Artists

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		CHERNYSHOV, Aristarch Alexandrovich

Biographical information: 1968 Born in Voroshilovgrad, USSR (now Lugansk, Ukraine)
1991 Graduated from The Moscow State Technical University
1995 Grant holder at The Academy of Arts, Berlin
2001 Grand Prix for Video (with V. Efimov). Extra Short Film Festival (ESF – 2001), Novossibirsk
2004 Grand Prix for Animation (with V. Efimov). Extra Short Film Festival (ESF – 2004), Novossibirsk
Lives and works in Moscow
Works with with Vladislav Efimov and Alexey Shulgin
co-owner of Electroboutique, http://electroboutique.com
Collections where works are held
Participation in exhibitions and auctions: Selected personal exhibitions:
2008 CRITI-POP. Electroboutique, Vladislav Efimov, Aristarkh Chernyshev, Alexei Shulgin, Moscow Museum of Modern Art and XL Gallery, Moscow
2006 Artificial Intellect (together with À. Shulgin). Electrobutique, ArtStrelka, Moscow
Data Drain. XL Gallery, ART Strelka, Moscow
2005 Presentation of teleinstallations. Media Centre RICX, Riga, Latvia
CoMutation (With V. Efimov). Parallel program of the 1st Moscow Biennale of Contemporary Art. XL Gallery, Moscow
2004 Echo of Ether (With V. Efimov). In the framework of the ProArte Institute festival "Contemporary Art in the Traditional Museum". Popov Central Museum of Comminications, St. Petersburg, Russia
Bubbles (With V. Efimov). XL Gallery, Moscow
Screening of Videoworks (With V. Efimov). ICA, London
Presentation of the Project "New Age of Television". ICA, London
2002 I`ll Be Back (With V. Efimov). XL Gallery, Moscow
Nirvana (With V. Efimov). "Ulitsa O.G.I." Gallery, Moscow
Project of a Monument to A. Schwarzenegger as Terminator T-800 (With V. Efimov). Forum Stadtpark, Graz
2001 Genetic Gymnastics 2 (With V. Efimov). In the framework of the PRO ARTE Institute festival "Contemporary Art in the Traditional Museum". Pavlov`s Memorial Museum, St. Petersburg
2000 Genetic Gymnastics (With V. Efimov). "DOM" Cultural Center, Moscow
1999 Music of Retorts (with V. Efimov and A. Borisov). Visual musical performance, in the framework of a musical festival "Ichthyology". "DOM" Cultural Center, Moscow
Music of Retorts (with V. Efimov and "F.R.U.I.T.S." duo). Visual musical performance in the framework of an annual digital music programme "Electric Future". Central House of Artists, Moscow
1998 The Shining Prostheses (with V. Efimov). TV Gallery, Moscow
1997 Opus Magnum (with V. Efimov). Art Moscow Fair, TV Gallery, Moscow
1996 Galvani (with V. Efimov). TV Gallery, Moscow
1993 Victim of Art. Petrovsky Boulevard 12, Moscow
The Primeval Interior. A3 Gallery, Moscow
Leonardo de Vinci (with R.Yegorov). Petrovsky Boulevard 12, Moscow

