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Gift of Anton Belov

Arseny Zhilyaev became interested in early Soviet museology after moving from Voronezh to Moscow in 2008. The artist felt the echoes of the historical avant‑garde in the still unreconstructed halls of the former Museum of the Revolution (since 1998, the Museum of Contemporary History of Russia). The display was a spatial collage that immersed the viewer in a playful environment where the same event was presented from different perspectives. Marxist museum practices, especially the experimental activities of Aleksei Fedorov‑Davydov, a representative of the social‑formalist approach to art who headed the New Russian Art Department at the Tretyakov Gallery from 1929 to 1934, formed the basis of Zhilyaev's creative method. His participatory projects and immersive installations address an imagined future, allowing a critical look at the contemporary socio‑political context. The artist also uses the conceptual method, where ideas prevail over aesthetics, turning the works into philosophical statements. 

 Art as production, the analysis of labor relations, and the exploration of modes of representation are the main themes in Zhilyaev's creative practice. The sculptural installation Dreamer is part of an imaginary museum of the revolution where exhibits narrating the history of the liberation movement of the future are presented. The naturalistically presented image of a man lying on his side is meant to depict an iconic moment in the “story,” a fainting spell that happened to Ivan Shchegolev (one of Zhilyaev's characters) after a 15-hour work shift. According to legend, this episode served as an impulse for the “worker of the image processing shop” to recognise the urgent need for social change. Subsequently, Shchegolev became one of the leaders of the coming uprising of the new proletariat. Dreamer is therefore a kind of play with alternative versions of the future presented through the familiar form of a sculpture, familiar to many viewers from the displays at local history museums. 

 The installation was shown at the New Tretyakov on Krymsky Val as part of Documents and Monuments, a project to renew the permanent exhibition of the Department of New Trends. Intruding into the usual museum context, the hyperrealistic Dreamer problematizes the boundary between art and life: the viewer feels anxiety and discomfort, facing the moral choice of lending a helping hand or passing by. The moment of decision sharpens the awareness of social responsibility, making us think about how often we ignore the suffering of others in our daily lives. Art becomes not just an object of aesthetic pleasure but also a catalyst for social change, encouraging viewers to take action and empathize.

 Arseny Zhilyaev became interested in early Soviet museology after moving from Voronezh to Moscow in 2008. The artist felt the echoes of the historical avant‑garde in the still unreconstructed halls of the former Museum of the Revolution (since 1998, the Museum of Contemporary History of Russia). The display was a spatial collage that immersed the viewer in a playful environment where the same event was presented from different perspectives. Marxist museum practices, especially the experimental activities of Aleksei Fedorov‑Davydov, a representative of the social‑formalist approach to art who headed the New Russian Art Department at the Tretyakov Gallery from 1929 to 1934, formed the basis of Zhilyaev's creative method. His participatory projects and immersive installations address an imagined future, allowing a critical look at the contemporary socio‑political context. The artist also uses the conceptual method, where ideas prevail over aesthetics, turning the works into philosophical statements.  

 Art as production, the analysis of labor relations, and the exploration of modes of representation are the main themes in Zhilyaev's creative practice. The sculptural installation Dreamer is part of an imaginary museum of the revolution where exhibits narrating the history of the liberation movement of the future are presented. The naturalistically presented image of a man lying on his side is meant to depict an iconic moment in the “story,” a fainting spell that happened to Ivan Shchegolev (one of Zhilyaev's characters) after a 15-hour work shift. According to legend, this episode served as an impulse for the “worker of the image processing shop” to recognise the urgent need for social change. Subsequently, Shchegolev became one of the leaders of the coming uprising of the new proletariat. Dreamer is therefore a kind of play with alternative versions of the future presented through the familiar form of a sculpture, familiar to many viewers from the displays at local history museums.  

 The installation was shown at the New Tretyakov on Krymsky Val as part of Documents and Monuments, a project to renew the permanent exhibition of the Department of New Trends. Intruding into the usual museum context, the hyperrealistic Dreamer problematizes the boundary between art and life: the viewer feels anxiety and discomfort, facing the moral choice of lending a helping hand or passing by. The moment of decision sharpens the awareness of social responsibility, making us think about how often we ignore the suffering of others in our daily lives. Art becomes not just an object of aesthetic pleasure but also a catalyst for social change, encouraging viewers to take action and empathize. 

Dreamer

Irina Korina is an artist and set designer and a sophisticated producer of total installations assembled from parts of the everyday environment and echoes of collective memory. Her first major project, Urangst, was presented in 2003 at XL Gallery. Korina carefully directs the constructed environment, building a dramaturgy and systematically immersing the audience in a surrealistic whirlwind of sensations and emotions. The main working material is ubiquitous cheap finishing textures, fabrics, tablecloths and oilcloths, plastic cladding, siding, Styrofoam, and so on. Spectacular garish ornamentation and kitsch embellishment play an important role. Korina's installations are full of carnival‑like madness and a deliberate pretentiousness of various aesthetics. 

