full catalog

Transcription

full catalog

RUSSIAN DREAMS...
RUSSIAN DREAMS...
This edition is to coincide with the exhibition “Russian Dreams…”
organized by the Multimedia Art Museum, Moscow
and the Bass Museum of Art, Miami Beach
December 4, 2008 – February 8, 2009.
Curator: Olga Sviblova
Assistant Curator: Ekaterina Kondranina
Exhibition Design: Yuri Avvakumov
Catalogue
Compiler: Ekaterina Kondranina
Design and layout: Arthur Diaghilev
English translation: Patricia Donegan, Denis Fedosov
Editors: Patricia Donegan, Anna Petrova
Corrector: Olga Tonkonogova
All rights reserved.
ISBN 978-5-93977-046-0
Multimedia Art Museum, Moscow
14, Suschevskaya Street
Moscow, 127055
T: 7 495 2313325
F: 7 495 2311909
[email protected]
www.mdf.ru
bass museum of art
2121 Park Ave
Miami Beach, FL 33139
T: 305 673 7530 x 1007
F: 786 394 4597
[email protected]
www.bassmuseum.org
© Multimedia Complex of Actual Arts, publication, 2008
© Artists, images
The exhibition and catalogue were made possible with the support of
General Information Partner:
Information Partners:
RUSSIAN DREAMS...
RUSSIAN DREAMS...
The project “Russian Dreams…” presents the work of twenty-three
contemporary Russian artists, among them luminaries like
Vladimir Dubossarsky and Alexander Vinogradov, AES+F group,
Alexander Ponomarev, Dmitri Gutov, Sergei Shutov, Olga Chernysheva, Alexei Kostroma and Vladimir Tarasov. Also participating
in the project is a new generation of young artists: Alexei Buldakov,
Haim Sokol, Rostan Tavasiev, the MishMash project and Julia
Milner. If the first set of names represent the generation formed in
the 1980s to 1990s when the contemporary Russian art scene was
dominated by Sots Art with its ironic deconstruction of Soviet
myths and ideological cliché, the younger artists came to the fore
in the new, post-perestroika Russia. This “Russian Dreams…” exhibition displays art created in the new Russia after the 1991 putsch
and the break-up of the USSR. Art presented at this exhibition
analyses a transitional phase in the new Russia, as it strives to
achieve stability and search for fundamental new values and paths
for the development of society as a whole, and art in particular.
Dreaming is a traditional feature of the Russian character.
The vast majority of Russian folktales are based on the story of
Ivan the Fool, who becomes tsar at the end of the fable without
4/4
having to lift a finger. Incidentally, this carnival transformation
is also reflected in the central slogan of the Socialist revolution:
“We have been nought, we shall be all!” The dream of an opportunity to build an essentially new life and new spiritual reality served
as the starting point for a remarkable burst of activity in Russian
art of the early 20th century. Russian Futurism and Modernism,
the work of Kazimir Malevich, Alexander Rodchenko, Pavel
Filonov, Vladimir Tatlin and others was the result of artistic mythmaking based on the idea of the great social Utopia. But lofty
ideals of revolution were very soon transformed into totalitarian
ideology. The Russian avant-garde was outlawed for many
decades in its country of origin. A second upsurge in 20th-century
Russian art occurred in the 1970s to 1980s. This was the period
of underground art associated with such names as Ilya Kabakov,
Erik Bulatov, Leonid Sokov, Vitaly Komar and Alexander Melamid.
Oppositional games with the mass-produced clichés of Soviet
ideology stoked the fires of Sots Art.
The early years of the new Russia marked a transitional phase:
a new mythology and new dream were essential to ordinary citizens as a means of survival, and to artists for their work. This is
why contemporary Russian art in the pre-revolutionary period
turns to both the sources of national philosophy and the experiments of Russian Futurism and Soviet myths that strive for reconstruction and self-reproduction. The “Russian Dreams…” exhibi-
tion is an artistic analysis of the mythogenetic process,
an attempt to chart its progress in modern-day Russia.
The present century is rife with aggression. It hovers in the air, each
and every one of us feels its presence. Many of the installations in
this exhibition project are essentially an exorcism of this aggression
or an attempt to at least soften it, if we cannot destroy it altogether.
Hence Alexei Kostroma feathers a gun with flimsy white plumage.
Dmitri Gutov’s bullet-notes recreate the score of a Dmitri Shostakovich piano trio written in 1944, during the Second World War.
The whistle of bullets continues to this day. The artist’s work is
a visual dream of a world without bullets. In the project “Be Softer”
the MishMash project dresses stones in hand-knitted hats. There is
a time to cast away stones and a time to gather them. MishMash
tries to gather and gently wrap them up.
The dream of a great empire periodically reappears in the Russian
consciousness and it is no coincidence that Yuri Avvakumov’s
mausoleum of dominos and Swarovski crystals and Andrei
Filippov’s spiral of double-headed eagles feature in the exhibition.
The Russian avant-garde with dynamic diagonals pointing to
the future and austere constructions was inspired by the dream
of a radiant future. Nowadays works by Kazimir Malevich and
El Lissitzky have turned into a commercial brand that has penetrated mass culture. Alexei Buldakov, one of the youngest participants in the exhibition, sets Suprematist elements in motion in
his video, accompanied by what seems like the sound track from
a porn film, yet another product demanded by popular culture.
The Russian experience of the twentieth-century shows that
the value of the individual has disappeared from history, steamrollered by the great idea. Now we dream of a return to respectful and caring attitudes to the individual. Olga Chernysheva’s
work “Dream Street” shows a dilapidated village outside
Moscow where the letters have fallen off a street sign, spontaneously and poetically renaming it “Dream Street”. Wretched
railings made from ancient bedheads guard private worlds
where people put by jars of jam and salted preserves for
the winter, in the time-honoured manner. This is a dreamlike
microcosm left behind by the pace and rhythm of nascent
capitalism, conserving the primordial purity of the human soul
and appeasing with the quiet poetry of the everyday, stoic
survival pursued by those on the side road of history.
Haim Sokol’s work “Foundation Pit” refers us to the eponymous
novel by Andrei Platonov, the Russian writer who described better
than anyone the yawning abyss between the life of the ‘little man’
and the mighty dream that inspires yet smothers his existence.
The nostalgic-elegiac installation by Vladimir Tarasov, composer,
artist and co-author with Ilya Kabakov of several artworks, is
linked to his memories of childhood in the far-northern village
of Chushala, where both children and adults would sit in their
izba and dream, gazing out the open window. This open window
becomes a symbol and a metaphor of life for the artist, in a world
where fear and aggression force us to tightly close our dwellings
and our hearts.
plex equipment. In her video “Universe” you see totemic symbols
of the eternal femininity of the Universe appearing through these
cosmic landscapes.
The artist Leonid Tishkov and photographer Boris Bendikov has
created “Private Moon” and humanised this ‘cold heavenly body’.
The moon is a dictator determining the rhythms of the universe
and human activity. Leonid Tishkov takes the moon with him
on a journey across the expanses of a vast megalopolis, through
gardens, subterranean cavities and the abandoned rooms of his
parents’ old country house, drawing it closer to himself and
others. This is his personal manifestation of the idea of Russian
cosmism, which has always nourished Russian art.
The dream of erecting a tower leading upwards to the heavens
is characteristic of every Generation Next. Rostan Tavasiev constructs his tower from cubes, balancing an essentially unstable
construction. He packs his own cosmos and sky into each cube,
consciously infantilising his dialogue with Russian Modernism.
In this way he removes the stark opposition of past and present,
gently and gaily aiming his vector of movement upwards,
to the future.
In his work entitled “Igarka” Yuri Avvakumov applied constellations to photographs of a town located inside the Arctic Circle
in Krasnoyarsk territory, symbolically drawing the attention of its
inhabitants, mainly the descendants of political prisoners, to
the cosmos. Igarka was designed in the 1930s by great avantgarde architect and Utopian Ivan Leonidov, who was also fascinated by the Russian philosophy of cosmism, but his plan was
never completed and this remote town became an abandoned
building project. Sergei Shutov also spent time in the Krasnoyarsk
territory, in Zheleznogorsk, a town built by GULAG prisoners for
the production of plutonium and sputnik satellites. Naturally
production work is guarded by the same barbed wire that once
encircled the GULAG. Shutov uses barbed wire to portray
the celestial products of this closed city: sputniks and rockets
that transfer our terrestrial boundaries to space.
“Défilé” by the AES+F group was inspired by the ideas of Russian
religious thinker and futurist philosopher Nikolai Feodorov, one
of the founders of Russian cosmism, whose basic concept is the
dream of physical resurrection. This exhibit by the AES+F group
refers us to Feodorov’s ideas, reminding us of death as the fundamental existential problem of human existence, and to the concept of overcoming death in a moral and physical sense.
At the same time the artists develop their theme of a criticism of
the glamour industry and consumerism: with the aid of computer
technology the bodies of the dead are arrayed in clothing intended for a fashion show.
For Julia Milner the cosmos is represented by real photographs
of galaxies created by research astronomers using highly com-
The mechanical devices in Alexander Ponomarev’s “Nimbus
Generator” produce smoke rings or nimbuses that fade away
high above the viewers’ heads, before their very eyes. In our lives
poetry and dreams appear and disappear in much the same way.
Nikolai Polissky uses the creative process to turn his dream into
reality, inveigling inhabitants of the partially abandoned village
of Nikolo-Lenivets into his art-actions. As a result of this collective manifestation of the artist’s poetic metaphors a wild impulse
of play and festivity captivates the villagers, who become co-participants in the creative process, and accumulates in the objects
and installations they have created. The artist’s land-art actions
are inspired by folk customs and awareness of Russian art history.
For “Russian Dreams…” this consists of huge wooden rooks, birds
seen as symbols and boundary markers, a pledge and signal that
spring is coming.
In the Russian consciousness spring is also a metaphor for determining the political situation. The period marked by Nikita
Khruschev’s democratic reforms is usually referred to as
‘Khruschev’s Thaw’. A dream of future democracy is also a dream
of vernal transformation and the awakening of nature, man and
society. Andrei Molodkin’s installation repeats the word DEMOCRACY twice. First as a sculptural composition of three-dimensional letters filled with oil, standing across the viewer’s path like
a fence. The second form it takes is a light construction on
the wall, where the shining word is written in a perspective reminiscent of Rodchenko. When combined they recreate a
Suprematist composition from the Russian avant-garde, still the
most important reference point for contemporary Russian art.
The Russian art of today can be ironic and poetic, aggressive and
lyrical as the Russian soul, and we know that is an enigma…
Olga Sviblova, Director of the Multimedia Art Museum, Moscow
Andrei Molodkin
06/07
There are some things that have no meaning except in the space of art –
whether that space be personal or inter-subjective, real or invented. But there
are also those which manage to ‘straddle the fence’ and are adequately readable both in the space of aesthetics and in other spaces that lie outside it.
I am referring to interactive works that arise on the border between heterogeneous contexts – for instance between art and politics, art and convertible
currency, art and natural resources. Like other three-dimensional objects,
they are partly filled with oil. Oil is delivered to them through pipelines
attached to containers, as in the oil processing industry. Essentially, this
is the oil processing industry, the only difference being that oil is transformed
not into fuel but into an artwork which – in accordance with the author’s concept – must be perceived not as a finished product, but as yet another energy
resource. While this product is suitable for sale or exhibition in a museum,
it also plays a role of mediating between phenomena that are not directly
related to aesthetics.
‘DEMOCRACY’ turns out to be useful only for filling with oil, like an empty canister. Democracy is a word. It used to be a utopian word, now it’s a souvenir.
‘DEMOCRACY’ that manages to seep through every hole and every crack in
the guise of art. It looks like a work of art, but in fact it’s a utopian construct
passed off as reality.
Andrei Molodkin
Andrei Molodkin
DEMOCRACY, 2008 (sketch)
Mixed media installation, crude oil, neon
500 x 600 cm
Courtesy of artist and Multimedia Art Museum, Moscow
Alexander Ponomarev
Nimbus (L. nimbus) – cloud, rain cloud
The nimbus is bestowed from above as a reward for devotion
Kabbalah
08/09
The nimbus generator is an artistic machine that reacts to the appearance
of a human being and emits into the outlying space a profusion of smoke
rings, each one structurally similar to vortexes of cosmic nebulae, tropical
cyclones and the immaterial substances of Agni Yoga.
The nimbus begins a new life cycle, developing initially in the form of a mass
of twinkling tones of colour and expanding outside from a certain point
of inner space in a circular spiral motion.
Luminous rings are fluctuating smoke sculptures living a short existence
in a light beam and reminiscent of unifying vertical connections and
substances, constantly twisting whirlwinds above the viewers’ heads.
As Josef Brodsky wrote: “Oh, the delight of smoke rings!..”
Alexander Ponomarev
Alexander Ponomarev
Generator of Nimbuses, 2007
Mixed media installation
700 x 800 cm
Konstantin Batynkov
10/11
Konstantin Batynkov was a member of the legendary Mitki group that produced one of the most important trends in the new art of St Petersburg during
the 1980s and 1990s, in the critical transition between the Soviet Union and
the new Russia, Leningrad and St Petersburg.
In the last few years the artist has concentrated on painting in black and
white. In his pictures always-recognisable realia of everyday Russian life are
interwoven with phantasmagorical subjects. His strange perspectives allow
him to fill the canvas with a vast number of characters and in each of them
lives a touching and vulnerable ‘little man’, the typical hero of classical
Russian literature. Sometimes these characters are so tightly crammed into
his works that they become component microelements of the cosmos, and
occasionally the cosmos in the form of a nocturnal starry sky or huge stack
of logs pushes the figures beyond a very low or high horizon. Batynkov’s work
is nostalgia according to the traditional Russian ideal of Sobornost, an ideal
of community in heart, mind and spirit that was never achieved in the succession of tragic historic experiments conducted in 20th-century Russia.
Olga Sviblova
Konstantin Batynkov
Dreams, 2008
Vinyl paper, acrylic
196.5 x 106 cm
Alexei Politov &
Marina Belova
12/13
What Is a Russian Dream? This is the question we asked ourselves as we
worked on the project. We realised straight away that the Russian dream
is inseparably linked to the Russian soul which, as everyone knows, is
an enigma. As this concept was clearly inadequate for a visual representation
of our theme, we decided to systematise the knowledge amassed from questioning the public and from our own experience. What was the best way to
go about it?
After all, systematisation is not really natural for the typical dream of
the Russian soul, “which yearns to go for a whirl or a spree, that can say
“the Devil take it all!” and dart off in a fit of divine inspiration,” in Gogol’s
words.
