http://www.mmoma.ru/en/exhibitions/special/Журнал ДИ - - Special projectsen<p>Moscow Museum of&nbsp;Modern Art presents the &laquo;Only Red&raquo; exhibition by&nbsp;young artist Maima Pushkareva. It&nbsp;is&nbsp;a&nbsp;series of&nbsp;8&nbsp;artworks, made by&nbsp;the technique which is&nbsp;defined by&nbsp;the artist as&nbsp;the &laquo;body-print&raquo;.</p>Thu, 03 Nov 2011 15:58:00 +0400<p>Moscow Museum of&nbsp;Modern Art presents the &laquo;Only Red&raquo; exhibition by&nbsp;young artist Maima Pushkareva. It&nbsp;is&nbsp;a&nbsp;series of&nbsp;8&nbsp;artworks, made by&nbsp;the technique which is&nbsp;defined by&nbsp;the artist as&nbsp;the &laquo;body-print&raquo;. The technique is&nbsp;no&nbsp;pioneering one. The most famous examples of&nbsp;using a&nbsp;body as&nbsp;a&nbsp;tool are performances by&nbsp;Yves Klein. But works by&nbsp;Maima Pushkareva represent the body indirectly. The viewers can&rsquo;t watch the process. They witness a&nbsp;reflection of&nbsp;the intimate action, previously performed by&nbsp;the artist. The works are documentary evidence of&nbsp;the action, which the author makes inaccessible to&nbsp;the audience on&nbsp;purpose. The unusual oeuvre of&nbsp;the artist originates from her family history. The artist was born into a&nbsp;family of&nbsp;shamans, well-known in&nbsp;Yamal. Her forefathers were shamans. It&nbsp;can&rsquo;t help reflecting on&nbsp;her fate. Each artwork depicts the artist&rsquo;s condition at&nbsp;a&nbsp;definite moment, trying to&nbsp;render personal emotional experiences. Each print is&nbsp;unique, as&nbsp;each body is&nbsp;unique every second of&nbsp;the being. Viewers can guess outlines of&nbsp;the Neolithic Venus in&nbsp;some artworks. It&nbsp;brings associations with primitive female cults. Thanks to&nbsp;the original perception of&nbsp;the artist&rsquo;s depicted body parts, some prints resemble figures by&nbsp;de&nbsp;Chirico. The rhythmic row of&nbsp;more relative prints in&nbsp;other works appeals to&nbsp;Andy Warhol&rsquo;s paintings and to&nbsp;the Pop art in&nbsp;whole. &laquo;The most important things to&nbsp;me&nbsp;in&nbsp;the art are to&nbsp;show inner beauty and to&nbsp;express my&nbsp;private opinion about the world to&nbsp;the audience. Thus, the perceptional and the personal are primary, while comprehension comes with working. It&nbsp;happens this way&raquo;, the artist says.</p>./images/cms/data/iphone/exhibitions/mkrasnoe_120.jpg./images/cms/data/iphone/exhibitions/mkrasnoe_280.jpgS. T. Konenkov Memorial Museum-Studio, 17 Tverskaya str. (tel. 629-61-39)<p>Moscow Museum of&nbsp;Modern Art presents the &laquo;Only Red&raquo; exhibition by&nbsp;young artist Maima Pushkareva. It&nbsp;is&nbsp;a&nbsp;series of&nbsp;8&nbsp;artworks, made by&nbsp;the technique which is&nbsp;defined by&nbsp;the artist as&nbsp;the &laquo;body-print&raquo;.</p><p>Moscow Museum of&nbsp;Modern Art presents the &laquo;Only Red&raquo; exhibition by&nbsp;young artist Maima Pushkareva. It&nbsp;is&nbsp;a&nbsp;series of&nbsp;8&nbsp;artworks, made by&nbsp;the technique which is&nbsp;defined by&nbsp;the artist as&nbsp;the &laquo;body-print&raquo;. The technique is&nbsp;no&nbsp;pioneering one. The most famous examples of&nbsp;using a&nbsp;body as&nbsp;a&nbsp;tool are performances by&nbsp;Yves Klein. But works by&nbsp;Maima Pushkareva represent the body indirectly. The viewers can&rsquo;t watch the process. They witness a&nbsp;reflection of&nbsp;the intimate action, previously performed by&nbsp;the artist. The works are documentary evidence of&nbsp;the action, which the author makes inaccessible to&nbsp;the audience on&nbsp;purpose. The unusual oeuvre of&nbsp;the artist originates from her family history. The artist was born into a&nbsp;family of&nbsp;shamans, well-known in&nbsp;Yamal. Her forefathers were shamans. It&nbsp;can&rsquo;t help reflecting on&nbsp;her fate. Each artwork depicts the artist&rsquo;s condition at&nbsp;a&nbsp;definite moment, trying to&nbsp;render personal emotional experiences. Each print is&nbsp;unique, as&nbsp;each body is&nbsp;unique every second of&nbsp;the being. Viewers can guess outlines of&nbsp;the Neolithic Venus in&nbsp;some artworks. It&nbsp;br</p>201111112011121162235http://www.mmoma.ru/en/exhibitions/special/maima_pushkareva/http://www.mmoma.ru/en/exhibitions/special/maima_pushkareva/<p>Demonstrating her works as objects of passion for a supposed collector, Mukhina explores psychological and aesthetic aspects of collecting, and also creates ideal conditions for her artworks. Because the Collection is a place, where they are loved.</p>Fri, 30 Sep 2011 16:00:00 +0400<p>The Collection exhibition hosted by&nbsp;the Moscow Museum of&nbsp;Modern Art presents mysterious bas-reliefs, photos and videos by&nbsp;the young artist Asya Mukhina. <br /><br /> Demonstrating her works as&nbsp;objects of&nbsp;passion for a&nbsp;supposed collector, Mukhina explores psychological and aesthetic aspects of&nbsp;collecting, and also creates ideal conditions for her artworks. Because the Collection is&nbsp;a&nbsp;place, where they are loved.<br /> <br /> The Collection covers all works with a&nbsp;bell glass and forces the thing to&nbsp;retire into itself. Thus, postage stamps designed for travelling are blocked on&nbsp;album list pages, racing cars like motionless cheetahs languish in&nbsp;garages, and flittering butterflies are forever paralyzed behind the glass door. The thing is&nbsp;losing its primary essence, when it&nbsp;finds itself in&nbsp;the new environment. It&nbsp;becomes one of&nbsp;the objects of&nbsp;the collection and transforms into a&nbsp;part of&nbsp;the general pattern, developed by&nbsp;the collector.<br /> <br /> But objects selected by&nbsp;Mukhina for her Collection are rather specific. You can guess curves of&nbsp;a&nbsp;human body in&nbsp;her bas-reliefs and photos. The Collection exhibition presents to&nbsp;the viewers a&nbsp;sensual side of&nbsp;collecting. But we&nbsp;shouldn&rsquo;t consider that the author condemns the human passion for collecting. The collection is&nbsp;an&nbsp;art form as&nbsp;well.<br /> <br /> Asya Mukhina is&nbsp;a&nbsp;young artist and curator, a&nbsp;regular participant of&nbsp;exhibitions of&nbsp;the Moscow Museum of&nbsp;Modern Art and the Free Workshops Art School. She exhibited her first works in&nbsp;the Workshop 2006&nbsp;project. In&nbsp;2010, she took part in&nbsp;the Biennale for Young Art &laquo;Qui Vive?&raquo; as&nbsp;a&nbsp;curator of&nbsp;the international program of&nbsp;performances. This year, she has presented the kids&rsquo; media performance during the Night of&nbsp;Museums and has been a&nbsp;co-curator and a&nbsp;partaker of&nbsp;the Workshop 2011&nbsp;project. Mukhina deals with performance art, media performance, animation and video art. She runs educational projects in&nbsp;the Moscow Museum of&nbsp;Modern Art. This autumn, her works have been also exhibited in&nbsp;the Linoleum Festival of&nbsp;Animation and the International Art Fair ART MOSCOW.</p>./images/cms/data/iphone/exhibitions/amcollection_120.jpg./images/cms/data/iphone/exhibitions/amcollection_280.jpgS. T. Konenkov Memorial Museum-Studio, 17 Tverskaya str. (tel. 629-61-39)<p>Demonstrating her works as objects of passion for a supposed collector, Mukhina explores psychological and aesthetic aspects of collecting, and also creates ideal conditions for her artworks. Because the Collection is a place, where they are loved.</p><p>The Collection exhibition hosted by&nbsp;the Moscow Museum of&nbsp;Modern Art presents mysterious bas-reliefs, photos and videos by&nbsp;the young artist Asya Mukhina. <br /><br /> Demonstrating her works as&nbsp;objects of&nbsp;passion for a&nbsp;supposed collector, Mukhina explores psychological and aesthetic aspects of&nbsp;collecting, and also creates ideal conditions for her artworks. Because the Collection is&nbsp;a&nbsp;place, where they are loved.<br /> <br /> The Collection covers all works with a&nbsp;bell glass and forces the thing to&nbsp;retire into itself. Thus, postage stamps designed for travelling are blocked on&nbsp;album list pages, racing cars like motionless cheetahs languish in&nbsp;garages, and flittering butterflies are forever paralyzed behind the glass door. The thing is&nbsp;losing its primary essence, when it&nbsp;finds itself in&nbsp;the new environment. It&nbsp;becomes one of&nbsp;the objects of&nbsp;the collection and transforms into a&nbsp;part of&nbsp;the general pattern, developed by&nbsp;the collector.<br /> <br /> But objects selected by&nbsp;Mukhina for her Collection are rather specific. You can guess curves of&nbsp;a&nbsp;human body in&nbsp;her bas-reliefs and photos. The Collection exhibition presents to&nbsp;the viewers a&nbsp;sensual side of&nbsp;collecting. But we&nbsp;shouldn&rsquo;t consider that the author condemns the human passion for collecting. The collection is&nbsp;an&nbsp;art form as&nbsp;well.<br /> <br /> Asya Mukhina is&nbsp;a&nbsp;young artist and curator, a&nbsp;regular participant of&nbsp;exhibitions of&nbsp;the Moscow Museum of&nbsp;Modern Art and the Free Workshops Art School. She exhibited her first works in&nbsp;the Workshop 2006&nbsp;project. In&nbsp;2010, she took part in&nbsp;the Biennale for Young Art &laquo;Qui Vive?