 Spectrum (2013) is one of a number of bas‑relief objects that were created outside a series and are characterized by their compact size. The multilayered structure of the work is filled with references to football themes and national motifs. The object is assembled from fragments of the club symbols of Zenit, Arsenal, and Lokomotiv, which are intertwined with traditional Russian scarves. Irina Korina offers a reflection on the concept of national pride: its nature, origins, and how pride “in our own” transforms into hostility and aggression.

 Irina Korina is an artist and set designer and a sophisticated producer of total installations assembled from parts of the everyday environment and echoes of collective memory. Her first major project, Urangst, was presented in 2003 at XL Gallery. Korina carefully directs the constructed environment, building a dramaturgy and systematically immersing the audience in a surrealistic whirlwind of sensations and emotions. The main working material is ubiquitous cheap finishing textures, fabrics, tablecloths and oilcloths, plastic cladding, siding, Styrofoam, and so on. Spectacular garish ornamentation and kitsch embellishment play an important role. Korina's installations are full of carnival‑like madness and a deliberate pretentiousness of various aesthetics. 

 Spectrum (2013) is one of a number of bas‑relief objects that were created outside a series and are characterized by their compact size. The multilayered structure of the work is filled with references to football themes and national motifs. The object is assembled from fragments of the club symbols of Zenit, Arsenal, and Lokomotiv, which are intertwined with traditional Russian scarves. Irina Korina offers a reflection on the concept of national pride: its nature, origins, and how pride “in our own” transforms into hostility and aggression. 

Specter

Nikita Alexeev was a representative of the second wave of Moscow Conceptualism. In 1982 he opened the gallery APTART in his small apartment on Vavilova Street in Moscow. During the two years of the gallery’s existence there were 14 exhibitions which included work by key artists of the 1980s Moscow underground: Toadstool Group, TOTART (Natalya Abalakova and Anatoly Zhigalov), Victor Skersis, Vadim Zakharov, George Kiesewalter, and others. 

 In spring 1983, as a result of increasing pressure on Nikita Alexeev and other artists, the gallery temporarily stopped work, although in that period two projects took place outside the city, including the one‑day exhibition APTART Behind the Fence, which took place in September at the dacha of artists Sergei and Vladimir Mironenko’s parents. 

 For this exhibition Nikita Alexeev created the series Bananas. Some of the sheets of paper were attached to bushes and others lay on the grass around them. The text‑centeredness, seriality, and irony typical of Moscow Conceptualism was supplemented by a lack of seriousness of visual content that was a feature of work by the younger generation of artists. Alexeev used an easy technique (felt‑tip pens), a simplified style of drawing, and bright colors. As a result, universal and contextually monumental symbols (the pyramid‑ziggurat, sun, and moon) take on the characteristics of a child’s drawing and common phrases become absurd expressions. This attempt to escape simplicity with words and images creates a semantic gap, the search for which was key to art for Nikita Alexeev.

 Nikita Alexeev was a representative of the second wave of Moscow Conceptualism. In 1982 he opened the gallery APTART in his small apartment on Vavilova Street in Moscow. During the two years of the gallery’s existence there were 14 exhibitions which included work by key artists of the 1980s Moscow underground: Toadstool Group, TOTART (Natalya Abalakova and Anatoly Zhigalov), Victor Skersis, Vadim Zakharov, George Kiesewalter, and others. 

 In spring 1983, as a result of increasing pressure on Nikita Alexeev and other artists, the gallery temporarily stopped work, although in that period two projects took place outside the city, including the one‑day exhibition APTART Behind the Fence, which took place in September at the dacha of artists Sergei and Vladimir Mironenko’s parents. 

 For this exhibition Nikita Alexeev created the series Bananas. Some of the sheets of paper were attached to bushes and others lay on the grass around them. The text‑centeredness, seriality, and irony typical of Moscow Conceptualism was supplemented by a lack of seriousness of visual content that was a feature of work by the younger generation of artists. Alexeev used an easy technique (felt‑tip pens), a simplified style of drawing, and bright colors. As a result, universal and contextually monumental symbols (the pyramid‑ziggurat, sun, and moon) take on the characteristics of a child’s drawing and common phrases become absurd expressions. This attempt to escape simplicity with words and images creates a semantic gap, the search for which was key to art for Nikita Alexeev. 

