Collection

Table (from the 8th of March Greetings Series)

Alexander Aksinin

Basic information

ID: Г-IV-4087
Author: Alexander Aksinin
Name: Table (from the 8th of March Greetings Series)
Date of creation: 1977
Technique: etching
Material: imprint on paper
Dimensions (height x width, cm): 8.5 x 11.1

Additionally

Type: printmaking
Provenance: Courtesy of V. Onusaitis, 1987

Information about author

Author: Alexander Aksinin
Artist's lifetime: 1949–1985
Biography: Alexander Aksinin was a graphic artist and one of the brightest representatives of Lviv nonconformist culture. He was born on October 2, 1949 in Lviv in the family of a military cartographer and railroad official of the Lviv railway. Between 1963 and 1966, he received his art education at the evening art school in Lviv. Between 1967 and 1972, the artist continued his studies at the Ivan Fedorov Ukrainian Polygraphic Institute, where he specialized in Graphic Art. After graduation, Aksinin served in the Soviet Army, where he participated in the design of the exposition of the Military History Museum. Between 1974 and 1977, he worked as an art designer in an industrial design office. In 1977, he left the official service and began to work exclusively as a freelance artist. The apartment of Aksinin and his wife, the writer and artist Engelina (Gelya) Buriakovska (1944–1982), became one of the Lviv centers of informal art; first home exhibitions were held here. Alexander and Gelya were well acquainted with the representatives of the cultural underground of Moscow and Leningrad, in particular, with Dmitri Prigov, Viktor Krivulin, Ilya Kabakov, and others. They also had friendly relations with Baltic artists, first of all, with Tonis Vint, with whom Alexander developed a close rapport, and Polish ones. Since 1974, Aksinin participated in group exhibitions; in 1979, his first personal exhibition was organized in Tallinn with the assistance of the artist Tonis Vint. In the early 1980s, the poet Viktor Krivulin helped to arrange several of Aksinin's "kvartirnik" exhibitions in Leningrad and Moscow. On May 3, 1985, on his way back from Tallinn, Alexander Aksinin died in a plane crash over Zolochiv near Lviv. During his lifetime, the artist created 343 etchings, about 200 sheets of unique drawn graphics (drawings in watercolor, Indian ink, and gouache, including prints), as well as five paintings. 27 volumes of the artist's diaries for the period from 1965 to 1985 contain more than 200 sketches and a large number of drawings-ideas; they are partially publicly available on the artist's personal website. In 2015, Alexander Aksinin's etching series "Boskhiana" was included in the permanent exposition of the Jheronimus Bosch Art Center in Hertogenbosch, the Netherlands. The works are stored in the Lviv National Art Gallery, the Estonian Art Museum, and the National Art Museum of Ukraine. In 1981, Alexander Aksinin wrote his laconic autobiography for an article by Viktor Krivulin, in which he consciously contrasted his inner world with external events, combining the facts of his biography with his own artistic and metaphysical experience: “In 1949, a seemingly Russian man was born in the seemingly European city of Lviv. Orthodox Christian. In 1972 – received a diploma from the Polygraphic Institute in the field of Graphic Art. In 1977 – the first revelation with a concomitant sense of time. In 1981 – the second revelation with a concomitant sense of eternity. In 1979 – the first solo exhibition in Tallinn. In 1981 – the second one in Poland. That is all.”

Object description

The creative world of Alexander Aksinin is characterized by a condensed intellectual atmosphere, which is full of "codes of aesthetic information". Numerous etchings by Aksinin are miniature "philosophical essays" embodied in complex systems of visual as well as literary and verbal texts.
This is one of the original works dedicated to Women's Day, March 8th. The relative title of the work is "Table". The author created the etching while working on the graphic series "Alice in Wonderland." The composition's visual range repeats the combination of dominant vertical and horizontal stripes, which is typical of works of this series. At the same time, the strict geometric structure, that is, the table, is immersed into its opposition, the amorphous organic mass. The author creates an exquisite greeting card joke by using the male-female dichotomy as a metaphor.
In the center of the composition one can see a four-legged lapidary table with an extended drawer. It is covered with some burdocks that disperse with crumbs in the upper part of the etching. The crumbs are reminiscent of a swarm of insects. The entire lower horizontal of the work is filled with the same prickly hillocks. However, upon closer inspection, some burdocks resemble hedgehogs. One of those in the drawer has an elongated muzzle, the other three with full-face muzzles are at the bottom right, and another one looks out from the "herbarium" surrounding the table.
The author has almost hidden minor miniature marks over a stripe of a hillock. The letter A is located near the pairs of sticks to the left of the table. The author's monogram in the arch – the letter A – is in the lower right corner, below which is written 1977.

Inscriptions

At the bottom right under the imprint there is an author's inscription "Aksinin, 77"

Table (from the 8th of March Greetings Series)

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