168:(...), a universal world view, integrally reflecting the categories of nature, artifact, and the humane." His early works were influenced by his Viennese past: changing schools, speechlessness and isolation, simultaneously the material and social ascent of his family. They revolved around issues of aesthetics and identity, the relationship between individuum and collective, and communication mirrored by consumption. "Oroschakoff reveals our anxiety and fear (...), our refusal of self-awareness, our insecurity about our place of work as well as about our precise localization. (...) Oroschakoff visualizes what sociologists and historians are just beginning to explore: Siberia or the loneliness within us all."
184:. It resulted in a series of pictures with an independent approach to the development of monochrome painting, denoting the invisible cultural boundary between the post-Latin West and the post-Byzantine East. "His deliberate and positive inclusion of diverse fragments from the Slavic-Russian and Asia Minor realms and the attempt to develop a new and contemporary iconography clearly show that Oroschakoff's intention is to shift the emphasis â not for sentimental love of his roots, but for his belief that the East has preserved a cultural vitality which has long been buried in the West."
22:
294:
in 2002: "(...) the image of the angry young man, exotically enhanced by ostentatious dandyism and foreign origin. (...) Nowhere at home without questioning, his perception of cultural loss of memory is pronounced and his sensibility for opposites is heightened." In 2018, in the bi-monthly magazine
224:
Against the backdrop of East-West rapprochement and subsequent estrangement, Oroschakoff has been engaging as publisher and publicist, e.g., with KrÀftemessen and
Instant Archaeology. Beyond his immediate artistic commitment, he follows the socio-cultural and geostrategic development. Thus, besides
204:
and
Luchezar Boyadjiev. Curatorial projects and lectures consolidated Oroschakoff's reputation as expert in the East-West art dialogue: KrÀftemessen (Munich 1994) with Margarita Tupitsyn, Boris Groys and Viktor Misiano; Bulgariaavantgarde (Munich 1998) with Iara Boubnova; 4th Internationale (Almaty
56:
Oroschakoff is the son of the engineer and entrepreneur
Georgij H. Oroschakoff, a descendant of the exiled Russian noble family Haralamow-Oreschak, and his spouse, the lawyer Welika Ugrin-Gudarowska, a member of the Ugrin-CsĂĄk family. TEDxLambeth 2019, he acknowledged being the son of a "refuge" as
187:
The fall of the Berlin Wall in 1989 was followed by yet another change in perspective. The physical encounter broadened the hitherto theoretical confrontation with the art and culture of
Eastern Europe. Friendship developed with representatives of the local
216:. Since 2008, he has been working on his Gesamtkunstwerk "Musée d'Art et de Lettre", a search for traces reaching back, conceptually, to 1979 joining together diverse means of expression, techniques and materials in order to create an experiential space.
387:
1996 "KrÀftemessen", texts by Nikita
Alexejew, Katja Degot, Boris Groys, Sabine HĂ€nsgen, Haralampi G. Oroschakoff, Viktor Misiano, Margarita Tupitsyn, Victor Tupitsyn, Slavoj ĆœiĆŸek, u.a.), edited by Haralampi G. Oroschakoff, Cantz Verlag,
362:
2004 "Moskauer
Konzeptualismus, Collection Haralampi G. Oroschakoff", Archiv Vadim Zakharov, edited by Hein-Th. Schulze, Altcappenberg, Kupferstichkabinett Staatliche Museen zu Berlin, Verlag der Buchhandlung Walther König,
372:
1999 "Inhabitants at the Edges of the World: Itinerants and
Orientalists", texts by Alexander Borovsky, Margarita Tupitsyn, Kathrin Becker, Marie-Louise von Plessen, Matthias FlĂŒgge, Haralampi G. Oroschakoff, Berlin
380:
1997 "Instant
Archaeology", texts by Josif Bakschtejn, Sabine HĂ€nsgen, Aleksander JakimoviÄ, Michael Meuer, Christian Schneegass, Viktor Tupitsyn, edited by Gerhard Theewen and Berlin Academy of Arts, Salon Verlag,
376:
1998 "Bulgariaavantgarde", texts by
Haralampi G. Oroschakoff, Iara Boubnova (curator), Alexander Kiossev, Luchezar Boyadjiev, Ivailo Ditchev, Diana Popova, edited by Haralampi G. Oroschakoff, Salon Verlag,
279:
wrote: "Oroschakoff, the conservative, affirms the absoluteness of his beliefs and places it in the traditional canon of the aesthetically beautiful." The installation found a more positive response in the
120:
lead the first battles for a modern conception of values and the world â and at the end of a century, in which we were turned into emigrants, shoved back and forth like furniture in abandoned rooms."