Selected group exhibitons:
2006 3d Moscow International Fine Arts. XL Gallery. Central Exhibition Hall "Manezh", Moscow, Russia
ART Moscow 2006. 10th International Art Fair. XL Gallery. Central House of Artists, Moscow, Russia
Let Video Be! Russian Video Art 1996-2006. Within "ART Moscow 2006" Art Fair. Central House of Artists, Moscow, Russia
Fotobiennial `06. Photocenter of the Union of Journalists, Moscow
Innovation. The exhibition of the art works nominated for 2005 contemporary art award. NCCA,Moscow
2005 Chudo Sveta / Miracle of Light. Exhibition Hall "Novy Manege", Moscow, Russia
Art Basel Miami Beach. XL Gallery. Collins Park at the Beach, Miami Beach Florida, USA
Observatori-05. Mitos - Idolos - Hibridos. Video festival. Organized by La Sala Naranja Gallery, Valencia. Museo Principe Felipe, Valencia, Spain
Moscow Breakthrough. Project by NCCA, Moscow and Academia Rossica, London. Exhibition Centre Bargehouse, OXO Tower Wharf, London, UK
artists of the beginning of the century. videoart. WAM Gallery, Moscow, Russia
Frieze Art Fair 2005. XL Gallery. Regent`s Park, London, UK
FIAC 2005. XL Gallery. The Parc des Expositions, Porte de Versailles, Paris, France
Portrait of Face. Guelman Gallery. M`ARS Center, Moscow, Russia
Water Pieces 05. Noass Gallery, Riga, Latvia
Arsenale 2005. Arsenal, Nizhnij Novgorod, Russia
A second side. International Biennial of Contemporary Art - IBCA 2005. National Gallery in Prague, Prague, Czechia
Art Moscow 2005. XL Gallery. Central House of Artist, Moscow, Russia
P.S. Beyond the red horizon. National Center for Contemporary Art, Moscow, Russia
Graz - Moscow. National Center for Contemporary Art, Moscow, Russia
Russia 2. Guelman Gallery project. Special project of the 1st Moscow Biennale of Contemporary Art. Central House of Artist, Moscow, Russia
2004 The seven sins. Moderna Galerija Ljubljana, Ljubljana, Slovenia
Art is an illusion. RuArts Gallery, Moscow, Russia
Beyond the red horizon. New art from Poland and Russia. Centre for Contemporary Art Ujazdowski Castle, Warsaw, Poland
Human-Machine Interface. Rum46 Gallery. Aarhus, Denmark Art Moscow 2004. XL Gallery. Central House of Artist, Moscow, Russia
Moscow Time. (An NCCA, Moscow, project.) Petrozavodsk, Russia
Faster than History. Museum of Contemporary Art Kiasma, Helsinki, Finland
2003 New Countdown. Digital Russia. Central House of Artist, Moscow, Russia
XL Style. An exhibition to the 10th anniversary of the XL Gallery. XL Gallery, Moscow, Russia
Banks and Cups. Meyerhold Center, Moscow
AiR_port takeOFF 1 . Forum Stadtpark, Graz, Austria
The Typewriter. (In the framework of a ProArte Institute project "Things"). ProArte Institute Exhibition Hall, St. Petersburg, Russia
Studio 2003. (In the framework of the "Art-Moscow 2003" Fair). Central House of Artist, Moscow, Russia
2002 Structures of a signal. National Center for Contemporary Art, Moscow, Russia
Transformations. With Vl. Efimov. National Center of Contemporary Art, Moscow, Russia
Art Moscow 2002. "Ulitsa OGI" Gallery. Central House of Artist, Moscow, Russia
Grani / The Facets. (An NCCA, Moscow, project.) Izhevsk, Russia
Fotobiennial `02. Central Exhibition Hall "Bolshoi Manezh", Moscow, Russia
2001 The Ecology of Art. The Fine Arts Museum, Nizhny Tagil, Russia
Baikal. Cultural Colloboration Project. Irkutsk, the Baikal lake, Russia
Kunst aus Russland / Art from Russia. Schloss Graffenegg, Vienna, Austria
Milano Europe - 2000. La Triennale di Milano, Milan, Italy
Studio 2001. (In the framework of the "Art Moscow 2001" Fair). Central House of Artist, Moscow, Russia
8th Cairo Biennial. NCCA. Cairo, Egypt
2000 Grani / The Facets. (An NCCA, Moscow, project.) Novossibirsk, Russia
The Series. (An NCCA, Moscow, project.) Central Exhibition Hall "Bolshoi Manezh", Moscow, Russia
Dynamic Pairs. An art project to the 10th anniversary of the Guelman Gallery. Central Exhibition Hall "Bolshoi Manezh", Moscow - Central House of Architect, Nizhny Novgorod - Russian State Museum. Marble Palace, St.Petersburg, Russia
Between-Active Art. Zverev Centre of Contemporary Art, Moscow, Russia
1999 Projections from Russia. Exhibition of the Contemporary Russian Art. Mongolian Modern Art Gallery, Ulan-Bator, Mongolia
Realitaet und Schein. Kunsthalle "Faust", Hannover, Germany
Fauna. National Gallery of Contemporary Art "Zahenta", Warsaw, Poland
ACT`99. Galerie "Maerz", Linz, Austria - TV Gallery, Moscow, Russia
The 2nd International Show of Art in CD-ROM. Media Centre of Art and Design and the School of Design (MECAD/ ESDI), Sabadell - Barcelona, Spain
Total Recall. TV Gallery, Moscow, Russia

CURATOR PROJECTS:
2004 "Voinushka" / "War Game". Collective project by ProArte students. With Vl. Efimov. (In the framework of the ProArte Institute festival "Contemporary Art in the Traditional Museum".) The Historical Military Museum of Artillery, Engineer Troops and Signal Troops, St.-Petersburg, Russia
1995 Art Belongs to People. Part II: works of art in the shop windows. With R. Jegorov and A. Panova. Myasnitskaya Street, Moscow, Russia
1994 Art Belongs to People. Part I: works of art at the city advertising boards. With R. Jegorov and A. Panova. Moscow, Russia
1993 Local Time. Festival of non-profitable projects. With R. Jegorov and A. Panova. Petrovsky Boulevard 12, Moscow, Russia