The great Russian writer Nikolai Gogol was among the first to examine
the Russian soul. On the basis of his literary work, our personal experience
and surveys of friends and strangers, as well as a careful study of the surrounding visual realities, we compiled a hit parade of the “50 HOT” Russian
dreams, in accordance with the popular tendency nowadays to compile ratings, short and long lists of nominees, candidates, etc. But our hit parade
is not really a rating, it presents various Russian dreams side by side.
After all, the Russian dream is like an uninterrupted stream, we could
continue it forever.
Alexei Politov and Marina Belova
Alexei Politov and Marina Belova
50 Hot Russian Dreams, 2008
Paper, ink, acrylic
30.5 x 21.5 cm
Andrei Filippov
Andrei Filippov was one of the leaders of new Russian conceptual art
in the 1980s to 90s.
He has always worked with symbols. One of the most important was
the double-headed eagle, representing unity and division between
East and West.
“Balkan Baroque” is the artist’s reflection on the Yugoslavian crisis.
A spiralling of energy at this hotspot could engender a renaissance
of civilisation or disintegrate into the next world war.
14/15
Andrei Filippov
Balkan Baroque, 2005
Fabric
400 x 900 cm
Courtesy of artist and E.K.ArtBureau
Vladimir Dubossarsky &
Alexander Vinogradov
The works of Vladimir Dubossarsky and Alexander Vinogradov are very contemporary. With their paintings the idealistic dreams of Socialist Realism become
a glorification of idols created by a society of mass consumerism: Stallone and
Schwarzenegger, Andy Warhol and Spider Man, Mickey Mouse and Barbie, etc.,
etc. In their project “Mixed Fights” they explore the mass-media cliché
of the Russian soul and Russian reality: daredevilry and intoxication, ice holes
and ‘valenki’ felt boots, the samovar and Russian beauties, plus an enigmatic
giraffe on the horizon… By hyperbolising and inflating stereotypes of Russianness characteristic of both the view from outside and notions cultivated inside,
Dubossarsky and Vinogradov strive for ultimate articulation of the phenomenon.
At the same time the artists counterbalance this with their redeeming irony.
16/17
Anna Petrova
Vladimir Dubossarsky & Alexander Vinogradov
Mixed Fights. 2008
Canvas, oil
195 x 580 cm
Yuri Avvakumov
18/19
Vladimir Lenin, founder of the Soviet Union, died on January 21st 1924. His body
was embalmed the following day. On January 24th architect Alexei Schusev was
given an assignment: he had three days to design and erect a temporary vault
in Moscow’s Red Square, enabling the masses to bid farewell to the leader
of the world proletariat.
Six months later Lenin’s body was transferred to a wooden mausoleum, which
was replaced in 1930 by a stone structure of granite and marble. A sarcophagus
designed by avant-garde architect Konstantin Melnikov rested on a pedestal of
black labradorite in the centre of the chamber. The Resolution by the Triumvirate,
assisted by Marshal Voroshilov, of November 13th 1924 on construction of
a permanent Mausoleum defined the interior arrangement and outer appearance, stating that “the Mausoleum must be an imposing sight, a centre of
attraction for all to see”.
The Lenin Mausoleum became a place of pilgrimage for Communists, the principal tribune of the new state and also the compositional centre of the Red Square
ensemble.
After enduring for seventy years, the great empire of the Soviet Union abruptly
ceased to exist in 1991, disintegrating like a set of dominos. But the mausoleum
containing Lenin’s body continued to stand in Red Square as both historical relic
and monument of architecture. Architectural monuments live on, not only in their
construction materials or photographs and tourist souvenirs, but also in architectural models. The model of the Lenin Mausoleum in dominos and sparkling crystals should symbolise the eternal memory of the dead – “Dominus vobiscum!”,
also serving as a reminder of the transient glory of any empire and an ‘imposing
sight’ bequeathed to us by its Soviet founders.
Yuri Avvakumov
Yuri Avvakumov
Black Stone Mausoleum. Homage to architect Schusev, 2008
3 500 dominoes with Swarovski crystals
62.5 x 170 x 142 cm
Yuri Avvakumov
20/21
For this project Yuri Avvakumov flew over Igarka in a helicopter. The result
is four high-tech photographs (three black and white, one in colour) that were
pasted over aluminium coated by a half-centimetre acrylic layer.
Swarovski crystals have been set in the panel surfaces to create the effect
of a twinkling starry sky. Curiously enough, the only colour photograph was
taken using camera obscura.
Avvakumov’s work is dedicated to well-known 20th-century ‘paper’ architect
Ivan Leonidov, who came here to construct the town of Igarka in the 1930s.
His plans remained on paper. Although Leonidov’s name is associated with
the ‘opening’ of Igarka and hopes for a radiant future, the authorities have
now decided the town is economically unprofitable, that it is simpler to ‘close’
Igarka than assign resources for further maintenance.
Notwithstanding the ‘crumbling’ soil beneath their feet, Russians have always
aimed for the stars. Like many of his contemporaries, Ivan Leonidov was
fascinated by cosmic philosophy. It turns out that Yuri Avvakumov shares this
interest. And despite Igarka’s sorry state, the artist has envisioned a ‘sky
of diamonds’ over the town and given his images cosmic dimensions.
Sergei Kovalevsky
Yuri Avvakumov
Igarka. Homage to architect Leonidov, 2007
C-print
90 x 150 cm
Courtesy of artist
Alexander Brodsky
22/23
Alexander Brodsky was one of the leaders in a galaxy of outstanding Russian
‘paper architects’ from the late 1970s to 1980s. He has won many international competitions for Utopian architectural projects. During that period there
was reduced construction in the Soviet Union and only standard designs were
permitted. Paper Utopias were essentially underground activity, and in
the building boom of the New Russia that followed there was no demand for
them – they clashed with New Russian style. Alexander Brodsky’s work was
circulated in the art world and shown at museums and art biennales.
His “Settlement” project was exhibited in the Russian Pavilion at the 2006
Venice Architecture Biennale, and subsequently in the first private Russian
museum of contemporary art, ART4.ru. A city and at the same time
the metaphor of a city familiar to all from a sense of winter loneliness,
of being lost in a vast megapolis, appears in his ‘barrel organ’ like a vision
in a magic casket. As the snow falls we hear an enchanting Beatles melody
and the city is filled with bright and poignant nostalgia.
Olga Sviblova
Alexander Brodsky
Settlement, 2006
Object, mixed media
150 х 70 х 180 cm
Courtesy of artist and ART4.ru Contemporary Art Museum, Moscow
Dmitri Gutov
24/25
Dmitri Gutov’s bullet-notes are dedicated to Dmitri Shostakovich.
Kalashnikov automatic cartridges welded to steel wire recreate the partita
from the piano trio “In Memory of Sollertinsky” (1944). Ivan Ivanovich
Sollertinsky, the musicologist and critic who was for many years a friend
of Shostakovich, died in 1944 after his evacuation to Novosibirsk.
The whistle of bullets.
Gutov created his project in 1993. During the storming of Moscow’s White
House. The whistle of bullets.
This project by one of the most intellectual and complex artists in contemporary Russian art, editorial board member of scholarly journals and founder
of philosophy societies, is clear and precise: the sound of bullets continues
to this day. Gutov’s work is a dream in which the sound of bullets disappears
and the music remains.
Anna Petrova
Dmitri Gutov
Shostakovich. In memory of Sollertinsky, 1993
Wire and rifle cartridges
200 x 370 cm
AES+F
26/27
The work “Défilé” of the AES+F Group is inspired by the religious philosophy and futurological ideas of Nikolai Feodorov (1829–1903), who was one of the founders
of Russian Cosmism. Leo Tolstoy and Feodor Dostoevski considered Nikolai Feodorov
to be an ingenious Russian thinker. One of his central concepts was the idea
of the physical resurrection of human beings.
Feodorov believed that the joined efforts of art, religion and science are able to make
his dream come true. He was one of the teachers of Tsiolkovski, founder of cosmonautics. For a whole decade Feodorov regularly met Leo Tolstoy and Vladimir Soloviov
(another major Russian religious philosopher). His ideas strongly influenced
Dostoevski’s oeuvre.
A very important element of Feodorov’s teaching was his belief that people have
responsibility not only before future generations, but before past ones as well.
The AES+F Group’s “Défilé” based on Feodorov's ideas tries to remind us death is
a basic existential problem of human existence that makes everyone and everything
equal, focusing at the same time on the notion of how to overcome it both morally
and physically.
Simultaneously the creators of this work concentrate on criticizing the taste for glamour and consumerism, which supplants in our minds the existential problems of life on
Earth. Just like in their preceding projects – “Action Half Life” and “Last Riot” – they
speak against glamour using its own aesthetic and reflecting the vanity and absurdity
of human efforts to hide away from moral and ethic issues in the armor of material
well-being and its symbols, replacing the individual with the notion of a brand.
The figures of the dead, whose postures bring to mind levitation and the sacral
moment of the spirit departing from the body, are, with the help of computer technology, dressed in clothes that could have been used in a fashion show. They remind us
of the tragic and sublime fate of mankind, stressing the vanity and meaninglessness
of a life where consumerism and arrogance reign above all.
Olga Sviblova
AES+F Group
(Tatiana Arzamasova, Lev Evzovich,
Evgeny Svyatsky and Vladimir Fridkes)
Défilé, 2000–2007
Digital collages on light boxes
205 x 106 x 20 cm
Courtesy of artists and Multimedia Art Museum, Moscow
Haim Sokol
28/29
They say Russia is a country with an unpredictable past. But there is always
a bright future ahead in Russia. Between them lies the abyss we call the present. My ‘abyss’ has nothing to do with revolution, war or horrors like
the Gulag and Auschwitz. I’m talking about the present day. These zinc containers are neither antiques nor trash, but the practical working tools of modern-day migrant workers. I bartered with the yard sweepers Gulya, Zina and
Lyuba to get the tubs and found the buckets on a building site.
I filled them with pictures of Russian life – dilapidated grey walls, dim light,
garbage, filth, a squalid existence and the impossibility of escape.
Unchanged since Platonov’s description of the way people lived after
the Revolution. Their dream was to overcome the ‘nostalgia for the old life’
and build a new abode for the proletariat, but they dug their way deeper
and deeper into the foundation ditch. And it continues to this day.
As Diana Machulina wrote: “All the attempts to erect a ‘Tower of Babel’ lead
nowhere, man is still in the depths of the same Babylonian pit”.
Haim Sokol
Haim Sokol
Foundation Pit, 2008
Mixed media installation
30 x 80 x 45 cm each
Julia Milner
30/31
Julia Milner is the youngest participant in the project. Her artistic strategy
keenly and precisely reflects the rapid changes in our technogenic world.
Five years ago she began working with mobilography: photos taken with
a mobile phone that she decorates and transforms with childlike spontaneity
to produce vivid, expressive images.
Her internet project “Click I Hope” was exhibited in the Russian Pavilion for
the 52nd Venice Biennale of Contemporary Art in 2007.
In her video project “Universe” Julia Milner uses scientific photographs
of space galaxies, circular nebulas, lunar eclipses, sun spots, solar wind, etc.,
created by researchers and astronomers using highly complex equipment and
accompanied by their descriptions in a scholarly yet metaphorical and poetic
language. But through these cosmic landscapes you suddenly see totemic
symbols representing the eternal femininity of the Universe. The dynamics
of gender alterations that also occur in the process of art lead to a change
of accent, from male totem symbols to female elementals. The artist turns
her project into an amusing yet serious game.
Olga Sviblova
Julia Milner
Universe, 2008
Video (DVD), 10 minutes
Courtesy of Multimedia Art Museum, Moscow
Rostan Tavasiev
32/33
People have always built towers. These towers became symbols of a place,
a historic event or date, or like Vladimir Tatlin’s tower they represented
a dimly perceived, yet glorious future. A child’s first conceptual actions at
playtime begin with the erection of a tower. Towers made of building blocks,
sand castles…
Rostan Tavasiev constructs a tower from building blocks too, but one facet
of each cube is open and inside it is full as a bottomless pit. You want to hide
in there. It beckons you but won’t let you in. The artist plays a game, recouping the desires and memories of childhood and at the same time engaging
in dialogue with the experience of Russian Modernism and Futurism, whose
constructions were more rigid and tenacious, with a clearly expressed structure that gave direction towards the sacred ideals of a magnificent future.
Modernism fell short of victory and became art history. But every Generation
Next wants to build a new tower. Rostan Tavasiev’s tower is a staircase leading upwards.
Olga Sviblova
Rostan Tavasiev
Tower of Generation Next, 2008
Object, mixed media
206 x 93.5 x 105 cm
Nikita Alexeev
34/35
In 1975 I created a series of works called “Poetry of Things”. I was strongly
influenced by Andrei Monastyrsky, who had recently gone from writing texts
to producing objects. For example, his “Heap”. Everyone who visited him left
some small thing on a special shelf. As the heap on the shelf grew, Andrei
kept a careful record of how it was ‘fed’. My “Poetry of Things” consisted of
a dozen or so (I don’t remember exactly) coloured ‘fakes’ made of fibreboard:
a bag full of oranges, kefir bottle, book, heap of trash etc. In 2004 I received
a 3-month grant from the Josef Brodsky Foundation at the American Academy
in Rome, which was a surprise for me. When leaving for Rome,
I took with me a woman's red shoe-box full of various items which for some
reason were significant to me. In Rome, until noon I drew the objects I had
brought from Moscow and also a few things found in Italy. After that I wandered through the city streets till late at night. It was a marvellous time.
The red box and its contents returned to Moscow with me. In the last few
years many of the objects from the box got lost, as I’m not very good at keeping things. But the drawings are still with me. I don’t know what will happen
to them in future. Probably they too will disappear. What will I have left?
For me – my personal myths about them. For others – no idea.
But any mythology is misty.
Nikita Alexeev
Nikita Alexeev
Poetry of Things, 2004
Paper, color pencil
70 x 100 cm
Courtesy of artist and GMG Gallery
Nikolai Polissky
36/37
Nikolai Polissky, like Konstantin Batynkov, started as a member of the Mitki
art group in St Petersburg. Several years ago Polissky was inspired by
the idea of a new life in the deserted village of Nikolo-Lenivets and persuaded
the remaining inhabitants to create land art objects based on traditional,
and by that time almost extinct folk crafts. This gave birth to the now-famous
artists’ colony “Nikolo-Lenivets Handicrafts” and the popular Arkhstoyanie
Festival, a place of pilgrimage for bohemians, artists and curators from
Moscow and all over the world. In 2008 Polissky’s project exhibited
in the Russian Pavilion proved a major event at the Venice Architecture
Biennale.
