Posted by artradar on August 10, 2010
RUSSIAN ARTIST COLLECTIVE PHOTOGRAPHY VIDEO
Made up of artists Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky, and Vladmir Fridkes, internatinoally acclaimed Russian collective AES+F returns once again to Moscow’s Garage Center for Contemporary Culture in the center’s newest exhibition, “The Feast of Trimalchio“.
AES+F, 'Triptych #1. Panorama #2', 2010, digital collage. Image courtesy of Garage Center for Contemporary Culture.
Curated by Olga Sviblova, the collective’s interpretation of Satyricon, a work by Roman poet Gaius Petronious Arbiter, features a nine channel video installation of a hotel resort paradise threatened by disaster. The artists’ website states:
the atmosphere of ‘The Feast of Trimalchio’ can be seen as bringing together the hotel rituals of leisure and pleasure … On the other hand the ‘servants’ are more than attentive service-providers. They are participants in an orgy, bringing to life any fantasy of the ‘masters’.
The show, which runs from 19 June to 29 August, features both the video installation as well as several brand new, never-before-seen panoramic digital collages.
Watch Garage Center’s short preview of “The Feast of Trimalchio” here (video length, 1:07 mins)
Related Topics: AES+F, Russian, photography, video art
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Posted in AES+F, Collaborative, Consumerism, Fantasy art, Human Body, Moscow, Museum shows, Olga Sviblova, Photography, Russia, Russian, Utopian art, Video | Tagged: AES+F, art video, artist collaboratives, collaborative art, contemporary photography, contemporary video art, Erica Holloway, Evgeny Svyatsky, exhibition, fantasy art, Gaius Petronious Arbiter, Garage Center, Garage Center for Contemporary Culture, Lev Evzovitch, Olga Sviblova, panoramic digital collages, photography, photography exhibitions, Roman poetry, Russian art, Russian artist, Russian artists, Russian contemporary art, Russian contemporary artists, Russian curator, Russian galleries, Russian installation art, Russian photography, Russian video art, Satyricon, Tatiana Arzamasova, The Feast of Trimalchio, utopian art, Video, Video art, video installation, Vladimir Fridkes | Leave a Comment »
Posted by artradar on September 12, 2009
RUSSIAN ART MUSEUMS
Two new contemporary art museums are planned for Moscow reports Artinfo.
National Centre for Contemporary Art
Facade of National Centre for Contemporary Art
Mikhail Mindlin and Leonid Bazhanov, directors of the National Centre for Contemporary Art in Moscow, initiated the plan to establish a new contemporary art museum in the region. The $100 million proposal, although not government-funded, is approved by the Minister of Culture Alexander Avdeev.
Mindlin and Bazhanov face two options: “either wait until the crisis is over or form a partnership with gallerists and local businessmen who show an interest in contemporary art.”
On July 24, the Ministry of Culture invited a number of gallerists and businessmen to its private session.
According to ARTINFO, attendees included:
Gary Tatintsian, owner of Tatintsian Gallery (which recently sold a small Jake and Dinos Chapman sculpture to the center at a discounted price after no one stepped up to buy it following its debut at a group show there four years ago), and Alexey Tsarevsky, head of Horizont Finance Company. Horizont is owned by Valery Nosov, who also owns ArtMedia Group, a publishing house that puts out two art magazines — Art+Auction Russia (a publishing partner of ARTINFO sister publication Art+Auction) and Blacksquare — and an arts and culture Web site, openspace.ru. Tsarevsky promised help from Horizont, including “consulting with the center on the predevelopment level and financial administration of the project.
The goal is to complete the project by 2015.
While in the process of developing a new museum, Mindlin and Bazhanov hope to expand their current museum too:
The two, who would lead the new institution, plan to expand the center’s current home to include 25,000 additional square meters (269,100 square feet) of new exhibition space, as well as a café, storage facilities, and a cinema, among other amenities. Essentially, the center would transition from a small, state-funded institution to a large and complex one, with the new museum inheriting its management and resources.
