Andrey Velikanov
 | The topic of this article may not meet Wikitia's general notability guideline. |
Andrey Velikanov | |
|---|---|
| Add a Photo | |
| Born | July 5, 1954 Moscow |
| Nationality | Russian Federation |
| Movement | Art theory, aesthetics, philosophy |
| Website | velikanov |
Andrey Grigoryevich Velikanov (born July 5, 1954, in Moscow, Russian SFSR, Soviet Union|USSR) is an artist, philosopher, and art theorist based in Moscow. He is known for his involvement in media art projects and has authored several articles and books on art and culture theory. Velikanov is engaged in educational and popularization activities.
During the 2010s and 2020s, he conducted courses at various Russian universities, including the National Research University Higher School of Economics and the Russian State University for the Humanities. He also taught at art schools including the Moscow Academic Art School and the MediaArtLab. Velikanov collaborated with museum centers such as the Garage Museum of Contemporary Art and the Center for Avant-Garde at the Jewish Museum and Tolerance Center.
Graduates of Velikanov's courses are referred to as "Velikanovtsy" and are recognized with a special distinction, a miniature poker, in acknowledgment of their work. He has been honored as a laureate at various international art festivals and competitions focusing on net art.
Artworks
Andrey Velikanov began his professional career as an artist in 1989. His kinetic artworks were exhibited in several shows in Russia and Germany. From 1994, he expanded his creative pursuits to include actions, performances, and happenings.
In 1994, as authorities planned to reconstruct the Cathedral of Christ the Savior at the site of a former swimming pool that had been demolished in 1931, Velikanov organized a socially-engaged art action called "Moskva Pool". This and other actions often sparked controversial reactions from the press and the public.
Since 1997, Velikanov has also been working as a media artist, creating a series of video films and net art projects that have received recognition and prizes at international festivals.
His works were often innovative for their time; for instance, in 1999, he crafted a virtual media artist named Namniyaz Ashuratov, who performed as an independent creative persona.
Involvement in the "Moscow Basin" Project required the artist's in-depth engagement with the theoretical complexities of art and culture. This pivotal moment marked the commencement of Velykanov's active exploration of the philosophy of art. Notably, in 2007, the "New Literary Observer" Publishing House released his book, titled Am I a Trembling Simulacrum, or Whether I Have the Right?"[1] This work stands as an aesthetic manifesto of simulation, aiming to establish a novel artistic methodology that draws inspiration from both traditional and contemporary practices. It's worth noting that his dissertation, derived from the content of this book and titled "Aesthetics of the Simulacrum: The Theoretical Foundations of Interpretation,"[2] was not defended for the attainment of a candidate's degree in philosophical sciences. The book generated robust discourse within the professional community and triggered reflections in various dissertations and collections of articles. Additionally, Velykanov contributed a series of theoretical articles to both domestic and international art and philosophical journals, including "Logos," "Moscow Art Magazine," ":de:Sklaven_(Zeitschrift)|Sklaven," "Via Regia," "Observatory of Culture," "Dialogue of Arts," and others.
Andrey Velikanov's teaching career began as early as 1995, but it became his primary focus in 2011. In addition to teaching at several educational institutions, Velikanov leads an independent course titled "Philosophy of Art." This course serves as both an educational project and an open platform for discussion, where regular participants and invited artists engage in dialogue.
"Moskva Pool" Artwork
The "Moskva Pool" was a socially-engaged art action held in 1994 at the site of an empty pool in Moscow. It aimed to explore the contemporary Russian cultural situation and involve public input for the future use of the area. Co-organized by artist Marat Kim and curator Maria Katkova, the event invited individuals who had expressed opinions on the pool's fate or might be interested in the topic. The participants' reactions were documented in a future catalog. The project received both attention and controversy, with religious protests and media scrutiny.[3][4][5][6][7][8][9][10] After the event, a compilation catalog titled "BM: History, Event, Analysis"[11] featured contributions from various artists and art experts.
Namniyaz Ashuratova
Namniyaz Ashuratova was a virtual artist created by Andrey Velikanov in 1999. The central idea of this project, with the slogan "Building the Tower of Babel from Information Garbage!" was to play with social templates and the realm of information. According to researcher Evgeny Gorny, Namniyaz Ashuratova was a "conceptual web artist and virtual persona of a new generation," representing a shift in Russian internet development away from web reviews dominated by self-expression, towards increased self-reflection and examination of identity construction.
