Igor and Svetlana Kopystiansky @kopystiansky - Tumblr Blog

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum, Whitney Museum of American Art, Art Institute of Chicago, Museum of Fine Arts, Houston; Walker Art Center, Contemporary Art Museum, Minneapolis; Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland; Muzeum Sztuki Lodz, Poland (Svetlana); Muzeum Sztuki Lodz (Igor); The Lithuanian National Museum of Art. Vilnius, Lithuania.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010, 1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011); Museum of Modern Art EMMA, Finland (2007); AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others. Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul 1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool 1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

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Igor and Svetlana Kopystiansky. Double Fiction. 2008. Collection MFAH, Museum of Fine Arts, Houston, Texas.

Installation view: Radvila Palace Museum of Art, exhibition Igor & Svetlana Kopystiansky. 2023-2024.

"Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock. …“Two revelatory pieces taken from the classical narrative cinema, Spellbound (2009) and Birds (2008), rework canonical Alfred Hitchcock films employing the same technique used in Pink and White. In this case, the moving image is not found footage but a finely crafted example of the classical cinema, created by a director employing elaborately staged action, cinematography, a script, acting, lighting, composition, and sound. In the case of Spellbound, a three-minute loop superimposes a sequence from the film played forward with the same scenes played in reverse. The two sequences come together in the middle and then continue on to either the conclusion or beginning of the sequence. Narrative anticipation and the intense drama of the action reaches its climax as a single scene. Time folds upon itself as we watch, but also as we recall what we already know. This method is elaborated further in The Birds, in which the entire Hitchcock film is shown with sound, from beginning to end and over again in reverse, from the end to the beginning. (The credits have been removed.) At the mid-point, the film becomes one as the superimposed films line up and become a single film. A work of astonishing simplicity and originality, it takes the meta-cinematic work of such artists as Douglas Gordon and Stan Douglas and the treatment of language in Gary Hill’s videotapes into the complex terrain of narrative, storytelling, and perception. The anticipation and remembrance of time and events through the conventions of storytelling, as we see in the Birds, also becomes a means to provide new insight into that film’s apocryphal vision of nature and human relationships. Early scenes are joined with later scenes, and it is almost as if the film itself is dreaming its own narrative as it unfolds. Birds is a brilliant choice, since it heightens the dramatic intensity of the narrative cinema and the nuance of the performances in a deconstruction of the meanings of the original film. It also places the viewer before the screen as an active participant. In a sense, the film haunts itself, as the action that unfolds anticipates its own conclusion, and the relationships between the characters become tragically predicted and realized. The destruction that is foreshadowed actually appears in the film at its beginning. Igor and Svetlana Kopystiansky have created a dialectical process by integrating the point of view of the camera and the play of time. The viewer becomes engaged in active looking and creates meaning out of moving images through that cognitive process. These artists have created an aesthetic text that is haunted by memory, whether represented by found footage, by the chance recordings of plastic bags blowing along on the sidewalk or the movement of people on the street, or by the rediscovery of scenes from well-known movies. Time erases itself as scenes overlap and change, in the process refashioning the moving image into an aesthetic text of timeless fascination.”

Excerpt from: The Play of Time: The Art of Svetlana and Igor Kopystiansky By John G. Hanhardt, (Senior Curator for Media Arts, Smithsonian American Art Museum)

Published in: "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 9786094261824

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

#Smithsonian American Art museum #Igor Kopystiansky #svetlana kopystiansky #centre pompidou paris #John Hanhardt #Art American #video art #MFAH #Museum of Fine Arts #Houston

Igor and Svetlana Kopystiansky. Double Fiction. 2008. Collection MFAH, Museum of Fine Arts, Houston, Texas.

Installation view: Radvila Palace Museum of Art, exhibition Igor & Svetlana Kopystiansky. 2023-2024

"Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock.

#center pompidou #Igor Kopystiansky #appropriation art #John Hanhardt #alfred hitchcock #video art #Svetlana Kopystiansky #Art American

Igor and Svetlana Kopystiansky. Double Fiction. 2008. Collection MFAH, Museum of Fine Arts, Houston, Texas.

Installation view: Radvila Palace Museum of Art, exhibition Igor & Svetlana Kopystiansky. 2023

An excerpt from the "Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock.

An excerpt from the "Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock. …“Two revelatory…

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Igor and Svetlana Kopystiansky. Pink and White. 2008.

Collection Muzeum Sztuki Lodz, Poland

Installation view: Igor and Svetlana Kopystiansky. November 16, 2023-February 2024. The Radvila Palace Museum. The Lithuanian National Museum of Art. Vilnius, Lithuania.

