Information is saturating our world day by day, shouting, hissing, and interrupting itself, in the end becoming monotonous noise. Noise we often prefer to ignore, but which still shapes our perception of news, situations, and people. What could we know about a media-person we have never met in our life? Nastya Miro chooses a very careful non-intrusive way to talk about her characters: she uses warmly-colored tempera to create a cosy
environment for viewers to meet her characters, but keeping noise as symbolic background and as a reminder that it’s always around and maybe it’s already a part of their personalities.
Berenice Nauta, Suzie van Sraaveren
Bernice Nauta’s works are relics from the stories of the fictional characters she creates. By working from the points of view of these protagonists, Nauta feels free to keep a kind of personal distance from the works she makes, whether they are paintings or music. Susie van Staveren also tries to create a personal distance with her abstract recomposable sculptures, which are shape shifters between the two and three-dimensional world. The composition of the different elements is often influenced by the participation of other parties and by the specifications of a certain space. In The Compromise new fictional characters by Nauta will participate in Staveren’s work creating a dialogue of multiple perspectives.
The myth of Primordial Man — ןומדק םדא — is defined by separation of one monumental entity into a multiplicity of material entities. Before God created the world, he offered his creations a mirror.
Evgenia Voronova, Asmik Melkonyan, Anastasia Omelchenko, Mikhail Plohocky, Polina Sinyatkina, Christina Strunkova, Gaiane Tavakalova, Liza Tulchinskaya, Alena Fedotkina, Katya Shinkareva, Oliel_M
"Dummy" in our context is a young artist, striving to determine the recipe for success in the contemporary art field and throw off the shackles of institutional apparatus. The curatorial project based on a scientific study will bring together artists of the generation Y. The exposition will include the integrated mediums as a result of reflection on the extracted lifehack coordinate. Gen Y is characterised by the enthusiasm towards finding the answers to the questions through confronting the dummies' consciousness with the modern realities in an irreversible, infinite web. Gen Y wants to obtain the looseness of thought in art space by settling the context of the present. "Five Lifehacks for 'Dummies'" is placing the question in a new attempt of receiving an answer:
1. Lifehack – Search for the truth/ Search for true meaning
2. Lifehack – Utopian dreams / Romance of selfrealization
3. Lifehack – Memory / Reproduction of consciousness
4. Lifehack – Egalitarianism / Free society
5. Lifehack – The art of watching / Short attention
Sofa Skidan tries to construct a laboratory for the study of new sexuality. The artist considers representation of sexuality as the practice of erasing of identity, structural memory and perception images from the outside.
Zugzwang is a reflection of the author on his past experience — the events that a person tries in vain to retain in his memory. The theme emerges as a kind of promise of getting acquainted and penetrating into a personal story and of immersing oneself in an account of what has happened.
Anastasia Alekhina, Julia Borovaya, Dmitry Venkov, Cyrus Weinstein, Alina Glazun, Daugela Gediminas, Vladislav Efimov, Nastya Kuzmina, Egor Kraft, Where Dogs Run (Alexey Korzukhin, Natalia Grekhova, Olga Inozemtseva)), Vic Lachenov, Anna Lyalina, Mish-Mash (Mikhail Leikin, Maria Sumnina), Angelina Merenkova, Marina Rudenko, Gregory Sel'skiy, Crocodile Power (Petr Goloschapov, Oksana Simatov), Anna Tolkacheva, Olga Fedorova, Darya Cheremoshan, Ekaterina Shiryaeva
Art chooses paradoxical hybridisation, it doesn’t aim to serve the utilitarian needs of today’s society but aims to convert the focus of public opinion to zones previously hidden from it, and to approaches that construct the opposing scenarios of development, giving the society new opportunities not only in the field of aesthetics but in the area of interpersonal communication. At the exhibition the spectator encounters an assembly of incongruous aesthetics and works which enter the logic of paradox with other exhibits of the exhibition while remaining in the same area.
Getting into the space of the exhibition hall the viewer is placed under the influence of the transmedial exposure, which is constantly changing according to the concept of the curator. The exhibition is the result of the meetings and discussions formed by the Research Team.
