ASTRA
contemporary art gallery
ASTRA
RU            

Коллективное самосбывающееся пророчество о нашем прекрасном завтра

Первый проект в новом пространстве - групповая выставка «Коллективное самосбывающееся пророчество о прекрасном завтра», которая предлагает если не изменить, то допустить возможность смены оптики с апатии и невозможности этого самого завтра на готовность к действию и присвоению будущего себе. 

«Открытие постоянного пространства ставит перед a-s-t-r-a задачи нового уровня. Помимо неизменного поиска новых имен и продвижения наших художников, мы стремимся стать площадкой для диалога и проверки гипотез, что особенно актуально в сегодняшнее время разрушенных представлений о старом мире и отсутствия внятных концептуальных оснований нового будущего. Первым проектом мы хотим пригласить к размышлению о том, что будущее можно и с необходимостью нужно присвоить себе. А разрешив себе его присвоить, придумать. И придумав, исполнить, – что значительно проще, имея цель, к которой хочется стремиться, и круг единомышленников». Алина Крюкова

На выставке показаны работы резидентов и участников проектов галереи: Игоря Литвинова, Марии Агуреевой, Дишон Юлдаш, Павла Бушуева, Павла Соловьева, Jolie Alien, Сергея Дорохова, Артура Кривошеина, Юрия Самойлова, Надежды Косинской, Екатерины Зорькой, Дениса Строева и других.

Попова Наталья

"Каждая моя работа показывает парадокс того, как такой мёртвый материал как пластик, способен сформировать ощущение живого, дышащего, без имитации натуралистичному. За счёт чего рождается это ощущение живого? Каким образом переживается познание живого? Почему человек утратил связь с природой и как ее вернуть? Я показываю не поверхность, а скрытые от глаз процессы деятельности природы."

Родилась в 1988 году в г. Севастополь. Сейчас живет и работает в Москве и Сен-Поль-Де-Ванс.

Образование:

  • 2022 ММОМА, «Свободные Мастерские», Москва
  • 2013 МШД, Москва, Дизайн и Архитектура внутренних пространств, Москва
  • 2011, Европейский университет, Экономика предприятия, Киев

"Каждая моя работа показывает парадокс того, как такой мёртвый материал как пластик, способен сформировать ощущение живого, дышащего, без имитации натуралистичному. За счёт чего рождается это ощущение живого? Каким образом переживается познание живого? Почему человек утратил связь с природой и как ее вернуть? Я показываю не поверхность, а скрытые от глаз процессы деятельности природы".

Я наблюдаю развитие и разрушение природных форм, фазы роста тканей растений, почвы и горные породы, движение вод. Те состояния, которые я впитываю с наблюдениями, соединяю с техникой , где используются четыре элемента: замачивание материалов в жидкостях, обжигание и плавление огнем, обдув горячим воздухом, стабилизация камнями и гипсом. В работах так же использую пластик, который нахожу выброшенным в лесах и водоёмах.Он уже пережил трансформацию под воздействием сил природы и начал оживать. Я ретранслирую его в работах,раскрывая этот приобретённый аспект живости.

Я давно практикую медитацию, йогу, тайцзы. Это позволяет переживать глубинные состояния соединения с природой. Моямета-задача в том, чтобы смотрящий на мои работы почувствовал этосостояние." Наталья Попова

ВЫСТАВКИ:

  • 2021 Франция, Компьeнь, Festival d' Art Sacre Compiegne
  • 2021 Москва, 47й Российский антикварный салон
  • 2021 Art3f, Люксембург, Lux Expo
  • 2021 Франция, Монако, Совместный проект с брендом одежды из переработанных материалов LAVA COPENHAGEN для Monaco Streaming Film Festival 2021.
  • 2021 Москва, Дарвиновский музей, групповая выставка «Земля. Версия 2021. Что было после?»
  • 2020 Москва, Space U, персональная выставка «НЕЖИВОЕЖИВОЕ»
  • 2020 Швейцария, Гштаад, Huus hotel, групповая выставка
  • 2017 Москва, Галерея На Каширке, групповая выставка «Terra Tabula» «Письмена на земле»

«НЕЖИВОЕЖИВОЕ»

"Мое вдохновение проистекает из невидимых процессов в живой материи. Не только животные и растения. Камни, реки, почва- всё это живёт в таком медленном темпе, что мы не воспринимаем как живое, хотя это не так. Меня интересует феномен невидимого и вопрос о том, как его можно почувствовать. Каким образом мы познаем живое? Как мы переживаем это познание? Я взращиваю свои работы, чтобы смотрящий смог найти свои ответы на эти вопросы.

Для создания работ я полностью или частично использую различного вида пластики, часто бывшие в употреблении и перерабатываю их своеобразным способом. Я представляю как бы природа обошлась с эти материалом и воссоздаю метафоры этих процессов: вымачивание, плавление, наращивание, разрушение и многое другое. Пластик, возможно, самый мёртвый материал на земле и я размышляю о том, что наполняет вещи тем, благодаря чему мы чувствуем в них жизнь. Это не внешний вид. Чучело животного, как бы оно не было похоже на живое, не вызывает ощущения жизни. Как мы чувствуем, что нечто живое? Выточенные прибоем скалы, кора деревьев, древние развалины или искры в глазах танцора. Всё это изначально не существует, а прибывает лишь в виде возможности. А только затем распускается, приобретает ту форму, которая может предстать перед взором. Само распускание — это то, что мы не можем увидеть, потому что всё, что можно увидеть, является лишь следствием этого. Нас интересует эта «сила», которая выводит нечто на свет. Именно её невозможно увидеть, но именно она даёт ощущение живого."



Works


0104
Попова Наталья

0104, 2020

акриловая краска, полимерные материалы, фольгированная основа, смола, оргалит
120х90 см

Solovyev Paul

Paul Solovyev, a multidisciplinary artist, equally comfortable existing both in gallery spaces and in interventions in the urban and natural environment. Paul is interested in the phenomenon of destruction and ideologization of the image in nobrow culture. In his works, subcultural and iconic signs mutate, flowing into each other, dissolving and disappearing, sacred, political and advertising symbols.

Paul Solovyev, a multidisciplinary autodidact artist working in the field of performance, non-performance art, readymade, installations, photography, painting and graphics. Drawing on the influence of his previous professional experience in advertising and fashion, Pavel focuses on the queer aspects of identity that challenge the notions of representation and the eschatological potential of the image. In his projects, Pavel studies the transformation and transgression of the image in the stream of sacred, mystical, political and advertising symbols that fill the mediums of modern mass culture. Pavel's works are in private and corporate collections in the USA, Great Britain, Spain, Germany, France, Japan, the Netherlands, Ukraine and Russia.

Creator of the LOVE clothing brand. As an artist and designer of the brand, Pavel collaborated with such musical groups as Aphex Twin, NAADYA, Grazhdanskaya Oborona, Burzum and others.

Member of the Club of Art Directors of Russia. Lives and works in Moscow.