Their plan is not exactly new. The center already expanded once, in 2004, adding a three-story building as part of a larger redevelopment plan that would have included a large hotel and financed the center’s activities with money from developers. The current proposal adapts the earlier plan to the realities of the current economic situation. For example, with most of Moscow’s building projects on hold, no commercial spaces are planned to accompany the future museum, and it’s unclear if the new project will be subject to an architectural competition.
Stella Art Foundation
That Obscure Object of Art. Collections of Stella Art Foundation. Displayed at the Venice Biennale.
In tandem, Stella and Igor Kesaev, respectively the director and the funder of the Stella Art Foundation, have recently purchased a Constructivist garage in the centre of Moscow for a planned museum to house their foundation’s collections.
The couple showed their private collection of postwar art in Vienna a year ago, and the foundation financed an Ilya and Emilia Kabakov exhibition at St. Petersburg’s Hermitage Museum(www.hermitagemuseum.org) in 2005, as well as Culture Minister Alexander Avdeev’s trip to the Venice Biennale for the opening of the Russian Pavilion this year.
Despite the state’s inability and reluctance to provide financial aid, the Ministry of Culture may still provide funds by drawing on Russian businesses.
Russian oligarchs invest in art to rehabilitate their image with the Kremlin, buying works abroad and bringing them (or “returning” them, in patriotic terms) to Russia.
Read full article at ARTINFO
Contributed by Wendy Ma
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Posted in Art districts, Art Funds, Funding, Moscow, Museums, Russia, Russian | Tagged: Art Moscow, art museum Moscow, art museums, ArtMedia Group, Gary Tatintsian, moscow, Museums, National Centre for Contemporary Art, Russian art, Stella Art Foundation, Valery Nosov | Leave a Comment »
Posted by artradar on February 16, 2009
RUSSIAN ART COLLECTOR
Varoli reports on Bloomberg that Leonid Mikhelson is sponsoring a display of 30 works by 20th-century Russian master artist Kuzma Petrov-Vodkin, many of which are well known to the public.
Billionaire Leonid Mikhelson’s company OAO Novatek is sponsoring Russia’s first exhibition of a state museum’s works by a private gallery, with a display of 30 masterpieces by the 20th-century master Kuzma Petrov-Vodkin.
Russia’s second-biggest gas producer is making history 534 miles southeast of Moscow at the Victoria Gallery in the Volga city of Samara. Patronage is aiding Russian culture despite the decline in economic growth, stocks and the ruble.
Some of the paintings, known to many Russians since childhood, show a Bolshevik leader dying on the battlefield and a peasant riding a red horse which sails off into the sky.
“Novatek doesn’t abandon friends in hard times,” Vladimir Smirnov, Novatek’s vice-chairman, said in an interview. “We will continue to finance exhibitions at leading Russian museums.” The pieces are on loan from St. Petersburg’s State Russian Museum.
Novatek’s is also financing the Russian Pavilion at the Venice Biennale in June 2009.
The company is the main sponsor and has pledged 300,000 euros ($385,700). Mastercard Worldwide is another leading sponsor of the pavilion, while the Russian government pays about 10 percent of the costs.
“Without Novatek’s support, it wouldn’t have been possible to pull this off,” said Olga Sviblova, chairwoman of the Russian Pavilion. “Most Russian companies prefer to support classical art, not contemporary art.”
Novatek Chief Executive Officer Mikhelson is a collector of Russian fine art. While he declined to comment about his collection, art dealers say he prefers 19th-century and early 20th-century Russian art.
Born in a town on the Caspian Sea in Russia’s republic of Dagestan, Mikhelson graduated in 1977 from Samara’s Civil Engineering Institute. Before helping to create Novatek in 1994, he spent most of his career building gas pipelines.
In April 2008, Forbes estimated Mikhelson’s fortune at $5.9 billion, and ranked him as Russia’s 27th richest person.
