ПЕРСОНАЛЬНЫЕ КАТАЛОГИ
“Александр Джикия, полный каталог 1982–2004″ A-Б, Moсква, 2006
“Westostlicher Divan” ORT, Berlin, 1991
“Alexander Djikia, Works of Art” Union Gallery, Moscow, 1990
“Общее дело” Андрей Туркин, стихи + Александр Джикия, рисунки Имапресс, Москва, 1990

КОЛЛЕКЦИИ
Государственная Третьяковская Галерея, Москва
Московский Музей Современного Искусства
Stella Art Foundation Museum, Moсква
Городская Галерея Современного Искусства, Калининград
Городская Галерея Современного Искусства, Канск
Музей Коллекции Леонида Талочкина, Москва
Groninger Museum, Groningen, Holland
Zimmerli Art Museum, Rutgers State University, NJ, USA
Kolodzei Art Foundation, NJ, USA
Brodsky Center, NJ, USA

Stadtgalerie Saarbruecken, Germany
Baryshnikov Arts Center, USA
Alberto Sandretti Collection, Italy
Wolfgang Wittrock Collection, Berlin, Germany

НАГРАДЫ
Премия “Мастер”, Москва, 2007
1-я премия Биеннале Графики, Калининград, 1994

ПЕРСОНАЛЬНЫЕ ВЫСТАВКИ
2012
“Греческие серии” Городской выставочный зал, Подольск
“Лениниана” Галерея Крокин, Москва

2011
“Стеклянные работы” Handprint Workshop International, Вашингтон
“Жесть” Городской выставочный зал, Канск
“Зеркало для героев” Центр Кургиняна, Москва

2010
“Греческие серии” Консульство Греции, Москва
“Жесть” Галерея Крокин, Москва
“Танцы на стене” Барышников Арт Центр, Нью Йорк

2009
“Лабиринт или история Минотавра” Галерея Крокин, Москва
“Рисунки по мотивам Крито-Микенских печатей” Археологический музей, Тессалоники
“Стихиатрия” Стелла Арт Фонд, Москва
“Старое и новое” Галерея VP, Москва

2008
“Новые принты” Handprint Workshop International, Вашингтон

2007
“Возрождение” Галерея Nina Lumer, Милан
“Катаревуса” Art-Athina, Стелла Арт Фонд

2006
“Новые работы” Галерея Марата Гельмана, Москва
“10 лет спустя” Галрея Paperworks, Mосква
“Ретроспекция, 1982-2006″ Artplay, Москва (каталог)
“Новые принты” Handprint Workshop International, Вашингтон

2003
“Верхняя точка” Московский Дом Фотографии

2002
“Рисунки с крито-микенских печатей” Университет Bilkent, Aнкара

“В Греческом зале” Галерея ОГИ, Moсква

2001
“Рисунки” Галрея Ute Parduhn, Дюссельдорф

2000
“Рисунки из Анкары” Редакция журнала ”Пинакотека”, Москва

1999
“Рисунки, живопись и фотография” Галерея Thomas Zander, Кёльн

1997
“Рисунки из Нью-Йорка” Галерея Thomas Zander, Кёльн

1996
“Новые работы” Галерея Ute Parduhn, Дюссельдорф

1995
“Рисунки” Галерея “Art 5-III” Inge Herbert, Берлин
“Рисунки” Галерея Maya Polski, Чикаго

1993
“Начало света” Галерея Марата Гельмана, Москва
“Рисунки 1988-1992” Галерея Karsten Koch, Kиль

1992
“Групповой портрет в интерьере” Галерея Риджина, Moсква
“Рисунки” Rheinisches Landesmuseum, Бонн
“Западно-восточный диван” Городская галерея, Саарбрюкен (каталог)

1991
“Рисунки 1988-1991” Галерея Karsten Koch, Kиль
“Рисунки” Галерея Манеж, Москва

1990
“Рисунки” Галерея Kicken-Pauseback, Кёльн

1989
“Рисунки» Галерея Юнион, Moсква (каталог)

1988
“Фотограммы” Библиотека Иностранной Литературы, Москва
“Фотограммы” Редакция журнала “Студенческий Меридиан”, Москва

This project is very important for me, personally. To begin with, I live very far, in Rosh Pina, and at a certain point I start to stew in my own juice, not often meeting other artists.

