Ivan Chuikov - The John L. Stewart Collection of Russian Contemporary Art London Friday, October 12, 2007 | Phillips

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  • Provenance

    Kniga Collection, Paris

  • Exhibited

    Münster, Westfalischer Kunstverein, February 12 – April 2, 1989; Cologne, Galerie Inge Baecker, June - July, 1989; Bielefelder Kunstverein, October 8 – November 19, 1989, Ivan Chuikov; Ridgefield (Connecticut), Aldrich Museum of Contemporary Art, Adaptation & Negation of Socialist Realism, June 9, 1990 – October 7, 1990

  • Literature

    J. Gambrell and Y. Barabanov, Adaptation & Negation of Socialist Realism, Ridgefield, 1990, p. 12 (illustrated); Y. Barabanov, Ivan Chuikov, Münster, 1988, n.p. (illustrated)

  • Catalogue Essay

    Since the late 1960s, Ivan Chuikov has been one of the most important
    members of the Moscow Conceptual school. He used to be, and still is, a dedicated painter with a strong inclination for an analytical and critical approach towards representation, the one-and-only technique of Soviet normative art which he studied thoroughly as a child already, being the son of a famous Soviet realist painter. This detached position towards the norm made him abandon the official career and brought him into the underground circle. His early 'Windows' series questioned the very idea of a painting as an opening towards the real or imaginary world, which brought him close to Erik Bulatov; but unlike the latter, Chuikov has always been skeptical of the myths and mystics of painting, which he saw as a pretentious anachronism, and tended to unmask them in an ironic gesture. His three-dimensional Panoramas of 1970s, which blurred boundaries between painting and sculptural object, i.e. poetic illusion and mundane material reality, were close to Pop-Art. Since the mid-1970s, he has been working on his most important project, an extensive series of 'Fragments' where he has been radically questioning notions of the original and the reproduction. The main object of criticism in these paintings is the ‘spiritual’ notion of wholeness and integrity, much praised in traditional art as well as in ideology, which Chuikov sees as reactionary. His collage-like 'Fragments' celebrate discontinuity as well as de-hierarchism, which has aesthetical as well as political meaning. - Dr. Ekaterina Degot


Fragment, Postcard and Self-Portrait

1983 - 1985
Oil and enamel on masonite in two parts.
70 1/4 x 102 3/8 in. (178.4 x 260 cm) overall.
Signed, titled and dated “Fragment, Postcard and Self-portrait I. Chuikov 83 [in Cyrillic]” along lower edge; titled and dated “Fragment, Postcard and Self Portrait 1985 [in Cyrillic]” on the reverse of each part.

£25,000 - 35,000 ‡♠

Sold for £78,000

The John L. Stewart Collection of Russian Contemporary Art

13 October 2007, 6pm