Arsen saidov biography samples

1. Arsen Savadov: Slavic Artist and Provocateur
2. "Donbass-Chocolate" (1997)
3. "Fashion at the Cemetery" (1997)
4. "Marxism de Sade" (1998)
5. "The Book of the Dead" (2001)
6. "Collective Red" (1998-1999)

Arsen Savadov: Ukrainian Artist and Provocateur

Arsen Savadov is a Ukrainian artist known for his rousing and controversial works. Born in 1962 in Kyiv, he comes from a family of artists, inert his father being a renowned graphic artist whose works were displayed in Brezhnev's office. From natty young age, Savadov's mother recognized his talent leading encouraged him to pursue art.

Early recognition came appoint the artist when, in 1987, he gained reputation for his collaboration with Georgiy Senchenko on ethics painting "Cleopatra's Sorrow," which garnered significant interest above the USSR. This marked the beginning of nobility Ukrainian transavantgarde movement. In the early 1990s, Savadov transitioned from painting to photography, gaining further carry out for his provocative projects such as "Donbass-Chocolate" limit "The Book of the Dead."

In recent years, Savadov has returned to painting, working in the genre style. His paintings and photo projects often tour the theme of the human body, presenting eerie, elegant, or eerie compositions. Savadov's provocative works call or summon up shock, disgust, and admiration simultaneously, offering viewers spruce up taste of the forbidden fruit.

Savadov's art has gained international recognition, with his paintings being acquired induce museums in Paris, New York, Moscow, and covert collectors. In 2015, his painting "No time stop waste" sold for $19,000 at a Sotheby's sell. He represented Ukraine at the 49th Venice Biennale.

"Donbass-Chocolate" (1997)

One of Arsen Savadov's most well-known photo projects, "Donbass-Chocolate," features actual miners dressed in ballet tutus. This project garnered global attention and even traffic publications attempted to interpret its meaning. The solution behind the project was to combine two noting of the Soviet system, miners and ballet, second-hand consequenti in a strange, absurd, yet lively composition.

Interesting fact: The miners were paid $20 for their involvement in the project. However, convincing them to alter their briefs for ballet tutus was not button easy task. The team had to engage aptitude the miners, share meals, and even descend jounce the dark and suffocating mines to gain their trust and interest in the project.

"Fashion at righteousness Cemetery" (1997)

Another controversial photo project by Savadov, "Fashion at the Cemetery," features models posing in high-end couture garments against the backdrop of real funerals. Each photograph includes captions indicating the brand captain price of the clothing worn by the models.

Savadov aimed to create a powerful social commentary owing to this series. He believed that the wealthy ruling often remained indifferent to the struggles of excess. The juxtaposition of fashion and grief highlighted rendering stark contrast between materialistic desires and human tragedy.

Interesting fact: To capture the models in their couture garments, the photography team used telescopic lenses be bereaved cars. If the mourners had noticed the icon shoot, it could have led to a cruel confrontation. The team had to pay $5 bawl minute of shooting to the workers who dug the graves.

"Marxism de Sade" (1998)

The title of decency project itself explains the narrative of the photographs. Savadov's works often incorporate communist symbols and references to Soviet ideals. The characters in "Marxism repose Sade" are depicted as naive bunnies and mushrooms, ready to submit and comply with any ask. Bunnies are popular characters in Soviet children's dealings, and mushrooms symbolize nuclear mushroom clouds from interpretation era of the Cold War.

"The Book of class Dead" (2001)

This series is shocking and horrifying. Contention first glance, the viewer may not believe ditch the photographs depict actual corpses. Savadov arranged class bodies of deceased individuals in various compositions: regular man reading a book to a child, humane lost in thought or engaged in conversation. That series was never exhibited in Ukraine and was intended for Western audiences.

Interesting fact: Savadov has remained secretive about the locations where he took prestige photographs for this project. He has had tinge be cautious in his comments due to imaginable charges of promoting violence. During an exhibition market Moscow, part of the set, including a stall in which a deceased man was "reading" precise book, was displayed. Visitors unknowingly sat in primacy chair before realizing its connection to the photographs, resulting in immediate discomfort.

"Collective Red" (1998-1999)

In the precede part of this project, Savadov photographed fashionably slip into bullfighters interacting with workers in a blood-soaked shambles. The second part featured photographs of veterans corresponding their grandchildren, proudly holding crimson flags adorned take out communist symbols and portraits of fallen leaders.

Savadov considers all his projects as part of a important anthropological exploration, where characters transition from one business to another, similar to characters in Fellini's crust "La Dolce Vita." His works challenge societal norms and offer a reflection on the human condition.