Garage Museum, Moscow 12.11.2019 – 7.24.2020
Further Info: Elle Yarcenter Garage
Not Forever. 1068 – 1985, the State Tretyakov Gallery, Moscow 7.7 - 9.11.2020, further info
Photographie Les acquisitions des collections publiques, Le Bec en lair, Marceill, France, 2020
Le Monde diplomatique, August 2020, France (link)
Zinaida Starizubtseva Russian Artists Abroad, 1970-2010, interveiws, BuksMart, Moscow, 2020
Зинаида Стародубцева, Русские художники за рубежом, 1970-2010-е годы, интервью, БуксМарт, 2020
Books:Abundance and Asceticism in Russian Literature: Clashes, Transitions,Coincidences, ed. Jens Herlt, Christian Zehnder,
New Russian Review, Moscow 2020 "Изобилие и аскеза в русской литературе: Столкновения, переходы, совпадения,
cборник статей, ред. Йенс Херльт, Кристиан Цендер, Новое литературное обозрение, 2020
The correspondence of the artists around A-Ya magazine, 2 volumes, ed. I. Chelkovscki, New Russian Review, Moscow 2018-2019
Переписка художников с журналом А-Я, 2 тома, 1976-1981, ред. И. Шелковский, NLO, Москва, 2018-2019 (link)
Exhibitions 2020: The Other 50%: Womens Voices in the Public Sphere, Gregory Allicar Museum of Art, Colorado State University, CO
When Gesture Becomes Event, Kunstlerhaus Vereinigung, Vienna, Austria
Art:Tech Exhiition, the National Arts Club, New York City
Geometry in the culture of XX-XXI cen. 100 yeas of The Bauhaus, NCCA, Moscow, Dec.12 – Jan. 21, 2020
Book by Russell Joslin Alone Forever Sometimes, Self-Portraits 2000-2019, Skeleton Key Press, Oslo, Norway,
with an essey by Rimma Gerlovina and Valeriy Gerlovin The Diaphanous Self
Further info: https://www.skeletonkeypress.com/alone-forever-sometimes/
Travelling group exhibition Poetry and Performance curated by Tomš Glanc and Sabine Hnsgen (info)
12.4.7.7.2019 Motorenhalle-Riesa Efau Kultur Forum, Dresden, Germany 16.09.28.10.2018 Shedhalle, Zrich, Switzerland (video) 22.12. 2017 10.3. 2018 Gallery Nova Synagoga, Zhilina, Slovakia ( Blok Magazine о выставке) 27.3.20 13.7. 2020 Muzeum Wsplczesne Wroclaw / Wroclaw Contemporary Museum, Poland 18.12. 2020 - 5.3.2021 Liberec Regional Gallery, Liberec, Czech Republic
Coming venues: Kassk Mzeum, Budapest, Hungary Cultural Center (Kultura Medialna) in Dnipro Ukraine Baths/Lzne Okresn galerie Liberec/ Regional Art Gallery Liberec, Czech Republic
Rimma's interactive work Paradise, Purgatory, Hell, 1976 (The State Tretyakov Gallery collection) was recreated in a larger size ( production: Jn Gašparovič) |
Video Not Jean Brown: Dada, Surrealism, Fluxus, etc. Premiere of a 12 inch color video by The Gerlovins and Mark Bloch, 16 min with soundtrack by John Cage and works by George Maciunas, Marcel Duchamp, Man Ray, Andr Masson, Joe Jones, John Cage, Yoko Ono, Robert Watts, Claes Oldenburg, Robert Filliou, Geoff Hendricks, Nam June Paik, Christo, John Lennon, George Brecht, Ay-O, John Furnival, Dieter Roth, and others. Preceded by videos: The Concepts, The Gerlovins, 16 min, 2012 (info) (video) |
Exhibition "Arte e Femminismo", 3 Apr.- 26 May 2019, FM Centro per l'Arte Contemporanea, Milan, Italy (from collection of MART- Museo di arte e contemporanea di Trento e Roverto) |
The Fabric of Felicity, Garage Museum of Contemporary Art, Moskow, Russia,12 Sep 2018 - 27 Jan 2019: International group exhibition, including works by Liubov Popova, Varvara Stepanova, Yoko Ono, Sonia Delaunay, Jimmy DeSana, Katalin Ladik, Yuichiro Tamura, Marie Louise Ekman, and others.
