" The face does not give in to possession, my authority. Expression which enters into the world together with the face, is a call not to my imperfect opportunities, and my opportunity of authority. The face, all remaining a thing among things, destroys, however, the form limiting it. The face speaks with me and by that invites me to enter the attitude which is not having anything general with opportunities, carried out in pleasure or in knowledge "
E. Levinas.
Alla Dulh, born 1983, Leningrad (St.Petersburg), Russia.
1998 – graduated from secondary school in St.Petersburg
1998 - 2002 – graduated from the State University of St. Petersburg; Bachelor Degree in Phsychology
2003 – entered the Lumiere Brothers Institute, Lion, France; Film Direction
Artistic activity:
• 2003 – participant of photography team exibition “Prosto” [Simply], Gallery de Lion, France
• 2004 – artistic setting coordinator of the “Den vne vremeni” [A Day Beyond Time] (New Year according to the Maya calendar), Malyj Mikhajlovskiy Palace, St.Petersburg
• 2003-2005 – program director of the “Open Cinema Centre”:
- 2003 – Dziga Vertov Festival, “Dom Kino”, St.Petersburg
- 2004 – Annual Cinema Festival within the limits of the “Vertikal” project [Vertical
Line], Petropavlovskaya Fortress, St.Petersburg
- cinema shows in “Dom Kino” and “Rodina” cinema theatres
• 2005 – painting team exhibitions of the “Art Raum” project, curator Tomofey Pozner, Moscow
• 2006 – personal painting exhibition “Face”, “Album” gallery-studio, curator Natalya Pankova
• 2007 – personal painting exhibition “Genius Loci”, “Na Nevskom” studio
• 2007 – a painting used as a book cover for the collected works of German philosopher Johann Gottlieb Fichte, St.Petersburg University Publishing
• 2008 – personal painting exhibition “Blagolslovlenie” curator Vladimir Visozkiy, St.Petersburg
During an antique epoch graceful art concerning external beauty had two poles. In the Roman tradition portrait similarity was an obligatory condition while in Greek – was considered secondary. Greeks tried to achieve harmony between soul and a body and, due to attributing external beauty, emphasized beauty internal. Romans with the same objective addressed to status symbols, proceeding from a reason, that unworthy cannot achieve social recognition. Since times of antiquity much has exchanged, but one remains constant till now: with rare exception, visual art always did the rate on external beauty, including its to an indispensable component of art reconsideration and if addressed to ugliness or suffering it is equal so, how much it was required with pathos of specific moral motive, in the majority of cases, formally softening with its symbolics or subject painting.
Alla Dul's creativity, in this sense, contradicts such traditional sight and simultaneously skilfully it uses. Appealing to a psychological genre of a portrait, the artist it is realized chooses as the characters of people deprived appeal external, no less than status attributes - thus, compelling the spectator to address for aesthetic pleasure to the beauty of other sort not laying on a surface and sometimes invisible, but prospective and obligatory, if it is a question of art. Focus consists that in an ordinary life the mechanism of perception of the person is reduced by the person to search of conformity there is nobody the imposed stereotypic ideal while in art existence of an ideal a priori is considered an obligatory component. In this context, Alla Dul's works are perceived, as the original protest against the world external and social, but undoubtedly imaginary beauty – the major symbol of a consumer society, greedy for bright ideas, no less than on bright appearance, behind which so it is easy to hide ugly essence.
Proceeding from it, it is not surprising, that the basic subject of art studying for Alla Dul became the face – the basic source of the nonverbal information, value judgment, and simultaneously, inevitable fear; fear which reason is human feebleness concerning own and another's face, its almost full absence of control, autonomy of existence, sometimes excessive, nobody the necessary sincerity. The perception of the face as artistic image, it is not limited to simple contemplation, but inevitably leaves on a new level of interoperability. Where the character to become the equal in rights participant some kind of dialogue, forcing to reckon with its opinion. And the spectator, in turn, having appeared in a trap of own stereotypes – cannot ignore this well-defined opinion any more.
E. Levinas.
Alla Dulh, born 1983, Leningrad (St.Petersburg), Russia.
1998 – graduated from secondary school in St.Petersburg
1998 - 2002 – graduated from the State University of St. Petersburg; Bachelor Degree in Phsychology
2003 – entered the Lumiere Brothers Institute, Lion, France; Film Direction
Artistic activity:
• 2003 – participant of photography team exibition “Prosto” [Simply], Gallery de Lion, France
• 2004 – artistic setting coordinator of the “Den vne vremeni” [A Day Beyond Time] (New Year according to the Maya calendar), Malyj Mikhajlovskiy Palace, St.Petersburg
• 2003-2005 – program director of the “Open Cinema Centre”:
- 2003 – Dziga Vertov Festival, “Dom Kino”, St.Petersburg
- 2004 – Annual Cinema Festival within the limits of the “Vertikal” project [Vertical
Line], Petropavlovskaya Fortress, St.Petersburg
- cinema shows in “Dom Kino” and “Rodina” cinema theatres
• 2005 – painting team exhibitions of the “Art Raum” project, curator Tomofey Pozner, Moscow
• 2006 – personal painting exhibition “Face”, “Album” gallery-studio, curator Natalya Pankova
• 2007 – personal painting exhibition “Genius Loci”, “Na Nevskom” studio
• 2007 – a painting used as a book cover for the collected works of German philosopher Johann Gottlieb Fichte, St.Petersburg University Publishing
• 2008 – personal painting exhibition “Blagolslovlenie” curator Vladimir Visozkiy, St.Petersburg
During an antique epoch graceful art concerning external beauty had two poles. In the Roman tradition portrait similarity was an obligatory condition while in Greek – was considered secondary. Greeks tried to achieve harmony between soul and a body and, due to attributing external beauty, emphasized beauty internal. Romans with the same objective addressed to status symbols, proceeding from a reason, that unworthy cannot achieve social recognition. Since times of antiquity much has exchanged, but one remains constant till now: with rare exception, visual art always did the rate on external beauty, including its to an indispensable component of art reconsideration and if addressed to ugliness or suffering it is equal so, how much it was required with pathos of specific moral motive, in the majority of cases, formally softening with its symbolics or subject painting.
Alla Dul's creativity, in this sense, contradicts such traditional sight and simultaneously skilfully it uses. Appealing to a psychological genre of a portrait, the artist it is realized chooses as the characters of people deprived appeal external, no less than status attributes - thus, compelling the spectator to address for aesthetic pleasure to the beauty of other sort not laying on a surface and sometimes invisible, but prospective and obligatory, if it is a question of art. Focus consists that in an ordinary life the mechanism of perception of the person is reduced by the person to search of conformity there is nobody the imposed stereotypic ideal while in art existence of an ideal a priori is considered an obligatory component. In this context, Alla Dul's works are perceived, as the original protest against the world external and social, but undoubtedly imaginary beauty – the major symbol of a consumer society, greedy for bright ideas, no less than on bright appearance, behind which so it is easy to hide ugly essence.
Proceeding from it, it is not surprising, that the basic subject of art studying for Alla Dul became the face – the basic source of the nonverbal information, value judgment, and simultaneously, inevitable fear; fear which reason is human feebleness concerning own and another's face, its almost full absence of control, autonomy of existence, sometimes excessive, nobody the necessary sincerity. The perception of the face as artistic image, it is not limited to simple contemplation, but inevitably leaves on a new level of interoperability. Where the character to become the equal in rights participant some kind of dialogue, forcing to reckon with its opinion. And the spectator, in turn, having appeared in a trap of own stereotypes – cannot ignore this well-defined opinion any more.