366:
2001 "Moskau oder die eigenen
Leidenschaften sind nicht verhandelbar und Die Berliner Republik: Was im Werden ist, war schon" in: Moskau-Berlin Stereogramme, edited by Tilman Spengler, Berlin Verlag
284:: "Oroschakoff â and this makes him a role model for many whose cultural identity has been dramatically upset by the opening of the Eastern bloc â has learned how to own up to his ambivalence."
239:
Since the turn of the century, Oroschakoff has been participating in political discussions around Russia, the Balkans and the Caucasus. He regularly publishes essays and commentaries in
369:
1999 "Weltverdopplung oder die Realisierung der Orientalischen Frage" in: Dogma 95 DĂ€monen, edited by Frank Castorf, VolksbĂŒhne Berlin, and KleistâFesttage Frankfurt/Oder
132:, about 1990, he began to travel the countries of his ancestors: Serbia, Bulgaria, Russia, Slovenia, and Kazakhstan. Since 1998, he has been living and working in
136:, Cannes and Vienna since 1998. He married Diana GrÀfin von Hohenthal und Bergen in 2000. Before, from 1986 to 2000, he was married to Johanna GrÀfin von und zu
65:. He received Austrian citizenship in 1961. Later his father founded the Austrian industrial enterprises Oroschakoff-Tor-Stahl Ges.m.b.H. and B.V.B. Ges.m.b.H.
400:
1988 "Lampos", texts by Francois Nedellec, Wladimir Sinojew, Luise Horn, Wilfried Dickhoff, edited by Wilfried Dickhoff for Gallery Joachim Becker, Cannes
652:
Franz Krahberger: KĂ€fig â Freiraum/Projekt. In: Gerhard Jaschke, Hermann SchĂŒrrer (editors), "Freibord. Magazine for Literature and Art", Vienna May 1981
350:
2013 "Wenn sie nicht elegant sind, dann bemĂŒhen sie sich um eine eigene Note" in: Charade-Rochade, herausgegeben von Axel Haubrok, Distanz Verlag Berlin
108:"I wanted to strangle that city. That same Munich, trapped in its smug beauty and dulled by navel-gazing, where, at the beginning of the 20th century,
688:
Carla Schulz-Hoffmann, "Der KĂŒnstler als Konstrukteur der GefĂŒhle", edited by Diana GrĂ€fin Hohenthal, Kyrill & Method Verlag, Munich 1989, p. 17.
225:
drawing and painting, the archiving and juxtaposition of self-conception and behavioral patterns in East and West form an integral part of his work.
232:(Bloomsbury 2007), Oroschakoff creates a historical panorama of cultural struggle, connecting historical events of the 19th century. Subject is the
576:
45:
322:
Since 1981, Oroschakoff has been participating at exhibitions, conferences and lectures in Europe, Russia and the United States. Examples:
236:. It "is (...) the history of Europe in the Southeast of the continent that follows the collapse and demise of the Ottoman Empire."
554:
384:
1997 "Die Akte Odessa", texts by Boris Groys, edited by Reiner Speck and Gerhard Theewen, édition séparée, Salon Verlag, Cologne
822:
307:, Oroschakoff, in the patriarchal cross, leaves it behind like a dog that barks as the caravan moves on and into the beyond."
