Boris Zoubkous' “
Happy Art History!” body of work has
Pre - Statement and Artist Statement.
Artist Pre-Statement. “Happy
1) Space: I am in the Art History and the Art History is in me.
History has CONCEPTUAL space : where
ideas and concepts of, about and against Art and Art History clash, mingle,
devour each other, co-exist, synthesize.
History has PHYSICAL space : where Art books, Art works, Museums, Galleries,
bodies of artists and viewers, business transactions, art materials and art studios
are all engaged in a mesmerizing dance of the PRESENCE of Art History.
4) Art History
has METAPHYSICAL space : where Ideal and Physical spaces unite and create Super Reality : where the origins of self–expression, search for
meaning, biographical and universal, spiritual and creative, lofty and mundane,
technological and childish, goofy and unfathomable run through each other in a Comedy
of Errands, recharging each other, creating the air to breathe for
those who are thinking and living with and by the Art Historical categories of
5) The body of Art works in my “ Happy Art
History!” theme are not stylistically pre-cut, homogenous, but rather
philosophically focused, multi pointed meditation on Art Practice, Fate of
Artist, Power of Art History, Personal and Public experience of Art History.
Materials and techniques I used in executing art works for this collection are
specific for each peace, depending on a shade or a hue of a thought or emotion
about insurmountable summit of Art
History Omnipresence. Materials and techniques are eclectic, describing
different aspects of Art History, but precise in their one subject focus (how
Art History affects us, how we affect Art History?)and methodical in their panoramic totality. I invite kind and
inquisitive viewers to experience and enjoy the journey. Thank you!
Artist Statement "HAPPY ART HISTORY! " BY BORIS ZOUBKOUS.
Life is a conspiracy of the alarm clocks. Metaphysical alarm
clocks.No major moves of the gnoseological tectonic plates are
possible before the time is right. The phenomenon of Culture
(material, spiritual, cognitive, linguistic ) accepts new forms
of expressions (or any forms of expressions for that matter)
only when the horizontal (material)plane of the historical
developement meets its vertical (spiritual, mental, genius)
plane. The sparks that are produced by the clash of these
metaphysical crossing planes are the punctuation marks of the
time itself. The amplitude of the human awakeness is documented
in Art and Literature. If we look inside the transparent
parenthesis of the Art History, we can enjoy a little show: out
of all the cultivators of Art and Beauty (for a moment we will
imagine them as naive children actors in a School Drama),
one participant stands out.
Among the simple hearted cheers of the relatives of the children
actors and the kind audience, mesmerized by the goofy cuteness
of the act, suddenly our eyes meet the cold steel of the
unblinking stare of the big shot theatrical critic from the
capital city,who accidently walked in on the little
unprofessional show. Critic Death in the Kindergarten
tragicomedy. In the case of Art, that critic is the Art History.
The one that speaks with the epitaphic weight and cosmic
accent, - Deus ex machina in the global amature hide and seek
game show, Alpha of Diagnostics and Omega of Sentencing for the
artists.How one artist can withstand the tremendous ruthless pressure of
the Art Historical traditions, demands, expectations of its
strict system of coordinates? Good question.
In my humble artistic practice I've tried to associate
myself (artist) with the Art History itself as a metaphysical
entity, as in a joke (or not a joke) about job interview in a
Big Law Firm, where prospective employees were shown a picture
of the mutilated shark victims, armed shark hunters and sharks,
all swimming together, and the correct answer to the
interviewer's question"Who do you associate yourself with on
this picture?" was "With the sharks."
Low and behold, I've tried to dissolve myself in the Art
History philosophically and metaphysically, becoming one with it
in order to be able to to try to find Art History in me and me
in the Art History, - akin the true story about a French writer
Guy de Maupassant, who could not stand the look of the Eiffel
Tower, which was the the tallest structure in the world at that
moment, and was seen from any spot in Paris,
but Maupassant would spend hours every evening in Eiffel Tower's
restaurant and even would write his books there, and when
asked "Why do you spend so much time in the Eiffel Tower if you
hate it so much?", the writer answered :"Because it is the only
place in Paris from which I don't see the Eiffel Tower."
Thus my self inflicted Art History syndrome ensued.
Thus "Happy Art History!" theme started.
I've opened the brackets of chronological (recorded) Art History
from Cave Art to the imaginary first Art Gallery that will be opened on the other planet. I formulated as the organising
principle of my Art Historical approach the unseeming tandem
of symbiotic mutualism of the two Slavic Artists Malevich and Warhol,
two most significant and influential artists of the 20th century.
Malevich took Art to the fantastic, uber beyond the earthly
boundaries, lofty abyss of the timeless, other world dimension,
and another Slavic genius Warhol documented Art as a commodity
item, price tagged, mass produced,gift wrapped, advertised,
hyped and ready for the mass consumption by the elite masses.
One artist is mister Deep Beyond, the other one is mister Deeply
Superficial.Interdependent co-evolution. The enigma of the
Slavic soul. Cheers!
Drunk with the spiritual euphoria, my legs wobbly from the
epiphanic bravura, I trudged through the nooks and crannies of
the Art History,gleaning the primordial impulses of the Cave
Art, Children Art, ritualistic art practices, shadows of the
smoke in the mirrors of the conceptual art
(shiny detail: while I was at it, I lost my teeth to poverty,
I worn the falling apart fake leather boots for several years,
while teaching Art to psychiatric patients, criminals, in
elderly homes, to deaf and blind, in New York public schools,
dumping couple hundred of my art works on the street due to the
unresolved financial and social obstacles of being an immigrant
artist, living in a monastery for two years and painting icons,
some of which were canonised by the official Church. The enigma
of the Russian immigrant artist in the West. Cheers!).
Overdosed on the Art History vaccine, I've discovered some Jungian
archetypes in Art: 1)Desire to create (most artists on the planet are children,-
overlooked Art Historical fact, it is much later when many of
them grow up to be all calculating unimaginative a-holes.
2)Desire to copy, fake, buy or steal something famous.
3) Desire to be famous . Over the years of the conceptual dissolving
myself in the Art History and the Art History dissolving in me,I
worked out several principal points for the creation of
the "Happy Art History!" body of work:
1)Art History is a first and final commissioner and customer of
2)Art History is a merciless elite scientific puzzle, where
artist should find or create a personal nook or niche.
3)Heart Art History, or Art History will Middle Finger You.
4)All famous artists started as unknown.
5)The work of Art is priceless, but you need to sell it
for as much as possible.
6)(optional)if you are an artist from Siberia, make a t-shirt
with the bigstatement "YES, IT IS COLD IN SIBERIA." to prevent
the inevitable question.
7)"Unknown Artist" can be the the term applied to the Creator,
or in some translations g. o. d.
8) Happy Art History!Boris Zoubkous. New York. 2012