PERSONAL EXHIBITIONS:

  • 2019 — "Shatuny", Vladimir Smirnov and Konstantin Sorokin Foundation, Moscow
  • 2016 — "Phantom", Space "Science and Art", Moscow
  • 2015 — "Black", CTI "Fabrika", Moscow
  • 2015 — "War is Peace", Electrozavod Gallery, Moscow
  • 2015 — "Parts of the World", "180 m2", Jewish Museum and Tolerance Center, Moscow

SELECTED GROUP EXHIBITIONS:

  • 2020 — ENTER Art Fair. Copenhagen, Denmark
  • 2019 — "One, two, three", Gallery "a-s-t-r-a", CUBE, Moscow
  • 2018 — "N.Kh.", Gallery "XL", Center for Contemporary Art "Winzavod", Moscow
  • 2017 — "MMXVII *", Gallery "Electrozavod", Moscow
  • 2017 — "Trigger 3D", illegal exhibition at the Kursk Station, Moscow
  • 2017 —  "Vogue Fashion Night Out", TD TSUM, Moscow
  • 2017 — Bastille Day, Koncheevo, Moscow
  • 2017 — "Revolution", CTI "Fabrika", Moscow
  • 2016 — "Cosmos.LOVE", Center "Artplay", Moscow
  • 2016 — "Reading Group", within the framework of the "Moon at Zero" exhibition, "Red" Center, Moscow
  • 2016 — "Brilliant work", Center "Red", Moscow
  • 2016 — "Postkurok", illegal exhibition at the Kursk Station, Moscow,
  • 2016 — "Bar" Joy ", CTI" Fabrika ", Youth Biennale, Moscow
  • 2016 — "The Temptation of St. Anthony", "Printing Workshop" space, Moscow,
  • 2016 — Intervention “#Monopoly”, gallery “Regina”, gallery “Pop / off / art”, gallery “XL”, gallery “Pechersky”, gallery “Triangle”, gallery “Osnova”, gallery “Here”, gallery “Electrozavod ", Apartment exhibition on Voikovskaya, Moscow
  • 2015 — Pirtoy, Tengri Umai, Almaty
  • 2015 — "Image of the enemy", Center "Red", Moscow
  • 2015 — "When I eat", CTI "Fabrika", Moscow
  • 2015 — Festival "Outline", Karacharovsky mechanical plant, Moscow
  • 2015 — "New Wave Uncut II", gallery "MSK Eastside", Moscow
  • 2015 — "# Accident", FIAN accelerator complex, Troitsk, Moscow
  • 2015 — "Futuristic Mimicry", State Museum of Mayakovsky, Moscow
  • 2014 — MMXIV *, Electrozavod Gallery, Moscow

SELECTED PUBLICATIONS:



Works


US AND THEM
Solovyev Paul

US AND THEM, 2020

Хромогенная печать на бумаге
40 x 40
36 000 ₽
US AND THEM
Solovyev Paul

US AND THEM, 2020

Paper, mixed media
24 x 32 cm
36 000 ₽
gang ragnarok
Solovyev Paul

gang ragnarok, 2019

Canvas, acryl
35 x 35 cm
63 000 ₽
two boys one rainbow
280 000 ₽

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


Woman Spoon
Stroev Denis

Woman Spoon, 2014

Brass
79 х 60 х 36 см
500 000 ₽
Woman Spoon
Stroev Denis

Woman Spoon, 2015

Brass, silver chrome coating
110 x 190 x 110 cm
550 000 ₽
Meat Plate
330 000 ₽
St. John's head
372 000 ₽

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


Works


Whirpool
Alien Jolie

Whirpool, 2019

Canvas, acryl
150 x 200 cm
Transit
Alien Jolie

Transit, 2021

Canvas, acryl
205 х 150 см
Ru
Alien Jolie

Ru, 2021

Canvas, acryl
235 х 165 см
Dime
Alien Jolie

Dime, 2021

Canvas, acryl
140 x 140 cm

Agureeva Maria

Maria Agureeva was born in 1985.

Graduated from Saint Petersburg State University of Technology and Design (faculty of graphic design, 2003-2009), IKA (Institute of Contemporary Art, Moscow) (2014-2015). The artist works with installations, videos, performances, and sculptures. Lives and works in Los Angeles and Moscow.

Maria Agureeva was born in 1985.

Graduated from Saint Petersburg State University of Technology and Design (faculty of graphic design, 2003-2009), IKA (Institute of Contemporary Art, Moscow) (2014-2015). The artist works with installations, videos, performances, and sculptures. Lives and works in Los Angeles and Moscow.

AWARDS AND RESIDENCIES

  • 2021 - Residence Via Farini (from December to January), Milan
  • 2019 - Ruinart Art Patronat grant
  • 2018 - 18th Los Angeles street art center (August to September).
  • 2018 - Grant from TRUST FOR MUTUAL UNDERSTANDING.
  • 2018 - the Winner of the special award, Laguna Art Prize.
  • 2017 - Residence Unlimited New York (from February to April).
  • 2013 - nominee of the Kandinsky prize.

PERSONAL EXHIBITION

  • 2019 - Passing, Cosmoscow, patron of Ruinart, Moscow.
  • 2019 - Dust, coaxial art Foundation, Los Angeles.
  • 2018 - It will never be enough, Isabel Lesmeister gallery, Regensburg.
  • 2018 - Pearl Dust will settle on the soft skin covering all the cracks, atrium gallery, 18th Street Arts Center, Los Angeles.
  • 2018 - you can imagine what will remain after, Anna Nova gallery, Saint Petersburg.
  • 2018 - Dust, Elektrozavod gallery, Moscow.
  • 2015 - Binary promises, Parallel program of the 6th Moscow Biennale of contemporary art, Pechersky Gallery, Moscow.
  • 2014 - gardens of compromises, Erarta Museum, Saint Petersburg.
  • 2013-Those women who can destroy the infinite, Parallel program of the 5th Moscow Biennale of contemporary art, Pechersky Gallery, Moscow.
  • 2012 - Citius, altius, fortius! Commodification, the Factory Project together with Gridchinhall, Moscow.
  • The 2012 Excavations. Ground 0, Gridchinhall, Moscow.
  • 2011 - a series of "Tormozit", gridchinhall, Moscow.
  • 2011 - a series of "Tormozit", Gallery Kadieff, Helsinki.
  • 2009 - series "Tormozit", AL Gallery, Saint Petersburg.

