Gabriel Lubnin is a swimmer. - What can push you away in a person

- Pictures from the series "A man raised a dog ..." for several years, but they are not losing popularity. Did you think they could become folklore?

- No, I didn't. I've already forgotten about them completely. It was surprising that they would pop up somewhere. Although there were some unpleasant publications. Once we even called one newspaper, except for various porn, they printed drawings under the heading "Blackies from Lubnin." They told us such a wonderful phrase: “Gavrila Lubnin died long ago. In Paris or New York. " I had to quarrel with them. They showed the layouts for a year, paid all the money, and there were no more "blackies". My pictures are not black in general, they are funny, and people who have a sense of humor, in my opinion, treat them quite adequately. A new series “Lead and Cotton Wool” has already been published, an album of graphics has been released.

- How did your "naive" style develop?

- I do not have a day without a drawing, it has been the custom since childhood. At school, I was asked to make wall newspapers. He painted obscenities, nudity. Then, of course, I was scolded for it if I got caught. But I also do serious drawings. It just happens that such a series will go, then another will go. You work on some works longer, others turn out quickly. Some fly into the oven, and most of them. And the style - it probably organizes itself, gradually.

- Have you ever had a desire to create something monumental?

- I was engaged in monumental art in the army. Repainted large six-fingered soldiers with guns. Tanks, Lenins and so on. Then I moved a lot, changed workshops. But everywhere there were such small rooms where it was impossible to engage in the embodiment of large forms. And in nature, in the Village of Artists in Shuvalovo-Ozerki, my friends and I built large objects. Once I put on a wind turbine with a palette and guitars. Other artists built rafts.

- Can an artist exist within the framework of various partnerships and non-profit organizations? Or is demand necessary?

- Once I tried to join the Union of Artists. Renowned artists gave me recommendations: as expected, both a painter and a sculptor. And mother and father said: "You have to join." Well, I brought thirty-five jobs. There were about three hundred people that day.

And I came as if from the street. They ask me: "Where are you from, why?". I answer: "Yes, here I am with recommendations, on the advice of friends." They say: "We did not see you, you here in the Union, they say, do not hustle, appear in few places, do not hang out with us ... But go on, go on, we liked it." Well, I took the work away. Then I joined the Independent Union of Artists. There was a small introductory exhibition. And then he stopped going there. I do exhibitions, but rarely; sometimes I take part in collective projects.

- Tell us about your last exhibition.

- Now in "Chaplin" I have an exhibition of works based on Chukovsky's tales. As a child, I enjoyed reading his poems and once, based solely on childhood memories, I made fourteen illustrations - painting on metal. They are like thick books: metal is stuffed on boards. For some reason I drew a miracle tree with rolls, then my friends told me: “What are you doing? There should be shirts, shoes ... ". I haven't read Korney Chukovsky for a long time. These wooden books were created in one go.

- Are drawings and literary creation inseparable for you? What cannot be said by drawing, do you express in words?

- But I confirm again with a drawing. If some plot deserves an illustration, I try to capture, confirm it with visual images. Sometimes I create characters on purpose. I have a friend whom I love very much, he has an amazing appearance. The character removed from him is one of my talismans. He is also a hero of stories. His name is Slava.

- The humor of your works is very specific, do you like people?

- Well, I'm not laughing out of malice, that's for sure. It is impossible to love everyone very much. In my drawings there are homeless people and drunks, but I don't remember that I mocked them or teased them. I myself got sick from alcohol. Sometimes I meet beggars, they are also interesting people. And they are present in some drawings, but this is not a mockery either. There are also disabled people, a lot is dedicated to vagabonds and all sorts of monks, pilgrims, party-goers. I'm not mine to everyone, probably not to everyone.

- What can repel you in a person?

- Anger, persistence. Sometimes, they will praise, but I feel: they steal.

) is a Russian artist, poet and musician.

Biography

Gabriel Vadimovich Lubnin was born on April 14, 1969. He recorded the song "Welcome" ("David Copperfield") with the group "N. OM ”, collaborated as an author of several songs with the group“ Chirvontsy ”, as an artist with the group“ AuktsYon ”. Participant of many art exhibitions. Takes part in projects of the Red Sailor Creative Association.

Lives and works in St. Petersburg.

