ASTRA
contemporary art gallery
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АРТ МОСКВА I 46 Российский актикварный салон

a-s-t-r-a x 46 Российский антикварный салон

Программа АРТ МОСКВА

21 - 25 апреля 2021 г.

ОКСАНА МАСЬ, ЕГОР ОСТРОВ, ВЕРОНИКА СМИРНОВА, JOLIE ALIEN, ЮРИЙ САМОЙЛОВ, ПАВЕЛ БУШУЕВ

стенд D16

Гостиный двор, Ильинка 4

с 12 до 21.00

Alien Jolie

Jolie Alien — художник автодидакт, которая в свои восемнадцать успела сделать три соло выставки и стать участником множества групповых проектов. При этом, Jolie – модель, ее динамичная жизнь насыщена яркими впечатлениями, которые она пытается перенести в свои работы.

Jolie Alien was born in 2002 in Moscow.

An autodidact artist, she works with catchy images, simple plots, cropped compositions and expressive drawings.

Each of Jolie's works is introspective, connected with personal memories, which partly explains her visual language, which is intertwined with surreal images, simple geometric patterns, catchy inscriptions made with paint and spray.

Jolie's works resemble a wall that has been covered with graffiti for a long time: the figures float on top of each other, creating a collage effect. Jolie outlines youth, which she has direct access to and which is closed to the adult world.

The artist finishes her studies at the Moscow art INSTITUTE, combining a career in the fashion industry, participating in shows of such brands as Valentino, Off-White, Jil Sander, Paco Rabanne, Prada, Viviene Westwood, Simone Rocha, etc. Starred in international advertising campaigns Mango, Fendi, Adidas.

The rights to use the image of "Whirpool" were acquired by Mango for use in the release of a collection of t-shirts around the world. She was the subject of articles about her work in Document Journal, Vogue, InStyle, Elle and models.com.

Preparing for admission to Central Saint Martins College of Art and Design.

Complementary colors, expressive drawing and collage compositions of her paintings may seem confusing to many, but this confusion, ambiguity is a special feature of Jolie's works that distinguishes them from many others. As an artist, she values and puts perception above reflection, intuitiveness and even a certain automaticity of her paintings are related to art Brut and some of the works of Jean Dubuffet.

Jolie's language is highly subjective and even introspective. Perhaps only classical techniques can now allow the artist the luxury of speaking out about himself and capturing the reality around him as an enduring impression.

Her works are in collections in Russia, China, Japan, Belgium and America.

Lives and works between Moscow, London, and Tokyo.

SELECTED EXHIBITIONS:

  • 2021 - solo show "Symbiosis", Peak Moscow by a-s-t-r-a gallery
  • 2020 - Cosmoscow Art Fair, Moscow, Russia, a-s-t-r-a gallery
  • 2020 - ENTER Art Fair, Copenhagen, Denmark, a-s-t-r-a gallery
  • 2020 - "I lost track of the world", curated by Irina Shulzhenko, Richter space
  • 2019 - group show "One, Two, Three", curated by a-s-t-r-a, cube space.Moscow;
  • 2019 - solo show "20.11", curated by Irina Shulzhenko and Dmitry Yanchoglo, Richter space 2019,
  • 2019 - solo show "1367 number of my tick - what to do?", curated by a-s-t-r-a, Cube space.Moscow;
    live performance at the opening of a-s-t-r-a LAB, "Color" (creating a five-meter wall painting);
  • 2018 - "Wanted", Kino gallery

SELECTED PUBLICATIONS:



Works


Dolphin
Alien Jolie

Dolphin, 2021

Canvas, acrylic
115 x 160 cm
Whirpool
Alien Jolie

Whirpool, 2019

Canvas, acrylic
150 x 200 cm
Fashion week
Alien Jolie

Fashion week, 2019

Canvas, acrylic
150 x 200 cm
Four elements
Alien Jolie

Four elements, 2019

Canvas, acrylic
120 x 100 cm

Pavel Bushuev

Pavel Bushuev was born in 1987 in the city of Kopeisk, Chelyabinsk region.

In 2007 he graduated from the Chelyabinsk Art College, in 2014 he graduated from the I.E. Repin (graphic department, workshop of Andrei Pakhomov Andrey Alekseevich). From 2014 to 2017, he completed an internship at the Russian Academy of Arts creative workshops in St. Petersburg.

Pavel Bushuev was born in 1987 in the city of Kopeisk, Chelyabinsk region.

