belrus
  • 2024
  • 2023
  • 2022
  • 2021
  • 2020
  • 2019
  • 2018
  • 2017
  • 2016
  • 2015
  • 2014
  • 2013
  • 2012
  • 2011
  • 2010
  • 2009
  • 2008
  • 2007
  • 2006
  • 2005
  • 2004
  • 2003
  • 2002
  • 2001
  • 2000
  • 1999
  • 1998
  • 1997
  • 1996
  • 1995
  • 1994
  • 1993
  • 1992
  • 1991
  • 1990
  • 1989
  • 1988
  • 1987
  • 1986
  • 1985
  • 1982
  • 1977
  • 1976
  • 1974
  • 1972
  • 1971
  • 1970
  • 1969
  • 1962
  • 1960
  • 1958
  • 1956
  • 1954
  • 1953
  • 1952
  • 1937
  • 1932
  • 1930
  • 1927
  • 1925
  • 1921
  • 1920
  • 1919
  • 1912
  • 1891

2024

2023

2022

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

2003

2002

2001

2000

1999

1998

1997

1996

1995

1994

1993

1992

1991

1990

1989

1988

1987

1986

1985

1982

1977

1976

1974

1972

1971

1970

1969

1962

1960

1958

1956

1954

1953

1952

1937

1932

1930

1927

1925

1921

1920

1919

1912

1891

eng Automatic Translation

Todar Kopsha

1939 – 2012

Real name: Grigory Yanovich, also used the pseudonym Grigory Kotsapov

One of the pioneers of the perestroika avant-garde, dissident. Nonconformist artist, painter, abstract artist, collagist, surrealist.

Rarely exhibited during his lifetime. His most famous painting, The Dream, was bought by a French collector.

Lived and worked in Minsk.

Groups

Selected events

Selected artworks

Associated institutions

Associated Documents

Selected dates:

1939

Born in Prapoisk (USSR, today Slavgrad, Russian Federation).

Graduated from the Minsk Art Glebovskoye College .

In Soviet times, he participated in independent creative communities, organized underground art exhibitions .

The creative pseudonym was invented by his friend the poet Ales Ryazanov. In the old Belarusian language "kopsha" means "grave spirit", "gravedigger".

End 2008

The last lifetime exhibition took place.

2012

He died in Minsk. A few years before his death, the artist almost stopped leaving the house. He could no longer draw. He worked at the college of collage, which he mastered in the prime of his career.

  • -

  • Memoirs of Ales Razanov:

“Todar lives and creatures in spite of the old-timers, in spite of some tired rules, the creators are not magic. Yon іshoў svaёyu darogai and hear svaygo ўnutranaga voice. We lived for a long time adzin hell again. He often wears piles of carcinoma, and most often paints on papyar arches. And then the geta was ў us, as it were, a vague creative gadzіna - I gave names to these creations. Tamu is well aware of the fact that the z-fall of my hand was revealed. In the works of yago, life seems to have come out of some kind of offensive vymyarenne. At the same time, Todar himself came out at the getae, the offensive became more pronounced. Pazhaem pit captive shchaslіvay further darogі .

-

Memories of Tatyana Garanskaya:

“Yon, Marachkin, Viktar Markavets, Ales Razanaў worked for underground exhibitions, sent to Kazimir Malevich. Yana there pravodzіlі and lectures of great Malevich - the name was baroned in Belarus, the great avant-garde mastery - the kali navat gavaryts was baroned" .

-

Memoirs of Ales Marochkin:

“So, yes, I’ll lay it down, creator, like a sluggish chamber pad I’ll call “Prysvyachenny chyliyskim paetam”, and on the very right - geta prysvyacheny rappersed to the letters of Belarus, for ў savetsky hours yon havaў sapraўdіy іdеа of creativity.

[...]

He was left to the free, not staggering satsrealisms, not to the zastuglyan political party, Balshavism, there that he was dasvedchany ў evrapeyskoy culture, and peredusim at the mastatstve of the dzevyatnazzataga - a patch of dvazzataga stagodzia. As in my opinion - this would be the first master of such a surrealistic, abstract character. Aposhniya bastards yon tsyazhka hvareў, and, unfortunately, I became a mastaka, a grammarian, a Belarusian.”