The main goal of the researchers is formulating the possible laws for the existence of the unknown object of the future. The visible manifestations of these laws to the viewer are soundscapes, installation, performance, media discussions. They are forming the program of project’s events. The audio component of the project is developed by the curator and performative group within the framework of the laboratory-study of the influence of sound properties on the formation of a community bounded by a common territory.
Moody Possibilties is a hand-print project which aims to function like a stream of consciousness. The various fragments of texts and the patterns question our cultural points of reference and the utopian idea of an aesthetic perception of daily life. The various topics evoqued, such as the status of the artwork or the claiming of an organic and non-linear way of working, are treated in accordance to an idea of transdisciplinarity and complex thinking. This open system is nourished by the subjects, discussions, people and cultural productions the artist was working with during the residency in Moscow.
Martin Ševovitch, Peter Čintalan
Martin Ševčovič introduces a collection created by using the unique liquid matrix technology that he invented during his dissertation research, when examining the graphics medium and trying to find a way to create a print in process. The main aim of experimental prints is creating the visual symbols of the building blocks of cognitive individuality. The process created by fluid matrix printing shows the imaginary and transformative force of these minor, and sometimes hidden, narratives of artificial nature. Peter Cintalan uses photographic media to record the experimental prints of Ševčovič in the real world. Cintalan, in his photographic series, draws attention to the influence of the external environment and factors on the object. The reflection of the surrounding environment creates a unique imprint on the unrepeatable surface of the carrier, making it identifiable;
the strictly cut shape evoke a sample of the material prepared for the experiment; the imperfection of the material surface can lead to the uniqueness of the object.
Taras Burnashev, Tatyana Gordeeva, Alexandra Konnikova
What the hell is happening here? (WHHH) is a board game for artists, curators and researchers to discover alternative forms of art education. The main motive is Russian
social history and the lack of specified institutional trajectories. Indeed, WHHH only imitates a board game, in practical terms it takes the form of a dialogue, conducted
under certain rules. The territory of the unknown becomes the main focus. Questioning and drawing parallels between the already explored context of the nineties, curators map out the art education sphere in Russia.
Alexander Golynsky, Anatoly Osmolovsky
The title Soft Edge is an inversion of the term "hard-Edge" which relates to both post-painterly and geometric abstraction of the late 50's and 60's. The exhibition presents a collaborative project by Anatoly Osmolovsky, rector of the Base Institute, and his student Alexander Golynsky. Both of them turn to the artistic legacy of modernism in search of models of interaction between authors and pieces of different generations and periods.
For the show some of the sculptures from the Sidur museum's permanent exhibition are dressed up with tarpaulin slipcovers of khaki color created by Osmolovsky so as to accentuate their formal qualities, thereby problematizing the militaristic aspect of the
history of modernism and at the same time insisting on the idea of the autonomy of art as a pure form. Alexander Golynsky takes up this idea, treating the form as a package and regarding color and plastic of the packing material as a field of a pure play.
Mechanical arm is built on an idea that human existence — and therefore an artist»s existence — today has no value. The hero of the day is a robot, the author is a neural network, and the performer is a mechanical arm. The new monumental art becomes a documentation of subsequent stages on the way to the technological singularity. A fascination that posthuman brings makes one want to understand its nature. A traditional artistic background (the faculty of monumental sculpture in art academy) dictates the author a method for this research — a study of the form through contemplation and replication of an object. Whereas institutional inertness impels to create the school of robo-depiction and an institution for study and interpretation of these images. The framework of this project involves organizing open sessions with modeling and pencilling robots, as well as an educational program about robotization, its history, and evolution.
