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10+10 intervija ar mākslinieku Viktoru Timofejevu

28. septembris, 2010. Autors: designBlog

IMG 0580 475x356 10+10 intervija ar mākslinieku Viktoru Timofejevu

Viktors Timofejevs (Viktor Timofeev) ir Berlīnē dzīvojošs latviešu mākslinieks. Dzimis 1984. gadā, bet jau pamanījies piedalīties dažādās izstādēs, un tikko arī viņa darbi iekļauti IdN žurnālā, blakus Stefan Sagmeister, Stanley Donwood un citiem radošajiem/dizaineriem. Droši var piekrist tur teiktajam, ka aplūkojot Viktora darbus, zīmēt šķiet tik vienkārši! Lai arī visi, kas to mēģinājuši zina, ka nemaz tik vienkārši gan tas nav.
Viktors ir gleznotājs un darbi nav gluži dizains klasiskā izpratnē, tomēr tie, šķiet, cieši saistīti gan ar dizainu, gan arhitektūru. Tādēļ nolēmām uzzināt 10 atbildes uz 10 jautājumiem un ielūkoties mākslinieka ikdienā plkst 17:17. (Šoreiz intervija ir gan latviešu, gan angļu valodā).

LPZG 84 2009 150x150 10+10 intervija ar mākslinieku Viktoru TimofejevuMETA_KOMBINATIONEN _2010MONUMENT.bat _ 2010

1. Pastāsti, lūdzu, par sevi – kas esi un ko dari?
Es esmu dzimis Rīgā un dzīvoju Purvciemā līdz 97. gadam, kad kopā ar ģimeni pārcēlos uz Ņujorku. Tur es pabeidzu bakalaura studijas gleznošanā Hunter Universitātē un 2008. gadā aizbraucu studēt maģistrantūrā Londonā, Royal College of Art. Diemžēl man bija finansējuma nesaprašanās ar direkciju, tādēļ pametu universitāti un pārvācos uz Berlīni, kur joprojām dzīvoju.

2. Kas tevi saista mākslā? Kādēļ ne dizains vai arhitektūra?
Starp mākslu un dizainu ir fundamentāla atšķirība. Protams, ka dizains (burtu, grafiskais) ir cēlies no mākslas, jo sākotnēji mākslinieki darīja abas lietas vienlaicīgi (piemēram, mūsu pašu Gustavs Klucis). Ar laiku avangarda eksperiments noslēdzās; tika radīts dizains kā atsevišķš žanrs. Vienlaicīgi ar šo maiņu notika sasķelšanās. Vienā pusē, garīgums, kas tika saistīts ar agro abstrakto mākslu, progresēja Marka Rotko (arī no Latvijas), Eda Reinharta, Bārneta Ņūmena virzienā. Šī pasaule eksistēja tikai galerijās, muzejos un kolekcionāru majās, nemēģinot piedāvāt skatītājiem neko citu kā garīgu pārdzīvojumu. Otra puse bija dizains, korporatīvie zīmoli un logo… garīgums, ar ko tas tika asociēts iepriekš, bija pazudis.

Tas nenozīmē, ka dizainam vajadzētu pievērst mazāk uzmanības. Milzīgajā patērētāju sabiedrībā, kurā mēs šobrīd dzīvojam, šis sadalījums ir eksponenciāli pieaudzis. Mākslas spēks, atbildība – protams, tas ir grūts jautājums, taču tieši tas mani saista. Mākslai nav noteiktas funkcijas vai mērķa, tā ir diezgan nenoteikta. Labs dizains vienmēr balstās uz caurredzamību un gala produktu. Tā ir atšķirība un iemesls, kādēļ mani interesē māksla.

Arhitektūra, protams, ir cits stāsts, taču atšķirības ir līdzīgas. Labākā ir papīra arhitektūra, kas eksistē tikai skatītāja galvā – tādēļ skices, zīmējumi un iedomāti projekti vienmēr ir interesantāki par dabā realizētajiem.

Ir vēl kāda atšķirība. Es kādu laiku apguvu dizainu un arhitektūru skolā. Būtībā lielākā tās pasaules daļa tiek veidota datorā. Tieši analogā kvalitāte ir tas, kas man pietrūkst. Es sapratu, ka nevēlos visu savu dzīves atlikušo daļu 15 stundas dienā pavadīt pie datora. Tas var izklausīties ačgārni, bet ekrāns mani ietekmē un tas nav tas, ko vēlos. Gribu nokļūt līdz punktam, kad epastu pārbaudu reizi nedēļā, taču tas var prasīt vairākus gadus!