SELECTED GROUP EXHIBITIONS

  • 2022 - Kammerflimmern. Outdoor screening organized by ArtSect NFT Gallery х Digi-gxl. Nuremberg, Germany
  • 2021 - Cosmoscow art fair, a-s-t-r-a gallery, Moscow
  • 2021 - Women Artists. One and The Other, Gilyarovsky center (ArtsWanted), Moscow
  • 2020 - No matter. What?, Leer-Emptyblank, Vienna
  • 2020 - Personal contacts, Durden and Ray, Los Angeles
  • 2020 - Where's the Remote?, SIT STILL PROJECTS, Connecticut
  • 2020 - Mobius Loop, A-S-T-R-A gallery, Spring break art show NY, New York
  • 2020 - Cosmoscow Art Fair, Moscow, Russia
  • 2020 - ENTER Art Fair, Copenhagen, Denmark
  • 2020-Technosphere, Supercollider Gallery x Femmebit, La spring art show, Los Angeles.
  • 2019 - MMOMA 99/19, 20th anniversary exhibition, MMOMA, Moscow.
  • 2019 - Recycle or die, Gum Red line, Moscow.
  • 2019 - The Regenerates, Nook Gallery, Los Angeles.
  • 2017 - Just cause, Black Ball Projects, new York.
  • 2016 - Unofficial language, VINZAVOD center for contemporary art, Parallel program of the V Moscow international Biennale of young art, Moscow.
  • 2016 - All eyes on me, VINZAVOD center for contemporary art, Moscow.
  • 2016 - Nominibus Trivialibus, Sinonimis Selectis, MSU Botanical garden (Aptekarsky sad), Parallel program of the V Moscow international Biennale of young art, Moscow.
  • 2015 - Mirrors, MMOMA, Moscow.
  • 2015 - One in another. Art of new and old media in the era of high-speed Internet, MMOMA, Moscow.
  • 2015 - Development of freedom, Factory Project, Moscow.
  • 2013 - I wouldn't draw now, Parallel program of the 5th Moscow Biennale of contemporary art, Agency Art.Ru, Moscow.
  • 2013 - state Order, VINZAVOD center for contemporary art, Moscow.
  • 2012 - Project Cena (Price), Parallel program of the III Moscow international Biennale of young art, Agency Art.Ru, Moscow.
  • 2011 - Art in Mind, Brick lane Gallery, London.
  • 2010 - festival of contemporary art Psychonautics, Saint Petersburg.
  • 2010 - Summary, All Gallery, Saint Petersburg.

"My main task as an artist is to show how the body becomes a hybrid space in which the materiality of human flesh is linked to individual consciousness and identity. This is caused by a General desire to change yourself to avoid social pressure, as well as an even greater desire to discover your true form and inner authenticity.

In my work, I focus on the contradiction between what is considered real and what is subjective about the human body. I explore the social norms of stamped attractiveness that push us to Polish our own image, as people Polish billions of images on the Internet. There is an internal conflict between the natural features of our appearance imposed by artificial standards and our willingness to oppose them with absolute truth. This dynamic pushes me to explore the boundaries beyond which the body becomes as much an object as any other.

I often work with synthetic materials because they refer to my themes of physicality, moving from authenticity to art. My work emphasizes that body transformation is referential, archetypal, and tribal, and is now becoming a form of modern secular religion. This forces me to explore the boundaries beyond which the body eventually becomes the same object as any other.

I am currently studying the interaction of the human body and the environment, which I deeply feel is inextricably linked as one ecology, one synergistic Union. Humanity, and especially artists, can no longer turn a blind eye to this problem because of how acutely we have all begun to feel the impact of changes in Nature on all of us."
Maria Agureeva

SELECTED PUBLICATIONS:



Works


we are part of the circle
Agureeva Mariya

we are part of the circle, 2021

Ракушки, дерево (обожженное), керамика, волосы, пластик
105 х 60 х 19 cm
Янтарь будущего
Agureeva Mariya

Янтарь будущего, 2021

Камни, ракушки, алюминий, волосы, пластик
155 х 89 х 9 см
Пепел пахнет вчера
Agureeva Mariya

Пепел пахнет вчера, 2021

Алюминий, горный дуб, камень, пластик, зеркало, рама (ясень)
56 x 58 x 9 см
Untitled
Agureeva Mariya

Untitled, 2019

Bark (pine), plastic, synthetic fabric, leather, mixed media
87 х 66 х 17 cm

Bushuev Pavel

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

  • 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


SoldВозрождение
Bushuev Pavel

Возрождение, 2022

Monotype on paper
100 х 70 см
Конь
Bushuev Pavel

Конь, 2022

Monotype on paper
100 х 70 см
150 000 ₽
Что делать 3
Bushuev Pavel

Что делать 3, 2022

Monotype on paper
100 х 70 см
150 000 ₽

Zorkaya Catherine

In her work Catherine creates a kind of universal artistic language. By bringing together fragments of seen and lived cultures she creates her unique rituals, her faith, her temple - as another attempt to understand and create the world around us.

Catherine Zorkaya was born in a family of hereditary diplomats. Her family's work trips not only introduced her to the traditions, beliefs and customs of different peoples, but also helped her to form her own worldview.

In her works Catherine creates a kind of universal artistic language. Piecing together fragments of seen and lived cultures she creates her unique rituals, her faith, her temple - as another attempt to understand and create the world around us.

Catherine seeks images in primitive art, shamanism, the art of African aborigines, paganism, folk folklore of all countries, primitivism, early iconography. Their unifying attempt to speak in uncomplicated language about extraordinarily deep and complex things, without being distracted by pompous details: about life, about faith, about death, about the process of being - became a point of convergence of different cultures and the basis of the artistic language of Zorkaya.

In her technique, Catherine uses fabric, embroidery, ceramics, and beads to create three-dimensional paintings and art objects whose subject matter is based on her travels.

One of the family's first long working trips was to the Middle East (Palestine, Israel). There Catherine first visited the Temple of the Holy Sepulchre, it became one of her most vivid memories - an atmosphere of total acceptance, calmness and steadfastness.

Nearby, a very different faith and the Wailing Wall, an equally vivid impression. It was at that point when she began to think about what faith is, and why everyone believes differently.

Then there was studying in the United States, a country where everything is mixed, all nations, all religions, creating a powerful symbiosis. A country where the material dominates the spiritual. In America, Catherine began to actively develop her artistic practice and transfer all that she had accumulated to paper and canvases, constantly experimenting with materials, colors and textures.

After returning to Russia, she enrolled at the Moscow Architectural Institute. Worked in architectural bureaus, led projects independently until she realized that her own creative ambitions went far beyond architecture and design. At the same time there was a long trip to West Africa (Mauritania, Senegal) and acquaintance with several religious communities, voodoo masters, African Christian and Muslim communities, each with its own artistic language, closely intertwined with different ancient rites and beliefs.



Works


Расскажи мне как жить
Екатерина Зорькая

Расскажи мне как жить, 2021

Ткань, авторская техника,
140 х 190 см
660 000 ₽
Сохрани меня
Екатерина Зорькая

Сохрани меня, 2021

Ткань, авторская техника,
140 х 190 см
660 000 ₽
На охоте
Екатерина Зорькая

На охоте, 2020

Ткань, авторская техника,
140 х 190 см
660 000 ₽
Проститутка
Екатерина Зорькая

Проститутка, 2021

Ткань, авторская техника,
140 х 110 см
250 000 ₽

Dorokhov Sergey

Sergey Dorokhov was born in 1988.

Artist, teacher, graduate of Moscow State Art Institute named after V.I. Surikov. The annual participant of exhibitions under the auspices of the Moscow and Russian Union of Artists in the halls of the Union of Artists in Starosadsky Lane, exhibition halls on the Kuznetskiy Most and the Central House of Artists.

