George Pusenkoff

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George Pusenkoff ( Russian Георгий Николаевич Пузенков ; * 1953 in Krasnapolle ) is a German-Belarusian painter , installation artist and photographer . He is a representative of postmodernism .

Life

George Pusenkoff studied computer science at the National Research University for Electronic Technology in Moscow from 1971 to 1976 . From 1977 to 1983 he completed an artistic degree ( graphics and painting ) at the Moscow Polygraphic Institute, today's Moscow State University of Printing. Since 1984 he has participated in exhibition projects in Moscow, as well as in other cities of the USSR and abroad. During his time in the USSR, Pusenkoff was one of the nonconformists . In 1987 he joined the Ermitage artists' association and in 1988 he became a member of the Moscow Group 88 . He was also a member of the Moscow Artists Association since 1987. At the invitation of the gallery owner Hans Mayer , George Pusenkoff came to Germany in 1990 and has lived and worked in Cologne since then. Pusenkoff is of Jewish faith . In 2008 he was nominated for the Kandinsky Prize .

Artistic work

In his works, George Pusenkoff often refers to significant art-historical events of the 20th century. While he was close to appropriation art in the beginning of his artistic production , he turned more and more to abstract art since the 2000s . Since then, color, line and surface have dominated his pictures. The works in which he uses quotations from art history appear very catchy and "familiar" because the viewer already knows them from other contexts, such as B. the famous black square by Kazimir Malevich . He also quotes or alienates z. B. Works by Josef Albers ( Homage to Albers , 1998), Robert Rauschenberg ( Erased Rauschenberg , 1997), Piet Mondrian ( Mondrian 2 , 1999) and other important artists. For Pusenkoff it is important to deal with the upheavals of our time due to the advent of computers on an artistic level: "Pusenkoff is a conceptual painter in the sense that he does not go to work spontaneously and intuitively, but rather thinks about questions of image creation, of perception, the original and painting in the media age is the basis of his art. "( Ch. Award : George Pusenkoff: With brush and pixel ...)

In 1993 George Pusenkoff had the opportunity to have a solo exhibition in a room in the Tretyakov Gallery . The room, which was not originally conceived as an exhibition space, was dominated by a 42-meter-long window front, which directed the viewer's gaze outwards and not at the works of art on display inside. Pusenkoff developed an installation for this room in which the window front was covered by a wall made of wood. The works of art were then installed on this wall: “I built a wall that blocked a window that was 6 meters high and 42 meters long. This gigantic area was covered by 24 painted pictures of the format two by two meters and 600 of their reduced copies, which were arranged in a certain rhythm. "The painting Pusenkoffs said Duchamp , in which he for the first time an image of the Mona Lisa in his work integrated, was created especially for this exhibition. It shows a smiling Frank Sinatra as a reminiscence of Marcel Duchamp's Ready-Mades and the Mona Lisa. In 2008 the installation The Wall was shown for the first time in the West on the occasion of a comprehensive exhibition of works in the art museum Bochum La Condition Humaine .

The merging of digital techniques with representations of well-known icons of art history leads to works of art that have a striking effect and are reminiscent of Pop Art . Pusenkoff's art has therefore often been compared to Andy Warhol's . Like Warhol, Pusenkoff also uses reproductions and rows, uses bright colors and addresses the extensive availability of art objects in the media age. Warhol was primarily concerned with revealing the industrial production process of art in the age of its technical reproducibility . Pusenkoff's theme, on the other hand, is the importance of painting as a counterpoint to the computer-generated flood of images of the present.

Computer interface and pixels

Even if Pusenkoff defines himself as a classical painter, he uses the possibilities of the computer in the creation of his works. He loads images from the Internet onto his computer, processes them using Photoshop , enlarges or reduces sections, erases with the digital eraser, etc. In the next step, a plotter produces foils in which the motif is displayed in light and dark, and the parts marked beforehand by Pusenkoff are prepunched. They are cut out of the foils and transferred to the canvas. The artist then applies eight to twelve layers of acrylic paint on top of each other, some of which are mixed with sand, so that parts of the picture that are raised in relief are formed. This technique of image processing is called " pochoir ".