516:
68:
Having changed school several times, Oroschakoff completed his secondary education in 1973. He spent three months with
785:
Katharina Hegewisch, "Erinnerungen leuchten auf" in: Frankfurter Allgemeine Zeitung, No. 111, Frankfurt/Main May 1990
598:
Anne Maier, "Haralampi G. Oroschakoff", Kritisches Lexikon der Gegenwartskunst, No. 61, Weltkunst Verlag, Munich 2003
353:
2013 "Der Prokurator" in: Galerie der Namenlosen, edited by Hanns Zischler, Elke Schmitter, Alpheus Verlag, Berlin
281:
96:. That year he received the Project Award of the City of Vienna and the Recognition Award for Fine Arts of the
697:
Andrew Solomon, "Works from the Underground. Freed by Glasnost" in: The New York Times, New York June 18, 1995
271:, caused a big controversy in the German art scene. Curator Justin Hoffmann called Oroschakoff a "Belarusian
589:
Melita H. Sunjic, Patrik-Paul Volf (editors), "Echte Ăsterreicher", UNHCR, Picus Verlag, Wien 1995, p. 69â77
397:
1993 "Polis", texts by Luchezar Boyadjiev, Dorothea Eichenauer, Rainer Metzger, Hohenthal und Bergen, Munich
212:
of the 1980s and 1990s, the result of a long-standing interaction with the perestroika avant-garde, to the
767:
Justin Hoffmann, "Die Deutschlandfrage" in: Artis Kunstmagazin, Artis Kunstverlag, Baden (CH) October 1990
511:
Diana GrÀfin v. Hohenthal und Bergen (Hrsg.): Oroschakoff. Doppelkreuz. Hatje Cantz Verlag, Berlin 2016,
73:
724:
Gerhard Theewen and Berlin Academy of Arts (editors), "Instant Archaeology", Salon Verlag, Cologne 1997
394:
1994 "Stalnimi Subami-Upustenii Avangard" in: Emigrazia i Straniki, Pastor Zond Edition, No. 5, Cologne
213:
873:
331:
812:
Martin Mosebach, press release at the presentation of "Die Battenberg-AffÀre", Frankfurt/Main 2010
679:
Diana GrÀfin v. Hohental und Bergen (editor), "Oroschakoff. Doppelkreuz", Hatje Cantz, Berlin 2016
868:
304:
201:
177:
863:
264:
276:
209:
858:
240:
113:
403:
1987 "Oroschakoff", texts by Luise Horn, Wilfried Dickhoff, Noemi Smolik, Kunstraum Munich
8:
661:
Horst Christoph, "Feuerfahnen in der DĂ€mmerung" in: Profil No. 3, Vienna January 19, 1981
125:
124:
In 1987, he received the Scholarship for Fine Arts of the City of Munich and in 1991 the
57:
well as an unlikely "misfit". In 1960, Oroschakoff and his parents escaped Bulgaria via
164:"that are more than mere creations of aesthetic values. Oroschakoff is on the way to a
117:
570:
512:
181:
109:
830:
706:
Michael Lailach, "Moskauer Konzeptualismus" in: Museums Journal, Berlin October 2003
625:
International Apt Art Moskau 1992, curators: Viktor Misiano, Konstantin Zwesdochetov
643:
Central State Museum, Almaty 1998, curators: Yerbossyn Meldebekov, Khanat Ibragimov
300:
296:
233:
157:
803:
Thomas Fasbender, "Du wirst ein Fremder unter Fremden bleiben", CATO 3/2018, p. 86
36:) is an Austrian painter, writer and publisher. He is considered a pioneer of the
323:
311:
165:
733:
JĂŒrgen Busche, "Die Battenberg-AffĂ€re" in: Cicero magazine, Berlin November 2007
715:
Haralampi G. Oroschakoff (editor), "KrÀftemessen", Cantz Verlag, Ostfildern 1996
287:
268:
69:
776:
Eva Karcher, "Konkrete Utopien" in: SĂŒddeutsche Zeitung, No. 47, February 1991
852:
335:
256:
97:
37:
616:
Palace of Culture and The City Gallery Sofia 1991, curator: Philipp Sidarov
452:
Trevi Flash Art Museum of Contemporary Art â Palazzo Lucarini, Trevi, Italy
327:
21:
303:, who attacked head-on, complemented and overcame modern thought with the
391:
1995 "Eine Textsammlung 1979â1994", Reihe Cantz, Cantz Verlag, Ostfildern
291:
193:
189:
93:
41:
794:
Elke Schmitter, "Der Schimmel ĂŒber Berlin" in: Der Spiegel, Nr. 28, 2002
528:
634:
Moderna Galerija / Museum of Modern Art, Ljubljana 1996, curator: IRWIN
272:
743:
458:
Archiv und Sammlung Pastor Zond/Vadim Zakharov, Cologne,Moscow/Berlin
161:
129:
58:
314:
described him as an "orthodox painter and unorthodox historian."
