Special Projects – 6. Moscow International Biennale for Young Art
Special Projects
Open Storage of Polytechnic Museum
June 14 — August 26
by reservation only
Curator / curators:   Polina Isaeva Adelya Kayumova Marina Korshok Alina Koren Julia Reushenova Polina Rud
Participants:  

Vladimir Abikh, Emma Bayer, Ksenia Bashmakova, Evgenia Voronova, Asya Dobrovolskaya, Ivan Egelskii, Vladimir Kolesnikov, Egor Kraft, Anastasia Krokhaleva & Denis Perevalov, Valeria Mordashova, Onda, Anastasiya Sukhareva-Morozova, Denis Uranov, Irina & Stanislav Shminke

INTORUDICTION is a unique curating project. It supposes an intervention of works by young (under 35) artists, who were invited by emerging curators – students of Art Depatment of History Faculty of Lomonosov Moscow State University. The artists create their works specially for this project, site-specificly, taking into account the context, problematic , scale of the exhibition space. Emerging works correspond to the museum / it’s main character / the exhibited objects, resonate with the existing exhibition both by their content and their form. Likewise biological plant or animal introduction into local natural complexes, the artworks acclimatize and naturalize themselves into surrounding unnatural for them. The two venues for the project have been chosen not by coincidence, they are the two “poles” of possible museum interventions: intimate space of a memorial apartment of an artist of the end of the XIX – first half of the XX century and giant factory floors which hosts open storage of technological museum objects. This diversity gives an opportunity to present a wide scale of today’s experiments in young art and corresponding curatorial strategies. This project will be the debut for the emerging curators and will encourage them in their further professional development, introducing them into the museum world.
The second part entitled OBSOLETE PROGRESS is curated by Polina Isaeva, Adelya Kayumova, Marina Korshok, Alina Koren, Julia Reushenova and Polina Rud. It is located at the Open Storage of Polytechnic Museum.
The perceived contradiction within the title is not a coincidence. This oxymoron emphasizes the ambiguity of the very notion of “progress”. Progress implies forward movement, yet it makes our present reach back continuously. Every breakthrough makes its predecessor obsolete…
The Funds of Polytechnic Museum inspired the idea of Obsolete Progress. The Funds are the storage for things that were at the cutting edge of technology at some point of time. The space itself has directed our research to concentrate on technological progress that, unlike social and personal ones, leaves behind a tangible trace.
Modern world is obsessed with permanent innovation and improvement, new technologies emerge at an incredible speed. It shows the fragile and fleeting nature of innovation. Once we have no more use for particular technology, it is no longer a part of modernity and can simply coexist with it.
Technological progress is guided by the needs of the people. However, once a solution to a problem is found, it often creates a different set of problems. For example, incredibly high speed of data transfer has inundated people with an endless flow of information. It is getting more and more complicated to separate significant data from meaningless one.
Nevertheless, technologies are paving the way into the future. What will it be like? Should we consult scientists every time when we think about the future or is everyone able to imagine it for himself?
The artists are reflecting upon these topics in an attempt to reveal and to comprehend what is solid in our fast-changing world. Inviting visitors to imagined situation, they ask questions and allow them to discover their own answers.

CCA Mars
June 9–30
Mon–Sun: 12:00–22:00
Curator / curators:   Arina Efanova Maria Mednikova Alisa Menshikova Maria Mozgovaya Mika Plutitsky Daria Setevinets
Participants:  

Alina Ponomareva, Ye Chan Cheong, Maxim Ivanov, Viktoria Romanovich, Sofia Latysheva, Oleg Kuznetsov

In the project's boundaries, there are three constructs explored: spirituality, identity and control, each of them being interpreted by two artists. The participants explore the contrast aspects of each notion. Variability of the constructs is registered not only conceptually, but in terms of mediums as well. In such a way, Alina Ponomareva, in her video installation, recontextualizes the narratives of the Sistine Chapel placing them in the everyday condition. In polemics with her works, there are Yechan Cheong’s non-figurative paintings which deconstruct the cultural code of colour. Maxim Ivanov and Viktoria Romanich use photography and performance respectively in order to define the pattern of the celebrities’ identity in traditionally opposite fields: academic and glamorous. Sofia Latysheva controls the space and people’s movements inside of it with metal constructions which are accompanied by the dialogue with automatic drawings of Oleg Kuznetsov.