Nikolai Polissky’s “Rooks” for “Russian Dreams” is part of his installation
inspired by Alexei Savrasov’s classic Russian realist painting “The Rooks
Have Arrived” (1871). In Russia the rook is a symbolic bird that appears
in the fields just as winter turns to spring. The black silhouettes of these birds
against the grimy melting snow herald warmth and sunshine. Alexei
Savrasov’s picture, one of the most widely circulated paintings, became
the visiting card of Russian art. Print runs in the millions copy the image
on the pages of school textbooks, on postcards, chocolate boxes, matchbox
labels… Dreary, worn brown reproductions of the famous masterpiece still
induce the viewer to make his own conclusions and assumptions about this
image, the harbinger of spring. Nikolai Polissky and his Nikolo-Lenivets colony
have made their own reconstruction of the original.
Olga Sviblova
Nikolai Polissky
The Rooks Have Arrived, 2008
40 wooden objects
Different sizes
Courtesy of artist
Vladimir Tarasov
My father was born in Chushala, a coastal village once inhabited by Vikings
beside the River Pinega, a tributary of the Northern Dvina. The Pinega flows
into the Northern Dvina 300–400 kilometres from Archangelsk. I remember
walking through the village with my brother when we were little. In the evenings
our parents wouldn’t let us out after dark. We sat on a bench at a large table
with a samovar. The windows were open. I looked at the golden autumn forest.
Old women of seventy, eighty and ninety sat outside singing Russian folk
songs.
“Chushala” is dedicated to my parents. To my father and to the place.
Vladimir Tarasov
38/39
Vladimir Tarasov
Chushala, 2005
Mixed media installation, sound
240 x 700 x 300 cm
Alexei Buldakov
40/41
‘Agitation’ or ‘agit-prop’ is the process of disseminating an idea to influence
the consciousness, mood and social activity of the masses. ‘Agitation’ in
a broader sense refers to a state of excitement or alarm. In the narrowest
sense the Latin word ‘agitatio’ means ‘setting in motion’. All three definitions
of ‘agitation’ come to life in Alexei Buldakov’s animations “Sex Lissitzky” and
“XXX Malevich”.
The artist takes El Lissitzky’s agit-prop poster “Beat the Whites with the Red
Wedge” and agitates it to produce an animated version of the poster, setting
the simplest geometric figures in motion and thereby disturbing and even
alarming the viewer: the interpenetrating Suprematist forms move in imitation of sexual intercourse, accompanied by porn video sound effects.
What does Buldakov animate? Certainly more than just lithographic rectangles
and circles. Buldakov animates provocation, challenge, scandal – essential
characteristics of the Avant-Garde as a whole, and El Lissitzky in particular.
Rodion Trofimchenko
Alexei Buldakov
Sex Lissitzky, 2007
Video (DVD), 2 minutes 7 seconds
Alexei Buldakov
XXX Malevich, 2008
Video (DVD), 3 minutes 51 seconds
Olga Chernysheva
42/43
These photographs were taken outside Moscow in 1999.
There was a moment of calm and expectation in places where now they fight
over every hundredth of a hectare and building work is in full swing.
I found myself in front of a street sign where some of the letters had fallen off.
Signs like this had appeared only recently. They differed from the previous
enamelled metal nameplates that were made to last.
Now the names of streets were quickly applied using newfangled self-adhesive letters. Almost immediately these letters became part of the natural
environment.
Sometimes they curled into tubes like autumn leaves and other times simply
dropped off, disconsolately and with no hope of springtime.
The old street names were hard to make out, but some people could remember them.
Hence “Ulitsa Sna” (Dream Street) was once “Ulitsa Lesnaya” (Wood Street).
The new name seemed like an auspicious dream symbol, yet I wanted to
record what was banal and familiar rather than something unusual in this
strange space of possible dreams.
The surrounding landscapes characteristic of Middle Russia with its middling
inhabitants also became strangely familiar. Places where humble dacha plots
were surrounded by bedheads instead of fences.
Now this story seems like stepping into an already distant time when you
could find close to Moscow self-perpetrating and self-sufficient phenomena
related to beauty by the tranquillity of ingenuous minimalism.
Olga Chernysheva
Olga Chernysheva
Dream Street, 2000
10 light boxes
31 x 45 x 8 cm
Alexei Kostroma
44/45
The first cannon in military history was a prototype of the modern weapon
of mass destruction.
Alexei Kostroma began his large-scale project “The Feathering of Names and
Symbols” in 1994.
Using white plumage, his favourite material, Kostroma feathered a genuine
Second World War howitzer which to this day fires a blank shot every noontime from the bastion of St Petersburg’s Peter and Paul Fortress. The barrel
of the gun is directed at the State Hermitage, an internationally acclaimed
museum. This chance coincidence motivated the artist to create a series
of objects and installations entitled “Feathering Aggression”, one of which
Kostroma specially devised for the “Russian Dreams” exhibition.
According to the authorial concept, the 5-metre feathered cannon in completely dark surroundings should react like a living organism as viewers
approach. By an interactive contact mechanism the gun barrel is lowered,
before slowly rising again. Alexei Kostroma carries out an artistic ritual,
articulating and at the same time exorcising the phenomenon of aggression.
Alexei Kostroma
Feathered Aggression, 2008
Mixed media installation, feather
180 x 470 x 170 cm
Sergei Shutov
46/47
Barbed wire was invented by American farmers in 1874 as an inexpensive
way to mark the boundaries of grazing land. The manufacture of barbed wire
was almost immediately measured in six-figure sums (in pounds) and if you
calculated the length of barbed wire produced since then, the total would be
an astronomical figure reaching from the Earth to the Sun. In the 20th century it was largely people rather than cattle that found themselves behind
barbed wire: army conscripts, prisoners of war, convicts, internees, secret
detainees…
In all these varied usages barbed wire is a definition of terrestrial boundaries.
A town built by Gulag convicts and guarded by Ministry of Defence units,
Zheleznogorsk (also known as ‘Zakolyuchinsk’ or ‘Behind the Wire’) produces
weapon-grade plutonium and sputnik satellites. The sputniks, by-products
from the manufacturing process and the workforce themselves are also
guarded. With the aid of barbed wire, of course. Artist Sergei Shutov has
made a creative expedition to Zheleznogorsk and uses barbed wire as the traditional artist might use ‘pen and Indian ink’. Shutov wields the barbed wire
that inspires genetic fear in both man and beast to portray the celestial products of this closed city: sputniks and rockets that transfer terrestrial boundaries to space.
Yuri Avvakumov
Sergei Shutov
Celestial Forces of the Iron City, 2008
Barbed wire installation
540 x 460 cm, size variable
MishMash
48/49
hard or soft?
smooth or fluffy?
heavy or light?
complete or composite?
round or square?
catch or throw?
aggression or defence?
individual or overall?
imprisonment or shelter?
pseudomorphism or biocenosis?
content or surface?
function or form?
full or empty?
true or false?
handicraft or art?
instrument or object?
necessary or useless?
interesting or boring?
serious or lighthearted?
derivative or authentic?
valuable or priceless?
disperse or collect?
in the hand or in the bosom?
coloured or speckled?
fragmentary or plural?
everybody or nobody?
female or male?
first or last?
naked or dressed?
mine or someone else's?
already or not yet?
eternal or temporal?
initial or final?
single or double?
incidental or vital?
stable or shaky?
kindly or harsh?
slipshod or stylish?
interpreted or inconscient?
refined or coarse?
acorn or mushroom?
ridiculous or sublime?
terse or transcendental?
binary or unambiguous?
You know? Be softer!
MishMash, 2008
MishMash Project
(Misha Leikin and Masha Sumnina)
Be Softer, 2008
Object, mixed media
112 x 185 x 6 cm
Leonid Tishkov
50/51
“Private Moon” is a visual poem, telling a story about a man who found
the Moon and stayed with her for the rest of his life.
In the upper world, in the attic of his house, he saw the Moon which had
fallen from the sky. At first she was hiding from the sun in a dark, damp
tunnel and was constantly frightened by the passing trains. Then she came
to the house of the man.
Wrapping the moon in a thick blanket, he gives her autumn apples and drinks
tea with her. When she finally recovers he puts her on a boat and carries her
across a dark river to a high bank, where moon pine-trees grow.
He descends to the lower world wearing the clothes of his deceased father
and then returns, illuminating the way with his private moon.
Transcending the borders between worlds via narrow bridges, sinking into
sleep, taking care of the heavenly body, man turns into a mythological being
living in the real world like in a fantastic fairy-tale.
Leonid Tishkov
Leonid Tishkov
Photo by Boris Bendikov
Private Moon, 2003–2005
color photographs
50 x 60 cm
Yuri Albert
Russian artist Yuri Albert, a Moscow Conceptualist who divides his time
between Cologne and Moscow, presents the English-language version of his
project “It’d be great to do an artwork that wowed everyone ...!” (1986).
Here Albert realises the dream of conceptualism and contemporary art to
become great and ‘Real’ art. Visual depiction can now never return to verbal
gesture-aphorism, fixed in oil paints on the canvas in black and white.
Anticipating and/or annulling the public response (the WOW! of the masses)
and scanning the ‘horizon of expectation’, Albert creates ‘metapainting’
through his reflections in pictures and installations on exhibition rituals
and the nature of pictorial representation.
52/53
Anna Petrova
Yuri Albert
IT’D BE GREAT…, 2008 (English version)
Canvas, acrylic
180 x 150 cm
AES+F GROUP
(Arzamasova Tatiana, Evzovich Lev, Svyatsky
Evgeny + Fridkes Vladimir)
Arzamasova Tatiana
1955
born in Moscow
graduated from Moscow
1978
Architectural Institute
Lives and works in Moscow.
Evzovich Lev
1958
born in Moscow
1982
Svyatsky Evgeny
1957
born in Moscow
1980
graduated from Moscow Academy
of Press
Fridkes Vladimir
1956
born in Moscow
Selected personal exhibitions
2008
AES+F. MACRO (Museo d’Arte
Contemporanea di Roma), Rome,
Italy
2007
AES+F. Station Museum of
Contemporary Art, Houston, USA /
Passage de Retz, Paris, France /
The State Russian Museum,
St Petersburg, Russia
2006
Action Half Life. Sculptures.
Triumph Gallery, Moscow, Russia
AES+F. Last Riot 2. Salvador Diaz
Gallery, Madrid, Spain /
Photobiennale 2006, Moscow
House of Photography Museum,
Moscow, Russia
AES+F. EFAH (European Forum for
the Arts and Heritage), City Hall,
Helsinki, Finland
AES+F. The King of the Forest. IMA
(Institute of Modern Art), Brisbane,
Australia
2005
AES+F. The King of the Forest:
More Than Paradise, Le Roi Des
Aulnes + KFNY. Juan Ruiz Galeria,
Maracaibo, Venezuela
AES+F. Action Half Life. Galerie
Ruzicska, Salzburg, Austria
2004
AES+F Group. Action Half Life.
Galerie Knoll Wien, Vienna, Austria
2003
Action Half Life. Episode 2. M&J
Guelman Gallery, Moscow, Russia
The King of the Forest: New York
(KFNY). College of Fine Arts,
Sydney, Australia / Claire Oliver
Gallery, New York, USA
AES Group. OASI – Espanya
2002
2000
Islàmica. Sala Montcada, La Caixa
Foundation, Barcelona, Spain
Le Roi des Aulnes. Galerie Knoll
Wien, Vienna, Austria
AES Group. Islamic Project. JeanMarc Patras – N.O.M.A.D.E., Paris,
France
Selected group exhibitions
2007
Click I Hope (Last Riot). 52nd
Venice Biennale of Contemporary
Art, Russian Pavilion, Venice, Italy
Ottepel / Thaw (In The Middle Of
The Road). The State Russian
Museum, St Petersburg, Russia
I Believe. Winzavod, 2nd Moscow
Biennale of Contemporary Art,
Moscow, Russia
2006
Gamescapes. Videogame
Landscapes and Cities in
the Works of Five International
Artists, Civic Gallery, Monza, Italy
Mutations 1. European Month of
Photography, Martin-Gropius-Bau,
Berlin, Germany / Maison
Européenne de la Photographie,
Paris, France / Casino
Luxembourg, Luxembourg
To Release Emotions. Myths.
Symbols. Systems. Old City Hall,
Gdansk, Poland
Fotofest 2006. The Earth and
Artists Responding to Violence.
The 11th International Biennial
of Photography and Photo-related
Art, FotoFest, Houston, USA
XV Feria Iberoamericana de Arte.
Hotel Tamanaka, Juan Ruiz Galeria
(Maracaibo), Caracas, Venezuela
ARS 06. Kiasma (Museum
of Contemporary Art), Helsinki,
Finland
2005
Brave New World. Sala Alcalá 31,
Comunidad de Madrid, Madrid,
Spain
Russia 2. Bad News from Russia.
White Box, The Annex, Magnan
Projects’ Annex, New York, USA
Tirana Biennale 3. The National
Gallery of Arts, Tirana, Albania
StarZ. Moscow Museum
of Modern Art / Invasion.
Multimedia Complex of Actual
Arts, 1st Moscow Biennale of
Contemporary Art, Moscow, Russia
Accomplices. Collective and interactive works in Russian Art of the
1960–2000s. State Tretyakov
Gallery, Moscow, Russia
2004
2003
2002
2001
2000
New Look From Russia.
Contemporary Art Photography.
Arles Rencontres
de la Photographie, Atelier
des Forges, Arles, France
Biennale of Sydney. Museum
of Contemporary Art, Sydney,
Australia
Transphotographiques 2004.
Maison Européene
de la Photographie, Paris / Lilles,
France
AES+F. Photobiennale 2004,
Moscow Museum of Modern Art,
Moscow, Russia
Moscow–Berlin / Berlin–Moscow
1950–2000, State Historical
Museum, Moscow, Russia
Veil. Institute of International
Visual Arts, Kulturhuset,
Stockholm, Sweden
Veil. Institute of International
Visual Arts, The Modern Art Oxford,
Oxford / Blue Coat Gallery,
Liverpool / The New Art Gallery
Walsall, Walsall, UK
1950–2000. Martin-Gropius-Bau,
Berlin, Germany
Global>Detail. Noorderlicht
X. Noorderlicht Photogallery,
Groningen, Holland
Neue Ansätze. Zeitgenössische
Kunst aus Moscau. Düsseldorf
Kunsthalle, Germany
AES+F. Month of Photography
in Bratislava, Slovakia
New York After New York. Musée
de l’Elisée, Lausanne, Switzerland
4th Gwangju Biennale, Gwangju,
Project 1, South Korea
AES+F, Sophie Calle, Fabrice
Hubert, Elian Lille. Gallerie
Sollertis, Toulouse, France
International Noordelicht
Photofestival. Noorderlicht
Photogallery, Groningen, Holland
Russia. Grafeneg Castle, Austria
Paysages Urbaine. Le Quartier
CCA, Quimper, France
Othello. 5 Biennale de Lyon, Halle
Toni Garnier, Lyon, France
Inauguration Show of Les Abattoirs
Museum. Toulouse, France.
