Zeit der Malerei von Evgeni Dybsky: Translation of Time XVII, Tintoretto Included / Ekaterina Tewes   März 2019

Translation of Time XVII ist die jüngste Gemäldeserie von Evgeni Dybsky. Seit der 1992 entstandenen Serie Translation of Time I hat der Künstler alle nachfolgenden Serien fortlaufend nummeriert. Bei aller Unterschiedlichkeit der Werke verweist der gemeinsame Titel auf einen wesentlichen Aspekt von Dybskys Malerei, die eine Übersetzung oder auch Übertragung von Zeit anstrebt. Indem Dybsky die Frage nach der Temporalität in der Malerei aufwirft – einer eben nicht zeitgebundenen Kunst –, offenbart er den zentralen Grundsatz seiner Denk- und Arbeitsweise. Es geht ihm um die paradoxe Logik, die nahelegt, dass Gegensätze sich nicht ausschließen müssen. continue reading »

Tintoretto Included / Ekaterina Tewes   February 2017

„Translation of Time XVII“ is the most recent of Dybsky’s series of projects on the subject of the “Translation of Time” (the series are numbered from I to XVII so far). For all their differences, and as the shared title indicates, these series are all part of Dybsky’s ongoing exploration of painting techniques that can be used to visualize and transmit the spatiotemporal transformations of matter continue reading »

Evgeni Dybsky, Splitting time / Jeanette Zwingenberger   October 2013

Dybsky’s work is like an old mirror that reflects past, present and future times. The cracks and stains testify to the shading and dilation of time. Whereas the picture of Wilde’s Dorian Gray is a portrait that acts as the alter ego of a character, Dybsky is not concerned with depicting a subject but rather immerses us in processes of perception and remembering, in a dialogue with the work of Giotto. continue reading »

Evgeni Dybsky, Zeitspaltungen / Jeanette Zwingenberger   Oktober 2013

Dybskys Werk lässt sich mit einem alten Spiegel vergleichen, in dem sich vergangene, gegenwärtige und zukünftige Zeiten reflektieren. Die Risse und Flecken zeugen von Schattierungen und Ausdehnungen der Zeit. Handelt es bei dem Spiegelbild von Dorian Gray (1) um das alter ego einer Person, so geht es bei Dybsky nicht um die Repräsentation eines Subjektes, sondern er taucht uns in Wahrnehmungs -und Erinnerungsprozesse – in einen Dialog mit Giottos Werk. continue reading »

Dialogues with Giotto / Evgeni Dybsky   January 2007

We tend to supply the objects of our love with fantasies, including fantasies about form. I began to sublimate my Paduan Giotto on canvases the same size as the frescoes. Of course the result is "my" Giotto, imbued with the characteristics of my painting. These characteristics have emerged after long years of work and are, for me, a logical progression. But they have also been formed over the years under the influence of Giotto. continue reading »

On Alchemy, Love, and Scale / Alexei Parshchikov / Evgeni Dybsky   July-August 2005

Alexei Parshchikov: To me, there is no doubt that your work is connected to poetry. Your series “Translation of Time XII” seems especially interesting in this sense. There is a phrase in Robert Musil’s “Address at the Memorial Service for Rilke in Berlin” (1927) that reads “At times one might say that the young Rilke was imitating Rilke.” Paul Valery expresses a similar thought... continue reading »

On the Tracks of Time / Wibke von Bonin   July 2005

In the blinding sun that falls through the skylight in Evgeni Dybsky’s studio, his paintings radiate an austere foreignness. Not that they frighten or even repulse the visitor. They emanate no vehement action, no silky seduction. Instead, they keep the visitor at a distance. In terms of tone, they are calm and determined. The dominant white is perfect and reticent... continue reading »

Observations on Evgeni Dybsky’s art / Jürgen Raap   July 2002

Evgeni Dybsky’s formative years were centred on Moscow, where he studied and where he made his first important contributions to the capital’s art scene. Upon leaving Russia in 1990 he spent several years living in Italy before settling in the German city of Cologne, on the river Rhine. Dybsky’s biography is of relevance to his development as an artist... continue reading »

E. Dybsky / V. Kirchmeier   November 2002

V.K.: Kandinsky once said that there was no need to create new abstract art: one had only to see already existing art as so many combinations of form and colour. E.D.: This is the first time I’ve heard that quote. But yes, I realized even as a student that that’s how I saw it. I would put it differently, though: when I look at a work of art, the first thing I notice... continue reading »

Evgeni Dybsky: an appreciation / Matthew Cullerne Bown   1998

Evgeni Dybsky's fundamental motif is landscape. Not the landscape of observation, nor even of memory, but landscape as metaphor: landscape reforged by a contemporary sensibility, in which the example of modernist painting, personal experience, memory and desire coalesce. We may in his painting register echoes of... continue reading »