Naked costume—nudity as an expression of vestimentary codes—is the main concern of a section that compares work by Soviet conceptual artists Rimma and Valeriy Gerlovin, documentary photography by Pedro Valtierra, and highly stylized shots by Jimmy DeSana. The exhibition also includes an archival section that tells the story of avant-garde experiments with total uniform and connects them to the notion of universal form in postwar abstraction. (link to the museum guide) (sound guide)
Urawa Museum, Japan, Challenges from the Other Side, exib., 2018.11.17- 2019.1.14 "FIVE YEAR PLAN" magazine in envelopes, from the collection of the museum. (more)
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Валерий Герловин, ранняя живопись (1973) в собрании Третьяковской галереи (каталог)
Valeriy Gerlovin early paintings (1973) in collection of the State Tretyakov Gallery (catalog)
Semantics of Possible Words, 1977, in Collection of Tate Modern, London, UK, 2019 (link)
Still-a-live, 1988, in Yale University Art Gallery Collection, New Haven, Connecticut, USA (link)
Mirror Game, 1977, in the archive of Guttorm Guttormsgaard, Oslo, Norwey, 2019
Valeriy Gerlovin, Pronouncements, 2018, book with drawings and archival photographs. (link to PDF)
Series of Dreams (Selections from 17 years/68 issues of Shots Magazine) edited by Russell Joslin, Skeleton Key Press, 2018 ( info)
Exhibition SerpentiForm at Singapore Art Science Museum (link) , Aug. 19 - Oct. 15, 2017 and
Mori Art Museum, Tokyo, Nov. 25 - Dec. 25, 2017, organized by Bulgari, pages from the catalog ( link to PDF)
Jean Roberson, Craig McDaniel, Themes of Contemporary Art, Visual Art after 1980 (New York: Oxford University Press, 2017)
Be-lie-ve (1990), a color photograph measuring four feet by four feet, for example, reveals how language can create layers of meaningin the case of their reformation of the word believe, the artists pinpoint its contradictory core, thereby demonstrating how truth and falsity are both present in the word. In analyzing this artwork, the artists noted, The Sufi master Mullah Nasreddin once said, I never tell the truth. If this is true, it contradicts his statement. But if he was lying, as he indicated, it means that he really was telling the truth. According to the artists, their photoglyphs offer paradoxical riddles for each viewer to ponder: Language conceals more than it reveals until we reduce words to their hidden meanings. (p. 291)
The Centre Pompidou, Press Release for the exhibition Kollektsia! Contemporary Art in The USSR and RUSSIA 1950-2000 A Major Donation. Sept. 14- May 27, 2017 (the full text) (Art and Houses, review) Centre Pompidou Collection: (Cubes) (Mirror Game) (2x2=4) (Ursa Major)
The 1970s then saw the emergence of two major movements, their boundaries somewhat loosely defined. Moscow Conceptualism achieved a certain ascendancy with the work of Ilya Kabakov, Viktor Pivovarov and Rimma and Valery Gerlovin, then followed by Andrei Monastyrsky and Dmitri Prigov. According a leading role to language and working at the intersection of poetry, performance and visual art, these artists proposed, in the Moscow of the Brezhnevite stagnation, a conceptual art that reflected the primacy of literature in Russian culture. The first Conceptualists were joined in the late 1970s by a second generation that included the Mukhomor group, Yuri Albert, Mikhail Roshal, Viktor Skersis and Vadim Zakharov. Press Release, p.1-2
The Centre Pompidou Press Release, Press Visuals, p.21
Extrait du communiqu de presse:
Les annes 1970 voient lՎmergence de deux mouvements aux frontires poreuses. LՃcole conceptualiste moscovite prend une ampleur dterminante sous limpulsion dIlya Kabakov de Viktor Pivovarov, de Rimma et Valry Gerlovin, suivis dAndre Monastyrsky et de Dmitri Prigov. Accordant une place prpondrante au langage, travaillant la croise de la posie, de la performance et des arts visuels, ces artistes proposent dans la Moscou de la Stagnation un art conceptuel refltant la primaut de la littrature dans la culture russe. Une seconde gnration dartistes rejoint la communaut conceptualiste la fin des annes 1970, comme le groupe Mukhomor, Yuri Albert, Mikhal Roshal, Viktor Skersis ou Vadim Zakharov.