Yuri Albert
1959
born in Moscow
1974–77 studies at K. Arnold Studio,
Moscow
1980
graduated from Pedagogical
Institute, Moscow
Lives and works in Moscow and Cologne.
2008
Painting, Sculpture and Graphics.
Stella Art Foundation, Moscow,
Russia
Tales About Art. National Centre
for Contemporary Art, Nizhny
Novgorod Museum of Fine Arts,
Russia
2007
Exhibition. Era Foundation,
Moscow, Russia
2004
Painting. M&J Guelman Gallery,
Moscow, Russia
1999
Selbstportrait mit geschlossenen
Augen. Haus der Niederlande,
Münster, Germany
1997
Le chef d’œuvre inconnu.
Hohenthal und Bergen Galerie,
Munich, Germany
1996
Selfportrait With Closed Eyes.
Centre of Contemporary Art,
Moscow, Russia
1995
Mami, schau, ein Künstler!
Hohenthal und Bergen Galerie,
Cologne, Germany
1990
Yuri Albert. Krings-Ernst Galerie,
Cologne, Germany
Three Artists – Two Generations
(with V. Zakharov and
E. Steinberg). Staatsgalerie
Heerlen, Netherlands
1989
Moscow Days. Galerie Hlavního
Mesta Prahy, Staromestská radnice, Prague, Czech Republic
1988
Fragments of the Moscow
Underground (with V. Zakharov).
Taidehalli, Helsinki, Finland
2008
Total Enlightment. Moscow
Conceptual Art 1960–1990.
Schirn Kunsthalle, Frankfurt am
Main, Germany / Fundación Juan
March, Madrid, Spain
Kandinsky Prize. Latvian Railway
History museum, Riga, Latvia /
Palazzo Italia, Berlin, Germany
2007
I Believe. Winzavod, Moscow, Russia
Thinking Realism. State Tretyakov
Heterotopias. 1st Thessaloniki
State Museum of Contemporary
Art, Salonika, Greece
Adventures of Black Square. State
Russian Museum, St Petersburg,
Russia
Artists Against the State:
Perestroika Revisited. Ronald
Feldman Gallery, New York, USA
2005–06 Collage in Russia. 20th Century.
State Russian Museum,
2005
Russian Pop-Art. State Tretyakov
Angels of History. Moscow
Conceptualism and Its Influence.
Muhka. Antwerp, Belgium
Essence of Life – Essence of Art.
Ludwig Museum, Budapest,
Hungary / State Tretyakov Gallery,
Moscow, Russia
2003
Berlin, Germany, State Historical
2002
Die russische Avantgarde und Paul
Cézanne. Gustav-Lübke-Museum,
Hamm, Germany
2001–02 2000+Arteast Collection:
The Art of Eastern Europe in
Dialogue with the West. Moderna
galerija, Ljubljana, Slovenia /
Orangerie Congress, Innsbruck,
Austria / ZKM, Karlsruhe,
Germany
2001
Russian Abstraction of 20th
century. State Russian Museum,
Das rote Haus. Zeitgenossische
russische Kunst aus der
Sammlung Bierfreind. Städtische
Galerie, Bietigheim-Bissingen,
Städtische Galerie Willa Zanders,
Bergisch-Gladbach, Germany
2000
Bons baisers de Russie. Espase
EDF-Bazacle, Toulouse, France
1998–01 Modernism and Post-Modernism:
Russian Art of the Ending
Millennium. The Yager Museum,
Oneonta, NY, Plattsburg Art
Museum, SUNI, Plattsburg, NY,
Elain L. Jacob Gallery Wayne State
University, Detroit, Michigan /
Evergreen House Museum,
The Johns Hopkins University
Baltimore, Maryland, Fondo del
Sol Visual Arts Centre and
Museum, Washington, DC,
Willington B. Gray Gallery, School
of Art, East Carolina University,
Greenville, South Carolina, USA
1998
11th Tallinn Print Triennale.
Tallinn, Estonia
1997
3d International Biennale Cetinje,
2006
Montenegro
1995–96 Flug, Entfernung, Verschwinden –
konzeptuelle Moskauer Kunst.
Haus am Waldsee, Berlin /
Stadtgalerie im Sophienhof, Kiel,
Germany / Galerie Hlavního Mesta
Prahy, Prague, Czech Republic
1995
Kunst im verborgenen.
Nonkonformisten Russland
1957–1995. Wilhelm-HackMuseum, Ludwigshafen,
Documenta-Halle, Kassel,
Staatliches Lindenau Museum,
Altenburg, Germany
in Moskau... in Moskau...
Badischer Kunstverein, Karlsruhe,
Germany
1994
2nd International Biennale Cetinje,
Montenegro
1992–93 a Mosca... a Mosca... Villa
Campoleto, Herculaneum, Galleria
Comunale d’Arte Moderna
di Bologna, Bologna, Italy
3rd International Istanbul
Biennale, Istanbul, Turkey
1991–93 Perspectives of Conceptualism.
The University of Hawaii Art
Gallery, Honolulu, Clocktower
Gallery, P.S.1, New York, North
Carolina Museum of Art, Raleigh,
North Carolina, USA
1991
Artistos Russos Contemporaneos.
Auditorio de Galicia, Santiago
de Compostela, Spain
40 Moskauer Kuenstler im
Frankfurter Karmelitenkloster.
MANI Museum, Frankfurt am
Main, Germany
1990
In de USSR en Erbuiten. Stedelijk
Museum, Amsterdam,
Netherlands
The Work of Art in the Age of
Perestroika. Phyllis Kind Gallery,
New York, USA
Erosion: Soviet Art from
the P. Halonen Collection. Amos
Anderson Museum, Helsinki,
Finland
UdSSR Heute – Soviet Art from
the Ludwig Collection. Neue
Galerie–Sammlung Ludwig,
Aachen, Germany / Musée d’Art
Moderne, Saint-Etienne, France
1989–90 10 + 10. Contemporary Soviet and
American Art. Fort Worth MAM,
San Francisco Museum of Modern
Art, San Francisco / Albright Knox
Art Gallery, Buffalo / Milwaukee
Art Museum, Milwaukee, USA
Nikita Alexeev
1953
born in Moscow
1976
Polygraphic Institute
2008
There Is. There Isn’t. There Is.
GMG Gallery, Moscow, Russia
2007
54 Winters. 2nd Moscow Biennale
of Contemporary Art. Other Art
Screens. The Schusev State
Museum of Architecture, Moscow,
Russia
2006
Black Towels For Karachokheli.
E.K.ArtBureau, Moscow, Russia
2005
12 from Golzheim (with Ignat
Daniltsev). Moscow House of
Photography Museum, Moscow,
Russia
2004
Final Cut. E.K.ArtBureau, Moscow,
Russia
2003
Death Drawings. Any Breath
Glorifies the God. Lisa P. Gallery,
Moscow, Russia
1993
Two Moons. XL Gallery, Moscow,
Russia
1992–93 Palais de l’arbre balai. La Base
Centre d’Art Contemporain,
Levallois-Perret, France
1989
Liebe und Tod des Nikita Alexeev.
Galerie Roesinger, Cologne,
Germany
2007
Artist’s Diary. 2nd Moscow
Biennale of Contemporary Art.
The Central House of Artists,
Moscow, Russia
The Woes of Wit. 2nd Moscow
State Literature Museum, Moscow,
Russia
2006
Warning: Glass. Pushkin Museum
of Fine Arts, Moscow, Russia
Accomplices. Collective and
Interactive Art in Russian Art
1960–2000s. 1st Moscow
State Tretyakov Gallery, Moscow,
Russia
A Second Sight. International
The National Gallery Veletržní
Palác, Prague, Czech Republic
2003–04 Moskauer Conceptualizmus.
Kupferstichkabinett, Berlin,
Germany
2003
Kunsthalle, Germany
2000
Samizdat. Alternative Kultur in
Zentral – und Osteuropa: Die 60er
bis 80-er Jahre. Akademie
der Künste, Berlin, Germany
1999
Artist’s Book. 1970–1990s.
The Pushkin Museum of Fine Arts,
Moscow, Russia
1998–01 Praeprintium: Moskauer Bücher
aus dem Samizdat.
Staatsbibliothek, Berlin, Neues
Museum Weserburg, Bremen,
Museum für Literatur am
Oberrhein, Karlsruhe, Germany
1995
1957–1995. Wilhelm-HackMuseum, Ludwigshafen /
Documenta-Halle, Kassel /
Altenburg, Germany
Kraeftmesse. Eine Ausstellung ostoestlicher Positionen innerhalb der
westlichen Welt. Künstlerwerkstatt,
Munich, Germany
1994
2nd Cetinjski Biennale. Cetine,
Montenegro
1991
Mani Museum – 40 Moskauer
Kunstler. Karmelitenkloster,
Frankfurt am Main, Germany
Contemporary Soviet Art: from
the Thaw to Perestroika. Setagaya
Art Museum, Tokyo, Japan
1984–85 APTART. Moscow Vanguard of
the ‘80s. Contemporary Russian
Art of America, New York,
Washington Project for the Arts,
Washington, USA
1977
La nuova arte Sovietica: una
prospettiva non ufficiale. Venice
Biennale, Italy
Yuri Avvakumov
1957
born in Tiraspol
1981
2007
Games. Stella Art Foundation,
Moscow, Russia
2006
Red Corner. Stella Art Gallery,
Moscow, Russia
2005
La Scala. Krokin Gallery, Moscow,
Russia
2000
MiSCeLLaNeouS. Schusev State
Russia
1996–00 Russian Utopia: a Depository.
Russian Pavilion, Venice Biennale,
Italy / Netherlands Architecture
Institute, Rotterdam,
Netherlands / Schusev State
Museum of Architecture,
Moscow / State Russian Museum,
1994
1:43. Karlheinz Mey / Karlsruhe,
Germany
1992–93 Temporary Monuments. State
Russian Museum, St Petersburg /
Schusev State Museum of
Architecture, Moscow, Russia
2008
BORNHOUSE, 11th International
Exhibition of Architecture, Chiesa
di San Stae, Venice
Persymphans. The Schusev State
Russia
Discovery of Light. State Central
Museum of Modern History
of Russia, Moscow, Russia
2007
Barocco. Moscow Museum
of Modern Art, Moscow, Russia
Design of Siberia. 7th Museum
Biennale, Krasnoyarsk, Russia
2006
Depository of Dreams. White
Space Gallery, London, UK
Artists Against the State:
Perestroika Revisited. Ronald
2005
Essence of Life. Ludwig Museum,
Budapest, Hungary / State
Tretyakov Gallery, Moscow, Russia
Re: modern. Kunstlerhaus, Vienna,
Austria
Accomplices: Collective and
Interactive Works in Russian Art of
the 1960–2000s. State Tretyakov
2004
Malign Muses. Mode Museum,
Antwerp, Belgium
2003–04 Moscow–Berlin / Berlin–Moscow
Berlin, Germany / State Historical
2003
Utopia Station. Venice Biennale,
Italy
2001
Family Album: Brooklyn Collects.
Brooklyn Museum of Art,
New York, USA
2000
Fifth Element – Art of Money.
Kunsthalle, Düsseldorf, Germany
View From Here. State Tretyakov
1997
Living Bridges. State Tretyakov
1996
Sensing the Future. Architect as
Seismograph. VI International
Exhibition of Architecture, Venice,
Italy
The Archaeology of the Future City.
Museum of Contemporary Art,
Tokyo, Hiroshima Museum of Art,
Hiroshima, Gifu Prefectural
Museum, Gifu, Japan
Die kunst des fliegens. Zeppelin
Museum, Friedrichshafen, Germany
1995
Einblicke. Werkstatt Moskau II.
Akademie der Künste, Berlin,
Germany
1993–94 Aspects actuels de la mouvance
construite internationale. Musée
des Beaux-A et de la Céramique
de Verviers, Centre de la Gravure
et de l’Image Imprimée,
La Louvière, Belgium
1992
1991
Vision von raum. Galerie
Gmurzynska, Cologne, Germany
1990–91 Between Spring and Summer:
Soviet Conceptual Art in the Era
of Late Communism.
Tacoma Art Museum, Tacoma, WA,
The Institute of Contemporary Art,
Boston, MA, Des Moines Art
Center, Des Moines, IA, USA
1990
In de USSR en erbuiten. Stedelijk
Museum, Amsterdam, Netherlands
1989
Papierarchitekture. Neue projekte
aus der Sowjetunion. Deutsches
Architekturmuseum, Frankfurt am
Main, Germany
1988
Fantasy vs. Utopia. Palazzo
dell’Arte, XVII Triennale di Milano,
Milan, Italy
1982–83 Dolls House. The Royal Institute
of British Architects (RIBA),
London, UK
Konstantin Batynkov
1959
born in Sevastopol
1997–01 works and exhibits with Nikolai
Polissky and Sergei Lobanov
2008
Moscow. Krokin Gallery, Moscow,
Russia
2007
2006
2005
2004
2003
2002
Other Life. The Omsk M.A. Vrubel
Museum of Fine Arts, Omsk,
Russia
The Dark Forest. Galerie Karenina,
Vienna, Austria
Forest. Krokin Gallery, Moscow,
Russia
Children. Krokin Gallery, Moscow,
Russia
The Knight’s Romance. Gallery
Pop/Off/Art, Moscow, Russia
Other Life. The Krasnoyarsk
Museum Centre, Russia
Graphic. Galerie Karenina, Vienna,
Austria
Goal! Moscow House of
Russia
About War. Krokin Gallery,
Moscow, Russia
Waves Runners. Krokin Gallery,
Moscow, Russia
Other Life. Krokin Gallery, Moscow,
Russia
UFO. Sam Brook Gallery, Moscow,
Russia
Bulldozers. Krokin Gallery,
Moscow, Russia
Health Resort. ATV-Gallery,
Moscow, Russia
Ally – Alien. Krokin Gallery,
Moscow, Russia
Outward Tibet. Krokin Gallery,
Moscow, Russia
Melioration. Art-Festival, Moscow,
Russia
2008
The Moscow News. National
Centre for Contemporary Arts
(NCCA), Izhevsk, Russia
2007
Motherland – Mother. Zverev’s
Center of Contemporary Art,
Moscow, Russia
Outskirts of Landscape. Zverev’s
Moscow, Russia
Russia – Motherland of Elephants.