In 2007 he graduated from the Chelyabinsk Art College, in 2014 he graduated from the I.E. Repin (graphic department, workshop of Andrei Pakhomov Andrey Alekseevich). From 2014 to 2017, he completed an internship at the Russian Academy of Arts creative workshops in St. Petersburg.

During the studying, he participated in exhibitions and competitions in Russia, Korea and China: 2009 — participation in the Watercolor exhibition in St. Petersburg; international art exhibition in Seoul; 2011 — student exhibition in Beijing; 1st place and audience award for participating in the competition for the design of the Olympic bill; 2013 — participation in the exhibitions "Dream" and "Portrait of an Artist" in St. Petersburg.

Annually took part in open-air exhibitions in the halls of the St. Petersburg Academy of Arts.

In 2014 he graduated from the Institute, by the decision of the State Examination Commission, he was qualified as a graphic artist (book art). In 2015, he collaborated with GOZNAK (Mint).

Currently lives and works in St. Petersburg. The artist's works are in Russian and foreign private collections.

"Having received an art academic education, I continue to develop in various modern media, being in search of new forms and images, I am constantly experimenting with artistic languages. But the lion's share of my fine practice is still black and white graphics.

In my work, I often come across academic drawing with modern trends, at the moment on the verge of between them is the most interesting space for research for me. It is there that you can find out the limits of normality and subjectivity, reality and mysticism, releasing the images of the subconscious in a more accessible visual manner.

Creativity must always be sincere to find its viewer. Creativity is a constant search for our sides. This is a pleasure from the find. This is a continuous resentment from what has already been done, as a sign that it is necessary to move on.

While working on illustrations for Bram Stoker's Dracula, I needed to find a solution for the performance of this piece. Having tried several techniques, the choice fell on the monotype. The miraculous magic of printing, its randomness bribed me, forced me to look for new images and meanings. In parallel with the work on illustrations for the dark novel, the Warp series was born.

Deformation (from Lat. Deformatio - "distortion") - a change in the relative position of body particles associated with their movement relative to each other. This series presents the deep deformations occurring inside a person. Perceptions of events, experiences and thoughts, as well as external factors pass through us, distorting the cognitive shell. Deformation is the fixation of these sensations." 
(Pavel Bushuev)

SELECTED EXHIBITIONS AND AWARDS

  • 2021 — "Russian Shield", St. Petersburg, Russia
  • 2020 — Group exhibition "Kholotel", Moscow, Russia
  • 2020 — Cosmoscow Art Fair, Moscow, Russia
  • 2019 — ART Event Suspense. Brackhausen Mansion, St. Petersburg
  • 2019 — ART Event Suspense 2.0. Sevcable Port, St. Petersburg
  • 2018 — Intervention. Hermitage, General Staff Building, St. Petersburg
  • 2018 — International Fifth Biennale of Graphics. Romania
  • 2012 — International Art Exhibition. Beijing, China
  • 2011 — 1st place in the competition for the design of the Olympic bill
  • 2010 — International Art Exhibition. Seoul, Korea


Works


On tiptoe
Bushuev Pavel

On tiptoe, 2021

Monotype on paper
100 x 70 cm
110 000 ₽
Color portrait #3
Bushuev Pavel

Color portrait #3, 2020

Monotype on paper
36 х 51 cm
55 000 ₽
Сидящий
Bushuev Pavel

Сидящий, 2020

Monotype on paper
42 х 60 cm
55 000 ₽
Adam and Eve
Bushuev Pavel

Adam and Eve, 2020

Monotype on paper
70 x 100 cm
110 000 ₽

Kawarga Dmitry

A large cycle of works is based on the synthesis of art and technology. created in collaboration with scientists, programmers and engineers. These are interactive kinetic sci-art objects participating in international exhibitions and festivals of contemporary technological art, such as Lexsus Hybrid Art, Ars Electronica, FILE Electronic Language International Festival, etc.

Lives and works in the Moscow region.

Starting his career in art with traditional painting, the artist found a recognizable style in biomorphic sculptures and interactive installations.

A large cycle of works is based on the synthesis of art and technology. created in collaboration with scientists, programmers and engineers. These are interactive kinetic sci-art objects participating in international exhibitions and festivals of contemporary technological art, such as Lexsus Hybrid Art, Ars Electronica, FILE Electronic Language International Festival, etc.

Currently he works with a wide range of polymers that serve as material for large-scale landscape sculptures and miniature detailed compositions.

