Svetlana Kopystiansky

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Svetlana Kopystiansky in the installation Universal Space (1994) Collection Centre Pompidou MNAM Paris Svetlana Kopystiansky Uniiversal space.jpg
Svetlana Kopystiansky in the installation Universal Space (1994) Collection Centre Pompidou MNAM Paris

Svetlana Kopystiansky
Born1950
Voronezh, Soviet Union
OccupationArtist
Years active1988–present

Svetlana Kopystiansky (born 1950 in Voronezh) is an American artist, active in New York City since 1988. [1] She has a multimedia practice, including painting, photography, film, and video, with an investigation of language as her primary paradigm. [2] On works in media of film and video, she collaborates with her husband Igor Kopystiansky. Her independent works and their joint works are shown internationally and held in American, European and Australian museum collections. Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou. [3]

Contents

Work

From late Seventies until late Eighties Svetlana Kopystiansky was part of a second-generation of "Soviet non-conformist artists" [2] In 1979, Svetlana Kopystiansky turned to the avant-garde tradition. Her Correct Figures/Incorrect Figures (1979) commented on the work of Malevich, [4] while White Album (1979) was based on the concept of the “found object” introduced by Marcel Duchamp. [5] The works on paper Plays mimicked Samuel Beckett's deadpan humor and meditations on life's banality and contained a reference to Alexander Rodchenko’s ideas. Kopystiansky started working on her two conceptually and formally related series- Landscapes and Seascapes- in 1980. Both series merge text with image: a closer look at either a landscape or seascape reveals a pattern of handwritten text filling the canvas, [6] with excerpts borrowed from classic authors, such as Leo Tolstoy, Samuel Beckett and Paul Eluard. [7] [2] [8] Starting in the early eighties, Svetlana began working on a series of paintings that incorporated found texts appropriated from international classical literature. In this particular series of works, she combined both visual and verbal languages, crafting the visual form from handwritten verbal texts. From a distance, these paintings may resemble seascapes or landscapes, but as the viewer approaches them and looks closely, they can discern the verbal text and read it. In the creation of another series of text-based works, Svetlana handwrote found texts, extracted from novels, onto oil-painted canvases. Then were used the specific physical properties of the fabric, such as its elasticity, which allowed an artist to shape them into folds at her will. This way, Svetlana produced paintings where simple geometrical forms were outlined, and the material was arranged freely in various large or small folds. This approach resulted in the deconstruction of the original form of the text, with the new form giving rise to a new sequence of letters and signs. Thus, the visual form takes precedence over the text, causing the viewer’s attention to spring back and forth between the visual form and the text, which, however, can no longer be read in its original form, since the words disintegrate and their fragments come together in unbelievable constructions. An interplay emerges between the text-reality and the words, or rather, the visual form of the words, as distinct from their semantic and phonetic aspects. The deconstructed text carries a reference to the ideas of international Avant-Garde and DADA movements. [9] [10]

In 1988, she and her husband and collaborator Igor Kopystiansky left the Soviet Union and moved to New York City, which has been their home base since then.

In 1990 in New York Svetlana started a new series of large scale sculptures and installation works constructed from editions of books as found objects or readymades. In this group of works real books were placed in wooden boxes in a way that they become visual objects with pages open towards the viewer. For these works were used editions of novels in English. [5]

Produced in New York The Library(1990) for which construction were used editions of collected works by Edgar Allan Poe is represented in the collection of MUMOK Vienna. [11] The sculpture was exhibited for the first time at Castelli Graphics New York in 1990. [12]

Universal Space (1994)represented in the collection of the Centre Pompidou was created using real books (editions of novels) and gymnastic equipment. [13] Each book is affixed inside an individual wooden box, concealing the title, but forming a distinct shape from its pages. Both the books and the sports equipment used in this work are found objects. The installation creates a dual-purpose space, combining functions that are not compatible in reality, thus referring to the artistic ideas of surrealism. [14] [15] [16]

For The Library (1994) represented in the collection of Reina Sofia Madrid were used editions of Edith Wharton’s The Custom of the Country and The House of Mirth, and The Song of the Lark by Willa Cather. [17]

In 1990, being in New York Svetlana and Igor Kopystiansky received a DAAD artists-in-residency grant that brought them from the USA to Berlin, Germany, and resulted in their first solo museum exhibition with a catalogue, "In the Tradition," curated by René Block for the Berlinische Galerie, Museum of Modern Art, in the Martin Gropius-Bau, Berlin in 1991. [1]

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 the streets of New York in 1999. [18]

Film/Video Works

Increasingly the Kopystianskys make video. Their 1996-7 video Incidents, [19] filmed on streets of Chelsea Manhattan was first shown by curator Harald Szeemann in the Lyon Biennale in 1997, [20] meditates on the potential beauty and pathos of discarded objects, as they are balletically blown around by wind along a city street. [21] 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.

