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COSMOSCOW Art Fair 2022

a-s-t-r-a x COSMOSCOW

14 - 17 September, 2022

NATALIA TURNOVA, PAVEL BUSHUYEV, DMITRY MARGOLIN

Booth С11

JOLIE ALIEN
Created in Moscow Section

Gostinyi dvor

The artists at the a-s-t-r-a gallery stand work with different techniques, being at different stages in their careers and with different ways of communicating with the public, but all three share a common artistic orientation - exploring internal processes, searching for their own answers to eternal questions, a backward perspective that focuses on the personal.

Natalya Turnova's vibrant works, created during different periods of creativity, metaphorically illustrate the struggle and endless shift of ideas that exist at the expense of the energy of human lives and form a vortex that spirals into a merciless time spiral. 

Pavel Bushuyev's sculptural group of works, Deformation, complemented by monotypes from the same series, provides a visual opportunity to interact with the faceless, deformed fates of people who have thrown their time into the flames of the great bonfires. 

Dmitri Margolin's graphics from The Apocalypse reveal a hidden plan of timeless reflection on the creation of the world and its end, on the multifaceted heroes of Adam and Eve's dramas and their Apocalypse, and on the inevitable transformation of this whirlwind of ideas and destinies into a universal conflagration.

But in all this there remains an open ending: the end of one thing is always the beginning of another, which has yet to be invented by the same new Adam and Eve who are just entering this world.

Margolin Dmitriy

Dmitriy Margolin was born in Leningrad.

In 2020 Dmitry received an offer to paint the Church of St.John the Baptist in the Pushkin Mountains. Work on the large-scale painting had been lasting for 5 months and was completed in September 2020.

Dmitriy Margolin was born in Leningrad.

He graduated from Leningrad Secondary Art School. In 2007 he graduated from Ilya Repin State Academic Institute of Painting, Sculpture and Architecture, Faculty of Painting.

His paintings, graphics and sculpture have been exhibited at the Academy of Arts, the Manezh Central Exhibition Hall, the Erarta Museum, the Gromov Gallery and other galleries in Russia and abroad. His works are part of the collection of the Russian Museum. 

In 2020 Dmitry received an offer to paint the Church of St.John the Baptist in the Pushkin Mountains. Work on the large-scale painting had been lasting for 5 months and was completed in September 2020.

SELECTED EXHIBITIONS:

  • 2022 – Cosmoscow art fair, a-s-t-r-a gallery, Moscow, Russia. 
  • 2021 – Start Art Fair, London, UK.
  • 2019 – Street and Heavenly, DK Gromov Gallery, St.Petersburg, Russia. 
  • 2015 – Passions, Erarta Museum, St.Petersburg, Russia. 
  • 2014 – Night Voyage, Italian Hall of the Academy of Arts, St.Petersburg, Russia.
  • 2013 – Paintings and graphics by Dmitry Margolin, Master gallery, St.Petersburg, Russia. 
  • 2008 – Together and individually, MART gallery, St. Petersburg, Russia. 

Curatorial text: Dmitry Ozerkov

"...Dmitry Margolin does not use tracing paper, powder and other ancient techniques of copying and drawing images. Each composition he invents anew, and it is not completely similar to well-known Byzantine or Old Russian prototypes, which are only partially recognisable in it. For example, in the scene "Noli me tangere", where the Saviour is open and attentive to Mary coming to him. He does not pull away from her, saying, "Do not touch me, for I have not yet ascended to my Father" (Jn 20:17), but extends his arms to her, as if in a reciprocal embrace. What is this, a violation of the canon? Not at all. Dmitry Margolin depicts an earlier episode of the meeting, when Mary is still only recognizing Jesus. At the open coffin she searches for His body to take Him away. "Jesus says to her: 'Wife, why are you weeping? Who are you looking for?' She, thinking it was the gardener, says to Him, 'Sir! If you have carried Him out, tell me where you put Him, and I will take Him' (Jn 20:15). She still does not understand that it is He, for His appearance appears to be different from that to which she is accustomed. Then He calls her by name and she recognises Him by His voice: "'Mary!' she turns to Him and says, 'Rabboni! - which means 'Teacher!'" (Jn 20:16). And she rushes to Him. Just then He cautions: "Do not touch Me". Margolin does not yet have these last words. And the whole episode is depicted in the Garden of Eden, which apparently the artist was prompted to do by the Gospel word for gardener. All herbs and flowers are there; beasts of unseen beauty roam about. The tiger here does not attack the roe deer, while the "blue ox full of eyes" reclines solemnly and dignified on the ground. The birds of the sky with their incredible colours lie at ease at the feet of the Saviour. This is the story of Prodant's "love which moves the sun and the stars". The composition of this entire scene harks back to the motif of the meeting of a man and a woman which is central to the work of Dmitry Margolin and which he reveals in both painting and sculpture. His Christ and Mary resemble Adam and Eve, the beautiful and abstract kuros and bark, meeting under the paradisiacal apple bush. The sculptures of ancient Greek kuros and bark served as a prototype for the church painting, which the artist in his own way conceptualises and endows with Christian attributes. And Margolin's pictorial painting The Bridegroom and His Bride (2018), where Kuros-Adam meets the bark Eve in the garden. It is both the beginning and the end, the coming fall and the promise of salvation.