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Posted in Biennials, Recession, Russia, Russian | Tagged: art recession, Leonid Mikhelson, Russian art, Russian collectors, Russian Pavilion, Venice Biennale | 1 Comment »
Posted by artradar on January 30, 2009
RUSSIAN ART PRIZE
The Art Newspaper reports that Kandinsky Prize prize winner Alexey Beliavev-Guintovt continues to cause controversy and threatens a split amongst the supporters of the Russian contemporary art scene.
“These (art) unprecedented divisions in a community which hitherto has been more-or-less united to promote contemporary art in and outside Russia,” said Matthew Bown, a Russian art dealer based in London.
Artist accused of being fascist, jury member disavows vote
The debacle began on the night of the award ceremony when 2007 winner Anatoli Osmolovsky
stood up and lambasted Beliayev-Guintovt when he was announced the winner. In the days and weeks that followed, prominent dealers, critics and curators readily gave interviews accusing the artist of being a “fascist” and “ultra-nationalist” for his views, and his art style that harks back to Stalinist-era aesthetics.
Friedhelm Hutte, a jury member and representative of Deutsche Bank, the prize’s co-sponsor, retracted his vote for Beliayev-Guintovt in an interview with the German website, Taz.de.
Beliayev-Guintovt prices boosted by controversy
Whatever the state of the argument, and despite the economic downturn, the Kandinsky Prize and all the surrounding controversy have done the winner no harm at all. Triumph Gallery reports that prices of Beliayev-Guintovt’s works are up by 30%.
Source: The Art Newspaper
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Posted in Emerging artists, Moscow, Painting, Prizes, Russia, Russian | Tagged: Alexey Beliayev-Guintovt, Anatoli Osmolovsky, art recession, Friedhelm Hutte, Kandinsky prize, Russian art, Russian artist | Leave a Comment »
Posted by artradar on January 1, 2009
Olga Chernysheva Moscow Area
RUSSIAN VIDEO ART LONDON
Russian video art is on our radar. With Dasha Zhukova currently showing 12 leading video artists on giant outdoor screens in Moscow and Russian video artist group AES+F experiencing meteoric success over the last 18 months, interest in electronic and new media art in and from Russia is on the rise. Now there is an opportunity to learn more about Russian video art by talking with and experiencing the works of artist Olga Chernysheva in London this winter.
Moscow-based Russian artist Olga Chernysheva, a graduate of the Moscow Cinema Academy and the Rijksakademie, Amsterdam, captures quotidian life in post-communist Russia.
Olga Chernysheva talk and video show at ICA January 13 2009
On 13 January 2009 at the Institute of Contemporary Arts she discusses her practice in the context of Russia today, and shows several of her video works.
In The Train (2003), the director’s camera traverses the cars of an intercity Moscow train; Anonymous (2004) portrays a middle-aged woman and a drunken man each having a private moment in a public park; and March (2005) captures the dynamics between young male cadets, scantily clad teenage cheerleaders and band members performing before a corporate event. The programme also includes her newest video, Untitled After Sengai (2008).
ICA Olga Chernysheva talk details
Olga Chernysheva From the Deputy
White Space gallery exhibition of Olga Chernysheva photographs to January 17 2009
White Space gallery presents Acquaintance. a new series of photographs by Russian artist Olga Chernysheva. A series of new drawings, a video and a sculptural installation will also be exhibited.
Chernysheva’s work frequently expresses a social interest in relation to how her country is changing. For instance, in her Moscow Area series she might highlight those things frequently relegated to the edges of society and consciousness, such as a group of elderly in a home, an old lady entering a church to pray, or the queues of people entering and exiting the Moscow underground metro system.
Likewise, monuments from the time of Communism are explored in the Alley of Cosmonauts series in terms of their intended meaning as symbols of power and the advancement of the Communist state, versus their current semi-ruinous condition – in what also seems to be either a muddy and disorganized building site – as remnants of a previous civilization, dotted amongst a new society growing around them.