Work

Music albums

• Drunkenness razor
• Badiaga Spongilla

Books

• A man raised a dog, raised and ... let go - 1990
• Eye and Eye - 2007
• Lead and Cotton - 2004
• Alkozhalo - 2008
• Roofer - 2009
• Misha and Misha - 2014
• ABC - 2014

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Links

Notes

Excerpt characterizing Lubnin, Gavriil Vadimovich

Pierre went out and went to the old prince and princess Marya.
The old man seemed more lively than usual. Princess Marya was the same as always, but because of sympathy for her brother, Pierre saw in her joy that her brother's wedding was upset. Looking at them, Pierre realized what contempt and malice they all had against the Rostovs, realized that it was impossible even to mention the name of the woman who could exchange Prince Andrew for anyone else.
At dinner the conversation turned to war, the approach of which was already becoming obvious. Prince Andrew spoke incessantly and argued now with his father, now with Desalle, the Swiss educator, and seemed more lively than usual, with that animation that Pierre knew so well for a moral reason.

On the same evening, Pierre went to the Rostovs to fulfill his assignment. Natasha was in bed, the count was at the club, and Pierre, having handed over the letters to Sonya, went to Marya Dmitrievna, who was interested in learning how Prince Andrei received the news. Ten minutes later Sonya went to Marya Dmitrievna's.
“Natasha certainly wants to see Count Pyotr Kirillovich,” she said.

Gabriel Lubnin (born April 14, 1969), writer, author and performer of songs, artist - until 2004 was known mainly among the creative intelligentsia of St. Petersburg. On the Internet, he became really popular after LJ-user bujhm posted on his site, which G. Lubnin himself defines as "psychedelic pictures". This post has collected 10 pages with comments, links to it were given a lot of times, and it itself is in 14th place in the list of posts that people often add to their favorites for memory. True, later, instead of the collection, bujhm put a link to the site where the drawings are stored. Lubnin's characters began to be used, for example, as avatars. Your attention is invited to an interview with Lubnin:

- Pictures from the series "A man raised a dog ..." for several years, but they do not lose popularity. Did you think they could become folklore?

- No, I didn't. I've already forgotten about them completely. It was surprising that they would pop up somewhere. Although there were some unpleasant publications. Once we even called one newspaper, except for various porn, they printed drawings under the heading "Blackies from Lubnin." They told us such a wonderful phrase: “Gavrila Lubnin died long ago. In Paris or New York. " I had to quarrel with them. They showed the layouts for a year, paid all the money, and there were no more "blackies". My pictures are not black in general, they are funny, and people who have a sense of humor, in my opinion, treat them quite adequately. A new series “Lead and Cotton Wool” has already been published, an album of graphics has been released.

- How did your "naive" style develop?

- I do not have a day without a drawing, it has been the custom since childhood. At school, I was asked to make wall newspapers. He painted obscenities, nudity. Then, of course, I was scolded for it if I got caught. But I also do serious drawings. It just happens that such a series will go, then another will go. You work on some works longer, others turn out quickly. Some fly into the oven, and most of them. And the style - it probably organizes itself, gradually.

- Have you ever had a desire to create something monumental?

- I was engaged in monumental art in the army. Repainted large six-fingered soldiers with guns. Tanks, Lenins and so on. Then I moved a lot, changed workshops. But everywhere there were such small rooms where it was impossible to engage in the embodiment of large forms. And in nature, in the Village of Artists in Shuvalovo-Ozerki, my friends and I built large objects. Once I put on a wind turbine with a palette and guitars. Other artists built rafts.

- Can an artist exist within the framework of various partnerships and non-profit organizations? Or is demand necessary?

- Once I tried to join the Union of Artists. Renowned artists gave me recommendations: as expected, both a painter and a sculptor. And mother and father said: "You have to join." Well, I brought thirty-five jobs. There were about three hundred people that day.

And I came as if from the street. They ask me: "Where are you from, why?". I answer: "Yes, here I am with recommendations, on the advice of friends." They say: "We did not see you, you here in the Union, they say, do not hustle, appear in few places, do not hang out with us ... But go on, go on, we liked it." Well, I took the work away. Then I joined the Independent Union of Artists. There was a small introductory exhibition. And then he stopped going there. I do exhibitions, but rarely; sometimes I take part in collective projects.

- Tell us about your last exhibition.

- Now in "Chaplin" I have an exhibition of works based on Chukovsky's tales. As a child, I enjoyed reading his poems and once, based solely on childhood memories, I made fourteen illustrations - painting on metal. They are like thick books: metal is stuffed on boards. For some reason I drew a miracle tree with rolls, then my friends told me: “What are you doing? There should be shirts, shoes ... ". I haven't read Korney Chukovsky for a long time. These wooden books were created in one go.