&raquo; as&nbsp;a&nbsp;curator of&nbsp;the international program of&nbsp;performances. This year, she has presented the kids&rsquo; media performance during the Night of&nbsp;Museums and has been a&nbsp;co-curator and a&nbsp;partaker of&nbsp;the Workshop 2011&nbsp;project. Mukhina deals with performance art, media performance, animation and video art. She runs educational projects in&nbsp;the Moscow Museum of&nbsp;Modern Art. This autumn, her works have been also exhibited in&nbsp;the Linoleum Festival of&nbsp;Animation and the International Art Fair ART MOSCOW.</p>201110062011110661286http://www.mmoma.ru/en/exhibitions/special/asya_muhina_kollekciya/http://www.mmoma.ru/en/exhibitions/special/asya_muhina_kollekciya/<p>The project of the creative duo Kolesnikov/Denisov 在俄羅斯 (Made in Russia) is a story with an intense plot about love, art, outsourcing, modern capitalism or, maybe, friendship of nations.</p>Mon, 17 Oct 2011 23:50:00 +0400<p><strong>Curators:</strong> Ivan Kolesnikov, Sergey Denisov</p> <p><strong>Participants: </strong>Go&nbsp;Shou Ho, Sergey Denisov, Ivan Kolesnikov, Andrey Kononov</p> <p>The project of&nbsp;the creative duo Kolesnikov/Denisov 在俄羅斯 (Made in&nbsp;Russia) is&nbsp;a&nbsp;story with an&nbsp;intense plot about love, art, outsourcing, modern capitalism&nbsp;or, maybe, friendship of&nbsp;nations. Reflections of&nbsp;Antonio Negri&rsquo;s ideas are also visible here: he&nbsp;suggests that the modern concept of&nbsp;proletariat should include not only the industrial working class, but &laquo;everyone who is&nbsp;being exploited and who works under the power of&nbsp;capital&raquo;.</p> <p>The project consists of&nbsp;seven pictures that create a&nbsp;banal story&nbsp;&mdash; man and woman, driven by&nbsp;passion, rush to&nbsp;each other tearing off their clothes. Six out of&nbsp;seven paintings show these sneakers, shoes, jeans, and shirts thrown off in&nbsp;a&nbsp;hurry. The central seventh picture presents lovers themselves, united in&nbsp;a&nbsp;kiss. But in&nbsp;fact the work is&nbsp;not about amorous adventure, but rather about these carelessly thrown, but thoroughly painted clothes. These clothes are by&nbsp;well-known European brands produced, of&nbsp;course, in&nbsp;China. Here it&nbsp;is, the meeting of&nbsp;West and East: marketing, design, technologies, and quality control are Europe, while the production itself is&nbsp;China.</p> <p>The production of&nbsp;paintings themselves is&nbsp;shown in&nbsp;a&nbsp;video by&nbsp;Andrey Kononov, which is&nbsp;also displayed here. We&nbsp;see an&nbsp;artist&rsquo;s hand, but when the camera moves away, we&nbsp;see... a&nbsp;Chinese man instead of&nbsp;Russian authors Ivan Kolesnikov and Sergey Denisov. That is&nbsp;a&nbsp;common situation: the idea is&nbsp;Russian, the production&nbsp;&mdash; Chinese. However, it&nbsp;is&nbsp;made, literally, in&nbsp;Russia, and the author is&nbsp;not the one who &lsquo;paints&rsquo; but the one who develops the idea. In&nbsp;this case, the figure of&nbsp;a&nbsp;Chinese man is&nbsp;a&nbsp;complex metaphor for wage labor, uncommon kinds of&nbsp;employment, and migration. Therefore, the artist is&nbsp;not only a&nbsp;worker in&nbsp;the efficient art system, but also a&nbsp;freelancer and a&nbsp;migrant who is&nbsp;travelling the world in&nbsp;search of&nbsp;job, inspiration, and acknowledgment.</p> <p><strong>Sponsors and Partners</strong></p> <p>&lsquo;MaxDecor&rsquo; Facrtory of&nbsp;Decorative Finishes<br /> &lsquo;ER-B IK&rsquo; Printing Group</p>./images/cms/data/iphone/exhibitions/4mbsi_sdelanovr_120.jpg./images/cms/data/iphone/exhibitions/4mbsi_sdelanovr_280.jpgMoscow State Academy of Industrial and Applied Arts named after S. G. Stroganov, 9, Volokolamskoye Ave<p>The project of the creative duo Kolesnikov/Denisov 在俄羅斯 (Made in Russia) is a story with an intense plot about love, art, outsourcing, modern capitalism or, maybe, friendship of nations.</p><p><strong>Curators: </strong>Ivan Kolesnikov, Sergey Denisov</p> <p><strong>Participants: </strong>Go&nbsp;Shou Ho, Sergey Denisov, Ivan Kolesnikov, Andrey Kononov</p> <p>The project of&nbsp;the creative duo Kolesnikov/Denisov 在俄羅斯 (Made in&nbsp;Russia) is&nbsp;a&nbsp;story with an&nbsp;intense plot about love, art, outsourcing, modern capitalism&nbsp;or, maybe, friendship of&nbsp;nations. Reflections of&nbsp;Antonio Negri&rsquo;s ideas are also visible here: he&nbsp;suggests that the modern concept of&nbsp;proletariat should include not only the industrial working class, but &laquo;everyone who is&nbsp;being exploited and who works under the power of&nbsp;capital&raquo;.</p> <p>The project consists of&nbsp;seven pictures that create a&nbsp;banal story&nbsp;&mdash; man and woman, driven by&nbsp;passion, rush to&nbsp;each other tearing off their clothes. Six out of&nbsp;seven paintings show these sneakers, shoes, jeans, and shirts thrown off in&nbsp;a&nbsp;hurry. The central seventh picture presents lovers themselves, united in&nbsp;a&nbsp;kiss. But in&nbsp;fact the work is&nbsp;not about amorous adventure, but rather about these carelessly thrown, but thoroughly painted clothes. These clothes are by&nbsp;well-known European brands produced, of&nbsp;course, in&nbsp;China. Here it&nbsp;is, the meeting of&nbsp;West and East: marketing, design, technologies, and quality control are Europe, while the production itself is&nbsp;China.</p> <p>The production of&nbsp;paintings themselves is&nbsp;shown in&nbsp;a&nbsp;video by&nbsp;Andrey Kononov, which is&nbsp;also displayed here. We&nbsp;see an&nbsp;artist&rsquo;s hand, but when the camera moves away, we&nbsp;see... a&nbsp;Chinese man instead of&nbsp;Russian authors Ivan Kolesnikov and Sergey Denisov. That is&nbsp;a&nbsp;common situation: the idea is&nbsp;Russian, the production&nbsp;&mdash; Chinese. However, it&nbsp;is&nbsp;made, literally, in&nbsp;Russia, and the author is&nbsp;not the one who &lsquo;paints&rsquo; but the one who develops the idea. In&nbsp;this case, the figure of&nbsp;a&nbsp;Chinese man is&nbsp;a&nbsp;complex metaphor for wage labor, uncommon kinds of&nbsp;employment, and migration. Therefore, the artist is&nbsp;not only a&nbsp;worker in&nbsp;the efficient art system, but also a&nbsp;freelancer and a&nbsp;migrant who is&nbsp;travelling the world in&nbsp;search of&nbsp;job, inspiration, and acknowledgment.</p> <p><strong>Sponsors and Partners</strong></p> <p>&lsquo;MaxDecor&rsquo; Facrtory of&nbsp;Decorative Finishes<br /> &lsquo;ER-B IK&rsquo; Printing Group</p>201110022011102754459http://www.mmoma.ru/en/exhibitions/special/sdelano_v_rossii_per_s_kitajskogo/http://www.mmoma.ru/en/exhibitions/special/sdelano_v_rossii_per_s_kitajskogo/<p>&laquo;Achromatism&raquo; project explores connections between form, perception and influence of visual art.</p>Mon, 25 Jul 2011 22:48:00 +0400<p><strong>Curators: </strong>Ivan Kolesnikov, Sergey Denisov, Masha Naimushina</p> <p><strong>Participants:</strong> Dmitry Gutov, Anatoly Osmolovsky, Sergey Denisov, Ivan Kolesnikov, Oleg Tyrkin, Masha Naimushina, Viktor Alimpiev</p> <p>* Achromatism [from the Greek &laquo;a&raquo;&nbsp;&mdash; without and &laquo;chrōma&raquo;&nbsp;&mdash; color]</p> <p>&laquo;Achromatism&raquo; project explores connections between form, perception and influence of&nbsp;visual art. The exhibition presents works by&nbsp;different artists who have a&nbsp;common idea of&nbsp;laconic visual structure and self-restriction in&nbsp;choosing materials and methods. The project includes different techniques&nbsp;&mdash; painting, graphic, video, objects and installations.</p> <p>The development of&nbsp;digital technologies, chemistry and physics of&nbsp;materials, the appearance of&nbsp;new media have lead to&nbsp;a&nbsp;rapid expansion of&nbsp;the ways of&nbsp;visual representation with almost unlimited levels of&nbsp;digitalization, zooming and brightness. Everything luminous, three-dimensional, over-realistic, limitless, interactive or&nbsp;simply huge concentrates attention on&nbsp;the surface of&nbsp;the artwork; enthusiastic and surprising moments, as&nbsp;well as&nbsp;other psychical reactions blend in&nbsp;a&nbsp;kind of&nbsp;glimmering that the brain percepts mechanically, losing connection with its artistic essence. As&nbsp;a&nbsp;result, the brain throws away all the movements and colors and pays attention only to&nbsp;the laconic visual expression of&nbsp;the information that seems most important for the mind.</p> <p>The tendency to&nbsp;reflect on&nbsp;the process of&nbsp;information adaptation brings a&nbsp;whole series of&nbsp;experiments recently realized by&nbsp;artists with different creative experiences. Generally, they refuse loads of&nbsp;emotional stimuli, such as&nbsp;color, and tend to&nbsp;achromatism as&nbsp;a&nbsp;special way of&nbsp;analysis and impact.</p> <p><a href="http://www.agencyart.ru/" target="_blank"><img src="/images/logotypes/arr_en.jpg" border="0" alt="" /></a></p>./images/cms/data/iphone/exhibitions/4mbsi_ahromatizm_120.jpg./images/cms/data/iphone/exhibitions/4mbsi_ahromatizm_280.jpgArt Ru Agency, 6/4 Radio Street<p>&laquo;Achromatism&raquo; project explores connections between form, perception and influence of visual art.</p><p><strong>Curators: </strong>Ivan Kolesnikov, Sergey Denisov, Masha Naimushina</p> <p><strong>Participants:</strong> Dmitry Gutov, Anatoly Osmolovsky, Sergey Denisov, Ivan Kolesnikov, Oleg Tyrkin, Masha Naimushina,&nbsp;Viktor Alimpiev</p> <p>* Achromatism [from the Greek &laquo;a&raquo;&nbsp;&mdash; without and &laquo;chrōma&raquo;&nbsp;&mdash; color]</p> <p>&laquo;Achromatism&raquo; project explores connections between form, perception and influence of&nbsp;visual art. The exhibition presents works by&nbsp;different artists who have a&nbsp;common idea of&nbsp;laconic visual structure and self-restriction in&nbsp;choosing materials and methods. The project includes different techniques&nbsp;&mdash; painting, graphic, video, objects and installations.