In 1996 Pusenkoff painted a work that shows a Windows screen ( Big Square (1: 1) ). The picture shows the screen true to detail with all the taskbars. At the top is the title of the Square file , next to it the information that this image is displayed in the image processing software in a 1: 1 ratio, i.e. that this image is the same size as the original. Below is the information about how much space this file requires - 28 KB. Many of Pusenkoff's works show components of a computer screen and the work titles also repeatedly refer to the possibilities of the computer in creating images, such as: B. “Cancel” ( Who is afraid Cancel Cancel , 1998), “Matrix” ( Paint Matrix , 2001) or “Erased” ( Erased Painting , 2003). His works are irritating by imitating the screen surface. The viewer believes that he has a work in front of him that he can change and shape. But in truth it is a painted picture that is immutable. This irritation is intended by the artist: "I am even convinced that the state of uninterrupted irritation is the basic condition for understanding any artistic language."

Mona Lisa in the work of George Pusenkoff

Leonardo da Vinci's masterpiece Mona Lisa has become part of our cultural memory and has inspired many artists of the 20th century to make their own arrangements . George Pusenkoff has also dealt with the Mona Lisa, he painted his first work with an image of the Mona Lisa in 1993, it is entitled said Duchamp . Since then he has repeatedly worked with the image of the Mona Lisa, to an extent that probably no other artist before him: "For Pusenkoff, his Mona Lisa has become his female alter ego, the iconic representative of his own artistic identity."

Single Mona Lisa (1: 1)

In 1997 he created with his picture Single Mona Lisa (1: 1) his most famous work of the Mona Lisa. It shows the face of the young woman, colored by Pusenkoff in white, black and yellow. He first downloaded the picture digitally from the Louvre's website, then edited it on the computer and then painted it on canvas with acrylic paints . As is usual for Pusenkoff, the work shows a computer frame around the Mona Lisa's face, task bars are displayed as if the picture could be edited, the title of the picture Single Mona Lisa (1: 1) is at the top, the file size is in megabytes at the bottom specified. Again, the illusion is complete that it is a purely digital copy of the work of art by Leonardo Da Vinci. The fact that the edited work can nevertheless evoke the impression of the original in the viewer is due to the fact that Leonardo da Vinci's work became a media icon that everyone knows over the course of the 20th century .

Mona Lisa Travels

In 1998 the picture Single Mona Lisa was exhibited in the State Russian Museum in St. Petersburg. Pusenkoff himself transported the work of art from Moscow to St. Petersburg in his car and spontaneously took photos of the work in front of various backgrounds along the way. As a result, he traveled all over Russia with the work of art and photographed it in a wide variety of situations. The photos were taken with a medium format camera and show very different situations. Pusenkoff arranged the image details according to purely artistic considerations and, among other things, related a. Effects such as reflections or light and shadow in his conception. Some examples of these images with his work Single Mona Lisa are mentioned here: B. Market scenes with Pusenkoff's Mona Lisa, a dacha with the picture; Pusenkoff also brought the picture to the ship Aurora , which played a major role in the October Revolution . In the Russian Museum he photographed his work in front of famous Russian works of art of the 19th century, he placed it in front of monuments, positioned it in front of a blue-washed church at the entrance door, shows homeless people in front of the picture and contrasts them with a picture of his Mona Lisa in the casino of St. Petersburg. The most spectacular picture is a shot of an elephant balancing the work in its trunk - a shot that was made possible because filming with an elephant was taking place in a Moscow suburb at the time. So far the painting has traveled through Russia, Israel, Germany and Italy.

