Nina Tokhtaman Valetova
About Nina Tokhtaman Valetova
When you begin speaking about a new art phenomena, it makes sense to start from what is known so that you can outline an artist's originality within some trend and terms and thus determine and evaluate the artist's true novelty and singularity. Which modern world art direction could Nina Valetova's painting be referred to, considering that her art stands out distinctly from the common local criteria? Perhaps it is surrealism? It is reasonable if thinking of it to a wide extent: surrealism is not entirely Dali's and Magritte's image-aimed technique which is mistakenly supposed to be the only standard of surrealism. Apart from that, one should not forget that surrealism was conceived not merely as a painting style but the way to achieve an altered and expanded state of consciousness and the way to alter the reality itself. Our artist is seemingly quite far from Freud-Marx' materialism of the former surrealism in general, but she accepts its alchemy-esoteric and psychedelic features regardless of her awareness. After all, in her works she does not obviously reconcile herself to a common everyday reality which is allegedly imposed to be the only one possible and that everyone perceives "˜as is' whereas she is eager to go beyond the empirical look in order to obtain a super reality. Nevertheless Nina Valetova's art requires more precise than surrealism definitions. There is more mystical and metaphysical attributes in her works than in the world view of surrealism which was seen as a collective art-psychology by its theorist A. Breton. At the same time he proclaimed "brilliant revenge of imagination as a true Philosopher's Stone" and this is meaningful to us. Perhaps what we need is a definition like "fantastic realism" or a more exact term "metaphysic realism" (this definition was invented by Daniil Andreyev and is now cultivated by such master of Russian esoteric literature as Y. Mamleyev). Besides, it is obvious that in our case it is not an unbridled emancipation of particularly private sub consciousness with its psychoses and complexes (which can be explained in Freud's words) and what is typical for ordinary surrealism, but it is the exit of Unconsciousness (in its high Jung's meaning) through the gates of imagination using archetypes towards something real and ontologically genuine which is in some way objective essences of a multilateral thin world. If we refer to the interpretation of different types of creative work from the point of view of Jung's "depth psychology" then we may doubtfully identify a visionary type of art and artist. As it is known, a visionary art experience assumes a certain affinity between art work and mystic's vision with experiencing a dip into mystery like shaman's "journey". An artist's vision is like their dream in this context. It is not really important whether art vividness has any real visual experience in its basis (in dream, in reality or any other). What really matters is that there are vivid traces of breakthrough beyond the visible and there is a noticeable fundamental tendency to a bright figurative visualization of the Invisible and the Unknown. This artist's original "cosmism" can be interesting to think of. It goes without saying that it is not about natural physical cosmos. The artist's cosmos is by no means a field of interest of science fiction writers or futurologists or spacemen. It is not a space where one can go to on the most powerful rocket; this space is not accessible for the smartest technology and even for the most paradoxical axioms of the modern science. Probably it is close to astral essence or occultism's thin world but without author's intention to use the existing signs and symbolism accepted in this area. The same approach is noticeable for the artist's explicit desire to explore "the forth dimension" via the play with space. This makes sense if perceiving this spiritually, for instance in accordance with Uspensky's esoteric concept. However this is neither "the forth dimension" nor any other dimensions which can be identified or revealed from known facts and knowledge. And this is not about "other dimensions" which can be found out and measured in one day, exploring them with power and harmony of science. It is about the space with original logic in it. But this logic, if it can be described more or less exactly at all, is far from the logic of natural science - this logic is purely aesthetic and paranormal, the nature of which is similar to the secret vision. When talking about Nina Valetova's painting, one can emphasize that her form, color, plasticity along with figurativeness embody some mystery secret reality. In this "magic theatre" of imagination specific visionary grotesque acts and performs, reminding Bosch' traditions. But irony alongside with a piece of black humor does not contradict to any extent with common s
BGPI, Arts and Graphics Faculty, Specialist Degree
2009 Premio ALBA 2009 Certificate and Medal, Casa Editrice Alba, Ferrara, Italy
1994 Honorable Mention, Unifem Art Exhibition, Dallas, TX, U.S.A.
2010 "Torra della Filanda", Artinvest SRL, Immagina Arte in Fiera Catalog, Italy
2009 Sourcebook to the Art World 2009 Guide, Art in America, U.S.A.
2009 "Nina Valetova", ArtisSpectrum, Volume 21, New York, NY, U.S.A.
2009 2009 International Encyclopaedic Dictionary of Modern and Contemporary Art, Casa Editrice Alba, Ferrara, Italy
2006 "Unified Artists Catalog", Edition 12, Volume 1, Professional Artists Union, Moskva (Moscow), Russia
2002 Russian Artistic Guide 2002, London Contemporary Art – EEB, Inc., NJ, U.S.A.
2001 "Zvezda ArtManega" ("Star of ArtManege"), Kultura (Culture), No.48 (7305) 20-26 December 2001, Moskva (Moscow), Russia
2001 ArtManege Exhibition Center Catalog, ArtManege, Moskva (Moscow), Russia
2001 "Nina Valetova: World From the Other Side”, ArtYarmarka Gallery, Moskva (Moscow), Russia
1993 "From Russia with Mystery", The Dallas Morning News, 2 May 1993, Dallas, TX, U.S.A.
1993 "Behind the Iron Curtain", X-Pose, U.S.A.
Moscow Museum of Contemporary Art, Moskva (Moscow), Russia
Chuvash State Art Musuem, Cheboksary, Russia
Artwork is known to have been acquired for private collections in Denmark, Germany, Russia, and U.S.A.
2010-2011 "From history to contemporary", jma Gallery / N Gallery / Euro-Asian Art and Culture Organization, Wien (Vienna), Austria
2009 Fashion District Art Show, New York, NY, U.S.A.
2009 "Metamorphosis", Agora Gallery, New York, NY, U.S.A.
2009 "Zolotoj Venec" ("Golden Tiara"), Chuvash State Art Museum, Cheboksary, Russia
2006 World Fine Art Gallery, New York, NY, U.S.A.
2001 "ArtManege 2001", Manege, Moskva (Moscow), Russia
2001 "Zolotaja Kist' 2001" ("Golden Brush 2001"), New Manege, Moskva (Moscow), Russia
1997 Anyway Cafe, New York, NY, U.S.A.
1995 Adkins Hoover Gallery, Dallas, TX, U.S.A.
1995 Arthaus Gallery, Dallas, TX, U.S.A.
1993 Craighead Green Gallery, Dallas, TX, U.S.A.
1990-1991 Boulevard Galerie, Kopnhavn (Copenhagen), Denmark
1983 Republican Young Artists' Exhibition, Ufa, Russia