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Санкт-Петербургская ярмарка искусства «1703»

a-s-t-r-a x Санкт-Петербургская ярмарка искусства «1703»

16 - 19 июня 2022 г.

ЕГОР ОСТРОВ, ИГОРЬ ЛИТВИНОВ, ПАВЕЛ БУШУЕВ, АРТУР КРИВОШЕИН, ЮРИЙ САМОЙЛОВ

стенд С-1

Центральный выставочный зал «Манеж», Санкт-Петербург, Исаакиевская площадь, д. 1

с 11 до 21.00

ALTITUDE:28.34.35.52.60

На стенде a-s-t-r-a gallery будут представлены работы четырех художников - Егора Острова, Игоря Литвинова, Павла Бушуева и Юрия Самойлова. 

Художники двух поколений, работают в отличных друг от друга техниках и направлениях, с разных сторон осмысляют роль художника в искусстве и ставят перед собой иногда противоположные задачи. Быть основоположником техноренессанса и восстанавливать в правах Троицу Платона? Формировать вторую или третью реальность через зеркало эмоций и рефлексий, помогающую сохранить свой уникальный мир? Следовать за мыслью и подниматься в познании и интерпретациях по герменевтическим кругам, слой за слоем архивируя современность? Или же проживать каждый день на пределе чувств, оголяясь до нервов для того, кто может никогда и не понять. 

Ответов на эти вопросы нет. Есть разные пути и высоты. И каждый художник покорят всегда только свою вершину, оставляя за собой для вовлеченных координаты своего пути. Пути художника в искусстве.

Ostrov Egor

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

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

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

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

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

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

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

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

SELECTED GROUP AND SOLO SHOWS:

  • 2022 - St. Petersburg Art Fair "1703", a-s-t-r-a gallery, Manezh Central Exhibition Hall, St. Petersburg
  • 2022 — Art Moscow program within the framework of the 48th Russian atikvar Salon, a-s-t-r-a gallery. Gostiny dvor, Moscow
  • 2021 — The State Hermitage Museum "Raphael Line. 1520-2020"
  • 2021 — Art Moscow program within the framework of the 46th Russian atikvar Salon, a-s-t-r-a gallery. Gostiny dvor, Moscow
  • 2020 — solo show a-s-t-r-a gallery, Cube, Moscow
  • 2018 — Canon, Orekhov gallery, Moscow
  • 2016 — Pontormo Book (together with Arkady Ippolitov)
  • 2015 — Absolute Beauty – Neoacademism in Saint Petersburg. Ludwig Museum, Budapest
  • 2014 — Selected. Transatlantiqe Gallery. Moscow
  • 2012— In the Flow. ArtMost Galley. Mayfair, London
  • 2011 — Immodern Art (with Elena Ulantseva) Knop’s Castle, Moscow2011-2012 – New Academy. Ekaqterina Art Foundation. Moscow
  • 2008 — String Theory. State Academy of Fine Art, Moscow
  • 2007 — Sign and Image. Attelier No.2, Moscow
  • 2007 — New Positive Process. State Center for Photography, Saint Petersburg
  • 2007 — Image and Sign. D137 Gallery, Saint Petersburg
  • 2004 — Depth of Field: Egor Ostrov and Arno Brecker. D137 Gallery, Saint Petersburg
  • 2003 — The Snowqueen’s Way: Egor Ostrov and Belyaev Gintovt. New academy of Fine Arts, Saint Petersburg
  • 2003 — New Academists. Look Art Gallery, London
  • 2001-2002 – Beauty and Eritism. Gallery Gasunie, Groningen
  • 2000 — Successors of Sparta. Synebruchoff Art Museum, Helsinki
  • 1998 — Seven Lines to the Inch. Aidan Gallery, Moscow
  • 1998 — Saint Petersburg Neoacademist Photography. Museum Foreign Art, Riga
  • 1998 — New Possitive Processes. State Russian Museum State Hermitage, Saint Petersburg
  • 1997 — Kabinet. Stedelijk Museum, Amsterdam
  • 1996 — Metaphern des Entrucktseins. Aktuelle Kunst aus St. Petersburg. Badischer Kunstverein/Karlsruher Kunstlerhaus, Karlsruhe
  • 1996 — Egor Ostrov: Paintings. Galerie Rotloff, Karlsruhe
  • 1994-1995 — Self-Indetification: Positions in Saint Petersburg art from 1970 until today. Kiel, Berlin, Oslo, Sopot, Copenhagen, Saint Petersburg.
  • 1994 — Renaissance and Resistance. State Russian Museum, Saint Petersburg
  • 1994 — Achilles. New Academy of Fine Arts, Saint Petersburg

SELECTED PUBLICATIONS:



Works


The Boxer (after  Antonio Canova)
Archangel Michael (after Guido Reni)
Phaethon (after Goltzius)

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 - 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


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 ₽

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 - St. Petersburg Art Fair "1703", a-s-t-r-a gallery, Manezh Central Exhibition Hall, St. Petersburg
  • 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

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:

  • 2022 - St. Petersburg Art Fair "1703", a-s-t-r-a gallery, Manezh Central Exhibition Hall, St. Petersburg
  • 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

Samoilove 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, Samoilove 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:

  • 2022 - "How to disappear completely", a-s-t-r-a gallery, Art Center "Vinzavod"
  • 2022 - St. Petersburg Art Fair "1703", a-s-t-r-a gallery, Manezh Central Exhibition Hall, St. Petersburg
  • 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


Saint-bernard with Golden Fangs
242 000 ₽
Holy Henpecked
Samoilove Yrii

Holy Henpecked, 2021

Canvas, acryl
120 х 100 cm
242 000 ₽
Butterfly
Samoilove Yrii

Butterfly, 2021

Paper, acrylic
120 х 100 cm
242 000 ₽
Blind date
Samoilove Yrii

Blind date, 2020

Canvas, oil
100 х 80 cm
242 000 ₽
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