Born in 1983 in Kemerovo.

Kemerovo artist, a graduate of the Stieglitz Academy. Stieglitz. Creates industrial landscapes, transformed in accordance with the author's special philosophy into futuristic images of the city. Uses Kuzbasslak - coal tar, which refers to the industrial context of the small motherland.

EDUCATION

• 2007 - Graduated from Mukhin Academy of Arts in St.Petersburg.
• 2004-2008 - St.Petersburg State Academy of Art and Industry named after Mukhina. Faculty of Monumental and Decorative Art, workshop of O.I. Kuznetsov.

Lives and works in St. Petersburg.

"The Tree of Life" is a complex image that exists in various cultures and is one of the monumental symbols of life, the planet and all living things. Kirill Koteshov reinterprets this image in the form of a large pictorial installation, enveloping the entire space and completely absorbing our visual perception.

The monumental pictorial installation that was created at the Russian Museum for the exhibition "Actual Drawing" really combines monumental painting, which practically passes into a painting of a wall. The painting is of such a high quality that it gives the impression of the work of old masters, nevertheless the theme of the Tree of Life and its realization by Kirill Koteshov remain topical today.

In Kirill Koteshov's work the tree is formed by intertwining human figures, their bodies touching and joining each other, creating a sense of the crown of a tree, a monolithic mass moving upwards and uniting all being into a single connection. The bodies are devoid of faces, gender, individual attributes, but they are physically perfect, perfect and identical. The figures support each other, make each other bend, move, assume certain poses - but all together they form a single chain of being, a life taking shape, a mass that seems indestructible.

PERSONAL EXHIBITIONS

• 2008 - "Three Days", Triumph Gallery, Moscow
• 2008 - "The Last Snow", Globus Gallery, Saint Petersburg
• 2008 - "UNDER GROUND", Manezh, Small Hall, Saint Petersburg.
• 2007 - Parallel Kuzbass, Triumph Gallery, Moscow
• 2007 - Academy of Arts and Design.

Born in 1974.

Sculptor, architect, member of the Russian Academy of Arts.

In 1999 he graduated from the Faculty of Sculpture (workshop of academician L. Kerbel) Moscow State Academy of Arts named after Surikov.
Since 2014, member of the Presidium of the RAKh (Russian Academy of Arts).

Aleksey Morozov began his artistic career in the early 1990s, taking part in the Second Biennial of Contemporary Art in St. Petersburg, where he won one of the Grand Prix of the exhibition. After graduating from the institute, he spent a year in Provence in 1998, where he studied French sculpture from the 16th-18th centuries and practiced working with terracotta. 

After his return to Russia, Morozov collaborated for a long time with the founder of the New Academy of Fine Arts, and was a member of the New Serious creative movement, a conservative wing of Neo-Academism. He has held solo exhibitions in St. Petersburg, Moscow and Italy and has participated in international art fairs.

In December 2011 - January 2012, the Marble Palace of the Russian Museum hosted a large solo exhibition of Morozov, entitled Antologia, where the artist presented about 60 works created in the previous 10 years. 

In July 2013, Alexey Morozov was appointed director of the Moscow State Academic Art School in Memory of 1905. Under his leadership, the reconstruction and renovation of the school began, a new sculpture department was opened, an anatomy department was created to train specialists in plastic anatomy, and Italian internship programs for students were introduced. 

He lives and works in Lucca (Italy).

Alexey Morozov's works are sold at Sotheby's, Christie's and Phillips auctions and are in private and museum collections, such as the State Russian Museum, the Museum of the New Academy of Arts in St. Petersburg, etc.

"Alexey Morozov is the author of the project PONTIFEX_MAXIMVS, shown at the 6th Moscow Biennale of Contemporary Art in 2015. The idea for the project refers back to Raphael's Stanzas of the Vatican, where the master introduced the image of caryatids coming to life, and the frescoes of each room were united by a common plot or character. Animate sculpture is one of the fundamental themes of Alexey Morozov. Throughout his artistic career, Morozov consistently creates a huge art universality, reinterpreting the Greco-Roman classical heritage in the context of modernity. In the artist's opinion, the possibilities of the plastic language of Greek and Roman sculpture, which for so many centuries continued to nourish European civilization, are far from exhausted and can still serve as the basis for creating works with a keenly relevant authorial message. The title PONTIFEX_MAXIMVS - that is, "the great bridge-builder" (from the Latin term pons facere, understood in the esoteric practices of the Romans) verbalizes the idea of restoring the links between antiquity and modernity, the East and the West.

