Valery Koshlyakov belongs to one of the greatest phenomenon of post-perestroika Moscow, it is known as the Rostov School or Workshops in Trekhprudny pereulok. They were South Russian artists who brought a great charge of art energy, passion to happenings, practical jokes and provocative acts and the main thing – new attitude to contemporary art and their place in it.

The capital art scene had lack of talents at the beginning of 90’s because of migration of numerous famous artists as the result of «Russian sensation» so it was a great chance for provincialists. Moreover, so many Moscow people of art experienced sensation of that provincialism. The Artists settled in the squat on Trekhprupny pereulok, they had playful manner of worship to classics, laud parties during vernissages on the attics, discussions of beauty, parodic copies of Picasso and Matisse and somehow their audience got rid of godforsakenness.

It was really inspiring to remember about the «great art» after many years of conceptualists and social art talks about the end of art. Anyway the project «Art and Sculpture» presented by Valery Koshlyakov and Vladimir Dubossarsky in 1991 many people perceived as a new stage at native contemporary art. Valery Koshlyakov showed series of works depicted channel named after Moscow. They were large and pale compositions showing Stalin architecture made with light sketchy manner. Those scenes seem to be cleared from horrible past with allusions to Сanaletto and Guardi.

The next nameable exhibition was in 1995 extravaganza of leaving empire «Fuocoso» together with Yuri Shabelnikov depicted with the help of draughtsmanship on the empty walls of the old placement of Marat Guelman gallery. White web of thin picture graffiti in the black space was giving a feeling of mirage or a dream appeared by itself. It seemed that in couple of hours ash and soot would fall off the walls and the picture disappear. Pathetic, crumpled flash of everyday life was filled with effect of mirage and haze became a subject of hard work of artist in the future. All of his veduto, forums and ruins of temples seem to be illusive and insubstantial they are ghosts of the past of our civilization and the artist like shaman or the prophet entails from the common matter and return to it (and us) the heroic dimension, antique scale.

At the artwork «Boy» of the year 2000 spectator sees great interior of Romanic cathedral. The fornications of cathedral interlock above two antique statues. As we know Romanic architecture took over the main features of Roman Empire culture though the last was pagan. This continuity is shown by the artist. But maybe the boy’s figure who bows his head to the altar plays the role of the preacher and he demonstrates the right attitude to people’s past which is not depend on any confession or ideology. V

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