Barskyi Vilen

/ Biography

1930

Vilen Barsky was born on October 27 in Kyiv. His father was an engineer, and his mother was a pharmacist. His childhood memories were closely related to the Botanic garden, since his family lived across from it.

1941–1946

He was evacuated — firstly to Stalingrad (today’s Volgograd), then to the administrative center of Sernur of the Mari Autonomous Soviet Socialist Republic (Mari ASSR) (today’s Mari El Republic of the Russian Federation). Barsky’s first attempts at writing poetry date back to 1944, since then poetic creativity became an integral part of his life.

1946–1951

He studied in the Taras Shevchenko State Art School in Kyiv.

1949

He participated in the Republican art exhibition, dedicated to the 150th birth anniversary of Alexander Sergeyevich Pushkin, exhibiting his work “Ivan Pushchin’s Departure from Mikhaylovskoye”.

1951–1957

He studied in the Kyiv State Art Institute. While being a student, he got himself familiar with works of modernist painters. At this very time, he visited Pablo Picasso’s first exhibition in the USSR (Moscow, 1956) and the International exhibition of fine and applied arts, presented within the framework of the 6th World Festival of Youth and Students (Moscow, 1957). The both exhibitions deeply impressed Barsky and left an impact on his further artistic creativity. He visited the studio of Robert Falk.

After graduation, he worked unofficially as a book illustrator and a private art tutor.

1959

Having attended the American National Exhibition in Moscow, where he got himself familiar with art pieces of Jackson Pollock, Arshile Gorky, Mark Tobey, Yves Tanguy and Mark Rothko, Barsky found a new source for inspiration for his creativity. Shortly after, his apartment in Kyiv was inspected, his abstract paintings were seized, and the artist himself was detained for a while. Later on, in the newspaper “Stalinskoe Plemya” (“Stalin’s Tribe”) the article “The end of literary juke house” was published, in which the artist together with his “accomplices” were bitterly criticized. Subsequently, for a long time Barsky was completely unable neither to get a legitimate job nor to display his pictures on the art exhibitions.

1960–1967

He created a large series of paintings “The Heads”, in which he somehow departed from the issues of abstract paintings of preceding years, while “trying to comprehend contemporary visual language”.

1967

He finished his two-year internship in the Art Workshops at the USSR Academy of Arts (supervised by Professor S. Grigoriev) and entered the Artists’ Union of the USSR. As Barsky later admitted, his only benefit in entering the Union was “an opportunity neither be a state employee nor be considered a deadbeat. I could work as I want, “for myself” – that was the very reason for me to enter the Artists’ Union1”.

1960’s

In his quest for means of artistic expression, he creates a lot of experimental works: thus, he creates art pieces, made with the use of airbrushes (1965), fire and smoke (1968), pattern of his own hand (1969). According to the artist’s wife Olga Denisova, what remained unchanged was his “principle of changes – the innovation principle applied at the author himself”2. Several Barsky’s works, performed in a realistic manner, were displayed on the exhibitions – for instance, portraits of surgeon M. Kolomiychenko (1965) and ballet dancer E. Stebliak (1966). This fact, however, could not make essential impact on disfavored status of the artist.

1970's

He worked primarily in the genres of verslibre, concrete poetry and visual poetry. Sometime later, he would say: “Poetry was my living essence, without which I couldn’t exist – although I’d started as a painter. To be more precise, I’d say that this was a parallel process, a parallel unconscious attraction that led me through my life… Regarding the very issue of visual poetry, it’s very hard for me to explain why I even started writing specifically visual verses — because, anyway, I started from the poetry as it is, that means, my attraction both in “lyrics” and in “visual art” was “visually-poetic” in its essence3” . Among his friends of that period, Barsky would mention artists Valeriy Lamakh, Grygorii Havrylenko, Anatoliy Lymaryev, Akim Levich, Vadym Ignatov, director Serhiy Parajanov, composer Valentyn Silvestrov, poet Gennadiy Aygi, writer Viktor Nekrasov. He visited studios of Robert Falk and Ilya Kabakov. He conducted private unofficial trainings in apartments of his students.

1980

He applied his documents to leave the country, and therefore he was excluded from the Artists’ Union of the USSR.

1981

Under the alias Viktor Belenin, he published 6 visual verses in “Kovcheg” magazine that was published in Paris. In the same year they were displayed at the exhibition “L’emigration Russe. L’art en Voyage” in the Parisian gallery «Trans/form». He immigrated to Germany and settled in Dortmund.

1982

Barsky conducted his personal exhibition in the Catholic Academy Schwerte (Germany), displaying a lot of his works created during 1959–1980's. He participated in the extensive exhibition “Russian Samizdat Art” (exhibition curators Rimma Gerlovina and Valeriy Gerlovin) in the New-York gallery «Franklin Furnace». The exhibition was a great success and during subsequent three years it was also displayed in 10 more galleries in the USA and Canada.