</p> <p>The development of&nbsp;digital technologies, chemistry and physics of&nbsp;materials, the appearance of&nbsp;new media have lead to&nbsp;a&nbsp;rapid expansion of&nbsp;the ways of&nbsp;visual representation with almost unlimited levels of&nbsp;digitalization, zooming and brightness. Everything luminous, three-dimensional, over-realistic, limitless, interactive or&nbsp;simply huge concentrates attention on&nbsp;the surface of&nbsp;the artwork; enthusiastic and surprising moments, as&nbsp;well as&nbsp;other psychical reactions blend in&nbsp;a&nbsp;kind of&nbsp;glimmering that the brain percepts mechanically, losing connection with its artistic essence. As&nbsp;a&nbsp;result, the brain throws away all the movements and colors and pays attention only to&nbsp;the laconic visual expression of&nbsp;the information that seems most important for the mind.</p> <p>The tendency to&nbsp;reflect on&nbsp;the process of&nbsp;information adaptation brings a&nbsp;whole series of&nbsp;experiments recently realized by&nbsp;artists with different creative experiences. Generally, they refuse loads of&nbsp;emotional stimuli, such as&nbsp;color, and tend to&nbsp;achromatism as&nbsp;a&nbsp;special way of&nbsp;analysis and impact.</p>201109252011111054460http://www.mmoma.ru/en/exhibitions/special/ahromatizm/http://www.mmoma.ru/en/exhibitions/special/ahromatizm/<p>Moscow Museum of Modern Art launches a new venue in the historical centre of Moscow. It is the Konenkov Memorial Museum-Studio.</p>Thu, 12 May 2011 22:51:00 +0400<p>&nbsp;</p> <p>Contemporary Art School &ldquo;Free Workshops&rdquo; and Moscow Museum of Modern Art present series of exhibitions which will take place at Konenkov Memorial Museum-Studio. All projects within the cycle are designed to fit into a theme exposition of the Museum-Studio which one of the largest collections of sculptures by Konenkov in Russia.</p> <p>The first exhibition, organized in&nbsp;the Konenkov Museum-Studio, is&nbsp;a&nbsp;part of&nbsp;the Debut program, which has been curated by&nbsp;the Contemporary Art School &laquo;Free Workshops&raquo; for 5&nbsp;years. The program uncovers new names in&nbsp;the Russian art. This time, the Debut program presents artist Daria Surovtseva. She is&nbsp;the daughter of&nbsp;sculptors Elena and Vladimir Surovtsev. Daria Surovtseva is&nbsp;more known abroad than in&nbsp;Russia. She graduated from the Ceramics Department at&nbsp;the Stroganov Academy. Then, she underwent a&nbsp;training course and worked at&nbsp;the celebrated Manufacture Nationale de&nbsp;Sevres. It&nbsp;determined the direction of&nbsp;her artistic career. The artist mostly works with porcelain together with glass, bronze, marble and lightweight plastics. Sculptures by&nbsp;Surovtseva personify abstract metaphors. They remind of&nbsp;sophisticated creatures or&nbsp;space biological forms. The main feature of&nbsp;her art is&nbsp;cosmicness. Installations by&nbsp;the artist are utmost feminine. They combine irreality of&nbsp;artistic fantasies with sensuality and lyricism.</p> <p>Surovtseva pays a&nbsp;special attention to&nbsp;the Illuz action in&nbsp;her art. It&rsquo;s a&nbsp;phenomenon characterized by&nbsp;the artist herself as&nbsp;follows: &laquo;It&nbsp;is&nbsp;a&nbsp;monument to&nbsp;the delusive Illuz action, an&nbsp;inner, dearest and emotional action, existing without definite titles, aims and directions, only in&nbsp;the form of&nbsp;the persistent desire To&nbsp;Be&raquo;. &laquo;The Trial of&nbsp;Strength exhibition contains artworks by&nbsp;Surovtseva created during the recent three years. It&nbsp;also presents a&nbsp;series of&nbsp;sculptures entitled &laquo;Illuz No&raquo;. It&nbsp;is&nbsp;a&nbsp;manifesto to&nbsp;the artistic vision of&nbsp;Surovtseva. Artworks are flexible sculptures, made of&nbsp;porcelain and lightweight materials. They personify an&nbsp;idea of&nbsp;the illusory nature of&nbsp;the existing reality, where illusions become real. Daria Surovtseva pays a&nbsp;tribute to&nbsp;this stage of&nbsp;her artistic career, which has been just a&nbsp;trial before her real performance.</p> <p>***</p> <p>Daria Surovtseva is&nbsp;a&nbsp;member of&nbsp;the Moscow Union of&nbsp;Artists, Moscow Union of&nbsp;Designers, Maison des Artist in&nbsp;Paris. She is&nbsp;a&nbsp;participant of&nbsp;many exhibitions in&nbsp;Russia, Austria, Belgium, France, Korea, and Hungary. Her works are in&nbsp;collections of&nbsp;the Moscow Museum of&nbsp;Actual Art (Art4ru), private collections in&nbsp;Belgium, Korea and France.</p>./images/cms/data/iphone/exhibitions/d_surovceva_120.jpg./images/cms/data/iphone/exhibitions/d_surovceva_280.jpgKonenkov Memorial Museum-Studio, 17 Tverskaya str. <p>Moscow Museum of Modern Art launches a new venue in the historical centre of Moscow. It is the Konenkov Memorial Museum-Studio.</p><p>Moscow Museum of&nbsp;Modern Art launches a&nbsp;new venue in&nbsp;the historical centre of&nbsp;Moscow. It&nbsp;is&nbsp;the Konenkov Memorial Museum-Studio. It&nbsp;was opened in&nbsp;1974. It&nbsp;holds one of&nbsp;the largest collections of&nbsp;sculptures by&nbsp;Konenkov in&nbsp;Russia. At&nbsp;present, the museum-studio opens its halls for exhibitions by&nbsp;Russian young artists.</p> <p>The first exhibition, organized in&nbsp;the Konenkov Museum-Studio, is&nbsp;a&nbsp;part of&nbsp;the Debut program, which has been curated by&nbsp;the Contemporary Art School &laquo;Free Workshops&raquo; for 5&nbsp;years. The program uncovers new names in&nbsp;the Russian art. This time, the Debut program presents artist Daria Surovtseva. She is&nbsp;the daughter of&nbsp;sculptors Elena and Vladimir Surovtsev. Daria Surovtseva is&nbsp;more known abroad than in&nbsp;Russia. She graduated from the Ceramics Department at&nbsp;the Stroganov Academy. Then, she underwent a&nbsp;training course and worked at&nbsp;the celebrated Manufacture Nationale de&nbsp;Sevres. It&nbsp;determined the direction of&nbsp;her artistic career. The artist mostly works with porcelain together with glass, bronze, marble and lightweight plastics. Sculptures by&nbsp;Surovtseva personify abstract metaphors. They remind of&nbsp;sophisticated creatures or&nbsp;space biological forms. The main feature of&nbsp;her art is&nbsp;cosmicness. Installations by&nbsp;the artist are utmost feminine. They combine irreality of&nbsp;artistic fantasies with sensuality and lyricism.</p> <p>Surovtseva pays a&nbsp;special attention to&nbsp;the Illuz action in&nbsp;her art. It&rsquo;s a&nbsp;phenomenon characterized by&nbsp;the artist herself as&nbsp;follows: &laquo;It&nbsp;is&nbsp;a&nbsp;monument to&nbsp;the delusive Illuz action, an&nbsp;inner, dearest and emotional action, existing without definite titles, aims and directions, only in&nbsp;the form of&nbsp;the persistent desire To&nbsp;Be&raquo;. &laquo;The Trial of&nbsp;Strength exhibition contains artworks by&nbsp;Surovtseva created during the recent three years. It&nbsp;also presents a&nbsp;series of&nbsp;sculptures entitled &laquo;Illuz No&raquo;. It&nbsp;is&nbsp;a&nbsp;manifesto to&nbsp;the artistic vision of&nbsp;Surovtseva. Artworks are flexible sculptures, made of&nbsp;porcelain and lightweight materials. They personify an&nbsp;idea of&nbsp;the illusory nature of&nbsp;the existing reality, where illusions become real. Daria Surovtseva pays a&nbsp;tribute to&nbsp;this stage of&nbsp;her artistic career, which has been just a&nbsp;trial before her real performance.</p> <p>***</p> <p>Daria Surovtseva is&nbsp;a&nbsp;member of&nbsp;the Moscow Union of&nbsp;Artists, Moscow Union of&nbsp;Designers, Maison des Artist in&nbsp;Paris. She is&nbsp;a&nbsp;participant of&nbsp;many exhibitions in&nbsp;Russia, Austria, Belgium, France, Korea, and Hungary. Her works are in&nbsp;collections of&nbsp;the Moscow Museum of&nbsp;Actual Art (Art4ru), private collections in&nbsp;Belgium, Korea and France.</p>201105212011082833039http://www.mmoma.ru/en/exhibitions/special/darya_surovceva_repeticiya_utverzhdenij/http://www.mmoma.ru/en/exhibitions/special/darya_surovceva_repeticiya_utverzhdenij/<p>As part of the Collateral Events of the 54th International Art Exhibition &mdash; la Biennale di Venezia &mdash; Moscow Museum of Modern Art presents the multimedia installation STARIE NOVOSTI (OLD NEWS) by Anastasia Khoroshilova.</p>Tue, 26 Apr 2011 23:00:00 +0400<p><strong>Press conference:</strong> June&nbsp;1, 2011&nbsp;at 10&nbsp;a.&nbsp;m.<br /> <strong>Opening:</strong> June&nbsp;1, 2011&nbsp;at 4&nbsp;p.&nbsp;m.<br /> <strong>Venue:</strong> Biblioteca Zenobiana del Temanza<br /> Centro Studi e&nbsp;Documentazione della Cultura Armena<br /> Corte Zappa, Dorsoduro 1602, 30123 Venezia<br /> Telephone/fax: +39&nbsp;041 5224225<br /> Opening hours: 10&nbsp;a.&nbsp;m. to&nbsp;6&nbsp;p.&nbsp;m.</p> <p>As&nbsp;part of&nbsp;the Collateral Events of&nbsp;the 54th International Art Exhibition&nbsp;&mdash; la&nbsp;Biennale di&nbsp;Venezia&nbsp;&mdash; Moscow Museum of&nbsp;Modern Art presents the multimedia installation STARIE NOVOSTI (OLD&nbsp;NEWS) by&nbsp;Anastasia Khoroshilova. The installation consists of&nbsp;nine light boxes with nearly life-size portraits of&nbsp;mothers who were taken hostage by&nbsp;terrorists; most of&nbsp;these women saw their children perish in&nbsp;those dreadful days of&nbsp;September. The project presents Khoroshilova&rsquo;s critical examination of&nbsp;the transience, pliability and frailty of&nbsp;a&nbsp;society&rsquo;s collective memory.