Gallery Pop/Off/Art, Moscow, Russia
Mail Art. The A.S. Popov Central
Museum of Communications,
The New Angelarium. Moscow
Museum of Modern Art, Moscow,
Russia
2006
The New Russian Vanguard.
P.H. Burda, Munich, Germany
Hydrolysis. The Krasnoyarsk
Museum Centre, Russia
2005
Black–White Project. Krokin
Gallery and Gisich Art Gallery,
Film pictures. Gallery Pop/Off/Art,
Moscow, Russia
Hunters For the Ghosts.
The International Biennale of
Contemporary Art, National Gallery
in Prague, Czech Republic
Want to See the World – Become
the Soldier. 6th Krasnoyarskaya
Biennale, Russia
2004
My Nabokov. Stella Art Gallery,
Moscow, Russia
1994–96 Bivouacs d’Artistes (Bivouacs
au Niger, Bivouac en Argentine).
Association Saint-Henri, France
Alexander Brodsky
1955
born in Moscow
1978
2008
Alexander Brodsky. Ronald
Feldman Fine Arts, New York, USA
2006
Tre Tavoli. Galeria Milano, Milan,
Italy
Localita Abitata. Russian Pavilion,
Venice Architecture Biennale,
Venice, Italy
Punti Di Fuga. Nina Lumer Gallery,
Milan, Italy
2005
Office of the Future. Red October,
Moscow, Russia
Exhibition. Lisa P. Gallery, Moscow,
Russia
2003
unDeveloped. Moscow House of
Russia
2002
L’Ultima Stanza. Galleria Milano,
Milan, Italy
2000
Coma. M&J Guelman Gallery,
Moscow, Russia
1996
Canal Street Subway Project.
New York, USA
1995
Utopian Canalization. Regina
1993
Brodsky and Utkin. Portland Art
Museum, Portland, USA
1991
Brodsky and Utkin: Etchings.
The Lab, San Francisco, USA
1989
Alexander Brodsky and Ilya Utkin.
University Art Gallery, San-Diego
State University, USA
Selected group exhibitions:
2006
Russia! Guggenheim Bilbao,
2002
2001
Bilbao, Spain
Utopie Quotidiane. Padiglione
d’arte contemporaneo, Milan, Italy
25th São Paulo Biennale,
Sao Paulo, Brazil
Milan Europe 2000. Palazzo Della
Triennale, Milan, Italy
Alexei Buldakov
1980
born in Kostroma
2003
graduated from the Social
Anthropology Department in
Russian State Humanitarian
University
2008
After the Falling (series of etudes).
Art-Veretievo, Moscow, Russia
Mute. XL Gallery, Moscow, Russia
2007
Crash Test. XL gallery, Moscow,
Russia
The Cars. Typography Original,
Moscow, Russia
2006
Re-Action. Play Gallery for Still and
Motion Picture, Berlin, Germany
2005
Radek Invasion. Prometeo
(Associazione Culturale per l’Arte
Contemporanea), Lucca, Italy
2008
Young, Aggressive. Musashino Art
University Museum and Library,
Tokyo, Japan
2007
On Geekdom. Benaki Museum,
Athens, Greece
Progressive Nostalgia. Centro per
l’arte Contemporanea Luigi Pecci,
Prato, Italy
The Good, The Bad and The Ugly.
Stella Art Foundation, Moscow,
Russia
Disobedience. Van Abbemuseum,
Eindhoven, Netherlands
Antrepo #3. 10th Istanbul
Biennial, Istanbul, Turkey
2005
Disobedience. Künstlerhaus
Bethanien, Berlin, Germany
Collective creativity. Kunsthalle
Fridericianum, Kassel, Germany
Multitudinario. Sala de Arte
Público Siqueiros, Mexico City,
Mexico
Prague Biennial 2. Karlin Hall,
Prague, Czech Republic
2004
Na Kurort! Staatliche Kunsthalle
Baden-Baden, Baden-Baden,
Germany
Controlled Democracy. White
2002
Space Gallery, London, England
Beautiful Banners. National
Gallery, Prague, Czech Republic
Snow girl. Zacheta National
Gallery of Art, Warsaw, Poland
MANIFESTA 4. Frankfurt am Main,
Germany
100 % Vision. Regina Gallery,
Moscow, Russia
Pop/Art. The Zverev Center of
Davai! Russian Art Now.
Postfuhrampt, Berlin, Germany /
Museum für Angewandte Kunst
(MAK), Vienna, Austria
Olga Chernysheva
1962
born in Moscow
1986
graduated from State Institute
of Cinematography, Moscow
1996
graduated from Royal Netherlands
Academy of Arts and Sciences,
Amsterdam
Lives and works in Moscow and Amsterdam.
2008
Emergency Drawings (with Michael
Alshibaya). Metis_NL Gallery,
Amsterdam, Netherlands
2007
Isle of Sparks. Foxy Production
Involutions. Catherine Bastide
Gallery, Brussels, Belgium
2006
Panorama. Stella Art Gallery,
Moscow, Russia
Sites. Biennale of Sydney 2006,
Sydney, Australia
2005
Emerging Figures. White Space
Gallery, London, England
2004
Zone of Happiness. Galerie
J.J. Heckenhauer, Berlin, Germany
The Happiness Zone. State Russian
2003
Olga Chernysheva. Moscow House
of Photography Museum, Moscow,
Russia
2001
Second Life. Russian Pavilion,
La Biennale di Venezia, Venice, Italy
2000
Light is Coming. XL Gallery,
Moscow, Russia
DerDieDas Fremde. Christine
König Galerie, Vienna, Austria
1998
Olga Chernysheva. Andrey
Khlobystin. Christine König &
Franziska Lettner Gallery, Vienna,
Austria
1997
Single Works. Galerie Singel 74,
Amsterdam, Netherland
1996
More of/than Chocolate (with
1995
1993
Stephen Shanabrook). L–Gallery,
Moscow, Russia
Pro-Portions. State Russian
Olga Chernysheva. Krings-Ernst
Gallery, Cologne, Germany
2008
Anonymous Episode 1 & March.
5th Annual San Diego Women Film
Festival, Museum of Photographic
Arts, Reuben H. Fleet Science
Center, Balboa Park, San Diego,
USA
Still Here. Artspace, Sydney,
Australia
Peripheral Vision and Collective
Body. Museum of Modern and
Contemporary Art (Museion),
Bolzano, Italy
2007
I Believe. Winzavod, Moscow,
Russia
On Duty. 2nd Moscow Biennale of
l’arte contemporanea Luigi Pecci,
Prato, Italy
Moscopolis. Espace Louis Vuitton,
Paris, France
The Future Depends of You.
Moscow, Russia
Time of the Storytellers. Kiasma,
Helsinki, Finland
Don’t Worry–Be Curious! 4th Ars
Baltica Triennial of Photographic
Art, KUMU Art Museum, Tallinn,
Estonia
2006
Caspar David Friedrich – die
Erfindung der Romantik. Museum
Folkwang, Essen, Hamburger
Kunsthalle, Hamburg, Germany
Spivaks Generation. Kewenig
galerie, Cologne, Germany
Soleil Noir. Depression and
Society. Salzburger Kunstverein,
Salzburg, Austria
2005
Invasion (Sites). 1st Moscow
Multimedia Complex of Actual
Arts, Moscow, Russia
Katharina Prospekt.
ModeMuseum, Antwerp, Belgium
Russia! Solomon R. Guggenheim
Museum, New York, USA
2004
Controlled Democracy. White
Space Gallery, London, England
2003
2001
2000
1997
1996
1995
1994
1992
1989
Privatisierungen. Kunst-Werke
(KW) Institute for Contemporary
Art, Berlin, Germany
Watch Out! Art from Moscow and
St Petersburg. National Museum
of Art, Architecture and Design,
Oslo, Norway
Photobiennale 2004. Moscow
Russia
Berlin, Germany
Milano – Europe 2000. Palazzo
dell’Arte, Triennale di Milano,
Milan, Italy
Body Memory. State Museum
of the History of Saint-Petersburg,
Zonen der Verstörung. Steirische
Herbst, Graz, Austria
Mässig und gefrässig. Museum für
Angewandte Kunst (MAK), Vienna,
Austria
Altenburg, Germany
2nd Cetinjski Bijenale. Cetine,
Montenegro
a Mosca... a Mosca... Villa
Campoleto, Herculaneum /
Galleria Comunale d’Arte Moderna
In de USSR en erbuiten. Stedelijk
Museum, Amsterdam,
Netherlands
Since 1994 Vladimir Dubossarsky and
Alexander Vinogradov work and exhibit
as artistic duo
Vladimir Dubossarsky
1964
born in Moscow
graduated from The Surikov Art
1991
Institute in Moscow
Alexander Vinogradov
1963
born in Moscow
1995
Graduated from The Surikov Art
Institute in Moscow
Selected duo exhibitions
2006
Anthills. XL Gallery, Moscow,
Russia
Lightness of Being. Resort
Pirogovo, Moscow region, Russia
2005
New painting. XL Gallery, Moscow,
Russia
2003
Our Best World. Deitch projects,
New York, USA
Astrakhan Blues. XL Gallery,
Moscow, Russia
2002
Total Painting. XL Gallery, Moscow,
Russia
Alexander Vinogradov and Vladimir
Dubossarsky. Vilma Gold Gallery,
London, UK
2001
How Are You, Ladies and
Gentlemen? Claudio Poleschi Arte
Contemporanea, Lucca, Italy
2000
Inspiration. XL Gallery, Moscow,
Russia
1999
Christ in Moscow. XL Gallery,
Moscow, Russia
1996
Triumph. M&J Guelman Gallery,
Moscow, Russia
1995
A Picture for the Reichstag. Galerie
Kai Hilgemann, Berlin, Germany
2006
Museum, Bilbao, Spain
2005
StarZ. 1st Moscow Biennale
of Contemporary Art, Moscow
Russia
Angels of History. MUHKA,
Antwerp, Belgium
Russian Pop Art. State Tretyakov
museum, New York, USA
2004
1950–2000. State Historical
Oopsa! Contemporary Russian Art.
The National Museum of Art,
Architecture and Design, Oslo,
Norway
Expander. Royal Academy of Arts,
London, UK
2003
50th Venice Biennale. Russian
Pavilion, Venice, Italy
Berlin, Germany
2002
Postfuhrampt, Berlin, Germany /
Museum für Angewandte Kunst
(MAK), Vienna, Austria
2001
1997
1995
Contemporary Russian Painting
1992–2002. XL Gallery, New
Manege, Moscow, Russia
Moscow Moscow, São Paulo
Biennale, Sao Paulo, Brazil
Russian Madness. Bienal
de Valencia, Valencia, Spain
It’s a Better World. Secession,
Vienna, Austria
3rd Cetinjski Bijenale. Cetine,
Montenegro
Russian Beauty. National Center
for Contemporary Arts, Moscow,
Russia
Andrei Filippov
1959
born in Petropavlovsk-Kamchatsk,
Russia
1981
graduated from the Production
Department of the Moscow Art
Theater’s studio
2008
Dead Sea. E.K.ArtBureau, Moscow,
Russia
2006
Saw It! Loft Spinnerei, Leipzig,
Germany
2003–04 Night Before Christmas.
E.K.ArtBureau, Moscow, Russia
2003
Heavenly Skiers – Reactive
Angels. E.K.ArtBureau, Moscow,
Russia
2000
Judgement Day. Altes
Lampenwerk, Oberursel, Germany
1993
Triple Diligence (together with Yuri
Albert and Dmitry Prigov). Institute
of Contemporary Art, Gallery
Na Solyanke, Moscow, Russia
Ausflug. L-Gallery, Moscow, Russia
Die zehn Erscheinungen. KringsErnst Gallery, Cologne, Germany
1990
Two in Power Two. Krings-Ernst
Gallery, Cologne, Germany
2008
Total Enlightenment – Conceptual
Art in Moscow 1960–1990.
Schirn Kunsthalle, Frankfurt,
Germany / Fundación Juan March,
Madrid, Spain
2007
Woe from Wit. 2nd Moscow
International Biennale of
Contemporary Art, State Literature
2006
Handle with Care: Glass.
The Pushkin Museum of Fine Arts,
Moscow, Russia
Saw. Modus R. Design District,
Miami, Florida, USA
2005
Accomplices. Collective and
Interactive Works in Russian Art
of the 1960s–2000s. 1st Moscow
Contemporary Art, State Tretyakov
2004–05 Moskwa – Warszawa. Center for
Contemporary Art Ujazdowski
castle, Warsaw, Poland / State
2003–04 Moscow–Berlin / Berlin–Moscow
Berlin, Germany / State Historical
Moskauer Conceptualizmus.
Kupferstichkabinett, Berlin,
Germany
2003
Kunsthalle, Germany
Archivation of Modernity. Krokin
2002
MM – Moscow Minimalism.
Art Frankfurt, Frankfurt am Main,
Germany
2001
Fresh Supplies. Moscow Museum
1997
Mystical Correct. Hohenthal und
Bergen Galerie, Berlin, Germany
1995
in Moskau... in Moskau...
Badische-Kunstverein, Karlsruhe,
Germany
Altenburg, Germany
1994–96 New Russian Art. Paintings from
the Christian Keesee Collection.
The Fred Jones Jr. Museum of Art,
University of Oklahoma, Norman,
Oklahoma, Chicago Cultural
Center, Illinois, University Art
Museum, University of
Southwestern Louisiana,
Lafayette, Louisiana, USA
1994
Fluchtpunkt Moskau. Ludwig
Forum für Internationale Kunst,
Aachen, Germany
II Cetinjski Bienale. Vladin Dom,
Cetinje, Montenegro
1993
Adresse provisoire pour l’art
contemporain russe. Musée
de la Poste, Paris, France
1992
a Mosca... a Mosca... Villa
Campoleto, Herculaneum /
Galleria Comunale d’Arte Moderna
Biennale. The Greater Istanbul
Municipality Nejat F.Eczacibasi
Art Museum, Istanbul, Turkey
1991–92 Sowjetische Kunst um 1990
(Binazionale). Kunsthalle,
Düsseldorf, Germany / Israel
Museum, Weisbord Pavilion,
Jerusalem, Israel
1991
Mani Museum – 40 Moskauer
Kunstler. Karmelitenkloster,
The End of the Century. National
Gallery, Reykjavik, Iceland
1990–99 Between Spring and Summer.