153:
149:
85:
48:
2019 as a speaker regarding the subject matter of conceptualism.
347:
2016 "Oroschakoff Doppelkreuz", Monographie, Hatje Cantz, Berlin
40:-West dialogue in art and a reviver of the reception of Eastern
359:
2007 "Die Orientalische Frage" in: Lettre International, No. 78
260:
133:
101:
89:
81:
77:
62:
197:
33:
670:
Dieter Ronte (editor), "Siberia", Gallery Tanit, Munich 1984
208:
In 2003, Oroschakoff bequeathed his collection of works by
171:
137:
76:, then continued as autodidact, dividing his time between
607:
Museum of Modern Art, Belgrad 1991, curator: Zoran GawriÄ
180:
roots. This led to a focus on the Orthodox cross â the
205:
1998) with Yerbossyn Meldibekov and Kanat Ibragimov.
440:
Kupferstichkabinett Staatliche Sammlungen zu Berlin
32:(Russian: Đ„Đ°ŃĐ»Đ°ĐŒĐżĐžĐč Đ. ĐŃĐ”ŃĐ°ĐșĐŸĐČ; * May 23, 1955 in
219:
44:in Western painting. Oroschakoff participated in
850:
176:From the mid-1980s, Oroschakoff returned to his
449:Sammlung Graninger/Rupertinum Salzburg, Austria
269:destruction of Constantinople by the crusaders
116:and the Dalmatian Greek and self-made Italian
575:: CS1 maint: multiple names: authors list (
553:Oroschakoff, Rev David Parry, Haralampi G.,
473:Sammlung Michel WĂŒrthle / Paris Bar, Berlin
356:2007 "Die Battenberg-AffÀre", Berlin Verlag
341:
823:"AUSSTELLUNGEN â HARALAMPI G. OROSCHAKOFF"
744:"Russlandkontrovers â Russland kontrovers"
407:
464:Sammlung Dieter und Si Rosenkranz, Berlin
413:StÀdtische Galerie im Lenbachhaus, Munich
428:The State Russian Museum, St. Petersburg
172:The Patriarchal cross and Eastern Europe
20:
552:
148:During the 1980s, Oroschakoff produced
851:
267:in Munich 1990), which dealt with the
494:Sammlung Hans und Uschi Welle, Berlin
455:Deutsches Historisches Museum, Berlin
443:Deutscher Sparkassenverlag, Stuttgart
263:1989; Kunstverein Göttingen in 1989;
416:Museum of Modern Art (MUMOK), Vienna
419:Musée dŽArt et Contemporain, Geneva
13:
467:Sammlung Eltz-Oroschakoff, Hamburg
434:Museum of Modern Art, Prato, Italy
14:
885:
334:2002; Bienal del Fin del Mundo,
200:, Andrei Filippov, Yuri Albert,
143:
815:
806:
797:
788:
779:
770:
761:
736:
727:
718:
709:
700:
691:
682:
673:
664:
655:
646:
637:
446:Humanic Sammlung, Graz, Austria
330:in 1992; Moscow Biennale 1998;
220:Theory, literature and politics
25:Haralampi G. Oroschakoff (2017)
628:
619:
610:
601:
592:
583:
546:
521:
505:
317:
282:Frankfurter Allgemeine Zeitung
1:
556:A chit-chat on conceptual art
498:
425:Deutsche Bank, Frankfurt/Main
182:patriarchal (or double) cross
128:. Right after the end of the
491:The Sons Collection, Belgium
482:Tiba Art Collection, Belgium
246:
140:, gen. Faust von Stromberg.
