Открытые Студии
Our Artists
8 young artists working in the Studios right now are:
Asmik Melkonyan
"Mostly I work with acrylic or oil techniques on canvas. I try to apply such artistic means as,
simplification and idealisation of forms, where methods of minimalism are used: space unloading and monochrome.
I am fascinated, what if you take away a person or an object (it could be an architectural
construction, an object or a fragment of ornament) from the context of time and the cultural state
in which it was originally found? The same element or a figure could acquire a new meaning or
lose itself entirely, disappearing in some cosmic vacuum. On the other side, it could get some
archaic meaning that is clear to us, despite the gap in space, time and cultural distance.
Any object that I obtain to illustrate, I want to set to zero and forget about its historical meaning,
leading it to some common forms that everyone can understand. This is due to my desire to see
the full picture. However, the impossibility of reaching a "general view" often leads my work
towards fragmentation, to some extent. Seeing only a partial side, I try to guess through it the
rest and fulfill the gaps. Sometimes these gaps I fill in with ornaments, as a set of simple
symbols, to which, ideally, any image tends to reach. Ornaments bring to my work some
decorative side, though these are more of a method to structure the space and dimension of my
canvas, from which the other forms and even volumes emerge."
Vladimir Kartashov
'My aim is to explore the culture of metamodern. The term 'neo-romanticism' as a
definition of post-modern mood of a culture, could be explained through tiredness of society
from deconstruction, irony, relativism and nihilism of post-modernism, going back to lost
sincerity and universal reality. Now there is an opportunity to look at mythology and religious
narrative from a different perspective, which will fulfill the meaning of phrases 'timeless' and
'all-encompassing'. I have my own way to express actual and evil mythology. I want to move
away from postmodern trend and reach proto-modernist art, which sends away to transcendence,
through a cyberspace prism. Unlike artists in romanticism era I am not trying to take away the
audience from a gloomy reality, in contrast I emerge my digital characters into a series of
sorrowful truth that surrounds us.'
Alexey Zhuchkov
"I work in various techniques, such as painting, fresco, mosaic, installation. In my work, I use stone, concrete, metal. My research is related to the process of creating fictional spaces. Often this process derives from the collaboration with architecture, art and the external environment. One of the main themes in my work is a "pause". "Pause-emptiness" is an artistic term that denotes the amount of unfilled space in a work. It is interesting for me to consider "emptiness" as the main habitat of a modern man, despite the apparent filling of the voids with the help of mass media and new communications. One of the first projects to reveal the theme of "emptiness" in art was the exhibition "Magister Dixit?", in a form of a dialogue between two artists: me and George Morandi. Here I took the right, analyzing the artist's work, to reveal the poignancy, sharpness of the composition with the help of stone and wire. Next was the project "Among the stones" in the Ark gallery and the exhibition "In the transparent air of concrete", connected with the urban landscape, in which I used the examples of a mosaic of the Middle Ages (Roman, Florentine, Venetian and Byzantine mosaics) to create landscapes of the modern times. The main language of the spatial outline was the use of a "pause-emptiness", not only in the paintings but also in the exposition of the gallery. Now I am working on a project in which I set myself the task of designing an image of an urban landscape with elements of the construction of children's playgrounds. To create an imaginary city or a whole phantom world of my childhood memories, and maybe not only mine… This project is a continuation of my work on creating spaces using the "pause-emptiness"; in this case, there is a dialogue not between the era and the artist, but between visual series, pictures passing before our very eyes."
Kristina Strunkova
'I try to create a movie, where canvas and other materials serve as a creative tool instead of a
motion picture, for adapting the plot. Work begins with the story design and plot development,
followed by a visual personification of the characters, where the whole thing comes alive. My
main target is to express an atmosphere of the story, within my work. Characters of my story can
be both: fictional cartoon creatures and ordinary people. Aesthetically I am inspired by the comic
books, but unlike the superheroes in it, characters of my stories are not idealized. I perceive
comic books as a way of an artistic language, which really interests me. Characters of my stories
are simplified for the convenient perception of audience and could be identified with the
viewers' character, where speech balloon are occasionally used to convey thoughts and
expressions. The work is filled with many significant details that gradually join together and
transform the viewer inside the narrative and its coherent world. The format of the painting is
influenced by the digital space, which I use half of my entire conscious life; the reality recreated
on the canvas seems to be artificial. The prototype of created world is an American reality, as the
homeland of a comic book. One of the most important attributes of the space is a luminous neon
advertisement. Fluorescent paint allows simulate an electric light.'
