Works in the Chee Grass Weaving Technique by Master Nina Petrosova.

The Concept.

The name of this project is a combination of two meanings. The first is the scientific concept of "Coastline", which correlates with a certain topographic distance mimicking the vicinity. And the second is the Turkic word " Kizyak", which means "dried" and is the processed dung with an admixture of straw that was formerly used in the regions of Central Asia as fuel and building material.

As a rule, we throw out the used packaging foam plastic into the trash, yet its favorable technical properties, such as lightness, pliability, watertightness, have generated positive interest in using it in the project. Due to the block configuration of one-time usability, the foam plastic bears the imprint of the other things design as a model of impeccable aesthetics of exact proportions that soothsays the backside profile of the foam by an abstract revelation of the intervention of uncluttered forms.

This project alludes to the bygones of the past, outside the ideology of the portrayed similarity, outside the circumstances of social tension, outside is the subordination of social status, but only in a vague impulse to behold an emanation of the last century in its selectness, to capture the stay of the individual who has already quit the world in the atmosphere of the passed. Who and what he was once:  worker, intellectual, commissar, basmach, communist, etc.  does not matter, because  canvasses in the silk-screen technique are, according to Fergana culturologist Alexander Ivanovich Kuprin, a testifying fact of the art itself in its providential substance when the native is higher than the true and just, by transfer of the image to the publicity, so that it could become, for at least someone, a part of time regained. As Rilke said, "once means now". The project "The sepia of non-mention" as an object of exposition in the exhibition hall establishes a kind of a script of photographic anonymity of authorship in the gap between the historical and mythological existence. It is almost a humble will of supreme powers to slightly open to us the fleetingness of the last perception of the world in the point of what it once was with you in the body of the father, mother, close friends and relatives. In addition, black and white fluids in the screen visibility of sheets are in the renovated print in the elusive intention of contemporary art to assign a certain place of fixedness, where a mark of the instantaneous becomes a message of possible.

Artist: Vyacheslav (Yura) Useinov.

The idea is to initiate in the internal environment of artistic habitation a reflection on the "glacial period of consciousness". To break the habitual course of everyday things, ignoring the current idea of ​​the swastika as a negative symbol and giving the sign its original meaning, namely through the demonstration of the silk mandala in the technique of chia in the cavity of the art space. Narrative of the attempt on the Buddhist symbol through skeletal models of dinosaurs, through their plastic configuration of frozen intentions. This project is in the imperative of both Western and Eastern history. Creating choreography of outdoor space on the principle of "shuidao": action without action - to some extent the object approximates the language reading, in the body of which the conceptual beating connects the past and the present in its conflict point. Two-meter size of dinosaurs all its kind gives out human habits or vice versa, perhaps a man gives out the habits of extinct dinosaurs. "Theft of the swastika" is a moment of one interpretation warning about possible consequences, as it was already with fascist Germany, etc.

Author: Vyacheslav (Yura) Useinov
Co-author: Alexander Mikhailov

This installation project is realized as the object of a gold pantheon, which is based on the history of the alleged fact described in Miroslava Stingl's book The Mystery of the Pyramids. In the 18th century in Peru, during the conquistadors, Colonel Laros found a treasure with golden butterflies, they were of amazing beauty and possessed aerodynamic properties. Each butterfly was not heavier than one gram. Colonel Laros melted all the butterflies into gold bars, leaving none of them. This historical evidence is very similar to the myth, actualizes the moral problems of human values ​​already in our modern world.

Vyacheslav Useinov was born in Fergana (Uzbekistan) in 1962. In 1985 he graduated from Bobruisk College of Fine Arts. He participated in regional, uthudlican, fll union international exhibitions.

1986 Exhibition «Artists of Fergana», Tashkent.
1987 Republican exhibition, Tashkent.
1988 National exhibition, Moscow.
1989 Exhibition ARTE RUSSO, Rome, Italy.
1989 Exhibition of artists of Uzbekistan, Delhi, India.
1989 Exhibition « Young artists of Uzbekistan », Moscow.
1990 Exhibition of « 11 Fergana artists » in the State Museum of Arts of Uzbekistan, Tashkent.
1991 Exhibition in White Hall Gallery, New York, the USA.
1992 Exhibition « the Gobelin tapestry, a sculpture » the State Art Museum, Samarkand.
1992 Personal exhibition, Showroom of the Union of artists of Uzbekistan, Tashkent.
1992 Exhibition « Message», Museum of antiquarian and jeweller art, Uzbekistan.
1994 Exhibition in L.O.S.H., Saint Petersburg.
1994 Personal exhibition in gallery « Borey-art», Saint Petersburg.
1997 Personal exhibition in the Museum of an applied art, Tashkent.
2000 Personal exhibition in the State Museum of Arts, Tashkent.
2000 Exhibition « Poetry and painting », Joseph Brodsky's Literary interior « Russian samovar », New York, the USA.
2001 Participation in the First International Exhibition of Biennial, Tashkent.
2002 Exhibition « the Great silk way », World Bank Gallery, Washington, the USA.
2003 Participation in the second International Exhibition of Biennial, Tashkent.
2003 Personal exhibition of photographic painting in the State Museum of Arts of Uzbekistan, Tashkent.
2004 Participation in the festival of videoart. Alma-ata, Kazakhstan.
2004 Creation of personal site
2005 The first prize on the Third International Exhibition of Bienniale, Tashkent.
2005 “Constellation” Swiss Agency for Development and Cooperation, Tashkent, Uzbekistan.
2006 “Caravansaray.Station.” International exhibition of Actual Art.
2006 - 2007 Participation in Moscow International Art Salon “CHA”.
2007 “Constalation. Postscriptum.” Swiss Agency for Development and Cooperation, Tashkent.
2007 Participation in 52-nd Venice Biennale, Central Asian Pavilion, Italy.
2007 Participation in the exhibition of actual art in Baku (Azerbaijan).
2008 Personal exhibition “Declaration of Manifesto “Fractal realism” in National gallery of Uzbekistan, Tashkent.
2008 Participation in the 3-d Beijing Biennale, China.
2008 Exhibition “ Sighns of time” Tashkent, Uzbekistan.
2008 International exhibition “Boom-Boom” Bishkek, Kirgiziya.
2009 Раrticipation in the 3-d Moscow Biennale in project “The second dialoque”, Russia.
2011 Раrticipation in the 4-d Moscow Biennale.
2013 The project of the group NAS-WHY. “My favorite tree”. Tashkent.
2013 Grand Prize on the 7-th International Exhibition of Biennial, Tashkent.
2014 Participation in «Art Dubai”.
2014 Participation in the exhibition at the auction house Sotheby's (LONDON) with the work "On the territory of the sky”.
2015 Group show,World Art Dubai, DWTC, Dubai
2015 Solo show, Mixed Thread, Andakulova Gallery, Dubai
2016 Exhibition, "The Sepia of Non-Mention", Fergana, Local History Museum
2017 Co-project with Shamshad Abdulayev "The Sepia of Non-Mention", Gallery of Fine Arts of Uzbekistan. Tashkent.
2020 Personal project "Ossuary for texts and dust", in the gallery "Bonum factum". Tashkent.
2021 Participation in the project  “The time service”. The Museum of modern art “Garage”. Russia. Moscow.
2021 Author’s project “The Coastline: kizyak (Dried Dung Bricks)”, in the gallery Bonumfactum. Tashkent.

Works are held in State museum of Arts of Uzbekistan, Art museums of Fergana, Samarkand, in collection of World Bank (Washington), in private collections in USA, France, Italy, Japan, Australia, Israel, Russia.