Viazova, Ekaterina. Alexander Vinogradov, Vladimir Dubossarsky. "Picasso in Moscow" // Art magazine, 1994, No. 5, p. 70
A. Vinogradov and V. Dubossarsky: a conversation with D. Gutov // Art Journal, 1994, No. 8
Balashov, Alexander. Alexander Vinogradov, Vladimir Dubossarsky. "Triumph" // Art magazine, 1996, No. 12, p. 89-90
Argentinian T. Singers of big hack // Playboy. 1996, July-August
Horst, Rieck. Herr Kohl war begeistert // ELLE, 1996, No. 8
Backstein, Joseph. Vladimir Dubossarsky & Alexander Vinogradov // Secession, 1997, June 6 - July 13, p. 24-27
Fiks, Yevgeniy. Alexander Vinogradov and Vladimir Dubossarsky. Deitch Projects //Tema celeste. 1998
Agunovich, Konstantin. Vladimir Dubossarsky and Alexander Vinogradov. "Christ in Moscow" // Poster. 1999, June 14-27, p. fifty
Bode, Michael. The Coming of Christ to Moscow // Kommersant-Vlast. 1999, No. 24 (325), June 22, p. 37
Romer, Fedor. "Christ in Moscow": Vladimir Dubossarsky, Alexander Vinogradov. XL gallery // Results. 1999, June 29, p. 64
Goldin, Mikhail. XL Gallery: Aesthetics of Refined Radicalism // ArtChronicle. 2000, No. 5-6, p. 128-133
Romer, Fedor. "Inspiration": Alexander Vinogradov, Vladimir Dubossarsky. XL gallery // Results. 2000, June 13, p. 63
Agunovich, Konstantin. Alexander Vinogradov and Vladimir Dubossarsky. "Inspiration" // Poster. 2000, June 5-18, p. 58
Osmolovsky, Anatoly. Russian inertia. Vladimir Dubossarky & Alexander Vinogradov // Flash Art International. 2000, No. 210, January-February, p. 84-85
Guidi, Chiara. Dubossarsky e Vinogradov // Juliet, 2001, No. 103, June, p. 52
Leoni, Chiara. Dubossarsky & Vinogradov // Flash Art. 2001, no. 227, Aprile-Maggio, p. 130-131
Osmolovsky, Anatoly. Art Is As Simple As Mooing // Umêlec. 2001, no. 4, p. 54-63
Lewisohn, Cedar. Two White Russians Please // Sleazenation. 2001, August, p. 84-86
Cruz de, Gemma. Two Russians, One Result // Art Review. 2001, September, p. 65
Zappaterra, Yolanda. Vladimir Dubossarsky & Alexander Vinogradov // Time Out London, 2001, September 5-12, p. 54
Khripun, Sergei. Alexander Vinogradov and Vladimir Dubossarsky. "Our Better World" Detch Projects, New York // Art Chronicle. 2003, No. 2, p.123, 1 cover page
Gambrell, Jamey. From Russia with Pop // Interview. 2003, No. 5, June, p. 88-89
Kerr, Merrily. Vinogradov & Dubossarsky. Deitch Project // Flash Art. 2003, May-June, No. 230
Romer, Fedor. Abyss of brushes // Weekly magazine. 2004, July 19-25, p. 54-55
Gorlenko, Anton. Vladimir Dubossarsky, artist // Poster. 2004, August 30 - September 12, p. 160
Turkina, Olesya. Art Kliazma and Art Strelka. Vinogradov & Dubossarsky See Moscow Art Scene Set Alight // Flash Art. 2004, No. 238, October, p. 56
Kampianne, Harry. Vladimir Dubossarsky & Alexander Vinogradov. L "art Nemo // Art Actuel. 2004, No. 30, Janivier-Fevrier, p. 52-53, cover
Zafman, Deborah. Vladimir Dubossarsky & Alexander Vinogradov // ArtPress. 2004, No. 299, Mars, p. 78-79
Ellis, Patricia. Dubossarsky & Vinogradov // Flash Art International. 2004, No. 237, July-September, p. 44
Shaw, Francesca D., Garulli, Lavinia. Was Will Europa? For a Europe of Differences // Flash Art International. 2004, No. 237, July-September, p. 98-107
Gorlenko, Anton. Square meters. Vladimir Dubossarsky and Alexander Vinogradov // Poster. 2005, October 10-23, p. 37
2004 ce qu "ils nous ont dit // Art Actuel. 2005, No. 36, Janivier-Fevrier, p. 27
Politi, Giancarlo. Dictionary of Artists // Flash Art International. 2005, No. 244, October, p. 97-106
Schmitt, Sophie. Moscow Biennale an I // Art Actuel. 2005, no. 37, Mars-Avril, p. 62-63
Dubosarsky-Vinogradov. Interview par Harry Kampianne // Art Actuel. 2006, No. 42, Janvier-Fevrier, p. 114-115
Dubossarsky&Vinogradov // Beaux Arts magazine. Marche Bilan, 2006, p. 45
2006 Ce qu "ils nous ont dit // ArtActuel. 2007, No. 48, Janivier-Fevrier, p. 24-26
Fitzgerald, Nora. Sex, Money, Glamour, Tractors // ARTnews, 2008, No. 107, January, p. 102-105 cover
Dubossarsky&Vinogradov // Beaux Arts. 2008, Novembre, p. 92-93
Vladimir Dubossarsky
Painter