This project means collaboration with Sasha Florensky again, thus having a nostalgic element. Sasha is an important artist for me. A long time ago, in Feropontovo, we actually worked together on a plein-air. In fact, it is fair to say that my conscious life as an artist started from that time. Sasha had influenced me greatly then, so that now, after such a period of time, having accumulated the experience, to meet him again and work on a joint project, but this time in the country where I live – it is extremely interesting. First of all, to be able to see these places trough his eyes – as a viewer from the side, he perceives and conveys in a minimalist way, certain things that one ceases to see, when living here on a permanent basis. Although his view is a touristic one, he has the ability to drill this down to a formula, which, in a way, is something that I am looking for as well. To find the minimal plastic solution, the formula that would provide for the specific place, time and situation…

Working from nature is very important in this sense, because when you are closed in your studio, solving you own personal challenges – it is great, but when you go out, you clear your consciousness, you get plugged into the life rhythm again. It is a highly valuable experience, because one has to learn, in this situation, on the spot, to make choices. On the one hand, you are there, you start perceiving actively, but on the other hand you must already possess the capabilities, as an artist, to quickly orientate yourself, to decide what you need and what not. You have to decide in this very moment how to solve the task – the composition, the means – it is a huge and complicated challenge. When you don’t engage with such undertakings for a long while, and then go outside to paint, you understand how hard and important that is. In my view, it is an absolute necessity for every artist, to be engaged in such a plein-air from time to time. One starts to deal again with the most important, core challenges of an artist, it just clears your mind.

In addition, this project has brought me a few gifts – I got to meet two wonderful women artists, whom I hadn’t been acquainted with before – Tanya Sergeeva and Tutu Kiladze. It is absolutely magnificent , to meet people who are working now in other countries, and suddenly you find yourself in the same project, the same situation with them. To see what they do… In general, it is important to see what others do.

From a conversation with Olga Kundina. April 2012, Jerusalem.

ВЕРНУТЬСЯ НА СТРАНИЦУ “ИЕРУСАЛИМСКИЙ ПЛЕНЭР”

For me, having lived in Jerusalem for 22 years, there is a certain degree of self-irony, in going out for the first time with the easel, to paint in the middle of a religious quarter or under the Old City walls. Despite the fact that landscape, and generally painting from nature, are far from what I usually do, it has been an interesting and fruitful exercise for me, and I have already got some ideas about future work. And of course, an important aspect of the project for me, was the communication among us and discussions about the works. Besides, organizing a home exhibition, the fact that we create a project on our own, without any mediators or institutions – it is a very modern and promising idea, in my opinion.

From a conversation with Leonid Zeiger. April 2012, Jerusalem.

ВЕРНУТЬСЯ НА СТРАНИЦУ “ИЕРУСАЛИМСКИЙ ПЛЕНЭР”

For me, painting means a talk about myself. To make visible my natural inclinations, its subtle and indistinctive tonality, through explicit features, such as the line, color, smudge. This is what painting is about, in my opinion. The “sound” of the canvas dictates what is shown there, and not the other way around. An artist, in my view, is the one “tuning” the canvas, the viewer can discover his inner world through my canvas. The young generation, even though I understand it, speaks about itself upon the computer screen, which depends highly on pixels… But even as they increase the number of pixels, they still fail to deliver. They have even made up a wonderful thing – if a video is filmed, the worse the quality of the video, the more ingenuous it is . I was speaking, though, about something completely different: about myself, expressing my personality.

From a conversation with Anatoly Basin. April 2012, Jerusalem.

ВЕРНУТЬСЯ НА СТРАНИЦУ “ИЕРУСАЛИМСКИЙ ПЛЕНЭР”

I liked everything here, it is truly wonderful. I was painting markets in the Old City, Arabs, Jews. I liked everything; I really cannot pick any specific experience. It is a wonderful country and you are lucky people to be living here.

From a conversation with Tutu Kiladze. April 2012, Jerusalem

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