Haralampi G. Oroschakoff

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Haralampi G. Oroschakoff (2017)

Haralampi G. Oroschakoff (Russian: Харлампий Г. Орешаков; born May 23, 1955 in Sofia ) is an Austrian painter, writer and publicist. He is considered a pioneer in the East-West dialogue in art and innovator of the reception of icons in Western painting.

Life

Haralampi Oroschakoff is the son of the industrialist Georgij H. Oroschakoff, a descendant of the exiled Russian noble family Haralamow-Oreschak, and his wife Welika Ugrin-Gudarowska from the Ugrin-Csák family. In 1960 the family fled from Sofia to Vienna via Belgrade . In 1961, Oroschakoff received Austrian citizenship. His father owned the Austrian industrial companies Oroschakoff-Tor-Stahl Ges.mbH and BVB Ges.mbH After changing schools several times and graduating from high school, Oroschakoff was a three-month guest student with Rudolf Hausner at the Vienna Academy of Fine Arts in 1973 , after which he was self-taught. This was followed by positions in Cannes , New York , Geneva and Cologne . In 1981 he traveled to Patmos and Mount Athos . In the same year he received the project award of the city of Vienna and the recognition award for fine arts of the state of Lower Austria. In 1983 he moved to Munich.

“I wanted to hold the city of Munich in a stranglehold. The same city, stuck in its smug beauty and dulled by navel gazing, in which Wassily Kandinsky , Alexej v. Jawlensky and the Dalmatian Greek and self-made Italian Giorgio de Chirico waged the first battles for a modern conception of value and the world - and at the end of a century in which we had all been made emigrants and pushed back and forth like furniture in abandoned rooms . "

In 1987 Oroschakoff received the fine arts scholarship from the City of Munich and in 1991 the Schwabing Art Prize . After the end of the Cold War around 1990, invitations and trips to Serbia , Bulgaria , Russia , Slovenia and Kazakhstan - countries from which Oroschakoff's ancestors came - followed.

Since 1998 he has lived and worked in Berlin , Cannes and Vienna. He has been married to Diana Countess von Hohenthal and Bergen for the second time since 2000 . From 1986 to 2000 he was married to Johanna Countess von und zu Eltz, called Faust von Stromberg .

plant

In the 1980s, Oroschakoff emerged with drawings, text collages, installations and video performances, “which are about more than the mere creation of aesthetic values. Oroschakoff is on the way to a total work of art (...), a universal world view that integrally reflects the categories of nature, artifact and human ". His early works are under the impression of the Vienna years: change of school, speechlessness and isolation with simultaneous professional and social advancement of the family. They revolve around questions of aesthetics and identity, the interrelationship between individuality and collective, and communication in the mirror of consumption. “Oroschakoff reveals our fear and fear (...), our refusal to self-knowledge, our insecurity in front of the workplace as well as that of precise localization. (...) Oroschakoff visualizes what sociologists and historians are only slowly researching; Siberia or the loneliness in all of us. "

Double cross and Eastern Europe

In the mid-1980s, the return to the Byzantine Orthodox culture of his origin began. This resulted in the concentration on the orthodox cross as the background (double cross). These series of images continued monochrome painting independently and named the invisible cultural boundary between the post-Latin West and the post-Byzantine East. “The conscious, positive inclusion of a wide variety of quotes from the Slavic-Russian and Asia Minor areas and the attempt to develop a new, contemporary icon clearly show that Oroschakoff is about a shift in emphasis - not out of a sentimental love for his roots, but because he believes something alive in the eastern cultural area that has long since been buried in the west. "

Another change of perspective followed the opening of the Berlin Wall in 1989. The physical encounter with the East deepened the theoretical examination of the art and culture of Eastern Europe. Friendships arose with representatives of the avant-garde of the time ( Boris Groys , IRWIN , Andrei Filippov, Yuri Albert, Vadim Zakharov , Luchezar Boyadjiev and others). Curatorial projects and lectures cemented Oroschakoff's reputation as an East-West expert: Measure of strength (Munich 1994) with Margarita Tupitsyn , Boris Groys and Viktor Misiano, Bulgariaavantgarde (Munich 1998) with Iara Boubnova, 4th International (Almaty 1998) with Yerbosyn Meldibekov and Kanat Ibragimov.

