{"id":3357,"name":"","email":"","language_id":1,"permalink":"ian-ginsburg","deleted":false,"legal_status_id":null,"url_1":"","twitter":null,"category_id":47,"date_of_birth":"1988-01-01T00:00:00.000+01:00","place_of_birth":null,"country_of_birth":null,"place_of_residence":null,"country_of_residence":null,"cached_privileges_list":"User","cached_tag_list":"","publishing_process_id":1,"can_log_in":false,"firstname":"Ian","lastname":"Ginsburg","annotation":"\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003eThe artistic practices of Ian Ginsburg (born 1988) are drawn on art history studies, from French modernists to Moscow conceptualists. Through investigations into history the Moscow-based artist talks not only about tradition and continuity, but also about how we look at art and how we can address and interpret it. In \u003cem\u003eAutonomous Replicas\u003c/em\u003e (2014), held in the artist\u0026rsquo;s studio at the FABRIKA Centre for Creative Industries, he recreated an impromptu French atelier of the first half of the 20th century, envisioning a dialogue between the key figures of modernism \u0026ndash; Picasso, Braque, C\u0026eacute;zanne, Seurat and others. In his project \u003cem\u003eTotal Exposition\u003c/em\u003e (2015) at MMOMA he put his own spin on Andrei Monastyrsky\u0026rsquo;s \u003cem\u003eEarth Works, \u003c/em\u003eturning the original concept upside down. Then he adopted the pseudonym Ginsburg after a nearly forgotten Moscow-based artist Josef Ginsburg, who had started out together with Kabakov and other conceptualists, but went way underground. Ian found him and literally rescued him from limbo. Josef, as a figure of oblivion in an old grey wool suit, appeared in \u003cem\u003eMechanical Beetle\u003c/em\u003e \u0026ndash; Ian\u0026#39;s project where he deconstructed Moscow conceptualism and its most prominent exponent Ilya Kabakov.\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cspan style=\"font-family:Tahoma,Geneva,sans-serif;\"\u003eThe meticulously designed show transported the audience to the Soviet 1970s\u0026ndash;80s, thereby overturning the common view of conceptualism as a movement that dismissed Soviet ideology as delusional. This view has largely been formed by an archival impulse, which tends to dilute the context so that\u0026nbsp;there remain only the details linked directly to the artist\u0026rsquo;s persona and to his works. Ian, however, presents conceptualism as an allegory of all things Soviet, thereby likening it to pop art: here is a white Volga, here is an envelope envelope in which Kabakov once received one of his fees for children\u0026#39;s book illustrations, here is a familiar birch tree wallpaper mural or a flower stand. But not only does he rigorously, in an almost fetishistic fashion, select these artifacts, which he finds in basements, attics, at flea markets, he uses them to reassemble his own version of art history, exposing the manipulative nature of historical narrative and the possibility of another perspective.\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\r\n","url_2":"","url_3":"","cached_name":"Ian Ginsburg","date_of_death":null,"cached_name_asc":"Ginsburg, Ian","stream_count_app":20,"gender":"other","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/042/738/large/Ian_Ginsburg-portrait.jpg?1542384526","poster_credits":null,"media_count":1,"items_count":6,"translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eIan Ginsburg\u0026rsquo;s artistic practice is a remarkable example of actualization of the archival impulse, important for the international art context of recent years. Ginsburg\u0026rsquo;s method combines the experience of material production with the procedure of simulationistic deconstruction: by entering into a dialogue with a particular artist, investigating the mode of their existence and the everyday context of their practice, the author makes the process of artistic production visible and demonstrates the manipulative power of images.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe meeting with Joseph Ginsburg, a neglected semi-mythical nonconformist, was fateful for Ian Ginsburg\u0026rsquo;s newest projects. Having sheltered Joseph in his room in a communal apartment, he began a thorough work to preserve the heritage of the author, who had fallen out of the mainstream artistic narrative, and became his disciple and heir. In the first exhibition dedicated to the Soviet artist (\u0026ldquo;Mechanical Beetle\u0026rdquo;, 2017) Joseph Ginsburg still serves as a side note, a misfit deconstructing the figure of Ilya Kabakov. Such inequitable interchange between the Soviet artists questions the authorship phenomenon, reveals the environment of artistic power formation and uncovers the link between price and value. \u0026ldquo;The Room of Genius. Aphorisms of Joseph Ginsburg\u0026rdquo; (2018) pays significantly more attention to the latter, although \u0026ldquo;Kabakov\u0026rdquo; is also present, scattered in the many Soviet writers with whom Ginzburg corresponded. \u0026ldquo;The Room\u0026rdquo; is a freely reconstructed small accommodation in a special warehouse where the artist stored his possessions. Part of them indeed belonged to Ginsburg, part is a creative addition of his heir, who provided post-mortal life for his \u0026ldquo;adoptive father\u0026rdquo; with his conceptualisating efforts.