CCI Fabrika
June 29
+7 (499) 265-39-26 by reservation only
Participants:  

Curators (Сuratorial group Enter and Permit is formed by students and graduates of Art History departement of Russian State Univercity of the Humanities): Amal Avezdzhanova, Maria Buneeva, Anna Kozlovskaya, Alexey Kuzko, Tatiana Mironova, Anna Sopova

Artistic director: Natalia Smolyanskaya

Participants: former and current workers of factories, artists

Project “This is a vey strange place” calls out to abandoned, closed, odd places that exist, but no one knows about it or rarely visits at the same time. Nothing changes here in decades: every item tells stories, that do not need any additional interference and any crack on the wall or paint stain can be perceived as art.

Exploring the question of places and its connections, the series of tours to the former factories. Illuminating advertising factory “Gazsoviet”, technical paper factory “Oktyabr” and N.D.Balakirev button factory will open their secret units where parts of production has been saved. Guides to these “old-time places” are going to be ex factory workers and artists who address their art to production materials and technologies. One space will connect different generations and feelings. Every experience of living the space through will allow participants access to personal space usually inaccessible and guarded.

Moscow Museum of Modern Art (10 Gogolevsky Boulevard)
July 19 — August 26
Tue–Sun: 12:00–21:00
Curator / curators:   Curator: Maria Mikhaylova Adviser: Daria Kamyshnikova
Participants:  

Tatiana Belkina, Elizaveta Veselova, Anton Gaenko, Evgeniya Gorskaya, Natalia Grezina, Stepan Krasnov, Jemina Lindholm, Julia Matinniemi, Alexandra Mitiku, Ekaterina Molchanova, Alexey Riumin

Contemporary art expanded possibilities for communication between the artist and spectator. Street art, site-specific installations etc. are the examples of accessible and free art for the public. The concept of affordable (and accessible) art has become a common phenomenon in our culture.
Recognizing the relevance of the idea of accessibility of art to the viewer, we would like to shift the emphasis to the availability of art to the artist.
Focusing on the art that is “convenient” to the artist, we also endeavor to explore new ways of artistic expression, connected primarily with the digital age and new artistic strategies. Moreover we would like to consider modern and “convenient” ways for making artistic statements.
We have requested young artists working in various media to select their most “convenient” artwork or to reflect on the subject and create something new which would correspond to their vision of convenient art.

Osnova Gallery
August 21–25
Tue–Sat: 13:00–19:00
Curator / curators:   Alexandra Kiseleva
Participants:  

Emma Bayer, Ivan Banankin, Polina Egorushkina, Snezhana Zagalskaya, Ekaterina Igoshina, Ivan Karmanov, Yuliya Kirilcheva, Alexandra Kiseleva, Anna Kondratieva, Ikuru Kuwajima, Valentina Makarova, Olga Mashinets, Valeria Mordashova, Ekaterina Ost, Ivan Pushkin, Maria Sarkisyants, Maxim Tatarintsev, Daria Tihomirova, Denis Uranov, Kristina Zian, Maria Chertkova, Daria Serenko

A reflection on the role of object in modern art and on the connection between an object, its meaning and value created within the exhibition space.
Not for sale initiates a situation when the visitor is herself responsible for making this connection. Apart from numbers exhibits have no labels showing their name or author. Numbers allude to a bunch of brochures piled in the hall, the contents of which will become accessible only during selected tours. Visitors are not allowed to touch or read these «handouts» on their own, whereas all other objects can be touched and taken free of charge. At the same time the visitor can’t get any benefit from the object since she signs an agreement confirming that the object is free and not intended for commercial use. We will be constantly recording the exhibition gradually uploading the videos.

v-a-c.ru/ru/drift
June 8 — August 31
Curator / curators:   Consultants: Maria Kramar, Anna Panfilets
Participants:  

