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- Pavel Aleksandrovich Otdelnov (Russian: Павел Александрович Отдельнов, 19 June 1979 in Dzerzhinsk, USSR) is an artist working in painting, drawing, video, installations, and exploring such subjects as urban space, environment, Soviet history and historical memory. (en)
- Pavel Aleksandrovitch Otdelnov (russe : Павел Александрович Отдельнов, né le 19 juin 1979 à Dzerzhinsk, URSS) est un artiste russe qui utilise la peinture, le dessin, la vidéo et les installations pour explorer des sujets tels que l'espace urbain, l'environnement, l'histoire soviétique et la mémoire historique. (fr)
- Павел Александрович Отде́льнов (род. 19 июня 1979, Дзержинск, Нижегородская область) — российский художник, известный работами в жанре индустриального пейзажа. Член секции живописи Московского союза художников. (ru)
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- 2010.0 (dbd:second)
- Otdelnov’s Dzerzhinsk is not just an aestheticized ruin to be contemplated melancholically, it is an entire foregone parallel future. Hence the sharply slanted angles in the compositions, cf. Alexander Rodchenko. Hence the intense gazing into the abstract patches of exfoliating paint and crisscrossing of electrical wires. This is a ruin of modernity itself — with its scale, grandness, optimism and absolute inhumanity. Pavel’s practice, the study of modernity through its practical traces and marks, is akin to an archeological expedition to excavate Uruk in Mesopotamia. You would not want to go back to those mythical times, but you would experience full on the poignant presence of ghosts. (en)
- Filled with emptiness, the urban-and-industrial landscapes of residential outskirts, introduced earlier in the artist’s previous series Inner Degunino and now recognized as Otdelnov’s signature visual subject, are invaded by colorful pixels in the new batch of works The familiar urban objects in Otdelnov’s landscapes invite the viewer in, into the depth of slushy plains where pre-fab residential towers and power grid pilons stand high. Yet, this apparent depth in cold grays is broken up sporadically, falling apart into colorful pixels, telling us that the entirety of perceived reality is illusory. We are not really in Degunino but just watching a report from there. (en)
- I am tremendously impressed. This exhibition is a museum and a novel in itself. It has Stalker , and West of the Tracks by Wang Bing, and 24 City by Jia Zhangke — two great post-industrial epics by Chinese filmmakers — and In Memory of Memory... and a fully magical, mystical sense of the Soviet dystopia, in the name and for the sake of which people were ready to give their lives and kill, but then just lost faith in it — and so, it collapsed on its own. (en)
- I often wonder: is it possible to see the present time? The reality evades examination, it mimics the mundane, the familiar, and becomes indistinguishable. I think it possible to capture the present if you employ the ‘slowed-down gaze’, like a timelapse. This is how you notice change in the familiar landscapes. Another important tool is temporal distancing, where, in your mind, you build a distance from the object. Thus, at a distance, the novelty is turned into ruins. A painting has this distance already embedded into it by virtue of being rooted in history. The static nature of painting is none other than the freeze-captured duration itself. (en)
- Pavel Otdelnov is aware that direct replication of reality is impossible, so he uses another optic — machine vision and collective human intelligence. This typifies his work as post-conceptualism. Turning to landscapes that are no longer used or populated, the artist reaffirms their existence and proposes to define them based on a negation. Although these places actually exist, their description or identification, even supported by an accurate image, is not possible. This “nowhere” is in fact everywhere, emerging from the void, which is, in the end, the main character in Otdelnov’s work. (en)
- In his search for an independent way out to go beyond the boundaries of the Soviet, the artist combines the subjects of memory and social sensitivity with the cold panoramic perspective, borrowed from the masters of the Düsseldorf School of Photography . The other core reference in his method is the late painting by the Sixtiers, who were trying to disentangle themselves from the rigidity of the austere style by oversaturating their canvases with blazing Sun. Skewed in a photographic fashion, Otdelnov’s landscapes are swamped in waves of luminescent and dusky light. Lightweight shadows painted with just one layer. For Otdelnov, the art of Richter and Gursky have become a kind of antidote to late-Soviet painting; otherwise, the risk would be too high to stay within that murky haze, which had been addressed periodically Roginsky, and Nikonov, and Faibisovich, and Obrosov. It is important also that the artists of the Düsseldorf School of Photography offered a way to process national trauma other than the Soviet approach. Alongside the well-known abstraction of post-Soviet outskirts, these are the elements that compose Otdelnov’s work in the early and mid 2010s. (en)
