    | | | Created for the support of Petersburg artists (both participation in the exhibitions and entrance are free), in the course of time the Gallery became a rather prestigious spot for organization of exhibitions both of domestic and foreign artists. We believe that in the situation when there are few exhibition spaces in the city and a great scale of creative ideas, aesthetic concepts and artistic practices, the main actual task is to present as many artists as possible independent on genre and technology. Exhibitions in the Borey Gallery are in the non-stop regime. It is a basic principle of the Gallery to support beginning artists and creators (the first exhibition, the first book, the first article). Absence of aesthetic snobbery and restraints in the interests of a special group of artists. Accessibility and openness.
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November 8 – 26, 2011. Sergey Dreyden. Graphics. |
«MY LIFE IN PICTURES»
Graphics
In the gallery halls
During the exhibition there’ll be shows of selected films with Sergey Dreyden
In a small hal | There are rare actors, breaking the borders of profession. There are theatre in themselves. They fall off traditional lines of business. And this is Sergey Dreyden.
“There are many good actors (even now).
Naturally, there are fewer good, talented, great, personal ones.
But even this “vanishing scenery” can still be found among shamelessly promoted and unfairly successful ones.
But for a prominent artist to capriciously vanquish sweet temptations of bondage, protecting a free man and artist in himself, is maybe the only example of such self-consistency”.
Valery Semenovsky |  | 
|  | | | | |  |  |  | | | | | MY LIFE IN PICTURES
The author’s introduction
I was born in evacuation in 1941 году, as soon as the train with the staff of Leningrad Theatre named after Pushkin reached Novosibirsk (my father Simon Dreyden was the theatre literary director). By the end of the war we lived in Moscow behind the curtains of the Chamber Theatre (my dad was Tairov's literary director), and we walked with my mom along Tverskoy boulevard from the kindergarten in the evening, squeezed into our room under the stage, where there was a performance on (for instance, “The Sea Spread Out Wide” or “Seagull” with Alisa Koonen). From 1948 we lived in Leningrad on Tchaikovskogo street with my mom, and my dad started his work for Kremlin (a version for a child), which really was a bit further, in a camp outside Kemerovo. My mother, Zina Dontsova, was an actress, an elocutionist, I visited her concerts and carried her suitcase with a dress, shoes, makeup... My parents were tied by friendship with S.V.Obraztsov (and named me after him). Sergey Vladimirovitch was a wonderful artist, without speaking about his highest artistry, and I think that being a guest in his and Olda Alexandrovna’s flat in Moscow, talking to him, watching off-stage his performances with dolls for thousand times I couldn’t but take in the world of this great “Art World” man. Among the pictures you’ll find “A Sick Boy”. It’s me. I had a sore throat, and I had many of them: milk, honey, gargle, bed rest. Headphones, radio program, theatre at the microphone, a drawing book, colored pencils, modeling clay. By the age of 13 I got stronger, grew up, entered a school of art on Tavricheskaya street, sculpture department. My parents bought me a sketch-book, brushes, watercolors and oils. I studied the basics of drawing and sculpture for a short time, then I preferred photography, had a stab at a cameraman’s career, and became an actor. By finishing school #203, I entered Theatre Institute on Mokhovaya. And I’m still an actor. I was drawing at the lectures in Theatre Institute on Mokhovaya, at home, and while already working in theatres and in dressing rooms. Thus, in 1964 after I was employed by the Theatre of Comedy, I showed my drawings to Nikolay Pavlovitch Akimov. And when I went to school and to the institute I made friends with the guys who were drawing and writing. We attended exhibitions at the Russian Museum, at the Hermitage, and later on, when I was not working in theatre for some time and was moonlighting, I sat at home and drew. That was the way, when I wasn’t employed as an actor, I kept in touch with the ART OF IMAGINATION through drawing. In the 80s me, my wife and my son Kolya lived in Kiev, in the house of Kolya’s grandmother Nila Pavlovna Ripskaya, who was a fine art expert and was teaching history of arts at the Institute named after Karpenko-Kariy. She supported my drawing in all ways (however, who strictly speaking could discourage me?!) and asked me to take myself seriously. I think it was then, in the middle of the 80s, when my ship changed its course. In the mornings I walked in Kiev, looking at houses, people, plants, something I kept in mind, something I sketched in pencil without looking at a sheet of paper, made notes of colors, and in the evening I turned these sketches (etudes, exercises like in acting) into pictures. In those Kiev days my “pictures from the memory” were born, these are adventures of Seryozha the boy. And now I see that the life which I spent was spent in theatre, and you know, I don’t regret it at all. Moreover, I’m grateful to people who tied me with theatre. I escaped from Theatre any times, hid, didn’t show myself, but by God it was the essence of my life. When I gave up playing on stage, became a driver, a worker in a geological party (thanks to Gena Sotnikov!) or a pressman in a printing agency, I got down to drawing and it helped me to get close to new acting. Theatre appeared again. I realize that I’m only a DRAWING ACTOR, and not an ACTING ARTIST. And I’m happy with this state of things. I swear, I’m not competing with any of artists. Thank God, there’s a wide choice, there is someone to love, and I want everybody to draw joyfully and with feeling the saddest pictures.