Participants (Visible Committee research group): Arthur Arakelov (Sodruzhestvo school), Dasha Getmanova (BAZA Institute), Stepan Esayan (Moscow State University), Vera Neudobnova (school № 1246), Matvey Selyakin (school № 1246), Anastasia Spasova (Moscow State University), Elizaveta Trusilova (school № 1246), Elizaveta Firsova (HSE lyceum)

We are the Visible Committee, a group of young researchers drawn from the ranks of Moscow’s high school and university students whose shared interest in contemporary art has led to our cooperation with the V-A-C Foundation. Discussions and meetings with our senior colleagues have helped to create an environment for immersion in the theory of art and the study of artistic practices. Having thus acquainted ourselves with the ideas of situationism, we tried to translate drift theory into everyday Moscow life, ultimately producing "Moscow drift". Within the framework of the project, we have attempted to identify alternative ways of perceiving the urban environment.

We are reassembling a strategy of the perception of space and reassessing our place in the urban environment, while drawing on modern artistic practices and theories. The tool used for this is the experience of interaction with the city. It consists of walks and their documentation, created on the basis of arbitrary associations and reflections on erasing the increasingly blurred boundaries between offline and online existence.
However, the situationism methodology is out of date due to a change in general circumstances and time, so we drift through the prism of marking objects’ agency, not only humans’. Long story short, we abandon anthropocentricity.

The group has selected 6 categories which were chosen during the drift and research: sign, mask, crack, jump, treasure, ruin. For example, a sign can be considered as diverse as possible. It's like the signs of reality – banners, road signs or posters. Studying the topic of drift, we understood, that we wanted to leave a sign, the one that could help to comprehend the reconstruction of GES-2 (“home” of V-A-C Foundation, which is being recreated at the moment) and to designate the emergence of a new cultural institute. As a result of our work, a banner was made. It is a textogram, its shape repeats Cyrillic name of GES-2 and its content is a text which was filtered and selected by the Internet users. It explains the past, the present and the future of GES-2 under the leadership of V-A-C. While we were studying its purposes, we recognized some similarities between the concept of web 3.0 and the main principles of institutional practice, used by V-A-C Foundation.
We are going to keep developing the practice of presence in the urban environment of Moscow both offline and online in the study of selected categories.

Moscow Museum of Modern Art (10/4 Gogolevsky Boulevard)
August 02 — September 02
Tue–Sun: 12:00–21:00
Curator / curators:   Daria Kamyshnikova
Participants:  

Fedora Akimova, Tatiana Belkina, Nastya Belova, Sonya Vaneyan, Elizaveta Veselova, Evgenia Voronova, Anton Gaenko, Evgenia Gorskaya, Natalia Grezina, Nadezhda Danilova, Asya Dobrovolskaya, Natia Kartvelishvili, Vladimir Kolesnikov, Lina Kolotilova, Daria Konovalenko, Stepan Krasnov, Olga Liubimova, Mikhail Plohotsky, Natalia Pogosova, Anna Reztsova, Elena Sakirko, Ekaterina Sverchkova, Polina Siniatkina, Anna Sladkova, Anastasiya Sukhareva-Morozova, Timur Shaymuhametov, Kate Shinkarova

In the course of its evolution culture has not only operated existing code systems, but created its own. Bright examples come to mind, such a romance by Rabelais, coming out to be not only satirical story about glutton's adventure, but a story full of geometrical knowledge and alchemical formulas. Or Flemish still-life paintings that have special guides to explain their symbolical meaning.
In order to allow viewers to instantly perceive information we often encode it in sign systems exemplified by pictograms in public transport or a warning lightning icon on the switchboard. The digital age brought its own code systems including various programming languages, it also influenced the ways both verbal and non-verbal codes are conceived, distributed and interpreted.
Launched in 2001 the annual exhibition “Workshop” organized by the joint efforts of MMOMA and the “Free Workshops” School of Contemporary Art every year discovers new names on the Russian artistic scene.