Sergey Dorokhov was born in 1988.

In 2012, he graduated with honors from Moscow State Academic Art Institute Named After V.I. Surikov Of Russian Academy Of Arts. In 2015, he graduated from the creative workshops of the Russian Academy of Arts.

In 2013, he became a member of the Moscow Union of Artists and the Russian Union of Artists.

Since 2019, he has been studying at the BAZ Institute under the guidance of A. Osmolovsky.

Sergey Dorokhov is a regular participant of exhibitions of contemporary art platforms, multiple prize-winner and participant of European exhibitions. His works are in private collections in Russia, Europe and Asia.

He has received awards and medals from the Russian Academy of Arts, the Ministry of Culture of the Russian Federation, the Moscow Union of Artists of Russia and the Government of Moscow, as well as awards from the Embassy of Serbia in Moscow and the Russian Embassy in London.

Participation in a number of projects in the field of contemporary art is also marked by awards and prizes, including awards from ROSIZO.

My work is closely connected with events and phenomena taking place on the political scene of our country and the world. I deeply analyze the events and phenomena of the past, which have the peculiarity of maintaining their relevance in the present and a certain projection into the future. I actively work with the themes of post-memory in the collective consciousness of society. I am inspired by the works of Mark Fischer " Capitalist realism "and Fredric Jamieson"Postmodernism, or the Cultural logic of late capitalism". Also Boris Groys, especially his scientific works and texts about the art of Eastern Europe after the fall of the Berlin wall. In my opinion, these authors most fundamentally reveal the unique collision of two radically different systems of society and the world order, as well as transitional practices and side effects. The greatest interest is caused by these projections in the art format.

In my works, I reflect the problem of interaction between society and the authorities at the expense of a certain artistic language. The combination of black and a certain monochrome in combination with bright marker accents forms the basis of my work. This color aesthetic is not accidental. In my work, I dismantle and handle the events, statements, people, society and their attitude of the moment of reality, vigorena form the past through the overlap of one to another, which expresses the fact that the result or consequence of a situation that occurred in the past, persists to the moment of current reality and can be projected into the future without loss of relevance, in a situation of present and past time. Current situationality is expressed in all forms, both everyday perception and social perception. This is working with the concept of post-memory and archetypes of the past, in the projection of modern digital or analog image defects, in the combination of several compositional systems together.

Also, in my works, I often resort to citation, using fragments of phrases, showing how a word changes its semantic meaning depending on the context in which it is wrapped.

I reflect on the conflicts of our society, returning to the key moment in the formation of people of my generation - the nineties and noughties. Referring to this period, I choose symbols and aesthetics that are understandable to people who lived through this time. A time of great expectations and deep disappointment, the remnants of which still stick in the development of our society. While it's important for me not to take a position, but only to give the audience a chance to wonder what they are flashes of past events left in myself today and ready to carry in the future, maybe in another videofreegay form of perception.
Sergey Dorokhov

SERGEY DOROKHOV. INTERFERENCE OF THE PAST, PRESENT AND FUTURE.

Any moment will betray, and we are just a series of doomed moments.

Victor Pelevin, "Secret views of Mount Fuji"

The 50s, 60s, 70s... the hindrances of the past sweep before us like newsreel footage superimposed on one another…

Commemorative culture, that is, the culture of memory, functions as a glitch: private, specific memories of people are layered on state-approved historiography, forming a peculiar, multi-layered and dense pattern. Imagine that any event or historical fact has a trace that needs to be found under a hundred others. The historian, like a real archaeologist, clears, deconstructs and catalogues thousands of traces layer by layer, composing a linear, consistent narrative. The artist works in a different way — he captures the trodden path of history in all its ornateness and complexity, adding to this his own unique look. Sergey Dorokhov's works are the result of this attempt to talk about the contradictory past and present of our state through common cultural signifiers. And this conversation turns out to be exciting.

In the series "Hindrances of the Past", well-known plots of Russian history are easily read: the death of Stalin, Khrushchev's "corn fever", the famous kiss of Brezhnev and Honecker, the flight of Misha the Bear at the closing of the 1980 Olympics - these images are easily guessed even by someone who was not a real witness of those events. Mixing with interference and white noise, they flicker like a television screen. The "box" from the 80s — an information medium of bygone eras - is timely to the events that it "shows". The same logic is followed by a return to the analog aesthetics of early video games — we immediately understand that over refers to a game called "USSR". However, there is something in these works that turns them into evidence of the present and a prophecy about the future — the same glitch, flicker, shift.

The pink color seems to "glamorize" the things and events shown. Glamour - literally "charm, charm" - the aesthetics of mass consumption, based on hedonism and external brilliance. Originally associated with the spread of aristocratic luxury and erotic freedom, glamour has degenerated into the vulgarity of conspicuous consumption, blatant gender stereotypes and adornment, behind which lies emptiness. So, at the click of your fingers, the pathos of the famous black and pink subculture becomes a posturing game on feelings, and a socialite turns into a political dummy. In fact, glamour melts everything solid into a mess of empty signifiers.

Pink riot police and police dogs, built, as in Space Invaders, into the words "Freedom" and "Power", are also being emptied due, firstly, to pink, and secondly, to their iconic nature. The power, the nation, the state are signs deprived of their denotation and have become symbols of ideological wars, guarded not by some abstract hegemon, but by concrete people - officials in love with glamour. They have made their symbol the solstice of pink oil rigs, sucking quite real barrels of black gold from the bowels of the earth. Dorokhov ironically called it "Infinity". However, this game will end someday. It ends now. And if you pay attention to the messages that the artist leaves, it becomes clear that this is all just white noise for the reality that is dancing its dance for infinity. An army of riot police, pink towers, a government made up of dogs — "it will pass." So let it become important to us what is closer to the skin, and not what claims to be density, whereas it is emptiness.

Text by Anastasia Khaustova

Asterisms Of Sergey Dorokhov

Sergey Dorokhov is the same age as the first Sotheby's auction, where Grisha Bruskin's painting "Fundamental lexicon" left. This event made a revolution in Russian culture by artists quite different terms of art classes. In the thirty-year perspective, Sergey Dorokhov is the result of the Sotheby's event. First, being a professional painter by training from the Surikov Institute, he took up modern art. Secondly, he began to create painting in accordance with Bruskin's semiotic turn, namely as a lexicon. And third, his artistic activity fits into the institutional situation set by the economy of the gallery business, fairs, auctions, that is, modern art capitalism.
Here you can add another point that characterizes the style of Sergey Dorokhov's work – in his paintings, he writes a protest. Thematically, they protest against the liberal political order, in which freedom becomes only a screen for the offensive of reaction on all fronts. But the very style of using pictorial language in them, which has been eroded by illusionist oppression since time immemorial, is also a protest. Sergey Dorokhov lays out painting as it is – not as art, but as a requirement for art, as a result of which it acquires a poster paradoxical statements and graffiti scope of content. This is a struggle with the spectacle, rooted in the awareness of its significance and totality.