Whilst one can frequently read disillusionment, loss and isolation in Chernysheva’s images, one also sees signs of life and renewal, perseverance and warmth in what they depict. Her films and photographs transcend their documentary function, investigating instead the very fabric of the individuality, stoicism and self-sufficiency of the Russian character, meditating at the same time on the role of the artist in a time of change.
White Space Gallery
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Posted in Gallery shows, London, Photography, Russian, UK, Video | Tagged: art London, Olga Chernysheva, Russian art, Russian contemporary art, Russian video art, Video art | Leave a Comment »
Posted by artradar on October 24, 2008
ART FAIR LONDON
Like Frieze, the Zoo Art Fair, which was held at the Royal Academy’s Burlington Street galleries, concentrates on new work. “Several of us did very well,” says Nick Hackworth, director of London’s Paradise Row gallery, which sold four works by Russian artist Gosha Ostretsov for £13,000 each within the first half an hour.
“We’ve had a lot of major collectors who would normally have been looking at very established artists, coming to look for new, exciting younger artists here. Maybe the trend this month is that while overvalued works at the top and middle of the market have suffered, emerging art is fine.”
Posted in Cartoon, Collectors, Emerging artists, Events, Fairs, Installation, London, Market watch, Recession, Russian, UK | Tagged: art fairs, Emerging artists, Russian art, Russian art collectors, Russian artist, Russian emerging artists | Leave a Comment »
Posted by artradar on August 25, 2008
Daha Zhukova, Abramovich
RUSSIA NEW CONTEMPORARY ART SPACE opens September 2008
Dasha Zhukova is to open a contemporary art space in the Bakhmetevsky Bus Garage, a giant red-brick Constructivist-era landmark near the Olympic Stadium in Moscow. Popular with architects the garage was designed in 1926 by Konstantin Melnikov.
“I thought Moscow should have a space like this for contemporary art,” Zhukova said. “There is a huge thirst for knowledge among the younger generation for contemporary art, but most of them learn about it by going on the Internet.”
Under its new name the Garage Center for Contemporary Culture this 92,000 square foot space will open next month and its first show will be a retrospective of the artists Ilya and Emilia Kabakov.
Zhukova herself acknowledges being a relative art neophyte. “I didn’t study art history and don’t remember names of artists,” she said. “But if I like an image, I remember it.”
Born in Moscow in 1981, Zhukova is an only child. Her parents divorced when she was young, and when her mother, a molecular biologist, took a job at the University of California, Los Angeles, in the early 1990s, they moved there. Zhukova spoke not a word of English. But she quickly adjusted, she said, attending schools in Los Angeles and then the University of California, Santa Barbara.
A year ago few people in the art world had heard of her.
Zhukova said she isn’t modeling the Garage Center after any specific museum. “I’m taking different aspects of different institutions that are inspiring influences,” she said.
Besides aid from Abramovich, financing is also coming from other private sources and corporations. Admission will be free.
After the Kabakov exhibition that opens next month, the Garage Center plans to exhibit works from the collection of Christie’s owner, the luxury goods magnate François Pinault, whose foundation is based in the Palazzo Grassi in Venice. Dent-Brocklehurst said she was considering commissioning artists to create site-specific works for the space, analogous to installations in the vast Turbine Hall at the Tate Modern.
Asked if the Garage would have its own collection, Zhukova said that would be many years down the road, if ever.”For now I’m trying to learn as much as I can to make up for my lack of art history,” she said. “The more I read, the more I realize what I don’t know.”
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Posted in Art spaces, Collectors, Russian | Tagged: Abramovich, art advisors, art collectors, art curator, art on internet, art space, Dasha Zhukova, Dent-Brocklehurst, Emilia Kabakov, Francois Pinault, Garage Center, Garage Center for Contemporary Culture, Ilya Kabakov, installation, moscow, Russian art, Russian collectors | Leave a Comment »