Igor Kopystiansky

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Igor Kopystiansky
Igor Kopystiansky at studio located at 526 West 26 Street, New York, NY Igor Kopystiansky New York studio.jpg
Igor Kopystiansky at studio located at 526 West 26 Street, New York, NY
Born (1954-12-16) 16 December 1954 (age 70)
Lviv, Soviet Union
OccupationArtist
Years active1988–present

Igor Kopystiansky (born 16 December 1954 in Lviv) is an American artist, active in New York City since 1988. [1] He has a multimedia practice, including painting, photography, film, and video, with an investigation of painting as his primary paradigm. [2] On works in media of film and video, he collaborates with his wife Svetlana Kopystiansky. His independent works and their joint works are shown internationally and held in American, European and Australian museum collections. Archives of works by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library. [3]

Contents

Work

From the late 70s until the late 80s Igor Kopystiansky was part of a second-generation of "Soviet non-conformist artists". [2] In 1979, he turned to the avant-garde tradition. The initial inspiration for his works rooted in ideas of deconstruction and appropriation came from DADA and Marcel Duchamp. These works appropriated images by Western European painters. The new paintings were deliberately created in different sizes compared to the originals. This approach reflects the situation where a work of art functions in society more as a reproduction in a book, poster, or billboard, or when it is viewed on a screen at the cinema, with the size of the image being different from the original painting. The execution of the appropriated paintings was just the first stage in the production of the actual artwork.

These painted copies were then used to create assemblages or environments referred to as Interiors, where images from various paintings interacted with one another. The final outcome of the entire work would always be revealed only at the last stage, upon completing the installation, remaining absolutely unpredictable beforehand. [4]

Two installations Interiors were a part of an exhibition by Igor and Svetlana held in October 1988 in New York City. From this exhibition both these works were purchased by MAMC, Musée d'art moderne et contemporain, Saint-Etienne, France [5] [6] and Ludwig Forum for international art [7] Aachen, Germany.

Installation view Kunsthalle Dusseldorf, 1994. Igor and Svetlana Kopystiansky in the installation Interior (1992) by Igor Kopystiansky Kopystiansky Igor Interior(1992) Kunsthalle Dusseldorf 1994.jpg
Installation view Kunsthalle Dusseldorf, 1994. Igor and Svetlana Kopystiansky in the installation Interior (1992) by Igor Kopystiansky
Installation view: Big Painting (1994) and Interior (1992) by Igor Kopystiansky at the solo exhibition by Igor and Svetlana Kopystiansky. Kunsthalle Dusseldorf 1994. Kunsthalle Duesseldorf 1994.jpg
Installation view: Big Painting (1994) and Interior (1992) by Igor Kopystiansky at the solo exhibition by Igor and Svetlana Kopystiansky. Kunsthalle Dusseldorf 1994.
Installation view: The Diptych (1994) after The Death of Socrates and Big Painting (1994) by Igor Kopystiansky at the solo exhibition by Igor and Svetlana Kopystiansky. Kunsthalle Dusseldorf 1994. Kopystiansky Igor Kunsthalle Duesseldorf 1994.jpg
Installation view: The Diptych (1994) after The Death of Socrates and Big Painting (1994) by Igor Kopystiansky at the solo exhibition by Igor and Svetlana Kopystiansky. Kunsthalle Dusseldorf 1994.

From this group of works in the collection MNAM Centre Pompidou Paris are represented Transformable Paintings(1991). This work does consist from seven paintings based at works of Western-European artists including Titian, Diego Velazquez, Giorgione, Murillo, Tintoretto, Eugène Delacroix which were exhibited and can be exhibited as objects in several different ways. [8] [9]

Compact Paintings (1992) are in the collection of the Centre Pompidou. [10] For each object from the set was produced an oil painted copy of the pre-existing painting. After that a painting was cut in stripes which were rolled and fixed bound with a rope. In this way a two dimensional painting was turned into a three dimensional compact object.