Museum of Moscow. Gilyarovsky Center
June 20–27
Tue–Sun: 10:00–20:00
Curator / curators:   Head of the project: Lyudmila Zinchenko Curators: Olga Alexandrova, Ekaterina Pryanichnikova
Participants:  

Nastya Berezhinskaya, Elizaveta Vdovina, Evgeniya Dyomina, Max Zmeev, Tatiana Kazakova, Arseny Kovaleva, Anastasia Lobanova, Olga Nikishova, Sofia Pankevich, Boris Pospelov, Ekaterina Pryanichnikova, Roman Sazonov, Elizaveta Sazonova, Masha Sviridova, Dmitry Starusiev , Diana Tereshkina, Ivan Heidel, Yanina Chernykh, Alexander Shmelkov, Anna Sherbakova

Will is a synonym of freedom. Free will is almost synonymous to consciousness.
And there's tautology in a way: unfree will is no longer a will - it is a captivity, captivity of the feelings, reason and total suffering. Although freedom does not guarantee happiness, it at least releases will to the greater spaces. Language shows the importance of the will: "iron will", “artistic will”, "freedom of will", "God's will", "will to victory", "will power", etc. To be brief, it’s a cliche.
Antonym sounds crispier: only 4 "captivity" against 127 "wills" on a sample of 1 million words according to sinonim.org. However, our earthly destiny after all is captivity. It is inevitable, voluntary and a little shameful condition for any reasonable creature, if you'll think about it. Therefore, we do not particularly talk about it, and what we can tell about it?

The captivity of our life opens to us alone with ourselves, together with the dream of a freedom as a distant horizon of will mentioned by us almost 32 times more often than in the case of captivity of our everyday life. The more interesting is to understand what we avoid. Captivity we can interpret in different ways:
- Determinism.
- Restriction of freedom, dependence on someone, submission.
- Being in this position - slavery, prison, capture.
- Lack of personal will in a person, various dependencies.
- Life in unnatural conditions (about animals, birds, people without immunity, in isolation, about astronauts in weightlessnes).
- Strength and power of circumstances.

Belyaevo Gallery
June 29 — July 15
Mon–Sun: 11:00–20:00
Curator / curators:   Madina Gasimi Maria Ada Ivanova Darina Rogatskina Vera Sinotina Oxana Chvyakina
Participants:  

Alisa Aistova, Ksenia Bashmakova, Anastasia Belova, Anastasia Vermeer, Polina Yegorushkina, Tatiana Emelyanova, Victor Zhdanov, Ekaterina Zhingel, Ekaterina Isaeva, Irina Kerimova, Yuliya Kirilcheva, Maria Kulchytskaia, Evgenia Melnikova, Alexandra Mikhailova, Valeria Pepe, Slava PTRK, Ksenia Sergacheva, Evgenia Strygina, Alexey and Anton Tvorogov, Alexandra Yanchenko, Daria Yaromenok

The project studies the presence of the myth and the ritual component in various areas of modern life. Housing and communal services and urban legends, behavior in social networks and the cult of the gadget, fetishism, corporeality, initiation.

Tunnel Gallery of the Stroganov Moscow State University of Arts and Industry
June 18–29
Mon–Fri: 11:00–18:00
Curator / curators:   Alisa Samodelova, Veronika Smirnova
Participants:  

Stefanie Akunyiba,, Maria Arkhipova,, Daria Blokhina,, Nikita Gorshkov and Peter Kroshchinskiy,, Anastasiya Dorokhova, Andrey Zhavoronkov, Natalia Kazakova, Sofja Karaulova, Maria Kokoreva, Vasily Kornyushin, Viktoria Makarova, Daria Tolmashova, Evgeniya Tulyankina, Katerina Tarasova

Do we really need an academy in the world of contemporary art which has been using another visual language and new media for a long time?
Artists reinterpret art within the academic environment, starting with it, but not destroying it. While looking for an inspiration, they emerge from the walls of an art university into the real world. This world exactly turns into concentration of imagines and meanings which form the artist's experience. Today, in the era of the new media, many artists return to the classical imagery, actualizing it by the means of ideas, and thus, they bring professional art to the art stage.