Once the artist Andrey Filippov, who belongs to the Sotheby's generation, borrowed the principle of Magritte's " Golconda "and wrote" Rome - Rome " in letters made up of eagles spreading their wings, diagnosing the Imperial ambitions of totalitarianism. Now Sergey Dorokhov writes "Freedom" and "Power" in letters made up of a man from a crowd or dogs from a pack, diagnosing the totality of the modern performance.
Another point of Sergey Dorokhov's pictorial language is its post-Internet sensuality. His paintings seem to "flicker" and "pixel". The protest that he writes has as its constituent order a screen, the construction of which is rooted in the virtual. It is both rigidly structured and in the process of being destroyed, creating a figure of desire that oxidizes the spectral perception of color, which further enhances the sense of information and digital transcendence.

Sergey Dorokhov creates quite a unique lexicon of the digital age, playing in the spirit of social artistry symbols of political, military, and economic power, contrasting them with the freedom of the crowd as a virtualized person without properties. His double-headed eagles, "Kalash", "riot police", oil rigs are not collected on the chessboard of post-Internet paintings, but this is the specificity and value of his art as an artist of the new time, who thinks of the space-time contours of the present not as reinforced by the grid of modernism, but as open to capitalist catastrophe.

Text by Konstantin Bohorov

SELECTED GROUP AND PERSONAL EXHIBITIONS:

  • 2021 — "$exhibition = new generation", Treriakov gallery, Moscow
  • 2021  participant of the Moscow Art Prize 
  • 2021 — personal exhibition "The Past Long", Antonov Gallery, St. Petersburg
  • 2021  participant of the project "Transfer, Projection, Processing", WINZAVOD OPEN 2021
  • 2020 — participant of the "Closed Fish Exhibition", a special project of the program of the VII Moscow International Biennale of Young Art, Moscow
  • 2020 — participation of the exposition of the private collection of Inga Legasova "NEW REALITY" under the supervision of INGALLERY, Мoscow
  • 2020 — participation of the exposition of the BAZA Institute in CUBE MOSCOW within the framework of the VII Moscow International Bienalle for Young Art, Moscow
  • exposition of the BAZA Institute in CUBE MOSCOW, Moscow
  • 2020 — participation in a charity auction VOBLAGO, Мoscow
  • 2020 — solo show "Asterisms" curated by a-s-t-r-a gallery, CUBE MOSCOW
  • 2019 — exposition of the BAZA Institute in the Smirnov and Sorokin Foundation, Moscow
  • 2019 — ASTRALAB at Tsvetnoy, Moscow
  • 2018 — AIFAC exposition in the tower of Mercury in Moscow City, Moscow
  • 2017 — participant of the exhibition in the art space of the Bryusov ship, Moscow
  • 2016 — International festival Intermuseum, held in the Moscow Manege under the auspices of ROSIZO, Moscow
  • 2016 — participant of the exhibition in the territory of art space design of the Flacon factory, Moscow
  • 2015 — participant of the exhibition in the territory of the ARTPLAY space, Moscow
  • 2015 — winner of the competition and participant of the exhibition in the business center Moscow City, Moscow
  • 2014 — prize-winner and participant of the exhibition at Mosproject, Moscow
  • 2013 — All-Russian Exhibition in the Central House of Artists, Moscow
  • 2013 — participant of the exhibition at the Russian Academy of Arts, Moscow
  • 2013 — participant of the ART Salon of the Central House of Artists, Moscow
  • 2013 — personal exhibition in the Central House of Artists, Moscow
  • 2012 — participant and winner of the exhibition in the territory of art space, design of the Flacon factory, Moscow
  • 2012 — participant of the exhibition at the Russian Embassy in London.
  • 2012 — participant of the exhibition at the Embassy of Serbia in Moscow.
  • 2011 — participant of a traveling exhibition in the Balkans (Serbia, Belgrade)
  • 2011 — prize winner of the exhibition participant in Warsaw
  • 2010 — participant of the exhibition at the Russian Academy of Arts, Moscow
  • 2010 — an exhibition in the Romanov house-museum.
  • 2010 — prize winner and exhibitor in London
  • 2010 — All-Russian Exhibition at the Central House of Artists, Moscow
  • 2009 — exhibition at the Russian Academy of Arts, Moscow


Works


Помехи прошлого. 50-е
Dorokhov Sergey

Помехи прошлого. 50-е, 2020

графические материалы, акрил
30 x 42 cm
47 500 ₽
Помехи прошлого. 60-е
Dorokhov Sergey

Помехи прошлого. 60-е, 2020

графические материалы, акрил
30 x 42 cm
47 500 ₽
Помехи прошлого. 70-е
Dorokhov Sergey

Помехи прошлого. 70-е, 2020

графические материалы, акрил
30 x 42 cm
47 500 ₽
Помехи прошлого. 80-е
Dorokhov Sergey

Помехи прошлого. 80-е, 2020

графические материалы, акрил
30 x 42 cm
47 500 ₽

Krivoshein Arthur

Born in 1994 in Ufa. The main direction in the work is abstractionism. Lives and works in Moscow. The works are in private collections.

EDUCATION:

  • 2021-2022 - Free Workshops School of Contemporary Art, MMOMA
  • 2012-2018 - Bauman Moscow State Technical University

"In my works abstraction is a way to know and fix the process of thinking.

Most often, my paintings start from a single starting point on the canvas, and end with a multi-layered mass of elements. Random details that have arisen without thinking, spontaneously, just as our thoughts overlap and intertwine with each other.

In this regard, the picture for me is a field for fixing human experience, life choice, internal conflict or consent. These feelings have no form in the material world of things, but in my works they are able to acquire their own image. No one knows what the human process of decision–making, emotions and events looks like - after all, everyone has their own. Therefore, for the viewer, it is abstraction, or rather distraction from familiar forms, that gives freedom to perception and imagination.

Thus, the final outcome of this or that work is initially never known to me, as well as the names of my paintings, which are as spontaneous as possible. For me, this is not an improvisation, rather for me it is the same thought process, decision-making and choice that a person is doomed to make endlessly."
Artur Krivoshein.

SOLO AND GROUP EXHIBITIONS:

2021 — Personal exhibition "Google page 7", 2021, Moscow
2021 - "Looking after Earthlings", gallery HERE on Taganka; Exhibition "Fields"; BLAZAR ART
2020 - solo exhibition, IMPULSE, 2020, Moscow
2020 - Opening/Collection/Plans, New sincerity gallery, 2020, Moscow



Works


Сны ночных ламп
300 000 ₽
Вкус горизонта
300 000 ₽
Без названия
Кривошеин Артур

Без названия, 2021

acrylic, oil, fabric, paper
60 х 50 см
66 000 ₽

Kosinskaya Nadezhda

Nadezhda Kosinskaya lives and works in St. Petersburg. Graduate of St. Petersburg State Academy of Arts named after A.L. Stieglitz, department of monumental and decorative painting.

Works in the techniques of painting, graphics and art object. Uses metal (nails), textiles, embroidery.