The work The Secret of the Lost (2003) which consists of 18 Compact Paintings is in the collection of Museum Folkwang Essen. [11]

Igor Kopystiansky’ individual works produced in the media of painting and installation since the early eighties have rightfully been defined as a part of an international art movement known as Appropriation Art. [12]

In 1988, he and his wife and collaborator Svetlana Kopystiansky left the Soviet Union and moved to New York City. In 1990, Svetlana and Igor Kopystiansky received a DAAD artists-in-residency grant that took them from New York to Berlin, Germany, and resulted in their solo museum exhibition with a catalogue curated by René Block for the Berlinische Galerie, Museum of Modern Art, in the Martin Gropius-Bau, Berlin in 1991. [1]

Igor and Svetlana Kopystiansky pursue individual careers, but also regularly work together. His individual and joint practice were shown at museum venues, in important international presentations and are collected by major American, European and Australian museums.

In the collection of the Whitney Museum of American Art Igor and Svetlana are represented with a two screen slide projection installation The Day Before Tomorrow photographed on streets of New York in 1999, the last year of the Millennium. [13]

Film/Video works

Increasingly the Kopystianskys make video. Their 1996-7 video Incidents, filmed on streets of Chelsea Manhattan was first shown by curator Harald Szeemann in the Lyon Biennale in 1997, [14] meditates on the potential beauty and pathos of discarded objects, as they are balletically blown around by wind along a city street. The filming of Incidents was made during a period of two years 1996/1997 in Chelsea where has been located artists’ studio, what at that time was largely non-residential area. Artists made filming and editing instantly and continued to work in such way until the video was accomplished. A soundtrack of this work is based exclusively on original recording in the city, which consist from incidental sounds of street life: traffic, conversations, footsteps, etc. A fresh and very common wind from the Hudson River transformed streets into a kind of a stage with actors. Everyday objects: a cup, a newspaper, an umbrella, a cardboard box, plastic bags are blown across the sidewalk and street. Mass-produced discards become large sculptures always in their movement, with constant changes of their sculptural form. Hours of footage carefully collected on many windy days have been edited to capture these magical moments. The wind was playing with these objects, turning and twisting them, bringing them together, and then separating them once more. It looks that the wind was liberating them from a power of gravitation.

Igor Kopystiansky, at the exhibition of Incidents at MoMA, New York, 2012. Igor Kopystiansky MoMA Incidents.jpg
Igor Kopystiansky, at the exhibition of Incidents at MoMA, New York, 2012.

Incidents were produced in a limited editions which were acquired and become a part of collections of MoMA, Metropolitan, Centre Pompidou, Museum of Fine Arts Houston, TATE Modern London, Museum für Moderne Kunst Frankfurt, Germany, AGNSW Sydney and were exhibited as a part of collections by major museums and at important international exhibitions. [15] [16] A complete exhibition history of the video work Incidents (1996/1997) is published in a reference to a purchase at the web site of the MFAH, Museum of Fine Arts Houston, Texas. [17]

Later collaborations, such as 2005's Yellow Sound represented in the collection of Smithsonian American Art Museum takes its title from a Wassily Kandinsky theater production, and its silent structure and running time from John Cage's famous composition 4'33" (1952), in which a piano player sits at the keyboard, lift the lid and stay motionless and silent for the next four minutes and thirty-three seconds. As a source for Yellow Sound,(2005) artists used a found silent film footage with an image of a vinyl record. The original very short film was slowed down to increase it’s duration to 4:33. During the whole presentation a viewer does see an image, which looks like a still and only dust, scratches and other original damages of the film, which appear and disappear slowly indicate that the time is flowing. [18]

In the video Portrait, 2006, represented in the collection of the Metropolitan Museum, Kopystiansky used a short excerpt from Masculin Feminin by Jean-Luc Godard. This selected clip has been played forward and backward at the same time. As the artists have described their process, "The effect is that most of the time the image is doubled, but in the middle of the program for 1/24th of a second the images merge in one single still. This moment has been determined by the movement of the film in the projection camera.” [19]

In a 2006 film work, Pink and White-A Play in Two Time Directions, artists superimpose the same footage playing forward and in reverse. The suggestive quality of these pieces is enhanced as the time/action moves forward and rewinds, creating a sense of time as both a found event and a lost memory. Pink and White is emphasizing their interest in early cinema, and the surrealist graphic intensity of photographer Man Ray.