Objects of landscape art are on permanent display in Nikola Lenivets Park (Kaluga Region), in the Chateau Gütch Hotel Park (Lucerne, Switzerland), in the Sergei Kuryokhin Museum (St. Petersburg), as well as in the village of Velikiy Dvor, Podporozhsky District.

Interactive works are shown at the Erarta Museum (St. Petersburg) and Art4.ru (Moscow). The personal exhibition "Toxicosis of Anthropocentrism" at Ferenczy Muzeumi Centrum entered the top 10 museum exhibitions in Hungary in 2019.

 

AWARDS AND PRIZES:

  • 2007 - Winner of the competition for projects of the monument to Yeltsin "Monument", held by the Museum of Contemporary Art ART4.RU
  • 2013 - Ars Electronica, Honorary Mentions in the nomination Interactive Art
  • 2015 - The best project of the Science Museum program in the 21st century for 8 years of the Dynasty Foundation in the nomination "Popularization of Science through Modern Technological Art"
  • 2016 - Laureate of the S. Kuryokhin Prize in the category "Art in Public Space"


Works


Токсицизма 4

Токсицизма 4, 2018

Металл, полимеры
90 х 130 х 25 см
Токсицизма 1

Токсицизма 1, 2018

Полимеры, 3D-печать
85 х 100 х 35

Mas Oksana

She was born in 1969 in Ukraine.
She currently lives and works in Figueiras, Spain.

Oksana Mas is an artist, philosopher, humanist, urbanist, theorist and popularizer of contemporary art.
Oksana's works are sold at Sotheby's, Christie's and Phillips and are in museum and private collections such as the Moscow Museum of Modern Art, Stella Art Foundation, BREUS Foundation, Joerg Bongartz Collection, Sorelouzos Family Art Museum, Capital Group Art Foundation, Ekaterina Foundation , collections of Victor Pinchuk and Viktor Bondarenko.

She was born in 1969 in Ukraine.
She currently lives and works in Figueiras, Spain.

Oksana Mas is an artist, philosopher, humanist, urbanist, theorist and popularizer of contemporary art.
She participated in the 54th Venice Biennale (with a solo project, represented Ukraine), in the 55th Venice Biennale, in the 65th Film Festival in Locarno, at the Biennale "Women and Art" in Sharjah, UAE, and in numerous international exhibitions: Art Basel Miami (Miami, USA), Frieze (London, UK), FIAC (Paris), ARCOmadrid (Madrid, Spain), The Armory Show (New York, USA), Art Dubai (Dubai, UAE).

Oksana's works are sold at Sotheby's, Christie's and Phillips and are in museum and private collections such as the Moscow Museum of Modern Art, Stella Art Foundation, BREUS Foundation, Joerg Bongartz Collection, Sorelouzos Family Art Museum, Capital Group Art Foundation, Ekaterina Foundation , collections of Victor Pinchuk and Viktor Bondarenko.

EDUCATION:

  • 2019 — Master of Fine Arts, decorative art and restoration at Poltava National Technical University
  • 2014 — Master's degree in philosophy at Odessa State University named after Mechnikov
  • 2003 — Bachelor of Philosophy at Odessa State University named after Mechnikov
  • 1992 — Odessa State School of Arts named after M.B. Grekov
  • 1986 — Illichivsk School of Arts (Illichivsk, Odessa region, Ukraine)

PERSONAL EXHIBITIONS:

