Todas as obras de arte de Oleg Tistol
Mountains • 15 obras
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Oleg Tistol's “Mountains” series of paintings demonstrates — perhaps, most consistently — his method[...]
Oleg Tistol's “Mountains” series of paintings demonstrates — perhaps, most consistently — his method of work with the stereotype. Begun in 1987, it includes such cycles as “Landscape”, “Sinai”, “Caucasus”, “Kazbek”, and “Ararat” (2002-2008). All works in the series are made according to one principle: they feature realistically depicted mountain peaks overlaid with stripes of color, with some ornaments stenciled over them. According to the artist's conception, these series have originated from the image on the package of “Kazbek” cigarettes, which date back in turn to a well-known picture by Evgeny Lancéré. Tistol inverses the process — he brings the image from a non-artistic and profane space into the space of a new picture. However, he does this not through adequate repetition but by a metaphor that contains both artistic and non-artistic meanings. Quotations are imposed on quotations, and conventionality — on conventionality. They possess an enigma and mystery. Moreover, it is “Art”.Mountain
TV + Realisme • 15 obras
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Oleg Tistol continues the theme of stereotypes in another project entitled “Television”, which analyzes[...]
Oleg Tistol continues the theme of stereotypes in another project entitled “Television”, which analyzes some new features of contemporary reality and visual parameters rooted in media image. In many ways, he was influenced by the events of the Orange Revolution of 2004 when the entire country was mesmerized for hours by TV-screens, following the latest developments on the Maidan Nezalezhnosti (Independence Square). In this project, the artist explores the metamorphoses of the screen image in major news broadcasts of different TV-channels, such as RTR, Inter, Deutsche Welle etc. that transform a human identity into a flat media image. In 2005, Tistol paints the “Telerealism” series, addressing arguably one of the most important problems in contemporary culture — that of television's ability to manipulate situations and characters, as well as attach importance to any kind of image. Transferring a TV screenshot into the format of a painting, the artist connects the former to the tradition of genre pictures and attracts attention to the new forms of reflecting reality. In addition, using the principle of frequency resolution that visually marks the pixilation of the media image, typical for photography and cinema, he in fact moves in the direction of traditional painting by constructing the coloristic space according to the classical rules.
U.B.K. • 15 obras
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Tistol's latest project “U. B. K.” (the Russian abbreviation for “Southern Coast of Crimea”), on which[...]
Tistol's latest project “U. B. K.” (the Russian abbreviation for “Southern Coast of Crimea”), on which he has been working since 2007, features a new stereotype as well. In this series, one can find neither complex design nor intricate historical-cultural reflections, nor thе collision of meanings, images, and spaces that were characteristic of his earlier works. Here, the artist comes to the peculiar “trivialization of the exotic” and poeticizing of the everyday life, where the banal turns into the festive and the unusual. It is not accidental that the project includes several cycles of prints made against the background of pages from school notebooks.
National Geography • 14 obras
Ver tudoUkrainian Money • 14 obras
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n 1984, Oleg Tistol began to work on the project “Ukrainian Money” that, without exaggeration, marked[...]
n 1984, Oleg Tistol began to work on the project “Ukrainian Money” that, without exaggeration, marked a new stage in contemporary Ukrainian art. The project was in progress until 2001 (at the beginning of the 1990s, Nikolai Matsenko joined in). In this project, Tistol moved from small drawings and etchings to big panel paintings and large-scale installations. In Tistol's project, money appears as a cultural and symbolic category, which not only marks the history of national independence (in 1918, the design for Ukrainian “karbovantsy” was developed by such famous artists as Georgy Narbut, Mikhail Boichuk, and Alexander Bogomazov), but also anticipates and reflects the main problem of contemporary Ukrainian reality: the choice of values, both genuine and false.
Obras Vendidas • 1 obra
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