© Mikhail Fomichev/TASS
“Each Internet user has his own interests: I draw pictures and constantly search the web for different images that can be useful to me. At some point, I started downloading pictures from Facebook. Previously, I had to specifically look for something on the Internet, but people post pictures on the social network every day, and you can even not look for these images anywhere else: anyway, I spend time on Facebook and see who writes what. So I collected a whole folder of these images - I just thought that someday I might come in handy.
It turned out to be an interesting story. As an artist, I no longer need to go to sketches and take pictures of sitters, put them in some kind of pose. I don’t even need to waste time looking for images on the Internet - I decided that I would take and copy photos directly from Facebook, since people are posting, then I can. Who was the first, I don’t even remember - I just took and drew one picture, then the second. And at some point it turned out that I had a lot of pictures that came from Facebook. It so happened that as soon as I started working on a topic, I remembered a picture from Facebook, which suited me just for this topic. A lot of pictures came out, but I didn’t plan to do the exhibition myself, if Lesha Shulgin (curator and director of the Electromuseum. - Note. ed.) did not offer me to show these works. The Electromuseum is interested in technologies and media, but here new technologies are used in an old-fashioned way, a person takes, downloads pictures and paints them with oil.
Facebook comments voiced by a speech synthesizer that can be heard at the exhibition
To make the exhibition multimedia, we recorded the conversations of people on Facebook who commented on my work. Someone calls me a bastard and says that I stole his photo and did not pay anything. Someone in private correspondence threatens to sue me. And others, on the contrary, are happy: they think that they are in history. For example, one of the works was the sister of Olya Chuchadeeva - I sold this painting for and gave money to the Chulpan Khamatova fund. So in these conversations at the exhibition there will be all the possible replicas that accompanied this story.
And I also want to arrange performances with the participation of my Facebook friends. They will show exactly what they depict on Facebook. For example, one of them writes poetry, another one portrays a fool, someone likes to take selfies with everyone - and so on. People will do what they do on Facebook - only in reality.
After the exhibition, there will be an auction and part of the money will go to sick children, and part to those characters whose images I used to draw. And in parallel, we want to make a project with a robot: they are trying to teach him how to draw, like me. Although I don't have a distinct style like Rembrandt or Van Gogh, the language is easy to read and my style is more modern and neutral, not so easy to read. But anyway, the robot will try to process some of my work from this archive.”
How Facebook users feel about the fact that their photos turned into paintings
"Summer", 2014
Pavel Otdelnov: "This is not my photo, I just told her shared but I'm in the picture. The author is Lena Kholkina, she is an artist and even once used the works of Vinogradov and Dubossarsky for some of her projects. Therefore, she had no complaints against Vladimir.
I think that the appeal to other people's photos is natural. The volume of pictures that surround us is so huge that it gradually becomes indistinguishable from the surrounding reality. This is not the second, but the first reality. My photos were also used several times, and I myself used other people's photos a couple of times, but I asked permission. For the last time, based on my photograph, the American artist Alex Kanevsky made his own painting. He contacted me first. I believe that in order to use someone else's material, it is imperative to ask the permission of the author. It's a matter of ethics."
