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EXHIBITIONS

THE EXHIBITION DEDICATED TO THE 90th ANNIVERSARY OF ARCHITECT VALENTIN UTKIN

Schusev Museum of Architecture, Moscow, 2020

First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
First level of exhibition view
Second level of exhibition view
Second level of exhibition view
Second level of exhibition view
Second level of exhibition view
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Second level of exhibition view
Second level of exhibition view

"«Watercolor World of Valentin Utkin» - an exhibition of watercolor works by architect Valentin Ivanovich Utkin, dedicated to the 90th birthday of the author.
  The exhibition featured works, mainly made during the period of the 60s of the "Khrushchev thaw." The period surprisingly fruitful for creative art has not been fully studied. The combination of many factors has, indeed, led to the creation of selfless and true art. In the young architectural environment of that time, a phenomenon still arises that is not fixed in our historical consciousness - such a specific kind of art as watercolor sketches of architects.
  Valentin Ivanovich stood out a little from the general environment. “Life is beautiful ...” - Valentin Ivanovich liked to repeat with or without reason. He stood out for his inner freedom, knowledge of literature and art, vitality, wit, and most importantly, an irrepressible admiration for the beauty of nature and architecture.
   The watercolor tradition continued into the 60s and 70s. And then, with the advent of new technologies, she began to gradually leave. Now, when the computer both draws and designs and prints, the need for the ability to draw is gone. Architecture moves from art to technology. Modern architects no longer paint watercolors. And no one will think and draw like that anymore. Therefore, now these works are acquiring special meaning.
  The watercolors presented at the exhibition dusted in the dark for several decades, and now I want to show them to people."

Ilya Utkin

BANNER

THE EXHIBITION OF AN ARCHITECT I. F. MILINIS

Schusev Museum of Architecture, Moscow, 2019

PHOTO OF THE EXPOSITION
PHOTO OF THE EXPOSITION
PHOTO OF THE EXPOSITION
PHOTO OF THE EXPOSITION
PLAN OF THE EXPOSITION
PHOTO OF THE EXPOSITION
PHOTO OF THE EXPOSITION

BANNER

Banner

VIDEO

"THE TREE OF LIFE".
PROJECT OF THE "ARCHISTONE" COMPANY EXHIBITION PAVILION

Moscow, 2011

EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
EXPOSITION PHOTO
CONCEPT. SKETCH
PROJECTION OF THE EXPOSITION
"THE TREE OF LIFE"
"THE TREE OF LIFE"
"THE TREE OF LIFE"

                                        “ARCHISTONE”

                                                   "THE TREE OF LIFE"


“Human genius,
Combining architecture and stone together
Gave life to the historic tree of architecture.
And we enjoy its crown and branches.
And it is still alive.
The life and growth of this tree is an endless creative process.
And the tree gives us new fruits - the fruits of creative fantasies.
All we need is architecture and stone. ”

                                                                                                      Ilya Utkin

THE EXHIBITION "STRATIGRAPHY OF THE EARTH"

Venice, 2000

PROJECT "DOLL"

Moscow, Central Television, 2000

PROJECT "TIME CAPSULE"

New York Times, 1999

   The first inscription is extremely important, and it finds a worthy place on the surface of the object. The inscriptions that appears next must take into account it's location. All subsequent inscriptions have to look for free space. New inscriptions overlap and gradually create a bizarre grid. "Patina of time" also leaves it's mark. From layer to layer, going deeper into Time, the object becomes more beautiful and mysterious. The main artist here is Time.


Ilya Utkin

P.S. Engravings of the series “Depth of Time” exist in a single copy as originals, and should be considered as a single object. All eight sheets were printed with a single plate, which was covered with new labels when creating each next layer.

THE EXHIBITION "MELANCHOLIA"

"Regina" Gallery, Moscow

INSTALLATION
INSTALLATION
INSTALLATION
CHAIR
ROOM WITH CHAIR
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PHOTO 12

"STRATIGRAPHY OF METROPOLIS" IN THE RUSSIAN EXPOSITION,
AT THE 7TH ARCHITECTURAL Biennale in Venice, 2000
Utkin I.V., Fenogenov V.I., Markovskaya E.M., Dushkina N.O.

  "The theme of the Biennale" Cities. Less aesthetics, more ethics "was chosen by the exhibition director, Italian Massimiliano Fuksas. The architectural critic Grigory Revzin was appointed curator of the Russian pavilion, who, as part of his concept," Ruins of Paradise ", presented an exhibition of works by architect Mikhail Filippov and Ilya Utkin.