3. Kādēļ, tavuprāt, žurnālā IdN esi nosaukts kā viens no top radošajiem šobrīd?
Taisnību sakot, es pats to līdz galam neesmu sapratis…Varbūt tāpēc, ka savā darbā daudz lietu esmu mantojis no dizaina pasaules un arhitektūras. Bet par to es neesmu pārliecināts.

CCTV ---> Л+ЭЭ_2009RedBlack 2009 150x150 10+10 intervija ar mākslinieku Viktoru TimofejevuColonyI 2008 150x150 10+10 intervija ar mākslinieku Viktoru Timofejevu

4. Ar ko atšķiras labs dizains no slikta? Vai laba māksla no sliktas?
Kad es skatos uz kaut kādu mākslas objektu – vai nu gleznu, skulptūru vai filmu, es sev jautāju, ko tieši šis objekts grib izteikt, un vai tam tas izdodas. Kolosālam mākslas darbam ir jāpiesaista un jāsaglabā tava uzmanība.

5. Ko dari, kad neglezno?
Katru dienu cenšos skeitot. Labprāt lasu J. G. Ballard, tikko pabeidzu ‘Concrete Island’. Arī veidoju un spēlēju mūziku… http://soundcloud.com/viktor-timofe

192.128.2.3 [DIETAU_DIE2]_2010192.128.9.1 [LOGICWILBRKYOURHART_2010255.255.255.255 [LANSCHAFT_LAND] _2010

6. Tev bijušas izstādes Ņujorkā, Londonā, Berlīnē un citur. Kad tavi darbi būs apskatāmi LV un Ko vispār domā par mākslu un dizainu Latvijā?
Patiesībā tas tas nav atkarīgs no manis. Man ļoti patīk atrasties Rīgā, nākotnē es plānoju uz kādu laiku atgriezties. Mans draugs Jānis Avotiņš mēģināja man palīdzēt organizēt izstādi, bet diemžēl šobrīd tā neizdevās. Redzēsim… Šī intervija ir pirmā uzmanības izrādīšana no Latvijas puses.

Jāatzīst, ka man nav pārāk lielu zināšanu par darbiem no Latvijas, jo pats tur jau ilgāku laiku nedzīvoju. Ik pa brīdim sastopos ar kādu turienes darbu, kas man ārkārtīgi patīk; nevarētu teikt, ka šī patikšana ir pilnībā objektīva, ņemot vērā, ka tā tomēr ir mana dzimtene. OK, te ir dažas lietas, kas ir piesaistījušas manu uzmanību – gan jaunas, gan ļoti vecas – dizainā, mākslā, mūzikā un skeitā.

“Substance” sporta komplekss Jūrmalā, Uģa Šenberga priekšlikums par jauno pilsētas centru Rīgā. Man ļoti patīk Bruno Vasiļevska, Žaņa Valdheima un Jāņa Avotiņa gleznas. Es kolekcionēju Valda Celma grāmatas, īpaši par latviešu zīmju vēsturi. Akvareļi, ko nesen no jauna atklāju savas bērnības pasaku grāmatā „Trīs Vēja Mezgli”, ir joprojām tik interesanti – tos veidoja Ināra Garklāva 1988. gadā. Protams, žurnāla „Jaunā Gaita” vāki mēdz ietvert atsauces gan uz Latvijas lomu Krievijas avangarda attīstībā, gan uz tās dabas bagātīgo skaistumu  Man ļoti patika pēdējais Skyforger albums „Kurbads”, tas šķiet kā pagrieziens no pagānu metāla uz vispārīgāku roka/metāla žanru, tomēr zināmā mērā saglabājot unikalitāti. Madars Apse noteikti tagad ir jau viens no labākajiem Eiropas skeiteriem – ja neziniet par viņu, tad apskaties viņa devumu jaunākajā Element video, Get Busy Living

Kopumā, manuprāt, Latvija šobrīd ir unikālā situācijā. No vienas puses tai ir ļoti sena vēsture, kas ietver apspiestību vairāku gadsimtu garumā. No otras puses tā ir ļoti jauna valsts, kurai gan kā nasta, gan kā dāvana ir dota iespēja veidot savu tēlu no jauna. Ar vienu kāju skandināvu pagānismā, ar otru slāvu utopijā. Tomēr tam tā nav jābūt – tas ir pats skaistākais. Latvija var būt jebkas, jo tās īstā vēsture vēl tikai tiek rakstīta.