Apollinary Vasnetsov Memorial Flat
June 16 – August 26
Wed–Sun 10:00–17:00
Curator / curators:   Anastasia Volynova Maria Pomortseva Natela Piliya with active contribution from Direction for the Development of Smaller Museums of the State Tretyakov Gallery (Tatiana Gafar) and the Research Department of Apollinary Vasnetsov Heritage (Elena Yadokhina)
Participants:  

Natalia Grezina, Nilya Musaeva, Senya Razin, Paulina Toporova (with contributions from Artur Vodolagin, Artur Kiryushin, Maksim Neizvest-nykh), Antonina Yurchenko

INTORUDICTION is a unique curating project. It supposes an intervention of works by young (under 35) artists, who were invited by emerging curators – students of Art Depatment of History Faculty of Lomonosov Moscow State University. The artists create their works specially for this project, site-specificly, taking into account the context, problematic , scale of the exhibition space. Emerging works correspond to the museum / it’s main character / the exhibited objects, resonate with the existing exhibition both by their content and their form. Likewise biological plant or animal introduction into local natural complexes, the artworks acclimatize and naturalize themselves into surrounding unnatural for them. The two venues for the project have been chosen not by coincidence, they are the two “poles” of possible museum interventions: intimate space of a memorial apartment of an artist of the end of the XIX – first half of the XX century and giant factory floors which hosts open storage of technological museum objects. This diversity gives an opportunity to present a wide scale of today’s experiments in young art and corresponding curatorial strategies. This project will be the debut for the emerging curators and will encourage them in their further professional development, introducing them into the museum world.

The project consists of two parts. The first one entitled “KHUDOZHESTVO” (“artistry”) will be exhibited at Apollinary Vasnetsov Memorial Apartment, and will provide the authors of the project an opportunity to work with a chamber space, which has a very personalized approach to its exposition based on the life and artistic work of Apollinary Vasnetsov and his family. The exhibition is curated by Anastasia Volynova, Maria Pomortseva, Natela Piliya with active contribution from Direction for the Development of Smaller Museums of the State Tretyakov Gallery (Tatiana Gafar) and the Department of Research of Apollinary Vasnetsov Heritage (Elena Yadokhina). The project focuses on the case of contemporary art, on the interaction between new and old art, between traditional forms and contemporary art strategies.

For the authors of the project А. Vasnetsov is primarily a spokesman of his generation, voicing in his work opinions of a whole circle of artists. Curators propose to the young artists of today to enter into dialog with the past artistic generation and its tradition through Apollinary. Based on the generational problems, the authors of the project chose the text "Khudozhestvo", which, in A. Vasnetsov's own words, he wrote, "to put his views in order." This text is devoted to defining the main concepts, of which painting is consisted, as well as their interrelations and the analysis of the condition of the art of this time and the ways of its further development. With particular attention Vasnetsov approached the problem of interaction between the artwork and the viewer, believing that contemplation of an artwork should contribute to the viewer’s self-identification.

The authors of the project believe that this text reflects the views of artists of the realistic method in their relation to the value and integrity of art. These artists were convinced that realism is the only possible system that meets the challenges of "true art", despite the radical changes surrounding them at the time. How can this system and contemporary art coexist, and what can come from their interaction?
To detect the tendencies of a new generation, that is starting to be noticeable and to put focus upon the Biennale for Young Art, the works of inexperienced young artists were chosen.

CCA WINZAVOD (WHITE HALL)
June 8 — July 8
Tue–Sun 12:00–20:00
Curator / curators:   Head of "Classroom meeting": Sergey Bratkov The collector of video projects and video programs: Dmitry Venkov and Kirill Preobrazhensky
Participants:  

Students of Rodchenko Art School departments: Immediate Photography (master Igor Mukhin), Project Photography (master Vladislav Efimov), Video art (masters Kirill Preobrazhensky, Dmitry Venkov), Interactive, Communicative and Mixed Media, Media Installation, Media Performance, Sound Art (masters Aristarkh Chernyshov, Alexey Shulgin), Documentary Photography (master Valery Nistratov), Photography, Sculpture, Video (master Sergey Bratkov), Manual Printing in Laboratory (master Lyudmila Zinchenko), Art Tactics and Strategies. Contemporary Photography (master Kirill Savchenkov), Sound Laboratory (master Andrey Smirnov)