"Portrait of the artist Sveta Shuvaeva", 2014–2016
Sveta Shuvaeva: “I saw my portrait, painted by Dubossarsky, in a photo from his studio. One of my friends tagged me on the one itself, and on it the picture looks unfinished - it will be interesting to see the final version. In no way am I offended by the author, and I have no plans to paint his portrait in response, maybe someday later, who knows. The question of the meaning and meaning of the work is better to ask the author himself. Personally for myself, for a long time I don’t see the problem of drawing from life, from life on Facebook, or just inventing. Usually I try to combine the two together.”
"Portrait of A.Monastyrsky with the dog Absolute", 2014
Daria Novgorodskaya, author of the photo: “If some publication was dragged away without a link and permission, I would be annoyed, but the artist is fine. And these are all good artists, I have known their work since the 1990s. If it was Nikas Safronov, would I have any objections. But, on the other hand, Nikas Safronov would never use the portrait of Monastyrsky from Facebook. And, of course, I will not change the privacy settings.
History since my photo Dubossarsky's is not about how he stole it. This is such another round of irony, which is always evident in his work. Like Soviet painting, now these photos from Facebook, transferred to an art exhibition - canvas, oil, Facebook. It is worth remembering that the readymade was invented a hundred years ago. And now, with the emergence of new media, it is surprising when artists try to ignore them, and not when they use them.
"Blue Lagoon-1", "Blue Lagoon-2", 2014–2016
They have been working together since 1994. Participants of the Venice Biennale (2003, Russian Pavilion), Cetinje Biennale (1997) and others.
A few years ago, the products of the creative duet of Moscow artists were everywhere - on the cover of the disc of the cult New York group TalkingHeads, in the book of the leading writer of Russia Viktor Pelevin, on the stands of the world's largest fairs. Imitators sprang up in countless numbers. Apparently, rehabilitated by Vinogradov and Dubossarsky, the approximate pictorial manner of the Stalin era allowed many artists not to be embarrassed by the inflexibility of their artistic education received from the academicians of socialist realism. "The Seasons of Russian Painting" was performed as a duet for the opening of a new version of the exhibition of art of the twentieth century in the Tretyakov Gallery. For a rather conservative institution, Vinogradov and Dubossarsky came up with a restrained picture. In the early 2000s, they stripped Russian classics - Tolstoy, Dostoevsky, Akhmatova, Tsvetaeva - for the Total Painting project. The Four Seasons does not shock, but reconcile, unite conflicting styles and paintings. Here, Stalin and Voroshilov look into the distance next to a beggar from Surikov’s painting Boyar Morozova, a sad lyricist from the 1960s shows Malevich’s Black Square, and Deineka’s fascist Downed Ace falls into the river from the canvases of the Wanderers. All masterpieces are given equal opportunities. The Four Seasons is a spectacular rethinking of the method of socialist realism, built on the choice of quotes from the "correct", "folk" artists of the 19th century. Now Vinogradov and Dubossarsky have extended to the twentieth century the feeling of happiness bestowed by unsightly but realistic painting.
Valentin Dyakonov
Winzavod Center for Contemporary Art hosts a retrospective of works by the creative duo Alexander Vinogradov and Vladimir Dubossarsky
"Cop Day", 2010
“In the open air. Painting for school”, 1995
Vinogradov and Dubossarsky create paintings based on the memories of their Soviet childhood and youth, but reinforced by the glamor of the nineties, which is perceived today no longer vulgarly, but condescendingly and even benevolently. Their initial task was to breathe new life into the painting (many critics at that time argued that the painting as an art form had already exhausted itself and should give way to installations and other artistic actions), using the traditional manner of late socialist realism, but filling it with irony, thanks to to which even Soviet clichés are perceived more with curiosity than with irritation. But this is only if, of course, the viewer is deprived of an obsequious attitude to the Soviet past. If some of the famous paintings of the duet were created not 20 years ago, but today, then they would definitely arouse the wrath of the near-church public. However, when they were created, the church did not yet interfere in the life of the state, and even more so did not pretend to dictate to writers, artists and directors what and how exactly they should do in their profession. For example, scenes from the film “Kuban Cossacks” of the 1930s, under the brush of scoffers, turn into an erotic show on the giant triptych “Harvest Festival”: a mustachioed combine driver in a cap imitating Grigory Melikhov from “The Quiet Don” on the side of a collective farm field makes love with black-browed Cossack women. The result was almost Somov's Curtained Pictures, adjusted for the realities of the 20th century. Drawn with realistic clarity, the picture was exhibited at Sotheby's for $350,000.