Mona Lisa Time Tower

In 2002, George Pusenkoff began working on his Mona Lisa 500 project . The starting point for this project was, on the one hand, an invitation from the Tretyakov Gallery for a solo exhibition in 2004, and on the other, the 500th birthday of the original painting was celebrated at this time. Together with Marc Scheps , Pusenkoff developed the concept of having 500 screen-printed versions of his painting Single Mona Lisa (1: 1) appear spatially in one installation. A huge round tower was built with a diameter of ten meters, a circumference of 30 meters and a height of six meters. The outside of the tower consists of 500 aluminum squares measuring 60 × 60 × 4 cm, which have been coated with black industrial paint and reflect the surroundings and the sunlight in a brilliant manner. 8 squares were removed for the entrance to the accessible installation. From the inside, the viewer is confronted with 500 screen-printed versions of the painting Single Mona Lisa (1: 1) , which shimmer in all the colors of the rainbow. The particular challenge was to bring the colors closer to those of a rainbow in a natural color gradient. For this purpose, Pusenkoff created a color palette especially in cooperation with the RAL Institute , which has been patented. Inside the room you can hear a music Voice of Mona Lisa in an endless loop . Pusenkoff composed it from Leonardo da Vinci's archive materials . The room installation was not only exhibited in the Tretyakov Gallery, it was also shown at the 51st International Biennale in Venice in 2005 . The tower has been in the outdoor area of ​​the Museum Ritter since 2005 .

Mona Lisa goes Space

On April 15, 2005 - coincidentally the date of Leonardo da Vinci's birthday - the Russian Soyuz spacecraft TMA-6 took off from the Baikonur spaceport to the International Space Station (ISS) . George Pusenkoff's painting Single Mona Lisa (1: 1) was also on board . It is the ultimate continuation of the “Mona Lisa Travels” project developed by Pusenkoff and could only be realized under difficult conditions. The authorities thought the idea was good in theory, but kept coming up with new reasons why the project was unrealizable. It was only when George Pusenkoff wrote to the then Italian ambassador to Russia, Gianfranco Facco Bonetti , that the idea could be realized. The connection between science and art, which was also of importance in Leonardo da Vinci's life, found an "update" here in the form of this journey of an image of the Mona Lisa into space. For the action, Pusenkoff's painting was taken out of the stretcher so that it could be rolled. On board the spaceship, the painting was cared for by the Italian astronaut Roberto Vittori . On April 25, 2005, the Soyuz returned to earth with the painting.
In addition to the original painting of Pusenkoff's Single Mona Lisa (1: 1) , an artificially created crystal on which an image of the painting was applied using nanotechnology also flew on this mission : “The actual image of the Mona Lisa is on a metal plate, which is something two by two millimeters and cast in an artificial crystal. There is a tiny dot on this plate. Within this point, an area is defined that is about a hundredth as large as this point itself and on it there is a relief of the Mona Lisa. In order to produce this relief, the point of a needle is electronically charged and guided with a computer-controlled robot onto the surface on which the image is to appear. It is then exposed to oxygen and wherever the needle tip has touched the carrier material, it oxidizes. This creates a relief that is made up of molecules. ”It is not possible to see this image with the naked eye. It was only possible to make the work of art visible through the detour of a computer that scans signals. The crystal with the image of the Mona Lisa painted by Pusenkof is still on the International Space Station and circles our planet several times a day.

The trial of Helmut Newton (The Power of Blue)

In 1995 George Pusenkoff was sued by the photographer Helmut Newton because he saw an (unauthorized) adaptation of one of his photos with the title “Miss Livingstone I, Beverly Hills, 1981” in Pusenkoff's work of art “Power of Blue” . Newton was of the opinion that Pusenkoff's work of art was so similar to his work in its crucial components that it was plagiarism .

The German copyright law clearly regulates in § 23 that the author of a work must consent before an adaptation of the work can be used. However, § 24 states that an "independent" work that has been created in " free use of someone else's work" may be used without the permission of the author. Pusenkoff referred to this standard. The court now had to decide whether the picture "Power of Blue" was to be regarded as an adaptation or free use.

