BELYAEV-GINTOVT Alexey Yurievich
1965 - was born in Moscow
1985 - graduated from Moscow Architectural College
From 1985 to 1988 he studied at Moscow Architectural Institute.
He lives and works in Moscow.
Exhibitions and auctions
SOLO EXIBITIONS:
2009 `Akhmad-Hajji`s hajj`, State Theatre and Concert Hall, Grozny
2008 `Patria-filia`, Triumph Gallery
2006 `Ground`, Yakut Gallery, Moscow
2005 `Privatio`, Yakut Gallery, Moscow
2004 `Star`, Yakut Gallery, Moscow
GROUP EXIBITIONS:
2009 Kandinsky Prize exhibition, Louise Blouin Foundation, London
2009 Art Moscow (Triumph Gallery)
2009 `MoskvApolis`, Perm Museum of Modern Art
2009 Art Dubai (Triumph Gallery)
2008 `Father Frost Lives`, Triumph Gallery
2008 Kandinsky Prize, Central House of Artists, Moscow
2008 Mockba!`, Galerie Volker Diehl, Berlin
2008 Art Moscow (Triumph Gallery)
2007 `Sots Art: Political Art in Russia from 1972 to Today`, La Maison Rouge, Paris and Tretyakov Gallery, Moscow
2007 Art Moscow (Triumph Gallery and Yakut Gallery)
2004 `Gender`, Moscow Museum of Contemporary Art (1st Moscow Biennial)
2004 Art Manezh, New Academy, St Petersburg
2003 `New Beginning: Contemporary Art from Moscow`, Dusseldorf
2002 `Pole` (FSB Group), Salle d`expositions a la Chapelle Saint-Louis, Paris
2002 `Parthenon`, Moscow Architectural Museum
Critique
Aleksey Beliayev Guintovt is one of the most prominent Moscow representatives of “New Seriousness”, which has arisen out of the non-existence in the beginning of the nineties on the banks of the Neva. Being wholeheartedly committed to this movement with its fragile aristocratism and perpetual supplication for the prolongation of the beautiful, Belyaev-Gintovt, nevertheless, compels one to think that the “New Empire Style” will naturally become the logical continuation of “New Classicism”.
His powerful imagery, in the Moscow way, paradoxically combines the traditions of Russian Orthodox icon painting with trends of the Russian Avant-garde and Constructivism, and the totalitarian classicism of the Soviet big style — with the formal “artificiality” of American Pop-Art.
However, precisely in this point does Belyaev-Gintovt, with the insidiousness of the true revolutionary-conservative, brilliantly refute the slightest suspicion about his alleged kinship with the predominating ideology of the total art-business, by impressing each image with his own palms and in so doing guaranteeing them indisputable authenticity.
The exposition Motherland — Daughter includes approximately twenty monumental objects. Pierced by the indomitable male desire to protect the weakened tormented Mother, Belyaev-Gintovt adopts the Motherland as a daughter, taking upon himself full responsibility for her future
Maya Kononenko (Yakut)
Works 20