Soviet Art in the Era of Late
Communism.
Takoma Art Museum, Washington,
ICA, Boston, Massachusetts,
Des Moines Art Centre,
Des Moines, Iowa, USA
1990
In de USSR en Erbuiten. Stedelijk
Museum, Amsterdam,
Netherlands
Eroosion. Soviet Art from
the Pekka Halonen Collection.
Amos Anderson Museum, Helsinki,
Finland
UdSSR Heute–Soviet Art from
the Ludwig Collection. Neue
Galerie–Sammlung Ludwig,
Aachen, Germany / Musée d’Art
Moderne, Saint-Etienne, France
1989
Momentaufhahme: Junge Kunst
aus Moskau. Alte Stadtmuseum,
Munster, Ireland / Stapelhaus
Frankenwerft (BBK), Cologne,
Germany / Ravensberger
Spinnerei, Bielefeld, Germany
1984–85 APTART. Moscow Vanguard of
the ‘80s. Contemporary Russian
Art of America, New York,
Washington Project for the Arts,
Washington, USA
Dmitri Gutov
1960
born in Moscow
1992
graduated from the Russian
Academy of Arts, St Petersburg.
2008
Used. M&J Guelman Gallery,
Moscow, Russia
2006
2005
2004
2003
2002
2001
For the Proper Movement of
the Wrist. M&J Guelman Gallery,
Moscow, Russia
Thaw. Nina Lumer Gallery, Milan,
Italy
Iteration, Return, Canon,
Slowdown, Stupor. State Tretyakov
Everything I’ve Done Before
the Age of 70 Doesn’t Count. M&J
Guelman Gallery, Moscow, Russia
The Deep Blue Colour Of His Skin
Shows Just How Self-Absorbed He
Is. Matthew Bown Gallery, London,
England
Conversation About Unclear Pas Of
Brash (with K. Bokhorov). Fine Art
I Am Alien At This Fest Ff Life.
Moscow Fine Art, Moscow, Russia
Mam, Dad & Champions League.
M&J Guelman Gallery, Moscow,
Russia
Mam, Dad and TV. M&J Guelman
Blind. The Museum of
Nonconformist Art, St Petersburg,
Russia
2008
Thaw: Russian Art. From Glasnost
to the Present. Chelsea Art
Places for Heroes – Everyone Is
a Hero For Himself. Vianuova Arte
Contemporanea, Florence, Italy
2007
Russia
Artist’s Diary. 2nd Moscow
Biennale. Central House of Artist,
Moscow, Russia
Thinking Realism. State Tretyakov
Thaw. 15 years of M. Guelman
Gallery. State Russian Museum,
52nd Venice Biennale of
Contemporary Art, Venice, Italy
Fence. Documenta 12, Kassel,
Germany
Return of the Memory. New Art
from Russia. Kumu Art Museum,
Tallinn, Estonia
Progressive Nostalgia.
Contemporary Art from the former
URSS. Centro per l’arte contemporanea Luigi Pecci, Prato, Italy
Time of the Storytellers: Narrative
and Distant Gaze in Post-Soviet
2006
2005
2004
2003
2002
2001
2000
Art. Museum of Contemporary Art
Kiasma, Helsinki, Finland
Interrupted histories. Museum
of Modern Art, Ljubljana, Slovenia
Contested Spaces in Post-Soviet
Art. Russia Redux #2. Sidney
Mishkin Gallery, New York, USA
Mercury in Retrograde. De Appel,
Zones of Contact. Biennale
of Sydney. Sydney, Australia
Scroll. Echigo-Tsumari Art
Triennial, Japan
Accomplices: Collective And
Interactive Works In Russian Art
of the 1960s – 2000s. State
Collective Creativity. Kunsthalle
Fridericianum, Kassel, Germany
Russia2: Bad News From Russia.
White Box Gallery, New York, USA
Russia Redux #1. Schroeder
Romero Gallery, New York
Russian Video Art Progressive
Festival. Arts Center Vooruit,
Ghent, Belgium
Privatisierung – Zeitgenössische
Kunst aus Osteuropa. Kunstwerke, Berlin, Germany
My Kabakov. Stella Art Gallery,
Moscow, Russia
System of Coordinate. Museum of
Contemporary Art, Zagreb, Croatia
Photography, Video, Mixed
Media II. Daimler Chrysler
Collection, Berlin, Germany
New Beginning. Contemporary Art
From Moscow. Kunsthalle,
Düsseldorf, Germany
Berlin, Germany
Horizons Of Reality. Muhka,
Antwerpen, Belgium
Postfuhrampt, Berlin, Germany
São Paulo Biennale. Sao Paulo,
Brazil
Iskusstwo 2000 (Neue Kunst aus
Moskau, St Petersburg und Kiew).
Kunstverein, Rosenheim, Germany
Russian Madness. The 1st
Valencia Biennial, Las Atarazanas,
Valencia, Spain
Russian Madness II – Summer
Benefit. Water Mill, New York, USA
L’autre moitie de L’Europe (Projet,
1999
1996
1995
1994
Utopie, Construction). Galerie Jeu
de Paume, Paris, France
Bons Baisers de Russie. Festival
Garonne 2000, Toulouse, France
The Art of Eastern Europe in
Dialogue with the West. Museum
of Modern Art, Ljubljana, Slovenia
Zeitwenden. Kunstmuseum Bonn,
Bonn, Germany
Interpol. Centre for Contemporary
Art, Stockholm, Sweden
Manifesta 1. Pan-European Art
Manifestation, Rotterdam,
Netherlands
46th Venice Biennale of
Contemporary Art, Russian
Pavilion,Venice, Italy
Conjugation. Moscow Art Scene
Today (Kraftmessen).
Kunstlerwerkstatten, Munich,
Germany
1957–1995. The state collection
of Contemporary Art at museumreserve Tsaritsyno, Moscow,
Russia / Wilhelm-Hack-Museum,
Ludwigshafen, Documenta-Halle,
Kassel, Staatliches Lindenau
Museum, Altenburg, Germany
2nd Cetinjski Biennial. Cetinje,
Montenegro
Alexei Kostroma
1962
born in Kostroma, Russia
1989
graduated from the Russian
Academy of Arts, St Petersburg
Lives and works in Berlin.
2008
What a Nice Day. Galerie
Sandmann, Berlin, Germany
Speed of Falling (multimedia
installation) / Dolce Vita (video).
Photobiennale 2008, Zurab
Gallery, Moscow Museum of
Modern Art, Moscow, Russia
2007
Feathering the Bus Station (installation) / Big Play (performance).
V Biennale of Contemporary Art
in Shiryaevo, Russia
Fucking Dreams. Fashion & Style
in Photography, Moscow Museum
2006
H5N1. Sweet Sleep. M&J Guelman
Red. Mein Kampf. Photobiennale
2006, Yakut Gallery, Moscow,
Russia
2004
2002
2001
2000
1999
1998
1996
1994
Feel Yourself. Gallery Art Digital
(GAD), Berlin, Germany
The Fractal Geometry of Leaves.
Geelvinck Hinlopen Huis Museum,
Smoke, Feather and Batterflies.
A Life 2000 Meters Long.
Hair Chronicle. State Museum
of Military History, St Petersburg,
Russia
Organic Way. A Glance at the Sun.
Harry Blom Gallery, Brussels,
Belgium
Organic Way. Penguin Spiral. State
Russia
Pinguingang. Galerie zum
Kornhaus, Kirchheim, Germany
Feathering and Organica.
Kuenstlertreff-Reihe 22 Gallery,
Stuttgart, Germany
Feathering Exhibition. State
Museum of the History of SaintPetersburg, St Petersburg, Russia
2007
Adventure of the Black Square.
2006
Berlin: Tendenzen. La Capella,
Barcelona, Spain
2005
Collage of the 20th Century. State
Russia
Free Will. Arena Berlin, M.A.I.S.VI,
Berlin, Germany
2004
White Wood. Schloss and Gut
Liebenberg, Germany
Na Kurort! Russische Kunst heute.
Staatliche Kunsthalle BadenBaden, Baden-Baden, Germany
2003
Neutral Zone Flowers. Gallery
in Parliament, Berlin, Germany
Ko: ma – a Diary of a Life.
Alexanderplatz-Bunker, Berlin,
Germany
Directions. Inside – Outside. State
Russia / Espoo Art Museum,
Galleria Otso, Espoo, Finland
2002
Feathering Aggression. Liverpool
Biennial, Basement IX, Liverpool,
England
Crystallization. Birth of
a Snowflake. Rauma Biennale
Balticum, Lönnström Art Museum,
Rauma, Finland
1999
1996
Organica: The Non-Objective World
of Nature in the Russian AvantGarde of the 20th Century. Galerie
Gmurzynska, Cologne, Germany
Metaphern des Entruecktseins:
Aktuelle Kunst aus Sankt
Petersburg. Badischer
Kunstverein, Karlsruhe, Germany
Julia Milner
1981
born in Novosibirsk, Russia
2008
Julia Milner. Click I Hope. Maison
Européene de la Photographie,
Paris, France
Universe. Photobiennale 2008,
Moscow, Russia
2007
Click I Hope (net-art). 52nd Venice
Russian Pavilion, Venice, Italy
Mobile Starz. Fashion & Style in
Photography, Zurab Tsereteli Fine
Arts Gallery, Moscow, Russia
Interaction (100 self-portraits).
2nd Moscow Biennale of
Contemporary Art, Lenin Museum,
Moscow, Russia
2006
Wild Fruits. Photobiennale 2006,
Moscow Center of the Arts,
Moscow, Russia
2005
Mobilography. Fashion & Style in
Photography, Zurab Tsereteli Fine
Arts Gallery, Moscow, Russia
The Cherry Orchard (with Vladimir
Klavikho-Telepnev). James Gallery,
Moscow, Russia
MishMash project
(Misha Leikin & Masha Sumnina)
Misha Leykin
1968
born in Volgograd
1994
Masha Sumnina (Miturich-Khlebnikova)
1977
born in Moscow
2001
graduated from Moscow Academy
of Printing
2007
Apples Fall Simultaneously In
Different Gardens. 1st Biennale of
Young Artists, Winzavod, Moscow,
Russia
2006
Laboratoria. Experience 1.
Laboratoria Art and Science
Space, Moscow, Russia
Capitalism As Religion. National
Centre For Contemporary Arts
(NCCA), Moscow, Russia
Russia
Wit Works Woe. Literary Museum,
Moscow, Russia
Performance Super Jew Gives
an Advice. Art-Strelka, Moscow,
Russia
SuperJew Made in China. ABC
Gallery, Moscow. Russia
Atlas. ABC Gallery, Moscow, Russia
Mini. ABC Gallery, Moscow, Russia
2000 Defile. L-Gallery, Moscow,
Russia
2007
7 Towers of Shargorod City (a city
sculpture). Shargorod, Ukraine
2004
Robot (with Jayson Klotz),
Leadbased Gallery, New York, USA
2002
The project Memorial Wind Organ.
Finalists of competition on
the Memorial to the victim
of 9/11, inhabitants of the State
of New Jersey
2002
Finalists of competition on
the Memorial to the victim
of 9/11, inhabitants of the Staten
Island. Together with Shenker
Architects
2001–05 Objects the Physiognomy
of Winds. The Schusev State
Art-Klyazma, Fat Margarita, Tallinn
Andrei Molodkin
1966
born in Boui, in the north of Russia
1992
graduated from The Stroganov
Moscow State University of Arts,
Architecture and Interior Design
Department
Lives and works in Paris, Moscow
and New York.
2008
Liquid Black After Liquid Sky. Pack
Gallery, Milan, Italy
Touchy art (Tachi’s art). Nina
Lumer Gallery, Milan, Italy
Guts à la Russe. Orel Art Gallery,
Paris, France
2007
Sweet Crude American Dream.
Daneyal Mahmood Gallery,
New York, USA
2006
2004
2003
2002
2001
Direct From The Pipe. Anne + Art
Projects, Ivry-Sur-Seine, Paris,
France
G8. Kashya Hildebrand Gallery,
Zurich, Switzerland
Empire at War. Daneyal Mahmood
Cold War II. Orel Art Gallery, Paris,
France
Sweet Crude Eternity. Kashya
Hildebrand Gallery, Zurich,
Switzerland
Notre Patrimoine. European
Parliament, Brussels, Belgium
Love Copyright. Kashya Hildebrand
Gallery, New York, USA / Orel Art
Gallery, Paris, France
Polius. Orel Art Gallery, Chapelle
Saint Louis de la Salpêtrière, Paris,
France
Novonovosibirsk.
St Petersburg,
The Schusev State Museum
of Architecture, Moscow, Russia
2008
Adventure of the Black Square.
Ceci n’est pas Carla. Art Paris,
Orel Art Gallery, Paris, France
Decked Out. Burton’s Gallery,
Burlington, USA
2007
Paper Trails–New Adventure
in Drawing. V1 Gallery,
Copenhagen, Denmark
East/West. Orel Art Gallery, Paris,
France
Petrodollar. Kashya Hildebrand
Gallery, DIFC Gulf Art Fair, Dubai,
UAE
Bushels, Bundles and Barrels,
Superfund Investment Center,
New York, USA
2006
Petrodollar, Pierogi Gallery and
Ronald Feldman Fine Arts, Miami,
USA
2004
Trash Resources. Kashya
Hildebrand Gallery,
New York, USA
2003
Underground City. Labin, Croatia
New Beginning of Contemporary
Art of Moscow. Kunsthalle,
2002
Polius. Photobiennale 2002,
Moscow House of Photography
Biesterfeld Art Management.
2001
2000
St. Moritz, Switzerland
Novonovosibirsk. State Russian
Museum, New Academy,
St Petersburg / The Schusev State
Russia
Photobiennale 2000, Moscow
House of Photography Museum,
Moscow, Russia
1999
1997
Nikolai Polissky
1957
born in Moscow
1982
graduated from St Petersburg
State Arts and Crafts Academy
Selected exibitions
2008
The Rooks Have Returned (in collaboration with Crafts of NikolaLenivets). Village of NikolaLenivets, Russia
Venice Architecture Biennale,
Russian Pavilion, Venice, Italy
2007
Diary of an Artist. 2nd Moscow
Central House of Artists, Moscow,
Russia
2005
Baykonur (in collaboration with
Crafts of Nikola-Lenivets). State
2004
Art Bazaar 2 (in collaboration with
Crafts of Nikola-Lenivets).