</p> <p>* * *</p> <p>In&nbsp;the fall of&nbsp;2004&nbsp;Beslan, a&nbsp;city of&nbsp;36.000 inhabitants in&nbsp;the Republic of&nbsp;Northern Ossetia-Alania in&nbsp;the Northern Caucasus, Russian Federation, became known worldwide as&nbsp;the scene of&nbsp;one of&nbsp;the cruellest and most inhumane terrorist acts in&nbsp;the past decades. On&nbsp;September&nbsp;1, 2004, the first day of&nbsp;that school year, a&nbsp;group of&nbsp;terrorists attacked Beslan&rsquo;s School No. 1&nbsp;and occupied it&nbsp;for several days.</p> <p>More than 1.000 hostages were held by&nbsp;the terrorists from September 1&nbsp;until September&nbsp;3, 2004&nbsp;&mdash; children, their mothers and their teachers. Over three hundred people died in&nbsp;this monstrous act of&nbsp;terrorism, families were shattered: parents lost their children, children left as&nbsp;orphans. The tragedy radically transformed and lastingly affected the lives of&nbsp;every resident.</p> <p>However in&nbsp;many instances the moment of&nbsp;society-wide compassion is&nbsp;short lived. So&nbsp;fast is&nbsp;the speed of&nbsp;forgetting the tragedy, that it&nbsp;can be&nbsp;regarded as&nbsp;the betrayal of&nbsp;the victims by&nbsp;the society. Sometimes tragic news only incite &laquo;small talk&raquo;, and are often deleted from memory very quickly under the flow of&nbsp;new professionally and skilfully &laquo;edited&raquo; media messages.</p> <p>STARIE NOVOSTI by&nbsp;Anastasia Khoroshilova deals with transience, pliability and frailty of&nbsp;the society&acute;s collective memory&nbsp;&mdash; even when this memory is&nbsp;of&nbsp;the fate of&nbsp;thousands of&nbsp;people. The photographs were taken in&nbsp;2010, when the artist was visiting the inhabitants of&nbsp;Beslan, North-Ossetia (RU), to&nbsp;research the memory loss and collective ephemerality concerning this drama. She addresses individuals in&nbsp;order to&nbsp;redirect collective consciousness to&nbsp;the internal scars of&nbsp;people left by&nbsp;the dramatic events. The viewers find themselves at&nbsp;the very centre of&nbsp;these events, between the direct, emotional engagement of&nbsp;the women in&nbsp;the photographs, and the incomprehensible unpredictability of&nbsp;the blows of&nbsp;fate that struck them.</p> <p>&laquo;This work, for&nbsp;me, is&nbsp;an&nbsp;opportunity to&nbsp;investigate the mechanisms of&nbsp;memory&nbsp;&mdash; collective memory and individual memory. What is&nbsp;the nature of&nbsp;the phenomenon of&nbsp;individual &acute;exclusion&acute;&nbsp;&mdash; in&nbsp;this case, the victims of&nbsp;the Beslan tragedy? How quickly do&nbsp;individuals delete their own feelings and reactions to&nbsp;events? How quickly does the society delete things that transform its characteristics and alter its structure? How easily, even unconsciously, does society become used to&nbsp;the speed and rhythm of&nbsp;information flow carried in&nbsp;the mass media?&raquo;&nbsp;&mdash; these are the questions raised by&nbsp;Anastasia Khoroshilova.</p> <p>* * *</p> <p>The mixed media installation STARIE NOVOSTI will be&nbsp;displayed at&nbsp;the historic Biblioteca Zenobiana (1777) by&nbsp;Tommaso del Temanza, as&nbsp;part of&nbsp;the Collateral Event of&nbsp;the 54th International Art Exhibition&nbsp;&mdash; la&nbsp;Biennale di&nbsp;Venezia. The charming pastel ceiling frescos of&nbsp;the loggia contrast with the nine photographic light boxes, which are reminiscent in&nbsp;form of&nbsp;high-rise architecture and also of&nbsp;military transport containers. International handling marks add an&nbsp;element of&nbsp;transition and limited temporality to&nbsp;the objects on&nbsp;display. Foldable objects that are reminiscent of&nbsp;polyptychs simultaneously show small&nbsp;TV monitors with news footage covering the, by&nbsp;now forgotten, hostage crisis that shocked the world.<br /> <br /> * * *</p> <p>The exhibition STARIE NOVOSTI will be&nbsp;accompanied by&nbsp;the catalogue under the same title. Its publication was made possible by&nbsp;the Ellen Auerbach Stipendium from the Akademie der K&uuml;nste, Berlin, which Anastasia Khoroshilova received in&nbsp;2010. The catalogue is&nbsp;published in&nbsp;English, German and Italian, and comprises comprehensive illustrations.</p> <p>STARIE NOVOSTI <br /> Anastasia Khoroshilova<br /> Texts: Vassili Tsereteli and Jeanette Zwingenberger; English/Italian/German <br /> Photographs: Anastasia Khoroshilova<br /> Publisher and distributor: Verlag f&uuml;r moderne Kunst, Nuremberg, 2011, <br /> ISBN 978-3-86984-208-0</p> <p>Bibliographical information from the Deutsche Nationalbibliothek:<br /> The Deutsche Nationalbibliothek has registered this publication in&nbsp;the Deutsche Nationalbibliografie; detailed bibliographical information can be&nbsp;obtained online from: http://dnb. d-nb. de.</p> <p>***</p> <p>Anastasia Khoroshilova was born in&nbsp;Moscow, Russia, in&nbsp;1978. Since 2007 she has lived and worked in&nbsp;Berlin, Germany, and in&nbsp;Moscow. She graduated from her Studies of&nbsp;Photography at&nbsp;the Folkwang Universit&auml;t der K&uuml;nste (Professor J&ouml;rg Sasse) with distinction in&nbsp;2004. The artist has received grants from Germany, Poland and the Netherlands and has collaborated with several publications. Anastasia Khoroshilova&rsquo;s works went on&nbsp;international display in&nbsp;solo and group exhibitions and are represented in&nbsp;well known collections and famous museums throughout the world.</p> <p>***</p> <p>Special thanks are due to&nbsp;the sponsors Artphilein Foundation, Ernst Hilger and Adrian Riklin.</p> <p>***</p> <p>www. khoroshilova. net</p>./images/cms/data/iphone/exhibitions/starie_novosti_120.jpg./images/cms/data/iphone/exhibitions/starie_novosti_280.jpg<p>As part of the Collateral Events of the 54th International Art Exhibition &mdash; la Biennale di Venezia &mdash; Moscow Museum of Modern Art presents the multimedia installation STARIE NOVOSTI (OLD NEWS) by Anastasia Khoroshilova.</p><p>Exhibition dates: June 2&nbsp;&mdash; November&nbsp;27, 2011<br /> Press conference: June&nbsp;1, 2011&nbsp;at 10&nbsp;a.&nbsp;m.<br /> Opening: June&nbsp;1, 2011&nbsp;at 4&nbsp;p.&nbsp;m.<br /> Venue: Biblioteca Zenobiana del Temanza<br /> Centro Studi e&nbsp;Documentazione della Cultura Armena<br /> Corte Zappa, Dorsoduro 1602, 30123 Venezia<br /> Telephone/fax: +39&nbsp;041 5224225<br /> Opening hours: 10&nbsp;a.&nbsp;m. to&nbsp;6&nbsp;p.&nbsp;m.</p> <p>As&nbsp;part of&nbsp;the Collateral Events of&nbsp;the 54th International Art Exhibition&nbsp;&mdash; la&nbsp;Biennale di&nbsp;Venezia&nbsp;&mdash; Moscow Museum of&nbsp;Modern Art presents the multimedia installation STARIE NOVOSTI (OLD&nbsp;NEWS) by&nbsp;Anastasia Khoroshilova. The installation consists of&nbsp;nine light boxes with nearly life-size portraits of&nbsp;mothers who were taken hostage by&nbsp;terrorists; most of&nbsp;these women saw their children perish in&nbsp;those dreadful days of&nbsp;September. The project presents Khoroshilova&rsquo;s critical examination of&nbsp;the transience, pliability and frailty of&nbsp;a&nbsp;society&rsquo;s collective memory.</p> <p>* * *</p> <p>In&nbsp;the fall of&nbsp;2004&nbsp;Beslan, a&nbsp;city of&nbsp;36.000 inhabitants in&nbsp;the Republic of&nbsp;Northern Ossetia-Alania in&nbsp;the Northern Caucasus, Russian Federation, became known worldwide as&nbsp;the scene of&nbsp;one of&nbsp;the cruellest and most inhumane terrorist acts in&nbsp;the past decades. On&nbsp;September&nbsp;1, 2004, the first day of&nbsp;that school year, a&nbsp;group of&nbsp;terrorists attacked Beslan&rsquo;s School No. 1&nbsp;and occupied it&nbsp;for several days.</p> <p>More than 1.000 hostages were held by&nbsp;the terrorists from September 1&nbsp;until September&nbsp;3, 2004&nbsp;&mdash; children, their mothers and their teachers. Over three hundred people died in&nbsp;this monstrous act of&nbsp;terrorism, families were shattered: parents lost their children, children left as&nbsp;orphans. The tragedy radically transformed and lastingly affected the lives of&nbsp;every resident.</p> <p>However in&nbsp;many instances the moment of&nbsp;society-wide compassion is&nbsp;short lived. So&nbsp;fast is&nbsp;the speed of&nbsp;forgetting the tragedy, that it&nbsp;can be&nbsp;regarded as&nbsp;the betrayal of&nbsp;the victims by&nbsp;the society. Sometimes tragic news only incite &laquo;small talk&raquo;, and are often deleted from memory very quickly under the flow of&nbsp;new professionally and skilfully &laquo;edited&raquo; media messages.</p> <p>STARIE NOVOSTI by&nbsp;Anastasia Khoroshilova deals with transience, pliability and frailty of&nbsp;the society&acute;s collective memory&nbsp;&mdash; even when this memory is&nbsp;of&nbsp;the fate of&nbsp;thousands of&nbsp;people. The photographs were taken in&nbsp;2010, when the artist was visiting the inhabitants of&nbsp;Beslan, North-Ossetia (RU), to&nbsp;research the memory loss and collective ephemerality concerning this drama. She addresses individuals in&nbsp;order to&nbsp;redirect collective consciousness to&nbsp;the internal scars of&nbsp;people left by&nbsp;the dramatic events. The viewers find themselves at&nbsp;the very centre of&nbsp;these events, between the direct, emotional engagement of&nbsp;the women in&nbsp;the photographs, and the incomprehensible unpredictability of&nbsp;the blows of&nbsp;fate that struck them.