Winzavod.OPEN Program

The collector of video projects and video programs: Dmitry Venkov and Kirill Preobrazhensky
The presented exhibition is a collection of personal and group exhibitions held in the Rodchenko School for the last year. The exhibition will demonstrate the process and results of the various classes of the School: workshops "Direct Photography" (Igor Mukhin), "Project Photography" (Vlad Efimov), "Video Art" (Kirill Preobrazhensky, Dmitry Venkov), "Interactive, communication and mixed media, installation, media performance, sound art" (Aristarkh Chernyshev, Alexey Shulgin), "Documentary photography" (Valery Nistratov), "Photography, sculpture, video" (Sergey Bratkov), "Manual print in the laboratory" (Lyudmila Zinchenko), "Artistic tactics and strategies. Contemporary Photography" (Kirill Savchenkov), "Laboratory of Sound" (Andrei Smirnov).

Arseny Sergeev
June 8 — July 8
Tue–Sun 12:00–20:00
Curator / curators:   Arseny Sergeev
Participants:  

Valeria Aleynikova, Elizaveta Antsiferova, Anastasia Ashukina, Arseny Bagdasarov, Ekaterina Balakina, Veronika Boglay, Margarita Varakina, Ekaterina Vlasova, Polina Gisich, Anastasia Glushkova, Daniil Dvinskikh, Polina Dmitrieva, Irina Dobromyslova, Xenia Dubrovskaya, Anastasia Dunaeva, Tatyana Zhilyaeva, Arina Zimonenko, Alina Zolotykh, Ekaterina Kondratyeva, Lyubov Kotlyarova, Elizaveta Krazaeva, Elman Kuliev, Angelina Lambrikht, Les Lebedeva, Alexandra Maletina, Katya Mordvinkina, Yaroslav Motaylov, Alexandra Parkhomenko, Maria Pinus, Anastasia Poroshina, Alisa Radkevich, Ernest Sattarov, Guzalia Tulumbaeva, Maria Tushnolobova, Natalia Khusainova, Anna Chernyshova, Arina Shushpanova

Winzavod.OPEN Program

The "Observer's affect" project initiates the beginning of admission on a bachelor's program "Contemporary Art" at Higher School of Economics that includes both a deep immersion in the history and philosophy of art, critical theory and visual research, and a practical approach works of an artist, supervisors, critics and researches of contemporary art. Within the framework of the program under the supervision of famous theorists and artists were opened such educational programs as "Artist and curator", "Cinema and videoart" and "Photography and multimedia".
The theme of the exhibition is the relationship between an Observer (an artist and a viewer) and a phenomenon Observed (reality and art), between a subject and an object of the creative process. The role of an artist and his/her audience might be comparable with the role of a scientist, who registers a scientific experiment and initiates changes. The reaction of an observer to an art object is essentially “an affect” — an emotional response, an action caused not only by a context, but also by an observer’s experience, character and mood.
The exposition unfolds inside the exhibition space as a site-specific total installation. Within the exposition it is planned to show all actual genres of contemporary art: video, performance, object, interactive installations, multimedia projects, painting, drawing. The unifying element of the exhibition is the use of performativity as a basic motive for working on a project and / or interacting with a viewer.

CCA WINZAVOD (Открытые студии)
June 8 — July 8
Tue–Sun: 12:00–20:00
Curator / curators:   Andrey Parshikov
Participants:  

Alexey Zhuchkov, Daria Neretina, Vladimir Kartashov, Anton Kushaev, Hasmik Melkonyan, Kristina Strunkova, Denis Uranov, MAXIMMIXAM

Winzavod.OPEN Program

The exhibition "Victory over white" completes the first season of the project "Open Studios at Winzavod". Eight artists worked for six months in a single open-space, separated by small partitions, regularly presenting new works to the public.
The space of "Open Studios" due to its specifics dictated the request for a simultaneous display of the product and the means together with the methods of its production, and preferably the process itself. Just about this tells us the project "Victory over white".
The paraphrase of the futuristic Matyushin and Kruchenykh’s opera name "Victory over the Sun" refers to all the famous exposition of Malevich 0.10 as a symbol of an autoreferent exhibition and, above all, a display asking questions about his own registers and his system, as well as about the location of the exposition as a method in art.
Three key questions faced the artists: the combination of the exposition space from the workshop and the separation between the galleries and the workshop, the priority of showing the process or result of the process, the relevance of the white cube that survived the multiple crisis.