The black-and-white photo of Helmut Newton shows a female nude from the front, sitting on a folding chair. The background is white, the surroundings can be seen in outlines to the right and left. The woman sits on the chair with her legs apart, one leg bent so that her gender is clearly visible, and she exudes self-confidence. The woman's face is recognizable and a stylized, yet recognizable, environment is visible at the edge of the photo. George Pusenkoff's work, on the other hand, is colored - in the typical, deep blue tone that Yves Klein quotes. The act itself is only recognizable as a silhouette. A yellow square covers the woman's pubic area and goes down to the knee. The yellow square is to be understood as a reminiscence of Kazimir Malevich .

The OLG Hamburg decided in favor of Pusenkoff, as his editing had alienated almost all of the core elements of Helmut Newton's photo so much that there was hardly anything left that was reminiscent of Newton's work of art. The court went into detail on the differences in the works of Newton and Pusenkoff. Newton's profession is that of a photographer who primarily works with light. On the other hand, Pusenkoff is a painter, his field of work is the surface. While Newton is concerned with the objectified representation of eroticism, none of this is visible in George Pusenkoff's work. In his picture, the woman depicted in the nude can only be seen as a silhouette , the yellow square hides the shame, the color blue is clearly perceptible as a reminiscence of Yves Klein. While Newton insisted that the particular pose in which the woman can be seen in Pusenkoff's picture "Power of Blue" was identical to that in his photo, the court declared that the posture and pose of a photo alone are not protected by copyright .

At the time, the process attracted a lot of attention, also internationally - not only because of the plaintiff Helmut Newton - but above all because it was one of the first processes on the subject of the appropriation and alienation of existing works of art, as carried out by postmodern artists, e.g. . B. also used in Appropriation Art . The legal situation is becoming particularly important as a result of the digital revolution . The process is also mentioned in the book Digital Art and Free Use , published in 2018 .

Exhibitions (selection)

Solo exhibitions

  • 1991: Galerie Hans Mayer , Düsseldorf
  • 1993: The Wall , Tretyakov Gallery , Moscow, Russia (This exhibition was shown in the same year at the Hans Mayer Gallery in Düsseldorf)
  • 1995: George Pusenkoff , Ursula Blickle Foundation, Kraital
  • 1995: Russian Museum , St. Petersburg, Russia
  • 1997: Simply Virtual , Mannheimer Kunstverein, Mannheim
  • 1998: Simply Virtual , Museum Ludwig in the State Russian Museum St. Petersburg, Russia
  • 2002: Erased Black Square , Felix-Nussbaum-Haus , Osnabrück
  • 2002: George Pusenkoff: Painted and Erased , Märkisches Museum (Witten) ,
  • 2003: George Pusenkoff: Erased or Not Erased , Jewish Museum Westphalia , Dorsten
  • 2004: Mona Lisa 500 , Tretyakov Gallery , Moscow, Russia
  • 2007: Mona Lisa and the black square , Museum Ritter , Waldenbuch
  • 2007: George Pusenkoff: Who is afraid , Museum of Modern Art, Moscow, Russia
  • 2008: La Condition Humaine , Museum Bochum
  • 2011: George Pusenkoff: Neo-Gau painting , Mannheimer Kunstverein
  • 2013: Pusenkoff & Pusenkoff: After Reality , (art project of corresponding works by George Pusenkoff and his son Ilya Pusenkoff) Ludwig Museum Koblenz , Koblenz (The exhibition was later shown at the Museum of Modern Art (MMOMA), Moscow, Russia)