Denis Uranov
"With the help of painting I work on author's mythology and art research of forms of unconscious, based on the existing on the Internet and video games communication and visual algorithms - a virtual environment, attractive for me in the form of a method of rethinking psychoanalytical philosophy of the XX century. It is important for me to exhibit painting in an installation form, using everyday objects and the specificity of space, to involve the viewer by presenting to him hidden details and signs that orient towards individual reading. For example, in the project "Collected Works" (2014), the viewer found evidence in the exhibition hall, helping to compile a non-linear detective story.
The following example of working with narrative is the series "Arhefuturism"
(2015). This is a fantasy on the idea of the future in the Middle Ages. Using the aesthetics of ancient Russian icons and chronicles, I create the story of the launch of the satellite, where the satellite itself is a mythical creature, and the astronauts are depicted as two angels flying into space, consisting of the Kingdom of Heavenly and flat Earth. In addition to painting in a series was cast objects and false items of folk crafts. I try to catch the moment when gallery aesthetics is able to rework an absurd statement, finding its justification and turning it into a souvenir product. As an example, you can take the project Softcore (2015) - peering into the glossy psychedelic aesthetics, the viewer found an unconscious stream of broken cultural codes, combining digital images and children's cartoons with trademarks
and pornography."
Daria Neretina
"Since 2012 I have been creating installations mixing porcelain elements with old glass, metal, wood and new constructions. I refer to a kind of dichotomy and depart from physicality using the most recognizable physiological forms and transforming them into gloss of the glazed surface, into a reflection on a polished wall, into a perfect artificial object. When I am creating a work I am transforming into an alchemist in his laboratory, where I am working with transmutations of surfaces in accordance with the laws of the nature. To achieve the perfect shiny and matte surfaces, I repeat all the stages of the classical porcelain technology, but I work with them as with instruments of "modern art." This glamorous presentation allows the viewer to glide over the work surface, plunging into internal narratives. Infinitely multiplying the elements, recreating the world of baroque illusory tricks, I let the "viewer" in the labyrinth of my own associations, where the time I spent on creating an art object can turn into shards any second."
Anton Kushaev
"In my artistic practice, I use various media to convey the message. The main themes of my practice are the architectural construction as an existential shelter and the idea of death and its manifestation in material culture.
One of the main means for me is painting, itself carrying the idea of dilapidation and illusory art. In this, in my opinion, there is the idea of the death of material culture as the autoreferentiality of contemporary art. Painting becomes for me an opportunity to problematise illusiveness both in the medium itself, and in the visual arts in general. The architectural
design, concealed and manifested at the same time, is used by me as a fixation of the theme of the pictorial construction in the picture and focusing on the heritage of avant-garde constructivism in the modern context.
Using a complex trajectory of the viewer's view when building an exposition as a total installation is also an important technique in my work. In my practice, I strive to understand the legacy of the history of art as a material testimony and to discover new ways of reassembling the exposition space to raise the questions of representativeness and its transformation in modern times.
My first project «Is that all eternity is?» was devoted to the theme of elusive architectural form in Russian and Soviet literature. With the help of a large pictorial installation, I immersed the viewer in the world of "Russian death" as a dark hut from Svidrigailov's monologue in "Crime and Punishment" by Dostoevsky, from where the name of the exhibition is taken.
In my next project, "Questionable basis" I continued to study the topic of unstable construction as a form that reveals the functioning of an autonomous picture in the context of representativeness. In this project, the theme of doubt and dilapidated representativeness in the modern world was manifested in the construction of the exposition itself, where the viewer came from the wrong side of the picture-installation.
The third project "The Unfit place" was devoted to the idea of the death of a language through the representation of a shattered surface. With the help of a total installation, which included objects, video, graphics and sound, I created a situation of immersing the viewer in the process of "picking" the surface. Objects like burned architectural structures or
insurgents, in the last attempt to acquire their meaning signs, created a semblance of a decayed language map, as a structure of signification, in an attempt to break through the
barrier and get to the bottom of things."
Maxim Mixam
Maxim is a graffiti artist developing his own style called "optical dualism"
Nelson Pernisco
President of the Parisian Le Wonder, artist and sculptor. Made a project called "Only though man men survive" during his time at Open Studios. It was installed in Muzeon sculpture park in the beginning of April and had a short life of about 10 hours in total. An empty pedestal, fully made of snow, perfectly fit in the cemetery of sculptures which are probably still waiting for their time to come.
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