Oroschakoff bequeathed his art collection Moscow Conceptualism of the 80s and 90s , the result of a long-standing engagement with the Russian avant-garde of perestroika , to the Kupferstichkabinett Berlin . Since 2008 he has devoted himself to the continuation of his total work of art, Musée d´Art et de Lettre , which conceptually dates back to 1979 and, as a search for clues , combines the most diverse forms of expression, techniques and materials to create spaces of experience.

Theory, literature and politics

Against the background of the East-West rapprochement and later alienation, Oroschakoff also appeared as an editor and publicist (examples of strength tests and instant archeology ). The artistic engagement was expanded to include socio-cultural and geostrategic aspects. In addition to drawing and painting, archiving and the comparison of self-image and behavioral patterns in East and West form an important component in Oroschakoff's work.

The non-fiction book The Battenberg Affair ( Bloomsbury Verlag 2007) marked a high point . In it, Oroschakoff creates the historical panorama of a culture war that links history and stories in the 19th century. The focus is on the oriental question . "The book is (...) the history of Europe in the southeast of the continent since the collapse and end of the Ottoman Empire ."

Since around the turn of the century Oroschakoff has been involved in the political discussion on Russia, the Balkans and the Caucasus ; on this topic he publishes essays and commentaries in Lettre International , Russia controversial and in other media.

reception

The installation Dandolo , which dealt with the destruction of Constantinople by the Crusaders in the 13th century ( Museum Fridericianum , Kassel 1989, Staatsgalerie Moderner Kunst , Munich 1990, Kunstverein Göttingen 1989), aroused heated controversy in the art scene. The curator Justin Hoffmann called Oroschakoff a " Belarusian revanchist ". The Süddeutsche Zeitung wrote: "Oroschakoff, the conservative, affirms the absolute of his faith and sets it in the traditional canon of aesthetically beautiful." The installation found a more positive response in the FAZ : "Oroschakoff - and this makes him a role model for many, whose cultural identity was deeply unsettled by the opening of the Eastern Bloc - has learned to acknowledge its split. "

Elke Schmitter wrote about Oroschakoff in the Spiegel in 2002: “(...) the image of the angry young man, exotic enriched by ostentatious dandyism and a strange origin. (...) Nowhere without question at home, his perception of cultural memory loss is pronounced and his feeling for opposites sharpened. "In CATO magazine , Thomas Fasbender wrote in 2018:" Unlike Kasimir Malewitsch, who approaches modern thinking head-on with his monochrome square, completes it and overcomes, Oroschakoff leaves it behind him in the double cross, the symbol of salvation of Orthodoxy, like a dog that barks while the caravan moves into the afterlife. "

The writer Martin Mosebach described him as an "orthodox painter and unorthodox historian".

Exhibitions

Since 1981 Oroschakoff has been present at exhibitions, symposia and readings all over Europe, Russia and the USA. a. Biennale di Venezia 1988, documenta IX 1992, Moscow Biennale 1998, Biennale Sao Paulo 2002, Bienal del Fin del Mundo, Mar del Plata 2014/15.

Publications (selection)