CCA WINZAVOD (Vintage Hall)
June 8 — July 8
Tue–Sun: 12:00–20:00

Winzavod.OPEN Program

A special discussion program prepared by Institute of Contemporary Art is devoted to the key issues that are important for young artists, as well as for everyone interested in modern culture.
During a series of open discussions, presentations and roundtables, young artists, supervisors and activists, students, graduates and teachers of the ICA will discuss a wide range of topics and the ones related to the role and prospects of art in the today and tomorrow world full of potential and uncertainty.
Is it possible for art to be not just an adornment, but a way of changing the reality, improving people's lives in the communicative society of our time?
In what conditions do artistic experiments, the search for new meanings, prove to be the most productive?
Should modern art exist in narrow disciplinary frameworks, or is it an inalienable, albeit the most new and volatile part of the public sphere, an indispensable component of the culture of civil society in the twenty-first century?

CCA WINZAVOD (Big Wine Store)
June 8 — July 8
Tue–Sun: 12:00–20:00
Curator / curators:   Svetlana Taylor, Mikhail Levin, Dasha Biryukova, Galya Solodovnikova, Polina Bakhtina, Vitaliy Borovik, Tatiana Chizhikova
Participants:  

Students of Visual Arts programs: Contemporary Art, Multimedia Art

Scenography Contemporary Art: Anastasia Gavrikova Lidia Zhudro, Anna Kornilova in collaboration with Alexay Kokhanov, Irina Lagoshina in collaboration with Daria Kurguzova, Olga Menaker, Alexandra Nestarkina, Eva Nikolaev, Evgeny Parol in collaboration with Vanya Razmakhov

Multimedia Art: Multimedia Art: Olga Alexandrova, Anastasia Berezhinskaya, Alexander Shmelkov, Anna Scherbakova, Alexander Chistov, Diana Kapizova, Altona Trushina, Evgenia Demina, Evgeny Tulupov,Christina Komissarova, Xenia Sharavieva, Alexey Sim, Roman Sazonov, Elena Gromakova, Arsenia Kovaleva, Tatyana Kazakova, Olga Nikishova, Alexander Gulinov

Scenography: Anastasia Alieva, Anastasia Bezruchko, Anna Braude, Daria Vasilyeva, Svetlana Goryacheva, Lyudmila Dyachkova, Anna Ivleva, Anatoly Kozyrev, Irina Savina, Anna Stavitskaya, Anna Titova, Ellina Khasanova, Mikhail Khoteenkov

Winzavod.OPEN Program

britanka_coop — a group project of students of three programs of the faculty "Visual Arts" BHSAD. At the heart of the exposition of each course lies a certain theme and methods of artistic research, within the framework of which students reconsider discourses of contemporary art and forms of art expressiveness. Students of "Contemporary Art" program will present an exposition called "Ritual", at "Multimedia Art" ("Photography and Video Art") course students worked with unclouded future and false memories, and the program "Scenography" in collaboration with the Creative Association "BoroviCHi" reconsidered Albert Einstein’s Theory of Relativity and will present a dynamic installation "Practice of Relativity".

CCA WINZAVOD (Red Hall)
June 8 — July 8
Thu–Sun: 12:00–20:00
Curator / curators:   Anatoly Osmolovsky
Participants:  

Students: Alexander Golynsky, Anya Belousova, Dmitry Evmenenko, Tikhon Penkin, Ksenia Kudrina, Andrey Ishonin, Vladimir Kartashov, Abram Rebrov, Viktor Zhdanov, Fedor Dubrovin, Olga Mashinets, Dmitry Zhiltsov, Maria Koroleva, Saida Sattarova, Svetlana Artemieva.

