Stuchebryukov Boris Dmitrievich
1950: Born in Yuzhno-Sakhalinsk
1967-71: Studied at the M. Lomonosov Moscow Institute of Fine Chemical Technology, Yuzhno-Sakhalinsk State Pedagogical Institute, and Tomsk State University
1980: Graduated from the Moscow Institute of Land Surveying Engineers (Faculty of Architecture)
Since 1985: Member of the Union of Architects of the USSR
Since 1994: Member of the Moscow Union of Artists (MSKh)
Works in collections
No information available
Exhibitions and auctions
GROUP EXHIBITIONS
1980-85: One-day exhibitions of the Moscow Sculptors Club. Zholtovsky St., House of Artists on Kuznetsky Most, Moscow
1980-87: Seminars at VNIITE, Moscow
1986: XXVII Youth Exhibition. House of Artists on Kuznetsky Most, Moscow
1987: "Object-1". Malaya Gruzinskaya St., 28, Moscow
"Space-Time-Art". Exhibition Hall of the Union of Artists of Tatarstan ASSR, Kazan
1988: "Geometry in Art". "Kashirka", Moscow
"Computer and Art" (together with V. Koleychuk). House of Cinematographers, Leningrad
"Designer = Artist". Center for Technical Aesthetics VNIITE, Moscow
"Unidentified Movement". Arts Festival. "Stroitel" Club, Volgograd
1990: "Zvukstruk+Popfon+Bikapo" (together with V. Koleychuk and G. Vinogradov). Youth Palace, Moscow
"Logic of the Paradox". Youth Palace, Moscow
"Line. Spot. Color". Malaya Gruzinskaya St., 28, Moscow
"Moscow Alps". "MARS" Gallery, Moscow
1991: "Mosca-Ticino". Lugano, Switzerland
1992: "Art-Contact". Manezh, St. Petersburg
"Wardrobe". Manezh, St. Petersburg
1994: "May Exhibition". Kuznetsky Most, 20, Moscow
"Moscow Pool" (exhibition-action). Moscow Pool, Moscow
"Christmas Exhibition". "Ridzhina" Gallery, Moscow
1995: "Spinning-Twirling". Cinema Museum, Moscow
1997: "Light Show". Profsoyuznaya 100, Moscow
SIMULTANEOUS ACTIONS
1987: "Oratorio on Charles Darwin's 'Origin of Species'" (B. Stuchebryukov — music, instruments, performance; A. Turkin — text, artistic reading), at the "Object-1" exhibition. Malaya Gruzinskaya St., 28, Moscow
1988: "Potpourri on the poems of A. Mityaev and A. Turkin" (with A. Turkin) Arts Festival "Unidentified Movement" in Volgograd and at the XXVIII Youth Exhibition in Moscow
"Improvisations" (with V. Chekasin). Kuznetsky Most, 11, cinema hall, Moscow
"Improvisations" (with V. Chekasin, L. Saarsalu, L. Vintskevich). Culture House "Moskvorechye", Moscow
1989: "Architectural Images" (with D.A. Prigov). Culture House "Serp i Molot", Moscow
1992: "Words and Songs" (with the duet "Kvas Zakazan"). "Art-Blya", Sivtsev Vrazhek, 44, Moscow
Author about himself
'Russian rationalism' is a term that quite accurately characterizes my inventions in art. Form-making, the potential, unconstrained energy of a particular form, coexistence and metamorphoses of forms, and their interactions are the main impulses of my artistic creativity. As a practicing (designing and constructing) architect, I understand such sources of inspiration as the human, the relevant, the ethical, the epic, and even, let's say, the androgynous. But I remain indifferent to them as an artist. Of course, there are exceptions, but only in cases when the formal side gives the whole idea completeness, as, for example, in the series of 'self-collages' (term by V. Koleychuk): 'Pushkin-Gorky, Purkin-Goshkin and others'; or in simultaneous actions with the poet A. Turkin. Therefore, it is necessary to clarify and say that in the relevant works, the 'razor blade' is not a soul-chilling and countless times repeated image, but merely a conveniently fitting 'stamp' for assembly. And the mysterious, or perhaps not, term 'immanence' helps to reveal my understanding of the role of the artifacts we produce in the amorphous context of contemporary art and its inevitable transformations in the future. My tundra agoraphilia, as well as respect for the pioneers — the avant-garde figures at the beginning of the century, define my field of interest in art. However, the concept of space has since undergone significant changes, and today we speak not only of physical, but also cultural, textual, and even political spaces. But not all of these spaces attract my attention, only those that lend themselves to structuring.
Critic
An original principle of kinetic form-making is evident in the works of Moscow artist B. Stuchebryukov from the 1980s. It is connected to the use of the elastic forces of various materials. In Stuchebryukov's 'mobilares,' a simple strip of spring steel is wound into a double ring and secured at its ends with axes that have opposite rotational movement driven by an electric motor. The slow rotational movement of the strip’s ends leads to spatial transformation of the composition, wherein cycles of elastic transformation of the strip are replaced by catastrophic (instantaneous) changes in form. Meditative cycles of movement are replaced by abrupt, explosive changes, mesmerizing the viewer with the object's unpredictable behavior. The hidden mechanism of transformation and plastic dramaturgy create the image of a very simple pseudo-living object (something akin to a snake), which miraculously demonstrates its cycle of energetic and formal changes. Here, form and energy have received a unique artistic resolution.
The second exhibited item—a multi-layered ring assembled from 15,000 steel razor blades linked with joints—resembles, in its structural principles, the 'networks' of mathematician P.L. Chebyshev, whose essence is changing spatial shape only by altering the angles of the net. The transformation of the ring into different forms is usually performed by Stuchebryukov himself and resembles a small performance of form-building before the audience.
In the artist’s hands, the steel 'fabric' begins to shimmer, alternately taking the shape of a cylinder, a dome, or a cone, reminiscent of the scales of a fish or perhaps a serpent. The work carries a great playful potential, evoking emotional and intellectual empathy in the viewer.
V. Koleychuk. From the book 'Kinetism', Moscow, 'Galart', 1994.
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