Pink and White is related to two other film/video works by Igor and Svetlana Kopystiansky: Double Fiction (2008) [20] and Fiction Double (2008). [21] In both works the entire movie – respectively, The Birds by Alfred Hitchcock and the Breathless by Jean-Luc Godard – have been played in two directions: forward and backward. Their soundtracks, in contradistinction to Pink and White, were appropriated from the original movies. Both movies were created almost at the same time within only a three year difference: 1960 Breathless and 1963 The Birds, both have a dramatic intensity and a fictional film narrative built in a classical way: a narrative time moves straightforward in one direction only. Both films represent an “author’s” cinematography and for artists was important to use classical films which every viewer is keeping in a memory.

Igor Kopystiansky at the exhibition of Fiction Double at the Centre Pompidou. Collection Centre Pompidou MNAM. Igor Kopystiansky Centre Pompidou Fiction Double.jpg
Igor Kopystiansky at the exhibition of Fiction Double at the Centre Pompidou. Collection Centre Pompidou MNAM.

In Double Fiction and Fiction Double respectively, entire film footage of Alfred Hitchcock film The Birds and the entire film footage of Jean-Luc Godard’s Breathless are shown with sound, from beginning to end and over again in reverse, from the end to the beginning simultaneously and both flows of time are visible to the viewer in every moment of the presentation. In this way Kopystiansky’s incorporated the entire film as a found object and re-considered viewer’s reception of narrative time in the classical cinema. In a visual part early scenes are joined with later scenes. At the mid-point, each film becomes one as the superimposed films line up and become a single film. Both time flows heading in opposite directions join for a very brief moment which duration has been defined by a speed of a film presentation: 1/24th of the second. Deconstruction of an original narrative content worked at the same time as a constructive force by creating a new visual and audio quality of the work and producing a new visual object.

In that new work relations between characters have changed and simultaneously new relations have been built, new interactions between them. Characters also interact with themselves being present at the screen in two times at once. Every next image is an unpredictable visual combination. All the music, all noises and each spoken word in the film always have been played twice: in a regular direction and in a reverse. An important part of these works is a verbal language. The sound has been bound to the image and has been played equally either in a regular direction or reversed. In that second case spoken words have been changed to a not recognition and by loosing their communication means gained new qualities and have been turned into abstract Sounds. [22] [23]

Video installation Crossroad (2009) was exhibited for the first time at the solo exhibition by Igor and Svetlana Kopystiansky in the Musée d'Art Moderne de Saint-Etienne Métropole, France in 2010. An unedited solid footage filmed at six different crossroads in the Lower Manhattan was a record of real time: of all events, which took place in a front of the camera with all sounds of an environment. From these 6 video records artists made 3 video programs using two footages for each screen by superimposing them and dissolving one of them very slowly into another one and back during the playback. In this way during a projection images slowly and gradually dissolve from a shot of one location to a shot of another location in the city. At the beginning of each program is only one single frame which represents a perfect image from one location and immediately after that begins a very long and graduate dissolve which ends up with a single frame of another “perfect image” from a second footage. After reaching that point begins equally slow dissolve back to the first footage again. In the rest of the time on each screen is projected a mixture of two different locations and two time pieces what creates a new fictional visual reality. The architecture becomes entirely unreal and a gradual transition between two different locations creates a dislocation of time and place. [22] [23]

Exhibitions

Kopystiansky’s individual and collaborative works has been featured in the MoMA, Metropolitan Museum in New York City; Centre Pompidou, Paris; Centre Pompidou Metz; Tate Modern, London; Tate Gellery Liverpool; Museo Reina Sofia, Madrid; Smithsonian American Art Museum, Washington, D.C.; Art Institute of Chicago; Museum of Fine Arts, Houston, MFAH Texas; MCA Chicago; Whitechapel Art Gallery, London; Museum für Moderne Kunst, MMK Frankfurt am Main; Deichtorhallen Hamburg; Kunsthalle zu Kiel; Stedelijk Museum voor Actuele Kunst SMAK Gent; Art Gallery of New South Wales AGNSW, Sydney; Museum of Contemporary Art, Vigo, [24] Spain; MUMOK, Vienna; Henry Art Gallery, Seattle. Igor and Svetlana Kopystiansky had solo exhibitions at the Musée d’Art Moderne de Saint-Etienne, France; Kunsthalle Düsseldorf; Sprengel Museum Hannover; Kunsthalle Fridericianum, Kassel; Martin-Gropius-Bau/Berlinische Galerie; Espoo Museum of Modern Art, Finland; Scottsdale Museum of Contemporary Art SMoCA Arizona; Fine Arts Center UMass, Amherst; GAMeC, Bergamo; Muzeum Sztuki in Łodz, Poland; Lithuanian National Museum in Vilnius, Lithuania. [25]

