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Перевод выполнен для издательства ЭКСМО
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ru>en Перевод статьи "Фотографии Евгения Козлова в его творчестве 80-х годов".
Перевод выполнен для сайта художника Евгения Козлова.
Корректировался носителем языка.
"As we look at Evgenij Kozlov’s photographs of the 80s and examine the motives and events of those years, we notice that all activities took place in that
universal world in which he lived: Leningrad and Petrodvorets, where his parents’ flat was situated, and that the people on the photographs were his friends
and close acquaintances. In other words, unlike Rodchenko or André Cartier-Bresson, he did not photograph strangers. Photography came to him as naturally
as painting, and it is in a sense true that the camera had the same function for him as the sketchbook for the artists of the previous centuries: it helped
him to preserve for future interpretation the moment that reveals the person’s inner being, which, in his opinion, is the very essence of art. He did not
simply fix specific gestures, glances and postures that interested him, but also provoked them by his presence with the camera. And in those rare moments
when he wished to appear in the picture himself, he used the self-timer or gave the camera to someone else."
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(ru>en) перевод статьи для Ханнелоре Фобо (Германия) – философские размышления "Нового Художника" Евгения Козлова об искусстве (отредактировано носителем).
"During the 20th century, three main trends emerged and have grown to dominate the artistic landscape.
The first trend is an intellectual one in which the work of art is seen as a material stand-in for its meaning. It appears as a code for a particular attitude
of its creator, analysing society or human psychology with a “critical approach.” Therefore, the cipher key is required in order to “decode” the work.
This trend, which includes deconstructivism, as well as pop-art, is focused upon the work’s message expressed in concepts and notions and, in the widest
sense, can be defined as conceptual art."
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(ru>en) Перевод статьи о психодраме для доктора Эберхарда Шайффеле (Германия, США).
"The role of the interpreter may be not the most prominent in psychodrama, but it is one of the most important roles. Interpreting at a psychological training is a great responsibility. Here it is not enough to convey the sense, even very accurately. Every overtone of the meaning and even the manner of speaking should be conveyed too, as every small detail is important for the psychologist. Besides, at a psychological training the interpreter is not only a communication channel, he or she is a member of the group as well. He or she should not create additional shyness and seem "out of place", that is why the interpreter also participates in the exercises."
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Перевод статьи о двух картинах Евгения Козлова. В статье описана композиция работ и анализируется их значение.
"Внешнее сходство с фотографией еще усиливается благодаря применению эффекта черно-белого негатива, где темное и светлое меняются местами. Козлов обозначает объем тела при помощи тонких контуров и штрихов. Несмотря на использование белой масляной краски, в работах сохраняется нервная поспешность карандашного рисунка. Лишь в нескольких местах более мягкие и правильные мазки белого создают тени настолько легкие, что сквозь них просвечивает глубокая чернота фона. Это «натуральный» черный с едва заметным геометрическим рисунком, которого художник добился, склеив вместе достаточно большое число светонепроницаемых пакетов от фотобумаги, на которой он раньше печатал фотографии".
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