Participation in exhibitions

  • 1986: 17th Exhibition of Young Artists , Moscow, Russia
  • 1987: Shock Workers of Art. ASSA Art-Rock-Parade , House of Culture of the Moscow Electric Lamp Factory , Moscow, Russia
  • 1987: Culture of Visual Art: Retrospective of Moscow Artists , Hermitage Amateur Society, Moscow, Russia
  • 1988: Labyrinth , Youth Palace, Moscow, Russia
  • 1988: 18th Exhibition of Young Artists , Moscow, Russia
  • 1988: Group 88 , Armenian Embassy, ​​Moscow, Russia
  • 1994: Europe - Europe. The Century of the Avant-Garde in Central and Eastern Europe , Art and Exhibition Hall of the Federal Republic of Germany , Bonn
  • 2002: Abstract Art in Russia, The Twentieth Century , Russian Museum, St. Petersburg, Russia
  • 2002: The Red House , City Gallery Villa Zanders , Bergisch Gladbach
  • 2002: Art after Art , New Museum Weserburg Bremen
  • 2003: The right of the image. Jewish Perspectives in Modern Art , Museum Bochum
  • 2003: The square in art , Marli Hoppe-Ritter Collection, Museum Ettlingen
  • 2003: New Countdown. Digital Russia Together with Sony. Contemporary Art and New Technologies , Guelman Gallery, Central House of Artists, Moscow, Russia
  • 2004: Stella Art Gallery, Moscow, Russia
  • 2004: Moscow - Berlin , State Historical Museum , Moscow, Russia
  • 2005: Faces , Guelman Gallery, Central House of Artists, Moscow, Russia
  • 2005: Russian Pop Art , State Tretyakov Gallery, Moscow, Russia
  • 2005: Between Digital and Analog, Sacral and Profane , 1st Biennale of Contemporary Art, Neue Manege, Moscow, Russia
  • 2005: Mona Lisa goes Space , 51st Biennale di Venezia
  • 2005: Square , Museum Ritter, Waldenbuch
  • 2007: I Believe , 2nd Biennale of Contemporary Art, Vinzavod, Moscow, Russia
  • 2012: Decoration Of The Beautiful. Elitism And Kitsch In Contemporary Art , Tretyakov Gallery, Moscow, Russia
  • 2014: Post Pop: East Meets West , Saatchi Gallery , London, England
  • 2015: 6th Beijing International Biennial : Memory and Dream , National Art Museum of China (NAMOC), Beijing, China
  • 2017: 7th Beijing International Biennale : The Silk Road and World's Civilizations , National Art Museum of China (NAMOC), Beijing, China
  • 2017: Traveling exhibition Aqua , Chateau de Penthes, Art for the World , Geneva, Switzerland

literature

  • Alexander Borowski (Ed.): George Pusenkoff. (June - July 1995). Ursula Blickle Foundation in coproduction with the State Russian Museum St. Petersburg (August - October 1995) Georgij Puzenkov . Ursula Bickle Foundation, Kraichtal 1995, ISBN 978-3-930043-06-4 .
  • Mannheim Art Association; Martin Stahter (Ed.): Simply Virtual. Catalog for the exhibition in the Mannheimer Kunstverein 1998 and in the Museum Ludwig, St. Petersburg 1999 . Das Wunderhorn, Heidelberg 1998, ISBN 978-3-88423-130-2 .
  • Wolfgang Zemter (Ed.): George Pusenkoff - Painted and Erased . Kettler; Palace Editions, Bad Breisig; Dortmund 2002, ISBN 978-3-935298-24-7 .
  • Elmar Balster (Ed.): Moments: Portraits of Jews in Germany . Jüdische Allgemeine , Berlin 2003, ISBN 978-3-935097-08-6 .
  • David Galloway (Ed.): George Pusenkoff: Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 .
  • Olga Gorgun; Maxim Rayskin (Ed.): George Pusenkoff: Who is afraid . Kerber, Bielefeld 2008, ISBN 978-3-86678-194-8 (English, Russian).