Morozov uses classical iconography, but removes its historical meanings and connotations, giving ideal forms the provocative content of modernity. This is also reflected in the choice of materials: the "classical" ones of bronze and marble, as well as concrete and carbon fiber. The bronze sculptures are made in Pietrasanta, Italy, using techniques based on the ancient tradition of hand craftsmanship. Amidst the kaleidoscope of shifting ethical, moral and aesthetic guidelines of today's world, classical culture and iconography proves to be an important point of reference. In his sculpture, graphics and video, Morozov uses the orderly structure of ancient art to analyze and transcend the chaos of the world. His narrative is transported into a post-apocalyptic, desolate, militaristic space, but offers no unambiguous interpretations or interpretations." MMOMA

SELECTED EXHIBITION PROJECTS:

• 2022 - "Art Gardens. Metamorphosis", Arkhangelskoye Estate Museum, Moscow 
• 2017 - "PONTIFEX_MAXIMVS/ le stanze", Alexey Morozov Art Project. MMOMA, Moscow
• 2016 - "PONTIFEX_MAXIMVS", Alexey Morozov Art Project. Museo Archeologico Nazionale di Napoli, Naples
• 2015 г. "ANTROPOMAHIA," art project by Alexey Morozov. Istanbul Contemporary, Istanbul
• 2015 - "PONTIFEX_MAXIMVS_preview", Alexey Morozov art project. 6th Moscow Biennale of Contemporary Art. VDNKh, Moscow
• 2015 - "Antropomakhia", Alexey Morozov's art project. Cosmoscow, Moscow
• 2015 - "Cantata_iTunes", Alexey Morozov's art project. Homofarber, CAV, Pietrasanta, Italy
• 2014 - "MOROSOV_MMXIV", Heritage Gallery, Moscow
• 2013 - "ART-STAGE" 11.12 Gallery, Singapore 
• 2013 - "KARIATIDA SUPERSONICS" M&O, Paris 
• 2013 - "KARIATIDA SUPERSONIKA" Piazza Bra, Verona
• 2012 - "SERENITAS" Art Moscow. Sculpture by Alexey Morozov from private collections, Moscow
• 2011-2012 - "ANTOLOGY" The State Russian Museum, St. Petersburg
• 2010 - "BASILICA" Art Moscow. Triumph Gallery, Moscow
• 2009 - "PRAETORIA X" Art Moscow. Triumph Gallery, Moscow
• 2007 - "MOROZOV MANUFAKTURING" Moscow World Fair of Fine Arts. Manege, Moscow
• 2006 - "ERIHO" Moscow World Art Fair. Manege, Moscow
• 2004 - "CONSTANTINOPOLIS" ARTPLAY, Moscow
• 2003 - "Kraft Deco Classics" Gallery D137, Saint Petersburg
• 2003 - "Kraft Deco Akademik" Novaya Akademia, Saint Petersburg
• 2002 - "MAGOS", Vicenza, Italy.
• 2000 - "MITRA SUPER" together with New Academy. Manege, Moscow.
• 1992 - "II Biennial of Contemporary Art" Okhtinsky Exhibition Hall of Artists Union of St.Petersburg.

"...Alexey Morozov's work is a kind of bridge between traditional (and paradoxically attractive) ideas of sculpture, harmonious and transparent; and modern ideas of sculpture, which are conceptually analytical and polemical in nature..." Alexander Borovsky, art historian, curator, head of the department of contemporary trends, State Russian Museum, St. Petersburg/Russia

"...Integrating it and guiding its transition to modern iconography, not retreating from the hieratic character of historical significance.Integrating it and guiding its transition to modern iconography, not retreating from the hieratic character of historical significance.
Bronze, like other "classical" materials, facilitates this type of experimentation, iconographic "transition" and integration between manual labor and technological intervention.
Morozov, as already mentioned, imposes a syncretic strategy also applied to the use of materials, combining "classical" media with technological materials of an industrial nature, as evidenced by the works on display..." Alessandro Romanini, art historian, president of the scientific committee of the Ragianti Lucca Foundation/Italy

"...Alexey Morozov addresses numerous and varied traditions, combining linguistic and iconographic sources - maintaining a balance between coupling and irony and insinuating bold and unexpected 'distractions' - with intensities, signs and themes of a distinctly contemporary nature, while forcing us to reflect on the need, repeatedly manifested throughout history, to choose past models and express ourselves..." Paolo Giulerini, Curator, Director of the National Archaeological Museum of Naples, Naples/Italy)