Mихаил Михайлов е роден през 1978 г. във Велико Търново, живее и работи във Виена и Париж. Учи във Факултета по визуални изкуства в Търново (1999-2004) и История на изкуството във Виенския университет (2002-2007). През 2006-2009 г. работи в сътрудничество с артистичната група Gelitin. Освен няколко резиденции и награди той печели наградата Drawing Now Париж 2018 и Австрийската държавна стипендия за визуално изкуство през 2017 г. Избрани изложби: VIVRE, ICI.gallery, Париж(2018); Extraterrestes, Cabane Georgina, Марсилия(2018); Money in the Art, Galerie im Traklhaus, Залцбург (2018); BONE 20 performance art festival, Берн (2017) Images in Language and the Language of Images, Dom Museum, Виена (2017); You want Truth or Beauty, Kunsthalle Nexus, Залцбург (2017); The Observatory, Special Astrophysical Observatory, Карачаево-Черкезия (2016); The Eaten Apple, Viennacontemporary, Zone1 (самостоятелна курирана изложба), Виена (2016); The Chicken Thief, Sotheby's (самостоятелна), Виена (2016); 34. Austrian graphic award, Gallery Taxispalais, Инсбрук (2015); Take off your shoes II, Projektraum Viktor Bucher, (самостоятелна), Виена (2014); The Dignity of Man, The Brno Haus of Arts, Брно (2014); Български художници във Виена. Съвременни практики в началото на 21. век, Софийска градска художествена галерия (2013); Absolut Vienna, Wien Museum, Виена (2012); Living on the Edge of a Silver Future, 5020 Galerie, Залцбург (2011); курирана от Jennifer Lacey, Les Laboratoires d'Aubervilliers, Париж (2010); Value point, Hilger Contemporary, Виена (2009); Austria Contemporary, Essl Museum, Клостернойбург (2008); Situation and Spectacle, Paul Klee Centre, Берн (2007).
Пространство за главата#1, 2018.
- Фотограф: Hannes Anderle
- Описание: in "headspacing" I am becoming my own exhibtion space in my mind and my reality. I am questioning "who am I" involving the question where does my body end-is my body connected to the mind and isn´t it already me, whatever interacts with me consciously/unconsciously. Is the the house I am living in or the exhibition space I am entering already part of my body? are the human beings I am surrounded with part of me? If I create something, how is it connected with me or my body. when design/architecture interacts with me, is it already part of me in that moment? What is the goal to strengthen my own views, spaces and connections and where is it leading me to.
- Авторски права: Michail Michailov
Прах при прахта, 2017.
- Фотограф: Sariev Contemporary
- Материал: цветен молив на хартия
- Описание: The series of drawings dust to dust connects several of Michail Michailovs works, which he realised in different forms and media and suits the important questions of life and existence the artist poses himself. He connects the issue of inner purity - as a condition to achieve perfection - with the external cleaning of his rooms and surrounding. So inner and outer cleansing are artistically rendered.
The series shows dust and dirt like in a nature study. In the beginning he just used the automatically appearing dust bunnies in his atelier/studio as model for this pictures, meanwhile he graphically transforms stains and spots out of his immediate surroundig such as bath or kitchen.
The process of drawing takes nearly as long as, or longer as the development of the dirt itself and therefore becomes sort of a mediative contemplaption contrasting the active awareness of the artist with the uncoscious developement of dirt and stains. This way this undesirable meaningless phenomenon/effect takes on a whole new significance. The unconscious gets into awareness, things unlikely to be seen become visible. The high level of drawing effort, which is necessary for this reproduction, playfully raises questions of meaning and value of man and art.
The drawings are presented as an installation within an especially created frame out of skirting boards and can be exhibited hanging on the wall as well as lying on the floor. Dust and dirt, very common to everybody but also repelling and easily overlooked, open up to new perspectives when displayed as a drawing. The aesthetics are only made clear by hanging them on the wall. Relating them to naturally developed dirtstains the spectator gets a new perception and another view on things. The handpainted microcosmos is supposed to provoke thought and enable new associations.