Web links

Individual evidence

  1. ↑ Pusenkoff & Pusenkoff: After Reality , on the website of the Ludwig Museum Koblenz . Retrieved December 17, 2018.
  2. ↑ Peter and Irene Ludwig Foundation (eds.): [NON] Conform: Russian and Soviet Art 1958–1995. The Ludwig Collection: Russian and Soviet Artists 1958–1995 . Prestel, Munich 2007, ISBN 978-3-7913-3833-0 , pp. 367 .
  3. ↑ Georgy Pusenkov. Simply virtual installation , on the website of the State Russian Museum . Retrieved December 17, 2018.
  4. ↑ Kandinsky Prize 2008. In: www.kandinsky-prize.ru . Retrieved December 18, 2018.
  5. ↑ a b Christoph surcharge: George Pusenkoff: With brush and pixel. Painting in the computer age. In: Wolfgang Zemter (Ed.): George Pusenkoff: Painted and Erased. Palace Editions, Bad Breisig 2002. ISBN 978-3935298247 , pp. 27–30, here p. 28. ( PDF ).
  6. ↑ Aleksey Parschtschikow: Interview with George Pusenkoff . In: Mannheimer Kunstverein; Martin Stahter (Ed.): Simply Virtual. Catalog for the exhibition in the Mannheimer Kunstverein 1998 and in the Museum Ludwig, St. Petersburg 1999 . Das Wunderhorn, Heidelberg 1998, ISBN 978-3-88423-130-2 , p. 24-30 , p. 25 .
  7. ^ Sebastian Ritscher: Art Museum: Back to painting. Ruhr Nachrichten , April 26, 2008, accessed on December 12, 2018 .
  8. ↑ Christopher Award: George Pusenkoff: With brush and pixels. Painting in the computer age . In: Wolfgang Zemter (Ed.): George Pusenkoff: Painted and Erased . Palace Editions, Bad Breisig, ISBN 978-3-935298-24-7 , pp. 27–30 , p. 30 ( online [PDF; 4.0 MB ]).
  9. ↑ Aleksey Parschtschikow: Interview with George Pusenkoff . In: Mannheimer Kunstverein; Martin Stahter (Ed.): Simply Virtual. Catalog for the exhibition in the Mannheimer Kunstverein 1998 and in the Museum Ludwig, St. Petersburg 1999 . Das Wunderhorn, Heidelberg 1998, ISBN 978-3-88423-130-2 , p. 24-30 , p. 28 .
  10. ^ Marc Scheps: Mona Lisa Time Tower . In: David Galloway (Ed.): Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 , p. 143-159 , p. 143 .
  11. ↑ Ulrich Heimann: George Pusenkoff's language of art . In: Olga Gorgun; Maxim Rayksin (Ed.): George Pusenkoff: Who Is Afraid . Kerber, Bielefeld 2008, ISBN 978-3-86678-194-8 , p. 38-50 , p. 43 .
  12. ↑ Christoph Schulz: On the way with Mona Lisa A conversation with George Pusenkoff . In: David Galloway (Ed.): Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 , p. 81-91 , p. 84 .
  13. ↑ a b Ulrich Heimann: Cosmic Procession: Mona Lisa goes Space . In: David Galloway (Ed.): Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 , p. 159-170 , p. 159 .
  14. ^ Marc Scheps: Mona Lisa Time Tower . In: David Galloway (Ed.): Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 , p. 143-159 , pp. 144/145 .
  15. ^ Marc Scheps: Mona Lisa Time Tower . In: David Galloway (Ed.): Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 , p. 143-159 , p. 146 .
  16. ↑ Christoph Schulz: Please smile. A conversation with George Pusenkoff . In: David Galloway (Ed.): Mona Lisa Travels . Kerber, Bielefeld 2007, ISBN 978-3-86678-070-5 , p. 51-80 , p. 71 .
  17. ↑ Wolfgang Maaßen: Plagiarism, free use or art quotation? Forms of the transfer of services under copyright law in photography and art . In: Anke Schierholz; Ferdinand Melichar (ed.): Art, law and money: Festschrift for Gerhard Pfennig for his 65th birthday . Beck, Munich 2012, ISBN 978-3-406-62902-0 , p. 156 .