Agency of Singular Investigations, Elsa Artmann & Samuel Duvoisin, Zbyněk Baladrán, Ilmira Bolotyan, Paula Gehrmann, Pavle Heidler, Marko Gutić Mižimakov, Sonja Pregrad & Elli Kuruş, Anne Krönker, Silvia Marchig, Kirill Savchenkov, Adelita Husni-Bey, Katharina Zimmerhakl
Works from the collection of MMOMA:
Andrey Brey, Anatoly Eremin, Ephrosinia Ermilova-Platova, Nicolay Kuprianov, Vera Milyutina, Gerta Nemenova, Alexander Rodchenko
Examining different forms of collectivities — from the nuclear family to assemblies of human and nonhuman agents — the exhibition Based on these new dependencies, we define five normal forms by the Leipzig based art space D21 aims at reflecting and nudging the evolution of social relation-ships, articulating unarticulated desires towards new relations and fostering propositions about how we can live together. In order to do so, the exhibition looks at a historical moment when this situation was already acute: the exhibition and the accompanying program are geared towards the resurrection of the Proletkult spirit to act as a training ground for the radical recombination of social relationships. Based on these new dependencies, we define five normal forms shows the already existing and establishes new bonds and kinships between the works from the MMOMA collection and the contemporary works. The exhibition space draws inspiration from the different functions performed by the workers' clubs. It acts not only as a place to experience art, but also as a library, a training ground, and an oracle — changing its
function according to the activities taking place.
Nastya Belova, Ayana Chigzhit, Natasha Dahnberg, Paruyr Davtyan, Lena Demi-dova, Alya Hestanti, Maria Ionova-Gribina, Alexey Khamov, Olya Kroytor, Masha Obukhova, Uliyana Podkoritova, Roi Group (Anna Butenko, Antonina Gorbenko, Varvara Grankova, Lyuba Sautina, Victoria Khrenova), Marina Rudenko, Yanka Smetanina, Mari Sokol, Tanya Sushenkova, Anna Tretyakova, Eva Zhigalova, Natalia Zotikova
The beliefs connected with hair exist practically in all people. A consideration of the relation of today's artists to these intimate artefacts, their place and a role in modern culture is the theme of this exhibition.
Sophia Astashova, Ivan Banankin, Anna Belousova, Polina Egorushkina, Catherina Igoshina, Gala Izmaylova, Katya Isaeva, Alexandra Knyazeva, Elizaveta Konovalova, Anya Lyalina, Piotr Macha, Natalia Monakhova, Kira Mrik, Mateusz Piestrak, Anna Sopova, Kirill Stefanov, Maksim Tatarintsev, Denis Uranov, Kristina Cyan, Konstantin Tsokur, Antanas Jacinevicius
The exhibition observes communication mechanisms between artist and art community and provides a wide range of different narratives based on individual strategies and practices of interaction with space and the viewer.
Realising by performative group
A one day performance/investigation. Realized by a performance group. Includes online broadcasting and communication between participants from a score, formed by a Telegram channel in real time.
Maria Akimova, Olga Gurevich, Yulia Ivaschenko, Maxim Strutskiy, Evgenia Strygina
Dynamic chaos invites the viewer to see the complex Brownian structures of the world, enclosed in the form of everyday phenomena: street fussiness, traffic. The apparent ambiguity of action becomes a dynamic structure of reality.
Anna Aristova, Anastasia Afonina, Julia Gvozdeva, Anton Kobets, Karimat Musaeva, Elizaveta Nagibina, Arina Orlova, Peter Pshenichny, Sergey Sviridov, Elina Stepanova, Alla Trashcheeva, Ilya Filenko
The Kovcheg Exhibition Hall together with RUDN University is holding a competition "The Best Youth Curatorial Project — 2018". The theme of the contest is "MEDIAzakhvat” (Media Сapture). The concept of media is extensive and includes all means and channels of communication that allow the forming, transmission and processing of information. Within modern culture media is considered in the context of technological innovations that allow a person to expand their cognitive abilities and experience of communication with the world. Media is both content and form: different materials and techniques with characteristic and specific properties become means and channels of communication. Topic "MEDIAzakhvat” (Media Сapture) proposes the consideration of media not only as a set of relevant innovative technologies, but also as an archetype, allowing man to communicate with society, with nature and with the non-real.