  • 2019 — AMBIT. Galeria d’Art, Barcelona, ​​Spain
  • 2018 — Oksana Mas. Spiritual cities. Sotheby’s, Milan, Italy
  • 2017 — Oksana Mas. Spiritual cities. Art Ukraine Gallery, Kiev, Ukraine
  • 2017 — Oksana Mas. Spiritual cities. MA*GA Museum, Galarate, Italy
  • 2017 — Oksana Mas. Spiritual Cities. Malpensa Airport, Milano, Italy
  • 2017 — Gravity and glass. NK Gallery, Antwerp, Belgium
  • 2015 — Oksana Mas. Get together. ArtFactory Istambul, Istanbul, Turkey
  • 2014 — Oksana Mas. Kasteyev State Museum of Arts, Kazakhstan, Almaty
  • 2013 — Renewal of the Sacred. House of the Nobleman, London, UK
  • 2013-2011 — Biomorphic realism. Mironova Gallery, Kiev, Ukraine
  • 2012, 2018 — Die Gestalt. TRIUMPH Gallery, Moscow, Russia
  • 2012 — Black & White. Bengelsträter Gallery, Dusseldorf, Germany
  • 2012 — River Gallery, Bratislava, Slovakia
  • 2012 — Helium-3 and other Works. Barbarian gallery, Zurich, Switzerland
  • 2012 — Barclays Bank, Zurich, Switzerland
  • 2011 — Post-vs-Proto-Renaissance. Ukrainian Pavilion. 54th Venice Biennale, Italy
  • 2010 — Helium-3. Aidan Gallery, Moscow, Russia
  • 2010 — Retrospective. Casamor’s Foundation, Museo Dali de Figueras, Figeyras, Spain
  • 2009 — When Stars Align. Zorya Fine Art Gallery, New York, USA
  • 2009, 2008 — Mimesis Gallery, Geneva, Switzerland
  • 2008 — MAS. Moscow Museum of Modern Art, Moscow, Russia
  • 2007 — Hired to Dream. Aidan Gallery, Moscow, Russia
  • 2006 — Assembly point. Gallery T. Ladyzhinsky, Odessa, Ukraine
  • 2005 — Photo exhibition "The phenomenon of epidermism." Gallery "Karas", Kiev, Ukraine
  • 2005 — Black and white reverse. RIS Gallery, Barcelona, ​​Spain
  • 2004 — Oksana Mas. Odessa State Art Museum, Odessa, Ukraine
  • 2003 — Oksana Mas. Museum of Western-Eastern Art, Odessa, Ukraine
  • 2003 — Everyday Originality. Exhibition Hall of the Ministry of Foreign Affairs of Ukraine, Kiev, Ukraine
  • 2002 — Oksana Mas. Center for Contemporary Art "Soviart", Kiev, Ukraine
  • 2002 — The project "365". Central exhibition complex "Morvokzal", Odessa, Ukraine
  • 2001 — Oksana Mas. Odessa State Art Museum, Odessa, Ukraine
  • 1997 — Oksana Mas. Picture Gallery Valkenburg, Netherlands
  • 1997 — Oksana Mas. M-Gallery, Prague, Czech Republic
  • 1997 — Oksana Mas. Museum of Fine Arts, Illichivsk, Ukraine
  • 1995 — Oksana Mas. Museum of Fine Arts, Illichivsk, Ukraine
  • 1995 — Oksana Mas. Central Exhibition Hall of the Union of Artists, Kiev, Ukraine
  • 1995 — Oksana Mas. UN Exhibition Hall in Ukraine, Kiev, Ukraine

GROUP EXHIBITIONS:

  • 2020 — Cosmoscow Art Fair, Москва, Россия
  • 2019 — AMBIT. Galeria d’Art, Barcelona, ​​Spain
  • 2018 — Oksana Mas Monostand at Shanghai Design Exhibition
  • 2017 — Contemporary Istanbul. Monostand NK Gallery, Istanbul, Turkey
  • 2016 — COSMOSCOW 2016. Monostand of the International Heritage Art Gallery
  • 2014 — 5th Biennale of female art "Women and Art". Museum of Modern Art, Sharjah, UAE
  • 2013 — Project "Glasstress" at the 55th Venice Biennale. Venice, Italy
  • 2013 — Art India. Mumbai, India
  • 2013 — White Light / White Heat. Glasstress project for the 55th Venice Biennale. London, Great Britain
  • 2013 — Pre-auction exhibition. Munich, Germany
  • 2013, 2009 - Sotheby's pre-auction exhibition. London, Great Britain
  • 2013 — Christie's Pre-auction Exhibition. London, Great Britain
  • 2012 — MAS & PICASSO. Monte Carlo, Monaco
  • 2012 — ViennaFair. Vienna, Austria
  • 2013-2011 — Art Karlsruhe. Karlsruhe, Germany
  • 2011 — 54 Venetian Biennale. Venice, Italy
  • 2011 — The Glory of Ukraine. International Meridian Center, Washington, USA
  • 2010-2006 — ART Moscow. Moscow, Russia
  • 2010 — ART Chicago. Chicago, USA
  • 2010-2007 — Fiac. Paris, France
  • 2010 — ARCO. Madrid, Spain
  • 2010-2008, 2006 — Art Dubai. Dubai, UAE
  • 2009 — The Armory Show. New York, USA
  • 2013, 2011-2009 — ART Kiev. Kiev, Ukraine
  • 2007 — The Movement. Evolution. Art. Cultural Foundation "Ekaterina", Moscow, Russia
  • 2007, 2006 — Art Basel Miami. Miami, USA
  • 2010, 2009, 2005 — Group exhibitions at the Aidan Gallery. Moscow, Russia
  • 2005 — Moscow International Fair of Fine Arts. Manege, Moscow, Russia
  • 1999 — Foundation of Russian Artists. Paris, France
  • 1999 — Golden-Art-Gallery. Cologne, Germany
  • 2000, 1998 — "Marine-2000" Biennale. Odessa, Ukraine
  • 1997 — Hall Gallery, Amsterdam, Netherlands
  • 1997 — Municipal Exhibition Hall, Maastricht, Netherlands
  • 1996 — French Cultural Center, Kiev, Ukraine