- The research exhibitions by Pavel Otdelnov are always very pointed and accurate in their structure, where the painting is thoughtfully integrated, to great effect, with other media, artefacts, and personal raw history, thereby enabling representation of seemingly abstract subjects on the most personalized and directly engaging level. The exhibition Ringing Trace staged in Sokol is no exception; rather, it might be the most impressive project in this “series” yet. (en)
- It is not seen to be in good taste among the contemporary critic circles to give unbridled praise to any artwork, but the project by Pavel Otdelnov is without a shadow of a doubt the best on display at the Ural Biennale. It is definitely worth the travel from Moscow to Ekaterinburg, even if it is the one thing you’ll see there, at an abandoned constructivist health resort, after a two-hour additional trip to the town of Sokol. (en)
- The story of EURT takes on a special meaning when told by a person who grew up in Dzerzhinsk, resonating as a deeply personal drama, but not without skillful inclusions of universal subjects — the trauma of totalitarianism, the collapse of the scientific, technological and many other utopias, the colonization of peoples and nature, criticism of militarization, environmental concerns. Taking the genre of painting as a starting point — and advancing through the ruinated painting, post-painting, painted from a photo and almost completely discolored, to an extent that it assimilates fully with the background of shabby plaster, which is a deliberate choice since the painting is not meant here to be a thing of its own or be confined to the boundaries of canvas — the artist, who has transcended academism, expands it into a multi-media installation. (en)
- These innumerable shopping centers crop up next to residential and industrial areas Then this mall, plopped into the endless expanse of our country and among the post-Soviet micro-districts and garages, is very similar to a computer error, a program failure, a glitch. One of the more common causes for glitches is the mismatch between the software’s purpose and the task executed by the user. A “glitched-out” mall can be described as a metaphor for the disconnect between the post-Soviet reality and the market relations within emerging capitalism, an unstable event in the stable space. (en)
- Working on this series, I have been asking myself: How to address the deprivation of an entire generation of their future? How to express the idea of geopolitical dominance in a metaphor? How to express the feeling of loneliness and of unwanted isolation from homeland? Can the sense of the vast expanse coexist as one with claustrophobia? (en)
- In Russian Nowhere, Pavel Otdelnov has aptly captured this recently emergent phenomenon in the collective sensibility of dealing with the loss of the future as a human project. A person is not a project of their own anymore, the person has now denounced the myths, which used to hold power over us, of being the architect of our own futures. The initiative now lies with non-human actors: the natural entropy that prevails and erases from the face of the earth the remains of grand social utopias, the onslaught of new deadly viruses brought about by the environmental disaster, the menacing self-animation of technology. (en)
- What Pavel Otdelnov puts in oil on canvas is that what we are used to pass or drive by as quickly as possible, that is, the industrial facilities, power plant smokestacks, and other ungainly features of the Russian landscape. The artist is not as much interested in form as he is interested in space. He peers into the familiar landscape, peels off all that is superfluous — namely the people and the vehicles — to make, say, an overpass stretching beyond the horizon into an object lost somewhere in the coldness of outer space. (en)
- Pavel Otdelnov, whose artistic vocabulary is likewise located at the junction of photographic and painterly aesthetic dimensions , explores the architecture of the sites set to become monuments of the next, post-industrial era which will not leave in its wake palaces and cathedrals. His paintings feature not industrial landmarks, but landmarks of consumption and communication: Pavel Otdelnov images trading centers on the outskirts, fuel stations and highways. However, the beauty found by the artist in these facilities, which only recently began to dot our living space, is far from the pop-art ironic apologia of the flashy ephemerality of the current moment. (en)
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- Pavel Aleksandrovich Otdelnov (Russian: Павел Александрович Отдельнов, 19 June 1979 in Dzerzhinsk, USSR) is an artist working in painting, drawing, video, installations, and exploring such subjects as urban space, environment, Soviet history and historical memory. (en)
- Pavel Aleksandrovitch Otdelnov (russe : Павел Александрович Отдельнов, né le 19 juin 1979 à Dzerzhinsk, URSS) est un artiste russe qui utilise la peinture, le dessin, la vidéo et les installations pour explorer des sujets tels que l'espace urbain, l'environnement, l'histoire soviétique et la mémoire historique. (fr)
- Павел Александрович Отде́льнов (род. 19 июня 1979, Дзержинск, Нижегородская область) — российский художник, известный работами в жанре индустриального пейзажа. Член секции живописи Московского союза художников. (ru)
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