Kopystiansky: Pink and White. 2006. Sound: David Moss Exhibited: Igor and Svetlana Kopystiansky EMMA Espoo Museum of Modern Art, Finland 200

Igor and Svetlana Kopystiansky: I knew Edwards only slightly. 2009

Collection MFAH, Museum of Fine Arts Houston

Igor and Svetlana Kopystiansky: I knew Edwards only slightly. (2009) One channel video/sound installation. Duration 9 min 10 sec. Based at

#Igor Kopystiansky #Svetlana Kopystiansky #Art American #appropriation art #ingmar bergman #jean luc godard #american art #video art #Centre Pompidou #alfred hitchcock #Spellbound

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Installation view: Igor and Svetlana Kopystiansky. November 16, 2023-February 2024. The Radvila Palace Museum. The Lithuanian National Museum of Art. Vilnius, Lithuania.

Collection Centre Pompidou 16 mm b/w film Drawing White Line 1979 Film cinématographique noir et blanc, Achat, 2009 Inventory number : AM

Installation view: Igor and Svetlana Kopystiansky. November 16, 2023-February 2024. The Radvila Palace Museum. The Lithuanian National Museum of Art. Vilnius, Lithuania.

2019, 58:30 min

Installation view: Igor and Svetlana Kopystiansky. November 16, 2023-February 2024. The Radvila Palace Museum. The Lithuanian National Museum of Art. Vilnius, Lithuania.

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Igor and Svetlana Kopystiansky: Fiction Double. 2008. Installation view: Centre Pompidou, Paris. www.centrepompidou.fr/fr/ressources/oeuvre/cazXXpE“>Collection Centre Pompidou

Excerpt from the work "Fiction Double,” 2008. In “Fiction Double” the entire film A bout de souffle (Breathless) by J-L. Godard played forward was superimposed with the same film played in reverse. The two films come together in the middle and then continue on to either the conclusion or beginning of the film. Time folds upon itself as we watch, but also as we recall what we already know. At the mid-point, the film becomes one as the superimposed films line up and become a single film. Based at “A bout de souffle,”(Breathless) by Jean-Luc Godard, 1960

#Igor Kopystiansky #svetlana kopystiansky #center pompidou #jean-luc godard

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https://www.youtube.com/watch?v=FHWwExlOr7E

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https://www.youtube.com/watch?v=FHWwExlOr7E

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Excerpt from the video installation "Still"(2007) Collection Frac Corsica, France.

OVNi - Objectif Vidéo Nice. Video collection FRAC 2023

OVNi - Objectif Vidéo Nice · THE WINDSOR HOTEL FRIENDS of UFO VIDEO COLLECTION FRAC To celebrate two landmark anniversaries (FRAC's 40 years and 60 years of video art), a program has been compiled from selections from the collections of several FRACs that have responded favorably to the invitation of OVNI. December 2nd to 3rd from 2pm to 7pm FRAC Video Collection consists of: FRAC Normandie (Louidgi Beltrame | We Are Aliens Too, 2014) FRAC Corse (Igor and Svetlana Kopystiansky | Still, 2007) FRAC Champagne-Ardenne (Rosa Barba | Outwardly from Earth’s Center, 2007) FRAC Franche-Comté (Mohamed Bourouissa | All in, 2012) FRAC Pays de la Loire (Mikhail Karikis | Children of Unquiet, 2013) FRAC South (Marie-Josée Burki | Little Big World, 2019) 📍11 Rue Dalpozzo, 06000 Nice All info is available on our website in the description! Visual: Little Big World, 2019 © Marie-Josée Burki

<a href="https://www.ovni-festival.fr/2023/video-collection-frac-2023/?lang=en" rel="noreferrer nofollow">www.ovni-festival.fr/2023/video-collection-frac-2023/?lan...</a>

Video collection FRAC 2023 2023 11 rue Dalpozzo, 06000 Nice 01 DEC 2023 au 03 DEC 2023 The FRACs of Normandy, Corsica, Champagne-Ardenne, Sud, Franche-Comté and Pays de la Loire accepted OVNi’s invitation to celebrate two anniversaries: the 40th anniversary of the FRACs and the 60th anniversary of video art. A program has been put together based on selections from their collections. <a href="https://www.frac.corsica/fr/collections" rel="noreferrer nofollow">www.frac.corsica/fr/collections</a>

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Collection Centre Pompidou:

Excerpt from the work "Fiction Double," 2008 by Igor and Svetlana Kopystiansky, based at "A bout de souffle,"(Breathless) by Jean-Luc Godard, 1960 In “Fiction Double” the entire film A bout de souffle (Breathless) by J-L. Godard played forward was superimposed with the same film played in reverse. The two films come together in the middle and then continue on to either the conclusion or beginning of the film. Time folds upon itself as we watch, but also as we recall what we already know. At the mid-point, the film becomes one as the superimposed films line up and become a single film.

#Igor Kopystiansky #Svetlana Kopystiansky #Center Pompidou #jean-luc godard #centre Pompidou Paris #Michel Gauthier

Installation view at the Metropolitan Museum. 