</p> <p>&laquo;This work, for&nbsp;me, is&nbsp;an&nbsp;opportunity to&nbsp;investigate the mechanisms of&nbsp;memory&nbsp;&mdash; collective memory and individual memory. What is&nbsp;the nature of&nbsp;the phenomenon of&nbsp;individual &acute;exclusion&acute;&nbsp;&mdash; in&nbsp;this case, the victims of&nbsp;the Beslan tragedy? How quickly do&nbsp;individuals delete their own feelings and reactions to&nbsp;events? How quickly does the society delete things that transform its characteristics and alter its structure? How easily, even unconsciously, does society become used to&nbsp;the speed and rhythm of&nbsp;information flow carried in&nbsp;the mass media?&raquo;&nbsp;&mdash; these are the questions raised by&nbsp;Anastasia Khoroshilova.</p> <p>* * *</p> <p>The mixed media installation STARIE NOVOSTI will be&nbsp;displayed at&nbsp;the historic Biblioteca Zenobiana (1777) by&nbsp;Tommaso del Temanza, as&nbsp;part of&nbsp;the Collateral Event of&nbsp;the 54th International Art Exhibition&nbsp;&mdash; la&nbsp;Biennale di&nbsp;Venezia. The charming pastel ceiling frescos of&nbsp;the loggia contrast with the nine photographic light boxes, which are reminiscent in&nbsp;form of&nbsp;high-rise architecture and also of&nbsp;military transport containers. International handling marks add an&nbsp;element of&nbsp;transition and limited temporality to&nbsp;the objects on&nbsp;display. Foldable objects that are reminiscent of&nbsp;polyptychs simultaneously show small&nbsp;TV monitors with news footage covering the, by&nbsp;now forgotten, hostage crisis that shocked the world.<br /> <br /> * * *</p> <p>The exhibition STARIE NOVOSTI will be&nbsp;accompanied by&nbsp;the catalogue under the same title. Its publication was made possible by&nbsp;the Ellen Auerbach Stipendium from the Akademie der K&uuml;nste, Berlin, which Anastasia Khoroshilova received in&nbsp;2010. The catalogue is&nbsp;published in&nbsp;English, German and Italian, and comprises comprehensive illustrations.</p> <p>STARIE NOVOSTI <br /> Anastasia Khoroshilova<br /> Texts: Vassili Tsereteli and Jeanette Zwingenberger; English/Italian/German <br /> Photographs: Anastasia Khoroshilova<br /> Publisher and distributor: Verlag f&uuml;r moderne Kunst, Nuremberg, 2011, <br /> ISBN 978-3-86984-208-0</p> <p>Bibliographical information from the Deutsche Nationalbibliothek:<br /> The Deutsche Nationalbibliothek has registered this publication in&nbsp;the Deutsche Nationalbibliografie; detailed bibliographical information can be&nbsp;obtained online from: http://dnb. d-nb. de.</p> <p>***</p> <p>Anastasia Khoroshilova was born in&nbsp;Moscow, Russia, in&nbsp;1978. Since 2007 she has lived and worked in&nbsp;Berlin, Germany, and in&nbsp;Moscow. She graduated from her Studies of&nbsp;Photography at&nbsp;the Folkwang Universit&auml;t der K&uuml;nste (Professor J&ouml;rg Sasse) with distinction in&nbsp;2004. The artist has received grants from Germany, Poland and the Netherlands and has collaborated with several publications. Anastasia Khoroshilova&rsquo;s works went on&nbsp;international display in&nbsp;solo and group exhibitions and are represented in&nbsp;well known collections and famous museums throughout the world.</p> <p>***</p> <p>Special thanks are due to&nbsp;the sponsors Artphilein Foundation, Ernst Hilger and Adrian Riklin.</p> <p>***</p> <p>www. khoroshilova. net</p>201106022011112732653http://www.mmoma.ru/en/exhibitions/special/anastasiya_horoshilova_starye_novosti/http://www.mmoma.ru/en/exhibitions/special/anastasiya_horoshilova_starye_novosti/Victoria Gallery in Samara will host a reduced version of the Moscow show, with a slightly different corpus of exhibits. This display is also prepared by the team of the Moscow Museum of Modern Art together with curator Georgy Kovalenko.Sun, 22 Aug 2010 18:41:00 +0400<p>Alexandra Exter, one of&nbsp;the &lsquo;amazons&rsquo; and brightest stars of&nbsp;the Russian avant-garde, took part in&nbsp;most significant shows of&nbsp;the new art, including exhibitions of &lsquo;Jack of&nbsp;Diamonds&rsquo; group and &lsquo;Union of&nbsp;Youth&rsquo;, &lsquo;№&nbsp;4&rsquo; and &lsquo;Tram B&rsquo;, &lsquo;Shop&rsquo;, &lsquo;5&times;5=25&rsquo; and so&nbsp;on. One cannot imagine innovative Russian art of&nbsp;the early 20th century without this artist&rsquo;s oeuvre.</p> <p>Alexandra Exter was the originator of&nbsp;such a&nbsp;crucial trend in&nbsp;Russian art as&nbsp;Cubo-Futurism, a&nbsp;characteristic &lsquo;Russian&rsquo; version of&nbsp;Futurism reflected in&nbsp;numerous abstract pieces, still-lives and townscapes. Exter was the conductor of&nbsp;new ideas in&nbsp;Russian painting, as&nbsp;she familiarized Russian viewers with the latest developments of&nbsp;Parisian avant-garde. As&nbsp;she was spending a&nbsp;lot of&nbsp;time in&nbsp;Paris, Exter was friends with Pablo Picasso, Fernand L&eacute;ger, Robert and Sonia Delaunay, Guillaume Apollinaire and many other brilliant figures of&nbsp;the time. She promoted their creation in&nbsp;Russia and, in&nbsp;her own work, demonstrated ways for Russian artists to&nbsp;adapt their discoveries.</p> <p>Alexandra Exter contributed to&nbsp;the success of&nbsp;Russian theatre scene: three productions of&nbsp;the Chamber Theatre in&nbsp;Moscow that she designed&nbsp;&mdash; &lsquo;Thamyris the Citharist&rsquo;, &lsquo;Salome&rsquo; and &lsquo;Romeo and Juliet&rsquo; &mdash; are noted in&nbsp;the history of&nbsp;art as&nbsp;true masterpieces marked by&nbsp;costume and stage designs of&nbsp;amazing beauty. Other aesthetic landmarks in&nbsp;design of&nbsp;the time were Exter&rsquo;s famous costumes of&nbsp;Martians made for &lsquo;Aelita&rsquo;, Yakov Protazanov&rsquo;s film. Apart from that, Exter designed some exquisite fashion items and even uniform for the Red Army.<br /> <br /> Alexandra Exter&rsquo;s oeuvre equally belongs to&nbsp;France. Since the 1910s, Exter was involved in&nbsp;many important Paris exhibitions, such as&nbsp;the famous Salon of&nbsp;the Independents. Her art was appraised by&nbsp;prominent French critics&nbsp;&mdash; Guillaume Apollinaire, Waldemar George, Maurice Reynal and others. &lsquo;Alexandra Exter. A&nbsp;Retrospective&rsquo; project was presented in&nbsp;the Moscow Museum of&nbsp;Modern Art during the summer 2010. The display included paintings, graphic pieces, costume and stage designs, as&nbsp;well as&nbsp;unique manuscript books (livres manuscrits) never exhibited before. For the first time ever, theatre works by&nbsp;Alexandra Exter were on&nbsp;view, including 60&nbsp;pieces from the collection of&nbsp;A.&nbsp;A.&nbsp;Bakhrushin State Central Theatre Museum. The exhibition was curated by&nbsp;Georgy F. Kovalenko, PhD, head of&nbsp;the Department of&nbsp;20th-Century Russian Art at&nbsp;the Scientific and Research Institute of&nbsp;the Russian Academy of&nbsp;Arts, and leading research fellow of&nbsp;the State Institute of&nbsp;Art History. Kovalenko stands among the main Exter biographers and is&nbsp;an&nbsp;authoritative expert in&nbsp;her art, author of&nbsp;two monographs and numerous articles published in&nbsp;Russia and abroad.<br /> <br /> Victoria Gallery in&nbsp;Samara will host a&nbsp;reduced version of&nbsp;the Moscow show, with a&nbsp;slightly different corpus of&nbsp;exhibits. This display is&nbsp;also prepared by&nbsp;the team of&nbsp;the Moscow Museum of&nbsp;Modern Art together with curator Georgy Kovalenko.<br /> <br /> During the opening in&nbsp;Victoria Gallery, the second volume of&nbsp;Georgy Kovalenko&rsquo;s book on&nbsp;Alexandra Exter will be&nbsp;presented. This second volume covers works executed during the so&nbsp;called &lsquo;Paris period&rsquo; of&nbsp;the artist&rsquo;s oeuvre (after 1925). The vast majority of&nbsp;works from American and European collection have never been published before. The book includes a&nbsp;detailed timeline of&nbsp;Alexandra Exter&rsquo;s life and work, a&nbsp;list of&nbsp;all her personal and group exhibitions in&nbsp;Russia and abroad, as&nbsp;well as&nbsp;an&nbsp;extensive bibliography. Rare archive materials should be&nbsp;specially noted, such as&nbsp;memoirs of&nbsp;Alexandra Exter&rsquo;s contemporaries, her letters to&nbsp;Vera Mukhina, Alexander Tairov, Bronislava Nizhinskaya and others, plus the full scope of&nbsp;Exter&rsquo;s theoretical writings. </p> <p>***</p> <p>Victoria Gallery was founded in&nbsp;2005 by&nbsp;Leonid Mikhelson, chairman of&nbsp;NOVATEK JCC. The priorities in&nbsp;the development of&nbsp;the gallery include support and promotion of&nbsp;artists coming from the Volga region, forming of&nbsp;the gallery collection, interaction and cooperation with private collectors. The gallery hosts Russian and international exhibitions and educational projects in&nbsp;conjunction with major museums and galleries. The gallery acts as&nbsp;a&nbsp;cultural center that organizes concerts, meetings with artists and other noteworthy events.