His individual and joint practice were shown in major international presentations, including the 1988 Venice Biennial, 1992 Sydney Biennial, [26] the 1994 Sao Paulo Biennial, the 1995 Istanbul Biennial, [27] 1997 Lyon Biennial, [14] 1997 Johannesburg Biennial [28] 1999 Liverpool Biennial [29] and documenta 11 in 2002, [30] [31]

Lisson Gallery represented Igor and Svetlana Kopystiansky from 2001 till 2011. [32] A collaboration with the Lisson gallery started in 2000, when being in New York Igor and Svetlana received an invitation to participate in Video Work, exhibition by the Lisson Gallery in Covent Garden, at 9 Kean Street, April 28 - May 26, London which co-insided with the opening of the Tate Modern. At that exhibition Igor and Svetlana presented their video work Fog (2000) filmed from the Chelsea piers across Hudson River. In 2024 Fog (2000) was acquired by the Walker Art Center. In the exhibition Video Work by the Lisson Gallery participated: Francis Alÿs, Pierre Bismuth, Vanessa Beecroft, Mat Collishaw, Ceal Floyer, Douglas Gordon, Rodney Graham, Igor & Svetlana Kopystiansky, Paul McCarthy, Jonathan Monk, Tony Oursler, Simon Patterson, Julião Sarmento, Marijke van Warmerdam, Jane & Louise Wilson. [33] [34] [35] [36]

At the Armory Show New York in 2001 Lisson gallery presented a video program which included Incidents (1996/1997) by Igor and Svetlana Kopystiansky with video works by Rodney Graham, Francis Alÿs, Jane & Louise Wilson, Julião Sarmento, Simon Patterson, Paul McCarthy, Dan Graham und Pierre Bismuth.

A major part of the first solo exhibition by Igor and Svetlana at the Lisson gallery London in 2002 were installation works filmed on streets of New York City including two screen slide projection installation The Day before Tomorrow (1999) which become a part of the Whitney Museum of American Art collection in 2009. [37] [38]

For the first ttime The Day before Tomorrow was exhibited: Chronos & Kairos: die Zeit in der zeitgenössischen Kunst. Curator René Block. Artists including: Joseph Beuys, George Brecht, Marcel Broodhaers, John Cage, Hanne Darboven, Jan Dibbets, Marcel Duchamp, Hans Peter Feldmann, Robert Fillou, Dick Higgins, Allan Kaprow, On Kawara, Joseph Kosuth, Igor and Svetlana Kopystiansky, George Maciunas, Bruce Nauman, Yoko Ono, Nam June Paik, Man Ray, Dieter Rot, Thomas Ruff, Rosemarie Trockel, Ben Vautier, Wolff Vostell, Andy Warhol, Lawrence Weiner, Emmett Williams. 5 Sept.-7 Nov. 1999. [39]

In 2006 at their second Lisson gallery solo exhibition Igor and Svetlana presented video installation Yellow Sound(2005) which from 2009 is represented in the collection of the Smithsonian American Art Museum in Washington, D.C., two video projection installations (Sandglass) Establishing Shot commissioned by the Scottsdale Contemporary Art museum accompanied by a photographic project Fade also created in the desert of Arizona. Exhibition also included Pink and White presented as a multi screen video installation and paintings by Svetlana Kopystiansky: Landscapes and Seascapes shaped by handwritten text appropriated from poems by Samuel Beckett and works on paper. [40] [41] [42]

