PHILIPP RUKAVISHNIKOV
sculptures, graphics & more
PHILIPP RUKAVISHNIKOV
Born: 1974 in Russia
Lives and Works: Moscow, Russia and Cecina, Italy
Born in 1974, Russian artist Philipp Rukavishnikov is the sixth author in a dynasty of artists. From an early age, Philipp appeared to be an undoubted child prodigy thanks to his innate abilities, the latent hopes of his loved ones, as well as his grandmother's tireless studies with him.
Great-grandfather Mitrofan Rukavishnikov, the first sculptor of a dynasty, was graduated from Roman academy of arts, studied in Sergey Konenkov's studio. Grandfather – Iulian Rukavishnikov, was an academician, the National artist of Russia. Father, Alexander Rukavishnikov is an academician, the National artist of Russia.
Philipp was frankly prepared for the profession of a sculptor. Obeying the will of the family, he graduated from the Surikov Institute and became a certified artist. Moreover, the circle of his creative interests was always wider than the dynastic destination. This again affected the genetic predisposition to literature, and in particular to poetry; not in vain among his glorious ancestors were the wonderful poet Ivan Rukavishnikov, and the world-famous Vladimir Nabokov, who had a distant relationship with this surname. Obviously, these circumstances played a special role in Philipp's life, so that thanks to, and partly despite the hereditary "title" of a hereditary artist, he also inherited a unique literary gift.
The cinematic career, despite the extraordinary and bright beginning, did not satisfy his vanity, although she had a continuation already in the television field - as the author and host of his own program "Art Zone" on the channel "Russia - Culture". Although a long stay in the zone of public creative activity disgusted his being, nevertheless, recognition and the acquired status brought him the opportunity to carry out new synthetic projects.
At the same time, Philipp diligently and effectively realized his abilities and professional skills in creating a number of serious, worthy and remarkable works of plastic art, in sculpture, painting and graphics. Among his most notable works is the monumental and decorative fountain "Inspiration" near the Tretyakov Gallery. In it, Philipp may have been guided by the glass pyramid in the courtyard of the Louvre, which, along with the Georges Pompidou Center, has become one of the most recognizable newest architectural symbols of Paris. Constructed from gilded frames, the composition of the fountain resembles a truncated pyramid with its outlines; even knowing Philip a little, one should not be surprised that a certain semantic context is also included in the decorative functions.
Philipp became the author of notable sculptures -I mages included in the urban ensembles of Moscow. Among them - a number of monumental works dedicated to the legends of Russian sports, that is, those who are worshiped by a large army of football fans. His creative assets also include memorial plaques, for example, a plaque on house 26 on Kutuzovsky Prospekt that attracted public attention (installed to replace the one that was resold at one time to Germany), in which Leonid Ilyich Brezhnev lived for many years. Although this kind of work was performed mainly in the order of an official, commissioned nature, in most of the works of the young artist one can feel the power of his mighty imagination, they show a subconscious intuitive following of his unique sensory experience, his own ontology of being.
The mobile and rapidly changing diversity of the world brings its own special plastic argumentation to the work of Philipp Rukavishnikov. The repeated repetition in his non-objective graphic and pictorial works of the same, it would seem, vectors of lines and forms is not just a manifestation of emotional impulses, but an irresistible desire to overcome the reproducing, stereotypical idea of the universe, of the nature of being. Involuntarily, a hard-to-explain, to some extent virtual connection of his pictorial experiments with his own literary experience arises, in which one can guess the appeal to the theory of “shiftology of Russian verse” put forward by A. Kruchenykh, to the principle of deconstruction of the French philosopher J. Derrida, to the teachings of the German philosopher M Heidegger. In all likelihood, the structure of the pictorial-plastic language in Philip's work is a kind of derivative from his linguistic searches and discoveries. Thus, we observe with relentless interest the artist's radical rethinking of the classical heritage, the realistic traditions of art and his own role in contemporary artistic culture. Such an indirect appeal of Philip Rukavishnikov to postmodernism and, in particular, to poststructuralism, is undoubtedly associated with his internal opposition to the obvious attraction of dynastic destiny in favor of the egocentric assertion of his own "I", his unique self-identity, devoid of any borrowings.
Among the best works of Philipp Rukavishnikov of this time is a rather unexpected series of teapots. In them, a real object that has a specific function is endowed by the author with a whole clip of associative meanings, similar to the field of contexts that affect the feelings of viewers contemplating outwardly similar objects in G. Morandi's still lives, which are a kind of self-portraits of the emotional states and thoughts of the Italian artist. Surprisingly lively, expressive form of teapots gives them certain figurative characteristics, likened to certain portrait features. They have three-dimensional qualities that are identical to traditional sculpture of monumental forms.
The rapid, spiral evolution of Philipp Rukavishnikov's artistic thinking logically led him to the beginning of the beginnings: in his view, this is Dadaism with its programmatic irrationalism and so-called anti-aestheticism. M. Duchamp, F. Picabia, J. Arp, M. Ernst, T. Tzara, A. Breton were the founders of this literary and artistic movement, even phenomena of the first quarter of the 20th century. The letter combination "dada" is tantamount to childish babble, turned into a special form of spiritual protest and outrageousness, aimed against the philistine consciousness, a banal attitude to the surrounding reality. It was Dadaism that turned out to be the most nutritious environment, in many ways adequate to the worldview, philosophical mindset and creative imagination of Philip. This does not at all mean direct borrowing or repetition of the past, representing nothing more than an adequate literary and poetic means of artistic self-expression.
