Rushan Ismagilov

Rushan Ismagilov: paintings that do not want to be understood too quickly 
You're looking at a painting. It's been a long time. Then comes —, there's something hidden here. Not just a metaphor, no. Oh, it's real. In some works, the text is encrypted. Look for him. Let's decipher it. And then just sit there and think, you fuckin' gave up. 
It's not a manifesto. No ready answers. Painting — is not the answer. Picture — question. And the longer you stare, the more questions you have. Like a woman. Like a bottle. As with life in general. 
I call it "naive conceptualism." Sounds like the delusion of a drunken philosopher. Maybe it is. — conceptualism is more important than form. The naivety of — without armor, without a diploma, almost childish. Fold one with the other — and you get a painting that looks simple, and inside the — is a maze. Like a good puzzle. I think you're about to figure it out. And then another bottle, and you don't remember what you were looking for. 
Twenty years in theatre. He began as a stage mounter at the Mossovet Theater. Crawled to the technical director and decorator artist. Member of the Union of Theatre Workers of Russia. He worked with Konchalovsky — "Cherry Garden", "Oedipus in Colon". With Eremin — "The Wanderer". This ain't no cock-flies. The theatre gave me discipline. And a sense of metaphor. To the rhythm. How to tell a story without saying a word. 
Painting has always been there. Since I was a kid. Theatre and painting — are two languages. About the same thing. Works in galleries. It's an exhibition. by TNK Art. A3 (computer science) The art commune. Rodicheva gallery. And other residences in "Okaknovo". It's all right. It's all by the rules. I break the rules anyway. 
— method in detail. It's what's behind the scenes. Where no one is looking. 
Consciousness accumulates events. People, people, people. — cases are finished and not. It's a resentment. Desire for me. But sooner or later, you'll want to give what you have.