PERSONAL EXHIBITIONS:

  • 2021 - "White Room", Gallery "Door", St. Petersburg
  • 2020 - "I'm not going anywhere today", gallery 14/45, St. Petersburg
  • 2019 - DREAMS IN WEIGHTLESSNESS KZ gallery (3D / VR gallery)
  • 2015 - TRANSPARENCY, Art Center Pushkinskaya 10, Art-League gallery, Moscow

SELECTED GROUP EXHIBITIONS:

  • 2022 - Exhibition "Vokzalnaya", Krupskaya Recreation Center, St. Petersburg.
  • 2021 - YABA WORLD Contemporary Art Fair. The Home Gallery stand. Sevkabel, Saint Petersburg.
  • 2021 - participation in the project "EVERY ARTIST IS SOMEONE'S CHILD", graphics of the generation of the 2010s. Catalog.
  • 2021 - "Generation of Thirty", Russian Museum (Marble Palace), St. Petersburg
  • 2021 - Two thirds. Coping with reality, Escapement Art gallery. Zurich
  • 2021 - "New Ruins", exhibition hall MANEZH, St. Petersburg
  • 2021 - Home, sweet, home, Zverev Center for Contemporary Art, Moscow
  • 2021 - "Women's Exhibition", FFTN Gallery, St. Petersburg
  • 2021 - "Collector's Choice", All-Russian Museum of Decorative and Applied Arts, Moscow
  • 2021 - "Architecture of the Undefined", "DK Gromov", St. Petersburg
  • 2020 - "Behind the Clouds of Future", "DK Gromov", St. Petersburg
  • 2020 - "Flowers for Doctors", MAMM, Moscow
  • 2019 - MEMENTO VIVERE, Navicula artis gallery, St. Petersburg
  • 2019 - Exhibition of the nominees for the Sergey Kuryokhin Prize. Exhibition Center. S. Kuryokhina, St. Petersburg
  • 2016 - Exhibition as part of the 8th St. Petersburg Cultural Forum, "House of Culture Gromov", St. Petersburg
  • 2019 - Fair DA! MOSCOW, Moscow
  • 2018 - "Dualism" in the framework of the Baltic Biennale of Book Art, St. Petersburg
  • 2018 - Fair MASTERS, St. Petersburg
  • 2018 - International Art Fair Armenia Art Fair, Yerevan
  • 2018 - "Unincluded", AGILE GALLERY, St. Petersburg
  • 2018 - "Space", art-residence KvartaRiata, St. Petersburg
  • 2018 - SHARPPS7, OVCHARENKO gallery
  • 2017-2018 - Participation in 3, 4, 5.6 contemporary art fairs organized by the NORTH 7 group
  • 2017-2019 - SAM FAIR Contemporary Art Fair. Saint Petersburg
  • 2016 - "So far, so close", Art Center "Taiga", exhibition-dialogue of artists from Finland and Russia
  • 2015 - "From avant-garde to avant-garde", Museum. Erzya, Saransk

“My first works using metal appeared in 2019. At some point, I began to work closely in the classical techniques of painting and graphics .. I wanted to expand the boundaries, opportunities. I tried to use nails, metal, to create images .. I liked the structure of this material, graphic and painterly at the same time. Gradually, I began to think with this material, it corresponded to my inner state, allowed me to express myself most clearly. I automatically "tried on" this technique to what I see, I feel that I want to portray. Some of the works are done expressively, in a fit. Others are typed methodically, step by step, day after day. The process of work turns into meditation, immersion. The metal surface resembles armor, a kind of protection from the outside world. Often, in addition to metal, I include other materials in my work - fabrics, plaster. I create a relief painting surface. A lively, emotional message is important ”. Nadezhda Kosinskaya

SELECTED PUBLICATION:

Nadezhda's artworks are in private and museum collections: the State Russian Museum, the Streetart Museum, the Museum. Erzya, collection of Igor Sukhanov, Vera and Alexey Priima, Leonid Franz, Anton Belov, Kirill Avelev, Andrey Egorov, Olga Egorova, Alexandra and Alexander Bolshakovs, Raivis Zabis (Latvia), Katerina Turner (Great Britain), etc.



Works


Family
Kosinskaya Nadezhda

Family, 2021

Фанера, акрил, гвозди, скобы, эпоксидная смола
150 х 100
350 000 ₽
Изменение. Триптих
Kosinskaya Nadezhda

Изменение. Триптих, 2022

Фанера, акрил, металл (гвозди), эпоксидная смола
50 х 37,5 см
Seated
Kosinskaya Nadezhda

Seated, 2022

Фанера, акрил, гвозди, эпоксидная смола
100 x 75 см
Figure 1
Kosinskaya Nadezhda

Figure 1, 2022

Фанера, акрил, гвозди, эпоксидная смола
40 x 30 cm

Litvinov Igor

Igor Litvinov was born in 1962 in Vitebsk, a city which is one of the centers of classical avant-garde, where Chagall, Malevich, Lisitsky and other representatives of this trend lived and created. This determined the creative path of the author, who works in the style of abstract expressionism.

Igor Litvinov was born in 1962 in Vitebsk, a city which is one of the centers of classical avant-garde, where Chagall, Malevich, Lisitsky and other representatives of this trend lived and created. This determined the creative path of the author, who works in the style of abstract expressionism.

From 1983 to 1988 Litvinov studied at the Art and Graphic Department of Vitebsk State Pedagogical University.

At the end of the 1980s, he began attending the studio of Alexander Solovyov, the oldest abstractionist in Belarus. The relationship between the master and his pupil grew into a great friendship. It was this communication that laid the foundation on which Igor Litvinov's own style was formed. 

From 1995 to 2017 Igor Litvinov lived in Nazareth, Israel. During this period the artist worked and exhibited a lot in different countries: Spain, Sweden, USA, etc. 

In 2005, at the MoRA Museum in New Jersey, he took part in an exhibition devoted to Malevich, where works by Malevich and many nonconformists from Russia were on display.

Together with his creative work, his spiritual worldview is formed. Years of research into the phenomenon of personal freedom, the relationship between personal and creative freedom, the relationship between religion and contemporary art - all this is the basis of the artist's paintings.

Since 2017 Igor Litvinov lives and works in Moscow, is active in creative work, exhibiting in leading art spaces.

The works are in the collections of the Museum of Russian Art (New Jersey, USA), the Nesterov Bashkir State Art Museum (Ufa, Russia) and private collections in Russia and abroad. The works are in the collections of the M.I. Nesterov Bashkir State Art Museum (Ufa, Russia), Vitebsk Center of Contemporary Art (Vitebsk, Belarus) as well as in private collections in Russia and abroad.