ICON do 6 t 150x150 10+10 intervija ar mākslinieku Viktoru Timofejevutype 5 t 150x150 10+10 intervija ar mākslinieku Viktoru Timofejevutype 8 t 150x150 10+10 intervija ar mākslinieku Viktoru Timofejevu

7. Nosauc 3 lietas, kas tevi motivē strādāt.
Būvniecības priekšmeti Berlīnes ielās, pasaules vēsture, René Magritte.

8. Kas, tavuprāt, nepieciešams lai sasniegtu lielisku rezultātu?
Tikai viens: centīgs darbs!!!

UnraveledRubiksCube 2009 150x150 10+10 intervija ar mākslinieku Viktoru TimofejevuUntitled 2008 150x150 10+10 intervija ar mākslinieku Viktoru TimofejevuV_2  2009

9. Kā zini, kuru ideju ir vērts attīstīt un kuru atmest?
Es cenšos neatmest nevienu ideju, labprāt atlieku malā un vēlāk pie tās atgriežos. Bet kad es par vienu ideju katru dienu domāju un pat sapņoju, tad es noteikti zinu, ka tā ir laba ideja.

10. Kādi ir tavi nākotnes plāni?
Plānoju gleznot visu ziemu, izdot jaunu kaseti WHIP leiblā, un gatavoties nākotnes izstādēm Londonā, Ķelnē un Vīnē. Un droši vien atgriezties Rīgā.

viktor Timofeef 17.17

Bilde, kas uzņemta plkst. 17:17.
“Biju Ķelnē mana drauga Demida Šeronkina virtuvē. Vinš bija mans labākais draugs Purvciemā, un mēs 13 gadus nebijām tikušies. Viņa dzīvokls ir blakus manai galerijai Ķelnē. Vispār baigā nejaušība.”

Vairāk:
http://victortimofeev.com
– Viktor Timofeev website
hannahbarry.com/exhibitions/local_area_networks – par izstādi pēdējo Londonā
http://www.viktortimofeev.com/files/localareanetwork/index_walk.html – pats Viktors par Londonas izstādi

Pirmā attēla autore: Ina Weise
Pārējie attēli: Viktor Timofeev.

Interview in English:

1. Please tell us a little about yourself – where you are from and what you do?
I was born in Riga, Latvia and lived in Purvciems until 1997, when I moved to New York with my family. There I finished my Bachelor of Fine Arts studies at Hunter in painting department and in 2008 moved to London to do my Masters at the Royal College of Art. Unfortunately, we had a financial misunderstanding with the bursar, at which point I left the RCA and went to Berlin, where I am still living.

2. What attracted you to art? Why not design or architecture?
There is a fundamental difference between art and design. Design (typography, graphics) evolved from the arts, with initially artists doing both at the same time (our own Gustavs Klucis for example). Eventually, the avant-garde experiment was over; the graphic design genre was created. With this exchange, a schism occurred. On the one hand, spirituality that was associated with early abstraction moved on, towards the Mark Rothko (also from Latvia) Ad Reinhardt, Barnett Newman direction. This world existed in galleries, museums and collectors’ homes, attempted to give nothing to viewers other than a spiritual experience. The other side was design, corporate branding and logos… the spirituality associated with early abstraction was gone. That is not to say that design should be given any less attention. In huge consumerist society that we live in today, this divide has exponentially grown. The power of art, its responsibility is a hard question of course, but that is what appeals to me. There is no definite function or goal of art, it is pretty ambiguous area. Good design always relies on transparency, clarity and an end product. That is the difference and what draws me to art. Architecture of course is a different history, but ultimately a very similar divide. The best architecture is paper architecture, one that exists in the viewers imagination – its why renderings, drawings visionary projects are always more interesting than the actual realization. There is another difference also that is unrelated. I did some time studying architecture and design in school. Generally speaking, most of that world is constructed on a computer. The analog quality of drawing, painting is something that I realized I need. I realized I don’t want to spend 15 hours a day for the rest of my life on a computer. This may sound backwards in the 21st century in the light age of Twitter and Facebook, but the monitor does affect me and it is not something I want in my life. I want to be get the point where I check my email once a week but this may take more years!

