|
 |
|
 |
|
|
|
 |
|
|
| |
|
|
| |
|
Konstantin Zvezdochetov 1958
Zvezdochetov is not simply an outstanding figure in 1980s art. Zvezdochetov is a “banner” for late 20th century Russian art, as he has a unique method of ironical criticism, which modern art needs like air.
Having started with the hooligan tricks of the Mukhomor (toadstool), the most cheerful and careless group of Moscow conceptualists, and good quality installations of untidy country towers, presently he has become the main domestic painter – like Repin or Gerasimov.
Certainly, Zvezdochetov’s iconostasis-shaped compositions – whether he paints the degradation of Party activists, a battle of good with the best, or Soviet cartoons and comics characters (which, by the way, no longer belong to any specific epoch) – suggest a model of irony that is very comfortable for us, akin to the mid-Russian attitude toward drunkards – kind and understanding. He neither criticizes, nor condemns their vices and shortcomings; on the contrary, he loves, cherishes, and fosters them.
Nikolai Palazchenko |
|
|
 |
Biography |
|
|
|
| |
Graphic works |
|
| |
|
|
| |
|
|
| |
|
|
| |
|
|
|
| |
Objects |
|
| |
|
|
|
| |
Painting |
|
| |
|
|
| |
|
|
| |
|
|
|
|
|
