Sergey Konyukhov Biography

From the real body that was there, the radiation that reached me, which is here is separated; No matter how long this program lasted; A photo of the disappeared creature touches me, like the belated rays of the extinguished star ... ”R. Bart“ Bright Camera ”. The photo project “A hundred days of utopia” was conceived by the author 4 years ago, when the first photo of the series was created.

The theme of architecture is one of the main in the work of the photographer, the author arose with the author with a dating with a dying, destroying architecture, inspired by the previously seen etchings of the Venetian architect and romantic artist J. Piranema, the theme of the ruins in whose work reached the pinnacle of perfection. The theme of ruins arose at the photographer every time during the contemplation of the pavilions-dwarfs of the “architectural ensemble” VDNH, amazing in terms of content and form.

The G., a stretch planned during the “collective sacrifices” with a stretch, we can talk about this phenomenon of VDNH as a large and serious professional architecture. The sculptures of workers and peasant women, cast in concrete and gypsum excesses in the decor of pavilions, are controversial in their quality and execution of the art of ancient Rome. An attempt to melt the old forms, to invest in them a new ideological content “Moscow - the Third Rome - Fourth to Has” brought to complete absurdity in the symbolism and heraldry of power.

Doomed to death without proper content, now in the ruinistic state, “sculpture”, which carries exclusively ideological, propaganda load, was originally devoid of the beauty of the artistic form. What could be more dramatic than the sculptures of athletes, milkmaids, heroes of the departed era with protruding pieces of reinforcements. Like the chimeras of the Cathedral of the Parisian Mother of God of the fulfilled medieval mysticism, our guide heroes fascinate with their "amazing intensity of silence." The dramaturgy of this architectural ensemble, generated by the contradictory time of the 10ths of the last century, is perfectly transmitted by the art of photography.

On the one hand, the reliability and authenticity of the real fact with which we identify the photograph as a phenomenon, on the other hand, the playwright of the “time” of the photograph turns the fact of being into a “emanation of the past reality”. Thus, couples with the content of an identically filled drama are formed: the pathos of Stalinist architecture turns into a naked ideology, deprived of all sorts of hints of art, doomes it to oblivion and photography, which claims the moment of life and is a fact of the past than the present.

The curators of the photo galleries, together with the author of the project, selected and represent 14 photos from a large project, work on which continues. Sergei Konyukhov was born in the year entered the Moscow Art School of memory of the year. In the city, while still a student, he began to participate in exhibitions as a schedule, at the end of the school he joined the youth section of the Union of Artists of the USSR.

In the year in Germany, the grooms begins to work on the cycle of metamorphosis - the photograph becomes a self -sufficient part of his work for the master and is perceived by him as the only possible artistic tool for the implementation of the plan. Since the year, the Lyumier brothers photo gallery exclusively represents Sergey Konyukhov in the Russian market of photographs.