Art Klyazma Festival, former
Klyazma Reservoir Guesthouse,
Moscow Region, Russia
Towers. Dimitrovgrad Museum
of Local History, Dimitrovgrad,
Russia / Ulíyanov Regional
Museum of Folk Art, Ulíyanovsk,
Russia
2003
Kunsthalle, Germany
2002
Modern Russian Photography.
2nd PRO Zrenie International
Photography Festival, Nizhny
Novgorod, Russia
Tower (in collaboration with Crafts
of Nikola-Lenivets). De Moscou.
Quimper Contemporary Art Centre,
Quimper, France
Column Made From Grapewood
(installation in collaboration with
Mikhail Bulanenkov). Est-Ouest
Festival, Die, France
2001
Tower (in collaboration with Crafts
of Nikola-Lenivets). Village of
Nikola-Leni vets, Kaluga Region,
Russia / Art Moscow, Central
1993
1989
House of Artists, Moscow / State
Centre for Contemporary Art,
Nizhny Novgorod, Russia
Temple Of Solitary Reflection
(installation in collaboration with
Konstantin Batynkov and Sergey
Lobanov as part of the Manilov
Project). M&J Guelman Gallery,
Moscow, Russia
Vodka (as a member of the Mitki).
M&J Guelman Gallery, Moscow,
Russia
The Mitki. Retrospective exhibition
of the 10th anniversary of
the Mitki group, State Russian
The Mitki in Europe (as a member
of the Mitki). Cologne, Germany /
Paris, France / Antwerp, Belgium
2003
2002
2001
2000
Since 1998 Alexei Politov and Marina Belova
work and exhibit as artistic duo
Alexei Politov
1966
born in Moscow
Graduated from the High School of
Art Criticism, Moscow
Marina Belova
1958
born in Moscow
Graduated from Moscow Medical
Academy, Moscow
2008
Go From the Dark, Photobiennale
2008, Era Foundation, Moscow
2006
ProYavlenie (Display). Multimedia
Complex of Actual Arts, Moscow,
Russia
Les Dames aux Cameos. Aidan
Artificial Fountain. Art Strelka,
Moscow, Russia
2005
En Art Brochette (objects).
ArtKoktebel, Crimea, Ukraine
Woman-Oar (kinetic sculpture).
ArtField, Russia
2004
Art of the Future (interactive
object). Art Klyazma, Russia
Autumn Cannibalism (interactive
installation). Art Strelka, Moscow,
Russia
2006
Still Life (objects). Krokin Gallery,
Moscow, Russia
2005
Accomplices: Collective And
Interactive Works In Russian Art
of the 1960–2000s. State
Winter Factor Or Snow Girls Don’t
Die. 1st Moscow Biennale
of Contemporary Art, Art Klyazma,
Russia
Art Constitution. Moscow Museum
Conductor Bay (sculpture).
Art Klyazma Festival
of Contemporary Art, Russia
Broken Eggs (installation).
Art Klyazma Festival
of Contemporary Art, Russia
Euro. The Sakharov Museum and
Public Centre, Moscow, Russia
Adoption. The Sakharov Museum
and Public Centre, Moscow,
Russia
Wall Newspaper. The Sakharovs
Museum and Public Centre,
Moscow, Russia
Alexander Ponomarev
1957
born in Dnepropetrovsk
1973
graduated from art school
1979
graduated from the Nautical
Engineering College
2008
Surface Tension. Cueto Project
Punto di vista. Nina Lumer Gallery,
Milan, Italy
2006
In the Garden of Wolf Packs
(installation in the Tuilleries
Fountain). Louvre, Paris, France
Narcissus Backwards. Granite
Center for Contemporary Art,
Belfort, France
2005
Le vent en rose. RabouanMoussion Galerie, Paris, France
Nemo-Verne (monument to Jules
Verne in the Somme Harbor).
Crotoy Exhibition Hall, Le Crotoy,
France
2004
Alexander Ponomarev. TNT Center,
Bordeaux, France
2003
Utilizing Packs. Phase 1: Base.
Residence of the French Ministry
of Culture, Calder Atelier, Saché,
France
Cruise. Art Klyazma Festival of
Utilizing Packs. Phase 2: What
Depth! What Depth? Happening
on the Loire River, Tour, France
Utilizing Packs. Phase 3: Mobile
2002
2000
1998
1996
in Mobile. Happening in
the Mediterranean Sea, Salonika,
Cassis, Marseilles, Sagunto and
Valencia
Utilizing Packs. Phase 3: What
Depth? What Depth! Tour
Exhibition Hall, Tour, France
Smoke Without Fire. The Sakharov
Museum and Public Center,
Moscow, Russia
Memory of Water. Museum of
Science and Technology, Paris,
France
Maya. A Lost Island. Happening
in the Barents Sea, Russia
The Breath of the Ocean (installation). Expo-98, Lisbon, Portugal /
George Soros Center of
Ship Resurrection. State Tretyakov
2008
Power of Water (video), State
Russia
2007
Click I Hope (Wave, Windshield
Wipers, Shower).
52nd Venice Biennale
of Contemporary Art, Russian
I Believe. 2nd Moscow Biennale
of Contemporary Art, Winzavod,
Moscow, Russia
2006
ARS 06. Sense of the Real.
Kiasma (Museum of Contemporary
Art), Helsinki, Finland
2005
Topology of Absolute Zero.
1st Moscow Biennale of
Contemporary Art, Multimedia
Complex of Actual Arts, Moscow,
Russia
Under the Bridges-2. Casino
Luxembourg, Luxembourg
Alexander Ponomarev. Video.
Art media festival, Ivri, France
2004
Passage d’Europe. Museum of
Modern Art, Saint-Etienne, France
Rivages. Museum of Art and
History, Saint-Brieuc, France
Art and Politics. Center of Modern
Art, Strasbourg, France
Lessons of Happiness. Center
of Contemporary Art, Yaroslavl,
Russia
Artconstitution. Moscow Museum
2003
Moscow Abstraction. State
2002
2001
1993
1991
Out of Moscow. Center of
Contemporary Art, Campair, France
Moscow Time. Center of
Contemporary Art, Vilnius,
Lithuania
Abstraction in Russia – 20th century. State Russian Museum,
Russische Kunst der 60–90
Jahre. Osnabruck, Germany
Ideal City. Trends in Contemporary
Russian Art. National Museum,
Singapore
Postmodernism and National
Traditions. State Tretyakov Gallery,
Moscow, Russia
New Circle. Martin Luther King
Center, Washington, D.C., USA
Contemporary Artists Respond to
Malevich. State Tretyakov Gallery,
Moscow, Russia
Haim Sokol
1973
born in Arkhangelsk
2004
graduated from Hebrew University
in Jerusalem
2007
graduated from Moscow Institute
of the Contemporary Art
Lives and works in Moscow and Jerusalem.
2008
Cryptomnesia. Relapce. Art-Strelka
Projects Gallery, Moscow, Russia
2005
Memories About Memories. Small
Room Gallery, Elul, Jerusalem,
Israel
2008
A(rt)R(ussia)T(oday)–index.
The Latvian National Art Museum
Arsenal, Riga, Latvia
1st Biennale of Young Artists.
Winzavod, Moscow, Russia
@60.artisrael.world. Judah L.
Magnes Museum, Berkley CA, USA
2007
Coordinates. Museum of Fine Arts,
Kostroma, Russia
Space. International Exhibition
of Young Artists, Moscow Museum
Youngs. Typography Original, State
Moscow, Russia
2006
Breathing Memory. Limbus Gallery,
Tel Aviv, Israel
Let’s Talk About Migration.
International art exhibition organized by the Club UNESCO for Arts
and Letters of the Department
2004
of Achaia, Patras, Greece
New Members-2006. Artists
House, Jerusalem, Israel
Window. Small Room Gallery, Elul,
Jerusalem, Israel
Sergey Shutov
1955
born in Potsdam, Germany
Selected personal exibitions
2007
Elevation. Krokin Gallery, Moscow,
Russia
2006
Icastica. Michela Rizzo Gallery,
Venice, Italy
2005
Zukunfstroman 1. Atelier Am Eck,
Düsseldorf , Germany
The Major Project (workshop). Lisa
Plavinskaya’s Gallery, Art Strelka
Cultural Center, Moscow, Russia
The Major Project (Russian
Melancholy of Suzy Wong). Suzy
Wong Gallery, Moscow, Russia
Abacus at the Wapping Project.
London, England
2004
Instead of Minotaurus. XL Gallery,
Moscow, Russia
2003
Sky…Sky… Aidan Gallery, Moscow,
Russia
Carpet-Hydrangea. State Tretyakov
2001
49th Venice Biennale
of Contemporary Art, Russian
Nimbus, Aidan Gallery, Moscow,
Russia
1990
Sergey Shutov. Painting. Helen
Drutt Gallery, New York, USA
2007
History of Russian Video Art.
Volume 1. Moscow Museum
I Believe, 2nd Moscow Biennale
of Contemporary Art. Winzavod,
Moscow, Russia
2006
Russia! Guggenheim Museum,
Bilbao, Spain
Time of Changes. Art Between
1960–1985 in Soviet Union.
Messages from Moscow Artists.
HELIOS Fukuno Creative Cultural
Center, Norito, Japan
New in Collection. National Center
for Contemporary Art, Moscow,
Russia
Soviet Alternative Art
2005
2004
2003
2002
2001
2000
1998
1997
1996
1995
(1956–1988) from the Costakis
collections. State Museum of contemporary art, Salonika, Greece
Art-Digital 2004. I Click, Therefore
I Am. Contemporary art center
M’ARS, Moscow, Russia
Accomplices. State Tretyakov
Contemporary Art. National
Gallery – Veletrzny palac, Prague,
Czech Republic
Russian Pop Art. State Tretyakov
Na Kurort! Russische Kunst
Heute, Kunsthalle Baden-Baden,
Baden-Baden, Germany
New Acquisitions. National Center
for Contemporary Art (NCCA),
Moscow, Russia
Kunsthalle, Germany
Synopsis II-Theologies. National
Athens, Greece
Abacus. Sharlottenborg
Udstillingsbygning, Copenhagen,
Denmark
Abstract Art in Russia. The 20th
Century. State Russian Museum,
Aidan Gallery Artists’ Group Show
in the New Gallery Space. Aidan
Vienna Biennale, Vienna, Austria
Russian Landscape at the End of
XX Century. Galerie des Fondation
Initiative Russe pour la culture,
Geneva, Switzerland
III Cetinjski Bijenale. Cetinje,
Montenegro
Photo Exhibition. New Academy of
Fine Arts, St Petersburg, Russia /
Stedelijk Museum, Amsterdam,
Netherlands
Nonconformist Art. Mucsarnok,
Budapest, Hungary
Silk-Screens of Art. Nirniran
Gallery, Washington, USA
Silk-Screens from Russia. Mimi
Ferzt Gallery, New York, USA
Nonconformisten Russland
1957–1995. WilchelmHackMuseum, Ludwigshafen,
Staatliches Museum, Altenburg,
Germany
1994
Arte Contemporanea dalla
Collezione della Federazione della
Cooperative Migros. Museo
Cantonale d’Arte, Lugano,
Switzerland
1993
Multi-Media Festival. Finland
Livres d’artistes russes et sovietiques. 1910–1993. Espace
Vesere, Ouserge, France
1992
1990–91 5+1 Artists from Moscow. Museu
Nacional de Arte Contemporânea,
Lisbon, Portugal
1990
Contemporary Soviet Painters.
Showroom, London, England
L. Tabenkin, A. Nassedkin,
E. Dybsky, A. Medvedev, S. Shutov.
Contemporary Art Museum, Porto,
Lisbon, Portugal
1989–90 10+10. Modern Art Museum
of Fort Worth, San Francisco
Museum of Modern Art, AlbrightKnox Art Gallery, Buffalo,
New York, Milwaukee Art Museum,
Corcoran Gallery of Art,
Washington, USA
1989
Moscow to London. Thumb Gallery,
London, England
XXI Festival des Arts. Cannes,
France
Furmanny Zaulek. Dawne Zaklady
Norblina, Warsaw, Poland
Glasnost. Henri Nannen Assembli,
Kunsthalle Emden, Emden,
Germany
Soviet Artists. Kostaki’s Gallery,
Athens, Greece
XX Century Masters’ Paintings.
Katherine Charbonneau, Paris,
France
1988
Contemporary Soviet Artists.
Studio Iaanini, Milan, Italy
The New Russians. Palace of
Science and Culture, Warsaw,
Poland
Vladimir Tarasov
1947
born in Archangelsk, Russia
1971–86 a member of the famous contemporary jazz music trio – GTC
(V. Ganelin, V. Tarasov, V. Chekasin)
Since 1991 works in the visual arts, both solo,
and collaborating with artists such
as Ilya Kabakov and others
Lives and works in Vilnius, Lithuania.
2008
Russian’s Artist Abroad (Septima).
2007
2006
2005
2004
2003
National Centre for Contemporary
Arts, Moscow, Russia
Radikale Alltaglichkeit (First River,
Inside Out part 3). Cultural
Xchange Center (CXC), Vienna,
Austria
Inside Out (part 1). Contemporary
Art Centre, Vilnius, Lithuania
First River, Septima. El Pabellon
de las Artes, EXPO-2008,
Saragossa, Spain
Septima. Video Art from collection
of NCCA, National Centre for
Contemporary Arts (NCCA),
Moscow, Russia
What We Hear, What Looks At Us.
2nd Moscow Biennale of
Inside Out. Moravská galerie
v Brne. Brno, Czech Republic
First River. Contemporary Art
Centre, Vilnius, Lithuania
Second River. Neris River,
Vilnius’09 European Capital
of Culture, Vilnius, Lithuania
Nostalgie (Inside Out part 2).
Art Exhibitions Hall, Klaipeda,
Lithuania
Music of Changes (First River).
Concert Hall, Klaipeda, Lithuania
Europe + (Kyoto, Shehina).