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIan\u0026rsquo;s projects line up in consecutive and fantasmatic archive processing, which being surprisingly detailed and deep, becomes increasingly mocking and subversive. The exhibition \u0026ldquo;SOVPIS\u0026rdquo; (Russian acronym for a \u0026ldquo;Soviet writer\u0026rdquo;, 2019) is a reflection on Joseph\u0026rsquo;s own conceptual project: he sent copies of his book of aphorisms to Soviet writes, critics and publishers and then published it with reviews. Together with the works of caricaturist artist Joseph Igin (the Ginsburg\u0026rsquo;s real surname), the literature archive of the Soviet nonconformist was assembled into absurd installations and kitschy-type setting in the \u0026ldquo;queer-communist\u0026rdquo; style; Ginsburg himself describes it as \u0026ldquo;Bakhtin\u0026rsquo;s laughter at the archive\u0026rdquo;. In such a way the artist updates the investigations of artistic production models of the past century: on the one hand, openly exploiting the strategies of conceptualism, and on the other, turning them against that dominating role which conceptualism plays in the hall of artistic fame.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":""},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eЯн Гинзбург\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eХудожественная практика Яна Гинзбурга \u0026ndash; яркий пример актуализации архивного импульса, важного для международного контекста искусства последних лет. Метод Гинзбурга объединяет в себе опыт материального производства и порядок симуляционистской деконструкции: выстраивая диалог с тем или иным художником, анализируя способ его существования и бытовой контекст его деятельности, автор делает видимыми процессы художественного производства и демонтирует манипулятивную силу образов.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eСудьбоносным для новейших проектов Гинзбурга стало знакомство с Иосифом Гинзбургом \u0026ndash; забытым, полумифическим художником-нонконформистом. Приютив Иосифа в своей комнате в коммуналке, он начал тщательную работу по сохранению наследия автора, выпавшего из доминирующего художественного нарратива, и стал его учеником и наследником. В первой выставке, посвященной советскому художнику, \u0026ndash; \u0026laquo;Механический жук\u0026raquo; (2017) \u0026ndash; Иосиф Гинзбург все еще выступает в качестве заметки на полях, маргинала, деконструирующего фигуру Ильи Кабакова. Такая неравноправная перекличка между советскими художниками ставит под вопрос феномен авторства, обнаруживает условия формирования художественной власти и обнажает связь между ценой и ценностью. В \u0026laquo;Комнате гениев. Афоризмы Иосифа Гинзбурга\u0026raquo; (2018) последнему уделено значительно больше внимания, хотя \u0026laquo;Кабаков\u0026raquo; также присутствует, рассеянный во множестве советских писателей, с которыми Гинзбург вступал в переписку. \u0026laquo;Комната\u0026raquo; \u0026ndash; вольная реконструкция небольшого помещения на специализированном складе, где художник хранил важные для себя вещи. Часть их действительно принадлежала Гинзбургу, часть \u0026ndash; творческое дополнение наследника, обеспечившего \u0026laquo;приемному отцу\u0026raquo; постмортальную жизнь благодаря своим концептуализирующим усилиям.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eПроекты Яна выстраиваются в линию последовательной фантазматической обработки архивов, которая, оставаясь удивительно тщательной и глубокой, приобретает все более насмешливый, субверсивный характер. Выставка \u0026laquo;СОВПИС\u0026raquo; (2019) \u0026ndash; размышление о концептуальном проекте самого Иосифа, который отправлял советским писателям, критикам и издателям копии сборника своих афоризмов, а затем издавал его заново, но уже с рецензиями. Вместе с работами художника-карикатуриста Иосифа Игина (настоящая фамилия \u0026ndash; Гинзбург) литературный архив советского нонконформиста собран в абсурдные инсталляции и китчевообразный декор в стиле \u0026laquo;квир-коммунизма\u0026raquo;; сам Гинзбург говорит об этом как о \u0026laquo;бахтинском смехе над архивом\u0026raquo;. Так художник актуализирует исследования моделей художественного производства прошлого века: с одной стороны, открыто используя стратегии концептуализма, с другой, направляя их против той доминирующей позиции, которую концептуализм занял в зале художественной славы.\u003c/p\u003e\r\n"},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"RU","place":"Moscow","category":{"en":"Lives in","nl":"Leeft in","fr":"Vit à"}}]}