3. In your opinion, why were you named by IdN magazine about of today’s top 10 creatives?
To be honest, I haven’t exactly understood this…Maybe because so much of my visual vocabulary comes from the design and architecture world…But I am not exactly sure about that.

4. What is the difference between bad and good design? Or bad and good art?
When I look at an art object – a painting, sculpture or film, I have to ask what the object is exactly trying to say, and is it successful in doing so. I think a great work of art has to grab your attention and hold it.

5. What do you do when not painting?
I try to skate everyday. I love reading J. G. Ballard, have just finished his ‘Concrete Island’ book. I also write and perform music… http://soundcloud.com/viktor-timofe

6. You have participated in exhibits in New York, London, Berlin among others. When will your work be shown in Latvia and what do you think in general about art and design in Latvia?
To be honest, this does not depend on me. I love being in Riga and in the future plan to move back for some time. My friend Jānis Avotiņš was trying to help me organize a show but nothing has succeeded yet. We will see. This interview is the first attention I have gotten from the Latvian side.
I have to admit my knowledge of work coming from Latvia is not the best because I have not been living there for quite some time. Every now and then I come across work from there that I absolutely love; its impossible to say this love is without bias, it is my homeland after all. OK so here are some things that have really gotten my attention, both new and very old, in design, art, music and skateboarding.

‘Substance’s’ sports complex in Jurmala (substance.lv), Ugis Senbergs proposal for the new city center in Riga (senbergs.lv). I love the paintings of Bruno Vasiļevskis, Zānis Waldheims and Jānis Avotiņš. I collect some books by Valdis Celms, especially about the history of Latvian folk symbols. The watercolors I have recently re-discovered in my childhood fairy tale book Trīs Vēja Mezgli, they are still so interesting, done in 1988 by Inara Garklāva. Of course, the covers from the magazine Jaunā Gaita, sometimes reference both the role of Latvia in the development of the Russian avant-garde and its rich beauty found in nature. The most recent Skyforger album I liked very much, it seemed like a turn from pagan-metal to a general rock/metal genre, while still maintaining some level of uniqueness. Madars Apse has got to be one of the best skateboarders in all of Europe by now – if you don’t know then check out his part in the latest Element video – Get Busy Living

Overall, I do think Latvia is in a unique position at this time in history. On the one hand, it has a very old history, one that has been repressed for so many centuries. One the other hand, it is a very new country, which has both the burden and the gift of making its own image from ‘scratch’. One foot in Scandinavian paganism, the other in Slavic utopianism. But it doesn’t also have to be that way – that is the most beautiful part. It can be anything and everything, for its true history has yet to be written.

7. Name three things that motivate you to work.
Construction sites in Berlin streets, world history, René Magritte.
8. In your opinion, what is necessary to achieve a good result?
Only one: hard work!!!

9. How do you know which ideas to toss and which ones to keep?
I try not to toss any ideas out, only to put them aside and return to them later. When you have an idea that you are thinking about each and every day and even dream about, then you definitely know it is a good idea!

10. What are your future plans?
I am planning on painting all winter, release a new cassette with the WHIP label, and get ready for some upcoming exhibits in London, Cologne and Vienna. And definitely come back to Riga.

Picture which was taken at 17:17.
“I was in Cologne in the kitchen of my friend, Demid Šeronkin. He was my best friend in Purvciems, and we didn’t see each other for 13 years. His apartment is next to my gallery in Cologne, basically a huge coincidence.

More:
http://victortimofeev.com – Viktor Timofeev website
hannahbarry.com/exhibitions/local_area_networks– About the last exhibition in London.
http://www.viktortimofeev.com/files/localareanetwork/index_walk.html – Viktor talks about the exhibit.

Studio photograph by: Ina Weise
Other pictures: Viktor Timofeev

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8 komentāri rakstam “10+10 intervija ar mākslinieku Viktoru Timofejevu”

  1. kjengjis saka:

    Iespaidiigi, kruta, forshi. Veiksmi turpmaakajaas gaitaas!

  2. Vaards saka:

    Baigi grūti distancēties no tā, ka daudzkas izskatās pēc 3D testrenderiem.
    Bet YYYYYY vnk graujoši skaisti!

  3. MD saka:

    iedvesmojoši!!!

  4. TARAFEJS saka:

    HOT DUDE , HOT SHIT //

  5. Dimitris saka:

    I love his work!

  6. gjcyndqp saka:

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