View of installation at the Center of Pompidou, 2016 - 2017
KOLLEKTSIA ! Le conceptualisme muscovite Hajde, France, 11.8.2016
"Dans les annes 70, un autre mouvement voit le jour, le conceptualisme moscovite . Sous limpulsion dIlya Kabakov se dveloppe un attrait des artistes pour le texte, le langage, la posie, la performance et les arts visuels. Les conceptualistes tmoignent de labsurdit du rel et du quotidien. Vicktor Pivovarov avec ses tableaux laconiques base de peinture-mail industrielle, Rimma Gerlovina et ses pomes cubiques, Andrei Monastyrsky conoit des appareils destins attirer lattention du public sur leur perception."
Something Possible Everywhere: Pier 34, NYC 1983–84, Hudson Gallery, Hunter College, New York, Sept. 30 - Nov. 20, 2016, curated by Jonathan Weinberg, photographs of Andreas Sterzing, catalog
the first exhibition to revisit the extraordinary place and time when David Wojnarowicz and his friends and peers including Jane Bauman, Mike Bidlo, Keith Davis, Steve Doughton, John Fekner, David Finn, Jean Foos, Luis Frangella, Valeriy Gerlovin, Judy Glantzman, Alain Jacquet, Kim Jones, Rob Jones, Ruth Kligman, Stephen Lack, Liz-N-Val, Bill Mutter, Michael Ottersen, Rick Prol, Russell Sharon, Kiki Smith, Huck Snyder, Betty Tompkins, and Ruth Zwillinger among many others, effectively seized a city-owned pier and filled it with art. Andreas Sterzings remarkable photographs document how these artists turned the Ward Line shipping terminal at the foot of Canal Street, into a series of makeshift art galleries and studios.
Valeriy Gerlovin, two ladders at Pier 34 (in the catalog) and at the exhibition, The Big Icon with syringe mosaics
A 1980s Art Experiment on an NYC Pier → hyperallergic.com
Exhibition SerpentiForm at Museo di Roma in Rome, Italy, and book Serpenti in Art, text by Anthony Downey, (Bulgari, Roma and Canvas Central, Dubai, 2016), pp.96-101. Participating artists: Paul Gauguin, Toulouse-Lautrec, Alphonse Mucha, Gustav Klimt, Henry Rousseau, Alexander Calder, Niki de Saint Phalle, Sigmar Polke, Jean-Michel Basquiat, Adam Fuss, Mike Kelley, Marina Abramovich, Robert Mapplethorpe, and others. (link to PDF)
We regard art as an organic union of interrelated parts whose balance, as in any living organism, is important to maintain.
the New York-based couple are also inspired by mythology and philosophy, and have published extensively on a range of related subjects. Their aim is to shift the focus from the conceptualisation of an object to the conceptualisation of the subject, often using very basic media to create their images. They also use their own bodies as vehicles for their work, further compressing meaning in a practice that embraces paradox and playfulness.
In Gerlovina and Gerlovins Serpent (1989) this shape shifting is literalised as the female becomes one with the snake, down to the forked tongue that they both apparently share. The relationship of women to snakes has been used by a significant number of female artists to promote a more empowered image of femininity and to dispel the negative connotations of women and their association with serpents. Text by Anthony Downey, p.96
The New exposition at the State Tretyakov Gallery, 2016-17. On the left photograph, works by Rimma Gerlovina: Paradise-Purgatory-Hell is in the middle, the original work and its copy below, in which the spectators can move the cubes. On the right, under the glass, there are small cubes. Valeriy Gerlovin's works are on the right photograph: The Leonardo Cube in the unfolded position and the white Age Apparat.