TEACHING:

2004 ProArte Institute, St. Petersburg, Russia
2003 Institute for Contemporary Art Problems, Moscow, Russia
Moscow Aviation Institute (MAI), Moscow, Russia
Autobiographical notes: PROLOGUE (DE PROFUNDIS)
Before we proceed with the explanation of the basic principles of attractionism, I would like to quote the wise curator and critic Vladimir Levashov, who wrote: "The radical artists suck energy from the "social practice". Psychedelic disciples stuff themselves with respective stuff. Traditionalists nestle to historical heritage. The multimedia devotees reckon upon the power of virtual technologies. "Contemporary artists" are bound with the structures of contemporary art and their career. Commercial artists are stuck in the market. Pop star refills the battery with the frenzy of the fans and fades without celebrity aura. Either way art has been always attracted to the locations of energy production and energy waste, like fame, money, technology, politics, sex, luxury, disaster etc."
And he`s damn right!
Despite I`m a contemporary artist myself, I`m also a viewer sometimes, and when I am, I would like to get some - obscure, irrational, unexpected, really unknown before - impressions, but I often feel that it`s not me getting energy from the artist, but quite opposite my brain and life power are sucked out.
THE THEORY OF SURPLUS MEANING
Capitalism begat surplus value; and Karl Marx begat the theory of surplus value; and Attractionism forstalls the theory of surplus meaning.
So what is the surplus meaning and what is its origin?
Information is nonexistent unless three conditions are compliant:
1. Presence of transmitter.
2. Presence of channel of information.
3. Presence of reciever.
In our case they are: 1. - the outer world or the inner world of the artist; 2 - the artist and his artwork; 3 - the public.
The world is filled with various signals and messages, but it`s the artist who selects some signals - by means of artistic vision - and transmits those to the public through the artwork; while having received and analyzed those signals, the public generates their own meanings, probably very different from those sent by the artist, who in his turn has been interpreting the outer or inner world.
Thus the surplus meanings emerge at the moment of creating the artworks as well as at the moment of consuming the artwork. That is why the main goal for the attractionist artist (hereafter AA) is to commit the public to the interaction with the artwork.
To achieve this aim the AA must use all possible means... which are by the way not so many:
first is creating of the game situation; second is the active and conscious use of the methods of pop culture in the interests of art; third is the use of mass media strategies to promote the artwork.
ATTRACTION AS GENERATOR OF SURPLUS MEANINGS Long time ago our colleagues from entertainment industry, movie industry and theater had realized that the show is the prime merchandise; and they`ve been successful at it; so the AA must adopt their experience of treating the public.
While art is a surplus value, it`s consumption as a commodity is scarce and the number of consumers is very limited. Therefore the AA offers to consume the artwork not as a product but as an "atmosphere", as some special feeling of environment, as a situation.
The best way to create such atmosphere is to do it by means of interactive installation, interactive object, video or performance. Sort of attraction or bait. At the moment the viewers swallow the bait, they get rewarded with surplus meaning, a sort of a mind game and a fantasy.
Basically the whole artwork made by the AA is the public`s mind game with this artwork; the piece doesn`t exist without the public. Surplus meanings emerge due to the flexibility of this artwork, it`s ability to self modify or to mutate under impact of the viewer; and the viewer might discover new meanings in the artwork changed under his/her impact.
MIND LOOP OR THE CEREBRATION COLLAPSE
Speaking of the means of involving public into the interaction with an artwork we should note that the AA is nothing like an annoying entertainer. Instead the AA acts a bit estranged while doing the job, avoids to address the public directly; it just happens so that the result of his work by itself becomes an attractor for the public.
The AA`a artwork is saturated with various messages that generate evasive surplus meanings in public mind; it is something reminding genesis and annihilation of elementary particles. That is why the AA should employ methods and images of pop culture; as they constitute the adhesive surface that the public`s consciousness clings to, while getting involved into communication with the artwork, going on and on according to the AA`s scenario - until the viewer could recognize the image in the totally different situation and the initial meaning is dramatically changed. At that very moment the cerebration collapse happens, leading to recurrent mental loopback of the preceding events.

Aristarkh Chernyshev, 2005
AA, OR THE BRIEF MANIFESTO OF ATTRACTIONISM
What the critics say: ...Aristarch Chernyshov appea
Bibliography: Catalogue of the exhibition. 1

* - This information has been provided by the Soros Center for Contemporary

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