National Centre for Contemporary
Arts (NCCA), Moscow, Russia
Light & Sound (Big Yellow Taxi,
Inside Out). Copper Smithy,
Fiskars, Finland
Kaziukas. 1st Quadrennial of
Lithuanian Contemporary Art,
Contemporary Art Centre, Vilnius,
Lithuania
TB-1. National Centre for
Contemporary Arts (NCCA),
Moscow, Russia
Sound Games (Nocture For
Paper #2, Chushala, Music
Of Spirits, Kyoto, TB-2, Likani,
Shehina, Lighthouse, Big Yellow
Taxi), Lithuanian Art Museum,
Radvilos Palace, Vilnius, Lithuania
Likani. State Tretyakov Gallery,
Moscow, Russia
Sound Games (Nocturne for
Paper #2, New York – New York #2,
Music Of Spirits, Water Music,
Concert for Flies #3, Lighthouse,
Big Yellow Taxi, Tibet Drum). State
Russia
Shehina. Lietuvos Aido Galerija,
Vilnius, Lithuania
2002
Nocturne for Paper #2.
Contemporary Art Center-DOM,
Moscow, Russia
2000–01 Christmas Wreath, Vilnius
Churches, Vilnius, Lithuania
2000
Ach So… Akademie Schloss
Solitude, Stuttgart, Germany
New York – New York.
Lithuania
New York – New York #2. Festival
of Russian Art and Culture, Barrick
Museum, Las Vegas, USA
1999
Ach So… Giedre Bartelt Gallery,
Berlin, Germany
1998
Music of Spirits. Contemporary Art
Paper Art 7 (Nocturne for Paper).
Leopold-Hoesch-Museum, Duren,
German
Music of Spirits #2. Tabakman
1997
Bells for St. Casimir. St. Casimir
Church, Vilnius, Lithuania
Tallin – Moskva (Concert for
Flies #2), Tallinn City Gallery,
Tallinn, Estonia
1996
Group 24 (Concert for Flies #2),
Lithuania
Water Music. Contemporary Art
1995
Water Music. Akademie Schloss
Solitude, Stuttgart, Germany
1994
Klangvisionen (Water Music).
Staedische Galerie, Iserlohn,
Germany
1996
Selected group exibitions
2007
Sots Art (Ilya Kabakov). Maison
Rouge, Paris, France
2005
Close to not (Sarah Flohr). State
Russia
2004
Swamp Gold (Anatoly Belkin).
State Hermitage Museum,
2003
Die Visuelle Kultur der Stalinzeit
(Ilya Kabakov). Schirn Kunsthalle,
2000
Incident in the Museum or Water
Music (Ilya Kabakov). Galeries
nationales du Grand Palais, Paris,
France
1999
Der Rote Wagon (Ilya Kabakov).
Museum Wiesbaden, Wiesbaden,
Germany
1992
1995
1994
1993
1991
Installation at Solitude (Sarah
Flohr). Schloss Solitude, Stuttgart,
Germany
Alle (Carolin Helga Motz). Galerie
in der Zehntscheuer, Moglingen,
Germany
Music on he Water (Ilya Kabakov).
Schloss Salzau, Kiel, Germany
Els Limits del Museu
(Ilya Kabakov). Fundacio Antonio
Tapies, Barselona, Spain
C’est ici que nous vivons
(Ilya Kabakov). Centre Georges
Pompidou, Paris, France
Music (Ilya Kabakov). Centro
de Arte Moderna, Lisbon, Portugal
Tyrannei des Schonen
(Ilya Kabakov). Museum für
Angewandte Kunst, Vienna,
Austria
The Red Corner (Ilya Kabakov).
Kulturhuset, Stockholm, Sweden
Music (Ilya Kabakov). Hessisches
Landesmuseum, Darmstadt,
Germany
45th Venice Biennale of
Contemporary Art (Ilya Kabakov).
Venice, Italy
Russische Avangarde im 20.
Jahrhunderrt: Von Malewitsch bis
Kabakov (Ilya Kabakov).
Kunsthalle, Cologne, Germany
Concerto pour Mouche
(Ilya Kabakov). Château D’Oiron,
Oiron, France
Music (Ilya Kabakov). Museum for
Contemporary Art, Chicago, USA
Music (Ilya Kabakov). Ronald
Binationale: Sowietische Kunst um
1990 (Ilya Kabakov). Kunsthalle,
Rostan Tavasiev
1976
was born in Moscow.
1998
graduated from the Carl Faberge
Professional Lyceum of Arts and
Crafts, Department of Jeweler,
Moscow
2000–05 studied at the Stroganov
University of Arts, Moscow
2007
New Heroism. Galerie Rabouan-
2006
2005
2004
2003
2002
Moussion, Paris, France
Poppycock. Aidan Gallery, Moscow,
Russia
Synthepon (synthetic winterize).
Contemporary Art, Aidan Gallery,
Moscow, Russia
The Wall. State Tretyakov Gallery,
Moscow, Russia
Svintus. Lisa P. Gallery, Moscow,
Russia
Through Thorns to the Stars.
S.art Gallery, Moscow, Russia
Ageing of a Dream. Project OGI,
Moscow, Russia
Hyper Comics. Project OGI,
Moscow, Russia
2008
Laughterlife. Paradise Row.
London, England
2007
Sots Art. Art politique en Russie
de 1972 à aujourd’hui. Maison
Rouge, Paris, France
XV. Group exhibition of gallery’s
artists. Aidan Gallery, Moscow,
Russia
Aziopa. 2nd Moscow Biennale
of Contemporary Art, Moscow
2006
Innovation, the state prize for contemporary art, Moscow, Russia
Artfield Technology. Zelenograd,
Russia
2005
Contemporary Art, Lenin Museum,
Moscow, Russia
Joy. Art forum Casino Luxembourg.
Luxembourg
With or Without? Cultural Center
of Belgrade, Belgrade, Serbia
Artfield. Open-air exhibition,
Moscow, Russia
2004
Art Klyazma Festival of
Contemporary Art, Russia
Without Glamour. The Zverev
Moscow, Russia
Festival of an Intimate Photo.
Reflex Gallery, Moscow, Russia
Golden Apples, Psychedelic in
Russian Fairy Tale. Larec Gallery,
Moscow, Russia
Fashion Zone. Argentum Gallery,
Moscow, Russia
Comics Festival (the 1st prize
in a nomination of a Short story
photo). Moscow, Russia
2003
2002
New Readout. Digital Russia
Together With Sony. Central House
of Artist, Moscow, Russia
The Illustrated Constitution
of the Russian Federation.
Moscow, Russia
Comics Festival, The Sakharov
Museum and Public Centre,
Moscow, Russia
Art Klyazma Festival of
Contemporary Art, Russia
Euro. The Sakharov Museum and
Public Centre, Moscow, Russia
Art in Parallel Contexts. State
Long-Day Group. Institute of
Problems of the Modern Art,
Moscow, Russia
Comics Festival, The Zverev Center
of Contemporary Art, Moscow,
Russia
Leonid Tishkov
1953
born in the Ural Mountains region
1979
graduated from the Sechenov
Medical Academy, Moscow
2008
Home of Artist. Krokin Gallery,
Moscow, Russia
Private Moon (in collaboration with
Boris Bendikov). Singapore
Biennale, Singapore
2006
Ladomir: Utopian Objects. Krokin
Private Moon. Novosibirsk Art
Museum, Novosibirsk, Russia
2005
Paintings 80s. Krokin Gallery,
Moscow, Russia
2004
Vodolazy (Deep Sea Divers). Krokin
Apokryfos. National Centre for
Contemporary Arts, Moscow,
Russia
2003
Leonid Tishkov & Igor Macarevich:
Masters of Russia Contemporary
Mythology. Gallery K, Washington,
USA
2001
Vodolazy (Deep Sea Divers).
District of Columbia Arts Center,
Washington, USA Creatures of
the Soft World. Russian Museum
of Decorative Applied Arts,
Moscow, Russia
2000
Dabloids & Another Creatures.
Museum of Nonconformist Art,
1999
1998
1995
1994
1993
Creatures. Contemporary Art
Center, Nizhniy Novgorod, Russia /
Yaroslavl’ Art Museum, Russia
Dabloid Teater. Färgfabriken,
Stockholm, Sweden
Creatures. Museum of Art,
Ekaterinburg, Russia
Dabloids and Elephants.
Mary and Leigh Block Museum,
Northwestern University, Evanston,
USA
Creaturas. Museo de Arte
Contemporaneo de Caracas Sofia
Imber, Caracas, Venezuela
La Route du Cœr. Epreuve d’Artiste
Gallery, Lille, France
Creatures. Duke University
Museum of Art, Durham, NC, USA
2008
Art-Index. Latvian National
Museum of Art, Riga, Latvia
2007
Look Homeward. Center for
Contemporary Art Ujazdowski
castle, Warsaw, Poland
l’arte contemporanea Luigi Pecci,
Prato, Italy
The Time of Storytellers. Kiasma
Helsinki, Finland
Return to Memory. New art from
Russia. KUMU Art Museum,
Tallinn, Estonia
2006
View on Europe. MoMA, Museum
of Modern Art, New York, USA
Street, Art and Fashion.
Contemporary Russian
Photography. FotoMuseum,
Antwerp, Belgium
Visit of Star. Photobiennale 2006,
Moscow, Russia
Black Box/White Cube Video
Space. Codes of Culture – Video
Art from 7 Continents by
The Project Room N.Y., ArteBA
2006, Buenos Aires, Argentina
Private Moon. Moscow Artist’s
Message, Nanto Cultural Center,
Japan
2005
7 Sins. Moderna Galerija,
Ljubljana, Slovenia
Beyond of Red Horizon: MoscowWarsaw. Center for Contemporary
Art Ujazdowski castle, Warsaw,
Poland
Moscow Breakthrough,
Contemporary Russian Artists.
2004
2003
2001
2000
1999
1998
1997
1996
1991
1990
Bargehouse, London, England
Berlin, Germany
Graphic Art of 20th Century. State
Detende: Russian Contemporary
Art Video Format. Slought
Foundation, Philadelphia, USA
Invisible Cities. Queen’s University
Belfast, Belfast, England
The View from Here. Contemporary
Art Center of Virginia, VA, USA
View from Here. State Tretyakov
The Body Memory. State Museum
of the History of Saint-Petersburg,
Russian Videoart. Kunsthalle
Faust, Hannover, Germany
Russian Samizdat & Artist’s
books. Grafeion Gallery, Prague,
Czech Republic / Contemporary
Art Museum of Andy Warhol,
Slovakia
Praprintium. Berlin State Library,
Berlin, Germany / Bochum
Museum, Bochum, Germany
Portfolios for Portfolio Kunst.
Albertina Museum, Vienne, Austria
Russian Silkskreens from Moscow
Studio. Corcoran Art Gallery,
Washington, USA
Moscow Conceptual Artists. Duke
University Museum of Art, Durham
NC, USA
Contemporary Russian Artists
Books. Aberystwyth Art Centre,
England / Boise, Idaho, USA /
Glyn Vivian Art Gallery, Swansea,
England / The John Rylands
University Library, Manchester,
England
Nordgrafia 96. Gotlands
Konstmuseum, Visby, Sweden
Furmanny’s Artists. Martigni Art
Center, Switzerland
Transfuture.International Visual
Poetry. Hauptmanschule, Kassel,
Germany
Concrete. Visual Poetry Exhibition.
City Museum of Gotha, Germany
Multimedia Art Museum, Moscow
Multimedia Complex of Actual Arts
Olga Sviblova, Director
Olga Nestertseva, Deputy Director
Julia Naumenko, Financial Director
Ekaterina Finogenova, Director of Marketing
and Public Relations
Ekaterina Kondranina, Curator of Contemporary Art
International Coordination:
Diana Gurova, Maria Khitriakova, Praskovia Klimova,
Nadezhda Korotaeva, Mikhail Krasnov
PR:
Ekaterina Kniazeva, Tatiana Strekalova
Technical Support:
Andrei Baranov, Sergey Bunin, Alexey Gureev,
Boris Marchenko, Yuri Nalbandian, Alexandr Nemerad,
Ekaterina Nizova, Alexandr Zaitsev
Thanks for enthusiasm and help with securing location:
Gary Farmer, Cultural Affairs Program Manager
Tourism and Cultural Development, City of Miami Beach
Special thanks to:
Silvia Karman Cubiñá, Director of the Bass Museum of Art
and the entire team at the Bass Museum of Art for their
collaboration and help
Geraldine Cosnuau, External Affairs
Stefanie Block Reed, VIP Relations Manager Art Basel Miami
Beach
Craig Robins, President of DACRA
James Harithas, Director of Station Museum
Igor Markin, Director of ART4.ru Contemporary Art Museum,
Moscow
Marina Goncharenko, Director of GMG Gallery
Anatoly Zhuravlev, GMG Gallery
Elena Kuprina, Director of the E.K.ArtBureau
And all the artists who contributed their work to this exhibition
The organisers wish to express their gratitude to
Nicolas V. Iljine, Vice President International Development
GCAM GROUP, New York
Special thanks for supporting the project:
MASTERCARD EUROPE
and personally to Ilya Riaby, Acting General Manager
MasterCard Europe Moscow office
Maria Sinitsyna, PR Director
RUSSIAN EUROPAY MEMBERS ASSOCIATION
and personally to Andrei Korolev, President
MIKHAIL PROKHOROV FOUNDATION
and personally to Mikhail Prokhorov and Irina Prokhorova
TSUM
and personally to Leonid Friedland, President & CEO
of Mercury Group
Special thanks for possibility of artists’ trip
TRUST of Mutual Understanding,
and personally Jennifer Goodale, Richard Lanier
Bass Museum Staff
Silvia Karman Cubiñá, Executive Director and Chief Curator
Peter McElwain, Assistant Director for Operations
Ruth Grim, Curator of Collections
Lee Ortega, Director of Marketing and Public Relations
Chelsea Guerdat, Registrar / Exhibitions Coordinator
Denise Wolpert, Development Associate, Membership
and Volunteer Coordinator
L. Gabrielle Peters, Admissions Clerk
Jim Lawrence, Building Manager
Fitz Mitchell, Security
Board of Trustees
George L. Lindemann, Chairman
John Bass
Roger Bass
Jorge González
Aaron Perry
Friends of the Bass Museum, Inc.
George L. Lindemann, President
Joyce E. Kaiser
Florence Hecht
Alan G. Randolph
Lida Rodriguez-Taseff
The Bass Museum is generously sponsored by the State
of Florida, Department of State, Division of Cultural Affairs,
the Florida Arts Council, and the National Endowment
for the Arts. With the support of the Miami-Dade County
Department of Cultural Affairs, the Cultural Affairs Council,
the Miami-Dade County Mayor and Board of County
Commissioners. City of Miami Beach, Cultural Affairs Program,
Cultural Arts Council, and the Friends of the Bass Museum, Inc.
Additional support for this exhibition is provided by
VOGA Italia and Luna di Luna
www.russiandreams.info

full catalog

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