Sergey Dreyden
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September 27 – October 8, 2011."Kolomenskaya 14". Painting/photo |
"KOLOMENSKAYA, 14"
Valentina Ivanova, Ildar Chetyshov, Denis Karpenkov,
Tatiana Gubareva, Alexey Savvo, Ivan Olasyuk, Yan Sen Gir
Painting/graphics/photography
In the gallery halls |  |  |  | | | | |  |  | | | | | | The seven artists, participating in “Kolomenskaya, 14” exhibition, differ in age, style, technique of their works and fate in art, but are united by the fact of finishing one school. This school, which prepared young people for entering St Petersburg art higher schools and was situated in a big apartment in Kolomenskaya street, 14. This school was named “Suvorov’s Studio” after a brilliant teacher of painting Vasily Ilyich Suvorov (1902-1991), who lead it till his death. The studio’s present leader, Valentina Borisovna Ivanova came to Suvorov’s Studio in 1961. In 1974 she graduated with distinction monumental painting faculty of Mukhinskoye College. From that year on she was a second teacher in the art studio, and in 1991 she headed it. It is considered in Russian modern art that St Petersburg school in general is characterized by greater conservatism, tending to artistic formalism and visualization, in difference to the school of the so-called “Moscow conceptualism”. There are two fundamental schools in St Petersburg, namely the Academy of Arts and Arts and Crafts Academy named after A.L.Schtiglitz. At the same time, many artists, who studied in “Repa”, “Mukha” or “Serovnik” joined the bohemian rows of independent art, which in the Soviet time was called “underground” or “non-conformism”. And when at the Academy or at Mukhinskoye College a student anyway belonged to some teacher’s studio, in the liberal bohemian surroundings the notion of “school” became a rarity. Absence of Schools, absence of Teachers is a typical feature (and problem?) of modern St Petersburg art. That’s why tracing “genealogy” of certain painters, groups, this or that sort of artistic work in St Petersburg is of great interest and help for cultural self-consciousness of “the oblivious generation”. Artists whose works are presented at our exhibition studied in Suvorov’s Studio at the end of 1980s – beginning of 1990s, in times of radical changes in life of the country and in art. The atmosphere in classes was Spartan, payment for studies was minimal and at times became almost symbolic. It was a friendly circle of people supporting each other even in everyday life. Ildar Chertyshov happened to cook a big casserole of beans for everybody, and someone who had no place to live slept on a camp bed in the studio. Painting was in the focus of studies: sculpture was thoroughly studied, but main activity was painting from live nature: portraits for beginners, nude figures for older ones. Painting became a mode of thought, major spiritual and intellectual work. There is internal depth and conscious work hiding behind external simplicity and even sternness of these images. What wide audience considers to be St Petersburg art is a thin layer on the surface of dark hidden depths, where it’s fed by both madmen and quiet, hardly noticeable art enthusiasts. There are many absolutely different artists in St Petersburg, and it’s hard to imagine that something might unite them. Nevertheless, these people came out of one and the same art studio some time ago, after they’d passed rigid and time-honored school of painting-reflection. Under conditions of fall and demoralization, when the academic artistic institution tried to survive in the epoch of changes, the canon was kept to the fullest extent. V.B.Ivanova’s school belongs to those seemingly discreet fenomena, on which the art temple of the great city is based like on foundation and bearing structure. Andrey Khlobystin
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September 27 - October 8, 2011. Fumiko Nakamura /Japan/. Graphics. |
"HAMLET-CHILD - 33 ROOMS IN WHICH THERE IS NO HERO"