<br /> <br /> Moscow Museum of&nbsp;Modern Art and Victoria Gallery have a&nbsp;long and fruitful history of&nbsp;collaboration. For example, in&nbsp;2005, Samara was the place for the exhibition entitled &lsquo;Bible Stories: Salvador Dal&iacute;, Otto Dix, Ernst Fuchs&rsquo;, which was organized by&nbsp;the Moscow Museum of&nbsp;Modern Art, the Russian Academy of&nbsp;Arts and Kunstgalerien B&ouml;ttingerhaus (Bamberg, Germany). In&nbsp;the autumn 2009, Victoria Gallery hosted the &lsquo;Russian Avant-Garde&rsquo; exhibition with works by&nbsp;masters of&nbsp;the early 20th century from the collection of&nbsp;the Moscow Museum of&nbsp;Modern Art. The display that brought together pieces by&nbsp;Kazimir Malevich, Aristarkh Lentulov, Ilya Mashkov, Petr Konchalovsky, Mikhail Larionov, Natalia Goncharova, David Burliuk and other well-known artists, attracted a&nbsp;huge audience in&nbsp;Samara.</p>Victoria Gallery, 2 Nekrasovskaya Street / 125 Gorkogo Street, SamaraVictoria Gallery in Samara will host a reduced version of the Moscow show, with a slightly different corpus of exhibits. This display is also prepared by the team of the Moscow Museum of Modern Art together with curator Georgy Kovalenko.25480http://www.mmoma.ru/en/exhibitions/special/alexandra_exter_selected_works/http://www.mmoma.ru/en/exhibitions/special/alexandra_exter_selected_works/&laquo;Dormitory District&raquo; is&nbsp;an&nbsp;interactive open-air installation located in&nbsp;one of&nbsp;Moscow&rsquo;s dormitory districts. About 70&nbsp;contemporary Russian artists were invited to&nbsp;participate; each of&nbsp;them will produce a&nbsp;unique art object out of&nbsp;a&nbsp;commonplace iron bed.Wed, 26 Aug 2009 06:01:00 +0400<strong>Curators:</strong> Marina Zvyagintseva, Ivan Kolesnikov, Sergei Denisov <p>&laquo;Dormitory District&raquo; is&nbsp;an&nbsp;interactive open-air installation located in&nbsp;one of&nbsp;Moscow&rsquo;s dormitory districts. About 70&nbsp;contemporary Russian artists were invited to&nbsp;participate; each of&nbsp;them will produce a&nbsp;unique art object out of&nbsp;a&nbsp;commonplace iron bed.</p> <p>This project gives an&nbsp;affirmative answer to&nbsp;the question if&nbsp;the functioning of&nbsp;contemporary art is&nbsp;possible far from the city center, among the concrete blocks located beyond the Moscow circular motorway. The first associations the word combination &laquo;dormitory district&raquo; evokes in&nbsp;most people are: walks in&nbsp;the park, drinking cold beer on&nbsp;the benches, and finally resting&nbsp;&mdash; i.e. bed...The facelessness of&nbsp;the capital&rsquo;s dormitory districts, lack of&nbsp;cultural institutions and the consequent detachment from the dynamic artistic process were a&nbsp;stimulus for the organizers. &laquo;Dormitory District&raquo; develops a&nbsp;well-known tradition of&nbsp;European biennials and festivals to&nbsp;transform streets into artistic objects, transfiguring the city and involving its dwellers in&nbsp;the creative experience. The project also meets the theme of&nbsp;the main exhibition of&nbsp;the 3rd Moscow Biennale&nbsp;&mdash; &laquo;Against Exception&raquo;, for it&nbsp;is&nbsp;absolutely impossible to&nbsp;exclude dormitory districts from the cultural life of&nbsp;a&nbsp;metropolis.</p> <p><font size="4">Art critic Fyodor Romer on&nbsp;&laquo;Dormitory District&raquo; project:</font></p> <p>From Fence to&nbsp;Bed...<br /> In&nbsp;case if&nbsp;the declared theme of&nbsp;the Moscow Biennale is&nbsp;so&nbsp;democratically general, &laquo;Against Exception&raquo;, it&nbsp;means that the unrestrained range must include the sphere of&nbsp;living in&nbsp;a&nbsp;specific formation called a&nbsp;&lsquo;dormitory district&rsquo; in&nbsp;the Russian megalopolis. It&nbsp;is&nbsp;easy to&nbsp;arrange art interventions in&nbsp;the museum halls, breaking academic immobility, or&nbsp;to&nbsp;ask gallery owners to&nbsp;pull apart the sterile walls of&nbsp;the white cube, willing to&nbsp;go&nbsp;out. But could you play music on&nbsp;the unsuitable iron bed rails in&nbsp;front of&nbsp;the fence near the Volzhskaya metro station?</p> <p>It&nbsp;is&nbsp;the social constituent that is&nbsp;most important in&nbsp;the &laquo;Dormitory District&raquo; project by&nbsp;the artists Marina Zvyagintseva, Sergei Denisov and Ivan Kolesnikov, who are not only co-authors but also curators and organizers. They invite their fellow artists to&nbsp;go&nbsp;out in&nbsp;a&nbsp;definite unpleasant street with a&nbsp;concrete wall as&nbsp;a&nbsp;main decoration. The above beds, transformed into artifacts, will appear as&nbsp;local phantasms on&nbsp;the fence and in&nbsp;front of&nbsp;it.&nbsp;There is&nbsp;a&nbsp;temptation to&nbsp;interpret artworks of&nbsp;about 70&nbsp;project partakers as&nbsp;a&nbsp;literal materialization of&nbsp;dreams of&nbsp;the residents of&nbsp;the Krasnodonskaya street and its neighborhood. But the majority of&nbsp;the authors have never been in&nbsp;the place, and the &lsquo;dormitory district&rsquo; notion is&nbsp;just ephemeral for them. The ideas of&nbsp;how to&nbsp;use the utilitarian beds were born on&nbsp;paper rather than in&nbsp;dreams.</p> <p>The known Zhulebino resident Marina Zvyagintseva who has opened a&nbsp;gallery of&nbsp;contemporary art there, is&nbsp;famed for her call upon the genius loci. It&nbsp;has provoked the idea of&nbsp;the urban project &laquo;Dormitory District&raquo; that aims at&nbsp;carrying arts to&nbsp;the people and developing street spaces of&nbsp;a&nbsp;different locus, though in&nbsp;the outskirts. The leitmotif (or&nbsp;rather an&nbsp;object, a&nbsp;home task for the participants, from beginners to&nbsp;celebrities) is&nbsp;a&nbsp;bed as&nbsp;a&nbsp;topographic sign. The bed, merged with the fence, has defined the semiosis of&nbsp;the location with the symbolic name &laquo;dormitory district&raquo;.</p> <p>The Russian culture has the &laquo;St.&nbsp;Petersburg text&raquo; (thanks to&nbsp;Vladimir Toropov). Now the &laquo;uptown text&raquo; has appeared, written with pleasure, together, in&nbsp;the open air. It&nbsp;is&nbsp;planned to&nbsp;be&nbsp;read by&nbsp;a&nbsp;wide audience. To&nbsp;do&nbsp;this, it&nbsp;has to&nbsp;go&nbsp;from the bed to&nbsp;the fence. Otherwise the social constituent of&nbsp;the project will reach the educated guests of&nbsp;the Moscow Biennale of&nbsp;Contemporary Art only.</p> <p><font size="4">Participants of&nbsp;&laquo;Dormitory District&raquo; project:</font></p> <p> Nadezhda Anfalova<br /> Valentina Apukhtina<br /> Oleg Arnautov<br /> ARTKUKHNYA Group<br /> Sasha Auerbakh<br /> Elena Berg<br /> Elena Bizunova<br /> Andrei Biljo<br /> Vladimir Chaika<br /> Marina Chernikova<br /> Sergei Chernov<br /> Iosif Dashevsky<br /> Alina and Victor Dorokhov<br /> Alexei Dyakov<br /> Elikuka<br /> ESCAPE Program<br /> Alexander Fedorenko<br /> Yuri Fesenko<br /> Bee Flowers<br /> Lekha Garikovich<br /> Aladin Garunov<br /> GOLOVA Art Group<br /> Andrei Karpov<br /> Svetlana Klie<br /> Ivan Kolesnikov and Sergei Denisov<br /> Tatyana Krol<br /> Alexei Kuripko<br /> Sergei Lebedev<br /> Alexander Lishnevsky<br /> Georgy Litichevsky<br /> Vyacheslav Livanov<br /> Victor Lukin<br /> Sergei Malyutin<br /> Bogdan Mamonov and Andrei Vradiy<br /> Vitaly Melnichuk<br /> Vyacheslav Mizin and Alexander Shaburov<br /> Maria Naimushina<br /> Tatyana Nazarenko<br /> Tatyana Neklyudova<br /> Alexander Pankin<br /> Alexei and Natalia Petrov<br /> Alexei Politov and Marina Belova<br /> Alexander Ponomarev<br /> PULSART Group<br /> Evgeny Romashko<br /> Dmitri Samodin<br /> Evgeny Semenov<br /> SHKOT Art Group<br /> Alexander Shumov<br /> Alexander Sitnikov<br /> Natalya Sitnikova<br /> Oleg Slepov<br /> Maria Sokol and Andrei Pavlenko Vitas Stasyunas<br /> Olga and Oleg Tatarintsev<br /> Dmitri Tsvetkov<br /> Vladimir Tryamkin<br /> Oleg Tyrkin<br /> Vasily Vdovin<br /> Yulia Vinter<br /> Marina Zvyagintseva</p> <p>General partner of&nbsp;the project&nbsp;&mdash; &laquo;Morskaya Politika&raquo; LLC</p> <p><font size="4">Contacts:</font></p> <p>+7&nbsp;915&nbsp;163&nbsp;3360 &mdash; Valeria Gallay (PR&nbsp;support of&nbsp;the project)<br /> +7&nbsp;495&nbsp;744&nbsp;4995 &mdash; ARTMARIN Gallery<br /> +7&nbsp;495&nbsp;694&nbsp;6660 &mdash; press office of&nbsp;the Moscow Museum of&nbsp;Modern Art</p> <p><a href="http://3rd.moscowbiennale.ru/en/program/special_projects/dormitory_district.html" target="_blank">http://3rd.moscowbiennale.ru/en/program/special_projects/dormitory_district.html</a></p> <p><img src="/images/logotypes/sraion_logo_en.jpg" border="0" alt="" /></p> Krasnodonskaya Street («Volzhskaya» metro station)&laquo;Dormitory District&raquo; is&nbsp;an&nbsp;interactive open-air installation located in&nbsp;one of&nbsp;Moscow&rsquo;s dormitory districts. About 70&nbsp;contemporary Russian artists were invited to&nbsp;participate; each of&nbsp;them will produce a&nbsp;unique art object out of&nbsp;a&nbsp;commonplace iron bed.24556http://www.mmoma.ru/en/exhibitions/special/spalnyj_rajon/http://www.mmoma.ru/en/exhibitions/special/spalnyj_rajon/Guerrilla Museum, a new project by Triumph Gallery, is supported by Moscow Museum of Modern Art. Guerrilla Museum is a new exhibition format, aiming at spontaneous and sudden choice of the venue.Fri, 06 Nov 2009 21:52:00 +0300<p>Guerrilla Museum, a&nbsp;new project by&nbsp;Triumph Gallery, is&nbsp;supported by&nbsp;Moscow Museum of&nbsp;Modern Art. Guerrilla Museum is&nbsp;a&nbsp;new exhibition format, aiming at&nbsp;spontaneous and sudden choice of&nbsp;the venue. The term &laquo;Guerrilla&raquo; is&nbsp;adopted from marketing textbooks, where concepts of&nbsp;&ldquo;guerrilla marketing&rdquo; and &ldquo;guerrilla store&rdquo; have been accepted for a&nbsp;long time. Guerrilla stores of&nbsp;well-known brands appear in&nbsp;most unexpected locations (usually for a&nbsp;short period of&nbsp;time) and do&nbsp;not presuppose any corporate style&nbsp;&mdash; they just use the space as&nbsp;it&nbsp;is&nbsp;to sell their products. The guerilla museum will operate in&nbsp;a&nbsp;similar manner: it&nbsp;will move from one place to&nbsp;another, showing in&nbsp;anything but conventional exhibition venues. They will be&nbsp;showing in&nbsp;abandoned buildings, in&nbsp;house windows, ports and warehouses&nbsp;&mdash; no&nbsp;special redecoration, no&nbsp;design concepts involved, there is&nbsp;only a&nbsp;venue and art. The strategy is&nbsp;indisputably advantageous for a&nbsp;contemporary museum, the assets including integration into urban environment, an&nbsp;opportunity to&nbsp;experiment with new non-museum space, placing works in&nbsp;the new context, which will certainly bring it&nbsp;to&nbsp;the new level of&nbsp;interpretation.