Where is "terrible modern art" with its irony and reversals of meaning, with its political conjuncture and flamboyant scandals? There is no place left for all this in the temple. Dimitri Margolin, left it all behind the threshold. However, even the insider's thoughts were enough to reject the mural as a whole. Its creation itself is a gesture of modern art, which gives its author the right to compose textbook subjects from various iconographic elements in his own way. In terms of appearance only the "Last Judgment", placed, as it is supposed to be, on the western wall, is modern with Dmitry Margolin. It represents the urban panorama, where in addition to the houses we can guess the factory chimneys, blast furnaces and countless factory cranes. This whole world blazes in the flames of hell, in contrast to the eternal calm of the Garden of Eden on the symmetrical stage. The demon is cast into the underworld, while the Saviour triumphs in the fence of the heavenly Jerusalem. Ancient iconography is read in a modern way, with added themes of ecology and machine-made hell.

Elements of modernity can also be found in other scenes if one wishes, but their appearance only testifies to the artist's ability to think beyond a given framework. If the whale in the scene with Jonah is utterly hrestomatic and comes from somewhere in the Yaroslavl painting, transferred from the Piskator Bible, the rude peasant faces of the Pskov shepherds in the Nativity scene attract attention with their "realness". They are close to modern faces, which has something in common with the entire history of the depiction of this subject in world art. Simplicity of the faces contrasts with the miracle. With Margolin behind these faces we can read the entire Russian poetic tradition of the Christmas story - from Pasternak to Brodsky, with the "knob in the snowdrift". The centurion Longinus in the Crucifixion scene is also modern. He's not wearing a helmet, and his shaved head and his uniform reinforced with protection give him away as a modern strongman. However, the inscription "SPQR" on his jacket and the canonical attire of the other characters leave no doubt as to the evangelical nature of the events.

What is important in this temple painting is its monumental unity - from the smallest detail, such as the plumage of the bird in "Noli me tangere", to the entire three-dimensional unity as a whole. There is a programme, there is a canon and there is its interpretation in colours. There is a careful and intelligent reading of the canonical text, a prayerful reflection on it and a reading of it today. There is no malice or attempt to shake the foundations here. On the contrary, there is a desire to show that Christian history is alive and more than up-to-date. And that it is precisely today that, beyond basic education and the performance of rituals, the artist and the ordinary parishioner require incredible concentration and high morals in order to continue to call themselves Christians.



Works


Christmas
Margolin Dmitriy

Christmas, 2015

The etching
27,4 х 25 см
30 000 ₽
Shepherd Worship
Margolin Dmitriy

Shepherd Worship, 2015

The etching
27,4 х 25 см
30 000 ₽
Shepherd Worship
Margolin Dmitriy

Shepherd Worship, 2015

The etching
27,4 х 25 см
30 000 ₽
Shepherd Worship
Margolin Dmitriy

Shepherd Worship, 2015

The etching
29 х 24,5 см
30 000 ₽

Alien Jolie

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 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 — Symbiosis, solo exhibition, Peak Moscow by a-s-t-r-a gallery, Moscow, Russia;
  • 2020 — Cosmoscow Art Fair, a-s-t-r-a gallery, Moscow, Russia;
  • 2020 — ENTER Art Fair, a-s-t-r-a gallery, Copenhagen, Denmark;
  • 2020 — I Lost Track of the World", curated by Irina Shulzhenko, Richter space, Moscow, Russia;
  • 2019 — One, Two, Three, curated by a-s-t-r-a, group exhibition, Cube.Moscow space, Moscow, Russia;
  • 2019 — 20.11, curated by Irina Shulzhenko and Dmitry Yanchoglo, solo exhibition, Richter space, Moscow, Russia;
  • 2019 — 1367 Number of My Tick - What to Do?, curated by a-s-t-r-a, solo exhibition, Cube.Moscow space, Moscow, Russia;
  • 2019 — Color, live performance (creating a five-meter wall painting) at the opening of a-s-t-r-a LAB, Moscow, Russia;
  • 2018 — Wanted, Kino gallery, Moscow, Russia.