  • 2016 Oroschakoff Doppelkreuz, monograph, Hatje Cantz , Berlin
  • 2013 If they are not elegant, then try to get their own note , in: Charade- Rochade , published by Axel Haubrok, Fern Verlag Berlin
  • 2013 Der Prokurator , in: Gallery of the Nameless , edited by Hanns Zischler, Elke Schmitter, Alpheus Verlag, Berlin
  • 2007 The Battenberg Affair , [1] Berlin Verlag
  • 2007 The Oriental Question , in: Lettre International , No. 78
  • 2004 Moscow Conceptualism, Haralampi G. Oroschakoff Collection and Collection, Publishing House, Vadim Zakharov Archive , edited by Hein-Th. Schulze Altcappenberg, Kupferstichkabinett Staatliche Museen zu Berlin, Verlag der Buchhandlung Walther König, Cologne
  • 2001 Moscow or one's own passions are non-negotiable and The Berlin Republic: What is in the making, was already , in: Moscow-Berlin Stereograms , published by Tilman Spengler, Berlin Verlag
  • 1999 World doubling or the realization of the oriental question , in: Dogma 95 Demons , edited by Frank Castorf, Volksbühne Berlin and Kleist - Festtage Frankfurt / Oder
  • 1999 Inhabitants at the Edges of the World: Itinerants and Orientalists, texts by: Alexander 'Borovsky, Margarita Tupitsyn, Kathrin Becker, Marie-Louise von Plessen, Matthias Flügge, Haralampi G. Oroschakoff, Berlin Press
  • 1998 Bulgariaavantgarde , texts by Haralampi G. Oroschakoff, Iara Boubnova (curator), Alexander Kiossev, Luchezar Boyadjiev, Ivailo Ditchev, Diana Popova, edited by Haralampi G. Oroschakoff, Salon Verlag, Cologne
  • 1997 Instant Archeology , texts by Josif Bakschtjn, Sabine Hänsgen, Aleksander Jakimovič, Michael Meuer, Christian Schneegass, Viktor Tupitsyn, edited by Gerhard Theewen and Akademie der Künste, Berlin, Salon Verlag, Cologne
  • 1997 The Odessa Files, text by Boris Groys , edited by Reiner Speck and Gerhard Theewen, édition séparée, Salon Verlag, Cologne
  • 1996 Trial of strength, texts by Nikita Alexejew, Katja Degot, Boris Groys, Sabine Hänsgen, Haralampi G. Oroschakoff, Viktor Misiano, Margarita Tupitsyn, Victor Tupitsyn, Slavoj Žižek u. a.), edited by Haralampi G. Oroschakoff, Cantz Verlag, Ostfildern
  • 1995 A text collection 1979–1994 , Cantz series, Cantz Verlag, Ostfildern
  • 1994 Stalnimi Subami-Upustenii Avangard , in: Emigrazia i Straniki , Pastor Zond Edition, No. 5, Cologne
  • 1993 Polis, texts by Luchezar Boyadjiev, Dorothea Eichenauer, Rainer Metzger, Hohenthal and Bergen, Munich
  • 1988 Lampos, texts by Francois Nedellec, Wladimir Sinojew, Luise Horn, Wilfried Dickhoff, edited by Wilfried Dickhoff for Galerie Joachim Becker, Cannes
  • 1987 Oroschakoff, texts by Luise Horn, Wilfried Dickhoff, Noemi Smolik, Kunstraum München

Collections (selection)

  • Municipal gallery in the Lenbachhaus, Munich
  • Museum of Modern Art (MUMOK), Vienna
  • Musée d´Art et Contemporain, Geneva
  • Berlinische Galerie, Berlin
  • Deutsche Bank, Frankfurt
  • The State Russian Museum, St. Petersburg
  • Documenta Archive, Kassel
  • Museum of Modern Art, Prato, Italy
  • Sparkasse Cologne-Bonn
  • Kupferstichkabinett State Collections in Berlin
  • Deutscher Sparkassenverlag, Stuttgart
  • Humanic Collection, Graz, Austria
  • Graninger Collection / Rupertinum Salzburg, Austria
  • Trevi Flash Art Museum of Contemporary Art - Palazzo Lucarini, Trevi, Italy
  • German Historical Museum, Berlin
  • Archive and collection Pastor Zond / Vadim Zakharov, Cologne / Moscow / Berlin
  • Dürckheim Collection
  • Collection Dieter and Si Rosenkranz, Berlin
  • Eltz-Oroschakoff Collection, Hamburg
  • Thomas Collection, Munich
  • Michel Würthle Collection / Paris Bar, Berlin
  • Collection Gimbel, New York
  • Collection Holleb, Chicago
  • Tiba Art Collection, Belgium
  • Collection of Counts La Rosée
  • Collection of Baron Gravenreuth
  • The Sons Collection, Belgium
  • Collection Hans and Uschi Welle, Berlin