The first group exhibition Igor participated at after the immigration to the US was "What is Contemporary Art?” organized by an American curator Dan Cameron. Participated artists were: Fischli-Weiss, Katharina Fritsch, Georg Herold, Rebecca Horn, On Kawara, Mike Kelley, Jeff Koons, Igor Kopystiansky, Sherrie Levine, Tatsuo Miyajima, Walter Obholzer, Meret Oppenheim, Perejaume, Haim Steinbach, Bill Taylor, Jeff Wall. Rooseum, Malmö, Sweden 1989. All works by Kopystiansky exhibited at this project were shortly before that exhibited at the solo exhibition by Igor and Svetlana Kopystiansky in New York City in October 1988. [43]

Public collections

Archives

Publications

Further reading

References

  1. 1 2 "Igor Kopystiansky (Biography)". Artnet . Retrieved 10 March 2019.
  2. 1 2 James, Sarah (September 2006). "Igor & Svetlana Kopystiansky: Lisson Gallery: London". Art Monthly. 299: 36–37 – via Art Full Text.
  3. ↑ "Fonds Igor et Svetlana Kopystiansky".
  4. ↑ Igor & Svetlana Kopystiansky. The Lithuanian National Museum of Art. Texts by Michel Gauthier, John G. Hanhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. ISBN   978-609-426-182-4, pp. 94-103. 2023.
  5. ↑ Le Musée d'art moderne de Saint-Etienne / Jacques Beauffet, Bernard Ceysson, Martine Dancer et Maurice Fréchuret. - Paris : Musées et monuments de France : A. Michel ; Saint-Etienne : la Ville, 1990. - 126 p. : ill. en coul. ; 29 cm. - (Musées et monuments de France) n° isbn 2-226-04038-2 - reprod. p. 120
  6. ↑ Igor Kopystiansky: Intérieur. 1988. Oeuvre en 3 dimensions, Installation. Toile déployée au mur et au sol sur laquelle sont posées deux chaises recouvertes de toile de lin peinte. Huile sur toile de lin et bois. Partie supérieure: 193 x 284,8 x 44 cm Chaque chaise: 80 x 38 cm. Achat, 1989. Inv. : 89.25.2
  7. ↑ Ludwig Forum für Internationale Kunst Aachen. Konzeption: Annette Lagler. Autoren: Wolfgang Becker, Annette Lagler, Irene Ludwig. p. 88. Deutscher Kunstverlag München Berlin, 1996. ISBN 3-422-06181-9
  8. ↑ Igor Kopystiansky. Transformable Paintings, 1991. Huile sur toile, Dimensions variables. collection MNAM Centre Pompidou. AM2017-214
  9. ↑ Exhibition: Dialog im Bodemuseum .Curated by Klaus Biesenbach. Artists: Isa Genzken, Klaus vom Bruch, Svetlana Kopystiansky, Igor Kopystiansky, Strawalde Staatliche Museen Preussischer Kulturbesitz, Bodemuseum Berlin, 1992. ISBN   978-0-9841776-2-2
  10. ↑ Igor Kopystiansky. Compact Paintings, 1992. collection MNAM Centre Pompidou. AM 2017-213 (4).
  11. ↑ Igor Kopystiansky. The Secret of the Lost, 2003. Acquired in 2003 with funds of the City of Essen. Inv. G 574
  12. ↑ As noted by Atkins, Robert.  Art Speak: A Guide to Contemporary Ideas, Movements, and Buzzwords.  Abbeville Publishers. New York, New York. 1990. pp. 42–43. https://openlibrary.org/books/OL2198674M/Artspeak
  13. ↑ Igor Kopystiansky, Svetlana Kopystiansky, The Day Before Tomorrow, 1999. Collection Whitney Museum of American Art
  14. 1 2 "L'Autre. 4e Biennale de Lyon, Art Contemporain," Curator Harald Szeemann, Lyon, France ISBN   978-2-7118-3574-4
  15. ↑ "Igor & Svetlana Kopystiansky". The Lithuanian National Museum of Art. 2023. Texts by Michel Gauthier, John G. Hanhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg.(Lithuanian, English, French) ISBN   978-609-426-182-4
