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Event
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OIOIOI THE BEST OF OIOIOI 2010  10
OIOIOI WILLOW EXHIBITION  
OIOIOI CRISTIANO CERETTI EXHIBITION YACHT TAMPAX LOVE  
OIOIOI KOSTANTIN KAZANTSEV EXHIBITION MIKI MOUSE FUCKING EVERYBODY  
OIOIOI NIKOLAY KOSHELKOV EXHIBITION  
OIOIOI SIGIS VINYLISM EXHIBITION  
OIOIOI XANTE BATTAGLIA 2010  
OIOIOI 2501 EXHIBITION IMPOSSIBLE ENCOUNTERS  
OIOIOI SERGEY KOSIANOV MOSCOW RAILWAY STATION  
OIOIOI SERGEY KOSIANOV OIOIOI  
OIOIOI ANONYMOUS EXHIBITION  
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  PICTURE 001  

The artist obstinately hides his name, and doesn’t love to appear in public. He comes sometimes in Europe, but lives in Cuba on an ongoing basis. Despite his reserve and secluded life, a chain of selected friends keep the contacts with the world for him, and in this way he succeeds in selling many of his works of art. These are, according to the tradition, oil paints on canvas, but from the technical point of view, the author combines the lesson of the old masters with the hints of painters of the XX century. Curiously, in the last years, the artist has been sighted in few public spaces – a supermarket, a railway station, an autobus – and every time he wore a strange hat, which obscured almost totally his face. This is why the only existing photo of Anonymous XX portrays him with this kind of hat. Accordingly to the mystery of his identity, the art of Anonymous XX is an exploration into the most basic and elementary roots of the human being, of his feelings and hopes. For this reason, in the works of Anonymous XX an animal symbolism is often present, together with figures that have the characteristic of human bodies, gestures, positions, and that are caught in their fundamental expressions of fear or devotion, confrontation or loneliness. The use of the color is extremely blushing and strong, almost organic, denoting a corporal and physical approach to the canvas’ materiality itself. The first paintings of Anonymous XX belonged to a natural fauvism with spiritual aspects, while now they would rather represent an updated version of pictorial organic abstractism. This one is such that it contains the forces and the colors of life, and put them together in the restless movement of the basic forms of human dynamism. Hearsa y evidences tell that the artist suffers, since he was a child, of a language’s disease, which would have had a deep impact on his relationships with people, and which probably represents the actual root of his attitude towards painting: this one has become for him the main and almost unique means of communication.