1983

In Germany Barsky published his artist’s book of visual poetry “THE WORDS appear think clink”.

1984

He participated in the exhibition of visual and concrete European poetry “In the beginning was the Word”, displayed at the municipal gallery in Lüdenscheid (Germany).

1985

He conducted his personal exhibition in the Bundeshaus in Bonn.

1980’s

He became a member of the “Dortmund Group”. He interacted with conceptualist artists (or so-called “concretists”, as Barsky called them) Georg Herold, Timm Ulrichs and Gerhard Rühm.

He participated in the exhibitions in Germany, France, Italy, the USA. Barsky’s poetry was published in various magazines and anthologies, for instance in “The Blue Lagoon Anthology of Modern Russian Poetry”, published in the USA (volume 3B, 1986).

He actively collaborated with the BBC and “Radio Liberty”, reporting them on the most important artistic events in West Germany.

1990’s

Barsky’s poetry has been published in Ukraine and Russia, for instance in the literary magazine “Zoilus” (1997), the anthology ”Samizdat Veka” (“Samizdat of the Century”) (1997), the poetry almanac “Dom s Himerami” (“House with Chimaeras”) (2000) etc.

1991

He became one of the first laureates of the David Burluk International Mark, initiated by the literary group “Akademiya Zaumi” (“Beyonsense Academy”) a year before.

2012

He died on December 24 in Dortmund (Germany).


1 “Vilen Isaakovych Barsky answers K. Kuzminsky’s questionarie”, The Blue Lagoon Anthology of Modern Russian Poetry in 5 volumes, Volume 3B, 1986, pp. 235-270.
2 Denisova, Olga “Vilen Isaakovych Barsky. 1930-2012”, The Art of the Ukrainian Sixties, 2015, p.87.
3 Vilen Barsky “I feel myself a Kyiv artist who resides in Germany, and simultaneously a Russian poet, as long as I write in Russian”, Art Ukraine, 2011.

