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ALEXANDER BAZARIN

Born in Gorkij in 1963. In 1982 graduated from the School of Art in Gorkij. In 1991 graduated from the Mukhina Art College in St.Petersburg. From 1992 is member of the Russia Union of Artist.


Some group exhibition

1989 - Exhibition of the group "Battle elephants". Gallery "Ariadna", Leningrad
1990 - I Biennale Contemporary Art. Leningrad
1991 - "Leningrad Painters". Svolver, Norway
1991 - "Battle elephants". Leiden, The Netherlands
1991 - "Leningrad Painters". Hamburg, Germany
1992 - II Biennale Contemporary Art. St.Petersburg
1993 - "All Petersburg". St.Petersburg
1994 - III Biennale Contemporery Art. St.Petersburg
1995 - "Art Reality 1995". St.Petersburg
1995 - Gallery Festival. The Hague, The Netherlands
1996 - "Neo-symbolism". Osnabruck, Bremen, Berlin, Germany
1998 - "Anatomy of Contemporary Art" 1. Gallery "Art Collegium", St.-Petersburg
1999 - "Anatomy of Contemporary Art" 2. Gallery "Art Collegium", St.-Petersburg
1998 Group exhibition in Rochester City, NY.

1999 Group exhibition in Santa Barbara, CA.
2000 Artexpo San Francisco, CA.
2000 Solo exhibition, Belyj Svet gallery, Tver.
2001 Artexpo New York, NY. 2003 Group exhibition at Mr. and Mrs. Tovbin home. San Francisco, CA.
2003 Group exhibition at Mr. and Mrs. Portnoy. Hillsborough, CA
2004 Group exhibition at Artodox Publishing place. San Francisco, CA.
2007 The Mix: Russian Modern Art. Group exhibition at Fort Mason, San Francisco, CA.  
 
Solo exhibitions

1993 - Museum of City Sculpture, St. Petersburg
1995 - Museum of City Sculpture, St. Petersburg
1998 - Gallery "Art Collegium", St. Petersburg
There are works in private collections of many countries.

“When a child was a child, his arms hung loose along his tiny body and he wanted a stream to be a stream, and a river - a full flown river, and this small puddle - a sea”, - this is how the famous film directed by Wim Wenders “The Sky Above Berlin’ begins. It shows the world through the eyes of angels. The characters of Alexander Bazarin’s latest works are akin to those of Wenders’s. The are children, eye-witnesses of another reality of our world, and angels, creatures that most adequately express the essence of this spiritual realm. Sometimes they merge to form a whole, an incomprehensible somnambular creature with a detached look that mesmerizes the viewer. In spite of the apparent frailty of their realm, vulnerability of the fictitious outline of their figures, one cannot help feeling the largeness they emanate (it cannot be accidental that some of them are wrapped in ermine cloaks, which suggest their royal descent). Wenders’s descended angels do not look alien and scandalizing, Bazarin’s totally unrealistic characters are, likewise, perceived as the vehicles that take one into the dreamland. But this metaphoric property is not made prominent, the artist does not deliberately accentuate the philosophical context. The theme is put forward because it is the “purest layer of the reality”, and thus is very important for artistic deliberations.
   It contains no cryptic messages, the artist is not given to a semiotic treatment of the matter, regardless his apparent interest in the Egyptian art patent in his early artistic periods. The Egyptian theme is gone leaving behind nothing but traces - peculiar lack of movement, profile representation, Nefertiti-like elongated female heads on long, delicate necks. They are no longer symbols, but rather his favourite motifs that come naturally with him.
   Such art trends as symbolism and cosmism, though not totally alien to Bazarin’s works, do not determine his artistic method and provide no explanation. It is not the matter of his lack of ambition, rather, it is his belief that individuality cannot be expressed through collective creative perception. His painting is highly personal, thus it looks exposed, open and vulnerable. This does not mean that Bazarin is detached from the artistic quest common to the end of the last millennium. Some of his artistic devices are close to such a topical style as Mannerism. A favourite cultural theme of the twentieth century, Mannerism affected both the Symbolism and Surrealism, works of Umberto Eco, P. Greenway. Love of “rare and quaint”, though devoid of nervous refinement, appreciation of imagination, fancy and inventiveness, idealistic and romantic traits introduce Bazarin into the wealth of the contemporary Mannerism. Here is a certain fictitious discord of forms, deformation of figures, elevation of certain details, which mars the overall refinement of the composition.
   Works as such are replicas of meditative states of the artist. They all are improvisations on sky-born themes, yet they actually are purely everyday subjects. The children theme, popular throughout the twentieth century with artists ranging from Chagall to Hellenwein, discredited itself in the Russian art through its social bias and excessive schmaltz. Bazarin is devoid of pathos and rapturous sensitivity. His children are not at all children but certain spiritual essences, witnesses of the earthly realities. They are too serious, too engrossed in their own selves, and look frozen and detached from the surrounding landscape, which is no less fairy than the heroes themselves. The world architecture also attracts the artist, who treats objects and phenomena with the utmost delicacy and care. The mystic nature is presented through a peculiar game involving physical properties of the world, rather than through the subject-matter. The artist finds it very interesting to arrest motion and examine it. Objects as such are kind of “frozen”, extracted from time. Light, which is identified with spiritual substance, enlivens them, but it is shadows, which pierce the world and separate the light from the dark, that set them into motion. The dramatic chiaroscuro seems to exist on its own, independent of the actual movement of the Orb, that is why landscapes evoke galactic motifs of Mars, or Venus, or something else. Yet the Petersburg cityscape, frequently occurring in prints, brings us home to stress that this is our realities, maybe its different side. Colour, along with shadow, also is a metaphor of life, of movement. His two favourite colour schemes - lilac-greenish and red-ochre - distinguish the sensual from the semantics. This is achieved very delicately and softly, now by hazing over the object, now concentrating on minor details. The pulsation caused by colour only enhances the dreaminess of the environment of Bazarian characters.
   The whirligig of life of the contemporary man gains momentum. To break free, to arrest time and feel its purport, beauty and singularity is the aim Alexander Bazarin has set for himself, and he experiments with it by catching it and then letting it go. As one contemporary French philosopher noted, “an artist is the greatest doctor and patient of our epoch”. Will Bazarin be able to cure anyone of unnecessary haste, or at least to take him away from the everyday cares? He has offered his remedy.
   L. Nevolainen


Bazarin, Alex. Girl with the bowl on the head Bazarin, Alex. Herdsman Bazarin, Alex. Pine Bazarin, Alex. Raspberry wine Bazarin, Alex. Two
Bazarin, Boy with the goats Bazarin, Girl on  Birzhevoy Bridge Bazarin, Kuntzcamera Bazarin, Alex. St.Petersburg dreams #11 Bazarin, Alex. Boy in the washbasin
Alexander Alentyev
Alexander Bazarin
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Svetlana Gadzhieva

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