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. [22]

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

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. [23]

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. [24] 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. [25]

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.” [26]

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) [27] and Fiction Double (2008). [28] [29]

Svetlana Kopystiansky. Exhibition of Fiction Double at the Centre Pompidou. Collection Centre Pompidou MNAM. Svetlana Kopystiansky Centre Pompidou Fiction Double.jpg
Svetlana Kopystiansky. Exhibition of Fiction Double at the Centre Pompidou. Collection Centre Pompidou MNAM.

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. 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 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. [30] [31]

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. [32] [33]

Exhibitions

Kopystiansky’s individual and collaborative works has been featured in exhibitions in such institutions as 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; Museum of Contemporary Art, Chicago 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, [34] Spain; MUMOK, Vienna; Henry Art Gallery, Seattle. Among others, 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. [35]

Svetlana Kopystiansky’s individual works and joint works with Igor were shown at important international exhibitions including the 1992 Sydney Biennial, [36] the 1994 Sao Paulo Biennial, the 1995 Istanbul Biennial, [37] 1997 Lyon Biennial, [20] 1997 Johannesburg Biennial [38] Liverpool Biennial, [39] 1997's Skulpture Projekt, [40] Münster. and documenta 11 in 2002, [41] [42]

The first exhibition by Svetlana Kopystiansky in New York City and the US took place from 16th June-16th July 1988 at the Cable Gallery, 611 Broadway, NYC. At that exhibition participated Svetlana Kopystiansky, Brenda Miller and Collier Schorr. Svetlana exhibited her text based paintings including one of her very early works: Landscape, 1982 which at that time was purchased by American collectors and later donated to the MFAH, Museum of Fine Arts, Houston. [43]

Lisson Gallery represented Igor and Svetlana Kopystiansky from 2001 till 2011. [44] 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. [45] [46] [47] [48]

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. [49] [50]

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. [51]

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. [52] [53] [54]