SPECIAL PROJECTS:

  • 2012 — Oksana Mas's project “The Phenomenon of Epidermism” won an independent critics prize at the 65th Locarno Film Festival
  • 2011 — The unique mosaic group “Look Into Eternity”, consisting of 15,000 hand-painted Easter eggs, was donated and installed at the Hagia Sophia of Kiev Museum (XI century)
  • 2011 — On the central avenue of Monte Carlo Henri Dunant, the works of the “Sphere of Good and Spiritual Renaissance” by Oksana Mas were installed. Prince Albert II of Monaco chose Oksana Mas's “Spheres of Good and Spiritual Revival” and Anish Kapoor mirrors for installation in Monte Carlo, Monaco

THEY ARE AMOUNG US

The biblical subtext is nearly omnipresent in contemporary art. It's the inertia of Christian civilization, which rules the sphere of sublime and symbolic. Attempts to link images to the Good Book are natural in cases where a dimension of timelessness is needed. Oksana Mas is also interested in the tension between mythology and image, and so she infuses her series "They are among Us" with biblical subtexts. The heroes of the series are common both for her work and the recreational urban spaces she scans to find the subjects for her paintings. Starting from the Renaissance the artist looks for a model to feature in his take on the biblical theme. Mas goes the other way round: her beloved scenes of rest and bliss are inscribed with biblical allusions. The series bear a stylistic resemblance to the base layer of paintings in the "Hired to Dream" series. Full-color paintings become more abstract, however, the contours wander, appear and disappear, and the forms tend to sphere in the style of Hans Arp or early Archile Gorky. Sometimes the paintings give an air of gothic glass-stained windows; the use of lacquer enforces that impression. The people and the space in paintings tend to be close in form and color intensity. The colors feel saturated, much like in decoratively rich paintings of Pierre Bonnard or Eduard Vuillard. One of the most memorable images of the series is called "God's Fool". It is an ageless person seated near a couple of young(ish) women. His facial features are erased in a manner of 1920s Malevich. In his depictions of kolkhoz workers, he searched for a formula to paint the body after abstraction. It seems that there has been a sacral subtext at work also: Malevich wanted to find an ideal type. This type was not to be depicted with the help of individualization and other realistic techniques. Mas has other reasons to "forget" the facial features. Biblical heroes emerge anonymously; they converge with the fabric of the outside world. Otherwise Mas' narrative would come too close to be particular, and the images would fall prey to endless references to iconography of the past. Plus, Mas is not a witness to a miracle, but simply arranges the constellations of matter "by the Book", according to an overused mythology. It's not surprising then, that some compositions are taken whale from other series by Mas. Acouple reclining on the grass is, of course, "Hired to Dream". Pigeons, as always, make reappearance, but Mas is reluctant to let them play roles from the Bible. As ever, the space of Mas' paintings is more readily associated with the subject of "Rest on the Flight to Egypt", and if the depicted people are close to revealing their biblical selves, their actions are bound to be as peaceful as the atmosphere that surrounds them.
Valentine Djakonov

SELECTED PUBLICATIONS:



Works


Райские яйца Оксаны Мась. 1 egg
Mas Oksana

Райские яйца Оксаны Мась. 1 egg, 2020

Beech, nitro enamels, acrylic, special varnishes
10 х 10 cm
26 650 ₽
Райские яйца Оксаны Мась. 2 яйца
Mas Oksana

Райские яйца Оксаны Мась. 2 яйца, 2020

Beech, nitro enamels, acrylic, special varnishes
25 х 25 cm
File of memory 7
Mas Oksana

File of memory 7, 2020

Acrylic, oil, oily pastel, plastic paint on canvas
170 x 220
File of memory #10
Mas Oksana

File of memory #10, 2020

Acrylic, oil, oily pastel, plastic paint on canvas
80,7 х 64,8 cm

Ostrov Egor

Egor Ostrov is a third-generation artist, a descendant of the old-school academicians and iconoclasts of the 1960s. He thoughtfully defends the artistic legacy of the New Academy of Fine Arts (established in St. Petersburg in the early 1990s by Timur Novikov) regarding the preservation of the ideals of beauty and European tradition in art.