  16. ↑ "Igor and Svetlana Kopystiansky | Incidents | The Met". The Metropolitan Museum of Art, i.e. The Met Museum. Retrieved 10 March 2019.
  17. ↑ Exhibition history of “Incidents”(1996/1997) at the MFAH, Museum of Fine Arts Houston, Texas
  18. ↑ "Yellow Sound". Smithsonian American Art Museum. Retrieved 10 March 2019.
  19. ↑ Kopystiansky: Portrait (2006) Metropolitan Museum collection
  20. ↑ Igor Kopystiansky, Svetlana Kopystiansky. Double Fiction (2008) Collection MFAH, Museum of Fine Arts Houston
  21. ↑ Igor Kopystiansky, Svetlana Kopystiansky. Fiction Double (2008). Collection Centre Pompidou MNAM
  22. 1 2 Igor & Svetlana Kopystiansky. The Lithuanian National Museum of Art. Texts by Michel Gauthier, John G. Hanhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. ISBN   978-609-426-182-4, 2023.
  23. 1 2 John G. Hanhardt, Consulting Senior Curator for Media Arts, the Nam June Paik Media Arts Center, Smithsonian American Art Museum: The Play of Time: The Art of Svetlana and Igor Kopystiansky. Published in: 2010 Kopystiansky. Double Fiction/Fiction Double. Musée d"Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel, 2010 ISBN   978-2-84066-374-4
  24. ↑ Museum of Contemporary Art, Vigo
  25. ↑ Svetlana Kopystiansky at the Artnet
  26. ↑ "The Boundary Rider," 9th Biennale of Sydney. Curator Anthony Bond. AGNSW, Sydney, Australia. ISBN   978-1-921034-84-8
  27. ↑ The 4th International Istanbul Biennial, ORIENT/ATION–The Vision of Art in a Paradoxical World Turkey. Director: René Block. Venue: Antrepo no. 1, Yerebatan Cistern, Hagia Eirene Museum, Atatürk Cultural Center Art Gallery. ISBN   978-2-87939-249-3
  28. ↑ "2nd Johannesburg Biennale," Curator Okwui Enwezor. Johannesburg, South Africa. ISBN   978-0-620-21522-0, 1999
  29. ↑ "Trace," Liverpool Biennial of Contemporary Art, (Curator Anthony Bond). The Tate Gallery Liverpool, ISBN   978-0-9536761-0-1
  30. ↑ Hemken, Kai-Uwe: Die doppelte Documenta 11 - Die Videoinstallation "Flow" von Igor & Svetlana Kopystiansky als Sinnbild einer mediatisierten documenta. XXD11: Über Kunst und Künstler der Gegenwart. Ein Nachlesebuch zur Documenta 11. Kassel University Press ; Erscheinungstermin. 1. Mai 2003 ; ISBN   978-3-89958-506-3.
  31. ↑ Documenta 11," Director Okwui Enwezor. Kassel, Germany. 2002. ISBN   978-3-7757-9088-8
  32. ↑ Lisson Gallery (2017), Cornerhouse Publications (ed.), "Artist, work, Lisson. Lisson Gallery London, England.", "ARTIST WORK LISSON Documents the History and Legacy of Lisson Gallery over the Past 50 Years. Under the Art Direction of Famed Dutch Designer Irma Boom, the Publication Features an A-to-Z of Every Artist Who Has Had a Solo Exhibition at the Gallery., London New York, NY: Lisson Gallery, ISBN   978-0-947830-63-2
  33. ↑ Review: UK Frieze. Video Works by Mark Godfrey ‘Rodney Graham’s Vexation Island (1998) Mat Collishaw’s Blind Date (2000) Igor and Svetlana Kopystianskys’ Fog (2000) positioned viewers between two wall-length screens which looked like shifting colour fields, Marijke van Warmedam’s Skytypers (1997), Ceal Floyer’s Ink on Paper (1999) Jonathan Monk’s While Witt 100 Cubes Cantz/Pierre Bismuth’s short film Alternance (1999) Francis Alÿs, In Cuentos Patria (Patriotic Tales, 1997), Douglas Gordon’s Film Noir (1995) Paul McCarthy’s Rocky (1976) Vanessa Beecroft bridges the gulf: the half-naked girl in Performance (1997) Simon Patterson Enter the Dragon (1999), Jane and Louise Wilson.
