Back

Table (from the 8th of March Greetings Series)

Alexander Aksinin

Basic information

ID: Г-IV-4087
Author: Alexander Aksinin
Name: Table (from the 8th of March Greetings Series)
Date of creation: 1977
Technique: etching
Material: imprint on paper
Dimensions: 8.5 x 11.1 cm (height x width)

Additionally

Type: printmaking
Provenance: Courtesy of V. Onusaitis, 1987

Information about author

Author: Alexander Aksinin
Artist's lifetime: 1949–1985
Country: the Ukrainian SSR, now Ukraine
Biography: Alexander Aksinin was a graphic artist and one of the brightest representatives of Lviv nonconformist culture. He was born on October 2, 1949, in Lviv, in the family of a military cartographer and railroad official of the Lviv railway. Between 1963 and 1966, he received his art education at the evening art school in Lviv. Between 1967 and 1972, the artist continued his studies at the Ivan Fedorov Ukrainian Polygraphic Institute, where he specialised in Graphic Art. After graduation, Aksinin served in the Soviet Army, where he participated in designing the exposition of the Military History Museum. Between 1974 and 1977, he worked as an art designer in an industrial design office. In 1977, he left the official service and began to work exclusively as a freelance artist. The apartment of Aksinin and his wife, the writer and artist Engelina (Gelya) Buriakovska (1944–1982), became one of the Lviv centres of informal art; the first home exhibitions were held here. Alexander and Gelya were well acquainted with the representatives of the cultural underground of Moscow and Leningrad, particularly with Dmytro Prihov, Viktor Kryvulin, Illia Kabakov, and others. They also had friendly relations with Baltic artists, such as Tõnis Vint, with whom Alexander developed a close rapport and Polish ones. Since 1974, Aksinin participated in group exhibitions; in 1979, his first personal exhibition was organised in Tallinn with the assistance of the artist Tõnis Vint. In the early 1980s, the poet Viktor Kryvulin helped to arrange several of Aksinin's "kvartirnik" exhibitions in Leningrad and Moscow.
On May 3, 1985, on his way back from Tallinn, Alexander Aksinin died in a plane crash over Zolochiv near Lviv. During his lifetime, the artist created 343 etchings, about 200 sheets of uniquely drawn graphics (drawings in watercolour, Indian ink, and gouache, including prints), as well as five paintings. 27 volumes of the artist's diaries for the period from 1965 to 1985 contain more than 200 sketches and a large number of drawings-ideas; they are partially publicly available on the artist's website. In 2015, Alexander Aksinin's etching series "Boskhiana" was included in the permanent exposition of the Jheronimus Bosch Art Center in Hertogenbosch, the Netherlands. The works are stored in the Lviv National Art Gallery, the Estonian Art Museum, and the National Art Museum of Ukraine. In 1981, Alexander Aksinin wrote his laconic autobiography for an article by Viktor Kryvulin, in which he consciously contrasted his inner world with external events, combining the facts of his biography with his own artistic and metaphysical experience: "In 1949, a seemingly russian man was born in the seemingly European city of Lviv. Orthodox Christian. In 1972 – received a diploma from the Polygraphic Institute in the field of Graphic Art. In 1977 – the first revelation with a concomitant sense of time. In 1981 – the second revelation with a concomitant sense of eternity. In 1979 – the first solo exhibition in Tallinn. In 1981 – the second one in Poland. That is all."

Object description

Alexander Aksinin's creative world is characterised by a condensed intellectual atmosphere full of "codes of aesthetic information". Numerous etchings by Aksinin are miniature "philosophical essays" embodied in complex systems of visual, literary, and verbal texts.
This is one of the original works dedicated to Women's Day, March 8th. The relative title of the work is "Table". The author created the etching while working on the "Alice in Wonderland" graphic series. The composition's visual range repeats the combination of dominant vertical and horizontal stripes, typical of works of this series. At the same time, the strict geometric structure, that is, the table, is immersed in its opposition, the amorphous organic mass. The author creates an exquisite greeting card joke by using the male-female dichotomy as a metaphor.
In the centre of the composition, one can see a four-legged lapidary table with an extended drawer. It is covered with burdocks that disperse with crumbs in the upper part of the etching. The crumbs are reminiscent of a swarm of insects. The entire lower horizontal of the work is filled with the same prickly hillocks. However, upon closer inspection, some burdocks resemble hedgehogs. One in the drawer has an elongated muzzle, the other three with full-face muzzles are at the bottom right, and another looks out from the "herbarium" surrounding the table.
The author has almost hidden minor miniature marks over a stripe of a hillock. The letter A is located near the pairs of sticks to the left of the table. The author's monogram in the arch – the letter A – is in the lower right corner; below it is written 1977.

Inscriptions

At the bottom right under the imprint, there is an author's inscription "Aksinin, 77"

Legal regulation

Borys Voznytskyi Lviv National Art Gallery