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Solo show: Timur Novikov. Flying and Sailing (engraving, hand-stitching). (over)

1 January 2002 until 31 January 2002
  Timur Novikov. Flying and Sailing (engraving, hand-stitching).
 
  D137 ART CLUB

D137 ART CLUB
15-17 Rubinshtein st.
191002 St. Petersburg
Russia (city map)

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Timur Novikov. Flying and Sailing (engraving, hand-stitching).
The fathomless skies are
reflected in ten square miles of water in St Petersburg. This enormous mirror dissolves all the details, sending them straight to the depths of eternity, which returns their images and symbols.
It is then that we see the large in the small. Ships, planes, birds, people and buildings – the entire
essence of a body coasting through time, across the smooth surface of the sky and water. Seeing
the world’s phenomena and conveying them in this way – is this the master’s device, method or
personal outlook on the world? All three come together in Timur Novikov, an artist looking
beyond the horizon. Meeting, the sky and water combine in soft and subtle alloys of air; here it
is, a ready-and-waiting painterly field, in which gold and grey, pink and blue, the white light of
St Petersburg patinate the embankments, bridges and buildings. The folds of Timur’s fabric
pictures billow, twisting and reflecting on the waves of St Petersburg… For Timur Novikov, the
Baltic Sea was the Northern Mediterranean. The artist regarded the structure and decor of St
Petersburg as not so much a copy of the lightness of Venice and the grandeur of Rome, but the
restoration of the unity of the European cultural tradition, whose birth the inhabitants of the
continent owe both to southern and northern Europe alike. Timur never doubted Peter the
Great’s decision to build St Petersburg where he did. As the artist himself said: “The delta of the
Neva is a mirror reflection of the delta of the Nile. St Petersburg is the Alexandria of the north; a
port ought to have arisen at this place, which lies on the same vertical.” Timur sets off on a
journey from this town – imaginary trips in childhood, followed by real ones. Some thirty years
ago, the sailor costume was the ultimate dream of young romantics. In the more distant past, it
was an inherent attribute of the childhood images of many leading people who, one way or
another, expanded the horizons of our views of the world. Set in the sixteenth century, Friedrich
Schiller’s Don Carlos mentions sailor costumes and children’s fashion. Sir Anthony van Dyck
and Charles Lebrun portrayed royal children dressed as sailors. Timur Novikov’s favourite
character, King Ludwig II of Bavaria, Tsarevich Alexis (murdered son of Tsar Nicholas II),
sculptor Arno Breker and former German chancellor Willy Brandt are depicted wearing sailor
costumes in childhood photographs. The European aristocracy still nurtures this tradition.
Timur’s collection includes a snapshot of Count Lennart Bernadotte (who held an exhibition of
photographs of flowers at the Museum of Ethnography in the early 1990s) showing this eighty-
year-old relative of the former Russian Imperial family surrounded by descendants decked out in
white sailor costumes. At the start of the new millennium, Timur Novikov returned to the theme
of the water and the sky. His hero was a youth with sublime, kingly notions, a time traveller
facing an endless space. Beauty is still the ideal of his hero; for the sake of beauty, he outfits a
navy and air force. The Flying and Sailing exhibition shows the influence of beauty on the
development of various forms of culture. Timur’s artistic will launches airborne appliances over
the buildings of Andrea Palladio; they soar through the air, grasping the purity of proportional
relations. The classical graphic art of the sixteenth-century architect, who completed the
canonisation of the Ancient Roman style begun by Vetruvius, stands alongside hand-made
aeroplane-birds – far from perfection, yet still aspiring towards it. The Flying and Sailing
exhibition at the Gallery D-137 marks the twenty-fifth anniversary of the start of Timur
Novikov’s career in art. It is fitting that, having created the New Academy, Timur addressed the
oeuvre of Andrea Palladio, founding father of academism in architecture, with whom he shared a
common penchant for an audacious union of different themes. The Palladian flight, the flight to
perfection, there can be no worthier path for an artist; no matter how weak his wings are to start
off, they will strengthen and carry him high. As Timur said on completing the Palladian Flights
series: “Beauty is insurmountable.” A French architect once noted that “Palladio seemed to want
to show that all that is intelligent in the forms and proportions of ancient architecture was suited
to any era.” The same principle was applied by Timur Novikov, man of Renaissance. Alexander
Medvedev

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