Egor Ostrov is a third-generation artist, a descendant of the old-school academicians and iconoclasts of the 1960s. He thoughtfully defends the artistic legacy of the New Academy of Fine Arts (established in St. Petersburg in the early 1990s by Timur Novikov) regarding the preservation of the ideals of beauty and European tradition in art.

By bringing back to life both the imagery and fundamental principles of neo-academicism and paying tribute to the greatest examples of classical art, with his works Egor Ostrov offers original visual interpretations of familiar compositions, while ‘reinventing’ them for the modern-day audience by using the latest achievements and cutting-edge technologies provided by contemporary science.

It is rather difficult to classify the works of Egor Ostrov. His creative method is unusual and unique. Not only does it require familiarity with world-known masterpieces of painting and sculpture, but also a deep insight into the structure and internal rhythm of each work. To achieve this, one should have the ability to delve into the very essence of the image, detect and emphasize precisely those qualities that make it a masterpiece, whether it is Michelangelo’s tangibility, El Greco’s spiritualism, Bernini’s baroque expression or Ingre’s grace.

At the heart of Egor Ostrov’s unique artistic technique is a linear raster brought by the artist to a fundamentally new level with the help of computer technology. The image is painted on canvas in the form of lines with various thicknesses and saturation. This results in a special optical effect revealing the physics of the eye and visual perception. This is the basic principle of engraving: the strips are structured as a strict sequence with varying levels of thickness, sharpness, and bend; they have their own beginning and end. However, if we talk about engraving as a classical mean of image reproduction, the Old Masters used to produce exquisite copies that still were bearing the impress if their style. In the works of Ostrov, images are being passed through a certain lens, they exist in the world of an optical illusion, and thus the original remains the original.

Such perfectionism allows combining the past and the future without any loss, expressing it in the present. The imagery of Egor Ostrov does not aim for a momentary aesthetic effect; it cannot be comprehended with a fleeting glance. According to Ostrov himself, the modern world is overloaded with images, and the artist’s task is to carefully consider the history of visual knowledge accumulated over the centuries, to understand their internal mechanism and infinite potential.

In this respect, each work of Egor Ostrov turns into a contemplative intellectual and visual dialogue, a kind of tribute to the works of the Old Masters. The images move and vibrate; the hypnotizing raster recreates them over and over, it changes their appearance and mood depending on distance and point of view.

The art of Egor Ostrov brings back the notion of the ideal into modern life that is full of technology, calculations, and worldwide networks. The artist’s work is the embodiment of mathematical beauty, combining absolute accuracy of lines, purity of forms and ideality of the image.
It is a new milestone in neo-academicism, its coexistence in the age of conceptual art’s predominance makes it a retrospective and refreshing phenomenon at the same time.

SELECTED GROUP AND SOLO SHOWS:

  • 2018 — Canon, Orekhov gallery, Moscow
  • 2016 — Pontormo Book (together with Arkady Ippolitov)
  • 2015 — Absolute Beauty – Neoacademism in Saint Petersburg. Ludwig Museum, Budapest
  • 2014 — Selected. Transatlantiqe Gallery. Moscow
  • 2012— In the Flow. ArtMost Galley. Mayfair, London
  • 2011 — Immodern Art (with Elena Ulantseva) Knop’s Castle, Moscow2011-2012 – New Academy. Ekaqterina Art Foundation. Moscow
  • 2008 — String Theory. State Academy of Fine Art, Moscow
  • 2007 — Sign and Image. Attelier No.2, Moscow
  • 2007 — New Positive Process. State Center for Photography, Saint Petersburg
  • 2007 — Image and Sign. D137 Gallery, Saint Petersburg
  • 2004 — Depth of Field: Egor Ostrov and Arno Brecker. D137 Gallery, Saint Petersburg
  • 2003 — The Snowqueen’s Way: Egor Ostrov and Belyaev Gintovt. New academy of Fine Arts, Saint Petersburg
  • 2003 — New Academists. Look Art Gallery, London
  • 2001-2002 – Beauty and Eritism. Gallery Gasunie, Groningen
  • 2000 — Successors of Sparta. Synebruchoff Art Museum, Helsinki
  • 1998 — Seven Lines to the Inch. Aidan Gallery, Moscow
  • 1998 — Saint Petersburg Neoacademist Photography. Museum Foreign Art, Riga
  • 1998 — New Possitive Processes. State Russian Museum State Hermitage, Saint Petersburg
  • 1997 — Kabinet. Stedelijk Museum, Amsterdam
  • 1996 — Metaphern des Entrucktseins. Aktuelle Kunst aus St. Petersburg. Badischer Kunstverein/Karlsruher Kunstlerhaus, Karlsruhe
  • 1996 — Egor Ostrov: Paintings. Galerie Rotloff, Karlsruhe
  • 1994-1995 — Self-Indetification: Positions in Saint Petersburg art from 1970 until today. Kiel, Berlin, Oslo, Sopot, Copenhagen, Saint Petersburg.
  • 1994 — Renaissance and Resistance. State Russian Museum, Saint Petersburg
  • 1994 — Achilles. New Academy of Fine Arts, Saint Petersburg