SELECTED PUBLICATIONS:



Works


Good boy
Alien Jolie

Good boy, 2023

Acrylic, oil on canvas
60 x 70 cm
Lovers
Alien Jolie

Lovers, 2023

Canvas, oil, spray paint
120 x 130 cm
Night Paris
Alien Jolie

Night Paris, 2023

Canvas, oil, acrylic, spray paint
120 x 130 cm
300 000 ₽
The Pond
Alien Jolie

The Pond, 2023

Canvas, oil, pastel, acrylic
190 x 150 cm

Bushuev Pavel

From 2014 to 2017 he studied at the creative studios of the Russian Academy of Arts in St. Petersburg.  His works are in the collections of the Fabergé Museum, BREUS Foudation, the private collection of the head of the Guerlain House and in other collections in Russia and abroad. 

Born in 1987 in the city of Kopeysk, Chelyabinsk region.

Graduated from I.I. Repin St. Petersburg State Academic Institute in 2014 (graphic arts department, workshop of Andrei Alexeevich Pakhomov).

From 2014 to 2017 he studied at the creative studios of the Russian Academy of Arts in St. Petersburg.  His works are in the collections of the Fabergé Museum, BREUS Foudation, the private collection of the head of the Guerlain House and in other collections in Russia and abroad. 

The work presented in the "Deformation" series captures the process of profound changes during the experience of something that comes from the outside, the metamorphosis that occurs inside a person in the process of reflection, the scarring of events and the experience of them and the very thought of them, which distort our cognitive shell.

"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

  • 2022 - St. Petersburg Art Fair "1703", a-s-t-r-a gallery, Manezh Central Exhibition Hall, St. Petersburg
  • 2022 — Program Art Moscow within the framework of the 48th Russian Antique Salon, a-s-t-r-a gallery. Gostiny Dvor, Moscow
  • 2021 — Program Art Moscow within the framework of the 46th Russian Antique Salon, a-s-t-r-a gallery. Gostiny Dvor, Moscow
  • 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


Adam and Eve
Bushuev Pavel

Adam and Eve, 2020

Monotype on paper
100 х 70 см
150 000 ₽
King and Queen
Bushuev Pavel

King and Queen, 2020

Monotype on paper
100 х 70 см
150 000 ₽
SoldLoneliness #2
Bushuev Pavel

Loneliness #2, 2020

Monotype on paper
70 x 100 cm

Turnova Natalia

Natalia Turnova (born 1957, Kabul) graduated from the Faculty of Industrial Art at Moscow State Stroganov Academy of Design and Applied Arts (formerly Stroganov School) (1983). 

She has collaborated in over 200 international and Russian group exhibitions including personal exhibitions in the Tretyakov Gallery, the Russian Museum, the Moscow Museum of Modern Art, the Garage Museum of Contemporary Art, the International Sculpture Biennial in Fellbach (Germany) and the Graphic Biennial in Kaliningrad. Nominee for the Innovation Prize (2006), finalist for the Kandinsky Prize (2010).

Natalia Turnova (born 1957, Kabul) graduated from the Faculty of Industrial Art at Moscow State Stroganov Academy of Design and Applied Arts (formerly Stroganov School) (1983). 

Since 1985 he has been a member of the Section of Young Artists and Art Historians of the Moscow Union of Artists. Since 1996 member of MOSKh (Association of Monumental Artists). In 1998, together with Valery Eisenberg, organised the alternative "ESCAPE programme".

She has collaborated in over 200 international and Russian group exhibitions including personal exhibitions in the Tretyakov Gallery, the Russian Museum, the Moscow Museum of Modern Art, the Garage Museum of Contemporary Art, the International Sculpture Biennial in Fellbach (Germany) and the Graphic Biennial in Kaliningrad. Nominee for the Innovation Prize (2006), finalist for the Kandinsky Prize (2010).

Works are kept in the Tretyakov Gallery, the MMOMA and the NCCA. 

She lives and works in Moscow. 

