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AES+F
- 20 страниц
- 2016 год
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AESF is considered to be one of the most successful and outstanding Russian art-groups; being formed in 1987 and then renamed in 1995, it works in such directions as installation, photography, video, sculpture and others. Internationally spread fame of it is so impressive that this Russian group is viewed as one of the best example of contemporary art and a row of critics appreciate it as well as lots of them criticize the art-group for its prominent features. However, whether AESF gets appreciations or not, it stays one of the most significant art projects of those started in the eightieth of the previous century and still “live and prosper”.
What started as association of three Russian artists living and working in Moscow has now exhibitions all over the world, including principal museums in Stockholm, Lausanne, Krakow, Munich and Paris. Their works in all possible types of techniques are represented in Berlin, Turin, Sydney, Vienna and Salzburg as well as other places. Therefore, timeliness of the research is due to the increasing interest of world art community to AESF in frame of contemporary art and ability to combine various spheres of art activity.
The goal of the term paper is to analyze AESF’s role and position in temporary art by studying diverse sources created by authors and critics in the given branch of art. To attain the target, the following objectives are set:
1) to look into AESF’s history and formation;
3) to analyze existing critics concerning AESF.
So, according to the target and the objectives, the object of the term paper is contemporary art, whereas the subject is understood as AESF in the critics’ frame.
For our theoretical basic we use critical articles and reviews created by K. Klaasmeyer (Danse Macabre: AESF), L. Coirier (Aeroplastics Stages The Trilogy Plus by AESF), P. Clark (Interview AESF), F. Cuevas, P. Javier (AESF: Seduction and Amorality), G. Ridsdale and L. Slade (AESF: THE REVOLUTION STARTS NOW!), C. A. Xuan Mai Ardia (A New Silk Road: Russian Art Collective AESF’s on “Allegoria Sacra” in Asia).
The term paper consists of introduction, two chapters, conclusion and bibliography.
Introduction 3
1 Basic History of AESF 5
2 Critics of AESF 8
2.1 K. Klaasmeyer’s Approach 8
2.2 F. Cuevas and P. Javier’s Approach 10
2.3 Other Approaches and Data 13
Conclusion 17
Bibliography 19
Appendix I 20
Appendix II 21
Appendix III 22
To sum it up, AESF is considered to be one of the most successful and outstanding Russian art-groups; being formed in 1987 and then renamed in 1995, it works in such directions as installation, photography, video, sculpture and others. Internationally spread fame of it is so impressive that this Russian group is viewed as one of the best example of contemporary art and a row of critics appreciate it as well as lots of them criticize the art-group for its prominent features. To collect information about AESF, works of K. Klaasmeyer (Danse Macabre: AESF), L. Coirier (Aeroplastics Stages The Trilogy Plus by AESF), P. Clark (Interview AESF), F. Cuevas, P. Javier (AESF: Seduction and Amorality), G. Ridsdale and L. Slade (AESF: THE REVOLUTION STARTS NOW!), C. A. Xuan Mai Ardia (A New Silk Road: Russian Art Collective AESF’s on “Allegoria Sacra” in Asia) has been analyzed.
All in all, AESF is a art-group based in Moscow that produces extensive animated video exhibitions, paintings and photography as well as sculpture. Due to the dates of birth and formative years of collective’s members, it is often viewed as a part of post-Soviet space as they inherited the heroic imaginary of official Soviet art, also known as Socialist Realism. Additionally, on the latest stages of group’s self-improvement the features of Socialist Realism were added and fortified by including extra connections of AESF’s works and outer world. As for achievements, AESF won nomination for the best media content in honor of Sergei Kurechin and repeated it in 2012. That year AESF got reward of Kandinsky in nomination of “Project of the year”. Therefore, it can be concluded that AESF is a successful collective which evolved from a based in Moscow group into a well-known organization recognizable in the main museums of the world.
There exist several major sources of information concerning AESF’s presentations and exhibitions both in focus of their meaning for Russian and world contemporary art. F. Cuevas and P. Javier generalize Italians’ impression by saying that many of them were really disappointed because of the feeling that sometimes truth is stranger than fiction. Moreover, they compare this process with Nero’s time, when people repeatedly look for pulsional satisfaction from pleasure. K. Klaasmeyer states that AESF combines their varied skills to impressive effect as their work is slick, smart and infused with a sense of the macabre.
Therefore, it can be said that AESF was successful both in mass culture as it represents what people want to see (a world of sins and pleasure) and among critics due to complicated and deep structure of their works. AESF’s impact on the contemporary art is thought to be profound and evident.
1 Clark, P. (2014) Interview AES+F. Schön.
2 Coirier, L. (2015) Aeroplastics Stages The Trilogy Plus by AES+F. TLmag.
3 Cuevas, F. Javier P. (2009) AES+F: Seduction and Amorality. ARTPULSE.
4 Jameson, F. (1998) Transformations of the Image in Postmodernity. The Cultural Turn: Selected Writings on the Postmodern, 1983-1998. London and New York: Verso Books.
5 Kuspit, D. (1993) The Cult of the Avant-Garde Artist. New York: Cambridge University Press.
6 Panera, F. J. (2005) Barrocos y Neobarrocos el infierno de lo bello. Salamanca: Fundación Salamanca Ciudad de Cultura. – P. 28.
7 A conversation with Aes+F (2013). Ocula.
8 C. A. Xuan Mai Ardia (2013) A New Silk Road: Russian Art Collective AES+F’s on “Allegoria Sacra” in Asia. Art Radar.
9 Klaasmeyer, K. (2008) Danse Macabre: AES+F. Houston Press.
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