</p> <p>The first project of&nbsp;the GUERRILLA MUSEUM's is&nbsp;&laquo;Gladiatoria&raquo; exhibition by&nbsp;Sergei Kalinin, which will take place in&nbsp;the former METROPOL casino and will present a&nbsp;series of&nbsp;paintings representing mixed martial arts. Sergei Kalinin is&nbsp;known as&nbsp;an&nbsp;academic artist, he&nbsp;plays on&nbsp;traditions of&nbsp;the Russian Realist School of&nbsp;painting with its fleshy texture, attention to&nbsp;plastic materials. &laquo;GLADIATORIA&raquo; series, displays the artist's interest in&nbsp;fighters' broken faces which for him present, first of&nbsp;all, rich plastic material for painting, for work with paints. Eighteen paintings will be&nbsp;exhibited in&nbsp;the luxurious interiors of&nbsp;the METROPOL. The ex-casino room will house a&nbsp;boxing ring filled with sand with black mini-tractors fighting each other.</p> <p><font size="3">Press-agent JMgroup:</font></p> <p>Head of&nbsp;PR&nbsp;group&nbsp;&mdash; Natalia Govorukhina,<br /> n. govoruhina@jmgroup. ru , cell. +7&nbsp;926&nbsp;508&nbsp;82 24</p> <p><font size="3">Moscow Museum of&nbsp;Modern Art</font></p> <p>PR&nbsp;department<br /> Contact person&nbsp;&mdash; Marina Stravets,<br /> pr@mmoma. ru tel. +7&nbsp;495&nbsp;694&nbsp;66 60,&nbsp;fax +7&nbsp;495&nbsp;231&nbsp;44 10</p> Former «Metropol» casino at 1/4 Teatralny passageGuerrilla Museum, a new project by Triumph Gallery, is supported by Moscow Museum of Modern Art. Guerrilla Museum is a new exhibition format, aiming at spontaneous and sudden choice of the venue.24947http://www.mmoma.ru/en/exhibitions/special/sergej_kalinin_gladiatoriya/http://www.mmoma.ru/en/exhibitions/special/sergej_kalinin_gladiatoriya/Within the Collateral Programme of&nbsp;Venice Biennale. &laquo;Unconditional Love&raquo; presents a spectrum of artistic approaches to defining the essence of unbridled love.Tue, 19 May 2009 19:14:00 +0400<p><em>&laquo;If&nbsp;somebody says, &rsquo;I&nbsp;love you,&rsquo; to&nbsp;me,&nbsp;I&nbsp;feel as&nbsp;though I&nbsp;had a&nbsp;pistol pointed at&nbsp;my&nbsp;head&raquo;<br /> <strong>Kurt Vonnegut</strong></em></p> <p>The romantic gesture sags with the weight of&nbsp;convention; it&nbsp;is&nbsp;framed as&nbsp;an&nbsp;exchange of&nbsp;gifts and stock phrases. Social conditions reduce love to&nbsp;a&nbsp;marriage of&nbsp;convenience allowing aging bodies to&nbsp;temporarily forget about the imminence of&nbsp;death. Physical and emotional intimacy are tools for dispelling the loneliness that would otherwise open a&nbsp;space for the contemplation of&nbsp;nonexistence.</p> <p>But take away the tacky conventions and bland comforts of&nbsp;romance, and love is&nbsp;not a&nbsp;distraction from existential crisis-it is&nbsp;a&nbsp;crisis, a&nbsp;sensation of&nbsp;the present so&nbsp;powerful it&nbsp;brings about a&nbsp;confrontation with the void. Unconditional love suffocates and seizes, subdues and annexes. It&nbsp;has the immediacy of&nbsp;both an&nbsp;orgasm and a&nbsp;pistol to&nbsp;the head.</p> <p>&laquo;Unconditional Love&raquo; presents a&nbsp;spectrum of&nbsp;artistic approaches to&nbsp;defining the essence of&nbsp;unbridled love. Curators Alexandrina Markvo, Alinda Sbragia, and Christina Steinbrecher have chosen artists from different countries and generations to&nbsp;trigger a&nbsp;spontaneous and surprising dialogue between artworks. All three are experienced in&nbsp;fostering the exchanges of&nbsp;art and ideas across cultural boundaries. Markvo organized Sir Norman Foster&rsquo;s retrospective in&nbsp;Moscow and Russian Act, a&nbsp;major festival of&nbsp;Russian art in&nbsp;London. Sbragia has taken part in&nbsp;projects to&nbsp;show Russian art in&nbsp;Italy and Italian art in&nbsp;Russia, while Steinbrecher, born in&nbsp;Germany, has worked at&nbsp;venues from the Palais de&nbsp;Tokyo in&nbsp;Paris to&nbsp;galleries in&nbsp;Almaty, Kazakhstan.</p> <p><font size="4">AES+F</font><br /> (Tatyana Arzamasova, Lev Evzovich, Evgeny Svyatsky, Vladimir Fridkes)<br /> (Russian, live in&nbsp;Moscow)</p> <p>&laquo;Unconditional Love&raquo; will feature the premiere of&nbsp;The Feast of&nbsp;Trimalchio, a&nbsp;new video project by&nbsp;the Moscow-based collective AES+F. The work updates and abstracts the story of&nbsp;the Roman plutocrat Trimalchio from Petronius&rsquo; Satyricon, transposing the orgies of&nbsp;masters and servants to&nbsp;the setting of&nbsp;a&nbsp;modern-day luxury hotel. The Asian maids perform services for their white male clients, and then the clients return them the favours. The loop of&nbsp;reciprocity suggests the frozen temporality of&nbsp;glamour, where only the present moment of&nbsp;youth, beauty, and hedonistic pleasure is&nbsp;valid. The Feast of&nbsp;Trimalchio caresses the contours of&nbsp;ephemeral passion, and in&nbsp;doing so&nbsp;it&nbsp;throws into relief the profundity of&nbsp;unconditional love.</p> <p><font size="4">Marina Abramovic:</font><br /> (Serbian, b.&nbsp;1946, lives in&nbsp;New York)</p> <p>Serbian artist Marina Abramovic is&nbsp;the grandmother of&nbsp;performance art. Her classic Rest Energy, 1980, documents a&nbsp;performance in&nbsp;which Abramovic&rsquo;s partner Ulay draws an&nbsp;arrow in&nbsp;a&nbsp;tense bow, aiming directly at&nbsp;her heart. With a&nbsp;single stroke, the scenario merges the ultimate trust of&nbsp;love with the threat of&nbsp;impending death. In&nbsp;a&nbsp;more recent work, the photographic series Virgin Warrior with Hearts, 2006, made in&nbsp;collaboration with Jan Fabre, Abramovic obscures her body in&nbsp;full armour as&nbsp;she bears forth bloody, scarlet hearts as&nbsp;battle trophies, violently reinvigorating the clich&eacute; of&nbsp;the organ&rsquo;s role in&nbsp;the sensation of&nbsp;love.</p> <p><font size="4">Sam Adams</font><br /> (British, b.&nbsp;1977, lives in&nbsp;London)</p> <p>Sam Adams is&nbsp;a&nbsp;young British artist whose mixed media abstractions have been noted for their vibrant, irregular geometries, and austere coloration. For &laquo;Unconditional Love&raquo; Adams has produced three interactive Love Chairs, which make viewers part of&nbsp;the exhibition. When they sit in&nbsp;the chairs, they are not aware that everyone in&nbsp;the gallery can hear what they are saying. While it&nbsp;has the potential to&nbsp;reveal strangers&rsquo; intimate thoughts, Adams&rsquo; work is&nbsp;not intrusive or&nbsp;a&nbsp;prank played on&nbsp;the viewer. Rather, it&nbsp;is&nbsp;an&nbsp;expression of&nbsp;his belief that the visitor is&nbsp;a&nbsp;natural part of&nbsp;the exhibition environment.</p> <p><font size="4">Artists Anonymous</font></p> <p>The collective Artists Anonymous works in&nbsp;painting, photography, video, installation, and performance, all while playing with the boundaries between those mediums. They paint the &laquo;after image,&raquo; meticulously creating pairs of&nbsp;photorealistic paintings that look like a&nbsp;snapshot and its negative print. how to&nbsp;persuade love to&nbsp;stay and the according negatives have personal origins, but viewers can recognize themselves in&nbsp;the image&rsquo;s common banality.</p> <p><font size="4">Angelo Bucarelli</font><br /> (Italian, b.&nbsp;1954, lives in&nbsp;Rome)</p> <p>After studying architecture, Angelo Bucarelli worked in&nbsp;various fields, including photography and film. He&nbsp;was an&nbsp;assistant to&nbsp;Fellini and Claude Lelouch, and also received the Olbia Award in&nbsp;1974&nbsp;for best Italian documentary. He&nbsp;is&nbsp;an&nbsp;artist, critic, and curator whose text-based sculptures involve clever, thought-provoking wordplay. &laquo;Unconditional Love&raquo; features a&nbsp;new iron piece by&nbsp;Bucarelli. Unpolished and dense, its physical presence conveys the weight of&nbsp;unbridled love.</p> <p><font size="4">Aristarkh Chernyshev</font><br /> (Russian, b.&nbsp;1968, lives in&nbsp;Moscow)</p> <p>Trained as&nbsp;an&nbsp;engineer, Aristarkh Chernyshev fell into the world of&nbsp;artists&rsquo; squats in&nbsp;Moscow during perestroika and continues to&nbsp;make art projects that connect his fluency in&nbsp;technology with conceptual ideas. For &laquo;Unconditional Love&raquo; Chernyshev plans to&nbsp;construct computerized, mechanical lava lamps, exaggerations of&nbsp;the idea of&nbsp;the decorative object that incorporate pornography in&nbsp;their moving images.</p> <p><font size="4">Wim Delvoye,</font><br /> (Belgian, b.