In one of Ashuratova's projects called "Self-Identification System" (1999), visitors were invited to create a composition of symbols defining their uniqueness, which an international identification jury assessed, assigning an identification index. However, the criteria for evaluation were unknown and could change each time, potentially influenced by factors like political correctness or national bias.[12]
Another project, "Enemy Processing System" (1999-2002), allowed users to select from a pre-existing list of general terms such as "Russian," "woman," "homosexual," "capitalist," "hacker," etc., designating objects of hatred. An exception was "myself," which, like other projects, engaged in creative modeling, exposing the constructed nature of subjective identity.[13]
Another project by Ashuratova was "Virtual Manege" (1999), thematically similar to "Self-Identification System" and "Enemy Processing System," aimed at determining the "most repulsive figure in contemporary art." The project had both offline and online components. In the preliminary online voting, a list of 32 individuals was established, which then underwent offline voting among visitors of the "Art-Manege" fair.
Sergey Kuznetsov believes that this project brings the concept of voting into the domain of contemporary art, making it a subject of discussion among art figures in Moscow.[14] Instead of merely problematizing online voting, the project draws attention to the complexities associated with such systems, including technical flaws and the interpretation of poll results, issues that are also common in political practices such as conducting sociological surveys or referendums.
Critics, such as gender studies specialist Irina Aristarkhova, expressed concerns from feminist and postcolonial perspectives, highlighting the potential exploitation of Russian colonial history and global interest in minorities and gender issues. They noted the illusion of freedom in cyberspace and net art, which seemingly avoids cultural or ethnic differences but still focuses on these aspects, contributing to their invisibility, universalization, and homogenization.[15]
Book "Am I a Trembling Simulacrum, or Whether I Have the Right?"
Published in 2007 by "New Literary Review" Publishing,[16] this book serves as an aesthetic manifesto of simulation, seeking to discover a fresh approach to art that blends contemporary practices with traditional elements.
Summary: In the midst of numerous proclamations about the demise of art, what's an artist to do? Can one continue creating in any form without succumbing to mere imitation? Addressing these dilemmas is the endeavor of Andrei Velikanov, an artist who no longer finds satisfaction in conventional professional identities. According to Velikanov, instead of pondering "What should I do?" and "Who's to blame?" one must inquire "Where?" and "How?" The answers lie on the border of semiotic spaces, which forms the core focus of his book.[17]
Teaching Activity
Andrey Velikanov's teaching career began as early as 1995, but it became his primary focus in 2011. Velykanov has delivered various theoretical courses at multiple educational institutions:
Composition, Design, and Typography Course. Moscow Academic Art Сollege, 2009-2011
Philosophy for Non-Philosophers, Academy of Communications Wordshop, 2011-2012
Philosophy of Art, The School of Contemporary Art "Open Studios" affiliated with the Moscow Museum of Modern Art 2011-2021
Philosophy of Creativity, The Institute of the History of Cultures (UNIC), 2011-2012
Philosophy of Art, Higher School of Art Practices and Museum Technologies, RSUH, 2011-2012
Contemporary Art, Master's Program in Cultural Studies, National Research University Higher School of Economics (HSE), 2012-2013
Visual Philosophy of the Russian Avant-Garde, MediaArtLab Center for Culture and Art, 2013
Contemporary Art, the school of modern photography "Photoplay", 2014
Philosophy of Art, Master's Program in Contemporary Art, School of Design, National Research University Higher School of Economics (HSE), 2019-2021
Philosophy of Art, BAZA Institute (an educational program and experimental research platform), 2020-2021
In addition to teaching at several educational institutions, Velikanov leads an independent course titled "Philosophy of Art." This course serves as both an educational project and an open platform for discussion, where regular participants and invited artists engage in dialogue.