Archives

Honors and awards

Public collections

Publications

Further reading

References

  1. 1 2 "Svetlana Kopystiansky (Biography)". Artnet . Retrieved 10 March 2019.
  2. 1 2 3 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. Kandinsky Library, Centre Pompidou
  4. ↑ Svetlana Kopystiansky. Correct figures / Incorrect figures, 1979. Collection AGNSW
  5. 1 2 Svetlana Kopystiansky. “Universal Space.” 1994. 430 x 880 x 360 cm. Collection MNAM Centre Pompidou. "Universal Space", série de sculptures et installations exposées pour la première fois à New York en 1990
  6. ↑ "Art and Text," Black Dog Publishing Will Hill, Charles Harrison, Dave Beech. London. Edited by Aimee Selby. 279 p. 2019. Textuality : Vito Acconci ; Fiona Banner ; Robert Barry ; Mark Bijl ; Xu Bing ; Mel Bochner ; Claus Carstensen ; Adam Chodzko ; Hanne Darboven ; Jeremy Deller ; Douglas Gordon ; Jens Haaning ; Gary Hill ; Roni Horn ; Svetlana Kopystiansky ; Simon Lewty ; Glenn Ligon ; Hayley Newman ; Simon Patterson ; Daniel Pflumm ; Tom Phillips ; Olivia Plender ; Jaume Plensa ; Simon Popper ; Richard Prince ; Ugo Rondinone ; Allen Ruppersberg ; Carolee Schneemann ; Jeffrey Shaw ; Catherine Street ; Joanne Tatham & Tom O'Sullivan ; Cy Twombly ; Cerith Wyn Evans ; Carey Young. ISBN   978-1-906155-65-0 OCLC   339957164</
  7. ↑ Svetlana Kopystiansky. Seascape, 2006. Oil on canvas. Text by Paul Eluard from the poem Lady Love in a translation by S. Beckett. Collection MNAM Centre Pompidou
  8. ↑ "Igor and Svetlana Kopystiansky | Exhibitions | Lisson Gallery". www.lissongallery.com. Retrieved 10 March 2019.
  9. ↑ "Igor & Svetlana Kopystiansky". The Lithuanian National Museum of Art. 2023. Foreword: Arūnas Gelūnas. 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
  10. ↑ “Igor and Svetlana Kopystiansky” Published on the occasion of the solo exhibition at the Martin-Gropius-Bau Berlin, 1991. DAAD. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke. ISBN   978-3-89357-031-7
  11. ↑ Svetlana Kopystiansky. The Library, 1990. Editions of collected works by Edgar Allan Poe.
  12. ↑ Kitchen Art Benefit. 31 May-6 June, 1990 Leo Castelli/Castelli Graphics, 578 Broadway, New York.
  13. ↑ "Universal Space", série de sculptures et installations exposées pour la première fois à New York en 1990
  14. ↑ "Igor & Svetlana Kopystiansky". The Lithuanian National Museum of Art. 2023. Foreword: Arūnas Gelūnas. 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
  15. ↑ “Igor and Svetlana Kopystiansky” Published on the occasion of the solo exhibition at the Martin-Gropius-Bau Berlin, 1991. DAAD. Curator René Block. Texts by Dan Cameron, Joachim Sartorius, Christine Tacke. ISBN   978-3-89357-031-7
  16. ↑ Svetlana Kopystiansky: The Library.” Published on the occasion of the solo exhibition at the Kunsthalle Düsseldorf, Germany. 1994.
  17. ↑ Svetlana Kopystiansky. The Library (1994) Wooden box and books. Overall: 250 x 40,8 x 21 cm
  18. ↑ Igor Kopystiansky, Svetlana Kopystiansky, The Day Before Tomorrow, 1999. Collection Whitney Museum of American Art
  19. ↑ Thierry Davila, Heuristique des courants d’air. Les Cahiers du Musée national d’art moderne , #146, Winter issue 2018-2019 of the Centre Pompidou. "Of an art that does not lack air. From Leonardo da Vinci to Duchamp, Hans Haacke and beyond, a eulogy of drafts »Heuristique des courants d’air. Artists: Léonard de Vinci, Marcel Duchamp, Piero Manzoni, Giuseppe Penone, Hans Haacke, Marinus Boezem, Igor et Svetlana Kopystiansky, Ryan Gander, Gabriel Orozco, Pascale Marthine Tayou, Zilvinas Kempinas, Francis Alÿs, Didier Marcel. Les Cahiers du Musée national d’art moderne 2019/1 N° 146 EAN 9782844268372
  20. 1 2 "L'Autre. 4e Biennale de Lyon, Art Contemporain," Curator Harald Szeemann, Lyon, France ISBN   978-2-7118-3574-4
  21. ↑ "Igor and Svetlana Kopystiansky | Incidents | The Met". The Metropolitan Museum of Art, i.e. The Met Museum. Retrieved 10 March 2019.
  22. ↑ "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
  23. ↑ Exhibition history of “Incidents”(1996/1997) at the MFAH, Museum of Fine Arts Houston, Texas
  24. ↑ "Yellow Sound". Smithsonian American Art Museum. Retrieved 10 March 2019.
  25. ↑ "Yellow Sound". Smithsonian American Art Museum. Retrieved 10 March 2019.
  26. ↑ Kopystiansky: Portrait (2006) Metropolitan Museum collection
