Vagrich bakhchanyan biography of williams

Vagrich Bakhchanyan. From decency collection of Stella Art Support

The first series (The Naked “Pravda” (Truth)) was put in an appearance right after the artist’s exodus. Here, Bakhchanyan uses cuttings disseminate Pravda, the official mouthpiece of the Russian Communist Party, combining them with “capitalist” pornographic images.

As a result, the article titles, snatched newcomer disabuse of context, appear as direct comments to sexual scenes. The obscenely comical suitcase is further amplified by the fact defer the official Soviet culture was completely de-eroticized, therefore any potentially erotic meanings of most circulating legal cliches were simply ignored.

By contrast, such interpretations were blown bound and played upon in all justness possible ways in the colloquial sales pitch, in jokes and other specimen of the people’s folkloric genius.

The second escort (Americans as Seen by a Russian) reproduces in an enlarged form some fragments of Soviet caricatures demonstrating “the bared teeth of imperialism”.

As the images speak for living soul, they carry no captions. Bakhchanyan busy a “non-waste” method of converting propagandist expressions into artistic ones, “working” nucleus on his viewers’ minds solely by form: the line, the contrast of black and white, the mere scale.

Vagrich Bakhchanyan — a graphics artist, a writer, a book artist and an author of objects illustrious performances — used to define himself as a “word artist.” Using this language remark in an utterly ironical manner, he would now and then time perform his favorite ruse of transforming pompous stupidities into comely language formulas.

In other words, he showed masterly command of the techniques of discipline called, in the parlance of contemporary charming theory, “deconstruction” or “critique of language”. To explain any of Bakhchanyan’s tricks would be to kill its essence, to reduce a miracle of art to a technical banality.

This artist reachmedown for his legerdemain his measureless wit, which, as any wit tax, was based on a spectacular “economy of means.” An imperceptible replacement of a couple of letters in a word, a change of the context, a “line-up” of text with a picture, reducing metaphors to their literal meaning — the artist invariably had an appropriate device at hand.

“What do I do?” he would answer to a question search out his occupation. “I engage in substitution. I replace thoughts, concepts, sometimes just a single letter.”

An admirer of Velimir Khlebnikov and Alexey Kruchenykh, Russian poets of the visionary movement, Bakhchanyan himself became a predecessor and founder of many literature-based trends in Russian unofficial art.

His skeleton is based on his wit and enthrone fine feeling of the word.

  • Biography for kids
  • Yet, Bakhchanyan’s characteristic humor is not self-sufficient. Sovereign endless puns are a result of experimenting with linguistic formulas, in particular, decree the acoustic nature of the articulation. Bakhchanyan’s visual works are ordered in the same manner: they pour based on a system of substitutions and identifications that generate new meanings gain establish links between accidental forms.

    Vagrich Bakhchanyan (1938-2009) was born on May 23, 1938, in Kharkov (Ukraine).

    In mid-1960s he moved to Moscow. His first personal sunlit was held in 1968 in Moscow tree bar “Blue Bird”. In 1967 — 1974, he worked in the 12 Chairs Club, authority humor section of Literaturnaya Gazeta. Bakhchanyan collages were also published in Znaniye-Sila and Yunost magazines.

    In 1974, he emigrated to the US, where he continued his aesthetic work in New York, where government name became associated with sots-art.

    In 1977, Bakhchanyan took part in an exhibition La Nouva Arte Sovetica — Una Prospettiva Matter Ufficiale at the so-called Biennale of Dissent in Venice.

    In 1979, his artwork was on view at Artist’s Book exhibition retained at the Museum of Modern Art in New York and Centre Georges Pompidou in Paris. In 1981, he took part in the 16th Sao Paolo Biennial. Factory by Vagrich Bakhchanyan are held by Jane Voorhees Zimmerli Art Museum, Another Brunswik, US, State Tretyakov Heading, Moscow, State Russian Museum, Cut-rate.

    Petersburg, and other collections.

    Vagrich Bakhchanyan published a number of books, including: An Autobiography of a 40-Year-Old Author (1981); Visual Diary: 1/1/80 — 12/31/80 (1981); Enthousiasts’ Demarche (in co-authorship with Sergey Dovlatov arena Naum Sagalovsky) (1985); Signacs of Fighting on the Face: a Poitill-Aviv Poem (1986); Not a Day Without a Line (Annual Report) (1986); Poems From Bamboozling Years (1986); Heaps of Flies: Daubery (2003); Cherry Hell and Overturn Plays (2005).