![]() ![]() The conceit of the Golden Ratio paintings has also become newly familiar, in this case from the Accidental Renaissance meme, wherein online commenters identify compositional similarities between certain contemporary photos and well-known historical paintings (here, the artist was reminded of his early fascination with Rembrandts 1636 painting The Blinding of Samson). While referring to events from Trubkovichs childhood years, the Moscow paintings also relate to recent instances of civil unrest in the United States, such as the January attack on the Capitol in Washington, DC. Likewise, his palette reveals a coming together of influences past and present, the vibrancy of Byzantine icons inflecting the queasy glow of televisual transmissions.Īlongside The Antepenultimate End (2019) and Barricade (2020)paintings of Trubkovichs Moscow birthplace immediately following the collapse of the Soviet Unionthe exhibition also features Golden Ratio (Orange) and Golden Ratio (Chartreuse) (both 2020), which depict a brawl between Russian separatists and Ukrainian nationalists that took place in the Ukrainian parliament in 2015, as well as a distorted rendering of a canvas attributed to Russian artist Lyubov Popova (1889≡924). He employs a fine paintbrush to emulate the grain of the broadcast image the fuzzy reproduction quality of old video recordings informs the distinctive texture of his paintings surfaces and suggests that each scene is a pause between one frame, one recollection, one era, and the next. Trubkovich borrows imagery of many different originshistorical and contemporaryand reconstructs events from their depiction on TV, using the on-screen image as a metaphor for displacement. ![]() Drawing on both recorded history and the story of his familys 1990 emigration from the USSR to the United States, he marks the passage of time by alluding to the appearance of electronic media in decay. Through reference to antiquated technology, he investigates some of the ways in which personal and collective memories contradict one another, their gradual transformation complicating ideas of historical truth. In paintings, works on paper, and videos, Trubkovich employs recollection as his primary source material. Gagosian is presenting The Antepenultimate End, an exhibition of new paintings by Kon Trubkovich. "Brandenburg Gate Boogie Woogie" (2013) is reproduced from Kon Trubkovich: Leap Second.NEW YORK, NY. The artist's solo exhibitions, all of which are touched upon here, include No Country for Old Men MoMA (PS1), Almost Nowhere, Signali (both Marianne Boesky) and Leap Second (OHWOW). Extended across a series, these isolated fragments, generally distorted or grainy, evoke human processes of memorialization and psychological narrative. Trubkovich's multimedia creations are generally based upon film stills, sourced from videos that range from prison footage to found movie clips and home videos. ![]() His works delve into themes of rebellion, memory, imprisonment and perception through a wide variety of media, including painting, drawing, photography and sculpture. This first monograph on the oeuvre of Kon Trubkovich (born 1979) surveys the Russian artist's career in color reproductions and in-depth critical discussion, traversing the period from his first museum exhibition in 2006 to the present day. ![]()
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