SELECTED GROUP AND SOLO EXHIBITIONS:

  • 2022 - Art Moscow Program at the 48th Russian Antique Salon, a-s-t-r-a gallery. Gostiny Dvor, Moscow
  • 2021 - ARTSUMMER, Tretyakov Gallery, Moscow, Russia
  • 2020 - Personal Expressionism exhibition, Antique Center, Moscow
  • 2020 - NEW REALITY. To the 100th anniversary of UNOVIS, Tretyakov Gallery, Moscow, Russia
  • 2019 - 5th ANTIBIENNALE, Central House of Artists, Moscow
  • 2019 - 4th rencontre arts plastiques de Mesnil-Église, Belgium
  • 2019 - "Litvinov and Friends", Gostiny Dvor, Moscow
  • 2019 - 4th ANTIBIENNALE, Central House of Artists, Moscow
  • 2018 - 3rd ANTIBIENNALE, Central House of Artists, Moscow
  • 2018 - 2nd ANTIBIENNALE, Central House of Artists, Moscow
  • 2018 - "Brutal tenderness" personal exhibition, Central House of Artists, Moscow
  • 2017 - "Four Stories", Central House of Artists, Moscow
  • 2017 - "Free Space", Central House of Artists, Moscow
  • 2017 - 1st ANTIBIENNALE, Central House of Artists, Moscow
  • 2017 - "ART-UFA", Ufa
  • 2016 - Art Space, Vitebsk, Belarus
  • 2015 - Center for Contemporary Art, Vitebsk, Belarus
  • 2012 - Mika Gallery, Tel Aviv, Israel
  • 2010 - En-Hod Gallery, Haifa, Israel
  • 2009 - Tsarskoselskaya Collection Museum, St. Petersburg
  • 2009 - Volga Gallery, Moscow
  • 2006 - Teatron, Haifa, Israel
  • 2005 - MoRA Museum of Russian Art, New Jersey, USA
  • 2004 - Gallery Agora, New York, USA
  • 2003 - Bunker Gallery, Stockholm, Sweden
  • 2002 - Pyramida Gallery Haifa, Israel
  • 2001 - Castro Gallery, Haifa, Israel
  • 2000 - Angel Gallery, Tel Aviv, Israel
  • 1998 - Zafon Gallery, Haifa, Israel
  • 1998 - Art Expo, Barcelona, Spain.
  • 1997 - En-Hod Gallery, Haifa, Israel.
  • 1993 - Center of Contemporary Art, Vitebsk, Belarus
  • 1991 - Center of Marc Chagall, Vitebsk, Belarus

"Igor Litvinov's art is at the cutting edge of the problem of overcoming the personal emotional element for the sake of entering the open space of absolute pictorial freedom. The method chosen by the artist is not simply to show the obvious inferiority of "reality," but to contrast the absurdity of what is happening in the material world with the transcendental chaos in which absolute pain reigns. The fractured, distorted, deliberately caricatured human characters are presented in combination with a tragic, anxiously expressive, extremely tense abstract background.

However, this seemingly natural stylistic unity in Litvinov's canvases turns into a mysterious counterpoint - a polyphonic chord paradoxically combining ruthlessness and compassion, bottomless infernal spaces and the saving will to light, hopelessness and hope, hell and purgatory. Fixing the drama (or comedy - but in the Dantean interpretation) of unity and opposition of everything to everything, the artist's optics nevertheless has the gift of penetrating into the abstract-concrete nature of space-time, including through an appeal to the oldest cultural codes and mythologemes. Igor Litvinov actively uses the metaphysical plasticity of the archaic as a means of self-purification from the dictates of linear logic and common sense in order to achieve the sacred ecstasy of clairvoyance, allowing him to guide the viewer through the inferior labyrinths of otherworldliness in order to prepare him for the coming cataclysms.

Igor Litvinov considers art and especially the mystery of painting to be an endless mystery without beginning or end, once and for all, in which the artist breaks off all contact with anything and plunges completely into the magical ritual as an irrational element of the unpredictable. A succession of seemingly wild, barbaric images born with his brush and temperament is shaped into a kind of pictorial action akin to shamanic rises and plunges into parallel worlds. As a result, the disturbing, stinging, impetuously aggressive and lethal strokes are transformed into an epic symphony of volcanic magma, the ideal building material of the end times.

Each canvas by Igor Litvinov is another radical experiment, a leap into the abyss, the madness of a brave professional who sacrifices his own spiritual and bodily existence, and, as an apotheosis, a furious dissection of reality, designed to indicate and confirm the artistic will of the author, who in his own way manifests the eternal relevance of expressionism for today and for tomorrow". Igor Dudinsky, art critic

 



Works


Инфанта
Литвинов Игорь

Инфанта, 2020

Mixed media on canvas
180 х 132 см
Ночь
Литвинов Игорь

Ночь, 2021

Canvas, acryl
183 х 170 см
Импровизация

Mas Oksana

Oksana Mas was born in 1969 in Ukraine.
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.

Oksana Mas was born in 1969 in Ukraine.
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.

Text Valentine Djakonov

SELECTED PUBLICATIONS:



Works


Total Wi-Fi 27
Mas Oksana

Total Wi-Fi 27, 2019

Сanvas, acryl, pencil,author technique, author stikers
200 x 170 cm
File of memory #15
Mas Oksana

File of memory #15, 2020

Acrylic, oil, oily pastel, plastic paint on canvas
116 х 81 cm
1154 (Biomorphic realism)
Mas Oksana

1154 (Biomorphic realism), 2019

Acrylic, oil, oily pastel, plastic paint on canvas
70 x 50 cm
File of memory #22
Mas Oksana

File of memory #22, 2020

Acrylic, oil, oily pastel, plastic paint on canvas
116 х 89 cm

Samoilov Yuri

Yuri is a graphic artist and painter with an extraordinary background. He first started in the visual arts at the age of 20, then, after studying at the Moscow School of New Cinema (MSNC) to become a screenwriter and director, he returned to painting and drawing.

Born in 1987 г.

Yuri is a graphic artist and painter with an extraordinary background. He first started in the visual arts at the age of 20, then, after studying at the Moscow School of New Cinema (MSNC) to become a screenwriter and director, he returned to painting and drawing.

Jury's work is a methodological look into the nature of painting; in this he continues the line of abstract painters from America and the German neo-expressionists of the 1960-70s (De Kooning, Baselitz and Kiefer were particularly close). Through them, Samoilov also addresses the question of method, which for him lies in the problem of the relationship between figurative and abstract art. The artist approaches this boundary by means of automatic writing and palimpsest of textures.

In creating abstraction, there is a very great risk of entering the figurative precisely by accident, unintentionally. Automatic writing, removes this problem by making the image identical in meaning and importance to the abstraction. The line is erased, and the unambiguously figurative can use that plastic language in which it is not immediately recognized.

The same with palimpsest: Yuri applies and erases layers of paint, overlaps one with the other, scrapes the drawing with a sharp turn of the brush, and uses spray paint along with acrylics from the tube and pastels. The texture of these works gravitates toward sculptural plasticity, hence the pathos of the material. The material and its molding become no less interesting and important than the image itself.

All this creates works in which the viewer can discover the collision of different problems of the visual, each of which is attractive in its own way: from the limits of figurative painting, automatic and deliberate, to the pressurization of texture as a way of overcoming painting itself.