By resorting to the methods of Dadaism, the creator is completely liberated and free in his choice, he opposes the conjuncture, hypocrisy and other flaws of modern civilization. He recklessly composes texts that seem meaningless, absurd, or simply not understandable to everyone: they are built on a play of words and sounds, fused into illogical and stunning images for everyday consciousness at the level of instinctive, subconscious associations. The Dada artist works with letters, syllables, words contrary to the laws of morphology, structuring new meanings of rhyming phrases from them. Quite often, linguistically marked, and even simply fenced opuses are introduced into the figurative fabric of paintings that intersect with the so-called naive art or are intuitive paraphrases of the work of the Fauvists. As if playing with a Rubik's cube, Philip is typing words from almost random letters of the alphabet that no one knows yet, which are a reflection of deep inner feelings, experiences and reasoning. Thus, by personal practice, he confirms both the correctness of the provisions of psychoanalysis, and the enduring significance of the thesis of V. Kandinsky, according to which "what is not born by the internal is stillborn."
Over the past years, Philipp has been working a lot as a painter and graphic artist on the so-called "posters", in which intuitive-subconscious perception finds an outlet in surreal forms of figurative embodiment. His phantasmagoria evokes in the exalted viewer a series of unexpected associations with the works of Sigmund Freud and Friedrich Nietzsche, with the poetics and aesthetics of Franz Kafka or Mikhail Bulgakov. In the new works of Philipp Rukavishnikov, personal experience serves as an unconditional impulse for rethinking literary experiments and fantasy images, translating them into a pictorial format. The posters, which the artist prefers, are mostly made in mixed media, which in itself testifies to the dualistic philosophical and metaphysical nature of the artist's creative existences.
Mentally peering into the past and at the same time analyzing the present, Philipp Rukavishnikov, being a creatively inexhaustible person, finally felt that he had found his “I”, limited by nothing and no one. He has a lot of time ahead - that's why he is in no hurry anywhere. “... The Eternal Season is a memorable date // This life, frailty seeking to flow away.”
AWARDS
- 2020
Winner of All-Russian and international competitions in monumental art Moscow, Moscow, Russia
- 2017
Winner of All-Russian and international competitions in monumental art Moscow, Moscow, Russia
- 2013
Winner of All-Russian and international competitions in monumental art Moscow, Moscow, Russia
- 2011
Diploma and silver medal of Russian Academy of Arts Moscow, Moscow, Russia
- 2010
Winner of All-Russian and international competitions in monumental art Moscow, Moscow, Russia
- 2010
Diploma of the Committee of Public and Interregional Relations of the Moscow Government Moscow, Moscow, Russia
- 2004 Member of the Russian Academy of Arts, Academic (since 2011)
- 1998
Member of the Moscow Artists’ Union
SOLO EXHIBITIONS
· 2018
Posters Stockholm, Private Gallery, Stockholm, Sweden
· 2015
Posters Private Gallery, Paris, France
· 2014
Posters, MOMA, Moscow, Russia
· 2012
Art-Nature-Sport, Private Gallery, Seminyak, Bali, Indonesia
· 2011
Draft from the Past, Russian Academy of Art, Moscow, Russia
· 2009
«2000 years WAR» Gallery YAKUT, Moscow, Russia
· 2003
Tomorrow to the Past Instead, Russian Academy of Art, Moscow, Russia
· 2001
Teapots, Museum Club Gallery, Moscow, Russia
SELECTED GROUP EXHIBITIONS
· 2020
Pentantacles and Friends Piranezi Lab Gallery, Moscow, Russia
· 2018
Meat Flesh Compation Piranezi Lab Gallery, Moscow, Russia
· 2010
Alla Gloria Militar Aircraft Gallery, Bratislava, Slovakia
· 2009
ART Moscow Central House of Artist, Moscow, Russia
· 2007
ART Moscow Central House of Artist, Moscow, Russia
· 2006
Art Moscow Central House of Artist, Moscow, Russia
· 2005
ART Constitution MOMA, Moscow, Russia
· 2004
Russian collection. The end of XX century M’ARS Gallery, Moscow, Russia
· 2003
Rukavishnikovs’ Dynasty, The Russian Academy of Arts, Moscow, Russia
· 2002
ART Moscow, Central House of Artist, Moscow, Russia
· 2002
Die Russien ist comen, Total art gallery, Amsterdam, Netherlands
· 2001
The World of sensual things in pictures Moscow, Moscow State Pushkin’s museum, Russia
· 2000
CHA – 2000, Central House of Artist, Moscow, Russia
· 2000
Spirit and a ground (soil), Belyaevo Gallery, Moscow, Russia
· 1999
Russian tradition and a postmodernism, Central House of Artist, Moscow, Russia
· 1998
Chateau de petit-leez, Gallery Dieleman, Brussels, Belgium
· 1987
Pushkin. Imagination on a theme, Association of the Moscow galleries, Moscow, Russia
COLLECTIONS
· Tretyakov Gallery, Moscow, Russia
· MOMA, Moscow, Russia
· M'ARS Gallery, Moscow, Russia
· Total Art gallery, Amsterdam, Netherlands
· Zig Zag Venture Group, New York, United States
· Gallery Dieleman, Brussels, Belgium
MAIN SCULPTURES WORKS:
· 2014-2021
Series of monuments for Russian sportsmen for Moscow
· 2010- 2014
Series of memorial plaques for Moscow
· 2007
Sholohov monument (Moscow)
· 2007
Dostoevsky monument (Lima, Peru)
· 2006
Dostoevsky monument (Dresden, Germany)
· 2006
Fountain “Inspiration” near Tretyakov Gallery.
· 2004 – 2006
Series of park sculptures for Moscow gardens
· 2002
Prize “Vogue” for International Moscow Film Festival
· 1999
Nabokov monument Montreux, Switzerland
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