Honored artist of Russian Federation, vice-president of the Russian Academy of Arts, president of the Russian Union of Artist.

He was born on January 2nd, 1945 in village (rural) Tsarevshina of Baltaysky district of Saratov region. He graduated from Moscow Architectural Institute in 1971.

Konstantin Vasilevich Hudyakov is a leader in using the latest Russian and world technologies in fine arts.

His professional art life started in Central Museum of V. I. Lenin (State Historical Museum) in the capacity of a head artist. Creating design of decoration for different exhibitions and whole museums for ten years, he dramatically changed the traditional picture and approach to historical expositions. In his work Hudyakov demonstrated extensive systematic approach by involving all types and genres of fine arts, multiple (different) audio and visual equipment. In 1975-1980 about 100 exhibitions and unique museum complexes in republics of the Soviet Union, countries of Eastern Europe, Switzerland, France, Yemen were designed by him.

In 1988 Hudyakov and confederates came up with a project of creation the first non-state Centre of Modern Art “M’ARS” in country.

Еnthusiastically taking part in annual group exhibitions in Malaya Gruzinskaya street, 32, Konstantin Hudyakov was always considerate about sociocultural problems, spectating, urgently worrying about and representing them in his art along with imperfection and contradiction of our existence its divine beauty.

The artist makes it clear, he stands on the border, which detach absurd from feasibility. Konstantin Vasilevich was one of the first persons, who started doing researches and making the design in the sphere of the latest digital technologies, using such tools as 3D technology, virtual reality, augmented reality, interactive systems, stereo-technology, etc. The master attached absolutely brand new expressive characteristic to his compositions: spatial, light, dynamic and volume effects.

Hudyakov’s art is an attempt to create new mythology based on a disappearance of the old civilization, connection of biological and technology-based. According to words of the artist, his aim is to set up an intellectual picture that will live its own life and look at the viewer.

Main projects: “The world of sensual things in pictures” (1997), “Deisis/The Upcoming” (2004), “Hotel Russia” (2005), “Art of high resolution” (2010-2011), “Angel’s eye” (2012-2013), “A number and myth” (2014-2015), “Art of deep dive” (2015-2017), “Virtual realism” (2018), “Digital mirrors of Konstantin Hudyakov” (2019), “A number and myth. 2.0. “Light nature of a woman” (2019).

Hudyakov’s works are remained in collections of The State Tretyakov Gallery, Russian Museum, National Centre for Contemporary Arts in Moscow, Moscow Museum of Modern Art, Centre of Modern Art “M’ARS”, etc.

This the work of Konstantin Hudyakov - “Angel’s Eye”. The work of art repents, correlating with the space of “RESET” and with the Centre “M’ARS”. Due to the fact that the blue area is related to art and freedom of thought, organizers turn this work to a dialogue with a viewer. The visitor interprets this installation by proceeding from the first sight vision and further associative series. The work allows you incriminate the impact of previous experience and shows your view of the world, preparedness to discovering something new and something that has to be discovered. Let’s talk about it. If you don’t know what’s an Angel’s eye, so whose is it? What’s happening now? It looks ‘monitors you or keeps an eye with care? Where is from this interest or hostility? Where does his interest or hostility come from? How do you feel?

The inspiration behind the creation of Angel’s Eye was a book “The Veldt” by Ray Bradbury, written in 1950. Konstantin Hudyakov sees Ray Bradbury as a prophet and tries to focus a viewer on the influence of technologies on our interpersonal relationships. K. Hudyakov, as a founder of the Centre “M’ARS”, where technologies and art are seamlessly combined, represents the question raised in the public space, offering visitors to reflect and imagine their own case scenario.

What will happen to us, when technologies would be able to give us much more love, carness and attention than any person? One of the possible is hidden in “The Veldt”.

Ray Bradbury

The Veldt

In brief

One family lived in the automated house “The Happylife Home” filled with machines that do everything for people: from cooking to tying shoelaces. Two children Peter and Wendy (their names are a tribute to Peter Pan and Wendy Darling) are enchanted by nursery, because it was capable of reproduction of any place that they imagine by the usage of hologram and projection.

For a long time, the room has been reigned with serenity, peace and children’s laugh. The room consisted of paradise gardens with butterflies flying everywhere and birds singing. But one day parents, George and Lydia, noticed that something went wrong in the nursery. Castles and gardens turned into the veldt: wild Africa with lions, eating carcass, as they thought carcass of animals. Parents their re-created things and heard strange familiar sounds. All these violent scenes motivated them to invite a psychologist to their house. He explored the content of the room and found that there is a high aggression degree. The doctor advised family to move to another place for a while, guessing that aggression was focused on them

Children begged parents to let them into their room just one more time. This nursery replaced parents and beckoned them. They lived for this room. Parents bowed to it and allowed them to visit the nursery for just one minute. When they went to the room to call their kids, Peter and Wendy locked them out. Shortly after, David came by to look for George and Lydia and saw the children. They were enjoying the picture of lions eating something. The reader understands that George and Lydia were killed by their children’s hand. They imagined how lions ate parents so often, that eventually it became a reality.

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