Alexander Vinogradov and Vladimir Dubossarsky began working together in 1994. “Vinogradov and I decided to create paintings that would be understandable to the masses. Therefore, they took as a basis the language of Soviet painting - socialist realism. It was this language that was adequately perceived by the majority of the inhabitants of our country.”
The first project of the artists was the work "Picasso in Moscow". The artists remembered that in the 1950s there was an exhibition of Picasso in Moscow, and they painted a kind of ceremonial portrait. This was followed by another series of similar two-meter portraits, including a portrait of the naked Alla Pugacheva, "bathing" in "a million scarlet roses." At first, Pugacheva was outraged, but it was explained to her that she was thus compared with the ancient Greek goddess Venus, and she "forgave" the artists. Today, the "naked Alla" with a marble bust of Philip Kirkorov in the background adorns a private collection and has disappeared from the exhibition halls. Pugacheva was followed by other paintings made in the genre of Sots Art, in which the authors arbitrarily connected real characters together, placing them in a defiantly vulgar pop context. For example, in the project "Total Painting" on the sun-drenched banks of the Volga, surrounded by exotic birds and animals, naked Akhmatova, Tsvetaeva, Dostoevsky, Mayakovsky, Tolstoy, Gogol rest. The artists are sure that for the mass consciousness all these heroes are Russian literature, which is quite possible to put together in a picture, almost like in a school textbook. One of the favorite characters of this period is Arnold Schwarzenegger, whom they depict in Russian chintz shorts, surrounded by small children - almost Lenin on the Christmas tree. On the huge canvas "Wedding" (6x4 meters), the artists allegorically depicted the wedding of East and West Germany, which Helmut Kohl blesses, and Mikhail Gorbachev soars in the sky among angels and flowers. To write the still lifes depicted in this picture, authentic wedding accessories were used, which were custom-made by the wedding accessories store Wedding Dream.
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If some of the famous paintings of the duo were created not twenty years ago, but today, they would have caused the wrath of the near-church public
Labor order
The artists made a series of works within the framework of the ironic project “Paintings to order”. For travel agencies, they drew a “Troika Bird” with vampires (this, in their opinion, Russia is presented to foreigners). "Breakfast on the Grass" (a reference to the famous painting by Edouard Manet, it depicts famous French artists naked, starting with Van Gogh, surrounded by naked beauties and tropical animals) acquired the Georges Pompidou Center in Paris: with an eye on it, most likely, the painting and was written. After that, the prices for the work of Dubossarsky and Vinogradov went up decisively. In 2007, "Night Training" was sold at auction in London for £132,000. The concept was based on the idea of replicating the same type of scenes by supposedly anonymous artists. Moreover, all the paintings had to be written in the manner of late socialist realism. Partially it succeeded. True, not all customers were satisfied. So, the portrait of the former "chief of Chukotka" Roman Abramovich did not reach the addressee. Despite the fact that a wolf and a fox were joyfully swarming at the hero’s feet, and snowdrops suddenly blossomed from human warmth and kindness, the customers asked to reduce the hero’s too plump cheeks, then to increase the amount of hair on his head ... The portrait, it seems, never got to the birthday man. For the exhibition in Monaco, the artists prepared a project called "On the Block" - details of the daily life of the inhabitants of the city of Khimki, where the painters live. It turned out quite modern ethnography, for example, a portrait of a girl - a local policeman with the appearance of a Hollywood star ...
Untitled. From the Nine Nudes series, 2005
Artists paint up to forty paintings a year, their prices today are less than they used to be at Western auctions. For various reasons, many paintings "hung" in the studio. Here they are on display at Winzavod. Among them are excellent landscapes, reminiscent of the sixties, and sarcastic works of the later period. When considering them, it is worth keeping in mind the context created by prolific authors in recent years, thanks to which they have become modern classics.
