Galery by Lev Tabenkin
I won't forget the day I first encountered the “Vosmidesyatniki”: 14 November 2007, in London. I was attending their show in the Mayfair gallery, and I was one of the first pas-sengers to arrive at the new Eurostar rail terminal: St. Pancras Station, famed fa its great, gleaming glass roof.
From interview Simon Hewitt, historian of Art, for the project «Hunting Game»
SOME THOUGHTS ABOUT ART AND NOT ONLY
Despite all efforts spent in vain, I stay on the side of delusion.
I stand on the side of enthusiasm even if it is distant from reality. There is no measured and dosed aspiration. If it is not crazy, it is not real. If in real life you must come from what you "can" and not from what you "want", you will move not jot following this principle in art. "Want" and daring work here. Only it creates real breaks. In the fact, it proves that creative work is not only a human work
Let us ask ourselves the question: what takes the place in Ilya Tabenkin’s pictures? Against drapery resembling a theatrical backdrop we observe the existence of human figures - they are simplified in childlike fashion, at once sad and amusing - and of birds, and of animals. Observe them closely. A startling and profound world is revealed, created with deliberately limited means.
"Outstayed the flood"
“...But Lev Tabenkin as he was an artist-philosopher, so he stayed and became only stronger, deeper and bigger, and generally, this is an outstanding phenomenon of Russian art and history of art Without this figure will be simply impossible to write. His works can and should be seriously analyzed, and while they are considered, suddenly you feel some prty that it is the group exhibition, not only of him".
"Outstayed the flood" // The "Kommersant" newspaper,
Na 22 (3353), 08.02.2006
THE DISTANCE TO THE HEAVENS IS THE SAME FOR EVERYONE
I painted my first compositions at the age of 13-14, while attending an art school, and felt incredible inspiration, worked with great enthusiasm. Where had it all gone by the time I entered the Polygraph Institute? As if I dropped out of life and could do absolutely nothing. And later I needed something to subsist on. and after graduation. I had to work at the art syndicate, painted endless field stations.
CLAY AND BIRDS OF LEV TABENKIN
In summer 1987 Lev Tabenkin showed two new works at the exhibition in the Manege. The smaller picture attracted us with its frightening power. "Where is such power coming from? Just like Masaccio!” said my companion. And I accidentally caught with the tail of my eye the name of picture: "Refugees”. What refugees? Where from? Where to?