SELECTED PUBLICATIONS:

Samoilove Yrii

Yrii is a graphic artist and painter with an extraordinary background. His first encounter with art happened at the age of 20, when, after graduating from Moscow Film School as a screenwriter and a director, he returned to painting and drawing.

Born in 1987.

Yrii is a graphic artist and painter with an extraordinary background. His first encounter with art happened at the age of 20, when, after graduating from Moscow Film School as a screenwriter and a director, he returned to painting and drawing.

Yrii's artworks is a methodological examination of the nature of painting.  He continues the line of abstract artists of America and German neo-expressionists of 1960-70 (especially De Kooning, Baselitz and Kiefer). Through them, Samoilov looks into the question of the method, which for him is the problem of the relationship between the figurative and abstraction. The artist approaches this border with automatic writing and palimpsest of textures.

At the creation of abstraction, there is a very big risk of going into the visual precisely by accident, unintentionally. Automatic writing removes the problem by making the image identical in meaning and importance of abstraction. The line is erased, and the uniquely figurative can use the plastic language in which it is not recognized immediately.

The same with the palimpsest: Yrii applies and erases the layers of paint, covers one another, scrapes the drawing with a sharp turn of the brush and uses a spray bottle along with acrylic and pastel from the tube and pastel. The texture of these works gravitates to sculptural plastic, and therefore to the pathos of the material. The material and its modeling becomes no less interesting and important than the image itself.

Due to all the above, artworks are created, where a viewer can find a collision of different visual problems, each is attractive in its own way: from the boundaries of figurative painting, automatic and thoughtful, to pumping up the texture, as a way to overcome the painting itself.

SELECTED EXIBITIONS:

  • 2020 — Participation in the International project of contemporary art THE WALL. Kamensk-Uralsky Art Museum, Kamensk-Uralsky
  • 2020 — Participation in the group exhibition "I have lost track of the world". Curated by Irina Shulzhenko. Space "Richter", Moscow
  • 2019 — Participation in the group exhibition "One, Two, Three" curated by a-s-t-r-a gallery. CUBE MOSCOW, Moscow
  • 2019 — Participation in the international project "Out of the Black Square". Trekhgornaya Manufactory, Moscow
  • 2019 — Personal exhibition "Dead bodybuilder". Space "Richter", Moscow
  • 2018 — Two guys / One Exhibition (with American photographer John Hunter Tenney, Free Workshop)
  • 2018 — Performance "Seven Gentlemen in Moscow". Gallery "Osnova", Moscow
  • 2018 — Performance "Round 9". "October", Moscow
  • 2017 — Performance "Sixth Symphony". Pluto, Moscow
  • 2017 — "Garden" (Experimental Art Studio Meditating Dog)

SELECTED PUBLICATIONS:



    Works


    Fire is Free
    Samoilove Yrii

    Fire is Free, 2020

    Paper, mixed media
    120 x 84 cm
    110 000 ₽
    Bad Company: The Trial
    Samoilove Yrii

    Bad Company: The Trial, 2020

    Paper, mixed media
    120 x 84 cm
    110 000 ₽
    Blind date
    Samoilove Yrii

    Blind date, 2020

    Canvas, oil
    100 х 80 cm

    Smirnoff Veronica

    Veronica Smirnoff is a British artist of Russian origin, (born Moscow, Russia, 1979). She gained a BA from the Slade School of Art and a post graduate diploma from the Royal Academy of Arts. She had her first solo show with Galleria Riccardo Crespi in Milan (2008). Smirnoff has exhibited in Moscow, Paris, Berlin, New York and London. She was selected for the John Moores Painting Prize UK (2010). She lives and works in London.

