Über Zeit in der Malerei: Evgeni Dybskys Translation of Time XVII / Ekaterina Tewes   März 2019

Unsere Zeit, heißt es bei Henri Bergson, „ist nicht ein Augenblick, der einen Augenblick ersetzt – dann gäbe es immer nur Gegenwart, keine Erstreckung des Vergangenen ins Jetzige“. Dagegen sind wir als Individuen „das Kondensat jener Geschichte, die wir gelebt haben“ – eine Summe der kontinuierlich fortstrebenden Vergangenheit, die durch das Vergehen der Gegenwart unablässig anwächst. Die Wahrnehmung eines jeden Moments bedeutet daher das simultane Erleben der Mannigfaltigkeit der erlebten Momente. Indem Dybsky das Zeiterleben mit malerischen Mitteln reflektiert, übersetzt er die Vielheit des Augenblicks in eine Simultanität von Gegensätzen. 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 »

Dialogs with Giotto / Evgeni Dybsky   January 2007

The works I have been making since 2003 maybe termed "historical". At first, they were attempts to introduce my habitual, artificially-aged structures into new spaces. Later I began a series of works based on photographs of fragments of classical works in the Pushkin Museum. In 2005, while on my way to Venice... 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 »