2005
Materials: yellow pigment on canvas, eggshells on mdf
120 sm x 100 sm
Category: painting
Item Number: 004312
1 275 000 / 15 000 €
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About the Work
About the Artist

he tendency for organic is traced in the works of the Russian avant-garde of the early twentieth century. For example, Pavel Filonov, Mikhail Matyushin and Vladimir Tatlin were artists of the so-called “organic school”. These masters wanted to visualize natural forms, to make visible the energies, power and rhythms that they thought were hidden behind the visible reality. They wanted to restore harmony between man and nature. Mikhail Matyushin studies the works of Uspensky " Tertium Organum. The key to the mysteries of the world” and N. Lossky "The world as an organic cohesion". Impressed by the theory, Matyushin thoroughly analyzes the processes of plant growth and discovers that organic growth is expressed in curved lines, not in straight lines. Pavel Filonov was inspired by the processes of cell growth and their allocation. And V. Tatlin believed that organic forms are the most aesthetic elements in art and that the artist should generate his objects in accordance with the natural origin.

Since the early 1960s, more and more artists have been using organic material. Thus, the Belgian artist Marcel Broodthaers, a surrealist and conceptualist, uses organic compounds - mussel shells in his object "Casserole and closed mussels" (1964), as well as Kostroma in his works - invents canvases with empty eggshells. Kostroma refers in one of its projects to the work of Broodthaers "Plumage of names and symbols". Eggshells and feathers become frequent leitmotives of Kostroma's works.

For A. Kostroma, everything that happens in nature, in the interaction of man and nature, is the basis of his art. "Everything that surrounds us," he says , " and everything that is inside us, can serve as material for my work.” It was this "organic" path, connected with the study of the laws of nature, that allowed Kostroma to substantiate his own theory and concept and convey it through his artistic practice. His work is always based on research concerning the process of interaction between nature and man, and he also strives to integrate the acquired knowledge into the social environment. For him, art is a tool for understanding the world around us. For Kostroma, it is important to work out several lines of plot development, to look from different points of view, to transmit internal human problems through mechanisms in nature. In the same years, the main signs of the artist were formed: a white feather, eggshell, lemon yellow pigment, numbers.

Alexey Kostroma has had a big amount of solo shows such as at the State Russian Museum in St. Petersburg in 1999 and 2002, as well as in group exhibitions such as BRIC at the Saatchi Gallery in London. His works are included in established national and foreign state collections such as: the State Hermitage Museum of St. Petersburg, the State Russian Museum of St. Petersburg, the Amsterdam Museum of Modern Art Stedelijk, the Museum of the Moscow House of Photography, etc.

Alexei Kostroma (b. 1962) - Russian-German artist, theorist, researcher, he lives and works in Berlin. A. Kostroma is a graduate of the B. V. Ioganson School of Art (1980, Leningrad), the I. E. Repin Institute of Art (1989, Leningrad). Since 1989 he is a member of the Union of Artists of Russia. Exhibitions are since 1986. At the same time, he studied Russian iconography, the theoretical works of K. Malevich, A. Rodchenko, and developed the idea of "pictorial and constructive space".

In 1991, A. Kostroma organized the group “TUT -I- TAM”, which held various actions and performances. During this period, the artist moved on to creating installations, for example, in 1992, he made a series of self-destructing water installations. One of the most significant projects of Kostroma is the "Inventory", which includes the numbering of natural objects, as well as destroyed cultural monuments.

In the last few years, the theme of the organic world has become particularly prominent in his work. In the early 1990s, Alexei Kostroma announced a new direction in contemporary art - organic, the so-called "organic way", the main idea of which is to study the relationship between natural and social patterns. A. Kostroma creates a formula that defines his concept: "The Organic Way is a way of knowing the unity of meanings."