Alex Anikina, Katja Aglert, Nikita Vasilenko, Valentina Vasileva, Marina Vinnik, Eeefff group, Andrey Gurianov, Cecilia Jonsson, Mitya Zilberstein, I Leonid mennykh, Sasha Litvintseva, Anna Prikhodko, Sasha Puchkova, Alisa Smorodina, Amanda Selinder, Alexey Khamkin, David Hanes, Bernard Hopfengärtner + Gunnar Green, Jalila Essaidi, Keito Yamaguchi
Our project mostly focuses on liminal states and territories: the merging of biological (body) and technological, the influence of viruses on systems, the ‘unconscious’ of network structures… We build on the concept of “the horror of philosophy” expressed by Eugene Thacker in his book “In the Dust of this Planet”. We examine the reception of horror focusing on the practice of acting and expanding the sensuous. Fear ceases to be a psychological factor included in the field of social relations; it becomes the factor of ecology, integrated in our every day life on an almost tactile, material level.
Julia Vergazova, Tamara Gogoleva, Anna Lyalina, Maria Molokova, Sasha Puchkova, Danja Tekic, Konstantin Tsokur, Sveta Shuvaeva
Today Today we put an equal sign between “productivity” and “success”. We think that success determines a lot. Competitiveness becomes the second driving force. We climb a fictitious pedestal even when our body gives us the signal to stop. But it is only after the moment of forced respite that we are ready to live and play by our own rules. Games on One’s Own is an experimental project where performative actions are of main importance - as on the level of a single work of art and the medium, as well as in the dialogue between a viewer and an artist. The exposition includes games which were found or created by artists. Here the opponent is excluded, the meanings and rules of the game are reversed. The exhibition space will remain a place where the personal, the political, and the visual start to interact, suggesting new forms of interrelations.
Gosha Golitsyn, Lika Gomiashvili , Katya Granova, Nikita Kayem , Olga Klimovitskaya , Sophia Ovchinnikova , Valentin Pirollo , Ruslan Polanin, Vladimir Savostin, Anastasia Soboleva, Maria Cheloyants, Ya Nzi
APXIV artists are locked in APXIV-space for 24 hours. Every hour they make an exhibition, or more precisely, an artistic outpouring. Up to 20 cameras will provide viewers with 24-hours broadcasting online on various internet resources. No visitors can be present in person during these 24 hours. We invite viewers to observe our happening online on several windows of various devices or surf through the internet platforms. Most of the art works, installations and performances will be thought out in advance and form a certain script, but at the same time there will always be a chance for improvisation and experiment. APXIV 24 Hours is a happening or a performance, a demonstration of the work of selforganisation and how it functions. It also appeals to the question of the undivided time of work and rest, which leads to an even more intensified priority of the process over the result. We are elaborating on the topics of the economy of presence, acceleration of the world (including in connection with new media) and an attempt to catch up with this movement.
Sophia Astashova, Lyudmila Baronina, Julia Vergazova, Alina Glasoun, Tamara Gogoleva, Ekaterina Efimova, Irina Ivannikova, Oleg Komarov, Irina Lenkova, Anna Lyalina, Maria Molokova, Ekaterina Popovich, Yulia Sukhomlinova, Konstantin Tsokur, Nika Chernyaeva
A flaw is any characteristic of a product that renders it unsuitable for use. It seems that an artist is an error in the worldwide consumerist value system, a mistake that should be fixed.
Olga Alexandrova, Vasily Valentin, Diana Kapizova, Alisa Omelyantseva, Alexey Sim , Alena Trushina, Alexander Chistov , Anna Shcherbakova
When I look into the fog of the unknown, the radio wave reaches the boundaries of the new body on the edge of the universes and maybe it dreamed about it, in all eras. In their works, artists reflect on the presence of the human in the tech web, about the space in which he appears and disappears.
The project raises the questions of “closed”, imaginary spaces which emerged from the social rituals and practices and were built by the time flow. The first chapter of the project will take place in abandoned city Akamara in Abhazia, which is used by children to play in. Standards of the imaginary society which took over the city, objects and sculptures will enter the space. The show will recreate the immersive space where viewer could enter and become part of the simulated game.
Boa Constrictor Digesting an Elephant is an effort to analyse and understand the nature of the kidulting of the generation, the crisis at 35 years old, as well as the phenomenon of erosion of the age structure of the society in the 21st century.
