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		KUPRIYANOV, Vladimir

Biographical information: 1954 born in Moscow
1976 graduated from the Institute of Culture as a theatre director
1976-77 served in the Soviet Army
Since 1984 he has been a senior lecturer at the Institute of Printing
His first personal exhibition was held in the editorial offices of Construction Gazette in 1983. Over the last 10 years he has held more than 15 personal exhibitions in Moscow, Berlin, Graz, St. Petersburg, Nizhny Novgorod, Frankfurt, London, and Paris, and more than 45 group exhibitions in Russia, Switzerland, Germany, the Netherlands, the USA, Austria, Poland, Finland, South Korea, Lithuania, Slovakia, Slovenia, France and Spain. These include exhibitions at the Russian State Museum, the Georges Pompidou Centre, MIT Visual Art Center, Stedelijk Museum Amsterdam, the Zacheta Gallery of Modern Art, and the Shkola, Ridzhina, New Collection and Carre Noir galleries, among others.
Collections where works are held: Incombank, Moscow
Stedelijk Museum
Museum of modern ART
Pacific Press Service
San Francisco Museum of Modern Art, USA
Joseph Baio, USA
Joshua Smith, Washington, DC, USA
Zimmerli Art Museum at Rutgers University, New Brunswick,NJ, USA
Participation in exhibitions and auctions: SOLO EXIBITIONS:

2008
Vladimir Kupriyanov - Cast me not away from your presence - Impronte Contemporary Art, Milan

2006
Vladimir Kupriyanov - Facades of Volga - National Center For Contemporary Art (NCCA) - Nizhny Novgorod branch, Nizhny Novgorod

2005
“Glaube, Liebe, Hoffnung”. Gallery & Edition J.J. Heckenhaue

2000
“Main_Berg” “ARCO 2000”. Feria internacional de ARte COntemporaneo. Madrid.
“Faces”. Queen Elizabeth II Conference Centre, London.
Exposition personnelle. Galerie Carre Noir, Paris.

1995
"Miniaturen". Art 5 III. Galerie Inge Herbert, Berlin, Germany

1990
"Mittelrussische Landschaft". InterArt Agentur fur Kunst, Berlin, Germany

GROUP EXIBITIONS:

2007
Time of the Storytellers - Kiasma - Museum of Contemporary Art, Helsinki
PROGRESSIVE NOSTALGIA - Centro per l´Arte Contemporanea Luigi Pecci, Prato
Return of the Memory - New Art from Russia - Kumu Art Museum, Tallinn
Zeitgenössische russische Fotografie und Videokunst - Galerie J. J. Heckenhauer, Berlin

2006
Arteast Collection 2000+23 - Moderna Galerija - Ljubljana, Ljubljana
Singapore Biennale 2006 - Singapore Biennale, Singapore

2003
Berlin-Moskau Moskau-Berlin 1950-2000, Berlin
Fotografien aus dem Neuen Russland 1991-2003 - FFI - Fotografie Forum international, Frankfurt/Main
Neue Ansätze - Zeitgenössische Kunst aus Moskau - Kunsthalle Düsseldorf, Dusseldorf

2002
Moscow Time - Contemporary Art Center Vilnius (CAC), Vilnius

2000
Artistenmetaphysik - Friedrich Nietzsche • in der Kunst der Nachmoderne - Haus am Waldsee, Berlin

1999
Act 99 - Art Communication Tour 99 - Galerie der Stadt Wels, Wels
Act 99 - Art Communication Tour 99 - MAERZ Künstlervereinigung, Linz

1998
“Transformation“. Mostra internazionale d’arte contemporanea. Teatro Miela, Italy

1997
Ars Baltica I International Triennial of Photographic Art - Return to the Past - the End of Utopia? - CSW Centrum Sztuki Wspolczesnej / Centre for Contemporary Art Ujazdowski Castle, Warsaw

1996
Multinlingual Landscapes - Contemporary Art Center Vilnius (CAC), Vilnius

1995
1st Gwangju Biennal - Beyond The Borders - Gwangju Biennale, Gwangju

1993
Österreichische Triennale zur Fotografie 1993 - Österreichische Triennale zur Fotografie, Graz

1992
International İstanbul Biennial - International Istanbul Biennial, Istanbul
"a Mosca... a Mosca...". Villa Campoleto, Ercolano; Galleria Comunale d’Arte Moderna, Italy
Autobiographical notes
What the critics say: “When still just underpainted, a face is actually something abstract. When the underpainting [sankir] dries out, then the facial contours, both external and internal, are run through with paint, that is they are transformed from abstractness to the first degree of clarity, so that the face obtains the first delineation of its features. These coloured lines are called outlines". (P. A. Florensky. Iconostasis. 1922) Exactly 80 years ago, at the height of the campaign to remove and destroy icons, Pavel Florensky painted his Iconostasis, in which he tried to resolve the problem of uniting two worlds – the visible and the invisible, the mountains and the valleys. According to Florensky, the place for uniting the two worlds is a church, and in a church there is an iconostasis, the altar barrier. “Heaven from earth, the mountains from the valleys, the altar from the church may only be separated by visible witnesses of the invisible world – living symbols of the union of the one and the other.…” Light in a photographer’s work, albeit the subject of photography – is no less iconic than it is portraying life. In the actual photographic outlines of neglected churches there is a hidden drama of erosion of ‘living stones’ in the iconostasis, which thins out the altar coverings – the reverse process of the multi-layered church paintings. The ascent up Jacob’s ladder from the world to the heavens has gone backwards. The hand- made screens on which yesterday were projected images, not made by man, of the other world, disappear from our life. Walls peel, paint flakes off, and reality splits up into layers. Many of Kuprianov’s works are multi-layered, but it is in this plane series of photographs that layering appears in its divine quality.” (Yu. Avvakumov)
Bibliography: Due Zeitgenossische Photigraphie in der Sowjet Union, Edition Stemmie, 1988
Contemporanea, 1989, September,pp. 64-71
New York Times Weekend, 1990, April 13
New York Observer, 1990, April 16
Erosion. Soviet Conceptual Art and Photography of the 1980, Helsinki, 1990
Amos Anderson Art Museum Publications New Series, 1990, ą 5.
Fhoto Manifesto. Contemporary photography in the USSR. New York, 1991 Durch, 1991 ą 6/7 pp 91-102 Camera Austria. 1992, ą 39, pp. 12-21. Flash Art ą 166 October 1992 pp.70-72 Camera Austria. 1993, ą 41, pp. 27-33 PHOTONEWS. Nr 10, 1995 pp. 12-13
«100 X Photo», 100 Photographs from the Collection, Stedelijk Museum Amsterdam, 1996, pp. 186-187
IMAGO 1996, ą2á, ńňđ. 54-60.
The Moscow Times, October 1-7
Johnnie Walker, 13.10.2000
ARTchronika, # 1, 2001
ARTchronika, # 1, 2002
WAM, # 7, 2004

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

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