7:
476:Collection Gimbel, New York
422:Berlinische Galerie, Berlin
290:wrote about Oroschakoff in
265:Staatsgalerie Moderne Kunst
243:, Russlandkontrovers, etc.
74:Academy of Fine Arts Vienna
10:
890:
488:Sammlung Baron Gravenreuth
479:Collection Holleb, Chicago
214:Kupferstichkabinett Berlin
88:. In 1981 he traveled to
485:Sammlung Grafen La Rosée
431:Documenta Archiv, Kassel
342:Publications (selection)
228:In his non-fiction book
72:as guest auditor at the
30:Haralampi G. Oroschakoff
470:Sammlung Thomas, Munich
408:Collections (selection)
251:The early installation
51:
748:Russlandkontrovers.com
437:Sparkasse Cologne-Bonn
332:SĂŁo Paulo Art Biennial
122:
100:. In 1983 he moved to
98:State of Lower Austria
26:
230:Die Battenberg AffÀre
210:Moscow Conceptualists
192:of the time, such as
106:
24:
833:on December 22, 2017
257:Museum Fridericianum
241:Lettre International
114:Alexej von Jawlensky
529:"TEDxLambeth | TED"
277:SĂŒddeutsche Zeitung
126:Schwabing Art Prize
461:Sammlung DĂŒrckheim
178:Byzantine Orthodox
162:video performances
118:Giorgio de Chirico
27:
517:978-3-7757-4207-8
305:monochrome square
110:Wassily Kandinsky
80:, New York City,
881:
874:Austrian artists
843:
842:
840:
838:
829:. Archived from
819:
813:
810:
804:
801:
795:
792:
786:
783:
777:
774:
768:
765:
759:
758:
756:
754:
740:
734:
731:
725:
722:
716:
713:
707:
704:
698:
695:
689:
686:
680:
677:
671:
668:
662:
659:
653:
650:
644:
641:
635:
632:
626:
623:
617:
614:
608:
605:
599:
596:
590:
587:
581:
580:
574:
566:
565:
563:
550:
544:
543:
541:
539:
525:
519:
509:
301:Kazimir Malevich
299:stated: âUnlike
297:Thomas Fasbender
234:Eastern Question
18:Austrian painter
889:
888:
884:
883:
882:
880:
879:
878:
849:
848:
847:
846:
836:
834:
827:Oroschakoff.com
821:
820:
816:
811:
807:
802:
798:
793:
789:
784:
780:
775:
771:
766:
762:
752:
750:
742:
741:
737:
732:
728:
723:
719:
714:
710:
705:
701:
696:
692:
687:
683:
678:
674:
669:
665:
660:
656:
651:
647:
642:
638:
633:
629:
624:
620:
615:
611:
606:
602:
597:
593:
588:
584:
568:
567:
561:
559:
551:
547:
537:
535:
527:
526:
522:
510:
506:
501:
410:
344:
324:Venice Biennale
320:
312:Martin Mosebach
249:
222:
174:
166:Gesamtkunstwerk
146:
54:
19:
12:
11:
5:
887:
877:
876:
871:
869:German artists
866:
861:
845:
844:
814:
805:
796:
787:
778:
769:
760:
735:
726:
717:
708:
699:
690:
681:
672:
663:
654:
645:
636:
627:
618:
609:
600:
591:
582:
545:
520:
503:
502:
500:
497:
496:
495:
492:
489:
486:
483:
480:
477:
474:
471:
