Maxim Bashev (Moscow 1961 - )


Born in 1961 in Moscow. Graduated from the Moscow Art School N.1. Since 1986 has participated in exhibitions, notably in Russia, Ukraine, Germany, USA. His works are in the private collections in Russia, USA, Germany. Lives and works in Moscow.
Max Bashev’s works can be viewed as a form of neo-Dadaist practice. He has been inspired by Basquiat, Kieth Haring, and the entire underground protest culture they embody. This culture reflects an aesthetic terror towards the society that wants to sleep and see the dreams, wants an everyday uneventfulness of routine life rather than stirring images reminding them of real problems. A similar vibe is projected by Bashev in his works. His painting style gravitates towards 1980’s New York, when underground art in unconventional spaces swept through SoHo and became the subject of actual theoretical reflection. This brutal painting practice, which does not differentiate between a canvas and a wall and destroys the boundaries of genres, won some time for it se lf before getting crushed by the market and criticism.
Moments of Max Bashev’s ethnic styles bridge modernity with history and mythology as it also takes place in urban subcultures. Bashev incorporates historic images into modern contexts and blends modern visuals with mythological stories. Time is endured as a historic singularity. Such endurance of time mobilizes the European self-consciousness and turns neo-Expressionism into a transnational artistic trend followed by Bashev and other gallery artists.
Bacon’s influence, articulated by Bashev, becomes apparent in his way of composing a painting; this type of composition has nothing to do with the actual drawing. Such a painting is a registry of bodily experience of an artist. Gilles Deleuze viewed Bacon’s creativity as a freedom from functional structures and cognitive existence, a freedom through the practice of which an ecstasy becomes painting. Such discussions are applicable to an artist for whom negativity plays a role of theology or ideology. Max Bashev follows this line of negativity and attributes it to the avant-garde impulse. In his case we can talk about continuity with those whose artistic development is linked with Jean Dubuffet, Robert Rauschenberg, Cy Twombly and British pop artists.

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