Graphics
In the small hall |  | |  | "Bring me round-top's!",
watercolor on paper, 7,5 х 24,3 | "Drum on the long journey",
watercolor on paper, 22,5 х 22,8 | "In the cabinet-hall",
watercolor on paper, 18,9 х 26 |   | diptych: "The gift from uncle", watercolor on paper, 14,3 х 8,6 | Fumiko Nakamura «My very modest series "Hamlet-child - 33 rooms in which there is no hero" was intended strictly for myself. To clarify that, I have to recount a few episodes. It started with a phenomenon some twenty years ago. I was at home watching the film Solaris by Andrey Tarkovsky on TV. And all of a sudden, up in the air above the TV set there appeared an excerpt from the movie Hamlet by the Lenfilm Studio. The protagonist walked around and you could see distinctly his face, whereas in the original film there appeared only his shadow. Later on, I did realize that twenty five years since I was watching the movie in the cinema I saw my impressions when I was watching the movie in the cinema. I was fifteen years old then and was completely overwhelmed by the hero of the drama: he spoke about the world in his own words and, to my mind, absolutely freely. But it was a Prince, eventhough a virtual Prince. The Prince lived his life on the screen and left us, once and for good.Why was he revived in my brain? I started to draw my series without realizing that my Prince was a child. And I began studying Russian by radio to be able to write a letter to Innokenty Mikhailovich Smoktunovsky, the actor, not knowing whether he was still alive. Two years later "my child", at his request, was there. This was owing to the help of a Russian writer, a very kind man, whom I did not know personally at that time. A year later the wonderful actor was no more. I visited St. Petersburg for the first time in the fall of 2007. I was taken then by songs of a rock-group of the 80s. I suddenly wished to wander around in the city where this music was born. So, I was in the state of euphoria, doing nothing. But sometimes, during journeys travellers are faced with uncomfortable questions: "Where to? Where from? And what are you, really?". I started drawing again, learned the elements of writing on the computer in Russian. Then I tried to find an Arts Gallery to visit once more the unforgettable St Petersburg, as person with a purpose. Last year I sent a letter of request to the Borey Arts Gallery, which was unfamiliar to me at the time. I wrote in it: "I believe, this is not an interpretation of the original drama, and not a parody but, rather, an allegory of a words-defying grief harbored by man at a loss to put it in his own words". It now seems to me that an open-ended ticket for "journey to the the internal world of a person" was sent to me by the sea of Solaris. A small house. Small rooms in it. It quite may be, they are familiar to me... from my childhood». Fumiko Nakamura Born in 1949 in the city of Kitakami, Iwate Prefecture, in north-eastern Japan. 1972 - graduated from the Iwate State University, fine arts course at the General Education Faculty and thereafter began working at an out-patient clinic in Shizuoka Prefecture; then at a private obstetrics clinic in Tokyo (since that time and until now lives in Tokyo) 1973 - worked in a canteen, then with a kigurumi troupe, in a company manufacturing personal seals 1974 - 1980 - work in a trading company 1981 - 1984 - took care of young children Since 1985 - a free-lance artist-illustrator Work experience: Creation of illustrations for textbooks, books about travel, needlework, tricks, funeral ceremonies, etc, for electronic products brochures, medical assistance, Buddhism, etc. Worked in the genre of experimental manga for children and of image characters. Group and personal exhibitions: 1989 - Toden Gallery, Tokyo 1991 - Takugin Foyer, Tokyo 1992 - Kinokuniya Gallery, Tokyo 1994 - Vildal Gallery, Tokyo 2003 - Kinoko Gallery, Kobe
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