- Are drawings and literary creation inseparable for you? What cannot be said by drawing, do you express in words?

- But I confirm again with a drawing. If some plot deserves an illustration, I try to capture, confirm it with visual images. Sometimes I create characters on purpose. I have a friend whom I love very much, he has an amazing appearance. The character removed from him is one of my talismans. He is also a hero of stories. His name is Slava.

- The humor of your works is very specific, do you like people?

- Well, I'm not laughing out of malice, that's for sure. It is impossible to love everyone very much. In my drawings there are homeless people and drunks, but I don't remember that I mocked them or teased them. I myself got sick from alcohol. Sometimes I meet beggars, they are also interesting people. And they are present in some drawings, but this is not a mockery either. There are also disabled people, a lot is dedicated to vagabonds and all sorts of monks, pilgrims, party-goers. I'm not mine to everyone, probably not to everyone.

- What can repel you in a person?

- Anger, persistence. Sometimes, they will praise, but I feel: they steal.

In 2004, Gabriel Lubnin published a new collection of popular prints called Lead and Cotton Wool (94 pieces included) - below are only a few of them, as well as the artist's old works.

10 Chord Picks

Biography

Gavriil Vadimovich Lubnin is an artist, poet, musician from St. Petersburg.

Gabriel Lubnin was born on April 14, 1969. He worked with such groups as "AuktsYon", "N.O.M.", "Chirvontsy" and others, a participant in many exhibitions, the art association "Village of Artists".

In the reference book "Who's Who in St. Petersburg", which is constantly updated and published with enviable regularity, the artist and poet Gabriel Lubnin does not appear. And not at all because he is not worthy of the white marble pages of this edition. The reason is different. Gabriel Lubnin is in nature, in society. He lives on the banks of the Neva. And at the same time it is not. He is elusive like the Flying Dutchman or the invisible man. If you need to meet this artist, it will not be easy.

Actually, Gabriel (his friends call him Gavrik) from time to time appears in the cafe of the Borey art center. Draws on everything that comes to hand: on napkins, on scraps of paper, on invitation cards.

I would also paint on the cuffs, but he doesn't have them. Here you can see Lubnin's spontaneous graphics: here it accumulates, develops into cycles - portraits of animals, friendly cartoons, sketches from nature. Many people visit Borey in St. Petersburg, and therefore many are familiar with the works of Lubnin to one degree or another - mainly from the drawings displayed on red bricks. And also on two albums of popular prints "A man raised a dog, raised and ... let go" (third edition - 2004), "Lead and cotton wool" (2004). On the Internet, pictures from the first Lubninsky album are almost completely exhibited. Moreover, in several online forums in the "echo conference" mode, Gabriel's work, including his songs, is actively discussed within the framework of the accepted language paradigm, with the active use of capacious and ambiguous words "cool", "cool", "okey", " awesome. "

In November 2005, the elusive Gabriel finally materialized and arranged a large solo exhibition "Animals and Doors" - and, of course, in "Borea". The emphasis was on recent paintings, but graphics and collages made of colored paper were presented in a variety of ways. "Mentally" - that was the word that most often sounded at the exhibition and flashed in the guest book.

I don’t know who needs it and who benefits from it (I’m just stating a fact), but they always try to divide contemporary art into: old and new, actual and archival, politicized and apolitical, curatorial and author’s, urban and rural, international and local. For ten years there has been an opinion that if an artist is not in demand, then it seems that he is not at all. He's out of context. He's in flight. In general, one gets the impression that several dozen influential art critics, curators and art directors living in Moscow, London, Paris, New York, Berlin are in control of the entire world artistic process. Or maybe just trade? So, maybe they should be called differently - for example, they should be renamed into stores. And then a small handful of art functionaries got lost in a "mighty handful" and for state money decides who will be in demand and famous, and who patiently wait for their turn. All this complex and ambitious game of "globalizing art" absolutely does not bother Lubnin. He does not adapt to anyone and does not react in any way to his isolation from the world artistic process. And such a fundamentally “marginal position” is yielding results. Lubnin's friend, the artist Sergei Sveshnikov, writes in the preface to Boreyev's exhibition booklet that “Gavrik quietly and imperceptibly turns his life into a work. The energy of his work has a motive not in common places - vanity, money, status and the like. "

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