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Georgi Lititchevski

"950 Eimer"

Eine Performance von Georgi Lititchevski

"ich überschütte mich mit 950 Eimern Wasser. Jeder Eimer entspricht einem Jahr Nürnberger Geschichte (950 Jahrfeier der Stadt) Performance in der Kunstmeile im Mauergraben. Ich komme aus Moskau und lebe jetzt in Nürnberg. Mit jedem Eimer will ich mich mit einem Schlag in die Geschichte meiner neuen Heimat einschliessen........
(Auszug aus der Texttafel, die die Aktion begleitete)
Sommer 2000

Textauszüge zu Georgi Lititchevsky's Kunst

The short Renaissance of the "perestroika" epoque gave birth to a new type of creative person. Those "new artists" set off the values of diletantism and artistic life against the routine of medieval restrictions of the necessity of the real professioanl skill and education.
Georgy Litichevsky, became an artist after a postgraduate course in the fiel of ancient history. His ingeneous hobby - the drawing of comic books - was the base for his personal art esthetics. Later Titichevsky changed his tactics, but saved his "cheap popular print style" fort the description of his personages. He has chosen the stylistics of mimicry to real old paintings, but his personages were still the heroes of school-folklore, Przevalsky with his horse, Krylov with the small dog Mosjka, and Michurin witht he apples.

Simultaneoulsly together with Farid Bogdalov he worked out the art porgram of "impossibilism" (impossible art), based on the idea of the impotent character of contemporary art. Boli (Bogdalov and Lititchevsky) proposed the artists to apply to a new level of audience (action in the ZOO). They were also interested in the element of "chance", fortune and game in art in general, and they played a lot with the symbol of the dice-cube. Being an archetypical form, this dice-cube could be easily transformed with the aim of incarnation of some other essence. For the exhibition "Esthetical Experiments" BOLI proposed the cube made out of neontubes, and this cube perfectly suited the "dialogue" between contemporary art and the environment of the park of the XVIII century with ist cultural associations. Their cube combined in itself the synthesis of new modifications of old pyrotechnical games in geometry of the architectonics of French classicism.

In everything that comes out of Georgy Lititchevsky's hands (in this installations, dealing with all the achievements of new technology, in the paintings, made in the naive art style, in the critical essays about the Moscow art-situation), one can see a basic feature: the author'' past, his ""istorical""carreer and his special interest to the basic cultural codes, patterns and eternal subjects.
But .... his favorite genre of art is still the comics strip.

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