&nbsp;1965, lives in&nbsp;Ghent)</p> <p>Belgian artist Wim Delvoye has exhibited at&nbsp;prestigious forums around the world. His works toe the border between art and other areas of&nbsp;contemporary visual culture, and always involve sensory pleasures and intricate surfaces. Delvoye&rsquo;s virally popular X-ray series makes vivid use of&nbsp;contradictory elements, as&nbsp;radiology (a&nbsp;measure of&nbsp;prevention) and the skeleton as&nbsp;memento mori function in&nbsp;tandem. On&nbsp;top of&nbsp;that, the work also celebrates life through a&nbsp;depiction of&nbsp;sexual pleasure, though the excitement of&nbsp;contact is&nbsp;ironically mediated by&nbsp;a&nbsp;medical device.</p> <p><font size="4">Dasha Fursey</font><br /> (Russian, b.&nbsp;1978, lives in&nbsp;Saint Petersburg)</p> <p>The young Russian painter Dasha Fursey works with portraiture and its attendant codes of&nbsp;femininity. Her Ave Maria updates the iconography of&nbsp;the Virgin Mary. A&nbsp;pregnant woman looks directly and confidently at&nbsp;the viewer; she is&nbsp;painted with richly textured, thick brushstrokes that emphasize the fleshiness of&nbsp;her skin and the fullness of&nbsp;her belly. The figure is&nbsp;earthy, yet the gold in&nbsp;the background hints at&nbsp;iconographic conventions of&nbsp;depicting the metaphysical and spiritual.</p> <p><font size="4">Miltos Manetas</font><br /> (Greek, b.&nbsp;1964, lives in&nbsp;London)</p> <p>Greek artist Miltos Manetas is&nbsp;best known for his conceptual web sites that use clever animations to&nbsp;pay playful homage to&nbsp;great artists. He&nbsp;also paints pieces of&nbsp;computer hardware and peripheral equipment, depicting the cold metal and synthetic materials as&nbsp;soft, nuanced figures, and makes small parts monumental by&nbsp;painting them on&nbsp;large canvases. In&nbsp;Manetas&rsquo; execution, an&nbsp;ordinary plug takes on&nbsp;a&nbsp;melancholy loneliness-a male extension pining for the female.</p> <p><font size="4">Almagul Menlibayeva:</font><br /> (Kazakh, b.&nbsp;1969, lives and works in&nbsp;Germany, Kazakhstan)</p> <p>Like many Central Asian artists of&nbsp;her generation, Almagul Menlibayeva is&nbsp;interested in&nbsp;the efforts to&nbsp;establish a&nbsp;post-Soviet national identity in&nbsp;her homeland, which usually involve a&nbsp;braiding of&nbsp;Islamic and pagan traditions with market-friendly global culture. The imagery of&nbsp;Menlibayeva&rsquo;s works both echoes dominant culture and critiques it.&nbsp;Her video Exodus transports the viewer to&nbsp;present-day Kazakhstan, where a&nbsp;strange and powerful tale unravels. As&nbsp;men and women pack up&nbsp;their yurts with the clear intent to&nbsp;move on,&nbsp;a&nbsp;young girl watches, captivated and immobile. She seems to&nbsp;be&nbsp;left behind. Her image invokes the experience of&nbsp;geographic uprooting in&nbsp;a&nbsp;global world. In&nbsp;an&nbsp;interlude that offers another take on&nbsp;immobility, two women become birdlike creatures as&nbsp;the hair on&nbsp;their violently thrashing heads begins to&nbsp;look like wings.</p> <p><font size="4">Angelo Musco</font><br /> (Italian, b.&nbsp;Naples, lives in&nbsp;New York)</p> <p>Angelo Musco&rsquo;s latest work, Hadal, takes its name from the geological term for the deepest part of&nbsp;the ocean. A&nbsp;mobile nest of&nbsp;hundreds of&nbsp;nude, silvery human bodies swirls in&nbsp;a&nbsp;cloudy darkness evocative of&nbsp;the deep sea. The grouping of&nbsp;lithe male and female figures is&nbsp;erotic, while the dynamism and the lack of&nbsp;individual features makes the scene look like a&nbsp;swarm of&nbsp;sperm cells, suggesting the vulnerability and mystery of&nbsp;life&rsquo;s beginnings.</p> <p><font size="4">Youssef Nabil</font><br /> (Egyptian, b.&nbsp;1972, lives in&nbsp;New York)</p> <p>The ironic self-portraiture of&nbsp;the young photographer Youssef Nabil offers a&nbsp;dry and instructive counterpoint to&nbsp;the more intense expressions of&nbsp;emotion in&nbsp;&laquo;Unconditional Love.&raquo; The first panel in&nbsp;Youssef Nabil&rsquo;s two-part self-portrait My&nbsp;time to&nbsp;go&cedil; 2007, shows the artist alone, asleep in&nbsp;bed beneath a&nbsp;framed poster of&nbsp;two cherubs in&nbsp;reverie. In&nbsp;the next panel, the unmade bed lies empty, creating a&nbsp;contrast between the dynamic body that has left the room and the static language of&nbsp;popular romance embodied by&nbsp;the poster.</p> <p><font size="4">Velena Nikova</font><br /> (Russian, b.&nbsp;1968, lives in&nbsp;Rome)</p> <p>The daughter of&nbsp;an&nbsp;orthodox priest, Velena Nikova started her career in&nbsp;1987, when she received a&nbsp;prize as&nbsp;the best young designer in&nbsp;the Soviet Union. After her first group exhibition in&nbsp;Moscow&rsquo;s Central Exhibition Hall in&nbsp;1990, she performed with Valery Cherkashin in&nbsp;Silver. Underground Erotic, a&nbsp;conceptual art exhibition in&nbsp;a&nbsp;metro station in&nbsp;central Moscow. Today her silk-screens are preserved in&nbsp;many museum collections. The new series of&nbsp;prints of&nbsp;canvas show the traces of&nbsp;bodies partially obscured by&nbsp;bursts of&nbsp;light, which makes it&nbsp;impossible to&nbsp;tell whether the arms of&nbsp;her phantom figures are thrown up&nbsp;in&nbsp;self-defence or&nbsp;tangled in&nbsp;an&nbsp;embrace.</p> <p><font size="4">Jaume Plensa</font><br /> (Catalan, b.&nbsp;1955, lives in&nbsp;Barcelona)</p> <p>An&nbsp;internationally renowned sculptor, Jaume Plensa has installed public artworks in&nbsp;Chicago, Stockholm, and other major cities. His works exude a&nbsp;contemplative spirit and a&nbsp;sensitivity for their environment. &laquo;Unconditional Love&raquo; will include his installation Gluck Auf, where diaphanous curtains contain the complete text of&nbsp;the Universal Declaration of&nbsp;Human Rights, broken down into letters and rearranged in&nbsp;fragments. Plensa&rsquo;s gibberish remix of&nbsp;the statement communicates the distance between the ideal of&nbsp;human rights and the failure to&nbsp;meet them in&nbsp;many societies. It&nbsp;makes a&nbsp;neat parallel for the gap between the feeling of&nbsp;love-that most basic freedom-and the weakness of&nbsp;our verbal expressions for&nbsp;it.</p> <p><font size="4">Olympia Scarry</font><br /> (Swiss, b.&nbsp;1983, lives in&nbsp;London)</p> <p>Olympia Scarry will present a&nbsp;new piece for the show called Polythene.<br /> Scarry&rsquo;s&nbsp;work is&nbsp;about vulnerability, inner chaos and her attempt to&nbsp;solve her compulsive interpersonal relations. For the show Unconditional Love she presents an&nbsp;installation made out of&nbsp;the material which recalls the title (polythene) that highlights this state of&nbsp;defense towards the exterior world. Because of&nbsp;its outstanding toughness and its cut, wear and excellent chemical resistance, is&nbsp;used in&nbsp;a&nbsp;wide diversity of&nbsp;applications. These include can and bottle handling, moving parts on&nbsp;weaving machines, artificial joints, edge protection on&nbsp;ice rinks and butchers&rsquo; chopping boards. It&nbsp;competes with Aramid in&nbsp;bulletproof vests, and is&nbsp;commonly used for the construction of&nbsp;articular portions of&nbsp;implants used for hip and knee replacements. Olympia Scarry chose this material for all these reasons.</p> <p><font size="4">Olga Soldatova</font><br /> (Russian, b.&nbsp;1965, lives in&nbsp;Moscow)</p> <p>Olga Soldatova is&nbsp;Moscow-based artist and designer who applies the medieval Russian tradition of&nbsp;embroidery with beads to&nbsp;nostalgic Soviet themes, a&nbsp;technique that, paradoxically, yields works with a&nbsp;contemporary, sensual flair. Inspired by&nbsp;Pop art&rsquo;s placement of&nbsp;the artist in&nbsp;the role of&nbsp;a&nbsp;machine, and making a&nbsp;self-deprecating joke about her own &laquo;commercial&raquo; work as&nbsp;a&nbsp;designer. The Art Machine sells precious petit art works oozed with sticky romance. It&nbsp;plays upon the commercialization of&nbsp;take-away, pocket size memories that can be&nbsp;bought at&nbsp;tourist shops.</p> <p><font size="4">Vadim Zakharov</font><br /> (Russian, b.&nbsp;1959, lives in&nbsp;Moscow and Cologne)</p> <p>Vadim Zakharov makes wry, cerebral, conceptual works that reflect his coming of&nbsp;age in&nbsp;Moscow&rsquo;s underground art scene of&nbsp;the early 1980s. His sculpture Execution of&nbsp;Love was inspired by&nbsp;both an&nbsp;antique chair for punishing children he&nbsp;came across in&nbsp;a&nbsp;provincial German museum and the old Chinese practice of&nbsp;torture that seats a&nbsp;criminal over live bamboo shoots so&nbsp;that they will grow into his body. Here the seat perches above a&nbsp;live rose, turning an&nbsp;overused symbol of&nbsp;romance into an&nbsp;instrument of&nbsp;torture.</p> <p><strong>Contacts&amp;Accreditation:</strong></p> <p>Angelo Bucarelli (Head of&nbsp;Italian press-office) +3&nbsp;934&nbsp;870&nbsp;69 007, mail@angelobucarelli. com<br /> Olga Volzhina (Head of&nbsp;communications) + 7&nbsp;916&nbsp;439&nbsp;4441, ovolzhina@buro17. com<br /> Motya Petrakova (PR&nbsp;Director) +7&nbsp;909&nbsp;647&nbsp;7979, pressoffice@buro17. com</p>Arsenale Novissimo, Venice, ItalyWithin the Collateral Programme of&nbsp;Venice Biennale. &laquo;Unconditional Love&raquo; presents a spectrum of artistic approaches to defining the essence of unbridled love.24288http://www.mmoma.ru/en/exhibitions/special/unconditional_love/http://www.mmoma.ru/en/exhibitions/special/unconditional_love/