![]() ![]() As a tragicomic figure from a bygone era, Bruce’s shadowy presence produces a dull, fleeting sense of loss, as well. Indeed, their subject comes about through self-projection rather than perfect rendering they lie between the anonymous and the personal, oscillating in the space that separates the two. Like the “Mama” works, Trubkovich conceives of these as self-portraits of another sort. Here, the artist has taken a mug shot of the late comedian Lenny Bruce, disrupting and distorting the image beyond facile recognition. Unable to fully capture her essence, these works succeed in capturing the essential act of memory stuck in the static frame, Trubkovich’s subject is recalled from the past, where it will continue to exist imperfectly, both on film and in memory.Ī similar effect is achieved by the “Lenny” drawings also on view. The resultant paintings are ambiguous: highly intimate and humanely collective, they are images of her, and abstracted compositions depicting the portal of a screen they are evidence of her history, and by extension a description of the artist himself. Trubkovich further distorts these images before rendering them by hand in oil on canvas. Screening this footage, the artist focuses on a discrete moment that he elongates and draws out, a single second that will eventually yield twenty-four distinct and nuanced paintings to coincide with the twenty-four frames in the chosen second of film. This project consists of paintings of stills taken from a home video of the artist’s mother at a party on her last night in the USSR before emigrating to America in 1990. It is precisely through this revelation that the artist ultimately evokes the unfixed, liminal nature of recollected states, and the particular poetry that arises out of their visual manifestation.įor this exhibition, the artist has produced three new paintings from his “Mama” series. Concepts that have consistently informed the artist’s output, Trubkovich addresses them here through the engagement and juxtaposition of painting, drawing and film, a treatment that reveals the productive tension between these distinct approaches. Snow presents a meditation on the aesthetic of memory and the fluid nature of recollection. The exhibition will run from February 20 through Maat 509 West 24th Street. This is the artist’s third solo project at the gallery. "Brandenburg Gate Boogie Woogie" (2013) is reproduced from Kon Trubkovich: Leap Second.Marianne Boesky Gallery is pleased to present Snow, a solo exhibition of new works by Kon Trubkovich. The artist's solo exhibitions, all of which are touched upon here, include No Country for Old Men MoMA (PS1), Almost Nowhere, Signali (both Marianne Boesky) and Leap Second (OHWOW). ![]() Extended across a series, these isolated fragments, generally distorted or grainy, evoke human processes of memorialization and psychological narrative. Trubkovich's multimedia creations are generally based upon film stills, sourced from videos that range from prison footage to found movie clips and home videos. His works delve into themes of rebellion, memory, imprisonment and perception through a wide variety of media, including painting, drawing, photography and sculpture. This first monograph on the oeuvre of Kon Trubkovich (born 1979) surveys the Russian artist's career in color reproductions and in-depth critical discussion, traversing the period from his first museum exhibition in 2006 to the present day. ![]()
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