  34. ↑ Godfrey Mark. "Video Work. Lisson gallery in Covent Garden." Frieze, September–October 2000, S. 128–129
  35. ↑ Bishop, Claire. "Lisson Video Show, London" Flash Art International, Summer 2000, pp. 53
  36. ↑ Searle, Adrian. "Step into another world. Adrian Searle is disturbed, frightened and mesmerised by the biggest and best show of film and video art the UK has ever seen." The Guardian, 4. Mai 2000
  37. ↑ Schwabsky, Barry. “Igor & Svetlana Kopystiansky, Artforum, Dec 2002, p. 148-149
  38. ↑ Downey, Anthony. “London: Lisson Gallery”, Contemporary, Nov 2002, p. 85-86
  39. ↑ Kunsthalle Fridericianum,, Kassel, Germany. Chronos & Kairos: die Zeit in der zeitgenössischen Kunst; Museum Fridericianum Kassel, Curator René Block, Verlag: Documenta und Museum Fridericianum Kassel, 1999. Kunsthalle Fridericianum, 5 Sept.-7 Nov. Kassel, Germany. ISBN 978-3-927015-13-5
  40. ↑ Coxhead, Gabriel. “A Dual Perspective”, The Financial Times, 21 July 2006
  41. ↑ Downey, Anthony. Igor & Svetlana Kopystiansky, Flash Art, No.250, October 2006
  42. ↑ Santacatterina, Stella. “Igor and Svetlana Kopystiansky, A Double Act.” Portfolio, no. 44
  43. ↑ "What is Contemporary Art?” Curator Dan Cameron. Participating artists: Fischli-Weiss, Katharina Fritsch, Georg Herold, Rebecca Horn, On Kawara, Mike Kelley, Jeff Koons, Igor Kopystiansky, Sherrie Levine, Tatsuo Miyajima, Walter Obholzer, Meret Oppenheim, Perejaume, Haim Steinbach, Bill Taylor, Jeff Wall. Rooseum, Malmö, Sweden. ISBN   978-99910-73-53-8; OCLC   21436173
  44. ↑ "Igor Kopystiansky, Svetlana Kopystiansky. Incidents. 1996-1997". The Museum of Modern Art. Retrieved 19 April 2025.
  45. ↑ Metropolitan Museum of Art
  46. ↑ "Igor Kopystiansky, Svetlana Kopystiansky". whitney.org. Retrieved 19 April 2025.
  47. ↑ "Igor Kopystiansky". The Art Institute of Chicago. 1954. Retrieved 19 April 2025.
  48. ↑ MFAH, Museum of Fine Arts, Houston
  49. ↑ Walker Art Center
  50. ↑ "Search". americanart.si.edu. Retrieved 19 April 2025.
  51. ↑ "Henry Art Gallery". collections.henryart.org. Retrieved 19 April 2025.
  52. ↑ "Igor Kopystiansky". Centre Pompidou. Retrieved 19 April 2025.
  53. ↑ Tate. "'Incidents', Igor Kopystiansky, Svetlana Kopystiansky, 1996–7". Tate. Retrieved 19 April 2025.
  54. ↑ "Works matching "kopystiansky"". artgallery.nsw.gov.au. Retrieved 19 April 2025.
  55. ↑ |Musée d'Art Moderne de Saint-Etienne Métropole]
  56. ↑ Becker, Wolfgang und Lagler, Annette. Ludwig Forum für Internationale Kunst Aachen. Deutsche Kunstverlag München Berlin 1996. p. 88. ISBN   978-3-422-06181-1
  57. ↑ "Detailsuche". sammlung-online.berlinischegalerie.de. Retrieved 19 April 2025.
  58. ↑ "WORKS FROM THE MMK COLLECTION". collection.mmk.art. Retrieved 21 April 2025.
  59. ↑ Frac Corsica
  60. ↑ "Incidents by Igor and Svetlana Kopystiansky". msl.org.pl. Retrieved 21 April 2025.
  61. ↑ Museum Sztuki,
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