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Sergey Mironenko

(1959 )
MIRONENKO Sergey Netschernezemie

Cornette de Saint Cyr
Jun 19, 2017
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Artworks in Arcadja
11

Some works of Sergey Mironenko

Extracted between 11 works in the catalog of Arcadja
Sergey Mironenko - Mumu Two

Sergey Mironenko - Mumu Two

Original 1992
Estimate:

Price:

Lot number: 193
Other WORKS AT AUCTION
Description:
Bologna, Galleria Comunale d\\’\\’Arte Moderna, a Mosca… a Mosca…, 1992

193

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

Sergey Mironenko

B.1959

MUMU TWO

signed and titled; signed, titled and dated 1992 on the reverse

acrylic on canvas

180 by 225 cm; 70 7/8 by 88 5/8 in.

GBP

Print
Sergey Mironenko - Gruppovoi Portret (group Portrait)

Sergey Mironenko - Gruppovoi Portret (group Portrait)

Original 1989
Estimate:

Price:

Lot number: 69
Other WORKS AT AUCTION
Description:
f,m - SERGEY MIRONENKO, B.1959 (1959 ) - GRUPPOVOI PORTRET (GROUP PORTRAIT) - PROPERTY FROM A PRIVATE COLLECTION, USA
Mis: 140 by 140cm., 55 by 55in.
signed, titled in Cyrillic and dated 1989 on reverse oil on canvas

CATALOGUE NOTE
Sergei Mironenko made his name with the hooligan antics of the Mukhomor, a dynamic and carefree group of Moscow conceptualists. Mukhomor, or Toadstool, was the collective pseudonym used by Mironenko, his brother Vladimir, Sven Gundlakh (see lot 109), Konstantin Zvezdochetov and Alexei Kamenskii. The group became known for their pseudo-political activity and their unique method of ironical criticism. Later they abandoned the complex signifying structures of Conceptualism in favour of a colourful, pop-influenced artistic activity with a strong emphasis on improvisation and spontaneity. They organized various performances, often quite extreme such as Gundlakh's live burial, created comic paintings, wrote witty poetry, which they bound and sold to their friends for a penny. Mukhomor appeared in 1978, during the period of informational isolation, cultural blockade and semi-legal existence of 'avant-garde artists'. Engagement in contemporary art was considered to be almost criminal, let alone active participation in it. As a result of their activity, the members of Mukhomor were sent to join the army. Two years later, when they returned, the artists' outlook had changed and they started working independently. Sergei Mironenko is a very diverse artist who works in many different styles, constantly exploiting various artistic ideas. For him 'art is a form of politics, sport or show business; he deprives art of its solid crust of mythology: in this way, he attempts to reach the new and unhabitual role now appointed to an artist from the Underground as a participant in market deals, making it a component of his creations' (Ekaterina Dyogot, Contemporary Painting in Russia, Fine Art Publishing, 1995 p.98). Mironenko's works are in the collections of the State Tretyakov Gallery, The Moscow Museum of Modern Art and the Jane Voorhees Zimmerli Art Museum in New Jersey amongst others.
Sergey Mironenko - Homo Soveticus

Sergey Mironenko - Homo Soveticus

Original 1989
Estimate:

Price:

Lot number: 155
Other WORKS AT AUCTION
Description:
signed and inscribed in cyrillic and dated 1989 (on the reverse) oil on canvas with enamel
exhibited new york, contemporary russian art center in america, january 17-march 20, 1984 washington, d.c., washington project for the arts, october 19-november 1, 1985 literature and references washington project for the arts, exhibition catalogue, washington, d.c., 1989, p.4 catalogue note sergey mironenko belongs to a generation of artists who joined the world of moscow informal art in the late 1970s. the artist started his creative career as one of the members of the legendary group mukhomor or toadstool (see lot 148). the group\\’\\’s accomplishments include joint literary works, artistic campaigns, objets d\\’\\’art, graphical albums and collective paintings as well as music and poetry performances. in the beginning of 1980s sergey mironenko became one of the most active participants in moscow\\’\\’s underground exhibitions, he took part in all the exhibits organized in the apartment gallery \\“aptart\\”. after the group broke up in 1984 because of soviet regime repressions, mironenko started to work on his own. his creative work combines three stylistic trends – conceptualism, social art and new wave. the distinguishing features of sergey mironenko\\’\\’s art of the 1980s are: irony against the subject of his work and against the piece of art itself; use of ideological clichés of the soviet visual culture adopted from the social art; analytical, intellectual way of work with figurative marks typical for conceptualism; spontaneous way of expression typical for the new wave art. in 1986, in the beginning of perestroika, mironenko was the first to occupy a flat in the squat-house on furmannij lane. very soon this place became the epicenter of the main artistic events of that time. this new space allowed him to create large-scale canvases. another factor which influenced the look of mironenko\\’\\’s works was the opportunity to use high-tech and high-quality materials and to apply new technical methods to create his works. in 1980-90 the artist often used such materials as acrylic, photocopying and steel. the polyptych homo soveticus was created in budapest, especialy for the exhibition of young soviet artists "muveszet helyet muveszet / art instead of art" which took place in the summer of 1989 in the mucsarnok gallery. in the center of this composition one can see the artist\\’\\’s self-portrait painted from a photo which has been used for the first time in his first installation work the president\\’\\’s company (1988). this installation became one of the symbols of perestroika and the new free art from the ussr. that happened thanks to the motto written under several of mironenko\\’\\’s photo-portraits: \\“rascals, what did you do with the country!\\”. public criticism against the soviet regime is evident in a more concealed form in his work homo soveticus as well. his self-portrait as a free artist – with a beard typical of intellectuals, wearing glasses, a soft hat and a bohemian scarf – is surrounded by \\“dumb\\” slogans. these tests are symbolised by the red stripes, their meaning is lost much like the communist propaganda. -alexandra obukhova art projects foundation
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