The annual course sessions involving project participants serve as a collaborative research platform dedicated to exploring topics encompassing art, culture, and philosophy. Velikanov's lectures play a pivotal role as a bedrock of theoretical knowledge, intentionally steering clear of dogmatic interpretations of phenomena and concepts. An identifiable hallmark of the course is the integration of self-directed exercises, engineered to navigate intricate subject matter, foster coherent reasoning, promote an understanding of diverse philosophical and artistic theories and practices, and nurture the ability to autonomously dissect texts, artworks, and an array of phenomena through the lens of various philosophical frameworks. Participants engage in individual research projects, presenting and defending their findings to the group. Notably, seminars also offer a platform for prominent artists, who provide insights into their creative processes and actively participate in group dialogues.
Over the course of this project's existence, around 150 individuals have taken part. The sessions have been conducted in different years at The School of Contemporary Art "Open Studios" which is associated with the Moscow Museum of Modern Art, Jewish Museum and Tolerance Center,[18] Garage Museum of Contemporary Art, and the School of Design at the Higher School of Economics|National Research University Higher School of Economics (HSE)."
Philosophy of Art [19]
This lecture series is dedicated to exploring philosophical concepts that have directly influenced art and shaped fundamentally distinct cultural paradigms. At the core of the series lies the notion that contemporary creativity cannot remain simplistic, relying solely on the personal intentions of the creator. Instead, it demands knowledge, the ability to think critically, and an understanding of context. Mastery of these aspects can be acquired from the philosophers and artists who championed vibrant ideas, posed intricate challenges, engaged in debates, and bequeathed us an abundant repository of texts.
Languages of Culture [20]
The lecture series "Languages of Culture" focuses on exploring the dynamic between philosophical concepts and culture. This cultural interaction is constructed as a semiotic structure, communicating across diverse languages. Art is highlighted as a means for comprehending and enriching culture. This series serves as an extension and commentary on the themes addressed in the "Philosophy of Art" lecture series.
Anamorphic Encyclopedia [21]
In this context, the term "anamorphic" refers to an interpretative approach that necessitates viewing a subject's judgment through alternative points of view. The lecture series titled "Anamorphic Encyclopedia" is centered around contemporary cultural terms and objects, spanning from the lexicon of current humanities research to internet memes. Each lecture is dedicated to dissecting a specific word that begins with a designated letter of the Russian alphabet. Several specialized terms are also discussed as supplementary material. While the lectures within the course are self-contained and can be appreciated individually, collectively, the "Anamorphic Encyclopedia" serves as a comprehensive reference companion to the overarching "Philosophy of Art" theoretical cycle.
Ideas and Imageries [22]
The "Ideas and Imageries" series delves into the convergence of philosophical concepts with literature, film, and music. It investigates how these ideas often underpin the formation of imagery and how, conversely, these images can serve as fertile ground for the birth of fresh theories. This intricate interplay reflects the intricate tapestry of contemporary culture. Each lecture within the series spotlights a particular author and their creations, subjecting them to analysis in the context of the associated ideas.
Homo Mutabilis. Changing Humanity: Ideas Shaping the Human Experience [23]
Throughout history, humans have always aspired to influence the world around them. This endeavor required more than just tools—it necessitated the power of ideas. This led to the emergence of disciplines such as philosophy, religion, science, art, and technology. These ideas didn't merely reshape the world; they transformed humanity itself. The Homo Faber (the creative, industrious human) evolved into Homo Mutabilis (the adaptable, changeable human). This ongoing process continues to this day, as we explore and thereby unlock new capabilities, much like our ancestors did when they invented the wheel and mastered fire. We have become architects of our own being, earning the moniker "self-made mankind." Through this lecture series, Velikanov seeks to address the question of the pivotal ideas that have shaped humanity's current state and to trace the manifestations of these ideas and their implications in artistic creation.