/ Bibliography
  1. Balla O. (2018). Don’t think about the fishes. Kyiv daily. [in Russian]
  2. Barskyi V. (2001). A clear conscience. Zamysel, 7. [in Russian]
  3. Barskyi V. (1986). Amazing art by Chernjahovskij: (memoirs and reflections). Forum, 14, pp. 226–237. [in Russian]
  4. Barskyi V. (1985). Entry word. Ukrainian crown of thorns [O. Berdnyk]. London: Ukrainian Publishing Society, pp. 7–22. [in Ukrainian]
  5. Barskyi V. (2018). Exact poetry. Almost everything. Kyiv: UPP, p. 164. [in Russian]
  6. Barskyi V. (1998). How the time flows by… [Poetry.] Kreshhatyk, 1. [in Russian]
  7. Barskyi V. (2003). Little tragedies. Topos. [in Russian]
  8. Barskyi V. Memories of Viktor Platonovich Nekrasov. Website in memory of Viktor Nekrasov. [in Russian]
  9. Barskyi V. (2018). Multiexperience life… Poems. Rodnaja rech, 1, pp. 142–143. [in Russian]
  10. Barskyi V. (2003). No name. Galereia, 4 (16), pp. 6–7. [in Russian]
  11. Barskyi V. (2004). No name (a sequel). Galereia, 1 (17), pp. 7–11. [in Russian]
  12. Barskyi V. (1984). On S. Paradzhanov and his films. Suchasnist’, 12 (284), pp. 43–55. [in Ukrainian]
  13. Barskyi V. (1982). 1959–1980. Painting. Graphics. Collages. Texts: exhibition catalogue. Schwerte: Catholic Academy Publishing House. [in Russian and German]
  14. Barskyi V. (1986). Poems. Echo, 14, pp. 230–233. [in Russian]
  15. Barskyi V. (1997). [Poems]. Samizdat of the epoch. Minsk: Polifakt. [in Russian]
  16. Barskyi V. (1997). [Poetry]. Kreshhatik, 1, pp. 52–56. [in Russian]
  17. Barskyi V. (1999). Pushkin, Mozart and Salieri. NLO, 2 (36), pp. 297–299. [in Russian]
  18. Barskyi V. (1986). Taste of a pear. Forum, 15, pp. 55–60. [in Russian]
  19. Barskyi V. (2008). The absolute star. Sergej Paradzhanov. Collage on the background of a self-portrait: Life is a game. Cereteli K (compl.) Nizhny Novgorod: Dekom, pp. 101–102. [in Russian]
  20. Barskyi V. (1988). The Document 8. Forum, 18, pp. 158–172. [in Russian]
  21. Barskyi V. (1985). Triptych for Hlebnikov. Muleta XOO: Family album. To the 100th anniversary of Velimir Hlebnikov. Paris: Vivrisme, pp. 94–96 [in Russian].
  22. Barskyi V. (1998). Visual poetry. Chernovik, 13, pp. 90–94. [in Russian]
  23. Barskyi V. (1995). Visual texts. NLO, 16, p. 251, pp. 269–271. [in Russian]
  24. Barskyi V. (1983). We are swallowing salt: [Poems]. Vremja i my, 71, pp. 72–74. [in Russian]
  25. Barskyi V., Denisova O. (1985). Nomads? [The dialogue]. Forum, 13, pp. 218–233. [in Russian]
  26. Barskyi V., Denisova O. (1993). Philosophical and sociological idea, 4, pp. 161–174. [in Russian]
  27. Belenin V. (1981). The six visual poems. Kovcheg, 6. [in Russian]
  28. Denysova O. (2015). Barskyi Vilen Isaakovich. Art of the Ukrainian Sixtiers. Balashova O., Herman L. (compls.) Kyiv: Osnovy Publishing House, pp. 150–192. [in Russian]
  29. Dortmunder Gruppe. Dortmunder Künstlerbund 84/85. Museum am Ostwall Dortmund, 1984. S. 9, 73.
  30. Dymshyts E. (2006). Ukrainian painting of late 1950s — early 1990s. Essays on the history of Ukrainian fine art in the XX century (vol. 2). Modern art research institute of NAAU. Kyiv: Intertexnologiya, pp. 150–192. [in Ukrainian]
  31. Geballtes Schweigen: Zeitgenössische russische Einzeiler / F. Ph. Ingold. St. Gallen: Erker-Verlag, 1999. S. 24–25.
  32. [In]formal: Ukrainian abstract art in 1960–1980s [exhibition cat.] (2018). “Dukat” auction house. Kyiv, “Antykvar” Publ., 80 p. [in Ukrainian]
  33. Kudriavytskyi A. (compl.) (2000). Zhuzhukin’s children or the tale about an ignominious neighbor: short tale anthology: Russia, 2nd half of XX century. Moscow: Novoe literaturnoe obozrenie. [in Russian]
  34. Kunik A. (1982). The six nourishes of a template. [Visual poetry by V. Barskyi]. Vremja i my, 65, pp. 245–251. [in Russian]
  35. Kuzminskyi. K., Kovaliov H. (compls.) (1986). Vilen Isaakovich Barskyi responds to the questionnaire by K. K. Kuzminskyi (1986). Anthology of the latest Russian poetry at the Blue Lagoon (Vol. 1-5). T. ZB. Njutonvill, pp. 235–270. [in Russian]
  36. Leiderman Yu. (2017). Vilen Barskyi. «LOCUS SOLUS». Prostory. [in Russian]
  37. Lobanovskyi B. (1997). Kyiv anchorites: An appeal to the abstract forms in the works of a number of Kyiv artists of the 50s — 60s. Vizantijskij Angel, 3, pp. 31–40. [in Russian]
  38. Loshhilov I. (1995). Visual text interpretation experience. NLO, 16, pp. 264–268 [in Russian].
  39. Lozhkina A. (2011). Vilen Barskyi: “I feel myself as a Kyiv artist who lives in Germany and at a same time as a Russian poet as I write in Russian language”. Art Ukraine. [in Russian]
  40. Moderne russische Poesie seit 1966: eine Anthologie. Berlin: Oberbaum Verlag, 1990. S. 44–56. [in German]
  41. Russian Samizdat Art. New York: Willis Locker & Owens publ., 1986. P. 116–117.
  42. Shtejner E. (2014). Paintings of the written signs. Notes on visual poetry. Zerkalo, 43, pp. 123–145. [in Russian]
  43. Skliarenko H., Kulivnyk M (compls.) (2016). Another History. Kyiv art from the Thaw to the Perestroika: [exhibition catalogue]. NAMU, “Dukat” auction house. Kyiv, 187 p. [in Ukrainian]
  44. Smyrna L. (2017). Century of non-conformism in the Ukrainian visual art. Modern art research institute of NAAU. Kyiv: Feniks, 480 p. [in Ukrainian]
  45. Suhotin M. (1995). On two dispositions of the written words. NLO, 16. [in Russian]
  46. Sydor-Hybelinda O. (2016). These who are in front. Antykvar, 7–8 (97), pp. 22–35. [in Russian]
  47. Ukrainian paintings from the funds of National Union of Artists of Ukraine [exhibition catalogue]. Kyiv, 2007, pp. 40. [in Ukrainian]
  48. Vilen Barsky. Wörter. Siegen: Universität-Gesamthochschule, 1983. 33 р. [in Russian]
  49. Westfälische Kunstler’88. Dortmund: Dortmunder Gruppe und Dortmunder Künstlerbund in Zusammenarbeit mit dem Kulturant Dortmund, 1988. 33 р.
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