Arnold Veber, Olga Vorobyova, Katya Dikova, Maxim Medvedev, Zhenya Muzalevskiy, Polina Muzika, Anna Prikhodko, Polina Rukavichkina, Natasha Timofeeva, Yanina Chernykh, Vera Barkalova & Ssanaya Tryapka
About Me, Please, About Me — the situation that leads to the judgment of taste, where the image can be found in the gap between its perception and reality. The project shows how both the idealistic and the realistic optics of the peering glance turn out to be reserved in aesthetic dandyism.
Anya Mokhova x Playtronica, Svetlana Grishina, Maksim Tatarintsev, Dmitriy Grishko, Katerina Igoshina, Maksim Gorobets, Dmitriy Ayzenberg, Anna Nasonova, Gleb Solntsev
The word “myth” in one of its original interpretations meant a baseless statement, fiction as opposed to rational and reasoned knowledge. The romance and the potential of this interpretation lie in the possibility of hiding in the “fluctuating structure” of a myth any images and meanings that open our world from an unfamiliar, sacred and irrational side. Syncretic consciousness gives rise to stories that are different from anything else, since it does not rely on anything other than itself. The meaning of this irrational freedom is to open the other side of our consciousness, completely replacing the mundane with beautiful images, heroes and stories.
Valeriy Aizenberg, Andrey Bartenev, Lyudmila Gorlova, Evgenia Gorskaya, Natasha Dunberg, Elena Demi-dova, Kirill Zhilkin, Irina Ivannikova, Alexandra Ivleva (Weld Queen), Ekaterina Isaeva, Tatyana Krol, Manich, Marina Rudenko, Marie Sokol, Alya Hestanti, Petr Chumakov, Maria Zaikina
Today, more and more attention is paid to local communities and the formation of the urban environment as a special socio-cultural phenomenon. The project is aimed at deepening and maintaining informal interpersonal communication links between neighbours. Nagornaya-1 Exhibition Hall, established outside the centre of Moscow in 1978. For 40 years, the gallery was associated with many great artists. The project aims to introduce different generations of neighborsartists and spectators, to show the history of the area and the gallery through the art.
A video-opera based on real events, created as a result of the collaboration of the artist and composer. The plot of the opera tells the story about Ross Ulbricht — the creator of the site Silk Road, sentenced to life imprisonment for the attempt to give people freedom.
Ariadna Arendt, Isadorino Gore, Anton Zabrodin, Hanna Zubkova, Sergei Kishchenko, Alexei Korsi, Maria Kremer, Alexander Morozov, Ekaterina Nenasheva, Anastasia Potemkina, Alexei Taruts, Natalia Timofeeva, Anna Shevchenko
Coordinators of the study:
Ekaterina Dyba, Michal Murawski, Marina Sapunova, Sasha Strepetov.
Dasha Bolkova, Sofya Ganzhinova, Ruslan Grebenichenko, Anna Danilina, Ira Karaselnikova, Ekaterina Kondratyeva, Elena Ovdenko, Ekaterina Tretyakova, Margarita Chubukova, Marianna Shkurko, Dana Shukirbayeva, Gleb Yabchanka
Our exhibition is intended to pour light on the infernal depths of late Putin’s Moscow; and to cast its heavenly peaks into darkness. What political-aesthetic complexities and contradictions condense in the park itself and around it? Which rhetorics and aesthetics, ideologies and controversies, patronage and exchange logics, legacies from the past and images of the future, come together on the volatile terrain of this heavenly portal? The artists participating in the exhibition have created their works in dialogue with the research process and, in particular, with numerous “key phrases” (or“mytho-memes”) pertaining to Zaryadye, identified in the course of the research. Among these are: “a portal not only to hell, but also to paradise”; “Putin’s gift”; “the sacred centre of the New Russia”; “a symptom of Russia’s internal colonisation”; “the ungrateful Muscovite” and “freedom machine”.
The exhibition concerns the issue of violence; it focuses on what causes aggressive behavior as well as how the victim becomes the aggressor, the psychological and physiological effects of violence on people as well as personal stories and society’s response to it (empathy, victim blaming, etc.). For Varvara Grankova, art is a mean of communication, emotional engagement with the environment and coping with life’s difficulties.