Boris Vladimirovich Markovnikov
1958 Born in Moscow
1978 Graduated from the Moscow Art College of the Memory of 1905 (Painting and Pedagogical Department)
Since 1988 Member of the Union of Artists of the USSR
Since 1990 Participant in the group "Polygon"
Works in collections
Moscow Union of Artists, Moscow
Ministry of Culture of the Russian Federation, Moscow
State Tretyakov Gallery, Moscow
Semipalatinsk Art Museum, Semipalatinsk
Novosibirsk Art Gallery, Novosibirsk
Museum of Contemporary Art, Sofia, Bulgaria
Private collection, Germany
Exhibitions and auctions
SOLO EXHIBITIONS
1988 Jointly with E. Dybskiy and G. Voronov. Oktyabrsky District Exhibition Hall, Moscow
1991 Painting Exhibition. "A 3" Gallery, Moscow
"Velta" Gallery, Moscow
1993 Francis Van Hoof Gallery, Antwerp, Belgium
1994 "Art of Inner Space" (with A. Lisovsky). Gallery 1.0, Moscow
1997 "Painting". "Manege" Gallery, Moscow
1998 "That Damn Road". Moscow Fine Art Gallery, Moscow
GROUP EXHIBITIONS
1983-90 XV-XIX Youth Exhibitions, Moscow
1987 "Artist and Modernity". First Creative Association of Moscow Artists. "Kashirka", Moscow
1988 2nd Exhibition of the First Creative Association of Moscow Artists. House of Artists on Kuznetsky Most, Moscow
"Labyrinth", Youth Palace, Moscow
"Neuvostoluton nuorta taidetta", Turku, Finland
Exhibition of Contemporary Soviet Art. "Belderskild" Gallery, Copenhagen, Denmark
1989 "Moscow Artists in London". Riverside Artists` Group, London, UK
"Moscow Artists". Glasgow Group, Glasgow, UK
1989-90 "Red and White", Warsaw, Poland; Amsterdam, Netherlands
1989 Painting Triennale. Sofia, Bulgaria (third prize)
1990 "Scientific and Technical Progress and Art". House of Artists on Kuznetsky Most, Moscow
"Logic of Paradox". Youth Palace, Moscow
1991 "Contemporary Moscow Artists". Tampa, Florida, USA
1995 "La terra ritrovata. Alphabet of the Russian Landscape 1860-1995". Villa Ormond, San Remo, Italy
1997 International Art Fair "Art-Manege", "Paths of Abstraction". Manege, Moscow
"Harmony of Contrasts. Russian Art of the Second Half of the 20th Century", "Magnum Ars" Association, RAH, STG. Russian Academy of Arts, Moscow
EXHIBITIONS as part of the "Polygon" group
1990 "Polygon". "Kashirka", Moscow
1991 "Polygon-2". Youth Palace, Moscow
1993 "Polygon-3". Eastern Gallery, Moscow
Exhibition-action at the Taganka Theater, Moscow
1994 "Polygon-4". “Monuments” project. Central House of Artists, Moscow
1995-96 "Polygon" in Belgium. "Transformers" project. Gildhof Cultural Center, Tielt; Strombeek-Bever, Brussels; Berghem, Antwerp; Kortrijk
PERFORMANCES
1996 "Serpent Tenderness" (with the "Blind" group and Yu. Nechiporenko). Author's Studio, Moscow
1997 "That Damn Road" (with the "Blind" group – A. Kuznetsova, A. Margorin). B. Markovnikov’s Studio, Moscow
1998 “The Third Extra is Kissed by the Landscape” (object exhibition). B. Markovnikov’s Studio, Moscow
Author about himself
... We accept the idea only for the energy of the approach, when, with the first movement, the loss begins...
Watch how water plays with a stone, what shapes it gives to it, what kind of play, what calm, the stone disappears.
Everything finished exactly. It happened by itself. It is natural...
Let us realize and say: "We are being destroyed together, we are natural" ... In our hands, what really remains of the idea, of the truth, of faith – only a remainder, but that is reality... It is the trace from our fall – from the crystal of primal completeness to the horror that will occur in the next moment...
You see the remainder. If you know the secret, you will know by it what is happening to us.
Everything stayed in the same places – we have fallen, we have broken.
We are fragments from one of the explosions...
There comes the one who said: "Here, this is said again. That was me who said it. I am the same. I go, I know that beauty is the pain of memory"...
We lose almost everything, but except for the remainder – this is the meaning. It tells us: "You are right".
We are not afraid, this is a trace, a game, this is memory, contact with destruction, only a moment. We know everything in this moment, that's why our eyes look into us. The moment testifies: "Do this".
Critic
No information
Bibliography
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Works 10