Selected Publications
"30 Stories from Russian History" Archive Copy from July 24, 2021. Berlin, 1994 (Russian, German)
"Mental Isotherm of January. Catalog of the 'Moscow Pool' Event." (1995). Archive Copy from July 24, 2021
"For Victory Day" Archive Copy from July 24, 2021. Catalog of the Ostranenie Festival (German, English), 1995
"Dystopia" Archive Copy from July 24, 2021. Essay Collection. Bauhaus Dessau Foundation, 1996 (Russian, German)
"Virtual Body of Juksta" Archive Copy from July 6, 2020. Russian Journal, 2000
"Sport Instead of Ballet" Archive Copy from July 15, 2020. Russian Journal, 2002
"If You're So Relevant, Why Are You So Inadequate?" Archive Copy from February 28, 2021. Moscow Art Magazine, 2004
"How Physicists Ate Lyricists..." Archive Copy from March 1, 2008. Russian Journal of Philosophy & Humanities, 2006
"Gulliver vs. Shtritzel" Archive Copy from July 15, 2020. Russian Journal, 2008
"Simple Reflections on Some Words" Archive Copy from July 24, 2021. Chastny Korrespondent, 2012
"Creativity of Culture" Archive Copy from July 25, 2021 // Vestnik of Tomsk State University, 2013, No. 370, pp. 61-65, PDF
"What Architecture Speaks About" Archive Copy from July 24, 2021. Observatory of Culture , 2014
"Fyodorov and Malevich. The Infinity of Space" Archive Copy from July 25, 2021. Exhibition Catalog Aviation and Avant-Garde, 2014
"Russia: Homeland of Artistic Elephants" Archive Copy from July 24, 2021. Dialogue of Arts, 2014
«Selfie ergo sum» Archive Copy from July 25, 2021. Russian Journal of Philosophy & Humanities, 2014
"About the Complex Human" Archive Copy from March 10, 2021. Chastny Korrespondent, 2021
Prizes
1995: Special recognition and EMARE scholarship from the Ostranenie: International Video Forum, Bauhaus Dessau Foundation, Germany.[24]
1998: First prize in the "Art Project" category at the Da-Da-Net '98 International Festival of net art projects, Moscow.
1998: Grand Prix at the Art on the Net Festival, Machida City Museum of Graphic Arts, Tokyo.
1999: Second prize in the "Contemporary Art" category at the Da-Da-Net International Festival, Moscow.
1999: Third prize in the "Contemporary Art" category at the Da-Da-Net International Festival, Moscow.
1999: First prize in the "Radical and Conformist Project" category at the Trash-Art Festival, Moscow.
1999: Honorable mention at the Art on the Net Festival, Tokyo.
2000: Best interactive project at the South by Southwest Interactive Festival (SXSW).
2000: Special prize at the Split Festival, Croatia.
2000: Honorable mention at the Art on the Net Festival, Tokyo.
2002: Grand Prix at the Art on the Net Festival, Tokyo.[25] [26]
Biographical Anecdotes
The artist became embroiled in a crossfire incident involving the Ministry of Internal Affairs and the Federal Security Service.
A sensational newspaper report alleged that Velykanov attempted to mediate between the personnel of these two enforcement agencies who were exchanging gunfire. Velykanov himself vehemently denies these claims, insisting that the entire account is a fabrication.
"Megapolis-Express," June 1995. Archived version from July 24, 2021
Commemorating 50 Years since the Hiroshima Atomic Blast: The Flaming Statement
A large-scale artistic demonstration marking the 50th anniversary of the Hiroshima atomic blast took an unexpected twist when the artist Velykanov took action. Adjacent to the American embassy, a monumental cake had been erected, but Velykanov doused it with gasoline and ignited it, exclaiming, "Lives were engulfed in nuclear flames, and you've gathered here to feast? I won't allow it! This cannot stand!" Velykanov was apprehended but subsequently released on the same day. Law enforcement managed to argue that the entire event fell within the realm of artistic expression.
"Megapolis-Express," August 9, 1995. Archived version from July 24, 2021
Notes
- ↑ Velikanov, Andrey (2007). Am I a Trembling Simulacrum, or Whether I Have the Right. Москва: New Literary Observer. p. 9. ISBN 978-5-86793-545-0.
- ↑ Velikanov, Andrey (2019). Aesthetics of the Simulacrum: The Theoretical Foundations of Interpretation. A dissertation submitted for the degree of Candidate of Philosophical Sciences in the field of 09.00.04 (aesthetics). Federal State Budgetary Educational Institution of Higher Education "State Institute of Art Studies," 2019. — 134 p.** (PDF). Moscow: Federal State Budgetary Educational Institution of Higher Education "State Institute of Art Studies".
- ↑ Skalkina, Marina (1994-05-31). "Body Temperature Measurement". Today.
- ↑ Didurov, Alexey (1994). "The Tale of the Chalice". Stolitsa. No. 40.
- ↑ Shafarevich, Igor (1994-05-20). "Koshchunstvo (Impropriety)". Literaturnaya Gazeta.
