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Igor Ganikowskij
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Igor Ganikowskij (, born 1950) is a German-Russian painter . Igor Ganikowskij has taken part in more than 50 one- man shows, 13 of these in museums, and 100 group exhibitions. He has exhibited at Art-Basel, Art Cologne, Arco Madrid, Art LA and Art London. He has been widely published, with 11 solo-catalogues and more than 300 articles on his art in books, magazines, newspapers. His work is represented in the collections of more than 35 museums. 1950 Born, a teacher’s son, Moscow, Russia 1968 Final examination at a Mathematical school in Moscow 1972 Honours degree at the Steel-Institute 1972- 1983 Member of Scientific Institution, constructor in an engineering office, teacher 1973 First drawings and paintings 1976- 1978 Attendance at the art studios of Isaj Braslavsky and Michail Kasanski in Moscow 1983 Admission to the Youth Group of the Artist`s Association, first participation in a professional exhibition 1985 Admission into the Artist`s Association 1989 Solo exhibition, Gallery Pelin, Helsinki. The first official one-man show of a soviet artist in a private gallery in the West. 1990 Scholarship from the George Soros Foundation; six month stay in USA 1991 Elected vice-president of the International Association of Creative Intelligenc “World of Culture”. 1993 Became a resident of Germany 2004 A book by Ganikowsky was published by the board of the August Macke Prize. 2006 Prestel Verlag included color work of Ganikowskij in it “Geshichte der bildenden Kunst in Deutschland“ Vol.8 „Von Expressionismus bis Heute“ Since 2000 he lives and works in Bergisch-Gladbach ( Bergisches Land ). Public Collections: *Kunsthalle Henri Nannen Stiftung, Emden, Germany *Museum am Ostwall, Dortmund, Germany *Museum Ludwig, Köln, Germany *Ludwig Forum für Internationale Kunst, Aachen, Germany *Städtische Galerie Villa Zanders, Bergisch-Gladbach, Germany *Felix Nussbaum Haus, Osnabrück, Germany *Von der Heyt-Museum, Wuppertal, Germany *Kunstmuseum Ahlen, Germany *Kunstmuseum Bochum, Germany *Sprengel Museum, Hannover, Germany *Märkisches Museum, Witten, Germany *Jüdisches Museum Westfalen, Dorsten, Germany *Judisches Museum Wiena, Austria *State Tretyakov Gallery, Moscow, Russia *State Pushkin Museum, Moscow, Russia *Russische Kulturstiftung, Moscow, Russia *Stiftung des Kulturministeriums, Moscow, Russia *Ludwig Museum, Saint Petersburg, Russia *Russian Museum, Saint Petersburg, Russia *The Israel Museum, Jerusalem, Israel *Tel-Aviv Museum of Art, Tel-Aviv, Israel *The Corine Maman Museum Ashdod, Israel *Museum für Moderne Kunst, Chamalier, France *Mondriaan Huis, Amersfort, Holland *The Magnes Museum, Berkeley, USA *Silkeborg Kunstmuseum, Silkeborg, Denmark *Museum of Modern Art, Trento, Italy *Nationalgalerie, Warsaw, Poland *Museum für Moderne Kunst, Posen *Museen der Bildenden Künste Novosibirsk, Russia *Staatliche Galerie Tula, Russia *Museen der Bildenden Künste Penza, Russia *Museen der Bildenden Künste Tomsk, Russia *Museen der Bildenden Künste Omsk, Russia *Staatliche Galerie Semipalatinsk, Kazakhstan *Museen der Bildenden Künste Symy, Ukraine *Historisches Museun Kanotop, Ukraine Private Collections: Australia, Brazil, Denmark, Germany, England, Holland, Hong Kong, Finland, France, Greece, Italien, Iceland, Israel, Japan, Canada, Luxembourg, Norway, Poland, Portugal, Russia, Spain, Sweden, Switzerland, Hungary, USA „Ganikowskij's art is charged with hidden symbols and has to be deciphered in order to understand it deeper meaning. The artist has developed a code of visual symbols and his apparently strictly reduced works reveal their contents only when we have learned to unveil their enigma. So, it is worth while to embark on a journey into this 'terra artis incognita', trying to outline a preliminary topography of his work in a few sections. “ Dr.Marc Scheps, former director Tel-Aviv Art museum and Ludwig museum Köln. Light Symbols in artwork of Igor Ganikowskij ( Catalog). “Living through something very deep in our world has always been very important for my work, as is the search for likenesses of these processes in the higher worlds. Perhaps this is the only possibility, not just to see the great and small worlds at the same time, but also to understand their configurative interaction. Moreover, moving from one hierarchal step to another, through a variety of levels of realities, the symbolisations grow, and the contents of the transcendent seem to glimmer through the expression. The symbol plays the part of the bridge between the rational and the mystical. It is also important that the space of my works lives a double semiotic life, modelling the universe one hand, and being modelled by it on the other. Of course, it may be that we see only shadows, slight reflections, but even from these contours one can try to shape something, repeatedly verifying the result by the numerous reflections.” Igor Ganikowskij: Liberation of Light. (Catalogue) “In several ways,his riecent work with its emphasis on the semantic aspect of the image thus seems to recall the the achievements of the so-called formalist tradition in Russian art,If so it means that he reopens a wide field. lt is worth reminding that the importance of this tendency had impact not only on art , but on music, literature, linguistics, and philosophy as well. But disturbingly enough, Ganikovsky also sometimes introduces signs and symbols into his apparently most classical abstract compositions. Even if they are only present as secondary, barely emerging elements, they create a feeling of ambiguity and remained us that not all processes in the mind can be expressed in mere operations with pure form. “ “Das Werk von Igor Ganikowskij fasziniert mich sehr, Ich dachte immer, dass es nicht möglich sei, in Richtung Malewitch etwas neues zu sagen” Dr.Troels Andersen, former director of Silkeborg museum, one of the more famous specialists in K. Malewitch. (Catalogue) and newspaper „Politika“, Kopenhagen. 
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