Web links

Individual evidence

  1. ↑ Diana Countess v. Hohenthal and Bergen (eds.): Oroschakoff. Double cross . Hatje Cantz Verlag, Berlin 2016, ISBN 978-3-7757-4207-8 .
  2. ↑ Melita Sunjic , Patrik-Paul Volf: Real Austrians . Ed .: UNHCR. Picus Verlag, Vienna 1995, p. 69-77 .
  3. ^ Anne Maier: Haralampi G. Oroschakoff . In: Lothar Romain, Detlef Bluemle (Hrsg.): Critical Lexicon of Contemporary Art . No. 61 . Weltkunst Verlag, Munich 2003.
  4. ^ Museum of Modern Art, Belgrade, 1991; Curator: Zoran Gawrič
  5. ^ Kulturpalast and The City Gallery Sofia, 1991; Curator: Philipp Sidarov
  6. ↑ Int. Apt Art Moscow, 1992; Curator: Viktor Misiano and Konstantin Zwesdochetov
  7. ^ Moderna Galerija / Museum of Modern Art, Ljubljana, 1996; Curator: IRWIN
  8. ^ Central State Museum, Almaty , 1998; Curators: Yerbossyn Meldebekov, Ibragimov Khanate
  9. ^ Franz Krahberger: cage - free space / project . In: Gerhard Jaschke and Hermann Schürrer (eds.): Freeboard. Journal of Literature and Art . Vienna May 1981.
  10. ↑ Horst Christoph: Flags of fire in the twilight . In: Profile. The independent news magazine in Austria . No. 3 . Vienna January 19, 1981.
  11. ^ Dieter Ronte: Siberia . Ed .: Tanit Gallery. Munich 1984.
  12. ↑ Diana Countess v. Hohental and Bergen (ed.): Oroschakoff. Double cross . Hatje Cantz, Berlin 2016, ISBN 978-3-7757-4207-8 .
  13. ^ Carla Schulz-Hoffmann: The artist as constructor of feelings . Ed .: Diana Countess Hohenthal. Kyrill & Method Verlag, Munich 1989, p. 17 .
  14. ^ Andrew Solomon: Works from the Underground, Freed by Glasnost . In: The New York Times . New York June 18, 1995.
  15. ↑ Michael Lailach: Moscow Conceptualism . In: Museums Journal . Berlin October 2003.
  16. ↑ Haralampi G. Oroschakoff (Ed.): Measure of strength . Cantz Verlag, Ostfildern 1996.
  17. ↑ Gerhard Theewen and Academy of Arts, Berlin (ed.): Instant Archeology . Salon Verlag, Cologne 1997.
  18. ^ Jürgen Busche: The Battenberg Affair . In: Cicero . Berlin November 2007.
  19. ↑ http://www.russlandkontrovers.com/
  20. ^ Justin Hoffmann: The Germany question . In: Artis art magazine . Artis Kunstverlag, Baden (CH) October 1990.
  21. ^ Eva Karcher: Concrete Utopias . In: Süddeutsche Zeitung . No. 47 , February 1991.
  22. ↑ Katharina Hegewisch: Memories light up . In: Frankfurter Allgemeine Zeitung . No. 111 . Frankfurt May 1990.
  23. ↑ Elke Schmitter: The mold over Berlin . In: Der Spiegel . No. 28 , 2002.
  24. ↑ Thomas Fasbender: You will remain a stranger among strangers . In: Cato 3/2018, p. 86.
  25. ↑ Martin Mosebach: Press release for the book presentation The Battenberg Affair . Bloomsbury-Verlag, Frankfurt 2010.
  26. ↑ exhibitions. Retrieved on December 19, 2017 (German).
personal data
SURNAME Oroschakoff, Haralampi G.
BRIEF DESCRIPTION Austrian artist
DATE OF BIRTH May 23, 1955
PLACE OF BIRTH Sofia