Graduates: Denis Stroev, Irina Petrakova, Alek Petuk, Alexander Gorelikov, Ivan Novikov, the group "Govno", Maria Efremenko, Vitaly Bezpalov, Nikita Spiridonov, Dasha Grigorieva, Anton Kushaev, Veronika Aktanova, Alexander Plusunin, Maxim Afanasiev.

Winzavod.OPEN Program

The main goal of the exhibition is probing and examination of the actual art process. In 2018 there is a significant interest in avant-garde practices in the artistic process in Moscow. What does it mean? It means that artists create artifacts of a vague genre, something that is at the interface between performance and sculpture, action and installation. Another characteristic feature of the avant-garde is the shift in the goal-setting, that is, in a sense, an absurd, functional meaning attached to the work of art.

British Higher School of Art & Design (BHSAD)
June 2–16
Sat (June 2): 11:00–21:00; Sun (June 3): 12:00–19:00; Wed–Fri (June 6–8): 12:00–21:00; Sat (June 9): 12:00–21:00; Sun (June 10): 12:00–19:00; Sat (June 16): 12:00–21:00
Curator / curators:   John Lavell Ian Charlesworth
Participants:  

Anastasia Gorbatova, Vasilisa Bessarabenko, Polina Vasyakina, Alina Gorbatova, Medina Gadzhi-Ismailova, Alina Zakharchuk, Sofia Kesidou, Maria Kiseleva, Eliza Kreytsberg, Oleg Kuznetsov, Daria Mikhailova, Alisa Omelyantseva, Alexandra Orlova, Maria Romanova, Karina Sayfullina, Maria Smirnova, Polina Fesan, Daria Fedorova, Ye Chan Cheong, Valeria Engel

The Degree Exhibition is a show of contemporary visual art by graduating BA (Honrs) Fine Art students, at BHSAD. The exhibition forefronts an individual approach to making, as is evidenced in the variety of the artworks presented. The artists utilize, video, installation, photography, painting, sculpture and performance in order to pursue an individual practice, but one that is formed through dialogue. Dialogue, as an approach to art practice informs all teaching at the BHSAD and it is expressed in all the works presented. The works evidence a shared concern and dialogue with materials, as the artists are involved in a discussion with things he/she works with over a period of time in the studio. It is this negotiation with stuff, and an understanding of the implications and meanings of objects, sounds, and images that maintains a common approach to making, seen throughout the exhibition.

CCI Fabrika
June 14 — July 8
Tue–Sun: 12:00–20:00
Participants:  

Idea: Alexandra Filippovskaya, Amal Avezdzhanova

Curatorial group (Art Curating master’s program graduates, Art History Faculty, RSUH): Victoria Belonenko, Tatiana Berdysheva, Tatiana Danilevskaya, Anna Kuznetsova, Julia Martynova, Anastasia Sergevnina, Oksana Sitnikova, Alexandra Sheyko, Galina Shestakova, Natalia Shulgina

Scientific coordinator of the project: Alexandra Danilova

Appeared in the mid 1980s new styles of electronic dance music: techno in Detroit, acid-house in Chicago – crossed the ocean quickly and won over Great Britain (“The second summer of love” 1988-1989), and the the continental Europe. Falling of the Iron Curtain helped techno and house music to grow popularity in Russia. New born country was in need of new forms of leisure and raves became one of them.

Graduation project “Slave to the rave” created by masters of the faculty of the History of Art of Russian State University for the Humanities, traces the development of Moscow techno-scene, inseparably connected to the history of Russian rave and club movement. Starting from the Gagarin party in the “Space” pavilion located in the VDNKh (1991) to the experimental cultural venue “Pluto” (2017). The display, which name refers to the hardcore-techno-track “Slaves to the rave” (1995) by Inferno brothers, includes posters, flyers, photographs and rare archive materials that are being presented for the first time, completed by work of Denis Yengelskiy, Alexey Isaev, Sergey Shutov and many other artists.