November 15, 1955
Born into a sailor's family in Zhdanov, Ukrainian SSR (today Mariupol, Ukraine).
He entered the art school in the department of sculpture.
He entered the Academy of Arts at the Faculty of Design, where he met his future co-author Vladimir Tsesler (they worked in a duet since 1978).
He defended his graduation project - a series of posters "History of Minsk".
December 9, 2004
Died in Minsk.
Sergey Voichenko about himself: "I was born on November 15, 1955 in Mariupol (former Zhdanov, Ukraine) in the family of a sailor. I have been living in Minsk (Belarus) since the age of four. All my relatives on my mother's side are from here. Old streets that survived the war (of which there are more no - they disappeared behind new buildings), the people who inhabited them, who belonged to different strata of society and professed different religions, shaped my attitude towards the world around me and determined my path in art. In 1969, I entered the art school in the department of sculpture. But the smell of oil paints attracted me and led me to painting.The school was one of the best in the former Soviet Union.Here I mastered drawing and the basics of classical painting well.All that was required of me at that time was to find my own direction in art and develop my own style.Exactly during those years, my tastes and preferences in cinema, architecture, art and cooking were re-formed.We had to work in the workshop at night, as there were not enough days.We listened to music yku, which was impossible to get in Soviet stores: "The Beatles", "Led Zeppelin". In 1974 I graduated from high school, and in 1975 I entered the Academy of Art at the Faculty of Design, where, in fact, I met my current co-author Vladimir Tsesler. At this faculty, unlike the others, new fresh ideas in design, experimental painting were welcomed. Encouraged by the experiments, I took up painting and posters. In 1984 he defended his diploma with a series of posters "History of Minsk". Since then I have been taking part in international poster biennials. After perestroika, it became possible to hold exhibitions of non-traditional painting and object sculpture. I think the way of thinking formed in the process of studying design allows me to find non-standard solutions even in the traditionally conservative areas of art."
Tatyana Bembel, obituary for Sergei Voichenko, 2004: "The history of the brilliant creative tandem Tsesler & Voichenko has entered a new phase. It feels like one of the twin towers has collapsed somewhere inside. The landscape has changed: a very significant vertical coordinate has disappeared. I think Sergei did not even suspect how large the number of people who would feel in this way. Maybe we ourselves did not suspect it. How many people scattered all over the world, it turns out, it was important just to know that somewhere there, in the distant city of Minsk , in the attic workshop, at the end of the famous table, Voichenko always, or almost always sits (many believed that he lived there) and thinks with a pencil on countless sheets under coffee and a cigarette, under coffee and a cigarette ... Why didn’t she take at least a couple of as a memory? Sometimes you look at something from art, and suddenly it flashes: but Voichenko would say to this: "Crap." "Really crap," you answer him mentally. And that's it. Professionally, he was an accurate indicator of quality : his intuition tion and sense of style could be trusted absolutely. And everyone knew it. I get along, even in microscopic doses - not only in art, but in life in general, from food to relationships - he somehow felt with his whole being, or, better, with his body. He didn’t have to make allowances for the fact that he didn’t read something, didn’t know that he lived in the provinces ... And one more thing: there are very few people here who are intelligible (their favorite poster with Tsesler is one of the most intelligible arts) can answer the questions, what is good, what is bad, and in general - what, in fact, is happening? Or it happened: posters "Stainless Stalin", "1939, the beginning of the war in Poland", "Karl Marx of the 1990s", "Afghanistan", "Good morning, Belarus!" and many others have come into being by thought, not by order. We needed this clear word. Needed now. An artist with such mature professional thinking and talent was worthy of a larger scale of their application: there is no doubt that his projects of squares and monuments, objects and actions with Zesler could change the face of cities so that it would be more fun for us to live in them. Goodbye, Seryozha."