Artist, Designer, Musician
KOLEICHUK was born in 1941 in Moscow region. He lives and works in
1966 - graduated at Moscow Institute for Architecture.
Since 1964 - intensive work as artist, scientist and inventor. Participated
in more then 60 exhibitions and 10 personal exhibitions in Russia,
USA, England, France, Chechoslovakia, Germany, Austria, India, China,
Japan, Latvia, Estonia, Italy, Ireland.
Wrote more then 30 scientific articles, made 8 inventions.
1970-77 Scientific work at the Central Institute for Theory and History
of Architecture, Moscow.
1977-94 - The Head of scientific group at the State Institute for
1979 - The member of Russian Architectural Society.
1995 - The member of Russian Design Society.
- Experimental Modeling in Architecture, Museum of Architecture, Moscow
1977 - Structures, House of Architect, Tallin, Estonia
1980 - Experimental Modelling in Design, Technical Aesthetics Center,
1983 - Kinetic Formmaking, House of Knowledge, Riga Latvia
1986 - Vjaceslav Fomic Kolejcuk. Plastiky, Kolaze, Dokumentace, Dum
Umeni Mesta, Brno, Chechoslovakia
1990 - Viatscheslav Kolejtschuk. Retrospective 1965-1990, Neue Galerie,
1991 - Viatscheslav Kolejtschuk. Retrospective 1965-1990, Baukunst,
Institut fur Architektur, Graz, Austria
- Exhibition - Representation of Kinetic Art with "Dwizhenije"
(Movement) Group, House of Architect, Leningrad
1967 - EXPO '67, Soviet Pavilion, Montreals, Canada
1976 - Autumn Exhibition of works of Moscow Architects, House of Architect,
1978 - Science and Art, House of Scientists, Moscow
1979 - Colour - Form - Space, Exhibition Hall on Malaja Gruzinskaja,
1983 - All-Union Exhibition of Design, The Central House of Artists,
1984 - Majakovsky and Industrial Arts, Majakovsky Museum, Moscow Tradition
und Gegenwart, Düsseldorf, Hannover, Stuttgart
1985 - Design - to Socialist Society, International Exhibition, V
D N kh, Moscow EXPO '85, Soviet Pavilion, Tsukuba, Japan
1986 - Masters of Culture - for Peace, The Central Exhibition Hall
in "Manege", Moscow
1987 - Design in the USSR, Design Center, Stuttgart
Artist and Modernity, Exhibition Hall on Kashirskaja, Moscow
Retrospection of Moscow Unofficial Art (1957-1987), Exhibition Hall
of the association "Ermitazh" in Belajevo, Moscow
1988 - Geometry in Art, Exhibition Hall on Kashirskaja, Moscow
1989 - What is Photography / 150 Years of Photography, Manes, Prague,
1990 - Zvukostruk + Popfon + Bicapo (with G. Vinogradov and B. Stuchebriukov),
The Central Palace of Youth, Moscow
In the Direction to Object, Exhibition Hall on Kashirskaja, Moscow
Universal Progression. 4th PRO Conference '90, Selection of Contemporary
Constructive Art, The Central Exhibition Hall in "Manege",
Naar Het Object, Stedelijk Museum, Amsterdam
Another Art, The Tretjakov Gallery, Moscow
1991 - Photo Manifesto, Museum for Contemporary Arts, Baltimore, USA,
traveled to Fine Arts Center, Long Island University, New York, USA
1992 - Art-Kontakt, SVZ, St. Petersburg, Russia
Koleichuk & Stanislav Kreichi
Programs of music for Koleichuk's Sonic Audio Sculptures and
New Acoustical Musical Instruments and Structures.
1996 - Concert program for Lev Theremin’s 100 anniversary.
The State Concert Hall of Tatarstan, Kazan.
1996 - THEATRE&MUSIC Festival. The House of Actors. Nizhny Novgorod,
1997 - The concert program at the Central House of Painters, Moscow.
1997 - ALTERNATIVA 97 Festival, Moscow.
1997 - The Theremin Center. The Multimedia Concert Program at Russian
Musical Academy, Moscow.
sovietica, No. 173/174, Agosto-Settembre, 1967, p. 20-25
Dusan Conecny, Kinetizmus, (book), 1970, "Pallas", Bratislava
Dekorativnoje Iskusstvo, II/1980, pp. 3-11, Moscow
Environment and Planning B, 1980, Volume 7, Programmed Form Generation
in Design, by V. Kolejchuk, Pion Limited, 1980, Great Britain
Vytvarna Kyltura, No.5, 1981, pp. 28-33, - Myslenky a modely Vjaceslava
Kolejcuka, by M. Sokolov
INTERPRESSGRAFIC No. 4, 1986, pp. 8-13, Hungary, Self-collage, by
Leonardo, Vol. 24, No. 1, 1991, pp. 41-47
Wind, World Interior Design, Winter 1991, No. 13, Japan, - V.Koleichuk
Retrospektive 1965-1990. Exhibition in Kassel
Photo Manifesto. Contemporary Photography in the USSR, (book), Stewart,
Tabori & Chang edition, New York, 1991
design practice one may distinguish two complementary approaches to
generating form. The first assumes that the object being designed
will be a member of some already familiar class of forms. The second
concerns itself with modelling those invariant characteristics of
real space and material which are capable of giving birth to whole
new formal systems and series. From such research into the design
of invariants, one may then derive the starting point of a new creative
concept, a programme, a basic mode or method, a constructive system,
a technology of form generation, or a new stylistic direction. The
raw material of such programmes and concepts emerges from two interdependent
fields. On the one hand there is the technocentric, the roots of which
are in the modern scientific and technical revolutions, in the industries
that produce the objects of design, and hence in automated design
procedures, in synthetic geometries, and in strict symmetries. On
the other there is that speculative field which is contiguous with
the newest thinking in art - with the serial, the conceptual, computer
art, structuralism, kineticism, and so on - and which is concerned
with expanding the possibilities of combinatorial form generation
and of systematic modes of constructing form. The infusion into artistic
activity of methods that would seem to be purely scientific is the
result of the ever-accelerating change from one set of form-making
concepts to another, as simple productive methods are replaced by
reproductive and massproductive ones. It is a result of the growing
numbers of such concepts, and their frequently localised character.
The very speed with which these concepts replace each other also results
directly from the inherent nature of the rules (zakonomernosty) to
which they give rise: from the patently circumscribed character of
serial form. Thus one may detect in design a shift from processes
of form-making that are evolutionary to ones that are revolutionary.
At the same time the operational scope and applicability of most of
the newest concepts are far from global, indeed they may be relatively
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