SELECTED EXHIBITIONS:

  • 2021 - blazar young art fair, a-s-t-r-a gallery, Moscow
  • 2021 - participation in the international project "Exit from the Black Square", Novosibirsk
  • 2021 - Program Art Moscow at 46th Russian Antique Salon, a-s-t-r-a gallery. Gostiny Dvor, Moscow
  • 2020 - Participation in the International Contemporary Art Project THE WALL. Kamensk-Uralsky Art Museum, Kamensk-Uralsky
  • 2020 - Group exhibition "I have lost track of the world". Curator Irina Shulzhenko. Richter Space, 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 "Exit from the Black Square. Trekhgornaya manufactory, Moscow
  • 2019 - Personal exhibition "Dead Bodybuilder". Richter Space, Moscow
  • 2018 - Two guys /One Exhibition (together with American photographer John Hunter Tenney, Free Workshop)
  • 2018 - Performance "Seven Gentlemen in Moscow". Osnova Gallery, Moscow
  • 2018 - Performance "Round 9". "October, Moscow.
  • 2017 - Performance "Sixth Symphony". Pluto, Moscow
  • 2017 - "The Garden" (Meditating Dog Experimental Art Studio)

ИЗБРАННЫЕ ПУБЛИКАЦИИ:



Works


SoldJP’s Fur Seal
Samoilove Yrii

JP’s Fur Seal, 2021

Paper, mixed media
120 x 84 cm
My Beloved Knight
Samoilove Yrii

My Beloved Knight, 2021

Paper, mixed media
120 x 84 cm
165 000 ₽
Imaginary Landlord
Samoilove Yrii

Imaginary Landlord, 2021

Paper, mixed media
120 x 84 cm
150 000 ₽

Yuldash Dishon

Dishon Yuldash is an artist and founder of the Moscow gallery ISSMAG. Lives and works in Moscow. Graduated from the Institute of Contemporary Art named after Joseph Backstein: course "New artistic strategies" in the specialty "modern artistic practice" workshop of Stas Shuripa.

Dishon Yuldash works with the sculptural environment. The main task of the work is the study of the fluid medium of forms, the physical influence of materials, fluid structures, new forms of practice as therapy restoration.

Dishon Yuldash is an artist and founder of the Moscow gallery ISSMAG. Lives and works in Moscow. Graduated from the Institute of Contemporary Art named after Joseph Backstein: course "New artistic strategies" in the specialty "modern artistic practice" workshop of Stas Shuripa.

Dishon Yuldash works with the sculptural environment. The main task of the work is the study of the fluid medium of forms, the physical influence of materials, fluid structures, new forms of practice as therapy restoration.

As a resident of the Richter Workshops, the artist Dishon Yuldash created the design of a bottle for the Richter perfume with incense and black currant scent from Matvey Yudov.

Founder of the non-commercial project Prolog.Vision, within which was held the group exhibition "Planned Obsolescence" of curator Alexander Burenkov, who received the Innovation - 2017 prize in the "Curator of the Year" nomination.

ELECTED CURATOR PROJECTS:

  • 2021 "All dogs go to heaven" by Stasia Grishina, ISSMAG Gallery, Moscow
  • 2020 — "Deformation without tearing and gluing" Vitaly Bezpalov, Yan Ginzburg, Victor Timofeev, Biennale Carbone 20, Saint Etienne, France
  • 2020 — "The unwavering one multiplies boredom, with - dead mother-of-pearl, a hollow mystery" Katia Khassine, ISSMAG Gallery, Moscow
  • 2019 — Curator of projects a-s-t-r-a gallery, Moscow
  • 2018 — Concert-practice "m e r t s a n i e" by Anastasia Tolchneva (aka Lovozero) and Anna Kravchenko, ISSMAG Gallery, Moscow
  • 2017 — "Respawn, if a prisoner, who if not you" Alexey Taruts, ISSMAG Gallery, Moscow

SELECTED EXHIBITIONS:

  • 2022 - Art Moscow Program at the 48th Russian Antique Salon, a-s-t-r-a gallery. Gostiny dvor, Moscow.
  • 2021 - Cosmoscow art fair, a-s-t-r-a gallery, Moscow
  • 2021 - Blazar, a-s-t-r-a gallery, Moscow

CURATORIAL PROJECTS:

  • 2021 - Victor Timofeev solo exhibition. ISSMAG, Moscow (pending).
  • 2021 - "All Dogs Go to Paradise" by Stasya Grishina, ISSMAG Gallery, Moscow
  • 2020 - "Deformation without Tearing and Gluing" by Vitaly Bezpalov, Jan Ginzburg, Viktor Timofeev, Carbone 20 Biennale, Saint-Etienne, France
  • 2020 - "Quintessence" solo exhibition by Vitaly Bezpalov. ISSMAG, Moscow. 
  • 2020 - Exhibition of one work by Bora Akinchuk (London). ISSMAG, Moscow
  • 2020 - "Boredomless multiplies boredom, with - dead pearl, hollow mystery" by Katya Khasina, ISSMAG Gallery, Moscow
  • 2020-2021 - New season curated by TZVETNIK invited Dishon Yuldash. ISSMAG. Moscow 
  • 2020 - ". no w" sound installation by Yegor Anonko. ISSMAG, Moscow 
  • 2019 - Curator of projects a-s-t-r-a gallery, Moscow
  • 2018 - "Protodermis" installation by Abu Blunt. ISSMAG, Moscow
  • 2018 - "m e r t s a n i e" concert-practice by Anastasia Tolchneva (aka Lovozero) and Anna Kravchenko, ISSMAG Gallery, Moscow
  • 2017 - "vctn" installation and video work by Alena Shapovalova and musician Ignat Olenev (Johns Kingdom). ISSMAG, Moscow 
  • 2017 - "Who if you are not" performance by Alexei Taruts. Rabitsa, Moscow 
  • 2017 - "Let all your dreams come true" performance-audio-installation, Alexei Taruts. Cosmoscow Art Fair, Moscow 
  • 2016 - "Respawn, exactly, if not you then who" solo exhibition of Alexei Taruts. ISSMAG, Moscow 
  • 2016 - "Bangs" solo exhibition by Oleg Ustinov. CTI Fabrika, Moscow
  • 2015 - "STILL MOVING" group exhibition, Sinead Breslin, Alexander Selivanov, Oleg Ustinov. Spiridonov House, Moscow

SELECTED PUBLICATIONS



Works


Чан симпатий #5, small
Yuldash Dishon

Чан симпатий #5, small, 2021

Алюминий , фарфор, каменная масса, парфюм
165 000 ₽
Чан симпатий #6, small
Yuldash Dishon

Чан симпатий #6, small, 2021

Алюминий , фарфор, каменная масса, парфюм
165 000 ₽
Чан симпатий #7, small
Yuldash Dishon

Чан симпатий #7, small, 2021

Алюминий , фарфор, каменная масса, парфюм
165 000 ₽
Чан симпатий #8, small
Yuldash Dishon

Чан симпатий #8, small, 2021

Алюминий , фарфор, каменная масса, парфюм
165 000 ₽
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