Annotation for Personal
Exhibition of 1981
Of Completion and
Short Annotation for Personal
Exhibition of 1992
Two Spaces
The Ethics of the Beautiful
Contest design for Rekolle
International Workshop, 2005
  1. Avant-garde Today
  2. Humanized Space
The Ability To Bring Light
Movement of the Diagonal
Artistic Credo
On the Incompleteness
of the Creative Act, Sacrifice,
and Self-awareness
in the Anderssein
On Art and Life
The Code of the Plastic Art
and Space of Sculptural
The Evolution of the "Russian Idea"
in the Visual Arts of the 12th–19th
The Russian Idea, Now
and in the Future
Articles by Other Authors
The Ethics of Plastic Forms
in Valery Yevdokimov's Sculptures
Plastic Art as an Iconic
Experience: The Problem
of the Artistic Image
The Sculpture
of Valery Yevdokimov
Artificial Game
Mikhail Seleznev about
Valery Yevdokimov
Oleg Komov about
Valery Yevdokimov
Peter Baranov about
Valery Yevdokimov
Portrait – A Convergenc
of Forms
Extracts from an Article
by Olga Kostina
Extract from an Article
by Susanna Serova
Commentary on the Model
Monument of Russian Philosopher
Vladimir Solovyov
In Search of One's Own Self
Thinking About Time
Spiritual Anxiety
The Mystery of Art.
Sergey Orlov
Master. Valery Maloletkov
The Academy of Arts Presents…
The Mystery of Art.
Lubov Yevdokimova
Competition Work for Rekolle
International Studios, 2005

2. The Humanized Space

By using language of formalism in representation of space and material advant-gard, trends of the first half of the 20th century have completed the interest of fine arts in visible physical world as a main plot of the work.

The new discovery of the composition of the structure of the hierarchically oriented elements by the artists of the Russian avant-garde (Tatlin, Malevich, and others) was not realized in the art of the subsequent generations of artists.

The development of the ideas of the avant-garde has been completed by the present moment with action, with performance, in which the problem of the hierarchical symbolizing of space as the principle of its organization has practically remained unaffected.

The former compass of the structure of the living space as the medium of existence - the religious view of the world - has been lost by the present-time secularized society, but the need for having such a compass has survived. Such a need is deposited in the human being both biologically and spiritually.

A lofty example of humanized, or, to be more precise, of spiritualized, space is presented by the Church. The spiritualized space of the Church, its ascending forms, are supported with the canonical depictions which are plastically repeating the movement of the architecture.

The deficit of spiritually-hierarchically, symbolically built space continues to be felt today both in the fine arts (in their new forms) and in architecture and demands of an attention.

The project is aimed, as the first step, at a limited task - that of changing the existing interior (actually or theoretically existing interior) with making its space subordinate to a sculptural composition one that has been created and installed inside the interior in a manner providing for its spatial and vectorial characteristics finding reflection in the new architecture of the given interior.

It is suggested that various projections of the sculpture or projections of its elements shall be superimposed upon the forms of the newly emerged interior. The changed forms of the interior may have geometrical and/or organic character, and they may interact with the already available constructions by including them into their structure.

The concept of the project consists in creating a situation of a more comfortable perception of the emotional and intellectual components of the central sense-making work of art, more comfortable than it usually happens under the conditions that prevail at an exposition or in a museum.

The situation that emerges may take account of the functional tasks of the room and may become its symbol.

The sculpture and the model of the interior shall be created as one project and as independent works of art. It shall be possible to realize the new interior as an experiment from light materials in actual dimensions.

A computerized version of the project is being made simultaneously.

Valery Yevdokimov
Moscow, June 2004

Cosmos I. 1985. Chamotte, bronze; height 2,3 m