  18. ^ Richard A. Posner: The Economic Structure of Intellectual Property Law . Harvard University Press, Cambridge, Massachusetts 2003, ISBN 978-0-674-01204-2 , pp. 263 .
  19. ^ Theodor Enders: Advice on copyright and media law . Deutscher Anwaltverlag & Institut der Anwaltschaft GmbH, Bonn 2015, ISBN 978-3-8240-1354-8 , p. 157 .
  20. ↑ Veronika Fischer: Digital art and free use . Nomos, Baden-Baden 2018, ISBN 978-3-8487-4818-1 , p. 170 .
  21. ↑ a b George Pusenkoff. In: www.ursula-blickle-stiftung. Retrieved September 17, 2018 .
  22. ↑ a b Mannheim Art Association; Martin Stahter (Ed.): Simply Virtual. Catalog for the exhibition in the Mannheimer Kunstverein 1998 and in the Museum Ludwig, St. Petersburg 1999 . Das Wunderhorn, Heidelberg 1998, ISBN 978-3-88423-130-2 .
  23. ↑ George Pusenkoff: Erased black square. In: www.germangalleries.com. Retrieved September 17, 2018 .
  24. ↑ Wolfgang Zemter (Ed.): George Pusenkoff - Painted and Erased. On the occasion of the exhibition in the Märkisches Museum Witten, March 23 to May 12, 2002 and in the Museum Korbach, August 25 to October 6, 2002 . Kettler; Palace Editions, Bad Breisig; Dortmund 2002, ISBN 978-3-935298-24-7 .
  25. ↑ Archive. 25 years of special exhibitions in the Jewish Museum Westphalia. Retrieved June 10, 2018 .
  26. ↑ George Pusenkoff Mona Lisa and the Black Square. In: Museum Ritter . Retrieved June 10, 2018 .
  27. ↑ Who is Afraid Opens at Moscow Museum of Modern Art. Artdaily.org, accessed October 3, 2018 .
  28. ↑ George Pusenkoff Book Presentation Round-table discussion "Problems of form. Kissing collectors against Larry Gagosian." In: www.mmoma.ru. Retrieved November 20, 2018 .
  29. ↑ George Pusenkoff - La condition humaine (1: 1). In: Bochum Art Museum . Retrieved June 10, 2018 .
  30. ↑ Annika Wind: My art doesn't need a socket. The Russian painter George Pusenkoff breathes life into minimalist paintings at the Mannheim Art Association. In: Mannheimer Morgen . June 11, 2011, accessed June 10, 2018 .
  31. ↑ Pusenkoff & Pusenkoff: After Reality. In: Ludwig Museum Koblenz . Retrieved June 15, 2018 .
  32. ↑ "Assa": The film that brought the Soviet Union down. Russia Beyond, April 15, 2018, accessed October 3, 2018 .
  33. ↑ Europe, Europe. The century of the avant-garde in Central and Eastern Europe. May 27 to October 16, 1994. In: Bundeskunsthalle . Retrieved June 11, 2018 .
  34. ↑ Abstract Art in Russia: The Twentieth Century. The State Russian Museum, accessed October 3, 2018 .
  35. ^ Directory of the special exhibitions in the Städtische Galerie Villa Zanders since 1992. In: Villa Zanders . Retrieved June 11, 2018 .
  36. ^ New Museum Weserburg Bremen (ed.): Art after art. An exhibition by Peter Friese . Hauschild, HM, Bremen 2001, ISBN 978-3-89757-162-4 .
  37. ^ Hans Günter Golinski; Sepp Hiekisch-Picard: The right of the picture. Jewish Perspectives in Modern Art . Wachter, Heidelberg 2003, ISBN 978-3-89904-076-0 .
  38. ^ Museum Ettlingen (ed.): The square in art . Museum Ettlingen, Ettlingen 2003, ISBN 978-3-928756-18-1 .
personal data
SURNAME Pusenkoff, George
ALTERNATIVE NAMES Пузенков, Георгий Николаевич (Russian)
BRIEF DESCRIPTION German-Russian painter, installation artist and photographer
DATE OF BIRTH 1953
PLACE OF BIRTH Krasnapolle