Tous les communiqués de presse
The Resurrect ed Time of a Great Culture. Amir Timergaleyev.
One constant part of his consciousness was open to the outer world…
Both Amir Timergaleyev’s art and name have long been associated
with the circle of key figures among most recent European
art trends. His creative path is inseparable from that of
the late 20th century generation and can be defined as ‘free
Those figures and that generation are generally
regarded as bearers of the most vital and active tradition
in contemporary culture, one that has preserved the entire
heritage of the 20th century classical avant-garde. Even now
its impact can be fully recognised by an observer. This trend
has doubtless produced museum-level, star-level art. Moreover,
it is quite obvious that future belongs to this type of art,
moving freely along the axis of visual events and outperforming
any other artistic language.
Amir’s art idiom has absorbed,
embodied and expressed the whole range of problems raised
during the fin-de-siecle art, its entire intellectual quest for a
new ethos in art and a new reality. The universal nature of this
reality and its transpersonal values did not prevent the artist
from remaining true to his independent original approach to
world culture, particularly to the art of Post-impressionism.
Amir Timergaleyev has been recognised as true follower
and true heir to classical values shared by Henri Matisse
and Amedeo Modigliani, Paul Cezanne and Mark Chagall,
while at the same time never hesitating to question authority
of these iconic figures, these spiritual leaders of newest art
systems. Amir himself notes as a feature of his art a tendency
to exist in several times simultaneously, to time-travelling
during which immersions in the past and flights to the future
His art tends to transcend time barriers while
his recollections and foresights complement one another,
constantly outlining the fateful circle of the 21st century culture
and identifying its basic coordinates. The novelty Amir is creating
in his work only looks sharper in contrast with the attention
he is paying to the past; his acute perception of the present is
intensified by constant striving towards the unknown, and in the
end towards the highest mysteries of art.
Sophisticated figurativeness of Amir’s paintings, their rich texture
and originality of their color and light compositions combined
with their natural look, his direct appeal to modern man
– all this shows an artistic personality of world-level importance.
He brings back to our culture the art of great styles, of ultimate
human values that inspired geniuses of the past from Leonardo
to Van Gogh, from Van Gogh to Gerhard Richter.
Thus painting is elevated above the horizons of current relevance and
contemporary visual strategies.
Great cycles of culture are displayed in the very fabric of Amir
Timergaleyev’s work. Subjects, including women engrossed
is self-reflection, interiors of art studios filled with cosmic sunshine,
landscapes with a road receding away like an individual’s
life, sailboats soaring like giant butterflies and vases full of
fruit resembling ancient frescoes, mingle and become one
life-giving image, thus acquiring a great power of credibility.
Their concreteness is blurred as they turn into universal states
of man and nature, into archetypes of their mutual relationship.
While preserving their reality they transcend the confines of the
figurative and move towards the imagery of trans-avant-garde.
Amir’s personality matches his art well: inquisitive eyes, a ready
smile, regard for his listener, a romantic look with his mane
and a radiant face, explosive speech and inner calmness
based on clarity of thought and firm belief in his ideas.
He is a paradoxical combination of Byronism with the heroes of Jim
Jarmusch, a character from a story by Borges, a copyist of
ancient texts fascinated with radical images of culture and
with the biblical apocrypha.
The artist laughs, talks tongue-in-cheek, persuades, conceals
what is the most important, enthralls with deep artistic
thought, reveals himself and then leaves empty space for
understatement in the manner of John Cage. His art abounds
in recurrent meanings, randomness transformed into deeply
personal signs and symbols, and sets forth fundamental
iconology where man reigns supreme. His art embraces
boundless landscapes, where cities, people and objects are
lost in their metaphysical folds, post-modernist culture disappearing
beyond the ever-receding horizon.
Amir’s nomadic ways go hand in hand with his well-established
position as a cultural scientist, a collector and keeper
of pyramids and the ruins of ancient civilisations. Modernity,
whose ideology and worldview feed on powerful energy fields
of axis cultures, appears in Amir’s works as brimming with
irrational revelations and voices calling from the future.
Unique techniques Amir employs, as well as his ability to
describe and comment on his own work, create an effect of a
picture as an art object where painting appears as a nostalgia
for a painting or a recollection of a painting, where the dense
informative texture conceals, like a cocoon, a true masterpiece,
a visual pearl. Multi-layer landscapes, brilliant with
all their structured associative series, and genuinely artistic
qualities openly testifying to the birth of an absolutely new
vision of the world – all this becomes a manifesto of a brand
new culture, a culture of return to natural values.
Antiquity and trans-avant-garde, medieval stained-glass panels
and Symbolist art, European Renaissance and American
Conceptualism all freely co-exist in Amir’s compositions,
creating a remarkable artistic context of the Third Millennium.
A virtuoso in handling cultural styles, Amir discovers an absolutely
new language of visual linguistics.
In this inter-textual dramaturgy Amir finds a new personal
existence as an image from the mythology of the independent
intellectual cinematography, a man moving through
centuries. When he stops he becomes a witness, a scribe, a
copyist from the book of post-history, using both ruins of ancient
cultures and their revived forms appearing in our swift,
Amir does not shy away from restoration
or reconstruction, sometimes working with refuse and relics
of the past, cleaning history and culture from their slag for the
sake of finding a new philosophical stone – a meta-reality and
its poetics of eternal return and images of the Absolute.
In this role of a time-traveler, like a character from the opera
Victory over the Sun by Malevich, Amir defeats history and
claims art as a trophy, modifying his finds within strange quotation
mirrors and blending immediate reality with the most
significant art events.
Amir’s work hovers within the boundaries of the future, in its
aesthetic ecology, in the phenomenon of its defensive symbols,
never losing sight of world catastrophes and tragedies
of the past, yet turning tragedies into harmonious ideals and
images of happiness in artistic reality.
Thus, a new human being is modeled, resurrecting historical
memory and revitalizing lost ties with the body of our common
home – the planet Earth.
By Vitaly Patsukov
Catalogue to the exhibition in Kazan in 2008