  27. ↑ Igor Kopystiansky, Svetlana Kopystiansky. Double Fiction (2008) Collection MFAH, Museum of Fine Arts Houston
  28. ↑ Igor Kopystiansky, Svetlana Kopystiansky. Fiction Double (2008). Collection Centre Pompidou MNAM
  29. ↑ Michel Gauthier. Scenes from the life of palimpsests in Art Lovers. Stories of Art in the Pinault Collection at the Grimaldi Forum Monaco, from 12 July to 7 September 2014. Lien Art. Curator Martin Bethenod. Texts: Après by Martin Bethenod. ISBN   978-2-35906-112-3
  30. ↑ 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.
  31. ↑ 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
  32. ↑ 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.
  33. ↑ 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
  34. ↑ Museum of Contemporary Art, Vigo
  35. ↑ Svetlana Kopystiansky at the Artnet
  36. ↑ "The Boundary Rider," 9th Biennale of Sydney. Curator Anthony Bond. AGNSW, Sydney, Australia. ISBN   978-1-921034-84-8
  37. ↑ 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   2-87939-249-7
  38. ↑ "2nd Johannesburg Biennale," Curator Okwui Enwezor. Johannesburg, South Africa. ISBN   978-0-620-21522-0, 1999
  39. ↑ "Trace," Liverpool Biennial of Contemporary Art, (Curator Anthony Bond). The Tate Gallery Liverpool, ISBN   978-0-9536761-0-1
  40. ↑ "Sculpture projects in Münster 1997," Curators Kasper König and Klaus Bussmann. Münster, Germany. pp. 264–267. ISBN   978-3-7757-0667-4
  41. ↑ 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
  42. ↑ Documenta 11," Director Okwui Enwezor. Kassel, Germany. 2002. ISBN   978-3-7757-9088-8
  43. ↑ Museum of Fine Arts Houston, Texas.Artist Svetlana Kopystiansky, Culture American, Titles, Landscape, Date1982, Medium Oil tempera and ink on linen, Canvas: 23 3/4 × 27 11/16 × 1 3/4 in. (60.4 × 70.3 × 4.4 cm) Credit LineGift of Madeleine P. and Harvey R. Plonsker, Object number2023.819
  44. ↑ 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
  45. ↑ 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.
  46. ↑ Godfrey Mark. "Video Work. Lisson gallery in Covent Garden." Frieze, September-October 2000, S. 128–129
  47. ↑ Bishop, Claire. "Lisson Video Show, London" Flash Art International, Summer 2000, pp. 53
  48. ↑ 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
  49. ↑ Schwabsky, Barry. “Igor & Svetlana Kopystiansky, Artforum, Dec 2002, p. 148-149
  50. ↑ Downey, Anthony. “London: Lisson Gallery”, Contemporary, Nov 2002, p. 85-86
  51. ↑ 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
  52. ↑ Coxhead, Gabriel. “A Dual Perspective”, The Financial Times, 21 July 2006
  53. ↑ Downey, Anthony. Igor & Svetlana Kopystiansky, Flash Art, No.250, October 2006
  54. ↑ Santacatterina, Stella. “Igor and Svetlana Kopystiansky, A Double Act.” Portfolio, no. 44
  55. ↑ "Akademie der Künste, Berlin". www.adk.de. Retrieved 21 April 2025.
  56. ↑ "Igor Kopystiansky, Svetlana Kopystiansky. Incidents. 1996-1997". The Museum of Modern Art. Retrieved 19 April 2025.
  57. ↑ "Untitled". 1990s. Retrieved 19 April 2025.
  58. ↑ "Igor Kopystiansky, Svetlana Kopystiansky". whitney.org. Retrieved 19 April 2025.
  59. ↑ "Igor Kopystiansky". The Art Institute of Chicago. 1954. Retrieved 19 April 2025.
  60. ↑ MFAH, Museum of Fine Arts, Houston
  61. ↑ Walker Art Center
  62. ↑ "Search". americanart.si.edu. Retrieved 19 April 2025.
  63. ↑ "Henry Art Gallery". collections.henryart.org. Retrieved 19 April 2025.
  64. ↑ "Igor Kopystiansky". Centre Pompidou. Retrieved 19 April 2025.
  65. ↑ Tate. "'Incidents', Igor Kopystiansky, Svetlana Kopystiansky, 1996–7". Tate. Retrieved 19 April 2025.
  66. ↑ "Works matching "kopystiansky"". www.artgallery.nsw.gov.au. Retrieved 19 April 2025.
  67. ↑ "Search". www.mumok.at. Retrieved 21 April 2025.
  68. ↑ Ludwig Forum Aachen
  69. ↑ "Detailsuche". sammlung-online.berlinischegalerie.de. Retrieved 19 April 2025.
  70. ↑ "WORKS FROM THE MMK COLLECTION". collection.mmk.art. Retrieved 21 April 2025.
  71. ↑ "Incidents by Igor and Svetlana Kopystiansky". msl.org.pl. Retrieved 21 April 2025.
  72. ↑ Museum Sztuki,
  73. ↑ "Eesti muuseumide veebivärav - Nimeta" . Retrieved 4 May 2025.
  74. ↑ "La collezione 1988 –1990," Center for Contemporary Art Luigi Pecci, Prato, Italy. Centro per l'Arte Contemporanea Luigi Pecci, 120 S. : il. col. ; 28 cm. ISBN   978-88-85191-03-7
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