  My appearance at the Biennale is primarily associated with the exhibition "Melancholy" in 1995 in the gallery "Regina." The basis of the exhibition was one hundred photographs taken in Moscow, waiting for changes in the early 90's. The theme of the exhibition was "Ruins." It was the beauty of the dying of old Moscow, giving rise to sad thoughts about the death of the culture of the past century, about the enduring values ​​of life. Through visual compositions of despondency and chaos, the main theme was looked at - nostalgia for culture, the theme of the modern person’s personal attitude to the fate of heritage. To his appeal “Less aesthetics, more ethics. ”Fuchsas responded with his exposition at the Arsenal Pavilion, where new technologies and modern architecture saved the dying world. Therefore, almost all international pavilions simply showed everything new that they had. New computer modeling technologies and an infinite number of fantastic architectural forms were exhibited. It should be noted that the exposition of the “Russian Pavilion” belligerently argued with the general concept. In architecture, the concepts of ethics and aesthetics must be inextricably linked, and modern architecture, sometimes capturing world space, destroys the historical environment and architectural monuments. The ethical attitude to cultural heritage was the theme of my exposition under the general title “Metropolis Stratigraphy”. It was located at the bottom of the Russian pavilion. In one hall there was a part of the Melancholy exhibition, in another there was the installation “The earth's crust”, which is a heavy stone block with the plan of Moscow engraved on it - a layer of land as a work of art carved from the city center. And the installation “Monument of time”, consisting of 8 etchings and the etching board with which they were made. The project consisted of a gradual, layer-by-layer filling of the surface with inscriptions, using the word as an intangible symbol of memory. Layer by layer, the words overlapped each other, became indistinguishable. All prints, as symbols of the memory of their time, are made in one copy and are unique. The etching board itself is the personification of the firmament of the earth, the space of the city and at the same time the “Monument of time”, on which every person wants to leave his mark. And the stone is “The crust of the earth on which the time of the Great Epochs and Great Utopias left its mark. When viewed from above, all scales merge, differences in architectural styles, vanity and debate disappear. The sight glides over the very surface of the plan, resembling the beauty of an engraving board. The apparent chaos of lines, the irregularity and ruin of forms creates a beautiful pattern, unique in its originality. Drawing infinitely beautiful and expensive land. "

Ilya Utkin

THE EXHIBITION TO THE 100th ANNIVERSARY OF THE BIRTH OF AN ARCHITECT A. N. DUSHKIN

Schusev Museum of Architecture, Moscow, 2004

Dushkina N.O., Chepkunova I.V., Utkin I.V., Markovskaya E.M.,

Nikolaeva D.V., Fenogenov V.I., Egorova L.S., Peresvetova E.E.

  “The exhibition was being prepared in the tense atmosphere of the Moscow events of the spring of 2004. The events were associated with serious loss of architectural monuments through the fault of the Moscow authorities. Over the past few years, Moscow has become a new building, historical architecture has clearly interfered with this process, and it quickly disappeared before our eyes. But the last the events stirred the whole public: "Voentorg" was demolished, the Moscow hotel was demolished, and a drop that overflowed the cup of patience was the arson of the "Manezh". “Open Letter” from the cultural community to the Russian authorities on this topic was read at the round-table press conference before opening rates. It was noted that the legacy of Alexei Nikolayevich Dushkin is also in danger of destruction. The "Mayakovskaya" metro station is in disrepair, and the "Detsky Mir" department store is getting ready for demolition. Against the background of the complete impunity of the Moscow authorities, the inaction of cultural public organizations and the silence of the media, the exhibition "On the 100th anniversary of the birth of A.N. Dushkin". The concept of the exposition consisted of patriotic emotions, I wanted to show that we have something to be proud of and something to protect, and the purpose of the exposition was to show the giftedness and strength of A.N. Dushkin, to show what the creative process of architectural creativity means, to show the author’s projects and constructions that can be attributed to the heritage of world culture. The exhibition was deployed in the main suite of Schusev Museum of Architecture. The restoration has just been completed here. The idea of ​​the script was that the viewer, entering the enfilade, was struck by the scale of the plans and the beauty of the prospects opening up, and moving from room to room, he felt that he was not in the museum but in the real studio of a living artist-architect. It was necessary to make modern exhibition lighting. The sponsor was then the company of Vladimir Ginzburg "EcoProg" and did an excellent job. Aleksey Marusev’s company “ArchiStone” also helped to make special furniture for the “artist’s studio”. These were huge tables and easels. The last room of the enfilade housed an exposition dedicated to the Children's World. Then the fight was just beginning. "

Ilya Utkin

© 2019 Architectural studio «Utkin Studio».