- ↑ Timofeeva, Irina (1994-06-05). "Pyrhhus (Feast) During the Plague". Moscow News. No. 23.
- ↑ Zabotkina, Olga (1994-06-04). "Temple of Our Savior". Kuranty.
- ↑ Vladykin, S. (1994-06-04). ""All of Moscow" and "all of St. Petersburg" joined in the public festivities". Kommersant. No. 102.
- ↑ Stomakhin, I. (1994-06-01). "The Lutheran-Orthodox Meeting Ended in Misunderstanding". Inostranets.
- ↑ ""The Moscow Pool" is an exhibition of absurdity". Argumenty i Fakty. Vol. 13, no. 40. 1994.
- ↑ Velikanov, A. G. "Am I a Shaky Simulacrum or Do I Have the Right." Moscow: Novoe Literaturnoe Obozrenie, 2007. ISBN 978-5-86793-545-0
- ↑ Gorny, Evgeny (2007-05-10). "Virtual Identity as a Genre of Creativity: A Study of the Russian Internet". Network Literature (in русский). Archived from the original on 2020-09-22. Retrieved 2020-09-08.
- ↑ Gorny, Evgeny (2007-05-10). "Virtual Identity as a Genre of Creativity: A Study of the Russian Internet". Network Literature (in русский). Archived from the original on 2020-09-22. Retrieved 2020-09-08.
- ↑ Kuznetsov, Sergei. Feeling the Elephant: Notes on the History of the Russian Internet. Moscow: Novoe Literaturnoe Obozrenie (New Literary Review). pp. 325–327. ISBN 5-86793-331-8.
- ↑ Aristarkhova, Irina (2000). "Otherness in Net-Communities: Practising Difference in Post-Soviet Virtual Context" (PDF) (Conference paper) (Situating Technologies Symposium ed.). De Balie, Amsterdam. Archived from the original (PDF) on 2017-07-06.
{{cite journal}}: Cite journal requires|journal=(help)CS1 maint: date and year (link) - ↑ Velikanov, A. G. (2007). Am I a Quivering Simulacrum or Do I Have a Right?. Essays on Visuality. Moscow: Novoe Literaturnoe Obozrenie. p. 9. ISBN 978-5-86793-545-0.
- ↑ "Am I a Trembling Simulacrum, or Whether I Have the Right?". Archived from the original on 2021-06-10. Retrieved 2021-06-10.
- ↑ Velikanov, Andrey. ""Philosophy of Art" Course at the Avant-garde Center". Archived from the original on 2014-04-24. Retrieved 2018-06-06.
- ↑ Velikanov, Andrey. "Philosophy of Art: How Philosophy Influenced Art and Cultural Models of Society". artguide.com (in русский). Archived from the original on 2019-09-17. Retrieved 2020-08-16.
- ↑ Velikanov, Andrey. "The lecture series "Languages of Culture"". The Garage Museum of Contemporary Art (in русский).
- ↑ Velikanov, Andrey. "Lecture Series "Anamorphic Encyclopedia"". The Garage Museum of Contemporary Art (in русский). Archived from the original on 2020-09-27. Retrieved 2020-08-16.
- ↑ Velikanov, Andrey. "Lecture Series: "Ideas and Images"". Garage Museum of Contemporary Art (in русский). Archived from the original on 2020-09-18. Retrieved 2020-08-16.
- ↑ Velikanov, Andrey. "Lecture Series: "Homo Mutabilis: The Changing Human. Ideas that Transform Humanity"". Garage Museum of Contemporary Art (in русский). Archived from the original on 2020-09-29. Retrieved 2020-08-16.
- ↑ "Catalog of the "Ostranenie" Festival, 1995" (PDF). Archived from the original (PDF) on 2021-07-24. Retrieved 2021-07-24.
- ↑ "Art on the Net'2002, Tokyo". Archived from the original on 2021-06-16. Retrieved 2021-06-10.
- ↑ "Art on the Net'2002, Tokyo. Awards". Archived from the original on 2021-09-13. Retrieved 2021-06-10.
References
External links
This article "Andrey Velikanov" is from Wikipedia. The list of its authors can be seen in its historical. Articles taken from Draft Namespace on Wikipedia could be accessed on Wikipedia's Draft Namespace.