    Veronica Smirnoff is a British artist of Russian origin, (born Moscow, Russia, 1979). She gained a BA from the Slade School of Art and a post graduate diploma from the Royal Academy of Arts. She had her first solo show with Galleria Riccardo Crespi in Milan (2008). Smirnoff has exhibited in Moscow, Paris, Berlin, New York and London. She was selected for the John Moores Painting Prize UK (2010). She lives and works in London.

     

    Constantly reassembling and alluding to pre renaissance and icon painting, folklore and Asian tradition, paintings are constructed with traditional elements - the fragility of gesso and solidity of wood, with pigment ground from semi-precious stones, mixed with egg yolk and wine to make the paints. The wooden supporting boards are made of oak in Russian monasteries and blessed. Layer by layer, the surface is encrusted with texture and then sanded down to its sedimentary surface. Smirnoff is fascinated by the idea of the "Icon" as the object of worship and its close relation to "popular art" with a wide repertoire of signs: the flat moulding of figures, conventional space and the abstract effects of colours.

     

    EDUCATION:

    • 2004-2007 — Royal Academy of Arts - Postgraduate Diploma in Fine Art
    • 1999-2004 — Slade School of Fine Art, UCL - BA in Fine Art with 1st Class Honours
    • 1998 -1999 — Wimbledon School of Art - BTEC Foundation Diploma in Fine Art and Design

     

    PRIZES, SCHOLARSHIPS AND AWARDS:

    • 2006 — Alumni Award, Royal Academy of Arts
    • 2005 — Boundary Prize
    • 2004 — Terence Cuneo Prize in Fine Art
    • 2003 — Rodney Burn Prize in Fine Art
    • 2001-2002 — Scholarship to the Academy of Fine Arts in Vienna

     

    SOLO EXHIBITIONS: 

    • 2018 — Tales of Bright and Brittle, Riccardo Crespi Gallery, Milan
    • 2017 — The Greater and Lesser Ways, Jessica Carlisle, London
    • 2013 — Beyond The Shore, Riccardo Crespi Gallery, Milan
    • 2012 — The Madding Spring, Vela Gallery, London
    • 2010 — Zhar, Stanislas Bourgain Gallery, Paris
    • 2008 — Morozka, Riccardo Crespi Gallery, Milan

     

    SELECTED GROUP EXHIBITIONS:

    • 2019 Heat, 58th Venice Biennale, Venice
    • 2019 — Walking Dream, MiArt, Milan
    • 2018 — Painting Now 2, Riccardo Crespi Gallery, Milan
    • 2016 — Sting & Trudie Styler: The Composition of a Collection Christie’s, London
    • 2015 — Painting Now, Riccardo Crespi Gallery, Milan


    Works


    Scarecrows. Diptych
    Smirnoff Veronica

    Scarecrows. Diptych, 2014

    Egg tempera on wood
    Each part 120 х 100 cm
    To The End of the World
    Kai
    Smirnoff Veronica

    Kai, 2018

    Egg tempera on wood
    25 х 13 cm
    Harvest at Midnight
    Smirnoff Veronica

    Harvest at Midnight, 2018

    Egg tempera on wood
    50 x 40 cm

    Stroev Denis

    Born in 1980.

    A graduate of the ISI Database, the group of Russian and international exhibitions, including “Hooray! Sculpture!"to the Manege Central exhibition hall, curated by Anatoly Osmolovsky. Works mainly with sculpture. The personal exhibition " Administrative ecology” at the Iragui gallery was held in 2017. Participated in the Cosmoscow fair. Lives and works in Moscow.

    SELECTED EXHIBITIONS:

    • 2016 - "heliogabal" (parallel program of the V Moscow Biennale of young art) pop/off/art Gallery, Moscow
    • 2016 - " Raw/Boiled" (a Special project of the 5th Moscow international Biennale for young art), Moscow Museum of modern ART, Moscow
    • 2016 - " Heartburn»Gallery Elektrozavod, Moscow
    • 2016 - «MMXV»Gallery Elektrozavod, Moscow
    • 2015 - " Hooray! Sculpture!", VINZAVOD center for contemporary art, Moscow
    • 2015 - "Making a medium", Moscow Museum, Moscow
    • 2014 - "Forever living corpse", VINZAVOD center for contemporary art, Moscow

    SELECTED PUBLICATIONS:



    Works


    St. John's head
    Meat Plate
    Woman Spoon
    Stroev Denis

    Woman Spoon, 2015

    Brass, silver chrome coating
    110 x 190 x 110 cm
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