468:
465:
462:
459:
456:
453:
450:
447:
444:
441:
438:
435:
432:
429:
426:
423:
420:
417:
414:
409:
406:
405:
404:
401:
398:
395:
392:
389:
385:
382:
378:
374:
370:
367:
364:
360:
357:
354:
351:
348:
343:
340:
319:
316:
288:Elke Schmitter
248:
245:
221:
218:
202:Vadim Zahkarov
173:
170:
145:
142:
70:Rudolf Hausner
53:
50:
17:
9:
6:
4:
3:
2:
886:
875:
872:
870:
867:
865:
864:Living people
862:
860:
857:
856:
854:
832:
828:
824:
818:
809:
800:
791:
782:
773:
764:
749:
745:
739:
730:
721:
712:
703:
694:
685:
676:
667:
658:
649:
640:
631:
622:
613:
604:
595:
586:
578:
572:
558:
557:
549:
534:
530:
524:
518:
514:
508:
504:
493:
490:
487:
484:
481:
478:
475:
472:
469:
466:
463:
460:
457:
454:
451:
448:
445:
442:
439:
436:
433:
430:
427:
424:
421:
418:
415:
412:
411:
402:
399:
396:
393:
390:
386:
383:
379:
375:
371:
368:
365:
361:
358:
355:
352:
349:
346:
345:
339:
337:
336:Mar del Plata
333:
329:
325:
315:
313:
308:
306:
302:
298:
293:
289:
285:
283:
278:
274:
270:
266:
262:
258:
254:
244:
242:
237:
235:
231:
226:
217:
215:
211:
206:
203:
199:
195:
191:
185:
183:
179:
169:
167:
163:
159:
158:installations
155:
154:text collages
151:
144:Artistic work
141:
139:
135:
131:
127:
121:
119:
115:
111:
105:
103:
99:
95:
91:
87:
83:
79:
75:
71:
66:
64:
60:
49:
47:
43:
39:
35:
31:
23:
16:
837:December 13,
835:. Retrieved
831:the original
826:
817:
808:
799:
790:
781:
772:
763:
753:December 13,
751:. Retrieved
747:
738:
729:
720:
711:
702:
693:
684:
675:
666:
657:
648:
639:
630:
621:
612:
603:
594:
585:
560:, retrieved
555:
548:
536:. Retrieved
532:
523:
507:
338:in 2014/15.
328:documenta IX
321:
309:
286:
252:
250:
238:
229:
227:
223:
207:
186:
175:
147:
123:
107:
67:
55:
29:
28:
15:
859:1955 births
533:www.ted.com
318:Exhibitions
310:The writer
292:Der Spiegel
194:Boris Groys
190:avant-garde
94:Mount Athos
46:TEDxLambeth
42:iconography
853:Categories
562:August 21,
538:August 14,
499:References
388:Ostfildern
273:revanchist
247:Reception
571:citation
150:drawings
130:Cold War
59:Belgrade
381:Cologne
377:Cologne
363:Cologne
275:". The
253:Dandolo
86:Cologne
515:
326:1988;
295:CATO,
261:Kassel
134:Berlin
102:Munich
90:Patmos
82:Geneva
78:Cannes
63:Vienna
373:Press
198:IRWIN
34:Sofia
839:2018
755:2018
577:link
564:2020
540:2020
513:ISBN
160:and
138:Eltz
92:and
84:and
52:Life
38:East
259:in
61:to
855::
825:.
746:.
573:}}
569:{{
531:.
196:,
156:,
152:,
112:,
104:.
841:.
757:.
579:)
542:.
255:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