SHOTS magazine, STILL LIFE issue (Autumn 2016), published by Russell Joslin
The Art of Typewriting, Marvin and Ruth Sackner, Themes& Hudson, 2015 (The Sackner Archive of Concrete and Visual Poetry)
About book Sle (Сле), 1973 Thames & Hudson information about The Art of Typewriting
"An artist book that Gerlovina composed in 1973 is replete with pages of typed artpoem with a concrete poetic sensibility. Her poems with a Neo-Dadaist or sound poetic structure were intended for readings by the Gerlovins along with one or more of their friends in the sanctity of their dwellings Such poetic expression was designated Samizdat Art, or self-published art, and consisted of intense messages dealing with moral and ideological problems that circumvented official censorship Ruth and Marvin Sackner
Eyebook. Sixty Artists. One Subject. Edited by Jenny Lynn, Damiani, Italy, 2015. The book features such artists as Magritte, Man Ray, Dali, Kusama, Araki, and Warhol. Lyrical quotes by many authors, including Blake, Proust, Poe, Sartre, Kerouac.
The images, and the words that accompany them, are treasures, by diverse and brilliant artists, writers and thinkers from around the world, and from many eras. Presented chronologically, this vrief ode to the eye in art begins in the 1500s, and ends in our own time. Jenny Lynn
Exhibition and book Performance in Russia: Cartography of its History, Garage Museum, Moscow, Russia, 2014
Перформaнс в России. 1910-2010: картография его истории, Гараж музей, Москва, 2014, curators Sasha Obukhova and Yulia Aksyonova
Video canal tv cultura.ru about the exhibition Video canal mir 24 tv video news about the exhibition
Performance Zoo - Homo sapiens (1977), the most important in our Moscow period, touches upon the primeval state of human nature. The deepest layers of the anima/animus correlation are found in many veins of life, including its social aspects, Dionysian bohemian infrastructure, or gender issues. Upon tasting the forbidden apple, anima and animus are fixed within their physical body entailing all the consequences – the necessity of preserving and feeding their bodies as a supportive vehicle for the soul. Even worse, they seem to be preordained to sin before sinning. Whether we like it or not, the humanity lives precisely in their skin. It entails the temporal amalgamation of matter and consciousness, which must share its live and its thoughts with its body. The idea of limitation, per se, is contained within the concepts of time and space, in which we are encapsulated. On the other hand in certain situations, self-caging also implies self-imposed isolation. That is not only a symbol of limitation, but also some kind of a safeguarding, helpful in the process of formation and reformation of psyche. (p.72) Formburo about the exhibition
Exhibition and book Moscow Conceptualism. The Beginning, curator and editor of the book Yuri Albert, 2014, Arsenal, Nizhny Novgorod, Russia. Book includes the interviews with several artists, their early texts, and many illustrations. (Russian lang.) Московский концептуализм. Начало, составитель Юрий Альберт, 2014, Арсенал, Нижний Новгород (Link to PDF )
Black Forest, ed. Russell Joslin, Candela Books, USA, 2014 (info)
Exhibition and catalog Post Pop: East Meets West, Saatchi Gallery, London 26 Nov. 2014 - 23 Feb. 2015 (further on Saatchi Gallery site)
Russian Artists at the Venice Biennale, 1895-2013, authors: Nikolai Molok (editor), Faina Balakhovskaya, Matteo Bertel, Boris Groys, Ekaterina Degot, Andrei Kovalev, Maria Kravtsova, Geraldine Norman, Sandra Frimmel; Stella Art Foundation, Moscow, 2013
As well as the main project, which showed pictures by Kandinsky and Malevich, the Biennale, as usual, included several special exhibitions. One of them, Materialization of Language also had substantial Russian involvement, with works by the amazons of the avant-garde (Goncharova, Rozanova), and also Rimma Gerlovina, who showed Cubes, which had been seen for the first time at the Biennale of Dissent in 1977. Nikolai Molok (p.466)
Foundation of Art and Design, Lois Fichner-Rathus, Cengage Learning, 2014, 2012, 2008 (link to PDF)
Multiculturalism in Art Museums Today, ed. Joni Boyd Acuff, Laura Evan, Taking It Personally by Terry Barret, Rowman & Littlefield, Maryland, 2014
Islands of Yury Sobolev, ed. Galina Metelichenko, Anna Romanova, Nelli Podgorskaya, Moscow Museum of Modern Art, 2014 ("Острова Юрия Соболева", ped. Галина Метеличенко, Анна Романова, Нелли Подгорская, Московский музей современного искусства, 2014)
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