"...Natalia Turnova is one of Russia's strongest painters of the last three decades. Her work occupies a special, completely separate position. If in the West one can find analogues of her paintings in the art of new expressionism, new materialism or in some postmodernist projects, there is nobody to compare her with in Russia. Despite the dramatic nature of her works and the traumas and tragedies reflected in them, "the main quality of Turnova's art today is vitality" (A. Borovsky) and incredible vital energy". V. Misiano

SELECTED SOLO EXHIBITIONS:

  • 2021 — Natalia Turnova. The Egg and the Rock, Garage Museum of Contemporary Art, Moscow, Russia.
  • 2018 — Natalia Turnova. Speechless, State Tretyakov Gallery, Moscow, Russia. 
  • 2011 — 2011 — Kandinsky Prize 2011, Exhibitions of nominees, Moscow, Russia.
  • 2010 — Kandinsky Prize in Modern Art 2010, Exhibition of Shortlisted Artists, Moscow, Russia.
  • 2008 — Paintings. Graphics. Objects, Moscow Museum of Modern Art, Moscow, Russia.
  • 2007 — Warlords, Krokin gallery, Moscow, Russia.
  • 2007 — Mystics, Paperworks gallery, Moscow, Russia.
  • 2005 — Outside Yourself, Stella Art Foundation, Moscow, Russia.
  • 2004 — Natalia Turnova: Spiele / Arbeiten 1987-2004, Galerie Marina Sandmann, Berlin, Germany.
  • 2004 — Autosalon, State Tretyakov Gallery, Moscow, Russia.
  • 2002 — Love, Regina gallery, Moscow, Russia.
  • 2000 — Collection-2000, Regina gallery, Moscow, Russia.
  • 1998 — Chronicle of the Past Year, Velta gallery, Moscow, Russia.
  • 1997 — End of Zone of Restriction. Velta gallery, Moscow, Russia.
  • 1996 — Kremlin Cup, Olympiysky Sports Complex, Moscow, Russia.
  • 1995 — Crime, Regina gallery, Moscow, Russia.
  • 1991 — Instrumental (together with Vasiliy Kravchuk), Regina gallery, Moscow, Russia.
  • 1990 — Natalia Turnova, Regina gallery, Moscow, Russia.

SELECTED GROUP EXHIBITIONS:

  • 2018 — Perfect Age, MMOMA, Moscow, Russia.
  • 2008 — Moscow News, Galereya Municipal Exhibition Centre, Izhevsk, Russia.
  • 2007 — 10 Triennale Kleinplastik, Fellbach, Germany.
  • 2006 — The Moscow News, Galerie Kritiku, Prague, Czech Republic.
  • 2005 — Russian Pop Art, State Tretyakov Gallery, Moscow, Russia.
  • 2004 — World of War, All-Russian Decorate Art Museum, Moscow, Russia.
  • 2002 — Counterrevolution, All-Russian Decorate Art Museum, Moscow, Russia.
  • 2002 — Female Art, State Tretyakov Gallery, Moscow Object Space. All-Russian Decorate Art Museum, Moscow, Russia.
  • 2000 — Auto-Mobil, Polytechnical Museum, Moscow, Russia.
  • 1999 — Heroes, State Exhibition Hall "Novy Manezh", Moscow, Russia.
  • 1998 — It's the Real Thing, Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis, USA.
  • 1998 — The Russian Feminist, State Museum of Literature, Moscow, Russia.
  • 1997 — Metamorphoses of Quiet Life and Dead Nature. Subjective Environment. End of the Twentieth Century, Russian Culture Foundation, Moscow, Russia.
  • 1996 — Leipzig-Moscow. All-Russian Decorate Art Museum, Moscow, Russia.
  • 1991 — Een kip is geen vogel. Galerie Picaron, Amsterdam, Netherlands, Antwerp, Belgium.
  • 1990 — The Logic of Paradox, Moscow Youth Palace, Moscow, Russia.
  • 1990 — Woman as Object and Subject in Art, "Na Kashirke" exhibition hall, Moscow, Russia.
  • 1989 — Nuova Realta, Pinacoteca Communale Loggetta Lombardesca, Ravenna, Italy.
  • 1989 — Out of Genre, Moscow Youth Palace, Moscow, Russia.
  • 1989 — ...up to 33, Moscow Youth Palace, Moscow, Russia.
  • 1988 — Glassnost, Kunsthalle, Emden, Galerie Valentine, Stuttgart, Germany.
  • 1957-1987 — Hermitage Amateur Society, Moscow, Russia.
  • 1987 — Retrospective View of Works by Moscow Artists.
  • 1987 — Women Artists to the World Congress of Women, House of Artists on Kuznetsky Most, Moscow, Russia.
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