On the left: Igor and Svetlana Kopystiansky video projection “Incidents"(1996/7)

On the right: Mike Kelley Gelatin silver print “Untitled (8),“ 1994

Exhibition: Everyday Epiphanies. Photography and Daily Life Since 1969. Curator Douglas Eklund. Artists: John Baldessari, Philip-Lorca diCorcia, Fischli & Weiss, Jan Groover, Robert Gober, Nan Goldin, Svetlana and Igor Kopystiansky, Gabriel Orozco, David Salle, Robert Smithson, Stephen Shore, William Wegman, Martha Rosler. The Metropolitan Museum, New York, June 25, 2013–January 26, 2014.

Ediitions of “INCIDENTS”1996/1997are represented in collections of: MoMA, METROPOLITAN MUSEUM, CENTRE POMPIDOU, TATE MODERN, MMK Frankfurt, AGNSW.

In this video, the husband-and-wife team of Igor and Svetlana Kopystiansky follow all manner of discarded items—cups, cartons, bags, newspapers, broken umbrellas, a pipe, unspooled audiotape—as they are blown around by the wind on the street. The results are balletic, whimsical, and even filled with pathos. Each piece of trash becomes anthropomorphized, so that when two bags or wrappers collide, are intertwined, and separate, the viewer cannot help but project a human drama onto the proceedings. Incidents is filled with such incidents, and part of the pleasure of the piece is seeing how the artists pile on example after example and yet are able to imbue each found object with an irreducible individuality and silent poetry.

Title: Incidents Artist: Igor and Svetlana Kopystiansky (American, born 1954 and 1950)

Metropolitan Museum. Exhibition: Everyday Epiphanies. Photography and Daily Life Since 1969. Curator Douglas Eklund.

Doug Eklund Submitted by Mahima Chablani on Fri, 9 Aug 2013, 1:47am

Doug Eklund, Curator in the Department of Photographs at the Metropolitan Museum of Art, joins us to discuss his latest exhibit, Everyday Epiphanies: Photography and Daily Life since 1969. From Igor and Svetlana Kopystiansky’s video of trash blowing magnificently on the street to Mary Nickerson’s photographs of the Apollo 13 splashdown reflected on her television screen, the photographs and videos in this exhibit aim to capture moments in which meaning is discovered in the mundane. Hosted by Mahima Chablani.

Installation view: Incidents (1996/7) at MoMA, New York. 2012.

Display caption Tate Modern London:

Bits and pieces of urban detritus are transformed into a lyrical symphony of everyday forms in this video by Igor and Svetlana Kopystiansky. Incidents was filmed on windy streets near the artists’ studio in the Chelsea neighbourhood of Manhattan, where the Kopystianskys have lived since 1988. Carefully edited from footage shot over a two-year period when the neighbourhood was still rundown, the video traces the almost balletic movements of discarded remnants from an urban consumer culture. Projected on a large scale, these seemingly random and insignificant materials are transformed, taking on a momentary sculptural or architectural quality before they move fleetingly out of the frame. Sound plays a key role in the work; original recordings of the cacophonous roar of the city further heighten our awareness of typically overlooked and incidental elements from the metropolitan stage. Igor and Svetlana Kopystiansky work in a wide range of media including painting, photography, performance, installation, video and slide projections. While many of their projects are collaborations, they also have distinctive individual practices. Incidents highlights the artists’ ongoing concern with the structured observation of urban space, their fascination with abandoned forms from the recent past, and their interest in the spatial and temporal possibilities of cinema. With a playful nod to Marcel Duchamp’s ‘readymade’, they render otherwise banal moments and materials into complex meditations on the play of time and the act of looking. The Kopystianskys’ celebration of the chance encounter imbues discarded rubbish with the quirky individuality of living things. These mass-produced objects are liberated from their original roles to form an open-ended choreography of drifting sculptures. Incidents was displayed at Tate Modern in 2011, as part of the Energy and Process displays.

Gallery label, March 2016

ENERGY AND PROCESS (LEVEL 5 – EAST WING) The displays in Energy and Process look at artists' interest in transformation and natural forces. A central room focuses on sculpture of the late 1960s made from a diverse range of everyday materials - sometimes industrial, sometimes organic - rather than those associated with fine art. 22. Kasimir Malevich and Richard Serra (Room 1) Beyond Painting (Room 2) Arte Povera and Anti-Form (Room 3) David Hammons (Room 4) 23. Marisa Merz (Room 5) Luciano Fabro and Michelangelo Pistoletto (Room 6) Do Ho Suh (Room 7) 24. Vito Acconci (Room 8) Igor and Svetlana Kopystiansky (Room 9) Sculpture from the Janet Wolfson de Botton Gift (Room 10) Abraham Cruzvillegas (Room 11)

Installation view: Incidents (1996/7) at the Tate Modern London, 2011.

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