Bananas series. From the project APTART Beyond the Fence

Sergei Shutov’s biography incorporates a broad spectrum of creative experiments, from psychedelic new wave painting to multimedia installations and from avant‑garde experiments with video art to sound environments. The 7th Youth Exhibition, friendships with the “New Artists,” rave culture and VJing in the first clubs (and featuring on the cover of Ptyuch magazine), the squat in Furmanny Pereulok, the film Assa, concerts with Pop‑Mekhanika, inserts for Pirate Television, exhibitions across the world, and showing in the Russian Pavilion at the Venice Biennale are only a tiny part of the typhoon of new Russian culture of which Shutov was at the center. 

 Shutov’s 1984 work on paper shown here is from the period when he was involved in working with metal. The sheet features a monochrome schematic composition depicting an exchange of energy and is inspired by the artist’s lifelong interest in science, technocracy, and eastern esoterica. 

 At that time Shutov also began to study the theoretical aspects of intaglio printing. Since he had no access to high‑tech equipment, the artist used his own method of working with the material, applying a thick layer of white enamel to high density paper and, once it was dry, using needles to make an image of various depths, sometimes piercing the layer of enamel. The last stage was the addition of oil paint applied with the edge of the palm and the completion of the composition. Unlike editioned prints, this labor‑intensive technique was used to make a single work. This sheet is one of around twenty unique works.

 Sergei Shutov’s biography incorporates a broad spectrum of creative experiments, from psychedelic new wave painting to multimedia installations and from avant‑garde experiments with video art to sound environments. The 7th Youth Exhibition, friendships with the “New Artists,” rave culture and VJing in the first clubs (and featuring on the cover of Ptyuch magazine), the squat in Furmanny Pereulok, the film Assa, concerts with Pop‑Mekhanika, inserts for Pirate Television, exhibitions across the world, and showing in the Russian Pavilion at the Venice Biennale are only a tiny part of the typhoon of new Russian culture of which Shutov was at the center.  

 Shutov’s 1984 work on paper shown here is from the period when he was involved in working with metal. The sheet features a monochrome schematic composition depicting an exchange of energy and is inspired by the artist’s lifelong interest in science, technocracy, and eastern esoterica.  

 At that time Shutov also began to study the theoretical aspects of intaglio printing. Since he had no access to high‑tech equipment, the artist used his own method of working with the material, applying a thick layer of white enamel to high density paper and, once it was dry, using needles to make an image of various depths, sometimes piercing the layer of enamel. The last stage was the addition of oil paint applied with the edge of the palm and the completion of the composition. Unlike editioned prints, this labor‑intensive technique was used to make a single work. This sheet is one of around twenty unique works. 

Untitled

1. Открытый доступ

Мастер

Sergei Shutov was born in 1955 in Potsdam. He was a member of the City Committee of Graphic Artists (Moscow) from 1978. He worked on the film Assa (1987) and took part in concerts by the band Pop‑Mekhanika. He founded the Institute of Art Technology (Moscow, 1992), ran practical sessions at Moscow Artistic Laboratory of New Media (Moscow, 1994), and was a VJ at the club Ptyuch (Moscow). He exhibited in the Russian Pavilion at the 49th Venice Biennale (2011).

Shutov Sergei

Nikita Alexeev was born in Moscow. From 1964 to 1967, he studied at Moscow Middle Art School of the Moscow Surikov State Art Institute and then at 1905 Moscow State Academic Art College in the Department of Industrial Graphics and Advertising. From 1973 to 1976, he studied at Moscow Printing Institute in the Faculty of Artistic and Technical Design of Print Products (he did not graduate). From 1976 to 1983, he was a member of the group Collective Actions. He took part in the Biennale of Dissent (Venice, 1977). He was one of the organizers of MANI (Moscow Archive of New Art). From 1982 to 1984, he was co‑founder and director of APTART Gallery, which was located in his studio apartment in Moscow.

Alexeev Nikita

Irina Korina was born in Moscow. She graduated from the Faculty of Stage Design at the Russian Academy of Theatrical Art (GITIS) and the Institute of Contemporary Art (Moscow), also studying at the Academy of Fine Arts Vienna. She took part in the 53rd (Russian Pavilion, 2009) and 57th Venice Biennale (main project, 2017). She is a recipient of the Innovation Prize in the nomination New Generation (2015).

Korina Irina

Arseny Zhilyaev was born in Voronezh. He graduated from the Faculty of Philosophy and Psychology of Voronezh State University and studied at the Institute of Contemporary Moscow (Moscow) and the Valand Academy of Art and Design (Gothenburg). In 2008, together with Nikolai Alekseev, Ivan Gorshkov, and Ilya Dolgov, he founded Voronezh Center for Contemporary Art. He took part in the 14th Lyon Biennial (2015), the 9th Liverpool Biennial (2016), the 11th Gwangju Biennale (2016), Manifesta 13 (Marseille, 2020), and the 14th Shanghai Biennale (2023). He is a recipient of the Innovation Prize in the nomination New Generation (2011).

Zhilyaev Arseny

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