About Sergey Filatov
Art â€” is you yourself, here you live â€“ you are the artâ€, what can these mysterious words resembling a slogan or a spell, the words said by one well-known nonconformist mean? At first sight it is natural to find in these words the â€œSelfâ€ primacy of the artist himself, of his personality.It is a domination of â€œSelfâ€ that is usually found in the art of modernism, both by its opponents, and superficial admirers. Notorious â€œself-expressionâ€ is the field where many spears concerning the values of avant-garde have been broken. However, whether it corresponds to the reality, is it true, that the art of modernism and of its modern adherents puts the â€œSelfâ€ of the artist as of paramount importance of the creative act? For research of this question we shall address to Sergey Filatovâ€™s activity. Examining his biography and creativity, we collide with a curious situation, namely that there is a certain hidden contradiction between the tasks of the artist, the way he formulates them and the real experience of his work. It is known that Filatov, keen on India and its philosophical and religious doctrines, is the follower of school Shri Ramana Maharshi known also as â€œMaha-yogaâ€. In this system the main thing is the question â€œWho am I?â€. Hence Filatov understands his work as the act of self-knowledge, as comprehension of â€œSelfâ€. All this is too well-known. Such an approach to creativity and to life assumes rejection of â€œfalse, rationalâ€ western experience in the name of new â€œspiritual, irrationalâ€ eastern experience. But, addressing to the real artistâ€™s practice of Filatov, we notice, that his paintings send us to modernism in its abstract version that is to purely western cultural practice. It is not even necessary to remind, that the east, as a matter of fact, does not know modernism and especially, never generated it, if not consider the influence of the eastern practices on the modernist aesthetics, of course. Wellâ€¦contradiction? At first sight â€” yes. Now weâ€™ll try to consider the aesthetic roots of Filatovâ€™s work. As it has been told above, his works are unambiguously abstract. Rare figurative images are too rare, that it could be meaningful to recollect them. Though, appearing like dreams on the surfaces of Filatovâ€™s paintings and graphic sheets, they bring confusion. In fact the classical abstraction does not know figuration, for it itâ€™s heresy, blasphemy. The artistâ€™s hints on anthropomorphous dream-like forms inside the picturesque fogs send us in the other direction, namely classical surrealism. In fact, surrealism includes two versions â€” academic (illusionist) and automatic (abstract). Thus, we find out, that surrealism is heterogeneous as a style. But style is just deprived of the personal beginning; it is far from individual authorship. For this reason Welflinn believes decorative art to be a den of style, and in this case with every reason we can reckon archaic cult practices among it. Here we, probably, find the proof connecting experience of abstract surrealism with experience of eastern comprehension of life, through refusal from individual â€œSelfâ€. In the basis of classical surrealism the principle of the automatic letter lies, that is the principle which Filatov actively applies. Automatism here, as the competent researcher of modernism Rozalind Krauss writes â€œis â€œscribblingâ€, it is the producing of the visual textâ€. The ideologist of surrealism Andre Breton preferred automatism to representation that is spontaneity to mediation. In Filatovâ€™s art, as well as in all surrealistic art, we see traditional for the western consciousness line of fear of representation, as a deceit. The verity of a textual stream of the automatic letter is not so much representing something, than expressing. This visual web takes out in the area of presence â€“ makes it visible â€“ an ingenious experience of what Breton calls â€œrhythmic unityâ€ and characterizes it, as an â€œabsence of contradictions, removal of the emotional pressure arising from suppression, absence of time sense and replacement of an external reality with a mental reality â€¦â€. If to remove the last word-combination from this quotation, we will actually see the description of the state, to which the follower of the oriental teachings aspires. Coming back to the western discourse we ascertain, that â€œrhythmic unityâ€, which makes automatic drawing, is very close to what Freud has named â€œoceanic feelingâ€ â€” childrenâ€™s libido area of pleasure, yet not subordinated to civilization and its requirements. â€œAutomatismâ€ â€” declares Andre Breton, â€” â€œguides us straight to this areaâ€, and he speaks here from the field of unconscious. Thus, the method professed by Filatov, takes unconscious â€œoceanicâ€ feeling out to the area of presence. His method remains to be the letter, but it, unlike other modernist strategies, is not representation. It is a kin
2012 — «Attendant circumstances». «White square» Gallery. Anapa.
2012 — «Where dreams are born». Exhibition hall of historical museum. Novorossiysk.
2012 — «Attendant circumstances». White square Gallery. Anapa.
2012 — «Formation of space. Transition». «House of artist» Gallery. Novorossiysk.
2011 — «Darkest before dawn». «Zeit» Gallery. Novorossiysk.
2009 — «Outline moment». Exhibition hall «Primorskiy». Novorossiysk.
2009 — «Sacred circle» Elena Vrublevskaya Gallery. 3 Moscow biennale.
2009 — «Between Up & Down». «Renesans» Gallery. Novorossiysk.
2008 — «Trajectory of boomerang». Elena Vrublevskaya Gallery. Moscow.
2007 — «In searches of reflections». «Seven Arts» Gallery. Krasnodar.
2006 — «The circulation». «Vertikal» Gallery. Novorossiysk.
2005 — «The structure». «Vertikal» Gallery. Novorossiysk.
2004 — «Mandala». Bank — «Uralsib». Moscow.
2000 — «Ornaments of Orient».»Djaganat». Moscow.
2013 — «Mission Impossible». East meets west gallery. Moscow.
2012 — «Tibet. Infinity of silence». East meets west gallery. Moscow.
2012 — «Above and beyond the surface». «Belyaevo» Gallery. Moscow.
2012 — «Shape of noise». «X5″ Gallery. Novorossiysk.
2012 — «Abstract art». «Nagornaya» Gallery. Moscow.
2011 — Biennale — 2011. Central exhibition hall of fine art. Krasnodar.
2011 — «Sleep and Dream». «Vertikal» Gallery. Novorossiysk.
2010 — «Walks a lonely dreamer». Central House of Artists. Moscow.
2010 — «Abstract of a particular». Central House of Artists. Moscow.
2008 — «Dejavu».Central exhibition hall of fine art, Krasnodar.
2007 — Biennale — 2007. Central exhibition hall of fine art. Krasnodar.
2003 — Biennale — 2003.Central exhibition hall of fine art. Krasnodar.
2002 — «Peace to Caucasus». Central exhibition hall of fine art. Krasnodar.
2001 — «South of Russia».Central exhibition hall of fine art. Krasnodar.
2001 — «Regional Concours».Central exhibition hall of fine art. Krasnodar.
2001 — All Russia Youth Exhibition. Central exhibition hall. Moscow.